{"meta":{"query_hash":"da46802930a7","filters":{"topic":"Music History and Culture"},"cohort_total":1825,"direct_labels_cover":2,"predictions_cover":1825,"exported":1825,"export_cap":100000,"truncated":false,"label_status":"direct model label, unvalidated","prediction_status":"machine_predicted_unvalidated (Codex and Gemma teacher distillation)","score_status":"score_only:v0-immature-baseline","snapshot":{"source":"OpenAlex, pinned release, all 482 partitions","release":"2026-06-24","frame_built":"2026-07-12"},"permalink":"https://metacan.xera.ac/q/da46802930a7","api":"https://metacan.xera.ac/api/v1/cohort?topic=Music+History+and+Culture"},"results":[{"id":"W1022020460","doi":"10.11575/prism/26313","title":"Going Legit: An Exploration of Formerly Gang Involved Asians","year":2015,"lang":"en","type":"dissertation","venue":"PRISM (University of Calgary)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Library science; Computer science","score_opus":0.0476713458855128,"score_gpt":0.21945646945843614,"score_spread":0.17178512357292333,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1022020460","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9889452,0.0004156536,0.00018390593,0.0009852295,0.00005203944,0.00005057399,0.00005607531,0.000005682015,0.009305633],"genre_scores_gemma":[0.9889824,0.001813972,0.00037596482,0.0010073462,0.000044716875,0.000078431556,0.00009541474,0.000024827314,0.007577061],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99819785,0.0010061404,0.000061251114,0.000094882234,0.00017396445,0.0004659261],"domain_scores_gemma":[0.99783677,0.00084275735,0.0003673082,0.000076546195,0.0002344584,0.00064216246],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0036621965,0.00070721394,0.00061163347,0.0028157763,0.012108448,0.0055099977,0.0015267426,0.0011845327,0.0043070125],"category_scores_gemma":[0.0030667535,0.0005746454,0.00041333877,0.0021762778,0.0069867508,0.0048511657,0.0063159894,0.0030378252,0.0005687797],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011598927,0.000047268702,0.0046070144,0.000044880857,0.0000018916969,0.0007617899,0.9915325,0.000004400634,0.00023238109,0.0005457106,0.00023950514,0.0019710353],"study_design_scores_gemma":[5.1068986e-7,0.000011070416,0.0018506921,0.000036368736,0.0000015215545,0.00012751545,0.9961563,0.000006982617,0.00003491262,0.00005499817,0.0017167926,0.0000023058594],"about_ca_topic_score_codex":0.030914659,"about_ca_topic_score_gemma":0.10208898,"teacher_disagreement_score":0.030914659,"about_ca_system_score_codex":0.003674982,"about_ca_system_score_gemma":0.004439119,"threshold_uncertainty_score":0.061469436},"labels":[],"label_agreement":null},{"id":"W1037691607","doi":"","title":"A gay/straight comparison of gay voices","year":2015,"lang":"en","type":"article","venue":"Cardinal Scholar (Ball State University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Gender studies; Sociology","score_opus":0.0783848431942985,"score_gpt":0.24225152564470978,"score_spread":0.16386668245041128,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1037691607","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7969085,0.0007582981,0.0014276461,0.000701489,0.00016238629,0.00006617966,0.0002744413,0.000019872063,0.1996812],"genre_scores_gemma":[0.98924327,0.00026114064,0.00049861975,0.00017874465,0.00003062084,0.000027782702,0.000117149175,0.000017460878,0.009625054],"study_design_codex":"qualitative","study_design_gemma":"observational","domain_scores_codex":[0.99874556,0.00061144057,0.00005788503,0.00010820093,0.00034506383,0.00013187814],"domain_scores_gemma":[0.998706,0.00051915896,0.0001713691,0.00012152237,0.00027555382,0.00020640547],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001380024,0.00026190502,0.00014642459,0.0017974227,0.002226156,0.0032072787,0.0003210883,0.00058302085,0.011695825],"category_scores_gemma":[0.004380117,0.000084249856,0.00013221231,0.0008522674,0.002297528,0.00179399,0.003212484,0.00086571614,0.0009847094],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005218957,0.00016356062,0.03628618,0.00019876538,0.000029758634,0.000780063,0.80595446,0.00005577036,0.018830633,0.060943834,0.003118091,0.07311704],"study_design_scores_gemma":[0.000025976446,0.00025718374,0.17695339,0.00032025506,0.000029208273,0.0008702132,0.7600265,0.00023907139,0.0032788643,0.008588074,0.049367294,0.00004399446],"about_ca_topic_score_codex":0.008851336,"about_ca_topic_score_gemma":0.020257672,"teacher_disagreement_score":0.011695825,"about_ca_system_score_codex":0.0008914027,"about_ca_system_score_gemma":0.0004701436,"threshold_uncertainty_score":0.039126456},"labels":[],"label_agreement":null},{"id":"W103914580","doi":"","title":"Things to do With the \"F\" Word: The Ironic and Unruly Adventures of Liz Phair and Courtney Love","year":2001,"lang":"en","type":"article","venue":"Canadian women's studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Adventure; Word (group theory); Art; Literature; Art history; Linguistics; Philosophy","score_opus":0.012651153911525367,"score_gpt":0.20130443186866312,"score_spread":0.18865327795713777,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W103914580","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.015692502,0.014778086,0.00067764503,0.77348745,0.019485192,0.000035590274,0.00010861062,0.00014090152,0.17559403],"genre_scores_gemma":[0.3059976,0.010514824,0.0012750182,0.22965768,0.0067666164,0.00007165325,0.0000873268,0.000895439,0.4447339],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99748105,0.0008657066,0.00002785576,0.000189272,0.00058364467,0.00085258746],"domain_scores_gemma":[0.99515426,0.0013593533,0.0001909438,0.00017022717,0.00095836195,0.002166895],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0033404261,0.0008254589,0.000750162,0.001283534,0.060212452,0.014211579,0.0015197861,0.0070647923,0.015387296],"category_scores_gemma":[0.008654014,0.0005284756,0.00040372467,0.0014785617,0.035089217,0.00869432,0.004792312,0.02117844,0.002521273],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000036730293,0.000017128265,0.0003960644,0.000039021303,0.0000068642717,0.0002692774,0.144299,0.000017218312,0.00020556968,0.043883607,0.7998487,0.010980877],"study_design_scores_gemma":[0.0000065941917,0.0000064988403,0.00072251324,0.00011307269,0.000004692502,0.00011777854,0.12752418,0.000014887191,0.00008485286,0.0036514187,0.86772704,0.000026482605],"about_ca_topic_score_codex":0.605475,"about_ca_topic_score_gemma":0.84442234,"teacher_disagreement_score":0.605475,"about_ca_system_score_codex":0.017435065,"about_ca_system_score_gemma":0.015212727,"threshold_uncertainty_score":0.7936969},"labels":[],"label_agreement":null},{"id":"W1082542049","doi":"10.1353/not.2015.0093","title":"West African Drumming and Dance in North American Universities: An Ethnomusicological Perspective by George Worlasi Kwasi Dor (review)","year":2015,"lang":"en","type":"article","venue":"Notes","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dance; History; Musicology; Musical; The arts; Performing arts; Racism; Anthropology; Ethnomusicology; Media studies; Art history; Visual arts; Art; Sociology; Gender studies","score_opus":0.04373921703112255,"score_gpt":0.25521303406029283,"score_spread":0.21147381702917029,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1082542049","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00006914369,0.9983725,0.000007979467,0.0009710182,0.00024774295,0.0000018362665,0.000004547088,6.027036e-7,0.00032467736],"genre_scores_gemma":[0.0008467268,0.9973495,0.000038982485,0.00097481546,0.0003416617,0.000010289688,0.000012071075,0.0000011558436,0.00042470332],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991333,0.00030407813,0.00011111218,0.00012267064,0.0002560358,0.000072808434],"domain_scores_gemma":[0.9978344,0.0012199405,0.00032499045,0.00003130717,0.00044681586,0.0001425993],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014782139,0.00074583886,0.0012412865,0.004117466,0.0011020151,0.0028499896,0.0007203474,0.0014859062,0.005834745],"category_scores_gemma":[0.0029687847,0.0004598842,0.00048092622,0.0105669135,0.0013793941,0.0033156609,0.0015179826,0.002403293,0.0010884213],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006069429,0.0000525122,0.000886748,0.075018585,0.00019076017,0.0004206571,0.0044276766,0.00016208808,0.00045694786,0.0056893737,0.24556951,0.66706455],"study_design_scores_gemma":[0.000008418434,0.000038164948,0.005344942,0.065522514,0.00013005178,0.0008112639,0.005029378,0.000025860862,0.00007546549,0.0008734398,0.92210686,0.00003373143],"about_ca_topic_score_codex":0.01246915,"about_ca_topic_score_gemma":0.025018303,"teacher_disagreement_score":0.01246915,"about_ca_system_score_codex":0.0015456141,"about_ca_system_score_gemma":0.005006057,"threshold_uncertainty_score":0.024793148},"labels":[],"label_agreement":null},{"id":"W110639048","doi":"10.15173/mjc.v3i0.233","title":"The Control and Dissemination of Music in Corporate Controlled Markets","year":2006,"lang":"en","type":"article","venue":"The McMaster Journal of Communication","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":11,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"McMaster University","funders":"","keywords":"Control (management); Business; Economics; Management","score_opus":0.01971781957780683,"score_gpt":0.21117396205601502,"score_spread":0.1914561424782082,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W110639048","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.22508726,0.0057140975,0.034251887,0.021362899,0.00035620522,0.00024724385,0.00013454119,0.00019201542,0.7126538],"genre_scores_gemma":[0.9813861,0.00092839444,0.0012024158,0.0006467093,0.00032806056,0.000084634645,0.000020442789,0.00003982526,0.015363375],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9942364,0.0029512446,0.00019025007,0.0007364776,0.0013525629,0.0005330675],"domain_scores_gemma":[0.9861141,0.00825321,0.0021473826,0.0020782133,0.0008788391,0.00052836264],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0057535977,0.00031331312,0.0002727877,0.0019119687,0.0039821602,0.01684189,0.0012567142,0.003612548,0.011379038],"category_scores_gemma":[0.020555839,0.00042474733,0.0002987159,0.0019095796,0.019260235,0.014395529,0.005044672,0.002458407,0.0008897908],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004272817,0.00004135736,0.0013287681,0.00006809461,0.000016425189,0.00032654288,0.013746074,0.0005002649,0.00084299076,0.9553974,0.0034899851,0.024199473],"study_design_scores_gemma":[0.00015933285,0.00015566107,0.0051667215,0.00035567005,0.00005084717,0.0004751482,0.013957604,0.003707047,0.0015996547,0.7042944,0.2700116,0.000066374094],"about_ca_topic_score_codex":0.004502214,"about_ca_topic_score_gemma":0.0025361858,"teacher_disagreement_score":0.01684189,"about_ca_system_score_codex":0.0037760967,"about_ca_system_score_gemma":0.0031008583,"threshold_uncertainty_score":0.038066685},"labels":[],"label_agreement":null},{"id":"W1132614342","doi":"10.5206/notabene.v8i1.6598","title":"Sonic Stereotypes: Jazz and Racial Signification in American Film and Television Soundtracks","year":2015,"lang":"en","type":"article","venue":"Nota bene","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Jazz; Narrative; Art; Aesthetics; Sociology; White (mutation); Popular music; Gender studies; Literature; Visual arts","score_opus":0.03840855924280854,"score_gpt":0.23605661035856945,"score_spread":0.19764805111576092,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1132614342","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8082725,0.002131376,0.0015482537,0.003570682,0.00026177085,0.000017316597,0.000053012645,0.000031415842,0.18411371],"genre_scores_gemma":[0.9930875,0.0008096489,0.00029294039,0.00039984754,0.00012627283,0.000010919476,0.000020058895,0.000022603335,0.0052301637],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990188,0.00048895413,0.000025032788,0.00008933844,0.00026005876,0.00011783569],"domain_scores_gemma":[0.99873394,0.00067351584,0.00023304803,0.00008248772,0.000178768,0.00009822507],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014239148,0.00030126533,0.00017453184,0.0019208649,0.0067329477,0.004870102,0.0004266109,0.0010546357,0.004101259],"category_scores_gemma":[0.0025925103,0.00022199473,0.0001782623,0.0012109062,0.0074225743,0.0032772478,0.00272087,0.0017323896,0.0002260295],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000874043,0.000040555587,0.007686138,0.000104357554,0.000013138878,0.00046478194,0.92697865,0.00002648432,0.0024451786,0.0385734,0.0029892898,0.020590702],"study_design_scores_gemma":[0.00001143967,0.000058543155,0.038981624,0.00024833748,0.000027174277,0.0005059986,0.8589358,0.000114108996,0.0011136733,0.0040359464,0.09593355,0.000033739754],"about_ca_topic_score_codex":0.009093506,"about_ca_topic_score_gemma":0.026165763,"teacher_disagreement_score":0.009093506,"about_ca_system_score_codex":0.0013460334,"about_ca_system_score_gemma":0.0004183388,"threshold_uncertainty_score":0.018081129},"labels":[],"label_agreement":null},{"id":"W1143021682","doi":"","title":"Frank A. Fitzgerald (1861-1908): Cornet Soloist, Teacher and Bandmaster","year":2013,"lang":"en","type":"article","venue":"Journal of band research","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Choir; Entertainment; Musical; Irish; Sociology; Music education; Visual arts; Variety (cybernetics); History; Media studies; Art; Linguistics","score_opus":0.09320340199219483,"score_gpt":0.2899314543362034,"score_spread":0.19672805234400853,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1143021682","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.018670375,0.35776588,0.0024251407,0.18621781,0.058687337,0.00013080475,0.0009731172,0.0004583674,0.3746712],"genre_scores_gemma":[0.07156285,0.056215283,0.0008734646,0.015604287,0.0052124583,0.000043968223,0.00019143167,0.00013524426,0.8501611],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997142,0.0000380965,0.000013923795,0.0000942678,0.00009845482,0.000041007133],"domain_scores_gemma":[0.9998073,0.000027358476,0.00002411121,0.000004321039,0.000053234227,0.00008372547],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003895216,0.0006722926,0.00020935526,0.001143753,0.0031576816,0.0014867478,0.00046472662,0.0013239647,0.024790827],"category_scores_gemma":[0.00090389536,0.00027041085,0.00009982364,0.00072039576,0.0010875444,0.002238655,0.0012715583,0.001744516,0.011752324],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000026688094,0.000024527912,0.0010210105,0.00013541861,0.000001721862,0.0004080865,0.0056652394,0.000027674136,0.00025122138,0.012466749,0.89954656,0.08042514],"study_design_scores_gemma":[7.102521e-7,0.0000047677004,0.00063350046,0.000089876725,6.2305736e-7,0.00027789123,0.0007238015,0.000005414654,0.000048981212,0.00026767928,0.99794453,0.0000022288084],"about_ca_topic_score_codex":0.018092565,"about_ca_topic_score_gemma":0.050535172,"teacher_disagreement_score":0.024790827,"about_ca_system_score_codex":0.0016787666,"about_ca_system_score_gemma":0.0012193344,"threshold_uncertainty_score":0.082933545},"labels":[],"label_agreement":null},{"id":"W115871611","doi":"","title":"Patricia Racette: Diva on Detour","year":2013,"lang":"en","type":"article","venue":"Journal of Singing","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Piano; Art history; Nothing; Art; Musical; KISS (TNC); Performance art; Visual arts; Humanities; Philosophy; Computer science","score_opus":0.017094007080908177,"score_gpt":0.18545665761943084,"score_spread":0.16836265053852267,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W115871611","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010103128,0.0036602027,0.0016951365,0.04071491,0.016961617,0.00011199387,0.00092777447,0.003070964,0.93184704],"genre_scores_gemma":[0.0021396168,0.00046648254,0.0002098481,0.0029123302,0.0006869128,0.000034715285,0.0001650107,0.00041452894,0.99297065],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993155,0.00008759022,0.000016296859,0.00017482102,0.0002646739,0.00014103818],"domain_scores_gemma":[0.9984658,0.000099815516,0.000057918176,0.00008390125,0.00047976422,0.00081273867],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005149723,0.0008547002,0.0004153926,0.00090323767,0.004686711,0.0039067897,0.0013759402,0.0022074769,0.6319928],"category_scores_gemma":[0.0027255,0.00042013,0.0002578618,0.00080660114,0.000847651,0.0042954786,0.0049419557,0.0040266295,0.4725964],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000007024541,0.000004520909,0.00003402408,0.000012970725,2.5253246e-7,0.000034835324,0.000117318894,0.0000046088057,0.000052352945,0.00062897726,0.9866702,0.012432953],"study_design_scores_gemma":[9.901299e-7,0.0000022890295,0.00009276146,0.000014754982,1.6775901e-7,0.000046077297,0.00016068376,0.000009201742,0.000016081674,0.00010475284,0.9995503,0.0000018475001],"about_ca_topic_score_codex":0.011120036,"about_ca_topic_score_gemma":0.020633029,"teacher_disagreement_score":0.6319928,"about_ca_system_score_codex":0.0015164425,"about_ca_system_score_gemma":0.0013731506,"threshold_uncertainty_score":0.5249176},"labels":[],"label_agreement":null},{"id":"W1165401808","doi":"","title":"Fucked Up \"Couple Tracks\"","year":2009,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Punk; Art history","score_opus":0.030489561982044715,"score_gpt":0.20115606602933686,"score_spread":0.17066650404729214,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1165401808","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.111810744,0.0010349721,0.0028869319,0.0033314133,0.0021680628,0.0002806426,0.0011050431,0.0009969051,0.87638533],"genre_scores_gemma":[0.13919097,0.00035426897,0.0020329845,0.0005943918,0.00013961222,0.0000958605,0.0006352168,0.00025411614,0.85670257],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991715,0.00007502198,0.000015558448,0.00015205206,0.00022759115,0.00035828326],"domain_scores_gemma":[0.9991922,0.00003657115,0.000036226178,0.00007389245,0.00013726423,0.00052391074],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005646147,0.0007016861,0.0002736194,0.0011711468,0.009024598,0.0030291926,0.00072219054,0.0010148402,0.2447325],"category_scores_gemma":[0.0012221704,0.0004194669,0.00039038813,0.0013140291,0.0011598046,0.0022460246,0.0046429476,0.0013679848,0.024396233],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00065589906,0.000161733,0.012403647,0.0002900704,0.000027795459,0.0011810354,0.027412998,0.00018754789,0.005220222,0.029713117,0.44823563,0.47451028],"study_design_scores_gemma":[0.000012786969,0.00014779127,0.0125683285,0.00006833796,0.000007479229,0.00039971556,0.007719109,0.000052306164,0.00074484944,0.0005446375,0.97771513,0.000019514897],"about_ca_topic_score_codex":0.025682991,"about_ca_topic_score_gemma":0.11973835,"teacher_disagreement_score":0.2447325,"about_ca_system_score_codex":0.0022563622,"about_ca_system_score_gemma":0.0025088834,"threshold_uncertainty_score":0.81871176},"labels":[],"label_agreement":null},{"id":"W1169458809","doi":"10.22459/hr.xix.03.2013.05","title":"The Travels of ‘John Anderson, my jo’","year":2013,"lang":"en","type":"article","venue":"Humanities Research","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"ECW Press (Canada); University of Calgary","funders":"","keywords":"History; Sociology","score_opus":0.23444898543690684,"score_gpt":0.312478751543363,"score_spread":0.07802976610645618,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1169458809","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.105166525,0.0056549534,0.0049852864,0.054452844,0.013879698,0.00009593558,0.00031124364,0.00055707543,0.8148964],"genre_scores_gemma":[0.47119898,0.0018293174,0.0022060585,0.00822251,0.0016248501,0.000050775423,0.00015797332,0.00071514444,0.51399446],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993641,0.000192977,0.000015899817,0.000096160686,0.00021445559,0.00011645357],"domain_scores_gemma":[0.99899715,0.00019147835,0.00009574533,0.00009722695,0.0001907622,0.00042756242],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006282802,0.00053024816,0.0002455792,0.00057608495,0.0072072595,0.0037770926,0.0005216502,0.0011334815,0.012697457],"category_scores_gemma":[0.0031591826,0.00023501209,0.00019253786,0.00045554317,0.0049488167,0.0021666,0.0025624193,0.0045817867,0.0040744483],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00031477955,0.000050606854,0.0019100568,0.00045883894,0.00003896675,0.002187499,0.2582318,0.00013103594,0.007400926,0.12950613,0.5514187,0.048350736],"study_design_scores_gemma":[0.0000042383017,0.00004091129,0.0019034646,0.000106930034,0.000005605577,0.0012762962,0.053029157,0.000058191832,0.00060369546,0.001331612,0.94162196,0.000017935501],"about_ca_topic_score_codex":0.013823406,"about_ca_topic_score_gemma":0.04608304,"teacher_disagreement_score":0.013823406,"about_ca_system_score_codex":0.0017815196,"about_ca_system_score_gemma":0.0015194273,"threshold_uncertainty_score":0.04247725},"labels":[],"label_agreement":null},{"id":"W1185277585","doi":"","title":"An AIDS Quilt Songbook: Sing for Hope","year":2015,"lang":"en","type":"article","venue":"Journal of Singing","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Quilt; Art history; Piano; Treasure; Art; Litany; Musical; Performance art; History; Visual arts; Archaeology","score_opus":0.07978588095664739,"score_gpt":0.2698868515462422,"score_spread":0.1901009705895948,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1185277585","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0016106252,0.0017932918,0.004312962,0.0032008542,0.008255878,0.0005340901,0.0030450074,0.009948917,0.96729827],"genre_scores_gemma":[0.003644245,0.00054491445,0.0013236562,0.001464562,0.00091483945,0.00023973573,0.00114276,0.001339741,0.98938555],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997286,0.000042325148,0.000009080326,0.000033453958,0.00011630623,0.00007021394],"domain_scores_gemma":[0.9988042,0.00014460292,0.000034660177,0.000062874096,0.0002916127,0.00066206977],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00058579474,0.0014295616,0.00073051313,0.0009419422,0.0019472324,0.0034264845,0.001243834,0.0011476683,0.7043947],"category_scores_gemma":[0.0020350832,0.0004431403,0.0005068666,0.00041783444,0.0004549454,0.0027232985,0.004356736,0.002327428,0.5464616],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000036855683,0.000022963706,0.00003452482,0.000052611438,0.0000012764958,0.00004222001,0.00007173637,0.000013372212,0.00020813209,0.00047112402,0.972042,0.027003147],"study_design_scores_gemma":[0.000025338,0.000040626703,0.00038379634,0.00005562234,0.0000021737933,0.00008903084,0.0002520964,0.00006418323,0.00012225898,0.0003902163,0.9985638,0.000010847821],"about_ca_topic_score_codex":0.0012746322,"about_ca_topic_score_gemma":0.0058174,"teacher_disagreement_score":0.7043947,"about_ca_system_score_codex":0.00046277052,"about_ca_system_score_gemma":0.00082187634,"threshold_uncertainty_score":0.42164505},"labels":[],"label_agreement":null},{"id":"W1204706496","doi":"","title":"Dead Oceans：七年之痒","year":2014,"lang":"zh","type":"article","venue":"通俗歌曲","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Geology","score_opus":0.02239536411020211,"score_gpt":0.1919036484200162,"score_spread":0.1695082843098141,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1204706496","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.048755255,0.006640646,0.0018175027,0.04963135,0.0015131173,0.000032778913,0.00012902271,0.000040419003,0.8914399],"genre_scores_gemma":[0.7224236,0.00403264,0.0012459435,0.006570393,0.00033562267,0.00003333055,0.000100998484,0.000089735906,0.2651678],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9977671,0.0005229386,0.00006197509,0.00026825775,0.00070638495,0.00067338446],"domain_scores_gemma":[0.99823594,0.0004324969,0.00013331934,0.00015395325,0.00057666085,0.00046759314],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021047497,0.0004959258,0.0002810452,0.0015859696,0.020444773,0.016928978,0.001066067,0.0023594934,0.013128313],"category_scores_gemma":[0.005043296,0.00034733737,0.00021290279,0.0022870633,0.041305605,0.0063963835,0.0056526703,0.007355965,0.0010057727],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023616987,0.0000075780736,0.0008149136,0.00003883814,0.0000061339383,0.00010334894,0.044588413,0.00008572546,0.00018995516,0.91956073,0.020409146,0.014171626],"study_design_scores_gemma":[0.000014587624,0.000014458278,0.0037759824,0.00031141978,0.0000142180725,0.0000950749,0.10237086,0.00007942276,0.0004957811,0.11504301,0.7777378,0.000047491758],"about_ca_topic_score_codex":0.5329107,"about_ca_topic_score_gemma":0.62933266,"teacher_disagreement_score":0.5329107,"about_ca_system_score_codex":0.028253123,"about_ca_system_score_gemma":0.03117231,"threshold_uncertainty_score":0.93968016},"labels":[],"label_agreement":null},{"id":"W132890288","doi":"10.7202/902329ar","title":"Ruer dur et faire entendre","year":2010,"lang":"fr","type":"article","venue":"Circuit Musiques contemporaines","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Political science","score_opus":0.032235760989205824,"score_gpt":0.24134317598825034,"score_spread":0.2091074149990445,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W132890288","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.022953408,0.023899207,0.009684919,0.16085827,0.0130750155,0.000071957205,0.00026865007,0.00042546235,0.76876307],"genre_scores_gemma":[0.2181205,0.004255923,0.0022693414,0.0140916165,0.0021776964,0.000055397988,0.00007696774,0.00033572695,0.7586168],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981331,0.00054713385,0.000040803672,0.00040403032,0.0005586903,0.00031622706],"domain_scores_gemma":[0.9991423,0.0002866774,0.00008971314,0.00011495274,0.000219821,0.00014644436],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001149271,0.00057353,0.00036946105,0.0006709232,0.005523725,0.005093464,0.0005946349,0.0027421804,0.023983087],"category_scores_gemma":[0.005354106,0.00028328664,0.00026979382,0.00046472752,0.0046826154,0.0045592873,0.002921285,0.0045821173,0.008797064],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013690905,0.000022330229,0.0007375234,0.00013376829,0.000012596767,0.00052019034,0.01498534,0.00009540617,0.0013106201,0.66873735,0.2592725,0.054035492],"study_design_scores_gemma":[0.0000038084083,0.000008902824,0.000383744,0.00006411165,0.0000031593022,0.00018710234,0.0018469254,0.000042970012,0.00037002377,0.011655069,0.98542446,0.000009769293],"about_ca_topic_score_codex":0.008532051,"about_ca_topic_score_gemma":0.018117445,"teacher_disagreement_score":0.023983087,"about_ca_system_score_codex":0.0031630385,"about_ca_system_score_gemma":0.0018639828,"threshold_uncertainty_score":0.08023143},"labels":[],"label_agreement":null},{"id":"W133996419","doi":"10.7202/902324ar","title":"Frank Zappa dans l’univers des musiques sérieuses : un parfait étranger?","year":2010,"lang":"fr","type":"article","venue":"Circuit Musiques contemporaines","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.02879222954678747,"score_gpt":0.21402568058186183,"score_spread":0.18523345103507435,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W133996419","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06679421,0.108594924,0.0035636008,0.44196263,0.005684494,0.000023850867,0.00009781141,0.0001160629,0.37316248],"genre_scores_gemma":[0.75153506,0.04438886,0.0012432132,0.022626469,0.002771099,0.000036092304,0.000038739898,0.00013674158,0.17722373],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99890244,0.00040938196,0.000020723044,0.00016621251,0.00023539699,0.0002658136],"domain_scores_gemma":[0.9992073,0.00038742804,0.0000866462,0.000041939344,0.00008514276,0.00019158],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00095792307,0.0003460924,0.00035169517,0.0008919205,0.010894175,0.008697276,0.0005880427,0.0028611924,0.0069793873],"category_scores_gemma":[0.0030160835,0.0003164532,0.00013951682,0.00094659306,0.012529725,0.00969835,0.0037668343,0.0052972347,0.0013231378],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000610708,0.000011423775,0.0009367311,0.00014828231,0.0000047592684,0.00044690305,0.07358496,0.00008252287,0.00030000534,0.79066414,0.09651229,0.037247047],"study_design_scores_gemma":[0.0000056859135,0.000014716806,0.0013137158,0.00028189836,0.000004310074,0.0003844014,0.02821098,0.00007591173,0.0001587759,0.03961346,0.9299163,0.000019873289],"about_ca_topic_score_codex":0.022073044,"about_ca_topic_score_gemma":0.034783788,"teacher_disagreement_score":0.022073044,"about_ca_system_score_codex":0.0047336724,"about_ca_system_score_gemma":0.0037326245,"threshold_uncertainty_score":0.043889105},"labels":[],"label_agreement":null},{"id":"W13503314","doi":"","title":"CD Review: Maxwell Davies compilation CDs and Naxos Quartets.","year":2006,"lang":"en","type":"article","venue":"McGill Medical Journal","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Computer science; Epistemology; Theoretical physics; Physics; Computer graphics (images); Philosophy","score_opus":0.017772235410262266,"score_gpt":0.21815819922395277,"score_spread":0.2003859638136905,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W13503314","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0002190408,0.601647,0.00031745256,0.068657346,0.28755566,0.00013130278,0.0008611847,0.00016117589,0.04044983],"genre_scores_gemma":[0.002511907,0.5329303,0.0007145572,0.043856215,0.12441379,0.00017303188,0.001159854,0.00013250428,0.2941078],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991509,0.00010208782,0.00010098761,0.00010935079,0.0004729934,0.00006373778],"domain_scores_gemma":[0.9935114,0.0012304226,0.0005450208,0.00015219614,0.003709302,0.0008516397],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012750487,0.0011770115,0.0015763352,0.0033757493,0.0006803822,0.001702447,0.0016842466,0.0027577758,0.12001158],"category_scores_gemma":[0.008623673,0.0005267843,0.00077934866,0.0030815334,0.0006710265,0.0022813766,0.0013539619,0.0025453472,0.07039427],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014691685,0.000002235181,0.000016824835,0.00034737412,0.0000033110666,0.000018098848,0.000003094429,0.000006975785,0.000019244711,0.00009340575,0.97864985,0.020824874],"study_design_scores_gemma":[0.000012572399,0.000008395264,0.0001997872,0.00058520335,0.000008144367,0.00011399589,0.000013655205,0.000007192418,0.00002281486,0.00014744907,0.99887675,0.000003933704],"about_ca_topic_score_codex":0.0057385084,"about_ca_topic_score_gemma":0.014977058,"teacher_disagreement_score":0.12001158,"about_ca_system_score_codex":0.0017027248,"about_ca_system_score_gemma":0.0030177655,"threshold_uncertainty_score":0.40147877},"labels":[],"label_agreement":null},{"id":"W144350889","doi":"10.7202/004655ar","title":"Les confessions d'un autodidacte un peu trop scolarisé","year":2002,"lang":"fr","type":"article","venue":"Circuit Musiques contemporaines","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Jazz; Improvisation; Art history; Visual arts","score_opus":0.09664064003783611,"score_gpt":0.23715012079477799,"score_spread":0.14050948075694186,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W144350889","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08860111,0.016124249,0.010337816,0.04728551,0.011619266,0.000054091754,0.00029647513,0.0005625826,0.82511884],"genre_scores_gemma":[0.46350375,0.0039683506,0.0019675668,0.0049398155,0.0037165044,0.000049082493,0.00012988888,0.00047481305,0.52125025],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991934,0.00032734332,0.000017579243,0.00013540735,0.00020945835,0.00011683311],"domain_scores_gemma":[0.9986994,0.0005735094,0.00008223651,0.00016588264,0.0002957409,0.00018314367],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001087864,0.0005997399,0.00031448322,0.00089118106,0.0060543045,0.0058070146,0.00047135857,0.0015880088,0.01757932],"category_scores_gemma":[0.003373028,0.00020132928,0.00027300286,0.0006858622,0.005668091,0.0025796315,0.002321608,0.0037043865,0.0032412908],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001997498,0.000038380935,0.0017063466,0.00020624037,0.000022288812,0.0013983963,0.15349866,0.00011375031,0.0049222615,0.5444295,0.22409026,0.069374144],"study_design_scores_gemma":[0.0000046708524,0.000026577007,0.0010562201,0.00011016535,0.000004629715,0.00086538785,0.013990521,0.00009531234,0.00079789205,0.004181834,0.9788504,0.000016284417],"about_ca_topic_score_codex":0.005467579,"about_ca_topic_score_gemma":0.0112636145,"teacher_disagreement_score":0.01757932,"about_ca_system_score_codex":0.0019322076,"about_ca_system_score_gemma":0.00094645144,"threshold_uncertainty_score":0.058808684},"labels":[],"label_agreement":null},{"id":"W1482240298","doi":"10.25071/1708-6701.32105","title":"At This Point - Alex Dean Quintet (CD Review)","year":2011,"lang":"en","type":"article","venue":"CAML Review / Revue de l ACBM","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Point (geometry); Psychology; Psychoanalysis; Gerontology; Medicine; Mathematics; Geometry","score_opus":0.06513950937338198,"score_gpt":0.23198452110554918,"score_spread":0.1668450117321672,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1482240298","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00011181518,0.18800065,0.0003920034,0.4800099,0.31163615,0.000067532324,0.00021502138,0.0001484188,0.01941849],"genre_scores_gemma":[0.0020830128,0.11377283,0.0007634506,0.5994946,0.13300766,0.00012091033,0.0002357853,0.00009484172,0.15042698],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984281,0.00031345658,0.00014637376,0.00019003909,0.0007504009,0.00017157469],"domain_scores_gemma":[0.99498725,0.0010659215,0.00037815614,0.00017945364,0.002385613,0.0010035653],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0028331196,0.00086223835,0.0012799492,0.0017357771,0.0014040753,0.0042136926,0.0018546396,0.007011988,0.0463528],"category_scores_gemma":[0.013822444,0.0004113731,0.0008372188,0.0015041749,0.0013457707,0.004887339,0.0031628457,0.006221162,0.03244261],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000071366517,0.0000025630934,0.000019647168,0.00016095037,0.000003588585,0.000020924637,0.0000075178127,0.0000033866472,0.000020223722,0.0002859245,0.987282,0.0121861305],"study_design_scores_gemma":[0.000012341561,0.000007311303,0.000108557644,0.00039972895,0.000009772471,0.000108688895,0.000030818923,0.000005977963,0.000025422449,0.00055397325,0.99873143,0.000005908605],"about_ca_topic_score_codex":0.005082284,"about_ca_topic_score_gemma":0.01836801,"teacher_disagreement_score":0.0463528,"about_ca_system_score_codex":0.0019388415,"about_ca_system_score_gemma":0.0043943576,"threshold_uncertainty_score":0.1550656},"labels":[],"label_agreement":null},{"id":"W1482268098","doi":"10.21083/csieci.v9i1.2145","title":"Jamming the Blues: The Grateful Dead's Development of Models for Rock Improvisation","year":2014,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":13,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Improvisation; Blues; Soul; Jazz; Art; Aesthetics; Psychology; Visual arts; Art history; Epistemology; Philosophy","score_opus":0.12355230391160213,"score_gpt":0.3411937774074239,"score_spread":0.21764147349582177,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1482268098","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18033129,0.0029191098,0.06174513,0.0172671,0.00056339934,0.00007901653,0.000028379427,0.0002085039,0.73685807],"genre_scores_gemma":[0.9715243,0.0005316296,0.0036071413,0.00039029398,0.000043661457,0.000037233924,0.00001002845,0.00007781774,0.02377796],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99617344,0.002875427,0.000056704514,0.00021508335,0.00043085008,0.00024854895],"domain_scores_gemma":[0.99672073,0.0019247475,0.00023919206,0.00053453434,0.00021402119,0.00036683495],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0054633096,0.00057998777,0.0002617767,0.0013359274,0.006832686,0.010149752,0.001449582,0.001780805,0.004920395],"category_scores_gemma":[0.0063704606,0.00027587055,0.00031155391,0.000527446,0.047266234,0.007242298,0.0066350787,0.0038625854,0.0006539997],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024060662,0.000019009442,0.00030086614,0.00004632898,0.0000026624916,0.00012949605,0.1863808,0.000279002,0.00023484511,0.8022839,0.0016794183,0.008619553],"study_design_scores_gemma":[0.000027705577,0.00012215278,0.0007749016,0.0005278885,0.00001481576,0.0005675904,0.3382714,0.0022216225,0.0011304974,0.31776196,0.3385274,0.00005195911],"about_ca_topic_score_codex":0.003274646,"about_ca_topic_score_gemma":0.0074630342,"teacher_disagreement_score":0.010149752,"about_ca_system_score_codex":0.003784411,"about_ca_system_score_gemma":0.002423685,"threshold_uncertainty_score":0.028893113},"labels":[],"label_agreement":null},{"id":"W1483884856","doi":"10.21083/csieci.v3i1.48","title":"Improvisation &amp; Identity: a Qualitative Study","year":2007,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":12,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Improvisation; Dialectic; Identity (music); Musical; Meaning (existential); Epistemology; Representation (politics); Context (archaeology); Aesthetics; Sociology; Psychology; Art; Visual arts; Philosophy","score_opus":0.1979124390440592,"score_gpt":0.4764800978878697,"score_spread":0.2785676588438105,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1483884856","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9628923,0.00096258137,0.00794461,0.005167222,0.00011411477,0.0009371709,0.0003856262,0.00005131537,0.021544991],"genre_scores_gemma":[0.98590696,0.00083500403,0.0022539357,0.0009302381,0.000022038283,0.000878113,0.00010545408,0.000037427402,0.009030807],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9871293,0.0095178215,0.00036286045,0.00067037804,0.0011348743,0.0011847486],"domain_scores_gemma":[0.9742802,0.021568922,0.0010576764,0.000591135,0.0010822122,0.0014198007],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.016117174,0.0005701111,0.0011225477,0.0031680684,0.013817933,0.0076466664,0.0025977201,0.002941372,0.005319191],"category_scores_gemma":[0.021641362,0.0006492572,0.00038015423,0.004478735,0.019222016,0.005610547,0.007338497,0.003936009,0.00073808734],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003870487,0.000071712886,0.0007421891,0.00011501708,0.0000018222979,0.0005089407,0.9898617,0.000050051203,0.0006143213,0.004613278,0.0003050288,0.0030771538],"study_design_scores_gemma":[0.000006455009,0.00003028224,0.00038490223,0.00009569431,0.0000013279226,0.00015518551,0.9911389,0.000081923296,0.0002843515,0.00090033043,0.006912882,0.000007651972],"about_ca_topic_score_codex":0.011884376,"about_ca_topic_score_gemma":0.012464976,"teacher_disagreement_score":0.016117174,"about_ca_system_score_codex":0.007144984,"about_ca_system_score_gemma":0.006049136,"threshold_uncertainty_score":0.08523679},"labels":[],"label_agreement":null},{"id":"W1484040031","doi":"","title":"Singing in the Twenty-first Century ... Singing a Better World","year":2005,"lang":"en","type":"article","venue":"The Journal of Macrodynamic Analysis (Memorial University of Newfoundland)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Singing; Art; History; Acoustics; Physics","score_opus":0.010581112969122208,"score_gpt":0.19393594525230468,"score_spread":0.18335483228318247,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1484040031","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.24575335,0.023899548,0.0013274342,0.039601758,0.0011717097,0.00003305789,0.00009851566,0.000040898518,0.68807375],"genre_scores_gemma":[0.9437139,0.004032743,0.0004072627,0.0023248456,0.00024030506,0.000023018614,0.000027465101,0.000027337004,0.04920307],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99855274,0.0006802789,0.000045675228,0.00012140412,0.00021267762,0.00038713764],"domain_scores_gemma":[0.9985997,0.00033645538,0.00016621873,0.00009518821,0.00026520342,0.0005372175],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019284087,0.00027813832,0.00027042604,0.0013896741,0.010448428,0.007039216,0.00061151426,0.0014282927,0.0070132497],"category_scores_gemma":[0.0028957606,0.0001418112,0.00011678318,0.0011535354,0.02462188,0.0032521093,0.0028593105,0.0020706474,0.0005943522],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006710991,0.000064258245,0.0027693878,0.00013652115,0.000010506579,0.00039602743,0.4152765,0.0001110841,0.00041735094,0.5134134,0.020556647,0.046781067],"study_design_scores_gemma":[0.000016374719,0.00006109016,0.008935146,0.00035622588,0.000009059249,0.0003609774,0.25063205,0.00008178269,0.00022203804,0.03397654,0.70531493,0.000033844277],"about_ca_topic_score_codex":0.037947085,"about_ca_topic_score_gemma":0.096561626,"teacher_disagreement_score":0.037947085,"about_ca_system_score_codex":0.008150811,"about_ca_system_score_gemma":0.0058960607,"threshold_uncertainty_score":0.07545245},"labels":[],"label_agreement":null},{"id":"W1485117204","doi":"","title":"The Guitar in America: Victorian Era to Jazz Age . Jeffrey J. Noonan. 2008; The New Guitarscape in Critical Theory, Cultural Practice and Music Performance . Kevin Dawe. 2010.","year":2012,"lang":"en","type":"article","venue":"MUSICultures","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Cape Breton University","funders":"","keywords":"Jazz; Guitar; Art history; Art; History; Literature; Management","score_opus":0.032341925052083186,"score_gpt":0.26431085378507607,"score_spread":0.23196892873299288,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1485117204","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0085909115,0.5583032,0.0010933373,0.20650889,0.0065860045,0.000018494327,0.00026618975,0.000119941185,0.21851306],"genre_scores_gemma":[0.2080556,0.16851291,0.001671607,0.023574889,0.0020352788,0.000030845087,0.00023504687,0.00034395713,0.59553987],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995821,0.00011870385,0.000018975092,0.000057286423,0.00013150038,0.00009137345],"domain_scores_gemma":[0.99891555,0.00025626356,0.00004949783,0.000035513975,0.00042618456,0.00031697514],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00091032713,0.00045964794,0.00035158437,0.0012429559,0.009069134,0.006755332,0.0008338276,0.0021045343,0.02528465],"category_scores_gemma":[0.0020242126,0.00041536885,0.00016509283,0.0017715633,0.0037486565,0.0047289636,0.0023270252,0.003729335,0.0039243684],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000085064465,0.000040959898,0.0017995348,0.00039214155,0.00000772561,0.00020265474,0.026269883,0.000032355318,0.0005705833,0.05285484,0.7429893,0.17475492],"study_design_scores_gemma":[0.000003491999,0.0000065337135,0.0027791348,0.00031944917,0.000004820958,0.00008945978,0.013652207,0.00002675103,0.00010552314,0.0054441076,0.97756076,0.000007777067],"about_ca_topic_score_codex":0.20255727,"about_ca_topic_score_gemma":0.6286116,"teacher_disagreement_score":0.20255727,"about_ca_system_score_codex":0.007426109,"about_ca_system_score_gemma":0.006386532,"threshold_uncertainty_score":0.4027565},"labels":[],"label_agreement":null},{"id":"W1486883639","doi":"10.3138/jcs.40.3.5","title":"Visualizing “The Sound of Genius”: Glenn Gould and The Culture of Celebrity in the 1950s","year":2006,"lang":"en","type":"article","venue":"Journal of Canadian Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":9,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Iconography; Semiotics; Celebrity culture; Visual culture; Masculinity; Musical; Sociology; Kitsch; Popular culture; Politics; Comics; Genius; Style (visual arts); Ideology; Narrative; Period (music); Male gaze; Art; Literature; Art history; Aesthetics; Visual arts; Media studies; Law; Gender studies; Philosophy","score_opus":0.04890250461238796,"score_gpt":0.24864532188845473,"score_spread":0.19974281727606677,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1486883639","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.54822487,0.033979397,0.002591691,0.060578123,0.001571002,0.00002156692,0.00011258329,0.00018595289,0.35273477],"genre_scores_gemma":[0.9797437,0.0030133014,0.0005789168,0.0012443854,0.0001356881,0.0000079129895,0.00001441334,0.00006124352,0.015200339],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9990639,0.00046883195,0.000014108882,0.00009033513,0.00020066032,0.00016218863],"domain_scores_gemma":[0.999012,0.0005930227,0.00008809911,0.00005373888,0.00009698011,0.0001561912],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013088898,0.0005127625,0.00026554632,0.002544984,0.015187629,0.0068988153,0.00074241444,0.002012398,0.002729279],"category_scores_gemma":[0.0032243824,0.00027779673,0.00019574299,0.0018932304,0.025802827,0.0050433534,0.0040037907,0.0025661697,0.00021895008],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000037577003,0.0000064957558,0.0010117592,0.000055581466,0.0000040006257,0.00042734895,0.86669916,0.00006344474,0.0004084502,0.10377368,0.013508101,0.014004299],"study_design_scores_gemma":[0.000005955172,0.000017876382,0.0027828114,0.0003684872,0.000010304403,0.0005767992,0.48017192,0.000096653544,0.00056177354,0.018148359,0.49722257,0.000036479574],"about_ca_topic_score_codex":0.14917222,"about_ca_topic_score_gemma":0.2970465,"teacher_disagreement_score":0.8508278,"about_ca_system_score_codex":0.013976605,"about_ca_system_score_gemma":0.0035755984,"threshold_uncertainty_score":0.29660785},"labels":[],"label_agreement":null},{"id":"W1486894078","doi":"","title":"Yankee Twang: Country and Western Music in New England. Clifford R. Murphy. 2014. Urbana, Chicago, and Springfield: University of Illinois Press. 232 pages.","year":2014,"lang":"en","type":"article","venue":"MUSICultures","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Yankee; History; Economic history; Archaeology; Art history","score_opus":0.021331871366037817,"score_gpt":0.1747412067686544,"score_spread":0.1534093354026166,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1486894078","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.01145004,0.81129414,0.000336171,0.023260927,0.008023608,0.000040030423,0.0016326805,0.00015193479,0.14381045],"genre_scores_gemma":[0.094924666,0.27637482,0.0008736037,0.0033539978,0.0018809362,0.00011551518,0.001568365,0.00025551644,0.62065256],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998041,0.0000357327,0.000018991435,0.00003409976,0.00005895216,0.000048113834],"domain_scores_gemma":[0.9995732,0.00011027795,0.000057817753,0.000016294052,0.00009633678,0.00014613188],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00034901628,0.0006006692,0.0006060399,0.0016571538,0.0035449653,0.0041427207,0.0009209917,0.0011171423,0.06187582],"category_scores_gemma":[0.00073151,0.00057492865,0.00018975232,0.0043368377,0.0015898515,0.004999836,0.0029323979,0.0013452389,0.007133337],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012592677,0.000028093613,0.0034086884,0.001757962,0.000018359433,0.0016700338,0.0283239,0.0000783425,0.0006566704,0.00918915,0.7883312,0.1664116],"study_design_scores_gemma":[0.000005004754,0.000009479753,0.014778056,0.0011527302,0.000008680307,0.0003695298,0.024538714,0.000023423623,0.00009914116,0.00077325985,0.95822704,0.000014892711],"about_ca_topic_score_codex":0.20498563,"about_ca_topic_score_gemma":0.6693407,"teacher_disagreement_score":0.20498563,"about_ca_system_score_codex":0.002964745,"about_ca_system_score_gemma":0.002943795,"threshold_uncertainty_score":0.40758497},"labels":[],"label_agreement":null},{"id":"W1487579655","doi":"","title":"“Land of the In Between”: Nostalgia and the Gentrification of Calgarian Roots Music","year":2013,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"York University","funders":"","keywords":"Gentrification; Aesthetics; Cosmopolitanism; Situated; Neighbourhood (mathematics); Musical; Consumption (sociology); Sociology; Affect (linguistics); Art; Visual arts; Political science; Law; Computer science","score_opus":0.021254053613625354,"score_gpt":0.17778207008625976,"score_spread":0.15652801647263442,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1487579655","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8926815,0.00065737846,0.00066832,0.0021652742,0.00004696354,0.000012396743,0.000010006756,0.00001921012,0.103739016],"genre_scores_gemma":[0.99637467,0.0000864567,0.000072451774,0.00008305655,0.000005784829,0.00000205515,0.0000025157417,0.0000069193297,0.0033660352],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9980755,0.0009670933,0.000031552936,0.00017562263,0.00029973613,0.0004505408],"domain_scores_gemma":[0.99867404,0.00053921674,0.00020066275,0.00017489636,0.00012274881,0.0002884208],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015931126,0.00028646353,0.00035698526,0.0011253136,0.012711123,0.008977267,0.0010787011,0.0009632697,0.0047672885],"category_scores_gemma":[0.0029621723,0.00021844692,0.000120779485,0.0011849976,0.037569564,0.0023669333,0.00901909,0.0028425246,0.00026025614],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007132624,0.00003217729,0.00972101,0.000048108126,0.0000068605514,0.0006095068,0.8801353,0.00010263106,0.0008293375,0.081819065,0.0012028186,0.025421917],"study_design_scores_gemma":[0.000008371649,0.00005245366,0.019419799,0.00012530957,0.0000085135525,0.0002149925,0.921027,0.0001292013,0.00034302345,0.008246128,0.050403588,0.00002165342],"about_ca_topic_score_codex":0.07660084,"about_ca_topic_score_gemma":0.18955086,"teacher_disagreement_score":0.92339915,"about_ca_system_score_codex":0.009814356,"about_ca_system_score_gemma":0.003894314,"threshold_uncertainty_score":0.15230995},"labels":[],"label_agreement":null},{"id":"W1488335353","doi":"10.21083/csieci.v1i2.20","title":"Uptown Conversation: The New Jazz Studies","year":2005,"lang":"fr","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":93,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Guelph","funders":"","keywords":"Conversation; Jazz; Communication; Cognitive science; Art; Psychology; Art history","score_opus":0.12472435621760203,"score_gpt":0.3956269200078979,"score_spread":0.27090256379029587,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1488335353","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.045294978,0.049266923,0.00061091204,0.6109227,0.009730299,0.000023577211,0.000063842504,0.000029743878,0.284057],"genre_scores_gemma":[0.57614225,0.026926748,0.00058729184,0.11140388,0.006117565,0.00010968377,0.00008146748,0.00014664272,0.27848443],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99736136,0.0015102817,0.00006543325,0.00023319831,0.00046761497,0.0003621072],"domain_scores_gemma":[0.99611974,0.0021948703,0.00016326197,0.0002006839,0.00029994184,0.0010214671],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0036457637,0.0003442785,0.0003822766,0.00087442185,0.019611416,0.018113472,0.0012045652,0.004964586,0.014275296],"category_scores_gemma":[0.006780032,0.00030850922,0.00024740005,0.001243127,0.02082448,0.015085113,0.0064118514,0.015407377,0.001479318],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000066553584,0.00006472273,0.0009011963,0.00017863089,0.0000063394564,0.0005724019,0.40500408,0.000027745593,0.00052945415,0.29717547,0.2674299,0.028043456],"study_design_scores_gemma":[0.000003796834,0.000007736948,0.0011176979,0.00027498274,0.0000025518757,0.000117900294,0.17691626,0.00002580988,0.00008189684,0.005603547,0.8158364,0.000011395604],"about_ca_topic_score_codex":0.028226297,"about_ca_topic_score_gemma":0.06672772,"teacher_disagreement_score":0.028226297,"about_ca_system_score_codex":0.007382911,"about_ca_system_score_gemma":0.0031090083,"threshold_uncertainty_score":0.056123972},"labels":[],"label_agreement":null},{"id":"W1488475971","doi":"","title":"Musicians as Workers: Sites of Struggle and Resistance","year":2014,"lang":"en","type":"article","venue":"MUSICultures","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université de Montréal; McMaster University","funders":"","keywords":"Resistance (ecology); History; Biology; Ecology","score_opus":0.017496657944908144,"score_gpt":0.20095449423530257,"score_spread":0.18345783629039442,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1488475971","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.68211526,0.0032445225,0.0024809,0.03181629,0.00062290253,0.00009883299,0.00007624399,0.00013636859,0.27940866],"genre_scores_gemma":[0.9844126,0.0002798994,0.00023395017,0.0008746194,0.00011532361,0.000034035897,0.000012175797,0.00006173564,0.013975726],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9889825,0.0065433476,0.00013870615,0.0006733043,0.00092560897,0.0027364616],"domain_scores_gemma":[0.99117905,0.004217631,0.0008882095,0.000631115,0.0005508096,0.0025331224],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0064903665,0.000519218,0.00073051517,0.0048350557,0.046130866,0.03205167,0.0042570885,0.0079079615,0.02013696],"category_scores_gemma":[0.013960633,0.00065085094,0.0003175088,0.003678902,0.071511626,0.013241669,0.021734335,0.008124624,0.0012522831],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004630842,0.000039397477,0.002496273,0.000036370748,0.0000048989937,0.0006694257,0.88800967,0.000031194428,0.00021049363,0.09606456,0.0041618245,0.008229669],"study_design_scores_gemma":[0.000009671243,0.000018600324,0.0011774668,0.00009342191,0.000003135454,0.00021424783,0.9450153,0.00005249473,0.00007564138,0.0076637967,0.0456637,0.000012563688],"about_ca_topic_score_codex":0.011286228,"about_ca_topic_score_gemma":0.021242905,"teacher_disagreement_score":0.046130866,"about_ca_system_score_codex":0.005736738,"about_ca_system_score_gemma":0.0068937764,"threshold_uncertainty_score":0.06736481},"labels":[],"label_agreement":null},{"id":"W1489617825","doi":"","title":"Starting Over: A. L. Lloyd and the Search for a New Folk Music, 1945-49","year":2000,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Athabasca University","funders":"","keywords":"Singing; Folk music; Folk song; Period (music); History; Literature; Art; Classics; Art history; Musical; Aesthetics; Management","score_opus":0.04153510863118511,"score_gpt":0.22610622651713166,"score_spread":0.18457111788594655,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1489617825","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.033568073,0.28652754,0.00034624327,0.471371,0.017016847,0.00006324023,0.0001920769,0.0000420703,0.19087292],"genre_scores_gemma":[0.28686938,0.09401423,0.0007964595,0.08592951,0.009417877,0.00007701985,0.00010844287,0.000120526725,0.5226666],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993179,0.00017296063,0.000030289211,0.000098470984,0.00019923106,0.00018124976],"domain_scores_gemma":[0.9995055,0.00010578568,0.00005122037,0.000011903261,0.00013153494,0.00019404356],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012990037,0.000386334,0.00034016868,0.001619369,0.012804604,0.0047682137,0.000708862,0.0025011376,0.010791091],"category_scores_gemma":[0.002246687,0.00030116484,0.00018291186,0.0009827637,0.005917099,0.003769355,0.0031354094,0.004158878,0.0023016592],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009697212,0.00012300408,0.0023951225,0.0002489936,0.00000813221,0.00060088694,0.05485049,0.000024013505,0.00031898165,0.068536915,0.7951912,0.0776052],"study_design_scores_gemma":[0.0000061624896,0.000019766398,0.0027187874,0.0002402411,0.0000015673794,0.0001080003,0.009377039,0.000007327831,0.00006599855,0.00142536,0.9860211,0.000008794672],"about_ca_topic_score_codex":0.10107015,"about_ca_topic_score_gemma":0.16519411,"teacher_disagreement_score":0.10107015,"about_ca_system_score_codex":0.0066712154,"about_ca_system_score_gemma":0.004875899,"threshold_uncertainty_score":0.20096374},"labels":[],"label_agreement":null},{"id":"W1492351854","doi":"10.21083/csieci.v8i1.2197","title":"Twenty-Five in B&amp;W: An Improviser’s Gallery","year":2012,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Jazz; Improvisation; Art; Art history; Dozen; Visual arts; Performance art; History","score_opus":0.15161717522656942,"score_gpt":0.3876823788527877,"score_spread":0.2360652036262183,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1492351854","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16181245,0.018319208,0.003672259,0.07481773,0.012190543,0.00046087604,0.004730058,0.0012258848,0.7227709],"genre_scores_gemma":[0.20146681,0.0026524602,0.0012230354,0.0016993984,0.0006011022,0.00009030529,0.0007382138,0.00055669475,0.79097205],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995881,0.00007504023,0.000012286671,0.00004862746,0.0001287817,0.00014721547],"domain_scores_gemma":[0.9991767,0.00012280614,0.00003930019,0.00010271215,0.000112499314,0.00044608378],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007031594,0.00073816185,0.0002836853,0.0015960619,0.012492011,0.004406294,0.0007973075,0.0013607979,0.03640894],"category_scores_gemma":[0.0013073059,0.00040155643,0.0003105815,0.001577845,0.0038174142,0.0013709147,0.0034015537,0.0019045478,0.0047520734],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008665544,0.00002007665,0.0008451622,0.0001692323,0.000008616054,0.0011563891,0.103913344,0.00008653066,0.0033862505,0.013454843,0.8524148,0.024458071],"study_design_scores_gemma":[0.000001985875,0.0000073225515,0.004040727,0.00005203246,0.0000022937859,0.00012166243,0.02650772,0.000026434205,0.0004429101,0.00021674426,0.9685707,0.000009462847],"about_ca_topic_score_codex":0.36209103,"about_ca_topic_score_gemma":0.7641485,"teacher_disagreement_score":0.36209103,"about_ca_system_score_codex":0.01164184,"about_ca_system_score_gemma":0.0049492936,"threshold_uncertainty_score":0.7199669},"labels":[],"label_agreement":null},{"id":"W1492379055","doi":"","title":"Globalization, Identity, and Youth Resistance: Kenya’s Hip Hop Parliament","year":2011,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Regina","funders":"","keywords":"Parliament; Human rights; Declaration; Politics; Gender studies; Sociology; Resistance (ecology); Social movement; Political science; Law; Media studies","score_opus":0.0677959323026197,"score_gpt":0.22578835144162887,"score_spread":0.1579924191390092,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1492379055","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8812852,0.0018077622,0.0002371068,0.013178561,0.0001627443,0.00003845884,0.000035982353,0.0000068854,0.10324731],"genre_scores_gemma":[0.99450994,0.000524034,0.000053818472,0.0005498543,0.000019353136,0.000016602167,0.000008317165,0.000004397907,0.004313698],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99815494,0.0009487567,0.00005671001,0.000089684174,0.0001670084,0.0005828427],"domain_scores_gemma":[0.9988965,0.00039538057,0.0002960747,0.000034974048,0.000084351675,0.0002928146],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0029212406,0.0002749709,0.00022543591,0.00091360084,0.020778192,0.0082493555,0.00059391983,0.0016451441,0.0064613316],"category_scores_gemma":[0.00258163,0.00025650192,0.0001613977,0.0010510749,0.011623184,0.0034351724,0.0054160906,0.0024247263,0.00026299048],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000033019714,0.00006270488,0.014776678,0.000061230596,0.0000057377138,0.0008711005,0.9235174,0.000030657415,0.00021465335,0.047655858,0.0042777616,0.008493102],"study_design_scores_gemma":[0.000008315223,0.000023179378,0.015812732,0.00020527068,0.00000748681,0.00027325598,0.9253653,0.000049812323,0.00020678439,0.0017587245,0.05627428,0.000014758164],"about_ca_topic_score_codex":0.037127417,"about_ca_topic_score_gemma":0.08247886,"teacher_disagreement_score":0.037127417,"about_ca_system_score_codex":0.0070388825,"about_ca_system_score_gemma":0.0044448925,"threshold_uncertainty_score":0.07382262},"labels":[],"label_agreement":null},{"id":"W1492671807","doi":"10.25071/1708-6701.2399","title":"A Jazz Odyssey: The Life of Oscar Peterson","year":2002,"lang":"fr","type":"article","venue":"CAML Review / Revue de l ACBM","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Jazz; Documentation; Visual arts; History; Art; Art history; Sociology; Computer science","score_opus":0.04580170205430649,"score_gpt":0.22115177014917892,"score_spread":0.1753500680948724,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1492671807","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00027555894,0.26555175,0.00037279123,0.5989987,0.12344373,0.000028120428,0.000048973772,0.000052055202,0.011228347],"genre_scores_gemma":[0.008354089,0.25046897,0.0013217407,0.48946342,0.12553985,0.00015648761,0.00010756344,0.00019720284,0.124390565],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99580884,0.0015696784,0.00022267363,0.0003960906,0.0017389279,0.00026377258],"domain_scores_gemma":[0.9849244,0.0037804588,0.00086711656,0.00040239224,0.007571951,0.002453806],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.006427311,0.00085565116,0.0009333182,0.0027093776,0.0047605806,0.007614996,0.0014082608,0.0052929074,0.008736184],"category_scores_gemma":[0.02485595,0.00048028762,0.00055334554,0.0024811293,0.0032102542,0.0065667,0.0027712134,0.009567019,0.0069224355],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000072953885,0.000003070959,0.000025369432,0.00011648934,0.000003095848,0.00004023273,0.0001531152,0.000007613363,0.000024881874,0.0011381698,0.9888333,0.009647457],"study_design_scores_gemma":[0.0000022783024,0.000006183378,0.00009863052,0.00034540336,0.0000037502011,0.00010276237,0.0003913899,0.000005698188,0.000020304255,0.0006005872,0.99841714,0.000005872937],"about_ca_topic_score_codex":0.012461807,"about_ca_topic_score_gemma":0.032148987,"teacher_disagreement_score":0.012461807,"about_ca_system_score_codex":0.0038198046,"about_ca_system_score_gemma":0.008423314,"threshold_uncertainty_score":0.033991337},"labels":[],"label_agreement":null},{"id":"W1493388191","doi":"10.4000/gc.3072","title":"Pratiques musicales, représentations et transterritorialités en réseau entre l’Argentine, le Brésil et l’Uruguay","year":2013,"lang":"fr","type":"article","venue":"Géographie et cultures","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.01786356374882717,"score_gpt":0.2857306022350998,"score_spread":0.2678670384862726,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1493388191","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.73910713,0.012198168,0.0035290862,0.004041507,0.00020999592,0.00003731365,0.00014327867,0.000045519864,0.240688],"genre_scores_gemma":[0.9778425,0.0018592313,0.00064130814,0.000086554726,0.000043925753,0.000024634852,0.000046016416,0.000029669178,0.019426212],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9991278,0.00040112415,0.000021464457,0.0001290213,0.00013746158,0.0001831321],"domain_scores_gemma":[0.99943894,0.0001940908,0.0001301133,0.00003251443,0.000105665604,0.000098660865],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012243837,0.0004348916,0.00038828107,0.0012738287,0.0058677746,0.0049474603,0.00054364454,0.00069088145,0.007733448],"category_scores_gemma":[0.0016256736,0.00020012794,0.00013838056,0.0020898737,0.0058504655,0.0019292231,0.0025143176,0.0011654267,0.00036851235],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019318383,0.000034313325,0.028406437,0.0002715486,0.00002293569,0.0014736361,0.72543854,0.00028926026,0.0020689422,0.14671102,0.0026620587,0.09242821],"study_design_scores_gemma":[0.00001785888,0.00013700605,0.2049446,0.00069135905,0.000031503936,0.0007482021,0.44774127,0.00047155182,0.0004989753,0.006676811,0.33799836,0.00004253184],"about_ca_topic_score_codex":0.1221258,"about_ca_topic_score_gemma":0.22451466,"teacher_disagreement_score":0.1221258,"about_ca_system_score_codex":0.0052461103,"about_ca_system_score_gemma":0.0019092098,"threshold_uncertainty_score":0.24282992},"labels":[],"label_agreement":null},{"id":"W1493682333","doi":"","title":"Sound Matters: Mediation, Mimesis, and Embodiment in Soundscape Music","year":2010,"lang":"en","type":"article","venue":"Canadian acoustics","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Soundscape; Mediation; Sound (geography); Acoustics; Art; Sociology; Physics; Social science","score_opus":0.012994599713113987,"score_gpt":0.18176721028615322,"score_spread":0.16877261057303924,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1493682333","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.25280273,0.006368262,0.029852498,0.010479203,0.00045065887,0.000058390466,0.00013723887,0.0002575414,0.69959337],"genre_scores_gemma":[0.98423195,0.0007863944,0.0031439913,0.00023120835,0.00007376752,0.00001810482,0.000027530754,0.000054947814,0.011432052],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9983047,0.0005953879,0.000050426872,0.00022769667,0.00050497544,0.00031674266],"domain_scores_gemma":[0.9986652,0.0006270492,0.00012369535,0.00021237221,0.00023056236,0.00014112973],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016886854,0.00058676145,0.00041467097,0.0012317501,0.0054227808,0.011554157,0.0013044277,0.0020420456,0.0101678725],"category_scores_gemma":[0.0078004543,0.00043978862,0.0004094123,0.0014073472,0.021130972,0.005230139,0.0051426375,0.0017582563,0.00053312647],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00020144702,0.000045129265,0.0026505368,0.00021679714,0.000035382018,0.00068198127,0.12677564,0.0006142372,0.0075819828,0.7999229,0.0024067587,0.058867197],"study_design_scores_gemma":[0.00015930716,0.00026357424,0.0285976,0.0006605787,0.00027640024,0.0013282169,0.17381841,0.004003357,0.00811468,0.569952,0.21253042,0.00029544177],"about_ca_topic_score_codex":0.11262997,"about_ca_topic_score_gemma":0.10592315,"teacher_disagreement_score":0.11262997,"about_ca_system_score_codex":0.0038897495,"about_ca_system_score_gemma":0.007350863,"threshold_uncertainty_score":0.22394878},"labels":[],"label_agreement":null},{"id":"W1494044277","doi":"","title":"Musical Koryu - Lineal Traditions in Jazz: Lennie Tristano/Lee Konitz","year":2011,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Jazz; Casual; Context (archaeology); Musical; Aesthetics; Lineage (genetic); Sociology; Art; Literature; History; Visual arts; Political science; Law; Archaeology","score_opus":0.13821904094141155,"score_gpt":0.19880203764310897,"score_spread":0.06058299670169742,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1494044277","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.54988444,0.02652329,0.0018091891,0.115651295,0.0013596012,0.00003841074,0.000050941122,0.00007309168,0.30460972],"genre_scores_gemma":[0.9631707,0.006306283,0.0005375252,0.0034524666,0.00021604086,0.000022369784,0.000015264062,0.000045046647,0.026234277],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994541,0.0002804388,0.000019217863,0.00006805408,0.00010100207,0.000077171586],"domain_scores_gemma":[0.9991627,0.00029318774,0.00011234871,0.000032766005,0.0001262378,0.00027285915],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014004083,0.00023745727,0.00020682615,0.0008168914,0.0057063485,0.005308727,0.0005533503,0.0007625387,0.004429692],"category_scores_gemma":[0.0017435033,0.00019406174,0.00006228051,0.00082450063,0.007096237,0.002870817,0.0031955559,0.0026821666,0.0006678117],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016457647,0.00018741225,0.014964438,0.0002820561,0.000014499431,0.0018846352,0.603763,0.00015699446,0.0017090519,0.2090662,0.07086471,0.09694249],"study_design_scores_gemma":[0.000020753907,0.000058560774,0.01533591,0.00064192124,0.000012092239,0.0008957726,0.4701363,0.00024710043,0.000929617,0.0185975,0.49307013,0.000054327575],"about_ca_topic_score_codex":0.009975566,"about_ca_topic_score_gemma":0.03233348,"teacher_disagreement_score":0.009975566,"about_ca_system_score_codex":0.0029481144,"about_ca_system_score_gemma":0.001302429,"threshold_uncertainty_score":0.0213902},"labels":[],"label_agreement":null},{"id":"W1499680884","doi":"10.1080/03626784.2014.997535","title":"Creation as participation/participation as creation: Cultural production, participatory politics, and the intersecting lines of identification and activism","year":2015,"lang":"en","type":"article","venue":"Curriculum Inquiry","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":18,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto; Institute for Christian Studies","funders":"","keywords":"Citizen journalism; Politics; Identification (biology); Production (economics); Sociology; Cultural politics; Political science; Public relations; Law; Economics","score_opus":0.10680783566779693,"score_gpt":0.3450237902636488,"score_spread":0.23821595459585188,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1499680884","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005500078,0.04402165,0.0020143476,0.68964905,0.18981944,0.000028943226,0.000039201997,0.00005518659,0.06887219],"genre_scores_gemma":[0.25757542,0.055339687,0.0027629735,0.17078328,0.4411314,0.00014428252,0.00007149521,0.00027809828,0.07191327],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.9936991,0.0034777862,0.00020933738,0.00059107254,0.001485881,0.0005367788],"domain_scores_gemma":[0.98072857,0.015516253,0.0008173563,0.0004168346,0.0014092895,0.0011117078],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0053195953,0.00065203337,0.000670718,0.0011902178,0.009537889,0.017708533,0.002035931,0.00734745,0.0042742332],"category_scores_gemma":[0.012489058,0.00027616657,0.00037800762,0.0011141814,0.026668351,0.0088471295,0.0033026498,0.013153499,0.0005816322],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003335528,0.00002652041,0.00030943807,0.00046237733,0.000011021035,0.0003321973,0.040350795,0.000078633224,0.00024961124,0.41761822,0.5193089,0.021218961],"study_design_scores_gemma":[0.0000059246413,0.000017555722,0.00036489277,0.00048852334,0.0000072632943,0.00013337379,0.01926036,0.00009339014,0.00020998818,0.03841382,0.94098663,0.000018200393],"about_ca_topic_score_codex":0.0028080868,"about_ca_topic_score_gemma":0.008769956,"teacher_disagreement_score":0.017708533,"about_ca_system_score_codex":0.0023997265,"about_ca_system_score_gemma":0.004321628,"threshold_uncertainty_score":0.028133035},"labels":[],"label_agreement":null},{"id":"W1500755490","doi":"","title":"“Small Has No Inside, Big Has No Outside”: Montreal’s Chinese Diaspora Breaks Out/In Music","year":2009,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Diaspora; Homeland; Ethnography; Agency (philosophy); Musical; Media studies; Immigration; Identity (music); Sociology; History; Gender studies; Anthropology; Visual arts; Political science; Art; Aesthetics; Law; Politics; Social science","score_opus":0.06563463694978418,"score_gpt":0.2071925165398082,"score_spread":0.14155787959002403,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1500755490","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9697482,0.0009690311,0.00018587164,0.004876767,0.000093651375,0.00004564125,0.00014034101,0.000015361637,0.023925051],"genre_scores_gemma":[0.9902604,0.0005183503,0.00010719076,0.0006025026,0.000015380387,0.000021204967,0.000057556263,0.000010407824,0.008406888],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993092,0.00019395456,0.0000131445595,0.00008011407,0.000090676964,0.00031304068],"domain_scores_gemma":[0.99943763,0.00010325101,0.000061836006,0.00002515629,0.00009442192,0.00027762758],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008924536,0.00048984383,0.00025706599,0.0015298765,0.016359454,0.004211215,0.0013014191,0.00083929754,0.0031721324],"category_scores_gemma":[0.0011289954,0.00034839314,0.000217437,0.0028336921,0.009181857,0.0016526568,0.0033400217,0.0014079725,0.00016729423],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000042528904,0.000019984021,0.021793637,0.000061923,0.00001610497,0.002219309,0.95215064,0.000034224922,0.0011117911,0.006022849,0.005972062,0.010554826],"study_design_scores_gemma":[0.000003116192,0.000011276401,0.031433433,0.000030137035,0.000009014568,0.0001420644,0.9497871,0.000034728855,0.00017699212,0.0001322733,0.018221827,0.000018097877],"about_ca_topic_score_codex":0.91648936,"about_ca_topic_score_gemma":0.9706706,"teacher_disagreement_score":0.08351064,"about_ca_system_score_codex":0.027977277,"about_ca_system_score_gemma":0.01754618,"threshold_uncertainty_score":0.2029903},"labels":[],"label_agreement":null},{"id":"W1500985584","doi":"","title":"The Loss of A True Love That Never Can Return: Travels of A Ballad","year":2005,"lang":"en","type":"article","venue":"MUSICultures","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Ballad; Broadside; Singing; Art; Literature; Appeal; History; Law; Poetry; Acoustics","score_opus":0.024511338007023327,"score_gpt":0.2030625943819815,"score_spread":0.17855125637495817,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1500985584","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.70279896,0.011710571,0.0016933026,0.05723273,0.0026485159,0.000033291362,0.00013431309,0.00011279596,0.22363551],"genre_scores_gemma":[0.96109664,0.0037900324,0.00036027358,0.0038094828,0.00041115153,0.000015244652,0.000039077364,0.00008430759,0.030393671],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99852306,0.0010137324,0.00002225139,0.00007986453,0.00014353901,0.00021755151],"domain_scores_gemma":[0.9986811,0.00044025373,0.00014228582,0.00009997472,0.00012272323,0.00051358517],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012106979,0.00041516672,0.00037313963,0.0007218936,0.01936753,0.007981253,0.0007833659,0.0018189489,0.007862057],"category_scores_gemma":[0.004599842,0.00038461716,0.00021502342,0.000701271,0.013478587,0.0068513886,0.0060683778,0.0054849028,0.001123634],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007989908,0.00004003457,0.0021677064,0.00008967879,0.000017022403,0.001469958,0.93153346,0.000039723098,0.00029641073,0.019019261,0.028654333,0.016592588],"study_design_scores_gemma":[0.0000039195615,0.00004063918,0.0021640596,0.00012435862,0.0000065146387,0.000994868,0.89503,0.000029847004,0.00010642303,0.0016205197,0.099862136,0.000016663897],"about_ca_topic_score_codex":0.012735034,"about_ca_topic_score_gemma":0.036680996,"teacher_disagreement_score":0.01936753,"about_ca_system_score_codex":0.0015808068,"about_ca_system_score_gemma":0.0009926434,"threshold_uncertainty_score":0.026301205},"labels":[],"label_agreement":null},{"id":"W1503393674","doi":"10.21083/csieci.v1i3.56","title":"Asian Americans and Creative Music Legacies","year":2006,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Relation (database); Creative work; Popular music; Visual arts; Movement (music); History; Classical music; Gender studies; Sociology; Aesthetics; Art; Musical","score_opus":0.07853876876321965,"score_gpt":0.32910509891906087,"score_spread":0.25056633015584123,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1503393674","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.588778,0.011492284,0.00040552826,0.029216593,0.00047911034,0.000016513935,0.000024560188,0.000009343455,0.369578],"genre_scores_gemma":[0.98729265,0.0033761696,0.000055503697,0.0013936479,0.00013433646,0.000008588513,0.000004751611,0.0000060071957,0.0077284533],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.999121,0.00042528223,0.000018919098,0.00006189641,0.000096012234,0.00027687004],"domain_scores_gemma":[0.9990221,0.00045140463,0.00020162715,0.000034451536,0.00009558368,0.00019470771],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016729509,0.0002565699,0.00014804865,0.0010676719,0.009296635,0.004365204,0.0003488709,0.00082793046,0.007167354],"category_scores_gemma":[0.0018186694,0.000095597155,0.000113542534,0.0012641131,0.009885604,0.0031429285,0.0030309486,0.0020426228,0.00023801759],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005133915,0.00006317004,0.008566038,0.000104182065,0.000014577629,0.0007752553,0.546205,0.000032707954,0.0004648638,0.41359416,0.006709925,0.023418784],"study_design_scores_gemma":[0.000026255018,0.000041977095,0.017317291,0.0005377123,0.000030219142,0.0004572618,0.7326629,0.00007515087,0.0004620086,0.031279366,0.21709217,0.00001766775],"about_ca_topic_score_codex":0.013638907,"about_ca_topic_score_gemma":0.027615672,"teacher_disagreement_score":0.013638907,"about_ca_system_score_codex":0.00220113,"about_ca_system_score_gemma":0.0018338575,"threshold_uncertainty_score":0.02711904},"labels":[],"label_agreement":null},{"id":"W1503859605","doi":"10.5860/choice.50-3978","title":"Hip-hop(e): the cultural practice and critical pedagogy of international hip-hop","year":2013,"lang":"en","type":"article","venue":"Choice Reviews Online","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":70,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Grassroots; Sociology; Poetics; Scholarship; Politics; Gender studies; Poetry; Art; Political science; Law; Literature","score_opus":0.08206386534943123,"score_gpt":0.37156633504695324,"score_spread":0.289502469697522,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1503859605","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.013306785,0.11621154,0.015180124,0.10974318,0.020709243,0.00034800477,0.0001814288,0.0007461864,0.7235734],"genre_scores_gemma":[0.32953086,0.07949997,0.01040841,0.020158185,0.009166716,0.0005917257,0.000195667,0.0005308481,0.5499175],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99875855,0.0006736693,0.000047171165,0.00008191497,0.00030446835,0.00013425967],"domain_scores_gemma":[0.9978484,0.0010544364,0.00011662689,0.00011804443,0.00037985947,0.00048279736],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023596752,0.0006461546,0.0002726829,0.0015170397,0.0045115226,0.006337081,0.00084754196,0.0021342307,0.017408382],"category_scores_gemma":[0.003863771,0.00017883875,0.00025476632,0.0013440512,0.008562936,0.0038825087,0.0041948413,0.0031106863,0.002802335],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000036742058,0.00009367125,0.0005279312,0.00057624053,0.0000049325963,0.00027247323,0.04119058,0.00014908773,0.00059326965,0.17562596,0.627055,0.15387411],"study_design_scores_gemma":[0.000007391229,0.000021804917,0.00054883416,0.0009364432,0.0000021854598,0.00019286654,0.025344674,0.00007782345,0.00037754126,0.016683491,0.9557965,0.000010451951],"about_ca_topic_score_codex":0.004988876,"about_ca_topic_score_gemma":0.006435571,"teacher_disagreement_score":0.017408382,"about_ca_system_score_codex":0.0034083705,"about_ca_system_score_gemma":0.0047080372,"threshold_uncertainty_score":0.058236778},"labels":[],"label_agreement":null},{"id":"W1504489925","doi":"10.21083/csieci.v4i2.895","title":"Jazzwomen: Conversations with Twenty-One Musicians","year":2008,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Guelph","funders":"","keywords":"Identity (music); Jazz; Visual arts; Spectacle; Art; Aesthetics; Section (typography); Psychology; Advertising; Political science","score_opus":0.14381837358727548,"score_gpt":0.32361645752292956,"score_spread":0.17979808393565408,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1504489925","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9173738,0.003181054,0.0007177491,0.016765408,0.0006041475,0.00011426996,0.000060443705,0.0000638224,0.06111932],"genre_scores_gemma":[0.9662947,0.0018646653,0.00040458285,0.003467776,0.00020410467,0.000115204486,0.00004110642,0.00005510728,0.027552778],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9977869,0.0012324817,0.0000592091,0.00015351755,0.00022925982,0.0005386484],"domain_scores_gemma":[0.99661416,0.0016393141,0.0002611242,0.000070377,0.000194739,0.0012202684],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026646217,0.0008009659,0.0005199019,0.0015420177,0.02679578,0.0074811513,0.0010804161,0.0033921427,0.008436771],"category_scores_gemma":[0.006658724,0.0005237398,0.0002824046,0.0013333382,0.0103894165,0.0041743456,0.0061134333,0.004006326,0.0011950036],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000029647726,0.000021735883,0.000796552,0.00002760056,0.000002816723,0.00054454716,0.9907991,0.0000057502916,0.00072455325,0.0011206251,0.0029453614,0.0029817007],"study_design_scores_gemma":[0.000004817711,0.000034915996,0.0008518546,0.000079623154,0.0000034354664,0.00019837613,0.96083087,0.000013685276,0.00018460804,0.0001674426,0.0376225,0.000007856155],"about_ca_topic_score_codex":0.013507366,"about_ca_topic_score_gemma":0.039462805,"teacher_disagreement_score":0.02679578,"about_ca_system_score_codex":0.0029888363,"about_ca_system_score_gemma":0.0021382794,"threshold_uncertainty_score":0.028223813},"labels":[],"label_agreement":null},{"id":"W1505271623","doi":"","title":"Robin Moore, dir., et Walter Aaron Clark, dir. collaborateur, Musics of Latin America","year":2013,"lang":"fr","type":"article","venue":"MUSICultures","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Art history; Humanities","score_opus":0.021283414644365603,"score_gpt":0.21543887318641458,"score_spread":0.19415545854204896,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1505271623","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006137816,0.26355714,0.000515691,0.6762693,0.036524948,0.000021929212,0.00024436048,0.000110301145,0.022142597],"genre_scores_gemma":[0.029821888,0.3716143,0.0021074584,0.19864781,0.057634607,0.00017932786,0.00044337494,0.0007429156,0.33880836],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980149,0.0009046272,0.00008379141,0.00019465075,0.00063424156,0.00016783192],"domain_scores_gemma":[0.99605787,0.0014039231,0.00027293633,0.00012299014,0.0012667958,0.0008753679],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003925073,0.00063052704,0.0005430342,0.0015565724,0.0037246516,0.00398356,0.00068063766,0.0033755295,0.024489392],"category_scores_gemma":[0.010337817,0.00039379662,0.00025438622,0.0015802762,0.0018698046,0.0034042706,0.0019685407,0.006220367,0.008732039],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000038474725,0.000007212776,0.0004516665,0.00012666818,0.000006179248,0.00005924002,0.00072012434,0.000012495048,0.000098163706,0.0036125912,0.95484596,0.040021118],"study_design_scores_gemma":[0.0000046224695,0.0000041902795,0.00077162083,0.0001303447,0.0000025317063,0.00010401216,0.00090275344,0.000007874094,0.000052641073,0.0007869691,0.9972256,0.0000068370286],"about_ca_topic_score_codex":0.042388007,"about_ca_topic_score_gemma":0.08086755,"teacher_disagreement_score":0.042388007,"about_ca_system_score_codex":0.0029019336,"about_ca_system_score_gemma":0.002832221,"threshold_uncertainty_score":0.08428258},"labels":[],"label_agreement":null},{"id":"W1506958198","doi":"10.21083/csieci.v4i2.970","title":"Big Ears: Listening for Gender in Jazz Studies","year":2008,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":77,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Jazz; Active listening; Psychology; Visual arts; Art; Communication","score_opus":0.3471365505340776,"score_gpt":0.4065508438868197,"score_spread":0.05941429335274212,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1506958198","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00974935,0.5458506,0.0056804684,0.086854696,0.017294796,0.00007194247,0.00005123464,0.00020490418,0.334242],"genre_scores_gemma":[0.2609285,0.32642135,0.0042190086,0.03216916,0.030015303,0.0002543706,0.00009872251,0.00061696034,0.3452766],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.9981711,0.0010281325,0.000055723296,0.00012542083,0.00045450917,0.0001651323],"domain_scores_gemma":[0.99417925,0.004836014,0.00016885238,0.00009946399,0.00034433437,0.0003720902],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003081727,0.0006818573,0.0007633145,0.001723408,0.0048742355,0.010413621,0.0010014771,0.002029565,0.011886403],"category_scores_gemma":[0.0053012962,0.00023525604,0.00031500566,0.0015162996,0.0102127595,0.008764349,0.0030391149,0.004196214,0.0022333506],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008109525,0.000063652566,0.0005956697,0.0010877508,0.000021266944,0.0003724928,0.1314493,0.000073252275,0.0010427554,0.25255397,0.3909584,0.22170042],"study_design_scores_gemma":[0.000012773317,0.000046918518,0.0022459535,0.0020050665,0.00001267499,0.00042040827,0.06831053,0.000071911716,0.0003096321,0.04277752,0.883757,0.000029473102],"about_ca_topic_score_codex":0.0025319518,"about_ca_topic_score_gemma":0.008217124,"teacher_disagreement_score":0.011886403,"about_ca_system_score_codex":0.00205347,"about_ca_system_score_gemma":0.0016654317,"threshold_uncertainty_score":0.039763927},"labels":[],"label_agreement":null},{"id":"W1513870001","doi":"","title":"Experiencing Authenticity and Bluegrass Performance in Toronto","year":2011,"lang":"en","type":"article","venue":"MUSICultures","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Memorial University of Newfoundland","funders":"","keywords":"Repertoire; Singing; Style (visual arts); Product (mathematics); Quality (philosophy); Focus (optics); Core (optical fiber); Sociology; Aesthetics; History; Visual arts; Art; Literature; Computer science; Acoustics; Telecommunications; Epistemology; Philosophy","score_opus":0.03883790005866641,"score_gpt":0.20837138355548454,"score_spread":0.16953348349681813,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1513870001","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.91412175,0.0014902118,0.0009210386,0.0028421287,0.00010424732,0.000030831412,0.00012591043,0.000040813327,0.08032299],"genre_scores_gemma":[0.9887812,0.00046199484,0.00020554461,0.000083418374,0.000009568795,0.00000637012,0.000035688878,0.000011272021,0.010404888],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.998516,0.0004838143,0.00003241051,0.00015852704,0.00033014515,0.0004790637],"domain_scores_gemma":[0.99832267,0.00025308662,0.00016900302,0.0000563815,0.00023383551,0.00096495525],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006994915,0.0004324958,0.00029488935,0.0006390541,0.017526496,0.0056905216,0.00094332354,0.0009825288,0.006727745],"category_scores_gemma":[0.0020755108,0.00027192506,0.00020975826,0.0010578416,0.010534696,0.0012563237,0.005791539,0.0017827682,0.0003235787],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000062252766,0.000025063484,0.009021345,0.000078164936,0.000012761743,0.0014634341,0.9635685,0.00022823163,0.002146322,0.010909184,0.003334907,0.00914978],"study_design_scores_gemma":[0.0000072512744,0.00007335284,0.045734648,0.00010755067,0.000017033728,0.00031864113,0.8729845,0.00024502698,0.00049485906,0.0008440896,0.07912816,0.000044816905],"about_ca_topic_score_codex":0.88873744,"about_ca_topic_score_gemma":0.9770064,"teacher_disagreement_score":0.11126256,"about_ca_system_score_codex":0.043173227,"about_ca_system_score_gemma":0.015778657,"threshold_uncertainty_score":0.31324512},"labels":[],"label_agreement":null},{"id":"W1514203466","doi":"10.25071/1708-6701.19653","title":"This Isn’t Silence: Works for Symphony Orchestra by Brian Current (CD Review)","year":2008,"lang":"en","type":"article","venue":"CAML Review / Revue de l ACBM","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Symphony; Silence; Current (fluid); Art; Art history; History; Engineering; Aesthetics; Electrical engineering","score_opus":0.04892837598363539,"score_gpt":0.261232789704651,"score_spread":0.21230441372101563,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1514203466","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00026781074,0.8225245,0.00012289693,0.13885687,0.027188035,0.000019488152,0.000035404577,0.000034872075,0.010950087],"genre_scores_gemma":[0.0075588115,0.6890333,0.00060118525,0.22383496,0.0249931,0.00013527705,0.00012907476,0.00012516715,0.053589113],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99848515,0.00053157064,0.00009768538,0.00018436159,0.0005236704,0.00017753095],"domain_scores_gemma":[0.99677664,0.0017449275,0.00021230277,0.000091870876,0.0006620365,0.0005121122],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0034082003,0.0008346269,0.0011518225,0.0013580085,0.0033739388,0.004133138,0.0020353855,0.007319285,0.021730442],"category_scores_gemma":[0.00786404,0.00044997464,0.00070666417,0.0013116086,0.0033393262,0.0046058544,0.003231446,0.008333347,0.007580545],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000054639822,0.0000164809,0.000050468076,0.0016799998,0.00002236566,0.00009799777,0.0006076768,0.0000103815555,0.00012597415,0.0021651345,0.90093416,0.09423469],"study_design_scores_gemma":[0.00002992975,0.000025153888,0.0002500034,0.002318923,0.000029446686,0.00021959968,0.0010132155,0.0000048779684,0.000050047765,0.0007284723,0.99532074,0.000009707476],"about_ca_topic_score_codex":0.015254537,"about_ca_topic_score_gemma":0.052451544,"teacher_disagreement_score":0.021730442,"about_ca_system_score_codex":0.0026005593,"about_ca_system_score_gemma":0.0052908543,"threshold_uncertainty_score":0.07269561},"labels":[],"label_agreement":null},{"id":"W1515803238","doi":"10.1080/07409710802316261","title":"A Review of “The Donut: A Canadian History”","year":2008,"lang":"en","type":"review","venue":"Food and Foodways","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Queen's University","funders":"","keywords":"CONTEST; Afghan; Advertising; Art; History; Visual arts; Political science; Business","score_opus":0.09669117196098058,"score_gpt":0.22209255836755434,"score_spread":0.12540138640657378,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1515803238","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000028428707,0.99701846,0.000011772806,0.0007562618,0.00023097645,0.000002457456,0.000031708798,0.000002244654,0.0019176463],"genre_scores_gemma":[0.000672234,0.99723864,0.00005045105,0.00065853156,0.000119887816,0.000004368663,0.000042148124,0.0000017054808,0.0012119631],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994273,0.00008123162,0.000054478733,0.0000676552,0.00029543953,0.00007385523],"domain_scores_gemma":[0.99856746,0.00028992657,0.00013315544,0.000029507712,0.00081633474,0.00016351712],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012112729,0.0010492482,0.0013752242,0.007782101,0.0015691678,0.002868687,0.0012685898,0.0010258602,0.011813044],"category_scores_gemma":[0.0030515825,0.00039949745,0.00044124556,0.01761292,0.0014898542,0.0020921882,0.0010313641,0.0016144156,0.002534382],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000057296184,0.000024166446,0.00032645089,0.02723286,0.00007273331,0.0002369281,0.00053147,0.000105838546,0.00028979042,0.00681205,0.43437654,0.529934],"study_design_scores_gemma":[0.000002405755,0.0000065053086,0.0008018588,0.005917943,0.000034082586,0.00013256265,0.00013715896,0.000005480026,0.000033830256,0.0002386023,0.9926819,0.000007626743],"about_ca_topic_score_codex":0.3119058,"about_ca_topic_score_gemma":0.58075625,"teacher_disagreement_score":0.6880942,"about_ca_system_score_codex":0.010092278,"about_ca_system_score_gemma":0.028143127,"threshold_uncertainty_score":0.6201806},"labels":[],"label_agreement":null},{"id":"W1517748231","doi":"10.3968/4460","title":"The Manifestation of Sexual Repression, Gender in Popular Music: A Case Study on Katy Perry","year":2014,"lang":"en","type":"article","venue":"Canadian social science","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Human sexuality; Femininity; Context (archaeology); Gender studies; Ideology; Psychological repression; Power (physics); Patriarchy; Sociology; Popular music; Popular culture; Masculinity; Literature; Art; History; Political science; Law; Politics; Media studies","score_opus":0.06647793197298534,"score_gpt":0.26694032297124454,"score_spread":0.2004623909982592,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1517748231","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9695572,0.001828281,0.0008194986,0.009526835,0.00013174977,0.00009207567,0.000035628436,0.000019088322,0.017989554],"genre_scores_gemma":[0.9772205,0.0033341725,0.0011003116,0.0015365661,0.000075230804,0.00008363815,0.000018969191,0.000043964304,0.016586639],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9967811,0.0019563457,0.00008769238,0.00019043984,0.000425676,0.0005587077],"domain_scores_gemma":[0.9982389,0.000953957,0.000259773,0.00007272037,0.00010794296,0.00036674345],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023691717,0.0007628302,0.0008301934,0.0013996863,0.021056835,0.0036030589,0.0021314796,0.0036434121,0.0032868455],"category_scores_gemma":[0.005033911,0.0008338598,0.0005365228,0.0011866931,0.011393843,0.0038441445,0.004866588,0.004346338,0.00043180064],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000052649422,0.0002525305,0.0050541377,0.00020491972,0.000013831798,0.050227467,0.91782236,0.000090555615,0.00095152727,0.012098967,0.0029420925,0.010289047],"study_design_scores_gemma":[0.000008518028,0.00014689963,0.0036193288,0.00020980123,0.000017471992,0.029237749,0.92030793,0.00013737599,0.000802967,0.0009883151,0.044487085,0.00003656272],"about_ca_topic_score_codex":0.03082193,"about_ca_topic_score_gemma":0.07438665,"teacher_disagreement_score":0.03082193,"about_ca_system_score_codex":0.005285745,"about_ca_system_score_gemma":0.0029481468,"threshold_uncertainty_score":0.06128502},"labels":[],"label_agreement":null},{"id":"W1521075609","doi":"","title":"Interpreting Brazilianness: Musical Views of Brazil in Toronto","year":2013,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Toronto","funders":"","keywords":"Depiction; Musical; Order (exchange); Sociology; Aesthetics; Media studies; Art; History; Visual arts","score_opus":0.019944735029573356,"score_gpt":0.24883863700036737,"score_spread":0.228893901970794,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1521075609","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.63196653,0.004687648,0.0017238209,0.014938733,0.00026350134,0.00003834664,0.00017253858,0.00003515598,0.34617367],"genre_scores_gemma":[0.99075425,0.0008214117,0.00013286587,0.0002939959,0.000016434706,0.000006342152,0.000021917256,0.000011654241,0.007941115],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99877995,0.00048244366,0.000040412964,0.00013049248,0.00024823344,0.00031854323],"domain_scores_gemma":[0.9986072,0.00058864825,0.00017123274,0.00007104087,0.0002355268,0.00032645874],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001291826,0.0005212516,0.00028450871,0.001507511,0.013303331,0.0068198843,0.00076909654,0.0010980264,0.0065270155],"category_scores_gemma":[0.0027608357,0.00024553188,0.00019278734,0.0023108844,0.017350648,0.0020074656,0.0042732917,0.0017453517,0.00019553686],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028509814,0.0000052896667,0.0032520967,0.000094390954,0.0000077359355,0.0006050217,0.9129173,0.00012068528,0.0010173415,0.07370784,0.0026611502,0.005582587],"study_design_scores_gemma":[0.000004092016,0.00001505665,0.009506128,0.0002678128,0.000018158324,0.00023213036,0.83591896,0.00015966216,0.00034620753,0.0026260328,0.15087885,0.000026902602],"about_ca_topic_score_codex":0.7966767,"about_ca_topic_score_gemma":0.9084791,"teacher_disagreement_score":0.7966767,"about_ca_system_score_codex":0.038274538,"about_ca_system_score_gemma":0.012537368,"threshold_uncertainty_score":0.4090414},"labels":[],"label_agreement":null},{"id":"W1521988427","doi":"","title":"Tuning In: American Narrative Television Music. Ron Rodman.","year":2011,"lang":"en","type":"article","venue":"MUSICultures","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Narrative; Literature; History; Art; Psychology","score_opus":0.05164745291768455,"score_gpt":0.2191369751558595,"score_spread":0.16748952223817495,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1521988427","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0012804284,0.51800865,0.0011149622,0.22208832,0.07256487,0.00006226812,0.0008854529,0.000685734,0.18330938],"genre_scores_gemma":[0.008736042,0.13466777,0.0007844,0.03469452,0.015359223,0.000063269435,0.00033535718,0.00031046188,0.8050489],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999734,0.00004516384,0.00001875165,0.00004558279,0.00011253094,0.000044034517],"domain_scores_gemma":[0.99945587,0.00015565126,0.000038482907,0.000020167456,0.00020211597,0.00012776114],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005971987,0.001261682,0.00054542295,0.0022672995,0.0027831236,0.0030926426,0.0010704292,0.0030104837,0.13860756],"category_scores_gemma":[0.0018171447,0.0006338846,0.0003411511,0.0015917252,0.000979871,0.0038608997,0.0020114887,0.0025232239,0.059973806],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014099418,0.0000066560174,0.00007765522,0.000078230776,0.0000017805268,0.000040450504,0.00013101814,0.000007996512,0.00006806265,0.0005523163,0.9669458,0.032075875],"study_design_scores_gemma":[0.000005159288,0.000004197721,0.00045138318,0.00024563837,0.000005124022,0.00018341948,0.00073363737,0.000020223619,0.00010764356,0.0005537352,0.9976846,0.0000052791893],"about_ca_topic_score_codex":0.013833725,"about_ca_topic_score_gemma":0.05921766,"teacher_disagreement_score":0.13860756,"about_ca_system_score_codex":0.000804604,"about_ca_system_score_gemma":0.0007170147,"threshold_uncertainty_score":0.4636885},"labels":[],"label_agreement":null},{"id":"W1522398247","doi":"","title":"Civil twilight: country music, alcohol, and the spaces of Manitoban aboriginal sociability","year":2013,"lang":"en","type":"book-chapter","venue":"Open Research Online (The Open University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Popular music; Soundscape; Music; Sound (geography); Musical; Musicology; Subjectivity; Call and response; Music history; Aesthetics; Electronic music; Sociology; Media studies; Visual arts; History; Art; Music education; Acoustics; Epistemology","score_opus":0.115342438466126,"score_gpt":0.31526414683473025,"score_spread":0.19992170836860423,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1522398247","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.065403275,0.082433276,0.0004249027,0.012117745,0.0017621676,0.000049360588,0.00006498799,0.00006684305,0.8376773],"genre_scores_gemma":[0.31234288,0.046630833,0.00059498055,0.0017040507,0.00031040097,0.00005983968,0.000057956808,0.00006097698,0.638238],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9998932,0.000032450815,0.000002582411,0.000008767734,0.000032924832,0.000030101846],"domain_scores_gemma":[0.99990857,0.00003138727,0.000009616928,0.0000061252917,0.000018331057,0.000025851477],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00020559004,0.00043645047,0.00025234476,0.00079210504,0.0062001958,0.003881992,0.0004276557,0.00074860384,0.00834679],"category_scores_gemma":[0.00031516876,0.00014201213,0.00013209827,0.0017160395,0.004086575,0.0013587524,0.0013295518,0.0015072713,0.0007926577],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000055895835,0.00007125852,0.0025418892,0.0007500358,0.000015474181,0.0016656854,0.44098583,0.00014577192,0.0011286349,0.34616932,0.085309654,0.12116055],"study_design_scores_gemma":[0.0000044589815,0.000027934331,0.006565743,0.00061430456,0.000017682549,0.0005215072,0.17131571,0.00006202079,0.00039913526,0.006649968,0.8138079,0.000013662178],"about_ca_topic_score_codex":0.13337065,"about_ca_topic_score_gemma":0.36943787,"teacher_disagreement_score":0.86662936,"about_ca_system_score_codex":0.005165763,"about_ca_system_score_gemma":0.004644215,"threshold_uncertainty_score":0.2651887},"labels":[],"label_agreement":null},{"id":"W1525249521","doi":"","title":"“A Vision Outside the System”: A Conversation with Faith Nolan about Social Activism and Black Music in Contemporary Canada","year":2011,"lang":"en","type":"article","venue":"Postcolonial text","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Conversation; Faith; Sociology; Media studies; Aesthetics; Visual arts; Art; Communication; Theology; Philosophy","score_opus":0.0397290157075506,"score_gpt":0.20087668376250717,"score_spread":0.16114766805495656,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1525249521","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16984086,0.005690961,0.0008715706,0.60308325,0.0034915495,0.0000626761,0.00019044016,0.00005768616,0.21671106],"genre_scores_gemma":[0.8026025,0.002491435,0.00040991357,0.07785324,0.00046502546,0.000054168686,0.000046267673,0.00022239915,0.11585506],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99481755,0.0009561734,0.0000607664,0.00031501343,0.00093891064,0.0029116804],"domain_scores_gemma":[0.9926662,0.0028992072,0.00026633637,0.000095098556,0.0014254069,0.0026477126],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0042255903,0.0006255416,0.00077681657,0.0016322947,0.11010732,0.019726956,0.003928742,0.012021416,0.011812859],"category_scores_gemma":[0.008944792,0.00073851657,0.000536904,0.0026580342,0.040077377,0.0054135094,0.0071643526,0.02619449,0.00059736805],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006077642,0.00004032787,0.0015032707,0.000071506205,0.000013394652,0.000805827,0.72648215,0.00015804093,0.00042198223,0.15817949,0.1045373,0.007725923],"study_design_scores_gemma":[0.000012322099,0.000008953829,0.0018435636,0.00018610402,0.000015360216,0.00009645866,0.6179976,0.00011624465,0.00026207606,0.0042917333,0.37511215,0.000057482528],"about_ca_topic_score_codex":0.98881745,"about_ca_topic_score_gemma":0.9954184,"teacher_disagreement_score":0.15394655,"about_ca_system_score_codex":0.15394655,"about_ca_system_score_gemma":0.19516113,"threshold_uncertainty_score":0.9813021},"labels":[],"label_agreement":null},{"id":"W1528913376","doi":"10.21083/csieci.v7i1.1130","title":"\"Na Cadencia Bonita do Samba\": Accomplishing Suingue in Toronto","year":2011,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Wilfrid Laurier University","funders":"","keywords":"Context (archaeology); Sociology; Amateur; Consciousness; Media studies; Humanities; Art; History; Political science; Epistemology; Philosophy; Law","score_opus":0.17184167934988626,"score_gpt":0.3694723948321133,"score_spread":0.19763071548222705,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1528913376","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.834371,0.00359848,0.0015061467,0.016662192,0.0003222872,0.00007471524,0.00012495455,0.000054247997,0.14328602],"genre_scores_gemma":[0.98502606,0.00085648586,0.00029133543,0.00032575883,0.000013974288,0.000013071312,0.000022318329,0.00002090089,0.013430115],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99775285,0.0007205714,0.000060083617,0.0002588961,0.0003676095,0.0008399793],"domain_scores_gemma":[0.9977137,0.0007951405,0.00020097918,0.00008983331,0.0003927026,0.0008076745],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001675601,0.0006871576,0.00045397822,0.0010577771,0.03567559,0.007841178,0.0015927341,0.0020064388,0.0046006497],"category_scores_gemma":[0.0043551084,0.00037519672,0.0002615619,0.0019258445,0.020756267,0.0022211897,0.005508989,0.0038947745,0.00028859903],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024005083,0.0000055883656,0.0017321183,0.000054652017,0.0000037104755,0.0005715857,0.9740278,0.00004710786,0.00073614565,0.01616692,0.0022850381,0.0043453127],"study_design_scores_gemma":[0.000002527481,0.000012016989,0.006165783,0.00008124789,0.000008463608,0.00015641743,0.93264157,0.00006408862,0.00036752757,0.0006554977,0.0598269,0.000017943621],"about_ca_topic_score_codex":0.9554073,"about_ca_topic_score_gemma":0.9913686,"teacher_disagreement_score":0.9554073,"about_ca_system_score_codex":0.07652355,"about_ca_system_score_gemma":0.05090965,"threshold_uncertainty_score":0.55521977},"labels":[],"label_agreement":null},{"id":"W1530504783","doi":"","title":"The Reconstruction of a Cultural Identity: Nationalism, Gender, and Censorship in the Late Victorian Folksong Revival in England","year":2010,"lang":"en","type":"article","venue":"MUSICultures","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Athabasca University","funders":"","keywords":"Censorship; Period (music); Nationalism; History; Identity (music); National identity; Cultural nationalism; Gender studies; Sociology; Literature; Aesthetics; Art; Law; Political science; Politics","score_opus":0.03390359332147295,"score_gpt":0.2389094998713558,"score_spread":0.20500590654988285,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1530504783","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9326796,0.002179048,0.00037739778,0.003666355,0.000080827595,0.000016723614,0.000019590709,0.0000061076107,0.060974386],"genre_scores_gemma":[0.99400723,0.00022164229,0.000058714522,0.00012771996,0.0000103637585,0.0000061888904,0.000004016356,0.000006194511,0.0055579985],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9959722,0.0021688952,0.00012984572,0.00027739178,0.0004983276,0.0009533265],"domain_scores_gemma":[0.99616146,0.0018958008,0.00061740057,0.00026845766,0.000406917,0.00064996694],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005128016,0.00021662768,0.00056679844,0.0014765018,0.018103221,0.011621711,0.0012593463,0.0018180073,0.0020451925],"category_scores_gemma":[0.0065868697,0.00037867273,0.00016333554,0.0013385096,0.03571144,0.0053813993,0.0074173654,0.0031325181,0.00017287773],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019931433,0.000009238487,0.0014312152,0.000018918707,0.000001454589,0.00026545432,0.97332484,0.00001002485,0.00014600219,0.021700708,0.0002200977,0.0028520336],"study_design_scores_gemma":[0.000004089606,0.000020723486,0.008091582,0.00010214835,0.0000030718313,0.0001880461,0.9583112,0.000030440728,0.00017852677,0.003017436,0.030033754,0.000019044071],"about_ca_topic_score_codex":0.15554222,"about_ca_topic_score_gemma":0.3420399,"teacher_disagreement_score":0.15554222,"about_ca_system_score_codex":0.015554626,"about_ca_system_score_gemma":0.006428839,"threshold_uncertainty_score":0.30927372},"labels":[],"label_agreement":null},{"id":"W1530759557","doi":"","title":"Public, Private, Popular: Pop Performers, Liberalism and the Limits of Rights","year":2014,"lang":"en","type":"article","venue":"Scholarship@Western (Western University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Liberalism; Lawmaking; Politics; Sociology; Classical liberalism; Elite; Legislature; Political science; Law; Law and economics; Media studies","score_opus":0.11507331798300045,"score_gpt":0.2556046439607777,"score_spread":0.14053132597777723,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1530759557","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18086351,0.004740707,0.008381266,0.06943204,0.0002286032,0.000018978992,0.00003873823,0.00006640657,0.7362297],"genre_scores_gemma":[0.9935848,0.00036949167,0.00027109482,0.00094299205,0.00010032174,0.0000140238935,0.0000044065564,0.000014022957,0.004698803],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99432313,0.0036796636,0.00012202187,0.00046706558,0.00081965723,0.00058847805],"domain_scores_gemma":[0.9930392,0.0046806983,0.0005528415,0.00074420206,0.00039041415,0.0005926329],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005352808,0.0002848116,0.000326047,0.0015797127,0.009637042,0.015325325,0.0008033093,0.0035849905,0.005250656],"category_scores_gemma":[0.0075546415,0.00028951894,0.0002164235,0.0013882106,0.097685635,0.009335882,0.007852976,0.0048615932,0.0005273329],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008314469,0.000010890832,0.00038754786,0.000015586984,0.0000021690787,0.000052855346,0.017745925,0.000058308906,0.00009929308,0.9775678,0.00079988106,0.0032514299],"study_design_scores_gemma":[0.000015309532,0.000018189501,0.0020086858,0.00017097635,0.000008202952,0.000109417866,0.033565264,0.00035298633,0.00040965056,0.8878398,0.07548573,0.000015758478],"about_ca_topic_score_codex":0.004126848,"about_ca_topic_score_gemma":0.0036645352,"teacher_disagreement_score":0.015325325,"about_ca_system_score_codex":0.004569687,"about_ca_system_score_gemma":0.0035332763,"threshold_uncertainty_score":0.03315562},"labels":[],"label_agreement":null},{"id":"W1531433967","doi":"","title":"Playing For Change: Music and Musicians in the Service of Social Movements by Rob Rosenthal, Richard Flacks (review)","year":2014,"lang":"en","type":"article","venue":"Labour / Le Travail","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Visual arts; Service (business); Aesthetics; Communication; Sociology; Psychology; Art; Business; Marketing","score_opus":0.03789335649418219,"score_gpt":0.23498544438652236,"score_spread":0.19709208789234017,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1531433967","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000021926755,0.9947708,0.0000083082705,0.0037177287,0.0012073088,0.0000018135175,0.0000044681915,0.000001110023,0.00026655436],"genre_scores_gemma":[0.00039670788,0.99291503,0.000038111404,0.0037923201,0.0019587055,0.000008109094,0.000011851056,0.0000020340362,0.00087714515],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988965,0.00035722367,0.000122977,0.00013630798,0.0003534559,0.00013354146],"domain_scores_gemma":[0.99705577,0.0018062998,0.0003117218,0.000040370025,0.00048036771,0.00030534377],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023391885,0.0014097092,0.001958822,0.0028401467,0.0012672698,0.00453681,0.0013714333,0.0055711796,0.006189211],"category_scores_gemma":[0.005552457,0.0005832913,0.00072522205,0.0038269095,0.002615379,0.0044421945,0.0027527264,0.005606032,0.0023284392],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000120662946,0.00004812217,0.00021404312,0.01534653,0.00013941633,0.000116303214,0.0006170035,0.00009133716,0.00014247064,0.003684444,0.5436404,0.4358392],"study_design_scores_gemma":[0.000050807364,0.000043332777,0.001290591,0.018485134,0.00009556637,0.00034399875,0.00079372624,0.000020210815,0.000040044524,0.0010121751,0.977798,0.000026545797],"about_ca_topic_score_codex":0.017683508,"about_ca_topic_score_gemma":0.052454434,"teacher_disagreement_score":0.017683508,"about_ca_system_score_codex":0.002503975,"about_ca_system_score_gemma":0.0054827705,"threshold_uncertainty_score":0.035161138},"labels":[],"label_agreement":null},{"id":"W1532959067","doi":"","title":"\"Oh! Dogma (Up Yours!)\": Surfing the Third Wave","year":2001,"lang":"en","type":"article","venue":"Thirdspace","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Ethos; Feminism; Popular culture; Punk; Gender studies; Feminist movement; Sociology; Context (archaeology); Power (physics); Subject (documents); Aesthetics; Girl; Media studies; Art; Art history; History; Psychology; Law; Political science","score_opus":0.05713614790036535,"score_gpt":0.2198250707534991,"score_spread":0.16268892285313374,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1532959067","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2984294,0.004300522,0.0033387453,0.04766059,0.0023852428,0.00006616411,0.00013498944,0.00022549204,0.64345884],"genre_scores_gemma":[0.7299113,0.00200117,0.00088170264,0.006540708,0.00029724633,0.000047208563,0.000040354218,0.00023946929,0.2600409],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99957365,0.00016725056,0.00000518446,0.000034905628,0.00011181332,0.00010712675],"domain_scores_gemma":[0.999627,0.00011982293,0.000045214725,0.000032742555,0.00005002676,0.00012524768],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00071307464,0.00034182466,0.00012632343,0.0005103272,0.0071464316,0.0036562232,0.00035283447,0.0013098371,0.007796119],"category_scores_gemma":[0.0013893998,0.00015613323,0.0002147079,0.00032548516,0.0074195564,0.0029538302,0.002467457,0.0035174333,0.001817623],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003159135,0.0000476801,0.0032228313,0.00006671314,0.000004078075,0.0014426112,0.6941253,0.000036730336,0.0020323582,0.15113781,0.108019195,0.039833218],"study_design_scores_gemma":[0.0000036041079,0.00003589165,0.004546427,0.00023755024,0.0000055341534,0.0009443925,0.321853,0.00009777907,0.001167819,0.0053938953,0.6656975,0.000016605574],"about_ca_topic_score_codex":0.010595968,"about_ca_topic_score_gemma":0.018742865,"teacher_disagreement_score":0.010595968,"about_ca_system_score_codex":0.0015888907,"about_ca_system_score_gemma":0.0013903924,"threshold_uncertainty_score":0.026080608},"labels":[],"label_agreement":null},{"id":"W1534408409","doi":"10.4000/volume.1992","title":"Alain-Philippe Durand (ed.), Black, Blanc, Beur : Rap Music and Hip-Hop Culture in the Francophone World","year":2004,"lang":"en","type":"article","venue":"Volume !","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"French; Art; Art history; Humanities","score_opus":0.0137863252132896,"score_gpt":0.1875364946268715,"score_spread":0.1737501694135819,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1534408409","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0023521842,0.93246186,0.00033219974,0.034490354,0.0027698565,0.000007676583,0.00015394145,0.00003272496,0.027399197],"genre_scores_gemma":[0.053068414,0.84734905,0.00097472407,0.005561657,0.0034894908,0.000032998298,0.00022067122,0.000067432826,0.0892356],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996245,0.00012257854,0.000018638815,0.000052226605,0.00012403836,0.000058094207],"domain_scores_gemma":[0.99896,0.0005260665,0.0000783142,0.000025116948,0.00020976742,0.00020076692],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010622932,0.0009888744,0.00047930542,0.0022468294,0.0036465812,0.0051117428,0.0007898995,0.0019415137,0.01555221],"category_scores_gemma":[0.0014225128,0.00036907627,0.00020496662,0.0034033987,0.0024683857,0.005054468,0.0011383665,0.0014544659,0.004674522],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005635245,0.000023790371,0.0026516174,0.0012396489,0.00001893071,0.0002611221,0.0223193,0.00008291328,0.00034165854,0.014018286,0.7008417,0.25814465],"study_design_scores_gemma":[0.0000036699205,0.000011482932,0.007139159,0.0014587728,0.000010198892,0.00047325197,0.015494533,0.000032759934,0.000102513986,0.0020247886,0.97323585,0.000012996972],"about_ca_topic_score_codex":0.14243938,"about_ca_topic_score_gemma":0.31870437,"teacher_disagreement_score":0.14243938,"about_ca_system_score_codex":0.003965531,"about_ca_system_score_gemma":0.0045312596,"threshold_uncertainty_score":0.28322053},"labels":[],"label_agreement":null},{"id":"W1534555793","doi":"10.1215/9780822383505","title":"Hop on Pop","year":2002,"lang":"en","type":"book","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":55,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Popular culture; Art history; Art; Media studies; Sociology; Feminism; Counterculture; Gender studies; Religious studies","score_opus":0.04995913707722019,"score_gpt":0.17466076537167588,"score_spread":0.12470162829445569,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1534555793","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0002490184,0.00035880815,0.00018626761,0.0019167942,0.0019687915,0.000039712973,0.0005909516,0.0002773641,0.99441236],"genre_scores_gemma":[0.0013305638,0.00019289317,0.000084958796,0.0008719707,0.00018242827,0.000017999666,0.00020648523,0.00015751112,0.99695516],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994803,0.00007124342,0.000015660358,0.00009501392,0.00020337269,0.00013442666],"domain_scores_gemma":[0.9994733,0.000051785857,0.00002215465,0.00009933288,0.00018809288,0.00016531145],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00039241085,0.00076797855,0.00047045987,0.0011479192,0.0046658865,0.007953487,0.001038922,0.0018679384,0.7823876],"category_scores_gemma":[0.0016471392,0.00029157932,0.00042156546,0.0011932832,0.0009022876,0.004121854,0.0059536113,0.0028850508,0.60954726],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015894082,0.000032930035,0.00015927045,0.00006178752,0.000001865277,0.00008424615,0.0005017612,0.00002064647,0.00015443706,0.02783608,0.89526623,0.07586498],"study_design_scores_gemma":[7.441167e-7,0.0000022725258,0.000077884804,0.000018834593,3.014502e-7,0.000011048763,0.00017028063,0.000003281359,0.0000203859,0.00034884317,0.9993449,0.00000124337],"about_ca_topic_score_codex":0.007667993,"about_ca_topic_score_gemma":0.016255477,"teacher_disagreement_score":0.7823876,"about_ca_system_score_codex":0.0015006935,"about_ca_system_score_gemma":0.0018336122,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W1535901647","doi":"","title":"Saying the F-Word: Feminism Indie-Rock Style","year":2006,"lang":"en","type":"article","venue":"Canadian women's studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Indie film; Feminism; Style (visual arts); Word (group theory); Art; Sociology; Gender studies; Literature; Linguistics; Philosophy","score_opus":0.02517781615917556,"score_gpt":0.20793795072261717,"score_spread":0.18276013456344162,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1535901647","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.01565926,0.0017279506,0.001909483,0.031548582,0.00095264876,0.00003230289,0.00017491747,0.00009966459,0.94789517],"genre_scores_gemma":[0.76347417,0.0013234775,0.0016860054,0.0084111355,0.00050099724,0.0000583998,0.000116879666,0.0003937371,0.22403523],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.997554,0.00074587134,0.000041033683,0.0002678278,0.00066363567,0.0007276014],"domain_scores_gemma":[0.99851316,0.00046728228,0.000074517266,0.00010883492,0.0005250575,0.00031111282],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020865847,0.0006748738,0.00038925748,0.0019569919,0.025700005,0.012124663,0.0017148398,0.002839161,0.015248478],"category_scores_gemma":[0.0041593458,0.00031273806,0.00030135844,0.0018843451,0.029013954,0.0031819376,0.0026419116,0.006521291,0.001497339],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002849828,0.000012212875,0.0004566729,0.00004820346,0.0000046945474,0.00010760546,0.11614329,0.000047255344,0.0002684269,0.8159591,0.05745551,0.009468549],"study_design_scores_gemma":[0.000014769968,0.000017459632,0.0027144921,0.00016668273,0.000014914586,0.00016874503,0.110725924,0.00018744772,0.0003583425,0.040780894,0.8448127,0.000037615464],"about_ca_topic_score_codex":0.83742714,"about_ca_topic_score_gemma":0.91217893,"teacher_disagreement_score":0.83742714,"about_ca_system_score_codex":0.0380229,"about_ca_system_score_gemma":0.025428701,"threshold_uncertainty_score":0.32706052},"labels":[],"label_agreement":null},{"id":"W1536283933","doi":"10.21083/csieci.v8i1.1682","title":"Outside of the Self: Subjectivity, the Allure of Transcendence, and Jazz Historiography","year":2012,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Transcendence (philosophy); Jazz; Subjectivity; Historiography; Subject (documents); Aesthetics; TRACE (psycholinguistics); Transcendental number; Politics; Literature; Philosophy; Sociology; Epistemology; Art; History; Art history; Political science; Linguistics","score_opus":0.06527794375339752,"score_gpt":0.3180530879842082,"score_spread":0.2527751442308107,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1536283933","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.32235745,0.047068026,0.007127169,0.042078562,0.0020206445,0.0000392303,0.000026121203,0.00008448601,0.57919836],"genre_scores_gemma":[0.9804191,0.002914884,0.00025593457,0.0006288339,0.00032610516,0.000014093649,0.0000051752686,0.000031563595,0.015404311],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9962405,0.0027398267,0.000092850954,0.00027277478,0.00034613162,0.00030787577],"domain_scores_gemma":[0.9960859,0.0027390907,0.0002975039,0.0003754695,0.00022752622,0.00027454903],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0041064685,0.00051188766,0.00039361327,0.0023421426,0.011384163,0.012619,0.00087532133,0.0018790924,0.0047707013],"category_scores_gemma":[0.006180723,0.00019523692,0.00021997854,0.0015494403,0.06610957,0.008464292,0.0060869623,0.0046106027,0.0003084492],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000026855694,0.000011047738,0.00041861576,0.000078718345,0.0000038081553,0.00023865807,0.4102903,0.00005001233,0.00026770288,0.57949865,0.0015094838,0.0076061133],"study_design_scores_gemma":[0.000026190259,0.00007555311,0.0025235352,0.0010373272,0.000015177995,0.0007080153,0.435043,0.00026050277,0.0013645523,0.15212135,0.40679067,0.000034157398],"about_ca_topic_score_codex":0.0050987974,"about_ca_topic_score_gemma":0.005543363,"teacher_disagreement_score":0.012619,"about_ca_system_score_codex":0.006202853,"about_ca_system_score_gemma":0.0021873624,"threshold_uncertainty_score":0.045005023},"labels":[],"label_agreement":null},{"id":"W1537320441","doi":"10.25071/1708-6701.32101","title":"Collecting Heavy Metal Music","year":2011,"lang":"en","type":"article","venue":"CAML Review / Revue de l ACBM","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Metal; Environmental science; Art; Materials science; Metallurgy","score_opus":0.12199238783550179,"score_gpt":0.24226343294483238,"score_spread":0.1202710451093306,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1537320441","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.013215349,0.06927951,0.012558293,0.04647107,0.033678945,0.0021183337,0.019887941,0.0022894267,0.80050117],"genre_scores_gemma":[0.051178873,0.063597634,0.026728325,0.02036716,0.01567818,0.0011391443,0.027766792,0.0016885735,0.79185534],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.996271,0.00053362834,0.00020145059,0.00059741194,0.002089918,0.00030662437],"domain_scores_gemma":[0.9941369,0.000953362,0.00035649378,0.0011068108,0.0029450636,0.0005013474],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003730593,0.0013017928,0.0013265591,0.010582579,0.007049886,0.0047530564,0.0033826432,0.0024468503,0.2033907],"category_scores_gemma":[0.009266472,0.0006839702,0.001577269,0.007950343,0.0019293618,0.0032719013,0.0066429726,0.0027033726,0.09030958],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014797169,0.00008246648,0.0014967531,0.002280967,0.0000782331,0.00021325405,0.0006147251,0.00006013977,0.0046357433,0.0049857786,0.50465256,0.48075148],"study_design_scores_gemma":[0.000025973894,0.000060116097,0.005211856,0.0008596107,0.000056949408,0.00016064444,0.0010581028,0.000024382116,0.002745294,0.0023318937,0.98744303,0.000022105101],"about_ca_topic_score_codex":0.023888446,"about_ca_topic_score_gemma":0.0617388,"teacher_disagreement_score":0.2033907,"about_ca_system_score_codex":0.0025082284,"about_ca_system_score_gemma":0.008041228,"threshold_uncertainty_score":0.68040967},"labels":[],"label_agreement":null},{"id":"W1537372795","doi":"10.37693/pjos.2011.3.8835","title":"Towards a Social Semiotic Approach of the Analysis of Emotion in Sound and Music","year":2011,"lang":"en","type":"article","venue":"Public Journal of Semiotics","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Semiotics; Melody; Lyrics; Articulation (sociology); Subjectivity; Linguistics; Repertoire; Social semiotics; Representation (politics); Performing arts; Psychology; Aesthetics; Sociology; Communication; Art; Visual arts; Musical; Literature; Epistemology; Philosophy","score_opus":0.1015213865804856,"score_gpt":0.22171456709331214,"score_spread":0.12019318051282654,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1537372795","genre_codex":"methods","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08344466,0.007871287,0.4755265,0.02500321,0.0007688123,0.0002331331,0.00014247555,0.00022877046,0.40678126],"genre_scores_gemma":[0.9348062,0.0019024113,0.05340064,0.0007803669,0.00039598733,0.00025003921,0.000073399315,0.00013729795,0.008253735],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9927912,0.005873877,0.00016864462,0.00030780656,0.0006147105,0.00024380314],"domain_scores_gemma":[0.9939188,0.0042938245,0.00039307654,0.00062389695,0.00047847108,0.00029193476],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0068245432,0.0007228912,0.0006385649,0.0053604124,0.00404347,0.012721564,0.0013836048,0.0022500781,0.0038350618],"category_scores_gemma":[0.0057579037,0.00038668237,0.0008677804,0.0023956296,0.05264009,0.009257021,0.005985369,0.0033299997,0.00058145676],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012898888,0.000015106769,0.0002640613,0.000076586635,0.0000073979104,0.00013723916,0.047651194,0.00033577307,0.0004691343,0.9463486,0.00039275902,0.004289211],"study_design_scores_gemma":[0.00001548737,0.000028639643,0.00057978637,0.00016110545,0.000008305436,0.00029636774,0.041463096,0.0015408098,0.0005105683,0.90553594,0.04983911,0.000020826983],"about_ca_topic_score_codex":0.0017257656,"about_ca_topic_score_gemma":0.001552422,"teacher_disagreement_score":0.012721564,"about_ca_system_score_codex":0.0038065747,"about_ca_system_score_gemma":0.0026232407,"threshold_uncertainty_score":0.036092043},"labels":[],"label_agreement":null},{"id":"W1539390372","doi":"","title":"Coming To You Wherever You Are: MuchMusic, MTV, and Youth Identities. Kip Pegley; Rush: Rock Music And The Middle Class (Dreaming in Middletown). Chris McDonald.","year":2013,"lang":"en","type":"article","venue":"MUSICultures","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Gold rush; Class (philosophy); Art history; Middle class; History; Art; Media studies; Sociology; Archaeology; Law; Philosophy; Political science; Epistemology","score_opus":0.03749686593262233,"score_gpt":0.18889360357542764,"score_spread":0.1513967376428053,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1539390372","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.007059105,0.41481927,0.00058580586,0.38999987,0.011586398,0.000043876105,0.000446839,0.00024807657,0.1752108],"genre_scores_gemma":[0.10162484,0.18333368,0.0011562344,0.044913918,0.0032698596,0.00013836077,0.00022758066,0.00027289946,0.6650626],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99973553,0.00008140264,0.00000952105,0.00002505866,0.000080230086,0.00006825357],"domain_scores_gemma":[0.9992362,0.00014269863,0.000047341804,0.00001569033,0.00010709784,0.00045103463],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008472521,0.0006520461,0.00037736745,0.0009566343,0.007857387,0.0050011217,0.00089548033,0.0032955504,0.069010355],"category_scores_gemma":[0.0016871756,0.0007240143,0.00018583323,0.0011640382,0.00215254,0.0060343943,0.0034791678,0.003654026,0.010637791],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018556892,0.000017701992,0.00061374786,0.00009817681,0.0000021574306,0.00011000714,0.005532675,0.0000080943355,0.00008356739,0.003750873,0.9348214,0.054943033],"study_design_scores_gemma":[0.00001070114,0.000022590972,0.0053306893,0.00071274705,0.000011193981,0.00030572334,0.05330512,0.000031503045,0.00014831984,0.0038031125,0.93630034,0.000018025252],"about_ca_topic_score_codex":0.045316,"about_ca_topic_score_gemma":0.27718177,"teacher_disagreement_score":0.069010355,"about_ca_system_score_codex":0.0015332272,"about_ca_system_score_gemma":0.0023229758,"threshold_uncertainty_score":0.23086262},"labels":[],"label_agreement":null},{"id":"W1540161007","doi":"","title":"Revival of Bulgarian Folk Music During Socialism and the Post-Socialist Transition: Music and Cultural Identity","year":2010,"lang":"en","type":"article","venue":"MUSICultures","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Bulgarian; Folk music; Musical; Socialism; Period (music); Nationalism; Performing arts; Identity (music); Aesthetics; Sociology; Literature; History; Art; Political science; Law; Philosophy; Linguistics; Communism","score_opus":0.017570800598750252,"score_gpt":0.21456461538302773,"score_spread":0.1969938147842775,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1540161007","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.98969984,0.00084701186,0.000038402224,0.00063172466,0.000028910878,0.000004969335,0.0000106624575,0.0000032092303,0.008735231],"genre_scores_gemma":[0.99922657,0.00017003946,0.000010067729,0.000043189022,0.000008232124,0.000001970646,0.0000055138407,0.000001942619,0.0005324005],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987752,0.00034894084,0.00004497017,0.00012958975,0.00015151128,0.0005496449],"domain_scores_gemma":[0.99917287,0.00024977684,0.00022041089,0.000056441684,0.00009756174,0.00020292253],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001655048,0.00029333704,0.00048632428,0.0018958414,0.00671663,0.0072337706,0.0007993791,0.0011986517,0.0023465133],"category_scores_gemma":[0.002284172,0.0002577195,0.00015548994,0.0020250576,0.016369056,0.002618682,0.0059014964,0.0016674759,0.00020101911],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00032313057,0.00008438522,0.038931776,0.000108199936,0.000021839121,0.0013262315,0.9147831,0.000061913364,0.0016282337,0.014713247,0.000498918,0.027518937],"study_design_scores_gemma":[0.00001119796,0.00008211114,0.20618714,0.00007333685,0.000007890764,0.00027071248,0.7825393,0.000032376676,0.00028062865,0.0010725567,0.009426486,0.00001619775],"about_ca_topic_score_codex":0.04342282,"about_ca_topic_score_gemma":0.06506491,"teacher_disagreement_score":0.04342282,"about_ca_system_score_codex":0.0071744323,"about_ca_system_score_gemma":0.0029392093,"threshold_uncertainty_score":0.08634013},"labels":[],"label_agreement":null},{"id":"W1540720425","doi":"10.16995/dscn.51","title":"Every Track You Take: Analysing the Dynamics of Song and Genre Reception Through Music Downloading","year":2014,"lang":"en","type":"article","venue":"Digital Studies / Le champ numérique","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"McMaster University","funders":"","keywords":"Musical; Download; Upload; Mainstream; Popular music; History; Media studies; Advertising; Art; Literature; Sociology; Computer science; World Wide Web; Philosophy; Theology; Business","score_opus":0.04013234171988578,"score_gpt":0.22685249088176584,"score_spread":0.18672014916188007,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1540720425","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9857735,0.00017086894,0.00046053334,0.0001447377,0.000010578714,0.000047465648,0.0040273974,0.000037639704,0.009327273],"genre_scores_gemma":[0.98833954,0.0003132013,0.0010557715,0.000043046028,0.00002302469,0.00007122687,0.00437004,0.000054307548,0.005729853],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.99944586,0.0001350353,0.00005076153,0.00010974293,0.00014701145,0.0001115495],"domain_scores_gemma":[0.9937158,0.0031482056,0.0015669664,0.00033177377,0.000742738,0.00049443863],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008637704,0.00016050403,0.0003104403,0.0030316762,0.00060982286,0.0017121849,0.00038294683,0.0003429642,0.0064489273],"category_scores_gemma":[0.008611663,0.00019229607,0.00022223809,0.0047802194,0.00037853018,0.0017778939,0.0010944695,0.00042292476,0.0014598534],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00032785418,0.00009864341,0.9188031,0.00021879384,0.00007655844,0.0003843241,0.021117097,0.00033633775,0.0019876952,0.00062043895,0.004466106,0.051563025],"study_design_scores_gemma":[0.0000043017158,0.000029522138,0.9848357,0.000029998913,0.000016175578,0.00008638316,0.010186969,0.0006075027,0.00022795748,0.00008814901,0.0038742668,0.00001315474],"about_ca_topic_score_codex":0.027663471,"about_ca_topic_score_gemma":0.038975257,"teacher_disagreement_score":0.027663471,"about_ca_system_score_codex":0.0005385964,"about_ca_system_score_gemma":0.00034109387,"threshold_uncertainty_score":0.055004895},"labels":[],"label_agreement":null},{"id":"W1540834616","doi":"10.4000/volume.3125","title":"Keith Negus, Bob Dylan","year":2012,"lang":"sv","type":"article","venue":"Volume !","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Canadian Parks and Wilderness Society; Musée de la Civilisation","funders":"","keywords":"Icon; Art; Art history; Performance art; Visual arts; Literature; Computer science","score_opus":0.024165562724863664,"score_gpt":0.20342458170442015,"score_spread":0.17925901897955648,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1540834616","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0085215615,0.07462393,0.0019703258,0.49630478,0.021608744,0.000028673878,0.0002716485,0.00022706314,0.3964433],"genre_scores_gemma":[0.12130954,0.026308188,0.0012311953,0.07233558,0.0031676528,0.000057121215,0.0001233558,0.00053756934,0.7749299],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99908817,0.00029649294,0.000022112983,0.00016568597,0.00032376038,0.0001037971],"domain_scores_gemma":[0.9989422,0.0003454033,0.000046990925,0.00003930806,0.00031943986,0.0003067044],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007376057,0.00040848873,0.00025917208,0.0007690119,0.007324661,0.004949613,0.00053372135,0.0017078829,0.026195731],"category_scores_gemma":[0.004573934,0.00027219873,0.000100969395,0.00058717374,0.0034040941,0.005356669,0.002194073,0.0038094746,0.011071434],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028436158,0.000007107175,0.00038210314,0.000070033406,0.0000018816952,0.00009483972,0.0064536883,0.0000169308,0.00032124066,0.02974425,0.9436861,0.019193351],"study_design_scores_gemma":[0.000001493927,0.0000035309306,0.0004195238,0.00007045871,7.9473637e-7,0.00012875473,0.0061836964,0.000014856108,0.00017007087,0.002225895,0.99077344,0.000007545514],"about_ca_topic_score_codex":0.013994779,"about_ca_topic_score_gemma":0.04048805,"teacher_disagreement_score":0.026195731,"about_ca_system_score_codex":0.0021714112,"about_ca_system_score_gemma":0.0012641203,"threshold_uncertainty_score":0.08763349},"labels":[],"label_agreement":null},{"id":"W1541263130","doi":"","title":"Righteous sounds and reproductive justice : the influence of Ani DiFranco's music for reproductive rights activists","year":2008,"lang":"en","type":"dissertation","venue":"Brock University Digital Repository (Brock University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Reproductive justice; Reproductive rights; Economic Justice; Political science; Criminology; Communication; Law; Sociology; Reproductive health; Biology; Abortion; Demography","score_opus":0.01164977461577597,"score_gpt":0.1791005968015076,"score_spread":0.16745082218573165,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1541263130","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6534276,0.004219648,0.00030667952,0.022524672,0.00035272553,0.00003294205,0.000051209812,0.00000817433,0.3190763],"genre_scores_gemma":[0.9859271,0.0012457313,0.00008816006,0.0022600822,0.0001366394,0.000016007925,0.00001102796,0.00000651291,0.010308671],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9987172,0.00063928094,0.000016438074,0.00009664132,0.0001936235,0.00033688158],"domain_scores_gemma":[0.9977018,0.0011969024,0.00047095717,0.00006975822,0.00017489881,0.00038556586],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016484045,0.00016913458,0.00015256279,0.0007554499,0.007847936,0.0056262915,0.0005031224,0.001035353,0.007844053],"category_scores_gemma":[0.0035151895,0.00008474233,0.00014706713,0.0005170827,0.0069935657,0.0013705114,0.003637756,0.0018436955,0.00036518855],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003417354,0.00060052157,0.07720897,0.00037122914,0.000035431192,0.0018847664,0.64638984,0.0000987531,0.0028754487,0.13812105,0.014558971,0.11751336],"study_design_scores_gemma":[0.000038628175,0.00016441065,0.11112539,0.00064847624,0.000024904502,0.00047090088,0.6521165,0.00011383126,0.00053525297,0.004974917,0.22974998,0.000036825146],"about_ca_topic_score_codex":0.019069301,"about_ca_topic_score_gemma":0.05594793,"teacher_disagreement_score":0.019069301,"about_ca_system_score_codex":0.0031167753,"about_ca_system_score_gemma":0.0019385619,"threshold_uncertainty_score":0.03791666},"labels":[],"label_agreement":null},{"id":"W1541382034","doi":"","title":"You Can Run But You Can't Hide: The Incorporation of Riot Grrrl into Mainstream Culture","year":2001,"lang":"en","type":"article","venue":"Canadian women's studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":12,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Mainstream; Political science; Law","score_opus":0.023909468297481955,"score_gpt":0.21094217953428743,"score_spread":0.18703271123680548,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1541382034","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.33795112,0.0044368873,0.0011666621,0.09386764,0.00082279526,0.00008831152,0.000111306465,0.0001658066,0.56138945],"genre_scores_gemma":[0.9417407,0.0011144537,0.00063774246,0.0062071057,0.00008660732,0.00004078096,0.000023295046,0.0001462287,0.050003164],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99485105,0.0015745737,0.000058084057,0.00038480732,0.0010486512,0.0020828035],"domain_scores_gemma":[0.99624217,0.0011940945,0.00026513299,0.0003233388,0.00074447296,0.0012308658],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005208819,0.00047030053,0.00043119377,0.0017823592,0.05145071,0.01681744,0.0028822098,0.0035774324,0.0115065165],"category_scores_gemma":[0.008489199,0.0004698683,0.00033998874,0.0026684313,0.054000963,0.0057068327,0.009910647,0.0069628423,0.00082204444],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000038468148,0.000030492918,0.0016945498,0.00006156257,0.0000041331605,0.00047534477,0.82571834,0.000036911923,0.0003305548,0.12899855,0.01661516,0.025996003],"study_design_scores_gemma":[0.000013402976,0.000024633513,0.0072036725,0.00018410219,0.000012808494,0.00015700849,0.72224015,0.000071109964,0.00025456693,0.008772334,0.2610233,0.000042915133],"about_ca_topic_score_codex":0.90731794,"about_ca_topic_score_gemma":0.9656167,"teacher_disagreement_score":0.90731794,"about_ca_system_score_codex":0.058036502,"about_ca_system_score_gemma":0.08307519,"threshold_uncertainty_score":0.4210863},"labels":[],"label_agreement":null},{"id":"W1542640639","doi":"10.7202/1027608ar","title":"Chute libre : souvenirs et remarques sur mon travail avec Fausto Romitelli","year":2014,"lang":"fr","type":"article","venue":"Circuit Musiques contemporaines","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Physics; Philosophy","score_opus":0.032009695445520264,"score_gpt":0.21728734929881446,"score_spread":0.1852776538532942,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1542640639","genre_codex":"other","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4256346,0.012363081,0.003910203,0.029945035,0.0017364091,0.00007099483,0.0001790947,0.00021642557,0.5259441],"genre_scores_gemma":[0.5785479,0.0022271252,0.001009798,0.0015844984,0.00034006173,0.00004113068,0.000070473245,0.00022639486,0.41595265],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985877,0.00062124606,0.00002126882,0.00019241046,0.0002968103,0.00028051843],"domain_scores_gemma":[0.9990268,0.00042789002,0.00008336559,0.000063263295,0.000118340715,0.00028037344],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013586405,0.0004951705,0.0003406217,0.00087049516,0.016937273,0.0063630277,0.00079668703,0.0017659401,0.015858082],"category_scores_gemma":[0.0026620608,0.00028902554,0.00023423029,0.0010113332,0.0063983016,0.003375605,0.0047224327,0.003414724,0.00223363],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012761775,0.000051117127,0.0019507415,0.00014357867,0.0000064870424,0.0023647607,0.8389796,0.00010401573,0.0018220994,0.08356602,0.031128664,0.039755356],"study_design_scores_gemma":[0.000003990634,0.000035698624,0.0030216787,0.00017405365,0.0000051166826,0.0006228178,0.16823341,0.000094823394,0.00060927746,0.0015651592,0.82560974,0.000024107123],"about_ca_topic_score_codex":0.057572335,"about_ca_topic_score_gemma":0.17307222,"teacher_disagreement_score":0.057572335,"about_ca_system_score_codex":0.006760219,"about_ca_system_score_gemma":0.0038772784,"threshold_uncertainty_score":0.114474475},"labels":[],"label_agreement":null},{"id":"W1543019077","doi":"10.21083/csieci.v3i1.287","title":"Black Jazz in the Digital Age","year":2007,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Jazz; Jazz dance; Humanity; Genius; Aesthetics; Consciousness; Conversation; Sociology; Art; Literature; Visual arts; Epistemology; Philosophy; Communication; Theology; Dance","score_opus":0.098374351876357,"score_gpt":0.3577674865511228,"score_spread":0.25939313467476577,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1543019077","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.28129554,0.013141921,0.0019349395,0.06527009,0.0016645268,0.000024665771,0.00005334141,0.00007662506,0.6365383],"genre_scores_gemma":[0.87711906,0.004163679,0.0005470569,0.0032874164,0.0005879038,0.000021998498,0.000018604012,0.0000616033,0.11419263],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990075,0.0004099556,0.000020477693,0.00009780371,0.00021469191,0.00024958886],"domain_scores_gemma":[0.99883085,0.0004366759,0.00013664615,0.000080542224,0.00015805913,0.00035726168],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021015082,0.00032384592,0.00022590454,0.0013774977,0.015051279,0.011067807,0.0005191396,0.0016792086,0.018050818],"category_scores_gemma":[0.0027312213,0.00017546193,0.00013525922,0.0009995236,0.009057999,0.0067018406,0.004875075,0.002885959,0.0015585389],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014084339,0.00005205876,0.0017176435,0.00017654855,0.0000075605717,0.00058568816,0.38509792,0.000051594558,0.0013986228,0.52556413,0.028792877,0.05641451],"study_design_scores_gemma":[0.000008471598,0.000037682137,0.0023934005,0.0002737348,0.000007128218,0.00031244138,0.20330958,0.000079378086,0.0006752673,0.0179563,0.77493256,0.00001408581],"about_ca_topic_score_codex":0.008236877,"about_ca_topic_score_gemma":0.017054724,"teacher_disagreement_score":0.018050818,"about_ca_system_score_codex":0.003426929,"about_ca_system_score_gemma":0.001663408,"threshold_uncertainty_score":0.060386002},"labels":[],"label_agreement":null},{"id":"W1545994347","doi":"","title":"Still Singing for our Lives: Singing in the Everyday Lives of Women through this Century","year":2013,"lang":"en","type":"article","venue":"The Journal of Macrodynamic Analysis (Memorial University of Newfoundland)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Queen's University","funders":"","keywords":"Singing; Demise; History; Everyday life; Aesthetics; Art; Acoustics; Political science; Physics","score_opus":0.013897168276850967,"score_gpt":0.20806243460212318,"score_spread":0.1941652663252722,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1545994347","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9403328,0.0028324104,0.0002802486,0.01235421,0.00023339332,0.000031442694,0.00012210145,0.00001849408,0.043794926],"genre_scores_gemma":[0.98036367,0.0020776573,0.00013705512,0.0012146296,0.000056934325,0.000025718171,0.000042229614,0.000022359596,0.016059853],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9977482,0.0008002491,0.000064234184,0.0001614647,0.00038908914,0.0008367732],"domain_scores_gemma":[0.9973712,0.0006438316,0.0003829912,0.0001054992,0.00043150515,0.0010649743],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022838686,0.00041129862,0.00058528886,0.0015035092,0.022033693,0.0080304,0.0013765162,0.0020397855,0.0036284402],"category_scores_gemma":[0.004618963,0.00038956414,0.0002497042,0.0017838352,0.01953701,0.004560822,0.0055512884,0.0029811661,0.00034280078],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009875821,0.000003943442,0.0021846583,0.000014418612,0.0000014044211,0.00012390086,0.9941712,0.0000023411385,0.00009725508,0.0009090276,0.00066496903,0.001816945],"study_design_scores_gemma":[8.9449196e-7,0.000006553827,0.0030797324,0.00003618544,0.000002073842,0.00005684013,0.98367405,0.0000028830996,0.000027205535,0.00007643819,0.013032034,0.0000051821708],"about_ca_topic_score_codex":0.5070392,"about_ca_topic_score_gemma":0.8054572,"teacher_disagreement_score":0.5070392,"about_ca_system_score_codex":0.017589271,"about_ca_system_score_gemma":0.0138772605,"threshold_uncertainty_score":0.9917279},"labels":[],"label_agreement":null},{"id":"W1546906904","doi":"","title":"Mirjana Lausevic. Balkan Fascination: Creating an Alternative Music Culture in America. Oxford University Press, 2007.","year":2006,"lang":"en","type":"article","venue":"MUSICultures","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Classics; Art; Media studies; Art history; History; Sociology","score_opus":0.02130696550602768,"score_gpt":0.20447838976008,"score_spread":0.18317142425405233,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1546906904","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.002248707,0.8355662,0.0013275775,0.0733812,0.011015755,0.000027466938,0.00047982752,0.00022823454,0.0757249],"genre_scores_gemma":[0.087656915,0.69350374,0.0034905488,0.014732944,0.008214157,0.00017455258,0.00065009395,0.00042505466,0.19115205],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994648,0.00015336432,0.00003761054,0.000054095584,0.00020288312,0.000087200206],"domain_scores_gemma":[0.99881494,0.0004592747,0.00009492667,0.00004433524,0.0004288033,0.00015778883],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008911879,0.001368123,0.00064607675,0.0033220695,0.0040650456,0.0038464097,0.0015321932,0.0028041159,0.024617044],"category_scores_gemma":[0.0017665405,0.00052527984,0.00030200242,0.002965164,0.0018376968,0.004683205,0.0020886888,0.0032999718,0.01211328],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006676148,0.000044420933,0.00040256986,0.0007017027,0.00001479994,0.00020642242,0.0035840748,0.00008043669,0.00021777698,0.019563442,0.8554419,0.11967569],"study_design_scores_gemma":[0.000014780339,0.000020062173,0.0030658045,0.0013022445,0.000019757732,0.00021321468,0.003641257,0.0001038615,0.00045179235,0.0063915197,0.9847564,0.000019255664],"about_ca_topic_score_codex":0.019995032,"about_ca_topic_score_gemma":0.060805514,"teacher_disagreement_score":0.024617044,"about_ca_system_score_codex":0.0019504785,"about_ca_system_score_gemma":0.0020102866,"threshold_uncertainty_score":0.08235222},"labels":[],"label_agreement":null},{"id":"W1548008819","doi":"","title":"The Never-Ending Revival: Rounder Records and the Folk Alliance. Michael F. Scully.","year":2010,"lang":"en","type":"article","venue":"MUSICultures","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Alliance; History; Art; Classics; Archaeology","score_opus":0.02198208502486331,"score_gpt":0.2177638399455756,"score_spread":0.1957817549207123,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1548008819","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0017711548,0.2758027,0.00031601798,0.6094315,0.019848846,0.00002229827,0.00020776743,0.00015136876,0.09244826],"genre_scores_gemma":[0.03798505,0.13161665,0.00067513646,0.08122775,0.008164498,0.000078328514,0.00015198678,0.00029317682,0.7398075],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995022,0.00015806737,0.000022630262,0.00006579746,0.00016296897,0.00008827929],"domain_scores_gemma":[0.99830616,0.00055024936,0.00015294903,0.000079103345,0.0004230362,0.00048851845],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012593487,0.0007091846,0.00034030183,0.0010252334,0.0093676485,0.005080775,0.0008149232,0.0054526227,0.038699403],"category_scores_gemma":[0.004654136,0.00061823655,0.00017723843,0.0011214152,0.002737624,0.0058457633,0.002837199,0.0058128457,0.013748385],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009801573,0.00000890854,0.00010043589,0.00003924355,0.0000012655365,0.000040261322,0.0012013852,0.0000047602425,0.000025864641,0.0032799677,0.9739058,0.021382289],"study_design_scores_gemma":[0.00000355857,0.0000061953224,0.0005600481,0.00023043377,0.0000025379088,0.000099658515,0.004727024,0.000015457974,0.000056410532,0.0017009246,0.99259126,0.0000065439763],"about_ca_topic_score_codex":0.029767942,"about_ca_topic_score_gemma":0.11119702,"teacher_disagreement_score":0.038699403,"about_ca_system_score_codex":0.0016210249,"about_ca_system_score_gemma":0.0028542164,"threshold_uncertainty_score":0.12946248},"labels":[],"label_agreement":null},{"id":"W1551181307","doi":"10.3138/topia.11.181","title":"Race, Technology, and the American Voice","year":2004,"lang":"en","type":"article","venue":"TOPIA Canadian Journal of Cultural Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Race (biology); Sociology; Gender studies","score_opus":0.025609912069579997,"score_gpt":0.23623898122568288,"score_spread":0.21062906915610288,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1551181307","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0008117323,0.96524817,0.00008095749,0.007822723,0.0011361893,0.0000019955398,0.000012736845,0.0000035406467,0.024881976],"genre_scores_gemma":[0.037497383,0.9395752,0.00017202632,0.0049064592,0.0032120626,0.000011100644,0.000027245942,0.000008974841,0.014589623],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992175,0.00023883222,0.000042674557,0.00011170465,0.00030585992,0.00008343281],"domain_scores_gemma":[0.99920696,0.00042907387,0.0000715729,0.000020691421,0.00019905284,0.000072648436],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007733001,0.00044822413,0.0003955688,0.0028876665,0.0020433764,0.004116463,0.00043548463,0.0015053392,0.009726588],"category_scores_gemma":[0.0020539137,0.00017914886,0.0002216407,0.0041677817,0.0038396446,0.0039442154,0.0013615297,0.0014842884,0.0013951089],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000048946622,0.00007154838,0.002498712,0.0015744802,0.000025064757,0.00019486406,0.005249439,0.00012396819,0.00028707125,0.12258236,0.17779204,0.68955153],"study_design_scores_gemma":[0.000004098565,0.000019701463,0.0053927265,0.0019940687,0.000011867986,0.00037135417,0.0026904822,0.000025671008,0.000062444386,0.009963067,0.9794519,0.0000125275865],"about_ca_topic_score_codex":0.014322744,"about_ca_topic_score_gemma":0.021571323,"teacher_disagreement_score":0.014322744,"about_ca_system_score_codex":0.0018140086,"about_ca_system_score_gemma":0.0022887439,"threshold_uncertainty_score":0.032538652},"labels":[],"label_agreement":null},{"id":"W1552946296","doi":"","title":"“Our fiddles sound big. That’s the way I think it should be”: Cape Breton Fiddling and Amplification Practices","year":2012,"lang":"en","type":"article","venue":"MUSICultures","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Memorial University of Newfoundland","funders":"","keywords":"Cape; Sound (geography); Negotiation; Modernism (music); Subject (documents); Romanticism; Dance; History; Art; Globalization; Aesthetics; Art history; Visual arts; Sociology; Acoustics; Archaeology; Social science; Political science; Computer science; Library science","score_opus":0.23601351974745072,"score_gpt":0.2993549965922225,"score_spread":0.06334147684477176,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1552946296","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6903394,0.0033301066,0.007210008,0.015539857,0.00035654972,0.00011028823,0.000024887147,0.000096230346,0.28299272],"genre_scores_gemma":[0.96838164,0.00055682514,0.0015470288,0.00072429684,0.000027959155,0.000028748686,0.000007291071,0.000040978088,0.028685289],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99767834,0.0012088754,0.000059087757,0.00029526892,0.00045292126,0.00030557933],"domain_scores_gemma":[0.99816835,0.0010995542,0.00013297712,0.00015952841,0.00017493671,0.00026454864],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021485188,0.0005347731,0.00025935302,0.0013004459,0.014724248,0.006691552,0.0011143888,0.0019359437,0.008123079],"category_scores_gemma":[0.005863907,0.0003349817,0.00018423163,0.0010225305,0.018453144,0.0034815297,0.005857489,0.0025686633,0.00058577466],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007900171,0.000029214945,0.0030255711,0.00016959386,0.000009268013,0.0030538423,0.87034935,0.00012105863,0.0036027818,0.066143,0.006667391,0.04674989],"study_design_scores_gemma":[0.0000103744205,0.000069925605,0.003842426,0.0004446953,0.000015316673,0.0017063756,0.71589047,0.00026394858,0.0016335745,0.005358944,0.27070802,0.000055961133],"about_ca_topic_score_codex":0.030684913,"about_ca_topic_score_gemma":0.0641515,"teacher_disagreement_score":0.9693151,"about_ca_system_score_codex":0.0055870395,"about_ca_system_score_gemma":0.0023053752,"threshold_uncertainty_score":0.061012626},"labels":[],"label_agreement":null},{"id":"W1555128367","doi":"","title":"Plenary Keynote Presentation II Threshold Choir: Kindness made audible","year":2014,"lang":"en","type":"article","venue":"The Journal of Macrodynamic Analysis (Memorial University of Newfoundland)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Kindness; Choir; Presentation (obstetrics); Psychology; Visual arts; Art; Theology; Philosophy; Medicine","score_opus":0.012382278881993669,"score_gpt":0.19717271976997255,"score_spread":0.18479044088797889,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1555128367","genre_codex":"editorial","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0015883899,0.018008247,0.0017853476,0.1727056,0.55955607,0.0012978219,0.0026606512,0.00043830508,0.24195953],"genre_scores_gemma":[0.015705781,0.011982144,0.0004308282,0.04510235,0.3079908,0.002333147,0.0018090899,0.0005702978,0.6140755],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989091,0.00019626389,0.000061276,0.00023838128,0.0003727291,0.00022218414],"domain_scores_gemma":[0.9969386,0.00064664264,0.00013690372,0.00008905725,0.001092223,0.0010966699],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0018618142,0.0020117604,0.0016866962,0.0011255607,0.0039729774,0.006417355,0.001501073,0.006873575,0.3101665],"category_scores_gemma":[0.0063579646,0.000458553,0.0012384794,0.0008399348,0.0009080695,0.0034161587,0.005285677,0.008781906,0.1215666],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000091832495,0.000026118603,0.000022422813,0.00013630022,0.0000029467897,0.00007044702,0.00016200691,0.00001893324,0.00029066592,0.0014143572,0.990475,0.0072890534],"study_design_scores_gemma":[0.000060882587,0.000100717865,0.000705032,0.00048312268,0.000005938629,0.00013635796,0.0009080312,0.000038975817,0.00016302957,0.0015608239,0.9958209,0.000016293794],"about_ca_topic_score_codex":0.0013015865,"about_ca_topic_score_gemma":0.0013187961,"teacher_disagreement_score":0.3101665,"about_ca_system_score_codex":0.0030581234,"about_ca_system_score_gemma":0.0015549888,"threshold_uncertainty_score":0.9839637},"labels":[],"label_agreement":null},{"id":"W1555285894","doi":"10.7202/1025422ar","title":"Les politiques « Chyennes1 » du rap féminin hardcore","year":2014,"lang":"fr","type":"article","venue":"Recherches féministes","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.15165262678315766,"score_gpt":0.3037923713206881,"score_spread":0.15213974453753043,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1555285894","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11551166,0.005514401,0.004283915,0.019700767,0.00036595782,0.00007751673,0.00008728699,0.000054274482,0.8544042],"genre_scores_gemma":[0.8098756,0.0016197741,0.0014366644,0.0020112656,0.00019162887,0.00012677327,0.000049777394,0.00010409821,0.18458451],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9950358,0.0018993305,0.00010057026,0.0005037089,0.001343298,0.0011171153],"domain_scores_gemma":[0.9972542,0.0012850835,0.0003987873,0.00022422771,0.00044586838,0.00039186887],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023060103,0.0004997256,0.0002656917,0.0010317022,0.012232652,0.0067465804,0.00070369744,0.0021584919,0.015107169],"category_scores_gemma":[0.004938339,0.00030275685,0.00017328883,0.0011908811,0.02000551,0.003274481,0.004684054,0.004166367,0.0013924955],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004443496,0.000020599502,0.0013212202,0.00011291304,0.000005857938,0.0003086737,0.111969635,0.000099004326,0.0008088867,0.82568955,0.014650693,0.044968538],"study_design_scores_gemma":[0.000013253538,0.000048141213,0.009199454,0.0004925404,0.000006532937,0.00053943705,0.055731226,0.00015372754,0.000811592,0.039647155,0.8933237,0.000033160224],"about_ca_topic_score_codex":0.044052664,"about_ca_topic_score_gemma":0.06973825,"teacher_disagreement_score":0.044052664,"about_ca_system_score_codex":0.009057002,"about_ca_system_score_gemma":0.005523269,"threshold_uncertainty_score":0.08759248},"labels":[],"label_agreement":null},{"id":"W1558749316","doi":"","title":"Musical Moments That Matter: Is a Multicultural Human Subject Possible?","year":2005,"lang":"en","type":"article","venue":"The Journal of Macrodynamic Analysis (Memorial University of Newfoundland)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Subject matter; Musical; Multiculturalism; Subject (documents); Psychology; Aesthetics; Art; Visual arts; Computer science; Pedagogy","score_opus":0.016659451875940267,"score_gpt":0.21416101285533173,"score_spread":0.19750156097939148,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1558749316","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4193835,0.00786097,0.0034926198,0.029884603,0.0011841969,0.000049747734,0.000043179476,0.00004176056,0.5380594],"genre_scores_gemma":[0.9909979,0.0006501425,0.0003847873,0.0014647283,0.0001932901,0.000017162984,0.000009934101,0.000027911537,0.0062541487],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99495727,0.0031187204,0.00009996594,0.0003881871,0.0004766184,0.00095924793],"domain_scores_gemma":[0.9957695,0.0014494156,0.0004590203,0.00054163695,0.0005353961,0.0012450423],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0042085736,0.00039167702,0.0005776159,0.0019614757,0.021002041,0.020050613,0.0013215728,0.0024499553,0.006485737],"category_scores_gemma":[0.00760216,0.00031789922,0.00033493317,0.0021634118,0.045972064,0.008807253,0.010084392,0.0028509926,0.00047221256],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000043973752,0.000038359674,0.0031008627,0.00005041438,0.000016204092,0.00037872855,0.71692324,0.000030553438,0.00034834538,0.25392628,0.0034190908,0.021723887],"study_design_scores_gemma":[0.000010378811,0.000023499393,0.0042191804,0.0001761243,0.00002386734,0.00037130062,0.88409835,0.00006756427,0.00021533665,0.036187038,0.0745885,0.000018959143],"about_ca_topic_score_codex":0.016526408,"about_ca_topic_score_gemma":0.026364852,"teacher_disagreement_score":0.9834736,"about_ca_system_score_codex":0.0038639891,"about_ca_system_score_gemma":0.0054660877,"threshold_uncertainty_score":0.0328604},"labels":[],"label_agreement":null},{"id":"W1558871636","doi":"10.7202/1027610ar","title":"What Becomes of the Avant-Guarded? New Music as Subculture","year":2014,"lang":"en","type":"article","venue":"Circuit Musiques contemporaines","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Subculture (biology); Punk; Privilege (computing); Sociology; Grassroots; Subject (documents); Aesthetics; Popular music; Media studies; Literature; Art; Law; Art history; Political science; Computer science; Politics; World Wide Web","score_opus":0.04628152100451877,"score_gpt":0.21718360825092742,"score_spread":0.17090208724640865,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1558871636","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.09853601,0.013242607,0.0045052073,0.055103492,0.0017320522,0.000022638938,0.00004049224,0.000058523754,0.82675904],"genre_scores_gemma":[0.9438939,0.0027090567,0.0008337244,0.0050968416,0.00047844314,0.000022838045,0.000022896666,0.000057123303,0.046885185],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9983271,0.0008009402,0.00003351057,0.00021910273,0.0003030734,0.00031620197],"domain_scores_gemma":[0.9992447,0.00029344455,0.00006129605,0.00010553611,0.000106343665,0.00018865934],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013567552,0.00021570371,0.00022871768,0.00072766375,0.007203439,0.011154523,0.00068283436,0.0013870173,0.0061738873],"category_scores_gemma":[0.0023925502,0.00011303673,0.00014496726,0.0007918925,0.02183454,0.0074435873,0.0036309357,0.002514485,0.00065884343],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025804242,0.000007230029,0.00060966966,0.000032443124,0.000002521155,0.000093501316,0.0515672,0.0000465022,0.00015308402,0.9247354,0.007976644,0.014749955],"study_design_scores_gemma":[0.00001340525,0.000037859798,0.0020938315,0.00022344022,0.0000062720005,0.00029406708,0.107377,0.0002548142,0.00033067094,0.21265642,0.6766899,0.000022402455],"about_ca_topic_score_codex":0.0141459685,"about_ca_topic_score_gemma":0.020932011,"teacher_disagreement_score":0.0141459685,"about_ca_system_score_codex":0.0048715393,"about_ca_system_score_gemma":0.0023861818,"threshold_uncertainty_score":0.035345614},"labels":[],"label_agreement":null},{"id":"W1558879799","doi":"","title":"Glocal Imaginaries and Musical Displacements in the Work of Richard Powers","year":2011,"lang":"en","type":"article","venue":"Postcolonial text","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Musical; Essentialism; Performative utterance; Jazz; Call and response; Hybridity; Metaphor; Identity (music); Popular music; Black music; Diaspora; Aesthetics; Sociology; Literature; Music history; History; Gender studies; Art; Linguistics; Philosophy; Art history","score_opus":0.030758106815454225,"score_gpt":0.221969979364274,"score_spread":0.19121187254881977,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1558879799","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18796901,0.03211013,0.0054397895,0.18528746,0.0036829524,0.00003912301,0.00002446493,0.00014940265,0.5852976],"genre_scores_gemma":[0.95223886,0.0029041946,0.0007248922,0.007789461,0.0005562769,0.00002813736,0.000005638613,0.00010838172,0.035644174],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9948308,0.0037619278,0.000073154544,0.00032925024,0.00062936783,0.00037552931],"domain_scores_gemma":[0.99821126,0.0011180708,0.0001846099,0.00011953883,0.00013190706,0.00023467057],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0032165912,0.00047245683,0.00034457303,0.000642398,0.012760689,0.0065718037,0.0012191156,0.0026673235,0.002810741],"category_scores_gemma":[0.006193944,0.0003896035,0.00024322659,0.00037175845,0.037668653,0.0057994546,0.004870317,0.0062227193,0.000771097],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006671435,0.000024366524,0.00022696063,0.00006825703,0.000007697473,0.00077121885,0.4554431,0.0001056338,0.00041238364,0.4980594,0.033074107,0.0117401965],"study_design_scores_gemma":[0.000027045122,0.000067654306,0.0005230017,0.0002886891,0.000010265444,0.0015721169,0.26382962,0.0001786274,0.0006114282,0.07258621,0.6602588,0.0000465365],"about_ca_topic_score_codex":0.003952046,"about_ca_topic_score_gemma":0.0060842806,"teacher_disagreement_score":0.012760689,"about_ca_system_score_codex":0.0029894616,"about_ca_system_score_gemma":0.0013522729,"threshold_uncertainty_score":0.02169013},"labels":[],"label_agreement":null},{"id":"W1559760526","doi":"","title":"Juxtaposing Aboriginal Hip Hop, Local Heavy Metal Scenes, and Questioning Public Recreation/Leisure Services","year":2011,"lang":"en","type":"article","venue":"MUSICultures","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Alberta","funders":"","keywords":"Popular music; Scholarship; Recreation; Sociology; Active listening; Aesthetics; Visual arts; Media studies; Art; Political science; Communication; Law","score_opus":0.038974044206154496,"score_gpt":0.22850532941507282,"score_spread":0.18953128520891832,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1559760526","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.65811205,0.003895614,0.0009880471,0.008947818,0.00021184934,0.000073732874,0.00007888468,0.000050984167,0.32764107],"genre_scores_gemma":[0.9912192,0.0007144976,0.00036064905,0.00031720943,0.000022354716,0.000012389854,0.0000135885675,0.0000147289265,0.0073254164],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9984487,0.0006527221,0.000027148655,0.000063216976,0.00018725535,0.000620886],"domain_scores_gemma":[0.9993057,0.00022268418,0.00007557872,0.000049197934,0.00011430475,0.00023253879],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012598293,0.00036278716,0.00030031614,0.002231493,0.01620608,0.008736064,0.0012023242,0.0011258363,0.01011295],"category_scores_gemma":[0.0020394363,0.00021138815,0.00025966082,0.0021950232,0.019887872,0.0019068315,0.006882976,0.0011987722,0.0003405147],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000063735606,0.000036141253,0.011638835,0.00021816262,0.000016248556,0.0017798215,0.91901034,0.00010218603,0.00059242547,0.03606577,0.0037974503,0.026678845],"study_design_scores_gemma":[0.0000021601184,0.000008201821,0.0072225467,0.00009836832,0.000013028907,0.00017221554,0.971038,0.00003386642,0.000079647725,0.0013866695,0.019938285,0.000007091548],"about_ca_topic_score_codex":0.663191,"about_ca_topic_score_gemma":0.85858727,"teacher_disagreement_score":0.663191,"about_ca_system_score_codex":0.015592698,"about_ca_system_score_gemma":0.015692186,"threshold_uncertainty_score":0.677585},"labels":[],"label_agreement":null},{"id":"W1560103441","doi":"","title":"Is There Still Traditional Music in Canada? Part 2,347","year":2005,"lang":"en","type":"article","venue":"Canadian Folk Music / Musique folklorique canadienne","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History","score_opus":0.05155017026636886,"score_gpt":0.17351437534072978,"score_spread":0.12196420507436093,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1560103441","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.12937036,0.049569476,0.00035723665,0.0823436,0.002545123,0.00018456127,0.0072172326,0.000064899024,0.7283474],"genre_scores_gemma":[0.2891722,0.026711995,0.0007075382,0.013150157,0.00040333232,0.000074922275,0.0022144176,0.00008096411,0.66748446],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992224,0.00003612605,0.00001782437,0.00005968438,0.00036323848,0.00030077767],"domain_scores_gemma":[0.9989427,0.00007461526,0.000040383642,0.000016642563,0.0006376264,0.00028809314],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00057633594,0.00036895703,0.0002328877,0.0028373597,0.014883848,0.004996407,0.00085552153,0.0013758215,0.044717573],"category_scores_gemma":[0.0018937864,0.000289702,0.00028481756,0.007297857,0.0022394175,0.0009383806,0.0012529889,0.0011136439,0.0022357034],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001343471,0.000089060406,0.03268521,0.0007128309,0.000039922306,0.00075497344,0.02861891,0.00033714017,0.0014187966,0.060168806,0.7339813,0.14105868],"study_design_scores_gemma":[0.000012266878,0.000014875488,0.11669801,0.00040830384,0.000021090373,0.00014083958,0.038082197,0.0001131218,0.0002484827,0.0016281907,0.8425924,0.000040255734],"about_ca_topic_score_codex":0.99572974,"about_ca_topic_score_gemma":0.9990809,"teacher_disagreement_score":0.07501254,"about_ca_system_score_codex":0.07501254,"about_ca_system_score_gemma":0.12608027,"threshold_uncertainty_score":0.5442566},"labels":[],"label_agreement":null},{"id":"W1563301701","doi":"","title":"Extending the Tradition: KlezKanada, Klezmer Tradition and Hybridity","year":2012,"lang":"en","type":"article","venue":"MUSICultures","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Musical; Hybridity; Art; Aesthetics; Literature; History","score_opus":0.04909833527478619,"score_gpt":0.20925903107931643,"score_spread":0.16016069580453024,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1563301701","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.30090368,0.009808855,0.011699336,0.010998436,0.00031131328,0.000030273894,0.000028012555,0.00006118908,0.6661589],"genre_scores_gemma":[0.9867843,0.0008228673,0.0014490152,0.00044362512,0.000058811846,0.000016678061,0.000007092267,0.000023119208,0.010394516],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985316,0.0005840496,0.000054771284,0.0003086218,0.00024567748,0.00027530975],"domain_scores_gemma":[0.9991116,0.00032146936,0.00014419566,0.0002088082,0.00011126257,0.00010260442],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015576473,0.00020358957,0.00029356728,0.0013448149,0.006245593,0.0061745257,0.00069781597,0.001268315,0.004677718],"category_scores_gemma":[0.0025013445,0.00015404445,0.00023721039,0.0011326326,0.021245033,0.0082906885,0.007831165,0.0027535483,0.00058074365],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000036756705,0.000011285528,0.00072658656,0.000029871622,0.000004142633,0.00010347846,0.028779266,0.000044407632,0.00027151033,0.9583685,0.00046854792,0.011155559],"study_design_scores_gemma":[0.000044848966,0.00008122308,0.004456387,0.00019302081,0.000021933693,0.0008175577,0.049538814,0.0003012863,0.00044420597,0.74398714,0.20007996,0.00003365715],"about_ca_topic_score_codex":0.0030422923,"about_ca_topic_score_gemma":0.0054223617,"teacher_disagreement_score":0.9969577,"about_ca_system_score_codex":0.0030519133,"about_ca_system_score_gemma":0.0013663943,"threshold_uncertainty_score":0.022143245},"labels":[],"label_agreement":null},{"id":"W1565069625","doi":"10.4000/volume.4300","title":"“Why is it that we can’t let go of the vinyl record?”","year":2015,"lang":"en","type":"article","venue":"Volume !","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Musée de la Civilisation","funders":"","keywords":"Internet privacy; Computer science","score_opus":0.0844356594511744,"score_gpt":0.2174075384035585,"score_spread":0.1329718789523841,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1565069625","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0053146365,0.016123358,0.0013544428,0.86763215,0.014473179,0.00001029394,0.00015340801,0.00010777936,0.09483081],"genre_scores_gemma":[0.25201195,0.024145562,0.0024797968,0.3903297,0.011630102,0.000061852974,0.000286593,0.00054107804,0.31851345],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.99740076,0.0011433329,0.000087990076,0.00031660407,0.0006224516,0.0004289167],"domain_scores_gemma":[0.9966186,0.0009663874,0.00028849114,0.00031450277,0.0010682732,0.0007437081],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002849094,0.00042378594,0.00029955606,0.0006779704,0.006131937,0.010757574,0.0013189047,0.0042339773,0.0229589],"category_scores_gemma":[0.014069829,0.00023176662,0.00024647338,0.0009864663,0.011671621,0.014823276,0.003079087,0.009220833,0.008287675],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005457993,0.000012457746,0.0011322632,0.00013506394,0.000010774662,0.00013656965,0.008918154,0.000042550448,0.00028195712,0.15161009,0.7956556,0.04201002],"study_design_scores_gemma":[0.000004440645,0.000010184464,0.00079968636,0.0001597235,0.0000027590663,0.00010169959,0.014245519,0.000034260054,0.00015668284,0.010946764,0.97351956,0.000018669249],"about_ca_topic_score_codex":0.027106287,"about_ca_topic_score_gemma":0.039723806,"teacher_disagreement_score":0.027106287,"about_ca_system_score_codex":0.003425125,"about_ca_system_score_gemma":0.0022075651,"threshold_uncertainty_score":0.076805174},"labels":[],"label_agreement":null},{"id":"W1565686174","doi":"10.1093/ml/gcm127","title":"The North American Folk Music Revival: Nation and Identity in the United States and Canada, 1945-1980. By Gillian Mitchell.","year":2008,"lang":"en","type":"article","venue":"Music and Letters","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Queen's University","funders":"","keywords":"Folk music; Popular music; Scholarship; Music history; Musical; Musicology; Music education; History; Sociology; Art history; Literature; Aesthetics; Art; Visual arts; Law; Political science","score_opus":0.020487934766735116,"score_gpt":0.18877310257167879,"score_spread":0.16828516780494368,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1565686174","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.050292492,0.46224043,0.0002617364,0.3082371,0.014942684,0.0000805307,0.0027307237,0.00005440931,0.16115993],"genre_scores_gemma":[0.37203395,0.27925655,0.0007219349,0.028319897,0.0038117275,0.00010646094,0.0017391524,0.00010068114,0.31390962],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.9989604,0.00009419107,0.000026863478,0.0001094449,0.00047811682,0.00033095296],"domain_scores_gemma":[0.99900526,0.00011307144,0.00007682814,0.000015778724,0.00043922153,0.00034986317],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00072563783,0.0006747941,0.00043073465,0.002130724,0.014261232,0.0056608263,0.00145647,0.0022153712,0.0041809534],"category_scores_gemma":[0.0016196596,0.00033084527,0.0002995852,0.0060520093,0.0071015637,0.00299253,0.0024237,0.0041578608,0.00071690127],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003605827,0.000041889485,0.0070497612,0.00028682558,0.000018916395,0.00033639732,0.059729815,0.00012068331,0.00010424139,0.056445688,0.8127556,0.06307414],"study_design_scores_gemma":[0.000004417449,0.0000069778152,0.027137788,0.000564492,0.000011173349,0.000096655196,0.05956538,0.000044812987,0.00006226849,0.0016238836,0.91085726,0.000024986228],"about_ca_topic_score_codex":0.99164855,"about_ca_topic_score_gemma":0.9976035,"teacher_disagreement_score":0.079706356,"about_ca_system_score_codex":0.079706356,"about_ca_system_score_gemma":0.11922112,"threshold_uncertainty_score":0.57831275},"labels":[],"label_agreement":null},{"id":"W1565990649","doi":"","title":"The Fierce Tribe: Masculine Identity and Performance in the Circuit, by Mickey Weems","year":2012,"lang":"en","type":"article","venue":"Indiana Magazine of History (Indiana University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Memorial University of Newfoundland","funders":"","keywords":"Identity (music); Tribe; Gender studies; Sociology; Political science; Art; Aesthetics; Anthropology","score_opus":0.027309895876487817,"score_gpt":0.17677751757440974,"score_spread":0.1494676216979219,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1565990649","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.01899692,0.14314754,0.00025098977,0.5781005,0.011076116,0.00002440307,0.0000830243,0.000027796772,0.24829273],"genre_scores_gemma":[0.32470202,0.09386424,0.00052377826,0.14676669,0.013145663,0.00010273022,0.00006780593,0.00018363819,0.42064342],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99915195,0.00035377833,0.000025424302,0.00009915389,0.00018371745,0.00018608313],"domain_scores_gemma":[0.9988305,0.0006405897,0.000057338417,0.00003550363,0.00016393527,0.0002720265],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014496158,0.0006982733,0.0003900628,0.0008718777,0.021723416,0.012569712,0.0009068625,0.0045211613,0.006249415],"category_scores_gemma":[0.004496275,0.00043673514,0.00015130313,0.0011825778,0.010221315,0.0068510706,0.0031037086,0.006932681,0.0007833373],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000046901572,0.000045642097,0.0013999346,0.00007994175,0.000008200865,0.00015646445,0.04701178,0.000046907968,0.00011909308,0.080032445,0.8258021,0.04525051],"study_design_scores_gemma":[0.000008756141,0.00002139125,0.004757219,0.0004551985,0.000009599019,0.0001782367,0.1002172,0.000051729345,0.00012450844,0.011873543,0.88228035,0.000022315366],"about_ca_topic_score_codex":0.09733138,"about_ca_topic_score_gemma":0.37652254,"teacher_disagreement_score":0.09733138,"about_ca_system_score_codex":0.0034151317,"about_ca_system_score_gemma":0.0070177745,"threshold_uncertainty_score":0.19352967},"labels":[],"label_agreement":null},{"id":"W1566442908","doi":"10.5204/mcj.267","title":"Wasted Whiteness: The Racial Politics of the Stoner Film","year":2010,"lang":"en","type":"article","venue":"M/C Journal","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Politics; Racial politics; Political science; Gender studies; Sociology; Law","score_opus":0.013596849461633087,"score_gpt":0.19421209192649339,"score_spread":0.1806152424648603,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1566442908","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.17723165,0.011633392,0.0026330482,0.20972401,0.004874495,0.000051176765,0.00006600312,0.000094765994,0.5936915],"genre_scores_gemma":[0.8988567,0.0031870438,0.000939619,0.036188398,0.002649088,0.000069105874,0.000035591904,0.00029594693,0.0577785],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99158514,0.005490783,0.00012853667,0.0007906456,0.0010349515,0.00097003666],"domain_scores_gemma":[0.99521756,0.0024390386,0.00050228933,0.00041358545,0.0005851443,0.00084242265],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.006470644,0.0005193323,0.0004347708,0.0015757851,0.034997743,0.018318962,0.0013618227,0.0051686405,0.007893198],"category_scores_gemma":[0.011051024,0.00047744386,0.00032206325,0.0009963333,0.030621594,0.010748236,0.00850385,0.00900694,0.0010903858],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003615813,0.00003949379,0.0011117903,0.00007284123,0.000012623081,0.0007207191,0.49017134,0.000030892847,0.0004939321,0.44432786,0.050003882,0.012978418],"study_design_scores_gemma":[0.000017250779,0.000035461377,0.00175453,0.00034724324,0.000024904812,0.0006190023,0.31385103,0.00014013656,0.0006466452,0.03182631,0.6506908,0.000046674],"about_ca_topic_score_codex":0.016998826,"about_ca_topic_score_gemma":0.02557609,"teacher_disagreement_score":0.034997743,"about_ca_system_score_codex":0.0048675444,"about_ca_system_score_gemma":0.0022223154,"threshold_uncertainty_score":0.035316646},"labels":[],"label_agreement":null},{"id":"W1567182857","doi":"10.31542/j.ecj.167","title":"Edmonton Hiphop Kulture: Techniques of self and cultural sustainability","year":2014,"lang":"en","type":"article","venue":"Earth Common Journal","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"MacEwan University","funders":"MacEwan University","keywords":"Sociology; Autoethnography; Sustainability; Welsh; Identity (music); Aesthetics; Social science; Art; History","score_opus":0.009722157589081947,"score_gpt":0.21635973054107863,"score_spread":0.20663757295199667,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1567182857","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10169759,0.040939033,0.060001343,0.031886254,0.0009975963,0.00038521097,0.00016870858,0.00027915422,0.7636451],"genre_scores_gemma":[0.6920854,0.022090951,0.07882922,0.004222023,0.00019063216,0.00049161655,0.00016426343,0.0001849257,0.20174088],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99772984,0.0013321083,0.000058395584,0.00014217335,0.0005268985,0.00021059664],"domain_scores_gemma":[0.9984365,0.0009197009,0.000090575224,0.00017390186,0.00023515505,0.00014410565],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004073806,0.00047019022,0.0001964773,0.0025054263,0.006655151,0.005838726,0.0011717203,0.0012148417,0.0061636884],"category_scores_gemma":[0.0025118673,0.00020727943,0.00022996735,0.0025079767,0.018971246,0.003257959,0.0050374684,0.0019363869,0.00045078673],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000031833726,0.000031568106,0.00094528275,0.0003676176,0.0000091842585,0.00035763351,0.24437498,0.00024580015,0.00076662813,0.57444674,0.020649008,0.15777369],"study_design_scores_gemma":[0.0000082196675,0.000027563376,0.0032571147,0.0008146825,0.0000111516065,0.00035547628,0.09426239,0.00019247082,0.0009825071,0.06911743,0.83094615,0.00002497871],"about_ca_topic_score_codex":0.086626045,"about_ca_topic_score_gemma":0.19223757,"teacher_disagreement_score":0.91337395,"about_ca_system_score_codex":0.016595356,"about_ca_system_score_gemma":0.013334812,"threshold_uncertainty_score":0.17224365},"labels":[],"label_agreement":null},{"id":"W1568092626","doi":"10.21083/csieci.v1i3.67","title":"Interview with Keiko Uenishi (aka o.blaat)","year":2006,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"AKA; Improvisation; Sound (geography); Ethnic group; The Internet; Phone; Psychology; Art; Sociology; Visual arts; Computer science; World Wide Web; Anthropology; Acoustics; Library science; Physics; Linguistics","score_opus":0.0875727674119476,"score_gpt":0.3271941052217535,"score_spread":0.23962133780980593,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1568092626","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.35935158,0.020232081,0.0040918295,0.47214884,0.013194015,0.00092738663,0.0013618959,0.00019637989,0.12849598],"genre_scores_gemma":[0.6370114,0.00850604,0.0022603632,0.102169335,0.0015405959,0.0014417965,0.00028048473,0.00016561276,0.24662434],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99910825,0.0003591447,0.00003787842,0.000106185245,0.00014101376,0.00024746917],"domain_scores_gemma":[0.99725145,0.0011641999,0.00018576178,0.000048619062,0.0005331735,0.0008167191],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002321142,0.0005174897,0.00063804805,0.0009483353,0.01220217,0.0022760092,0.00058578834,0.0040001,0.016217038],"category_scores_gemma":[0.006624236,0.0006099918,0.00022431112,0.0010628069,0.0028626919,0.0032657152,0.002528153,0.009117371,0.004298753],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002083701,0.00019018381,0.005496171,0.00030263438,0.000008461377,0.0043421458,0.6963244,0.00009686516,0.0058578057,0.0039107664,0.2682067,0.015055523],"study_design_scores_gemma":[0.000012981456,0.00005770595,0.0073836814,0.00021210389,0.0000062802837,0.0008097745,0.64824647,0.00008265444,0.0005104056,0.00059070776,0.3420359,0.000051380128],"about_ca_topic_score_codex":0.023898115,"about_ca_topic_score_gemma":0.04508675,"teacher_disagreement_score":0.023898115,"about_ca_system_score_codex":0.0028917333,"about_ca_system_score_gemma":0.0020993773,"threshold_uncertainty_score":0.054251373},"labels":[],"label_agreement":null},{"id":"W1569724666","doi":"10.1353/pal.2013.0014","title":"As Queer as Hip Hop","year":2013,"lang":"en","type":"article","venue":"Palimpsest","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Queer; Queer theory; Subject (documents); Context (archaeology); sort; Sociology; Aesthetics; History; Gender studies; Art; Computer science; World Wide Web","score_opus":0.023803801442762507,"score_gpt":0.20999665212879617,"score_spread":0.18619285068603367,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1569724666","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.014123957,0.023565596,0.0016329875,0.26323918,0.005580377,0.000042096246,0.00018666449,0.00013853733,0.6914905],"genre_scores_gemma":[0.43799737,0.015038153,0.0010399728,0.076814905,0.002616826,0.000055997953,0.00015908084,0.00015998333,0.46611774],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99786085,0.0009062381,0.00003738318,0.00025500858,0.00044510057,0.00049540016],"domain_scores_gemma":[0.99824834,0.00039211905,0.00014073018,0.00011824749,0.00042736705,0.00067316915],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016947445,0.00030209598,0.00028764582,0.00087699934,0.013569998,0.010069223,0.0005777067,0.0024224517,0.026107311],"category_scores_gemma":[0.0045870463,0.00014327982,0.0002296825,0.0009164944,0.017345494,0.007769618,0.0042944327,0.005641478,0.0032567082],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019149338,0.0000145555505,0.0010699632,0.0000543931,0.000004417889,0.00020152768,0.055342786,0.000040450206,0.00013321741,0.64038754,0.27435932,0.028372725],"study_design_scores_gemma":[0.000003909962,0.000011531241,0.00096324907,0.00020465869,0.000004403355,0.00014050501,0.03408421,0.000028244822,0.000091548056,0.03686757,0.9275867,0.0000134614875],"about_ca_topic_score_codex":0.06370212,"about_ca_topic_score_gemma":0.11701502,"teacher_disagreement_score":0.06370212,"about_ca_system_score_codex":0.0068444386,"about_ca_system_score_gemma":0.010080399,"threshold_uncertainty_score":0.12666261},"labels":[],"label_agreement":null},{"id":"W1569942464","doi":"10.21083/csieci.v7i2.964","title":"Teaching the Ethics of Free Improvisation","year":2011,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":17,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Improvisation; Ambiguity; Sociology; Ideal (ethics); Egalitarianism; Ethnography; The arts; Pedagogy; Variety (cybernetics); Aesthetics; Psychology; Visual arts; Art; Epistemology; Computer science; Political science; Philosophy; Anthropology; Law","score_opus":0.2041231436832823,"score_gpt":0.3709975470896207,"score_spread":0.16687440340633838,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1569942464","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11744034,0.0036345527,0.050425123,0.07790863,0.0009815998,0.00009271914,0.000015537289,0.00012827081,0.7493733],"genre_scores_gemma":[0.9683007,0.00070661044,0.0027405068,0.0017488002,0.00017185902,0.000052755753,0.00000546532,0.00004760847,0.026225662],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9921812,0.0059434343,0.00012640061,0.00035575833,0.0007979027,0.00059528934],"domain_scores_gemma":[0.9913696,0.0064481343,0.0005063374,0.00072304544,0.00040416827,0.000548702],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0065681096,0.00036968777,0.0002336294,0.00063861726,0.008660239,0.008428067,0.0009970065,0.0024111771,0.003655707],"category_scores_gemma":[0.009806279,0.0002368366,0.00022096909,0.00040253607,0.05937161,0.006133178,0.0049683256,0.0054772273,0.00053755887],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000077964105,0.000021187267,0.00023360478,0.000031266733,0.0000025256963,0.000074312506,0.051857535,0.00027020872,0.00017928718,0.9362126,0.0035805686,0.0075290883],"study_design_scores_gemma":[0.000016197151,0.000030320725,0.0005801189,0.00021824635,0.000004077355,0.00015021225,0.050170645,0.0008005083,0.0010341265,0.69014895,0.2568316,0.0000149426905],"about_ca_topic_score_codex":0.0025575284,"about_ca_topic_score_gemma":0.0027069359,"teacher_disagreement_score":0.008660239,"about_ca_system_score_codex":0.005789146,"about_ca_system_score_gemma":0.004762985,"threshold_uncertainty_score":0.042003393},"labels":[],"label_agreement":null},{"id":"W1570611543","doi":"","title":"Country Western Music","year":2002,"lang":"zh","type":"article","venue":"英语辅导：初三年级","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Political science","score_opus":0.051671311850415104,"score_gpt":0.1913710870277429,"score_spread":0.1396997751773278,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1570611543","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.004025808,0.0013384658,0.00034021505,0.0009307853,0.001229331,0.00003541395,0.0007586416,0.0003878814,0.99095345],"genre_scores_gemma":[0.0163949,0.0011946616,0.00087648764,0.0011326459,0.00024911104,0.0000412567,0.0014845617,0.00023574498,0.97839063],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99959046,0.000038265385,0.000021287498,0.000071090886,0.00018118012,0.0000977785],"domain_scores_gemma":[0.99924624,0.000039502538,0.000037726597,0.00008714756,0.00028045615,0.0003090062],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00040284585,0.00051682274,0.00028815362,0.00211352,0.003921957,0.005207248,0.00050180044,0.00081001443,0.28473616],"category_scores_gemma":[0.0013291896,0.00022905505,0.00020676365,0.0027578021,0.0007224022,0.0017140239,0.0024735136,0.0011714525,0.11496299],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011215743,0.000036292447,0.0016442934,0.00016510305,0.0000067499627,0.00030708418,0.0012817549,0.000025000587,0.0015430748,0.017186794,0.8020051,0.1756864],"study_design_scores_gemma":[0.0000034370287,0.000008903334,0.002211443,0.000039023915,0.0000018542386,0.0001717873,0.00044082163,0.000011031118,0.0001549338,0.00023295656,0.9967199,0.000003924491],"about_ca_topic_score_codex":0.008308696,"about_ca_topic_score_gemma":0.026339317,"teacher_disagreement_score":0.28473616,"about_ca_system_score_codex":0.00090113754,"about_ca_system_score_gemma":0.0013814396,"threshold_uncertainty_score":0.95253736},"labels":[],"label_agreement":null},{"id":"W1577136498","doi":"","title":"African Popular Culture and the Path of Consciousness: Hip-hop and the Culture of Resistance in Nigeria","year":2014,"lang":"en","type":"article","venue":"Postcolonial text","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":39,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Popularity; Consciousness; Appeal; Resistance (ecology); Hop (telecommunications); Popular culture; Sociology; Public sphere; Media studies; Aesthetics; Gender studies; Political science; Art; Psychology; Telecommunications; Computer science; Politics; Law","score_opus":0.00828238466198856,"score_gpt":0.20271017531569555,"score_spread":0.194427790653707,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1577136498","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.89158666,0.0068126633,0.00022123806,0.0139104035,0.0002592049,0.000021500393,0.000017491235,0.0000047296444,0.08716613],"genre_scores_gemma":[0.99594927,0.0017721176,0.000048122107,0.00029231058,0.0000290672,0.0000049752784,0.0000022602212,0.000003092516,0.0018988481],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99927527,0.00041971746,0.000030453622,0.00003231751,0.00007159868,0.00017056994],"domain_scores_gemma":[0.99906784,0.00049070327,0.00022941167,0.000025732674,0.00006135619,0.00012508334],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012297537,0.00026531858,0.00019289932,0.0011354354,0.008496507,0.006309334,0.0003370238,0.000998197,0.003825303],"category_scores_gemma":[0.0023594159,0.00020937662,0.00008911661,0.0013238903,0.011371274,0.0030055344,0.0029852518,0.0018872074,0.00020173224],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004805833,0.000045085097,0.008742042,0.00018749341,0.000004342071,0.0018077726,0.9102406,0.00002481972,0.00074081885,0.062341616,0.0014902699,0.014327121],"study_design_scores_gemma":[0.0000036911385,0.000029324066,0.010389728,0.00044743207,0.000007681381,0.0005755866,0.9594566,0.000040544386,0.00023239238,0.0021859924,0.026620548,0.000010488495],"about_ca_topic_score_codex":0.008200066,"about_ca_topic_score_gemma":0.014752471,"teacher_disagreement_score":0.008496507,"about_ca_system_score_codex":0.0025949418,"about_ca_system_score_gemma":0.0022090622,"threshold_uncertainty_score":0.018827736},"labels":[],"label_agreement":null},{"id":"W1577173593","doi":"","title":"Plenary Keynote Presentation VI Our voice: Past, present and future","year":2014,"lang":"en","type":"article","venue":"The Phenomenon of Singing","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Presentation (obstetrics); Plenary session; Singing; Phenomenon; Library science; Art history; History; Management; Philosophy; Computer science; Medicine; Epistemology","score_opus":0.018904376406868737,"score_gpt":0.22087688083818693,"score_spread":0.2019725044313182,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1577173593","genre_codex":"editorial","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00066415477,0.015738428,0.0015088965,0.111919336,0.72943944,0.0006361312,0.0010497432,0.00045134686,0.13859251],"genre_scores_gemma":[0.007931427,0.016497841,0.0006308544,0.042951293,0.4565309,0.0013482312,0.0016573386,0.00058025314,0.47187194],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982672,0.00029565574,0.000111422836,0.00031338,0.0006750108,0.00033737006],"domain_scores_gemma":[0.99471915,0.0006916139,0.00026625543,0.00014265538,0.0022176972,0.0019626427],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.002302143,0.0019030346,0.00174559,0.0011934856,0.003543975,0.009523196,0.0017975903,0.0070887688,0.3114362],"category_scores_gemma":[0.0100276945,0.00039682575,0.0013729524,0.0010679847,0.00089824316,0.005081464,0.0064592864,0.00952487,0.20720135],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000056871686,0.000022976354,0.000028612429,0.00016905267,0.0000027346223,0.00007671475,0.00010770747,0.000021971893,0.00027283313,0.0013515496,0.9840475,0.01384146],"study_design_scores_gemma":[0.000028988152,0.00006260408,0.0003219045,0.00045035128,0.000004750136,0.00013640373,0.0006341481,0.000034384517,0.00009217724,0.0013063563,0.99691147,0.000016365926],"about_ca_topic_score_codex":0.0009321008,"about_ca_topic_score_gemma":0.0007044338,"teacher_disagreement_score":0.3114362,"about_ca_system_score_codex":0.002797541,"about_ca_system_score_gemma":0.0018402509,"threshold_uncertainty_score":0.9821527},"labels":[],"label_agreement":null},{"id":"W1578159069","doi":"","title":"Spirit Wrestlers: Doukhobor Pioneers' Strategies for Living, CD-ROM","year":2004,"lang":"en","type":"article","venue":"Ethnologies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"CD-ROM; Gerontology; Medicine; Computer science","score_opus":0.05752836352879222,"score_gpt":0.26223860666853444,"score_spread":0.20471024313974223,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1578159069","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6877565,0.0011625463,0.005327141,0.007344727,0.00065457996,0.00027943356,0.0001281804,0.00022174047,0.29712507],"genre_scores_gemma":[0.79015136,0.00048008532,0.0057234163,0.0011110379,0.00004289542,0.00014232994,0.00007753199,0.0001746186,0.20209673],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99932444,0.00028048237,0.000016345772,0.00007359931,0.00007875882,0.00022643173],"domain_scores_gemma":[0.99921596,0.00014715239,0.000040486786,0.00006923597,0.00004663415,0.0004804895],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023455021,0.00027298674,0.00016437782,0.0008120415,0.01236714,0.005538268,0.0007903429,0.00096109795,0.0177773],"category_scores_gemma":[0.0016754565,0.00024756358,0.00015208,0.0005794062,0.0034020047,0.0026871113,0.0077144625,0.0017142596,0.001542639],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00032285004,0.0003632979,0.010542483,0.00024546476,0.000010589329,0.0012436371,0.6435657,0.00008572764,0.0069489577,0.13101953,0.052914087,0.15273769],"study_design_scores_gemma":[0.00003242673,0.0000884964,0.005143412,0.00015470195,0.00001176784,0.00037723282,0.484399,0.00012034305,0.0010757541,0.0046949377,0.50388074,0.000021086598],"about_ca_topic_score_codex":0.00415092,"about_ca_topic_score_gemma":0.04108236,"teacher_disagreement_score":0.9958491,"about_ca_system_score_codex":0.0018483037,"about_ca_system_score_gemma":0.002913134,"threshold_uncertainty_score":0.05947095},"labels":[],"label_agreement":null},{"id":"W1578878629","doi":"","title":"East Meets West at Chinese Festivals in Toronto","year":2001,"lang":"en","type":"article","venue":"MUSICultures","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Toronto Arts Council","funders":"","keywords":"George (robot); Musical; Composition (language); Hegemony; Visual arts; History; Art; Media studies; Sociology; Literature; Art history; Political science; Law","score_opus":0.022203341934977857,"score_gpt":0.23186855712168156,"score_spread":0.2096652151867037,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1578878629","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.68736064,0.009061399,0.00073427573,0.018541588,0.0040397127,0.00014961037,0.0016643743,0.00021951612,0.27822888],"genre_scores_gemma":[0.832328,0.00253912,0.00034731417,0.0008251889,0.00027524392,0.000037249214,0.0003649919,0.00009486301,0.16318795],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99955815,0.00006252116,0.000009927176,0.000040774416,0.000090433874,0.00023826357],"domain_scores_gemma":[0.9992599,0.000044964374,0.00003403508,0.000020364872,0.000073680785,0.0005670177],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00047542586,0.00058828853,0.00029739342,0.00085885805,0.020637112,0.0033809994,0.00045499636,0.00062555086,0.01585044],"category_scores_gemma":[0.00054737885,0.00023391537,0.0003124585,0.0019736832,0.0032001932,0.00069104775,0.0028693967,0.0013100591,0.0007622757],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00049310736,0.00007109721,0.026834346,0.00050858565,0.00008349048,0.0049878703,0.5703383,0.00045754662,0.0061711394,0.020116044,0.31645685,0.05348168],"study_design_scores_gemma":[0.00001765383,0.00006224072,0.08749304,0.00015481102,0.00003247585,0.00024198544,0.33343953,0.00011713341,0.0008253253,0.00040162622,0.577174,0.000040170304],"about_ca_topic_score_codex":0.7503748,"about_ca_topic_score_gemma":0.96609116,"teacher_disagreement_score":0.2496252,"about_ca_system_score_codex":0.019914543,"about_ca_system_score_gemma":0.013922056,"threshold_uncertainty_score":0.5021906},"labels":[],"label_agreement":null},{"id":"W1580074309","doi":"10.1515/9781474473293","title":"Jazz in American Culture","year":2019,"lang":"en","type":"book","venue":"Edinburgh University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":22,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Jazz; Blues; Art; Art history; Musical; Literature; Performance art","score_opus":0.022210979401766577,"score_gpt":0.17963102471128564,"score_spread":0.15742004530951906,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1580074309","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18670456,0.028055405,0.00014281068,0.04096913,0.0024511693,0.00002162218,0.00012543645,0.000052227937,0.7414775],"genre_scores_gemma":[0.82461584,0.023837682,0.00021570313,0.018541671,0.0011640241,0.000051910483,0.00011451058,0.00006674389,0.131392],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99931145,0.00021461432,0.000025270305,0.000076085096,0.00013923796,0.0002333087],"domain_scores_gemma":[0.9995671,0.00005399607,0.000042956985,0.000019455556,0.00011079074,0.00020556229],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00075592194,0.00031290684,0.00024020893,0.00078419945,0.015190696,0.006535496,0.0004959386,0.00093899283,0.013553585],"category_scores_gemma":[0.0009969306,0.00011206106,0.00012736775,0.0017783196,0.004908561,0.0022669197,0.00316608,0.0025239727,0.0014352383],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006574826,0.00022176046,0.014325286,0.0002471561,0.00001957085,0.0010344221,0.39159054,0.0000467079,0.0010954461,0.1788355,0.30852398,0.10399394],"study_design_scores_gemma":[0.0000057396423,0.000024492398,0.019008182,0.00020854903,0.000008317516,0.0002887387,0.14228545,0.000031746462,0.00006676073,0.00207693,0.835979,0.000016124419],"about_ca_topic_score_codex":0.04993927,"about_ca_topic_score_gemma":0.07740457,"teacher_disagreement_score":0.04993927,"about_ca_system_score_codex":0.0033285979,"about_ca_system_score_gemma":0.002422053,"threshold_uncertainty_score":0.099297166},"labels":[],"label_agreement":null},{"id":"W1580213967","doi":"","title":"Carey Young: Counter Offer","year":2009,"lang":"en","type":"article","venue":"Research Online (Goldsmiths University of London)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Exhibition; Citizen journalism; Event (particle physics); Visual arts; Media studies; Power (physics); Work (physics); Participatory design; Sociology; Public relations; Political science; Art; Engineering; Computer science; World Wide Web; Operations management","score_opus":0.0652829065414535,"score_gpt":0.2775722519282221,"score_spread":0.2122893453867686,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1580213967","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0918904,0.0038961086,0.000872577,0.08138124,0.008570038,0.0002830661,0.00057136227,0.00024281413,0.81229234],"genre_scores_gemma":[0.15878646,0.0009993225,0.0003435286,0.00944152,0.00044698283,0.000083727806,0.000117354626,0.00010978869,0.8296714],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99928683,0.000094813426,0.000009219227,0.00007053438,0.00015032433,0.00038834446],"domain_scores_gemma":[0.9988373,0.00014981942,0.000045002053,0.000037774218,0.00013563289,0.00079453504],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00091743405,0.00040484394,0.00021308819,0.0004036514,0.016755879,0.0030320915,0.00065524277,0.0033117663,0.09866784],"category_scores_gemma":[0.0028165397,0.00026249647,0.00022870916,0.00052682596,0.0025689893,0.0017028118,0.0047740648,0.00330825,0.0072647305],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001425595,0.00007896991,0.002455876,0.000121016375,0.0000056171584,0.0031212212,0.046563134,0.000036731984,0.0010192062,0.048877403,0.86630976,0.031268507],"study_design_scores_gemma":[0.000009434763,0.000026950314,0.0023353247,0.0000815876,0.0000025946242,0.00031132583,0.02828566,0.000017705455,0.00019582507,0.00047710887,0.968246,0.000010470525],"about_ca_topic_score_codex":0.210886,"about_ca_topic_score_gemma":0.553884,"teacher_disagreement_score":0.210886,"about_ca_system_score_codex":0.0050026192,"about_ca_system_score_gemma":0.008194643,"threshold_uncertainty_score":0.419317},"labels":[],"label_agreement":null},{"id":"W1585070537","doi":"","title":"Andy Jones, The Queen of Paradise’s Garden","year":2010,"lang":"en","type":"article","venue":"Newfoundland and Labrador Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Queen (butterfly); Paradise; Art; Art history; Zoology; Biology","score_opus":0.02499223760914978,"score_gpt":0.24430585815871433,"score_spread":0.21931362054956455,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1585070537","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.006754289,0.096163064,0.0005900326,0.52595466,0.02662903,0.000060404014,0.00089565467,0.00023776229,0.34271502],"genre_scores_gemma":[0.019368505,0.010199608,0.0002874813,0.028690238,0.0011914688,0.000023521552,0.0001316617,0.00011611882,0.9399915],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986071,0.00024281461,0.000039181043,0.00022057851,0.00032416295,0.00056617305],"domain_scores_gemma":[0.99781895,0.00028737687,0.00008461822,0.00009791035,0.00057659094,0.0011346459],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014795694,0.0006177488,0.0004445367,0.00090869574,0.023491982,0.007759093,0.0011799115,0.0044129533,0.057954468],"category_scores_gemma":[0.0029746902,0.00051419757,0.00038225623,0.0012338808,0.004423367,0.003884842,0.002491111,0.006078539,0.008358628],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020855707,0.000011092768,0.00035577142,0.00003638788,0.0000043880714,0.000112028596,0.0017503937,0.000027988914,0.00007321618,0.0069675664,0.97977644,0.010863888],"study_design_scores_gemma":[0.0000019587299,0.000002300283,0.0009650515,0.000046902132,0.0000019385905,0.000026052763,0.0029049413,0.0000059566737,0.000031512634,0.0002860776,0.9957195,0.000007888631],"about_ca_topic_score_codex":0.7762687,"about_ca_topic_score_gemma":0.94437635,"teacher_disagreement_score":0.22373128,"about_ca_system_score_codex":0.019964028,"about_ca_system_score_gemma":0.017913375,"threshold_uncertainty_score":0.45009774},"labels":[],"label_agreement":null},{"id":"W1587169104","doi":"10.1163/15685152-00223p02","title":"Post-War Trauma and Postmodern Love","year":2014,"lang":"en","type":"article","venue":"Biblical Interpretation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Saskatchewan","funders":"","keywords":"Postmodernism; Literature; Allegory; Musical; Consonance and dissonance; Art; Rhetorical question; History; Aesthetics; Sociology","score_opus":0.016783598141572712,"score_gpt":0.2253826469399888,"score_spread":0.2085990487984161,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1587169104","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.34278798,0.018437715,0.0034286894,0.037340358,0.00094096054,0.000048786926,0.000068718764,0.000050617873,0.5968962],"genre_scores_gemma":[0.9711717,0.0033480485,0.00026030876,0.0012397241,0.00037395873,0.00004084398,0.00001836998,0.000021922651,0.023525078],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99732494,0.0015888483,0.00006110272,0.00021363342,0.0003461715,0.00046523352],"domain_scores_gemma":[0.9982839,0.0008971424,0.00028656443,0.00026265904,0.00011378871,0.00015595536],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0030956268,0.00040133562,0.00036119437,0.0015982243,0.009171564,0.010299576,0.0011373044,0.0023758,0.006937541],"category_scores_gemma":[0.004033704,0.00024911374,0.00025299808,0.0014989004,0.04643725,0.008402776,0.007223915,0.0038816454,0.00076686003],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000027379421,0.000026374764,0.00072609755,0.000055018823,0.000004504855,0.000573702,0.34199765,0.000050888415,0.0001769171,0.6472227,0.0021823929,0.0069563845],"study_design_scores_gemma":[0.000031192863,0.000101586986,0.0039590737,0.0005425778,0.000008849659,0.0026709007,0.4263133,0.00019959864,0.0006246598,0.24175331,0.32375968,0.000035242712],"about_ca_topic_score_codex":0.0028872313,"about_ca_topic_score_gemma":0.003618641,"teacher_disagreement_score":0.010299576,"about_ca_system_score_codex":0.005269023,"about_ca_system_score_gemma":0.0012934043,"threshold_uncertainty_score":0.038229585},"labels":[],"label_agreement":null},{"id":"W1587485478","doi":"","title":"From Folksmentshn to Creative Individuals: Klezmer Transmission in the Twenty-First Century","year":2012,"lang":"en","type":"article","venue":"MUSICultures","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Veneration; Enthusiasm; Judaism; Ethos; Counterculture; Cultural transmission in animals; Jewish culture; Music history; Art; Popular music; History; Literature; Musical; Art history; Ancient history; Archaeology; Psychology; Political science","score_opus":0.029994722976548864,"score_gpt":0.24049685884467906,"score_spread":0.21050213586813019,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1587485478","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.39182407,0.022039078,0.0033485808,0.026916666,0.0012342407,0.000052047315,0.000035053523,0.000107566484,0.5544426],"genre_scores_gemma":[0.97295105,0.0024645326,0.00036357087,0.0013044334,0.00018955236,0.000016676751,0.000009642029,0.000040042392,0.022660563],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99794704,0.0010789654,0.000060823764,0.00021427777,0.00037997277,0.00031893665],"domain_scores_gemma":[0.9987557,0.0006758578,0.00015179598,0.00010927272,0.00012405755,0.00018333172],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0034724392,0.00033215177,0.00025357452,0.0013063032,0.013280772,0.009892832,0.0007897038,0.0018945193,0.0035282131],"category_scores_gemma":[0.0038852054,0.00026836307,0.00011757136,0.0007692864,0.03216987,0.007372439,0.005920881,0.0038307963,0.0006660415],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000042827283,0.000041078016,0.00070082844,0.00004756021,0.0000036651802,0.00054570945,0.3959768,0.000028329627,0.00030713785,0.57482433,0.004122157,0.023359586],"study_design_scores_gemma":[0.00004751078,0.00012388473,0.0036404405,0.00047664833,0.00001297742,0.0014520333,0.26880264,0.00019621958,0.0013383507,0.15922013,0.56462926,0.000059892747],"about_ca_topic_score_codex":0.0043024183,"about_ca_topic_score_gemma":0.007712036,"teacher_disagreement_score":0.013280772,"about_ca_system_score_codex":0.0056311493,"about_ca_system_score_gemma":0.0026452157,"threshold_uncertainty_score":0.040857017},"labels":[],"label_agreement":null},{"id":"W1587744717","doi":"","title":"You get what you pay for : independent music and Canadian public policy","year":2008,"lang":"en","type":"dissertation","venue":"Brock University Digital Repository (Brock University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Music industry; Oligopoly; Public policy; Context (archaeology); Public relations; Subsidy; Politics; Safeguarding; Business; Political science; Sociology; Music education","score_opus":0.016742016475556055,"score_gpt":0.17456152950213402,"score_spread":0.15781951302657796,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1587744717","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06185461,0.008369666,0.00076583336,0.28944516,0.0005200984,0.000089247784,0.0005842308,0.000060933424,0.63831025],"genre_scores_gemma":[0.8439511,0.00566597,0.0007563025,0.039087374,0.00022096727,0.000063052044,0.00023981402,0.000049594204,0.10996582],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9920695,0.00097527535,0.000092495015,0.00051614526,0.002314285,0.0040322966],"domain_scores_gemma":[0.9898554,0.003010259,0.0005738004,0.0003125288,0.002946164,0.003301697],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005469993,0.0004277293,0.00047514949,0.0028659701,0.02781644,0.014407028,0.0021275512,0.0050472147,0.02268768],"category_scores_gemma":[0.014690728,0.0004289199,0.00055707,0.004215174,0.015563374,0.0041851485,0.0042305207,0.0064197667,0.0007862876],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007057413,0.00007232116,0.007950141,0.00015091033,0.00003181629,0.0002456539,0.011737289,0.00064080366,0.0001905011,0.8385964,0.11059993,0.029713748],"study_design_scores_gemma":[0.00009171508,0.000041983858,0.03748853,0.00096730527,0.0000880862,0.00012163444,0.034079254,0.0011540663,0.00044529067,0.06662327,0.8586864,0.00021238565],"about_ca_topic_score_codex":0.99208647,"about_ca_topic_score_gemma":0.994586,"teacher_disagreement_score":0.21745677,"about_ca_system_score_codex":0.21745677,"about_ca_system_score_gemma":0.30636227,"threshold_uncertainty_score":0.9076392},"labels":[],"label_agreement":null},{"id":"W1591670603","doi":"10.3138/topia.12.63","title":"Fear of (and Fascination with) a Black Planet: The Relocation of Rap by White Non-Urban Youth","year":2004,"lang":"en","type":"article","venue":"TOPIA Canadian Journal of Cultural Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":7,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"White (mutation); Sociology; Ethnic group; Race (biology); Perception; Relocation; Locality; Gender studies; Psychology; Anthropology","score_opus":0.02536656577714554,"score_gpt":0.2040908983655828,"score_spread":0.17872433258843726,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1591670603","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.99303186,0.00023188484,0.000080349695,0.00088943884,0.000027301445,0.000010500228,0.0000102665035,0.0000056020554,0.005712825],"genre_scores_gemma":[0.9978982,0.00021571747,0.0000575124,0.00023258006,0.000010924989,0.000010889829,0.0000068761256,0.0000057723264,0.0015614732],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9982223,0.00082338403,0.000040621715,0.00010290127,0.00026149044,0.0005493877],"domain_scores_gemma":[0.9983814,0.00037459546,0.00044018286,0.000063311054,0.0002219158,0.0005185457],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002327354,0.0003784479,0.0003530971,0.0011341873,0.013079769,0.0039003803,0.00073545193,0.0009766332,0.0022641262],"category_scores_gemma":[0.0033423682,0.00036055397,0.00024749633,0.00064516853,0.0065185544,0.0011325382,0.003277556,0.0016776585,0.00028039297],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004423512,0.00004176323,0.03122747,0.00003619156,0.000010934038,0.001204546,0.9560503,0.000012097246,0.0005523824,0.0011858005,0.0014081037,0.008226126],"study_design_scores_gemma":[0.0000016762558,0.000021324802,0.010044983,0.000024191606,0.000005858541,0.00040923266,0.98583096,0.000015027013,0.000078204816,0.00007906912,0.0034842507,0.000005123901],"about_ca_topic_score_codex":0.062223308,"about_ca_topic_score_gemma":0.14974836,"teacher_disagreement_score":0.9377767,"about_ca_system_score_codex":0.0022913816,"about_ca_system_score_gemma":0.0022371418,"threshold_uncertainty_score":0.123722255},"labels":[],"label_agreement":null},{"id":"W1595958374","doi":"10.4000/volume.775","title":"Deux ouvrages de George Plasketes (ed.) : « Like a Version – Cover Songs in Popular Music » &amp; Play It Again: Cover Songs in Popular Music","year":2010,"lang":"fr","type":"article","venue":"Volume !","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Musée de la Civilisation","funders":"","keywords":"Cover (algebra); George (robot); Popular music; Art; Art history; Visual arts; Engineering","score_opus":0.01614487800168817,"score_gpt":0.21134625885006686,"score_spread":0.19520138084837868,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1595958374","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00358975,0.6101607,0.0026525913,0.16567744,0.05133728,0.00006209773,0.00015618902,0.0001277739,0.16623616],"genre_scores_gemma":[0.037327528,0.44965833,0.0023568813,0.0349523,0.031236285,0.00008443645,0.00023259608,0.00020079988,0.443951],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99898547,0.00029431758,0.000056214045,0.00018633944,0.00037529084,0.00010238212],"domain_scores_gemma":[0.9990482,0.0004434642,0.00007513357,0.000028675035,0.0001902957,0.00021418795],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011557307,0.0011506709,0.000500441,0.0015936822,0.0032840192,0.0058889156,0.00091210124,0.0027366024,0.021228297],"category_scores_gemma":[0.0019745624,0.00040986371,0.00035968985,0.0016829274,0.0022598074,0.009964783,0.002548984,0.0062675886,0.008330215],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000055029213,0.00004594842,0.0006097511,0.00065098103,0.000009880177,0.00032065564,0.01598813,0.00007491842,0.00055886497,0.036332004,0.80044067,0.14491326],"study_design_scores_gemma":[0.000002412365,0.000015679296,0.0010253108,0.00045361373,0.0000036268457,0.00028337585,0.0049359524,0.000034249377,0.00010665633,0.002664097,0.9904653,0.000009821458],"about_ca_topic_score_codex":0.008064559,"about_ca_topic_score_gemma":0.019637728,"teacher_disagreement_score":0.021228297,"about_ca_system_score_codex":0.0019247935,"about_ca_system_score_gemma":0.0021004793,"threshold_uncertainty_score":0.071015656},"labels":[],"label_agreement":null},{"id":"W1599611412","doi":"","title":"La transmusicalité: ces musiciens occidentaux qui optent pour la musique de l’« autre »","year":2008,"lang":"fr","type":"article","venue":"MUSICultures","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Auteur theory; Art history; Movie theater","score_opus":0.025792145668924942,"score_gpt":0.22610403981018112,"score_spread":0.2003118941412562,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1599611412","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.40425408,0.003938842,0.007178078,0.009891219,0.00075135776,0.000055560668,0.000038424023,0.00007064396,0.5738218],"genre_scores_gemma":[0.9583988,0.00072427356,0.0010450553,0.0007652181,0.00013540589,0.000020770949,0.000015008827,0.00003201074,0.03886354],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99816066,0.00076054654,0.000054566724,0.00021137869,0.00044212263,0.00037059255],"domain_scores_gemma":[0.99874914,0.0004398852,0.00018412794,0.00019543407,0.00018046965,0.0002508533],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021627694,0.00051180227,0.0002995572,0.0011697431,0.011193041,0.007981475,0.0007911737,0.0016043939,0.0068688667],"category_scores_gemma":[0.003910627,0.00021763945,0.000256797,0.0011457752,0.019580096,0.0034010233,0.0051894817,0.00489813,0.0008039744],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013813595,0.000036625257,0.003424661,0.000106385465,0.000017411443,0.00091647665,0.4798541,0.00008504492,0.0027790684,0.4752529,0.002898985,0.0344903],"study_design_scores_gemma":[0.000058341906,0.00019531387,0.012579515,0.00045912754,0.00004153585,0.0031750817,0.41581786,0.0005103059,0.0033320074,0.05140832,0.512326,0.00009667216],"about_ca_topic_score_codex":0.013643802,"about_ca_topic_score_gemma":0.024432203,"teacher_disagreement_score":0.013643802,"about_ca_system_score_codex":0.002533131,"about_ca_system_score_gemma":0.0021919538,"threshold_uncertainty_score":0.027128756},"labels":[],"label_agreement":null},{"id":"W1600132875","doi":"","title":"Cooperation and Conflict: The British Musicians' Union, Musical Labour and Copyright in the UK","year":2014,"lang":"en","type":"article","venue":"MUSICultures","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Musical; Legislation; Collectivism; Face (sociological concept); Narrative; Music industry; Political science; Political economy; Law; Sociology; Visual arts; Art; Literature; Individualism; Social science; Music education","score_opus":0.013094785018808277,"score_gpt":0.19275284512933258,"score_spread":0.1796580601105243,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1600132875","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.554749,0.024804685,0.0009185363,0.05454098,0.0008533898,0.00004000095,0.000041958712,0.000029377732,0.36402217],"genre_scores_gemma":[0.9816481,0.0024085885,0.00012458306,0.0019950257,0.00010425767,0.000019617384,0.000008813389,0.000018950715,0.013672104],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.98322195,0.009640698,0.0005028654,0.00066252786,0.0026425805,0.003329356],"domain_scores_gemma":[0.9880514,0.008707568,0.0011420955,0.0004149371,0.0005844814,0.0010995992],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.007117876,0.0002845269,0.00062703807,0.003009323,0.037536032,0.020691488,0.0018202014,0.0077513657,0.009438002],"category_scores_gemma":[0.015785612,0.00049264025,0.00025833183,0.0066514043,0.04482734,0.008322171,0.013634969,0.005521496,0.00063457346],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005063615,0.000023946988,0.0019582491,0.00012514043,0.000008676367,0.0020980067,0.7917018,0.00008899473,0.00014487487,0.18319863,0.0071819494,0.013419081],"study_design_scores_gemma":[0.000021033864,0.000026698683,0.005201192,0.0004289237,0.00000836931,0.00075104454,0.76878697,0.00008336407,0.00009044409,0.01433233,0.21023178,0.00003787074],"about_ca_topic_score_codex":0.20375866,"about_ca_topic_score_gemma":0.2871127,"teacher_disagreement_score":0.20375866,"about_ca_system_score_codex":0.02011194,"about_ca_system_score_gemma":0.011948606,"threshold_uncertainty_score":0.4051453},"labels":[],"label_agreement":null},{"id":"W1600850371","doi":"","title":"Contesting Anthropology’s and Ethnomusicology’s Will to Power in the Field: William R. Bascom’s and Richard A. Waterman’s Fieldwork in Cuba, 1948","year":2013,"lang":"en","type":"article","venue":"MUSICultures","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":16,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Ethnomusicology; Scholarship; Power (physics); Field (mathematics); Anthropology; Diaspora; Interpretation (philosophy); Historiography; Sociology; History; Philosophy; Art; Literature; Archaeology; Gender studies; Law; Political science","score_opus":0.019631600691332848,"score_gpt":0.2382727647896543,"score_spread":0.21864116409832146,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1600850371","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.87253153,0.01540517,0.0010730646,0.04996831,0.0004028481,0.00011116275,0.0000498255,0.000013368686,0.060444593],"genre_scores_gemma":[0.98786014,0.0032302055,0.00037475454,0.0019217004,0.000113410555,0.00009346272,0.000017023438,0.000018997847,0.006370289],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.992021,0.006455092,0.00009612941,0.00028483264,0.00033936187,0.0008034875],"domain_scores_gemma":[0.9936765,0.0046869013,0.0003849282,0.00026278838,0.00054574205,0.00044307922],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.011358544,0.0005582639,0.000472022,0.0032888395,0.021792635,0.010712252,0.0014889147,0.0014312603,0.0017055202],"category_scores_gemma":[0.008480663,0.00070546335,0.00013250651,0.00263432,0.03187692,0.005429567,0.005949521,0.0024425432,0.00015367841],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000035971025,0.000035930912,0.003685691,0.00006527366,0.000005415535,0.00048496723,0.9418145,0.000040419254,0.00032810846,0.035846017,0.005280093,0.012377673],"study_design_scores_gemma":[0.0000054287216,0.000012184166,0.003442234,0.0001960014,0.000004050313,0.00014096263,0.9269638,0.000038316462,0.00032154284,0.0032449136,0.06561772,0.0000127637095],"about_ca_topic_score_codex":0.2367054,"about_ca_topic_score_gemma":0.34538755,"teacher_disagreement_score":0.97820735,"about_ca_system_score_codex":0.016038612,"about_ca_system_score_gemma":0.011887585,"threshold_uncertainty_score":0.4706552},"labels":[],"label_agreement":null},{"id":"W160115470","doi":"10.15173/mjc.v3i0.231","title":"Pimpin’ Pimps: Explaining the Presence of Pimps in Hip-Hop culture.","year":2006,"lang":"en","type":"article","venue":"The McMaster Journal of Communication","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"McMaster University","funders":"","keywords":"Sociology","score_opus":0.038250292906054056,"score_gpt":0.23791728499084294,"score_spread":0.19966699208478889,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W160115470","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5589045,0.0067199655,0.005706545,0.038641904,0.00097589166,0.00011911088,0.00011216815,0.000081016515,0.3887389],"genre_scores_gemma":[0.98908293,0.0011314639,0.0005332527,0.0011030149,0.00013543187,0.000038737173,0.000018628569,0.00001796354,0.00793847],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9981893,0.0010778201,0.000034120552,0.00012519141,0.00025363316,0.000320041],"domain_scores_gemma":[0.9983729,0.0009399533,0.00026101884,0.00007924108,0.00014452917,0.00020235595],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019514628,0.0007723325,0.00028237252,0.00241778,0.01272133,0.006438685,0.0015041399,0.0031982395,0.003628975],"category_scores_gemma":[0.0043968074,0.0004090717,0.0003047225,0.0016000965,0.025227722,0.005669384,0.0053645526,0.003447247,0.0003978953],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012042545,0.00000986392,0.0014944101,0.00007440258,0.0000032114353,0.0013930263,0.89715517,0.000035646695,0.000138904,0.09259083,0.003497794,0.00359477],"study_design_scores_gemma":[0.0000046373843,0.000017041293,0.004122291,0.0003055694,0.000009307327,0.0012120743,0.9196585,0.00026990953,0.00022318741,0.009399517,0.06476342,0.000014500006],"about_ca_topic_score_codex":0.021940999,"about_ca_topic_score_gemma":0.033872243,"teacher_disagreement_score":0.021940999,"about_ca_system_score_codex":0.0047853463,"about_ca_system_score_gemma":0.0024906844,"threshold_uncertainty_score":0.043626606},"labels":[],"label_agreement":null},{"id":"W1601555414","doi":"","title":"Rambling House and The Barrelman: Folklore and Audience Participation in Radio Broadcasting in Ireland and Newfoundland","year":2009,"lang":"en","type":"article","venue":"SETU Waterford Libraries - Open Access Repository","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"Bournemouth University","keywords":"Folklore; Broadcasting (networking); Radio broadcasting; Media studies; Advertising; Public broadcasting; Political science; Telecommunications; History; Sociology; Computer science; Business; Archaeology; Computer security","score_opus":0.041506490587954505,"score_gpt":0.28790510238282724,"score_spread":0.24639861179487274,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1601555414","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.91354555,0.001803962,0.00006909824,0.0048224363,0.00007026983,0.000019107416,0.00015918739,0.000012441319,0.079498075],"genre_scores_gemma":[0.98076195,0.00071388116,0.000031181906,0.0006297741,0.000028391747,0.000012859225,0.000056799825,0.000021030271,0.017744064],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99754375,0.00074631977,0.000065598426,0.00016264437,0.0003485759,0.0011330129],"domain_scores_gemma":[0.99683434,0.00091976364,0.0006366462,0.00010680332,0.00039282598,0.0011095636],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018168568,0.00021014061,0.00038159572,0.0015572136,0.011758827,0.008293782,0.0012569508,0.0012876905,0.013955527],"category_scores_gemma":[0.004250004,0.0003254864,0.00016515312,0.0024254657,0.00850644,0.0030332434,0.0050588315,0.002159514,0.0008353613],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017591273,0.000091154034,0.03515635,0.00011135891,0.000026075004,0.00067694817,0.9240736,0.000055271954,0.000607226,0.0048432765,0.016039813,0.018143058],"study_design_scores_gemma":[0.0000039726847,0.000014706947,0.06023036,0.00009040244,0.0000064517844,0.000082260565,0.916804,0.000011248464,0.000046496993,0.0000743,0.022621285,0.000014534788],"about_ca_topic_score_codex":0.8092093,"about_ca_topic_score_gemma":0.9342541,"teacher_disagreement_score":0.19079071,"about_ca_system_score_codex":0.018906146,"about_ca_system_score_gemma":0.008674526,"threshold_uncertainty_score":0.38382858},"labels":[],"label_agreement":null},{"id":"W160246122","doi":"","title":"An Interview with Laura Penny, or: How I Learned to Stop Worrying and Love Kanye","year":2015,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Penny; Psychology; Philosophy","score_opus":0.1592198206739085,"score_gpt":0.26511343143815164,"score_spread":0.10589361076424314,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W160246122","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.040147994,0.008410262,0.002907457,0.88074017,0.021850955,0.00041001535,0.0002812391,0.00033707006,0.044914894],"genre_scores_gemma":[0.22363603,0.006559117,0.00324494,0.52255213,0.00344261,0.0009408848,0.00016225844,0.00096951285,0.2384924],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.995191,0.0029111195,0.00015488066,0.0004104436,0.00056212547,0.00077039655],"domain_scores_gemma":[0.985252,0.0048491866,0.0006525474,0.00030799973,0.002710099,0.0062281685],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0059103547,0.00094746373,0.0010928191,0.0009922449,0.026120977,0.0076901685,0.0023605004,0.0112006795,0.018741053],"category_scores_gemma":[0.037378643,0.0011730667,0.00069973816,0.0007351899,0.008942775,0.010842626,0.0067515513,0.04275788,0.0065955026],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000735353,0.00012900027,0.0013095859,0.00017066694,0.000012206588,0.0018767182,0.44459537,0.000045991022,0.00083294156,0.0024781327,0.5395728,0.008903035],"study_design_scores_gemma":[0.000010568637,0.00003630962,0.00094868883,0.00037500102,0.000007822391,0.00060799374,0.57278967,0.000050083097,0.0001364345,0.00070378534,0.42427725,0.00005645011],"about_ca_topic_score_codex":0.030294677,"about_ca_topic_score_gemma":0.06537176,"teacher_disagreement_score":0.030294677,"about_ca_system_score_codex":0.005914808,"about_ca_system_score_gemma":0.008073031,"threshold_uncertainty_score":0.06269503},"labels":[],"label_agreement":null},{"id":"W1603692172","doi":"","title":"'If you want to win, you’ve got to play it like a man’: music, gender, and value in Ontario fiddle contests","year":2006,"lang":"en","type":"article","venue":"Aberdeen University Research Archive (Aberdeen University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"York University","funders":"","keywords":"Value (mathematics); Relation (database); Gender relations; Gender studies; Sociology; Psychology; Advertising; Media studies; Mathematics; Business; Computer science","score_opus":0.053471243744504494,"score_gpt":0.21969337120183785,"score_spread":0.16622212745733336,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1603692172","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7789929,0.00093834574,0.0002376878,0.010752279,0.0001841757,0.000025423531,0.000059672388,0.000010858809,0.20879872],"genre_scores_gemma":[0.9811286,0.00027470384,0.00004796243,0.00033173076,0.000015657757,0.000008387152,0.000008882622,0.000011139243,0.018172987],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9977575,0.00070137857,0.000047499732,0.00016510433,0.0004494721,0.0008791463],"domain_scores_gemma":[0.99722964,0.0006974051,0.00026782395,0.00008681747,0.00039412273,0.0013242445],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019165429,0.00027085101,0.00035661127,0.0010114532,0.033231985,0.010262808,0.00090718357,0.0014912277,0.011058271],"category_scores_gemma":[0.005133037,0.00027949325,0.00017194936,0.0013803014,0.018262438,0.0024532392,0.0054478953,0.001868062,0.00043954974],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011833596,0.000047807265,0.022878496,0.000054214637,0.000008695869,0.0005096007,0.9213854,0.00004544948,0.00047780026,0.023319969,0.0088993795,0.022254804],"study_design_scores_gemma":[0.0000050002905,0.000018664943,0.020226015,0.00007821919,0.0000044833428,0.00008136473,0.923467,0.00003656109,0.00008850556,0.0012346649,0.05474305,0.000016407834],"about_ca_topic_score_codex":0.6973249,"about_ca_topic_score_gemma":0.905793,"teacher_disagreement_score":0.30267513,"about_ca_system_score_codex":0.024272263,"about_ca_system_score_gemma":0.01572563,"threshold_uncertainty_score":0.60891527},"labels":[],"label_agreement":null},{"id":"W1604641871","doi":"10.21083/csieci.v5i1.972","title":"\"The Greatest Jazz Concert Ever:\" Pierre Bourdieu and the Shifting Ontology of Bebop","year":2009,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Toronto","funders":"","keywords":"Jazz; Section (typography); Art; Consecration; Art history; Visual arts; Aesthetics; Literature; History; Computer science","score_opus":0.05856798880630606,"score_gpt":0.3521217078891363,"score_spread":0.2935537190828303,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1604641871","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.057324708,0.069478706,0.007871799,0.13764153,0.0017072127,0.00003530115,0.000049203412,0.00009148164,0.72580004],"genre_scores_gemma":[0.9629329,0.0068880534,0.0012078659,0.004894739,0.00052359985,0.00004249118,0.000010745974,0.00005681861,0.023442829],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9964307,0.0027059994,0.000025103602,0.00020535,0.0003231087,0.00030984668],"domain_scores_gemma":[0.9989292,0.0006773013,0.000093194634,0.00005487912,0.00009734912,0.000148065],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00267563,0.00056101254,0.0002787731,0.0016139998,0.014360006,0.0110535,0.0008992776,0.0037067123,0.0021008372],"category_scores_gemma":[0.002729144,0.0002730341,0.0002157465,0.0015590948,0.056795944,0.004868842,0.0030926294,0.0046859374,0.0004468692],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015914417,0.0000050802023,0.000112349546,0.000019887671,0.0000010232772,0.00008411014,0.041075572,0.000058298017,0.000031648146,0.95103735,0.005031073,0.002527647],"study_design_scores_gemma":[0.000019953899,0.000019975167,0.0006744825,0.00038975378,0.000004682762,0.00020223882,0.061996814,0.00026810335,0.00017939629,0.45565844,0.48056424,0.000021931857],"about_ca_topic_score_codex":0.03515798,"about_ca_topic_score_gemma":0.035580844,"teacher_disagreement_score":0.03515798,"about_ca_system_score_codex":0.014504029,"about_ca_system_score_gemma":0.0040578535,"threshold_uncertainty_score":0.10523462},"labels":[],"label_agreement":null},{"id":"W1605694955","doi":"","title":"Dilemmes hip-hop. Cahiers de recherche sociologique, no. 49, 2010","year":2010,"lang":"fr","type":"article","venue":"Cahiers de recherche sociologique","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Sociology; Political science","score_opus":0.17267878742747883,"score_gpt":0.35292747591009505,"score_spread":0.18024868848261622,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1605694955","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009306935,0.25856963,0.0030326797,0.36560878,0.05966633,0.00015626731,0.0036318826,0.0008608877,0.29916656],"genre_scores_gemma":[0.042516258,0.09084014,0.0030146637,0.011317896,0.011078156,0.00016003329,0.001511141,0.00026977473,0.83929193],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99828595,0.00052885467,0.000123439,0.00025486163,0.0005765036,0.00023040602],"domain_scores_gemma":[0.99656665,0.0012558621,0.0002135329,0.00022625737,0.0011212121,0.00061644416],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0034152223,0.0010052143,0.0009450449,0.0015914638,0.0025369858,0.0038084846,0.0009808111,0.003251184,0.1528053],"category_scores_gemma":[0.0075186114,0.00044919513,0.00035221086,0.0010755782,0.0010771361,0.0021796082,0.0022098843,0.004476858,0.047146056],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015281244,0.00007558174,0.0013266051,0.00036125732,0.000018893037,0.00037684359,0.0009095166,0.00007014315,0.00047905033,0.025214994,0.83743113,0.13358304],"study_design_scores_gemma":[0.000017413073,0.000015415993,0.0021312698,0.0002347239,0.000006457287,0.00031688434,0.000641578,0.00005678347,0.00034836927,0.0011916774,0.9950256,0.000013761403],"about_ca_topic_score_codex":0.02111623,"about_ca_topic_score_gemma":0.021136548,"teacher_disagreement_score":0.1528053,"about_ca_system_score_codex":0.003132046,"about_ca_system_score_gemma":0.0048051737,"threshold_uncertainty_score":0.5111847},"labels":[],"label_agreement":null},{"id":"W1605725272","doi":"10.21083/csieci.v7i2.1346","title":"Disruptive Dialogics: Improvised Dissonance in Thelonious Monk and Wu-Tang Clan’s 36 Chambers","year":2011,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Literature; Jazz; Art; Musical; Visual arts","score_opus":0.16114155582341336,"score_gpt":0.34285254138526194,"score_spread":0.1817109855618486,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1605725272","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6395582,0.0013909863,0.0076550078,0.010756472,0.0007440526,0.00010723102,0.000059900303,0.00020675687,0.3395213],"genre_scores_gemma":[0.9778074,0.00007534444,0.0006299516,0.0005918609,0.00003899227,0.000026932841,0.000010852853,0.00004830144,0.020770341],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99719644,0.0015673517,0.00004248164,0.00030135788,0.00030831966,0.0005840204],"domain_scores_gemma":[0.998659,0.0004977481,0.00010357565,0.000120393255,0.00010119833,0.0005180823],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020733923,0.00052578753,0.0003023386,0.0007595475,0.016817218,0.0076502496,0.0011455155,0.0017862329,0.0062083635],"category_scores_gemma":[0.0036391683,0.00030516938,0.00038743994,0.00042357133,0.015831426,0.0033738713,0.0054309852,0.0034406355,0.0006089084],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013968888,0.0000596384,0.00146132,0.000065251515,0.000016652113,0.0022395211,0.8014044,0.00014348347,0.002597267,0.17778479,0.006818371,0.0072695515],"study_design_scores_gemma":[0.000060869515,0.00014337765,0.004918043,0.00023441376,0.000029495777,0.0015947039,0.56632847,0.0016315514,0.003802243,0.03535001,0.38578162,0.00012514963],"about_ca_topic_score_codex":0.013445531,"about_ca_topic_score_gemma":0.03587654,"teacher_disagreement_score":0.016817218,"about_ca_system_score_codex":0.0053810677,"about_ca_system_score_gemma":0.0021640025,"threshold_uncertainty_score":0.039042532},"labels":[],"label_agreement":null},{"id":"W1606592033","doi":"","title":"Attack/Affect: System of a Down and Genocide Activism","year":2011,"lang":"en","type":"article","venue":"MUSICultures","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Genocide; Lyrics; Armenian; Affect (linguistics); Politics; Aesthetics; Sociology; Media studies; History; Political science; Law; Literature; Art; Communication; Ancient history","score_opus":0.04953602076457853,"score_gpt":0.21131801830344585,"score_spread":0.16178199753886732,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1606592033","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.42282513,0.00097385014,0.005367512,0.004501681,0.00017635635,0.00003241239,0.00003647262,0.000058294416,0.5660283],"genre_scores_gemma":[0.9940439,0.00012741215,0.0002796204,0.0002441671,0.00003346731,0.000009283447,0.000007224628,0.000013794238,0.005241273],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988543,0.0005484524,0.000031243737,0.00014438582,0.00017475667,0.00024683287],"domain_scores_gemma":[0.99942976,0.0001816371,0.00011106716,0.0000756595,0.000074786316,0.00012710459],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000925046,0.00031596844,0.00017965623,0.00103722,0.0044220677,0.006934847,0.00036401008,0.000733698,0.0053020334],"category_scores_gemma":[0.0017187332,0.00016010067,0.00014471037,0.0004377083,0.015528726,0.0020039664,0.0042552454,0.0013556115,0.00027348037],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00028332387,0.00005085495,0.014098641,0.00012135578,0.000024997056,0.00078815245,0.296742,0.00043705475,0.006195215,0.63699603,0.00447648,0.03978598],"study_design_scores_gemma":[0.00007654281,0.00029954535,0.08630035,0.00036492772,0.00009516645,0.0014270496,0.42449522,0.00200098,0.0031601882,0.15956073,0.32212064,0.000098661934],"about_ca_topic_score_codex":0.008057447,"about_ca_topic_score_gemma":0.008139417,"teacher_disagreement_score":0.008057447,"about_ca_system_score_codex":0.0027321489,"about_ca_system_score_gemma":0.0007690335,"threshold_uncertainty_score":0.019823194},"labels":[],"label_agreement":null},{"id":"W1608456933","doi":"","title":"Open mic: La profesionalización de la carrera rapera*","year":2015,"lang":"es","type":"article","venue":"Repositorio Digital Institucional de la Universidad de Buenos Aires (Universidad de Buenos Aires)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Humanities; Art","score_opus":0.01833068113748166,"score_gpt":0.27008650815244384,"score_spread":0.2517558270149622,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1608456933","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7411325,0.005036848,0.0026010352,0.012796658,0.0003321395,0.000062786654,0.000057812053,0.00006145082,0.23791882],"genre_scores_gemma":[0.9704297,0.0013255518,0.00037307662,0.0004410471,0.000033941342,0.000021851984,0.000013545038,0.000016344824,0.027344959],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99859196,0.0008066735,0.000034421068,0.00014176306,0.00022484927,0.00020032561],"domain_scores_gemma":[0.999008,0.0003145726,0.00017014485,0.00007550088,0.00019160153,0.00024020989],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013421056,0.00028090537,0.0002468033,0.0008189521,0.007108363,0.0068456614,0.0006374688,0.0009823088,0.007949895],"category_scores_gemma":[0.0027770821,0.00023528427,0.00014804075,0.0006502545,0.0075770156,0.0026324787,0.004055563,0.0014084398,0.00066690723],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007446785,0.000070519265,0.014950072,0.00026194914,0.000014768494,0.0011441758,0.87208503,0.00010460349,0.0017059969,0.055450745,0.007903626,0.046234064],"study_design_scores_gemma":[0.0000067133856,0.000043888635,0.016921997,0.00032942038,0.000014221755,0.0003407622,0.8198743,0.00011688665,0.00032901127,0.00301818,0.15897837,0.000026180822],"about_ca_topic_score_codex":0.031825274,"about_ca_topic_score_gemma":0.05473127,"teacher_disagreement_score":0.031825274,"about_ca_system_score_codex":0.0036103947,"about_ca_system_score_gemma":0.0030692986,"threshold_uncertainty_score":0.063280046},"labels":[],"label_agreement":null},{"id":"W1612556253","doi":"","title":"Leftist, Jewish, and Canadian Identities Voiced in the Repertoire of the Toronto Jewish Folk Choir, 1939-1959","year":2002,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Toronto","funders":"","keywords":"Choir; Judaism; Repertoire; Left-wing politics; Politics; Yiddish; Multiculturalism; Jewish identity; Identity (music); Folk music; History; Sociology; Media studies; Literature; Visual arts; Art; Aesthetics; Political science; Law; Pedagogy; Archaeology","score_opus":0.02243936495887244,"score_gpt":0.186828719101906,"score_spread":0.16438935414303354,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1612556253","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9498769,0.0016908508,0.00010773885,0.0020107585,0.00010818086,0.000018922532,0.00023828032,0.000012482267,0.045935962],"genre_scores_gemma":[0.9897758,0.00040282853,0.000069522684,0.00015997974,0.00001559352,0.0000069979574,0.0000644718,0.000011100453,0.009493726],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9989091,0.00016981694,0.000015912869,0.00009360767,0.00024054921,0.00057100935],"domain_scores_gemma":[0.9990533,0.00012070699,0.00007791623,0.000029841336,0.00031511326,0.00040312097],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013277024,0.00033488177,0.000301013,0.0014756473,0.021995384,0.0039791143,0.00097110687,0.0008486434,0.0045759575],"category_scores_gemma":[0.0017653476,0.00027029254,0.00016331732,0.0017188371,0.010656427,0.00077362556,0.0025914316,0.0013747639,0.00031871584],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012351963,0.0000114615805,0.023752613,0.000043538093,0.000010495253,0.00084994896,0.95184886,0.00004228841,0.0014558195,0.006122009,0.005857904,0.0098816035],"study_design_scores_gemma":[0.0000074314826,0.000033872275,0.12881748,0.000104635685,0.00001395443,0.00034859672,0.7752992,0.00006059257,0.0005161535,0.00016744382,0.094584726,0.000045874574],"about_ca_topic_score_codex":0.97581905,"about_ca_topic_score_gemma":0.99540824,"teacher_disagreement_score":0.060252212,"about_ca_system_score_codex":0.060252212,"about_ca_system_score_gemma":0.023972465,"threshold_uncertainty_score":0.43716246},"labels":[],"label_agreement":null},{"id":"W1614848073","doi":"","title":"Red, Black and Blues: Race, Nation and Recognition for the Bluez","year":2006,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Toronto","funders":"","keywords":"Blues; Race (biology); Ethnic group; History; Gender studies; African american; Sociology; Ethnology; Anthropology; Art history","score_opus":0.03752781477922457,"score_gpt":0.19683484038705418,"score_spread":0.1593070256078296,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1614848073","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2746906,0.014590148,0.00064656895,0.08846587,0.0016736928,0.000015396548,0.00003889089,0.000025958805,0.61985296],"genre_scores_gemma":[0.9314728,0.0028567733,0.0002268519,0.0077212253,0.00037996925,0.000021959964,0.000015656333,0.000038971084,0.057265807],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984505,0.00073049264,0.000020366044,0.00013349902,0.0003110503,0.00035409347],"domain_scores_gemma":[0.9992207,0.00022893555,0.00010319396,0.00003877949,0.00010944023,0.00029890164],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015252343,0.0001850508,0.00024639748,0.00073938374,0.013186561,0.006755895,0.0004579827,0.0010961331,0.007816414],"category_scores_gemma":[0.0025580283,0.00010510814,0.00012769402,0.00065525935,0.011534721,0.0038113063,0.0036852101,0.002794855,0.0006317403],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012364534,0.00007650082,0.0103824595,0.000099161094,0.000012323738,0.0005310574,0.46773794,0.000028521052,0.00090116455,0.37884435,0.064556524,0.07670639],"study_design_scores_gemma":[0.000016282635,0.000049171318,0.023496488,0.0003585196,0.00000801138,0.00036741616,0.50127375,0.000052588966,0.00025474557,0.01969236,0.45440644,0.00002414926],"about_ca_topic_score_codex":0.03700854,"about_ca_topic_score_gemma":0.095241904,"teacher_disagreement_score":0.03700854,"about_ca_system_score_codex":0.0030079784,"about_ca_system_score_gemma":0.00229227,"threshold_uncertainty_score":0.073586226},"labels":[],"label_agreement":null},{"id":"W1615007190","doi":"","title":"Electric picking, Ethnic Spinning: (Re)Defining the \"folk\" at the Winnipeg Folk Festival","year":2008,"lang":"en","type":"article","venue":"MUSICultures","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"York University","funders":"","keywords":"Mainstream; Face (sociological concept); Folk music; Folk culture; Embodied cognition; Ethnic group; Ethnography; Sociology; Folk song; Media studies; History; Visual arts; Anthropology; Art; Literature; Social science; Political science; Law","score_opus":0.052853922713641165,"score_gpt":0.24168637773043394,"score_spread":0.18883245501679277,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1615007190","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5082471,0.031153431,0.005069067,0.07929645,0.00225717,0.00012312751,0.00019788193,0.0000651594,0.37359056],"genre_scores_gemma":[0.95948935,0.005191284,0.0017459288,0.003897743,0.00017043958,0.000025846522,0.000048149617,0.00007782297,0.029353509],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984187,0.0006545438,0.000035623343,0.00013493396,0.00029421595,0.00046197587],"domain_scores_gemma":[0.9989729,0.00020062386,0.00008635335,0.00005865034,0.00028063892,0.00040086734],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0025978188,0.00041581492,0.00025770106,0.0016813427,0.019606655,0.0113382405,0.0011186838,0.0010946592,0.0029892412],"category_scores_gemma":[0.0034682425,0.00022927989,0.0001373388,0.0016273189,0.019686718,0.003998783,0.0033496895,0.0022805994,0.00023454045],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000065772205,0.000015597898,0.0071272473,0.00013224508,0.0000108522645,0.0005664646,0.7806444,0.000120029654,0.0006650893,0.12659536,0.029063549,0.054993417],"study_design_scores_gemma":[0.0000043259033,0.000013646796,0.010484769,0.00023893453,0.000011064546,0.0002252137,0.66239315,0.000055784825,0.00022257566,0.0046393313,0.32169196,0.000019222764],"about_ca_topic_score_codex":0.8104478,"about_ca_topic_score_gemma":0.91215503,"teacher_disagreement_score":0.18955219,"about_ca_system_score_codex":0.022142539,"about_ca_system_score_gemma":0.023060735,"threshold_uncertainty_score":0.381337},"labels":[],"label_agreement":null},{"id":"W1616879847","doi":"10.21083/csieci.v3i2.411","title":"Jazz Consciousness: Music, Race and Humanity","year":2007,"lang":"fr","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanity; Jazz; Race (biology); Consciousness; Aesthetics; Psychology; Sociology; Art; Philosophy; Art history; Epistemology; Gender studies; Theology","score_opus":0.07921622870966266,"score_gpt":0.35883400736258125,"score_spread":0.2796177786529186,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1616879847","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.13450164,0.034705672,0.0059234286,0.076793075,0.0009938222,0.000031695065,0.000042484655,0.000045225715,0.7469629],"genre_scores_gemma":[0.97900397,0.0023017675,0.00038234916,0.00167128,0.00056681334,0.000027039758,0.000008765122,0.000043123207,0.01599491],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9973412,0.0018313634,0.000049180933,0.00022424321,0.00023252518,0.00032141767],"domain_scores_gemma":[0.9957508,0.0034679112,0.00021553694,0.00021722286,0.00015881773,0.00018965136],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0036800595,0.00053697865,0.00056447857,0.0021249643,0.012285351,0.016387314,0.0013475162,0.004766397,0.00892889],"category_scores_gemma":[0.006831408,0.00025503925,0.00028015624,0.0020604087,0.07555031,0.009884007,0.004806832,0.0054217135,0.00033349078],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022835351,0.000013466871,0.00016546102,0.000044907727,0.0000032430314,0.00007274507,0.074879095,0.000030185583,0.00010412472,0.91887224,0.0015827214,0.00420889],"study_design_scores_gemma":[0.000035259032,0.000035152334,0.002007002,0.00039911564,0.000013770617,0.0002042047,0.16016881,0.00018273412,0.00052395236,0.66358316,0.17282455,0.000022424449],"about_ca_topic_score_codex":0.0098484615,"about_ca_topic_score_gemma":0.008095131,"teacher_disagreement_score":0.016387314,"about_ca_system_score_codex":0.004981918,"about_ca_system_score_gemma":0.0028875223,"threshold_uncertainty_score":0.03614652},"labels":[],"label_agreement":null},{"id":"W1618158829","doi":"10.4000/volume.4158","title":"“The last period when the performing arts were at the core of the music industry”: John Mullen’s La Chanson populaire en Grande-Bretagne pendant la Grande Guerre 1914-1918","year":2014,"lang":"en","type":"article","venue":"Volume !","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Musée de la Civilisation","funders":"","keywords":"Period (music); Art; The arts; Core (optical fiber); Visual arts; Humanities; Art history; Engineering; Telecommunications; Aesthetics","score_opus":0.02421733025856999,"score_gpt":0.20645675611713818,"score_spread":0.1822394258585682,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1618158829","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.15199688,0.094671436,0.00065115845,0.16773462,0.004321642,0.000035418576,0.00015380976,0.000052407093,0.58038265],"genre_scores_gemma":[0.54810095,0.015873576,0.00036939816,0.009706794,0.0010234029,0.00003107841,0.00004366371,0.00011259595,0.42473856],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99954706,0.00017816572,0.0000070357796,0.0000629211,0.00009486018,0.00010997879],"domain_scores_gemma":[0.9996518,0.000120519835,0.000042802934,0.000017589555,0.00004506909,0.000122267],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000666312,0.00029842753,0.00018221,0.0005671427,0.01061038,0.0040035206,0.00046758444,0.0012102633,0.004751381],"category_scores_gemma":[0.0014038729,0.00022886558,0.00008316031,0.00079618575,0.009097262,0.0025635567,0.002112976,0.0028167753,0.0008160127],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011961137,0.000022262484,0.0020491343,0.00012952389,0.0000068186077,0.001080133,0.42219514,0.00007159705,0.0008920026,0.23560473,0.29643154,0.041397482],"study_design_scores_gemma":[0.0000041672306,0.000014571554,0.0043612253,0.00016523668,0.000002133575,0.00020022051,0.05175178,0.0000147847295,0.0002552842,0.0025263655,0.94069254,0.00001160749],"about_ca_topic_score_codex":0.114086986,"about_ca_topic_score_gemma":0.33112755,"teacher_disagreement_score":0.114086986,"about_ca_system_score_codex":0.0062740245,"about_ca_system_score_gemma":0.0023933027,"threshold_uncertainty_score":0.22684586},"labels":[],"label_agreement":null},{"id":"W1621770706","doi":"10.21083/csieci.v1i1.6","title":"Gittin' to Know Y'all: Improvised Music, Interculturalism and the Racial Imagination","year":2004,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":66,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"University of California, San Diego","keywords":"Jazz; Musical; Improvisation; Art; Visual arts; Aesthetics; Politics; Popular music; Art history; Studio; German; History; Humanities; Sociology; Law; Political science","score_opus":0.06207526887946544,"score_gpt":0.3459425149934198,"score_spread":0.28386724611395436,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1621770706","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.27587667,0.017332617,0.0027809097,0.09415146,0.0018896644,0.000040554514,0.00002451316,0.00008568525,0.607818],"genre_scores_gemma":[0.97392887,0.0019771436,0.00048440846,0.00481505,0.0003947275,0.000038390222,0.000009739727,0.000057596153,0.018294135],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99669313,0.0021492597,0.000030348117,0.0003241745,0.00038766133,0.00041540418],"domain_scores_gemma":[0.9982913,0.0011025207,0.00014577186,0.00013056055,0.000079820566,0.00024993424],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0034837485,0.0005782747,0.00034190225,0.0015072153,0.019932883,0.010431959,0.0013446292,0.0037649218,0.0030197361],"category_scores_gemma":[0.004059139,0.00019673225,0.00021269622,0.0010965243,0.07471296,0.0071310443,0.006614293,0.005505759,0.00037141217],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003601932,0.000021398619,0.00058374397,0.00003398831,0.0000034490097,0.00018846765,0.6663214,0.000030717452,0.00020787193,0.31843635,0.0072462778,0.0068902555],"study_design_scores_gemma":[0.0000274108,0.00004895226,0.0017626983,0.0002462493,0.000007977805,0.000363368,0.63980013,0.00011668843,0.00025588315,0.06572966,0.2916182,0.000022784332],"about_ca_topic_score_codex":0.022225542,"about_ca_topic_score_gemma":0.027895693,"teacher_disagreement_score":0.022225542,"about_ca_system_score_codex":0.007053699,"about_ca_system_score_gemma":0.002560542,"threshold_uncertainty_score":0.051178455},"labels":[],"label_agreement":null},{"id":"W1625542772","doi":"10.7275/democratic-communique.243","title":"Book Review: Screaming for Change: Articulating a Unifying Philosophy of Punk Rock. By Lars J. Kristiansen, Joseph R. Blaney, Philip J. Chidester, and Brent K. Simonds.","year":2014,"lang":"en","type":"article","venue":"Scholarworks (University of Massachusetts Amherst)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Punk; Screaming; Status quo; Scholarship; Sociology; Philosophy; History; Art history; Political science; Law","score_opus":0.025226527265293498,"score_gpt":0.2112297685715514,"score_spread":0.1860032413062579,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1625542772","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000050087936,0.9076842,0.00011746886,0.061354924,0.02572015,0.000017735552,0.00009647468,0.000015809537,0.0049431133],"genre_scores_gemma":[0.0016676306,0.89637834,0.00025041346,0.052684605,0.024483297,0.00008137631,0.00021171439,0.000041363382,0.024201253],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988329,0.00027156732,0.0001192827,0.00011770966,0.0005838824,0.00007461808],"domain_scores_gemma":[0.99443036,0.0029677756,0.00048028678,0.00007301291,0.0016645974,0.0003838474],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001748008,0.0009057848,0.0015907283,0.0033698794,0.000837892,0.004181092,0.0024697152,0.00478193,0.021064242],"category_scores_gemma":[0.010839994,0.00067508646,0.0006712836,0.004951316,0.001913765,0.0041623013,0.0012610933,0.0061067324,0.013058555],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000100871,0.0000037849834,0.000026246971,0.0012430081,0.00001422474,0.000018642942,0.000036243313,0.000020475305,0.000017638735,0.0009396382,0.97142863,0.026241355],"study_design_scores_gemma":[0.000019609712,0.000012187123,0.00026761933,0.003380939,0.000024110928,0.00018831131,0.000091779984,0.000022600709,0.000023945071,0.0013057654,0.99465054,0.0000125754705],"about_ca_topic_score_codex":0.00835621,"about_ca_topic_score_gemma":0.023975393,"teacher_disagreement_score":0.021064242,"about_ca_system_score_codex":0.00322238,"about_ca_system_score_gemma":0.005512047,"threshold_uncertainty_score":0.070466936},"labels":[],"label_agreement":null},{"id":"W1626512609","doi":"10.21083/csieci.v1i3.50","title":"Asian/American Improvisation in Chicago: Tatsu Aoki and the ‘New’ Japanese American Taiko","year":2006,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":7,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Improvisation; Identity (music); Presentation (obstetrics); Musical; Sociology; Asian americans; Visual arts; Aesthetics; Gender studies; Art; Anthropology; Ethnic group","score_opus":0.025795008262491433,"score_gpt":0.3080265154457265,"score_spread":0.2822315071832351,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1626512609","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9024485,0.002428741,0.0011161346,0.010721036,0.0006608324,0.000042034397,0.000011049706,0.000030772262,0.0825408],"genre_scores_gemma":[0.9802464,0.0012003736,0.00047520016,0.0012502932,0.00013850501,0.000047774294,0.000016010781,0.000039670962,0.016585752],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9989832,0.00042513417,0.000036451813,0.00011205248,0.00014713916,0.00029598468],"domain_scores_gemma":[0.9987196,0.00045251555,0.00011045342,0.00005739945,0.00017465613,0.0004853605],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0024395927,0.0006441867,0.00036062734,0.0011471747,0.025604075,0.0075238682,0.0009460552,0.0019519988,0.0033868786],"category_scores_gemma":[0.001631712,0.00037562512,0.00024733235,0.0015734528,0.01713262,0.004413588,0.005945588,0.005296682,0.00034040515],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000089503104,0.0000599225,0.002974573,0.000105795174,0.00000527988,0.0010317712,0.9724946,0.000028047958,0.0023324522,0.013510958,0.0017269624,0.0056401417],"study_design_scores_gemma":[0.000006985027,0.000041536336,0.004297855,0.0000713392,0.0000108723325,0.0001806181,0.9603009,0.0000605817,0.00046427126,0.0016404182,0.032906093,0.000018426892],"about_ca_topic_score_codex":0.017783554,"about_ca_topic_score_gemma":0.046684682,"teacher_disagreement_score":0.025604075,"about_ca_system_score_codex":0.003878842,"about_ca_system_score_gemma":0.0032525067,"threshold_uncertainty_score":0.035360098},"labels":[],"label_agreement":null},{"id":"W1627850397","doi":"10.22230/cjc.2011v36n2a2081","title":"The Elusive Allure of “Aura”: Sample-based Music and Benjamin’s Practice of Quotation","year":2011,"lang":"en","type":"article","venue":"Canadian Journal of Communication","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":23,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Concordia University","funders":"","keywords":"Relation (database); Reproduction; Painting; Sample (material); Aura; Liveness; Art; Classical music; Electronic music; Popular music; Aesthetics; Work of art; Visual arts; Literature; Sociology; Psychology; Musical; Computer science","score_opus":0.05132939080291404,"score_gpt":0.21151784287883343,"score_spread":0.1601884520759194,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1627850397","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.30861068,0.018627182,0.047372196,0.1315101,0.002446286,0.00011675381,0.00009952512,0.00028166058,0.49093568],"genre_scores_gemma":[0.98172826,0.00108559,0.0028479968,0.002213094,0.00025603766,0.00004575729,0.000011004278,0.000104716106,0.011707517],"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.98412967,0.011395626,0.0003607876,0.0011188916,0.0021853866,0.0008096946],"domain_scores_gemma":[0.9760247,0.01935175,0.0011502063,0.0011641552,0.0016345794,0.00067458046],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0139614,0.00059102214,0.00055483304,0.0024613019,0.016242497,0.008050815,0.0017594938,0.0031205276,0.0031090956],"category_scores_gemma":[0.031436265,0.00038791206,0.00019153245,0.0022463077,0.06466261,0.0076105963,0.005972347,0.0034235988,0.00042637004],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000035705292,0.000006644661,0.00041703705,0.00008718593,0.0000036552208,0.0002323894,0.6810178,0.00004903849,0.00053928734,0.30040848,0.0044492437,0.012753394],"study_design_scores_gemma":[0.000021636846,0.000045667155,0.001393929,0.00061495695,0.00001578508,0.0011819392,0.4573956,0.00046398563,0.001474277,0.085707866,0.4516167,0.00006764079],"about_ca_topic_score_codex":0.04236639,"about_ca_topic_score_gemma":0.05632423,"teacher_disagreement_score":0.04236639,"about_ca_system_score_codex":0.012878348,"about_ca_system_score_gemma":0.005023135,"threshold_uncertainty_score":0.0934394},"labels":[],"label_agreement":null},{"id":"W1634568228","doi":"","title":"Analysis of Popularity of Hip-Hop Culture Among Chinese Young People","year":2015,"lang":"en","type":"article","venue":"Cross-cultural communication","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Popularity; Hop (telecommunications); Popular culture; Chinese society; Youth culture; China; Sociology; Business; Advertising; Gender studies; Psychology; Telecommunications; Media studies; History; Computer science; Social psychology","score_opus":0.03837491093271827,"score_gpt":0.30624638766070855,"score_spread":0.2678714767279903,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1634568228","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9979,0.000094814575,0.000027402964,0.000066557426,0.0000035185044,0.0000075371236,0.00018236726,0.0000012492211,0.0017165191],"genre_scores_gemma":[0.9991602,0.00017708768,0.000030647843,0.00002261773,0.000006749081,0.00000854703,0.00015003403,8.650555e-7,0.00044324496],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.9996798,0.000047615038,0.000049699043,0.000037545375,0.00009942544,0.000085960004],"domain_scores_gemma":[0.99888927,0.00019020484,0.00032712574,0.000037729526,0.00028556833,0.00027019848],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004219458,0.00014505631,0.00015425331,0.0020649345,0.0007995185,0.00070193096,0.00025436803,0.00024359189,0.0023277104],"category_scores_gemma":[0.0013201527,0.000098467164,0.00021818213,0.0023331493,0.00040968516,0.0005009345,0.00045383116,0.0002482971,0.00022475276],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002972388,0.00001939469,0.98446584,0.000052243857,0.000017209784,0.00015343115,0.0070823887,0.000031754204,0.000302446,0.00024330488,0.0003070577,0.0072951936],"study_design_scores_gemma":[0.000001292424,0.000021472493,0.9880015,0.000013972378,0.000011331418,0.00007987431,0.011074043,0.0001311383,0.000062382926,0.000022391598,0.0005760321,0.0000045715437],"about_ca_topic_score_codex":0.039125904,"about_ca_topic_score_gemma":0.043467116,"teacher_disagreement_score":0.039125904,"about_ca_system_score_codex":0.0007463063,"about_ca_system_score_gemma":0.00077673804,"threshold_uncertainty_score":0.07779634},"labels":[],"label_agreement":null},{"id":"W1645892974","doi":"","title":"Productive Dissonance: Classical Music in Tomson Highway’s Kiss of the Fur Queen","year":2009,"lang":"en","type":"article","venue":"Studies in Canadian Literature","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":7,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"KISS (TNC); Cognitive dissonance; Queen (butterfly); Communication; Zoology; Psychology; Biology; Social psychology; Computer science","score_opus":0.027455726300704697,"score_gpt":0.24665504844502703,"score_spread":0.21919932214432233,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1645892974","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.13362238,0.004612663,0.0012374925,0.06709115,0.0017176671,0.00003691332,0.0001070728,0.000044837754,0.7915298],"genre_scores_gemma":[0.9240786,0.0007886273,0.00023720136,0.0044117533,0.0002760615,0.000010281558,0.000021100795,0.000056452023,0.070119895],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99659497,0.0008476001,0.00005020401,0.00028674284,0.0009519596,0.0012684837],"domain_scores_gemma":[0.99727327,0.0010060999,0.00014495286,0.00014046459,0.00083845574,0.0005968109],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0029279594,0.00043654238,0.00037156127,0.001766321,0.050942957,0.011806893,0.0018328687,0.00437183,0.010248491],"category_scores_gemma":[0.007957914,0.00030741055,0.0002503132,0.0021797712,0.03594082,0.003467893,0.004380267,0.00625198,0.0007953349],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008763162,0.000023414239,0.0008330623,0.00006479582,0.000013432517,0.00076760113,0.38413972,0.00013037464,0.00040688415,0.5361016,0.06488456,0.012546927],"study_design_scores_gemma":[0.000020774054,0.00001216283,0.0035755807,0.00015637212,0.000018243689,0.00026387646,0.39886796,0.00013310777,0.0004081236,0.026893947,0.5695994,0.000050486226],"about_ca_topic_score_codex":0.86977214,"about_ca_topic_score_gemma":0.954877,"teacher_disagreement_score":0.13022786,"about_ca_system_score_codex":0.061376307,"about_ca_system_score_gemma":0.03823722,"threshold_uncertainty_score":0.44531834},"labels":[],"label_agreement":null},{"id":"W1656171086","doi":"","title":"Under the Bed and Behind the Barn: Musical Secrets and Familial Vitality in Mennonite Mexico","year":2009,"lang":"en","type":"article","venue":"Journal of Mennonite studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Vitality; Musical; Sociology; Aesthetics; Genealogy; Gender studies; History; Visual arts; Art; Theology; Philosophy","score_opus":0.043514912583423396,"score_gpt":0.27031272170124426,"score_spread":0.22679780911782088,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1656171086","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.99248147,0.00032466385,0.00003822592,0.0009893145,0.0000072459948,0.0000022862089,0.000012261545,9.5237306e-7,0.006143659],"genre_scores_gemma":[0.9979645,0.0003182671,0.00004526644,0.000053001786,0.0000048099673,0.00000374962,0.000010361537,0.0000010378877,0.0015990194],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9998318,0.000060911734,0.0000033187719,0.000025485457,0.0000125377965,0.00006587951],"domain_scores_gemma":[0.999678,0.000098639954,0.00011176615,0.000020686039,0.00002760058,0.00006326922],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006395296,0.00011586265,0.00015888343,0.000503994,0.005070526,0.0014949497,0.00038114618,0.0004010648,0.0023409787],"category_scores_gemma":[0.0012296343,0.00011944722,0.00006730486,0.0004875259,0.002775403,0.000955946,0.002144454,0.00070323015,0.00004220123],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00026637118,0.00023904837,0.3480746,0.00009172189,0.00003391526,0.0014511307,0.5605586,0.00010865943,0.0011534698,0.035720944,0.0029302817,0.0493713],"study_design_scores_gemma":[0.000015277203,0.00006845566,0.39457247,0.00013563261,0.000030744763,0.00029727758,0.5812972,0.00013210812,0.00023479147,0.0019537802,0.021244992,0.000017283264],"about_ca_topic_score_codex":0.09587044,"about_ca_topic_score_gemma":0.2803121,"teacher_disagreement_score":0.09587044,"about_ca_system_score_codex":0.002345403,"about_ca_system_score_gemma":0.00087411486,"threshold_uncertainty_score":0.19062483},"labels":[],"label_agreement":null},{"id":"W1656638594","doi":"","title":"George W. Lyon. Community Music in Alberta: Some Good Schoolhouse Stuff. Calgary: University of Calgary Press, 1999.","year":2002,"lang":"en","type":"article","venue":"MUSICultures","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Carleton University","funders":"","keywords":"George (robot); Art; Media studies; Sociology; Art history","score_opus":0.03356644521638754,"score_gpt":0.18193565889311722,"score_spread":0.14836921367672967,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1656638594","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0017147439,0.8089954,0.00054605777,0.07175067,0.0041306517,0.000028287499,0.0012432158,0.00019406047,0.111396916],"genre_scores_gemma":[0.039580427,0.5778708,0.0018870919,0.013535652,0.0022464667,0.00004081422,0.0011945728,0.00022421216,0.36342007],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993954,0.00006564652,0.000032458607,0.00005380844,0.00029437488,0.0001583729],"domain_scores_gemma":[0.9988973,0.0001826528,0.00005740375,0.000037580085,0.0005624182,0.00026267837],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008826564,0.0014455603,0.00055667246,0.0059222085,0.0063388734,0.004182161,0.002060341,0.0036214634,0.03558428],"category_scores_gemma":[0.0014369081,0.00081738114,0.00036047818,0.012150283,0.003323974,0.0038456442,0.0016564464,0.0032266178,0.008917076],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003248666,0.000020649937,0.0009359791,0.0002170379,0.000005205173,0.00015857855,0.0023421724,0.00012174583,0.00008834867,0.009314196,0.8933881,0.09337549],"study_design_scores_gemma":[0.000006702954,0.0000064205715,0.010184279,0.00048496434,0.000010191031,0.00009126138,0.004167486,0.000027877459,0.00011234745,0.0028912944,0.98199826,0.00001899682],"about_ca_topic_score_codex":0.9203713,"about_ca_topic_score_gemma":0.97760314,"teacher_disagreement_score":0.079628706,"about_ca_system_score_codex":0.018615572,"about_ca_system_score_gemma":0.020265765,"threshold_uncertainty_score":0.16019523},"labels":[],"label_agreement":null},{"id":"W1664899992","doi":"","title":"calling the dog home: a cycle of poems with music","year":2008,"lang":"en","type":"article","venue":"Journal of Mennonite studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Poetry; Art; Communication; Literature; Visual arts; Sociology","score_opus":0.08436571570932193,"score_gpt":0.24884399838936153,"score_spread":0.1644782826800396,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1664899992","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.28974771,0.0037706865,0.016263047,0.032573473,0.0016626081,0.0002716934,0.00013812988,0.0005468897,0.6550257],"genre_scores_gemma":[0.9285345,0.0008503338,0.007657227,0.0023251201,0.0003594668,0.00012029359,0.0000697549,0.0009004037,0.059182893],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9965837,0.0022193787,0.000052146053,0.00025581778,0.00059289864,0.00029603246],"domain_scores_gemma":[0.99519324,0.0022787638,0.0002786184,0.00042600263,0.0006305062,0.0011927617],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003162425,0.0005335672,0.00044076674,0.0023329507,0.021107726,0.017217496,0.0017037579,0.0029319797,0.010498677],"category_scores_gemma":[0.017959328,0.00049268344,0.00031967566,0.0021053506,0.02150279,0.009818714,0.0076518315,0.0054202457,0.0016159558],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008905762,0.00008540453,0.0016985747,0.00008600717,0.000007122425,0.00061321375,0.7853585,0.000053453045,0.0018487315,0.15556377,0.015178294,0.03941786],"study_design_scores_gemma":[0.000020080306,0.00006749002,0.0035152817,0.00035974963,0.00001013802,0.0007747143,0.52834386,0.00031297046,0.0007539622,0.041717462,0.42407325,0.000051015755],"about_ca_topic_score_codex":0.0068505323,"about_ca_topic_score_gemma":0.01966268,"teacher_disagreement_score":0.021107726,"about_ca_system_score_codex":0.0032679555,"about_ca_system_score_gemma":0.004372262,"threshold_uncertainty_score":0.03512156},"labels":[],"label_agreement":null},{"id":"W1667930179","doi":"","title":"The Vocal and Choral Music of Lionel Daunais (1902-1982)","year":2013,"lang":"en","type":"article","venue":"The Journal of Macrodynamic Analysis (Memorial University of Newfoundland)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université de Sherbrooke","funders":"","keywords":"Choir; Vocal music; Singing; Art; Communication; Psychology; Visual arts; Linguistics; Music; Acoustics; Philosophy; Music education; Physics","score_opus":0.010697327571972127,"score_gpt":0.173511412881531,"score_spread":0.16281408530955888,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1667930179","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.70940447,0.012205889,0.0002468555,0.0038204314,0.00029727735,0.00004424254,0.00079776114,0.000028701614,0.27315438],"genre_scores_gemma":[0.9005987,0.0025074824,0.000120607205,0.00044724863,0.00014384552,0.000019910849,0.00018692022,0.000032899432,0.095942326],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9994954,0.00012506254,0.000017920747,0.00011244862,0.00009986853,0.00014939078],"domain_scores_gemma":[0.99940896,0.00023743733,0.00010361123,0.000026079888,0.00011187233,0.0001119936],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006292525,0.0004138176,0.00025740516,0.0028085196,0.007762968,0.0026284482,0.00058860064,0.0008599853,0.00849572],"category_scores_gemma":[0.0020064132,0.00020131757,0.00008784092,0.0023335447,0.004678182,0.0012409231,0.0022064857,0.001521079,0.0013809333],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00032170405,0.00006367611,0.019415021,0.00036532147,0.000024612316,0.002734731,0.8111574,0.0001221583,0.0036677911,0.03678821,0.019986153,0.105353214],"study_design_scores_gemma":[0.000011230109,0.0000908105,0.15880679,0.0003159783,0.000019545723,0.000988984,0.19786455,0.00004776523,0.0010376846,0.0006985906,0.64008206,0.00003589692],"about_ca_topic_score_codex":0.21848665,"about_ca_topic_score_gemma":0.6276438,"teacher_disagreement_score":0.21848665,"about_ca_system_score_codex":0.009783007,"about_ca_system_score_gemma":0.002530703,"threshold_uncertainty_score":0.43442988},"labels":[],"label_agreement":null},{"id":"W167628270","doi":"","title":"Painting Towns White","year":2010,"lang":"en","type":"article","venue":"American cinematographer","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Painting; White (mutation); Art; White paper; Visual arts; Art history; Geography; Archaeology","score_opus":0.0072103729286447545,"score_gpt":0.1968132672426659,"score_spread":0.18960289431402114,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W167628270","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0038819914,0.0009636666,0.00078573,0.002871577,0.001562119,0.000028446524,0.00044419285,0.00033937808,0.9891228],"genre_scores_gemma":[0.023103435,0.00066201476,0.00046391538,0.00062645425,0.00009405044,0.000008061921,0.00014487033,0.00022133083,0.97467583],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997074,0.000023207818,0.0000021293877,0.0000426179,0.000105336665,0.000119302786],"domain_scores_gemma":[0.9996238,0.000020399933,0.000006428779,0.000027945138,0.00015870699,0.0001627077],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00021246597,0.00065228506,0.00024836953,0.00092950586,0.010915993,0.0053409934,0.0004958135,0.0006529014,0.22416122],"category_scores_gemma":[0.0006973968,0.00028042478,0.00032563167,0.0010053283,0.001692591,0.0009951124,0.0021190513,0.0025270744,0.028950116],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006820437,0.000023260029,0.00045774202,0.000050285187,0.000007115033,0.00026304447,0.0028536613,0.00013461236,0.0012084615,0.024935981,0.91490734,0.055090196],"study_design_scores_gemma":[0.0000021687426,0.0000041889452,0.00091774715,0.000025065141,0.0000018011773,0.000042249034,0.0016606839,0.000027907838,0.00019916368,0.00034985383,0.99676454,0.0000045731235],"about_ca_topic_score_codex":0.5462324,"about_ca_topic_score_gemma":0.88532674,"teacher_disagreement_score":0.5462324,"about_ca_system_score_codex":0.0060556214,"about_ca_system_score_gemma":0.0056351847,"threshold_uncertainty_score":0.9128798},"labels":[],"label_agreement":null},{"id":"W1679415859","doi":"","title":"Ron Hynes: \"St. John's Waltz\"","year":2012,"lang":"fr","type":"article","venue":"Canadian Folk Music / Musique folklorique canadienne","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Waltz; History; Art history","score_opus":0.022514168799668385,"score_gpt":0.18765743748505742,"score_spread":0.16514326868538903,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1679415859","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0026480004,0.043978643,0.0007437947,0.29592866,0.056355238,0.000061657396,0.0005897504,0.00051853363,0.59917575],"genre_scores_gemma":[0.0087187225,0.004892386,0.00019634177,0.016585119,0.0018511576,0.000010572998,0.00007663605,0.00015390363,0.96751505],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99938476,0.00007818045,0.00001214159,0.00008363512,0.00027466923,0.00016657577],"domain_scores_gemma":[0.99948055,0.000044866683,0.000015804997,0.000019082276,0.00024055349,0.00019911476],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00058772357,0.0007045094,0.00027644925,0.0009210795,0.011871079,0.004977169,0.00072864385,0.0031468556,0.11066663],"category_scores_gemma":[0.0020547865,0.0002992569,0.00026550077,0.0008394011,0.0023968916,0.002340001,0.0023649593,0.0049195755,0.026641162],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008323917,0.0000024425433,0.00006259644,0.000016510274,9.40218e-7,0.000052456584,0.0006257304,0.000008674545,0.000053844247,0.0066612246,0.9833361,0.009171238],"study_design_scores_gemma":[0.0000011474505,0.0000014479701,0.00022040283,0.000052243082,8.67299e-7,0.000027049902,0.0010237995,0.0000063053167,0.000037828868,0.00034781473,0.9982772,0.0000039576826],"about_ca_topic_score_codex":0.5408581,"about_ca_topic_score_gemma":0.81235707,"teacher_disagreement_score":0.4591419,"about_ca_system_score_codex":0.007989355,"about_ca_system_score_gemma":0.0074390187,"threshold_uncertainty_score":0.92369175},"labels":[],"label_agreement":null},{"id":"W1683739986","doi":"10.18357/ijcyfs31201210474","title":"SOCCER CASUALS: A SLIGHT RETURN OF YOUTH CULTURE","year":2012,"lang":"en","type":"article","venue":"International Journal of Child Youth and Family Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":13,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Ontario Tech University","funders":"","keywords":"Fandom; Casual; Youth culture; Context (archaeology); Football; Sociology; Ethnography; Amateur; Media studies; Popular culture; Gender studies; Social science; History; Anthropology; Political science; Law","score_opus":0.06349095473594916,"score_gpt":0.27287964518087426,"score_spread":0.20938869044492509,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1683739986","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.91333807,0.005212454,0.0016177101,0.013665366,0.0006799842,0.000034221375,0.00024655607,0.000056844125,0.065148905],"genre_scores_gemma":[0.9910616,0.001792115,0.00019788637,0.0008013592,0.00014759508,0.00001429326,0.0000540153,0.000046028985,0.0058852183],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99708635,0.0012410932,0.000117110714,0.00048349146,0.00048988045,0.00058211153],"domain_scores_gemma":[0.9982749,0.00045701928,0.00026958482,0.00018046673,0.00037107777,0.00044697477],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0032533866,0.00034653247,0.00039134762,0.001592026,0.006979797,0.008898994,0.0007951853,0.00094110565,0.0048162024],"category_scores_gemma":[0.0036881734,0.0003333369,0.00022522126,0.0017365755,0.011469564,0.006200863,0.0075199315,0.0023937523,0.00041713382],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003636325,0.00002176648,0.017796457,0.00008917161,0.000009055171,0.0003852614,0.9439974,0.000013781046,0.00033845598,0.018443884,0.0027020166,0.016166463],"study_design_scores_gemma":[0.00000314761,0.000047227688,0.016179536,0.00021247404,0.000007193396,0.0005430451,0.8881437,0.00003094649,0.00024402681,0.0017095832,0.09286526,0.000013867975],"about_ca_topic_score_codex":0.03339823,"about_ca_topic_score_gemma":0.03925126,"teacher_disagreement_score":0.03339823,"about_ca_system_score_codex":0.0030376255,"about_ca_system_score_gemma":0.0021129358,"threshold_uncertainty_score":0.06640768},"labels":[],"label_agreement":null},{"id":"W1695958294","doi":"10.4000/volume.3572","title":"Countercultures: Music, Theory and Scenes","year":2012,"lang":"en","type":"article","venue":"Volume !","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Queen's University","funders":"","keywords":"Art; Visual arts; Computer science","score_opus":0.023338943370224012,"score_gpt":0.19867892189240427,"score_spread":0.17533997852218025,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1695958294","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.017098863,0.051776536,0.0041035614,0.022024684,0.0020096393,0.000037654074,0.00012589914,0.00007984119,0.9027432],"genre_scores_gemma":[0.8831935,0.035925128,0.002513801,0.004358139,0.0032528257,0.00019327433,0.00018315292,0.00010687842,0.07027332],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989446,0.000543434,0.00003453932,0.00014801843,0.00021773117,0.00011176129],"domain_scores_gemma":[0.9987488,0.00086930447,0.00010236869,0.000071662034,0.00008941589,0.00011848088],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008333391,0.00064063957,0.00044514055,0.0028247826,0.004252537,0.015338982,0.0012606016,0.002374172,0.029407436],"category_scores_gemma":[0.0021430883,0.00023677858,0.00032808748,0.0030186437,0.02726168,0.0073557743,0.003163843,0.0028240103,0.0015834942],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010365642,0.000017642576,0.00029382206,0.00016121216,0.0000029525177,0.000058127825,0.015357833,0.00007851894,0.000045688146,0.96263826,0.008754006,0.012581393],"study_design_scores_gemma":[0.000013686719,0.000042918524,0.0022467612,0.0016229824,0.000011365261,0.00041004986,0.054723028,0.0003854513,0.0001425494,0.36877173,0.57160217,0.000027185955],"about_ca_topic_score_codex":0.0044971844,"about_ca_topic_score_gemma":0.0037576354,"teacher_disagreement_score":0.029407436,"about_ca_system_score_codex":0.0046924157,"about_ca_system_score_gemma":0.0018312042,"threshold_uncertainty_score":0.098377705},"labels":[],"label_agreement":null},{"id":"W1697210175","doi":"","title":"Call for Papers and Presentations. The Phenomenon of Singing International Symposium V, 2005.","year":2003,"lang":"en","type":"paratext","venue":"The Journal of Macrodynamic Analysis (Memorial University of Newfoundland)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Memorial University of Newfoundland","funders":"","keywords":"Singing; Phenomenon; History; Psychology; Epistemology; Philosophy; Acoustics; Physics","score_opus":0.011390323825902259,"score_gpt":0.21216977603181914,"score_spread":0.20077945220591686,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1697210175","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0018208288,0.048337776,0.001580512,0.04954116,0.061730165,0.00031291824,0.007897476,0.0011891086,0.82759],"genre_scores_gemma":[0.0027129154,0.005988566,0.0002794878,0.0014961039,0.0020958646,0.00006462148,0.0011748353,0.00012907218,0.98605865],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997478,0.000032738208,0.000015328877,0.000034471428,0.00012419002,0.00004540623],"domain_scores_gemma":[0.9984523,0.00030247294,0.000078523364,0.00007681784,0.00056096475,0.00052885804],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00067106547,0.00063510076,0.00044821817,0.0015163609,0.0012142123,0.0032986403,0.0010654863,0.0020001954,0.60579455],"category_scores_gemma":[0.0029764047,0.00029639027,0.00034741734,0.002070812,0.00031913543,0.0022238335,0.0012793897,0.0012745988,0.27197996],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019414032,0.00001201123,0.0000528411,0.0000696708,0.000001361881,0.00002042575,0.000034026285,0.000010981279,0.00004803177,0.00058304286,0.9642157,0.034932483],"study_design_scores_gemma":[0.000009215425,0.000018500386,0.0012897196,0.00017091085,0.0000033160347,0.00002685444,0.0003066577,0.000017804461,0.000047168243,0.00072510936,0.99738127,0.0000035786425],"about_ca_topic_score_codex":0.005761612,"about_ca_topic_score_gemma":0.018615793,"teacher_disagreement_score":0.60579455,"about_ca_system_score_codex":0.0012523022,"about_ca_system_score_gemma":0.0015844179,"threshold_uncertainty_score":0.56228626},"labels":[],"label_agreement":null},{"id":"W1705986933","doi":"10.21083/csieci.v3i1.82","title":"Looking for the Band: Walter Benjamin and the Mechanical Reproduction of Jazz","year":2007,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Guelph","funders":"","keywords":"Jazz; Musical; Visual arts; Classical music; Art; Aesthetics","score_opus":0.07376348331176251,"score_gpt":0.3557207049591963,"score_spread":0.28195722164743375,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1705986933","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.013263629,0.12618771,0.0052335467,0.39088118,0.01686033,0.000025533527,0.00007282577,0.00013736347,0.44733793],"genre_scores_gemma":[0.36392903,0.063393995,0.00470748,0.0548514,0.020113653,0.00008204723,0.000054526587,0.0005293569,0.4923386],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99805886,0.00086879014,0.00004103617,0.00017929917,0.0006700847,0.00018188267],"domain_scores_gemma":[0.9986842,0.0007764952,0.00009944661,0.0000827916,0.00016158674,0.00019551755],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017910738,0.00043731922,0.00024667932,0.0009767235,0.006083666,0.0066809324,0.00073823927,0.0035018425,0.010027889],"category_scores_gemma":[0.005122606,0.0002362439,0.00018430648,0.00073631766,0.011548734,0.0068198005,0.0029189747,0.0041715023,0.0029028032],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006983409,0.000023790913,0.00029013574,0.0001547677,0.0000052306377,0.00025463424,0.034532685,0.000075717704,0.0009020046,0.46548563,0.43234006,0.0658654],"study_design_scores_gemma":[0.0000061663204,0.000014820106,0.0003220503,0.000257698,0.000002159209,0.00026179134,0.006937141,0.000056171095,0.00017561599,0.026623378,0.96532226,0.00002076995],"about_ca_topic_score_codex":0.01156277,"about_ca_topic_score_gemma":0.02139344,"teacher_disagreement_score":0.01156277,"about_ca_system_score_codex":0.0029506765,"about_ca_system_score_gemma":0.0011844407,"threshold_uncertainty_score":0.033546627},"labels":[],"label_agreement":null},{"id":"W1713168228","doi":"10.22230/cjc.2004v29n1a1408","title":"Rap Music and Street Consciousness","year":2004,"lang":"en","type":"article","venue":"Canadian Journal of Communication","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":70,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Consciousness; Sociology; Art; Aesthetics; Psychology; Neuroscience","score_opus":0.03132200804773095,"score_gpt":0.1976814011220513,"score_spread":0.16635939307432035,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1713168228","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.037753332,0.0036453141,0.0006163553,0.012796384,0.00022043585,0.000008564866,0.000033960194,0.000020917601,0.94490474],"genre_scores_gemma":[0.9575549,0.001339262,0.00024532998,0.001219291,0.00024395858,0.000012324412,0.00002499501,0.000023848357,0.039336137],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99903536,0.00039395402,0.000019940308,0.000102127044,0.00018655338,0.00026213628],"domain_scores_gemma":[0.99904984,0.00034306326,0.000096892916,0.000119212826,0.00016341926,0.00022755803],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010069386,0.00023149299,0.00024867093,0.0019988595,0.01153122,0.013085439,0.00078344287,0.0033266007,0.018440027],"category_scores_gemma":[0.0026441428,0.00021387919,0.00017300058,0.001863949,0.02589038,0.0043134918,0.0032814278,0.0029392918,0.0010489648],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015592654,0.000015684764,0.00043761134,0.000015441386,0.0000034425098,0.00012533918,0.033185784,0.000029911966,0.00006663822,0.9484924,0.00841718,0.009194838],"study_design_scores_gemma":[0.000025959213,0.000027582202,0.0048842975,0.00019410234,0.000017742364,0.00037331306,0.13155133,0.00016978364,0.00019127266,0.42141756,0.4411182,0.00002889405],"about_ca_topic_score_codex":0.047907326,"about_ca_topic_score_gemma":0.08500198,"teacher_disagreement_score":0.047907326,"about_ca_system_score_codex":0.00467497,"about_ca_system_score_gemma":0.0052779857,"threshold_uncertainty_score":0.095256925},"labels":[],"label_agreement":null},{"id":"W1734276762","doi":"10.22230/cjc.2005v30n1a1538","title":"Hop on Pop: The Politics and Pleasures of Popular Culture","year":2005,"lang":"en","type":"article","venue":"Canadian Journal of Communication","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":29,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Politics; Popular culture; Hop (telecommunications); Sociology; Political science; Media studies; Computer science; Telecommunications; Law","score_opus":0.035548643700566485,"score_gpt":0.2186162582832953,"score_spread":0.18306761458272883,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1734276762","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14058137,0.004628401,0.0005967607,0.04983261,0.00063854293,0.000014992735,0.00010195146,0.00003543736,0.8035699],"genre_scores_gemma":[0.98228365,0.0008088721,0.000080286714,0.0019196242,0.00028508363,0.0000078303965,0.000015823765,0.000048544316,0.014550211],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99761426,0.0010939066,0.000032179414,0.00012374818,0.0005057501,0.00063002645],"domain_scores_gemma":[0.99597895,0.0019211271,0.00029794383,0.00030486047,0.0004863811,0.0010107041],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020846832,0.00031599647,0.0003002715,0.002099644,0.015444205,0.018491553,0.0008692291,0.0026036026,0.015344809],"category_scores_gemma":[0.0071195476,0.00030711875,0.00018400463,0.0024089897,0.029233208,0.005897758,0.0060589174,0.004149068,0.00070481456],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018730732,0.00006950399,0.0064337635,0.00013083729,0.000028038294,0.00072927977,0.24714467,0.00011976138,0.000482596,0.65841234,0.044579238,0.041682523],"study_design_scores_gemma":[0.000047526068,0.000049727772,0.016974062,0.00032381093,0.00003852899,0.00031970715,0.4180087,0.0001688593,0.000528279,0.10615398,0.45733202,0.000054800123],"about_ca_topic_score_codex":0.039674643,"about_ca_topic_score_gemma":0.08553048,"teacher_disagreement_score":0.039674643,"about_ca_system_score_codex":0.0062138354,"about_ca_system_score_gemma":0.0048339246,"threshold_uncertainty_score":0.0788874},"labels":[],"label_agreement":null},{"id":"W1737957772","doi":"10.4000/volume.4473","title":"Stone Deaf Forever: Discourses of Loudness","year":2015,"lang":"en","type":"article","venue":"Volume !","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Musée de la Civilisation","funders":"","keywords":"Loudness; Popular music; Art; Dance; Electronic dance music; Studio; Visual arts; Literature; History; Media studies; Aesthetics; Sociology; Acoustics","score_opus":0.05302612950227845,"score_gpt":0.23344134495382546,"score_spread":0.180415215451547,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1737957772","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.15650477,0.014732859,0.004714238,0.07307665,0.0017093495,0.000023818999,0.00004111635,0.000087273314,0.7491099],"genre_scores_gemma":[0.97238684,0.0014759133,0.00036089806,0.0038662716,0.00038710993,0.000015586298,0.000010921222,0.000047469857,0.021448957],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9928139,0.005193617,0.00010298298,0.00035055442,0.0011176043,0.0004214168],"domain_scores_gemma":[0.9935116,0.004792314,0.0004213021,0.0002923224,0.0004915076,0.0004909866],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0054473216,0.00052582286,0.00033605788,0.0022952852,0.012449249,0.015818859,0.0009721724,0.0038171962,0.0043754703],"category_scores_gemma":[0.011792537,0.00024715156,0.00021290785,0.0014581555,0.04099948,0.01375114,0.007702215,0.0053534377,0.00046206327],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000040465136,0.000020827261,0.00043962686,0.00006694881,0.0000046838527,0.00025940125,0.400278,0.000051739553,0.00038059108,0.5849167,0.00512807,0.008412869],"study_design_scores_gemma":[0.000023663852,0.00005479812,0.0011914795,0.00046715443,0.000015746815,0.00034498805,0.5431836,0.00023151044,0.00074481004,0.1461111,0.3075917,0.000039389026],"about_ca_topic_score_codex":0.004759713,"about_ca_topic_score_gemma":0.0039911917,"teacher_disagreement_score":0.015818859,"about_ca_system_score_codex":0.0051371953,"about_ca_system_score_gemma":0.0023258307,"threshold_uncertainty_score":0.03727311},"labels":[],"label_agreement":null},{"id":"W173908518","doi":"10.14264/334848","title":"Authenticity, consumption and popular culture","year":2000,"lang":"en","type":"dissertation","venue":"The University of Queensland","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Popular culture; Value (mathematics); Argument (complex analysis); Modernity; Ideology; Aesthetics; Politics; Consumption (sociology); Romance; Sociology; Originality; Epistemology; Social science; Media studies; Art; Literature; Political science; Philosophy; Law","score_opus":0.01902139860165305,"score_gpt":0.1957731958740353,"score_spread":0.17675179727238224,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W173908518","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.495029,0.009300173,0.0030366783,0.009496599,0.000116280724,0.00005182854,0.00007024053,0.000046679972,0.48285258],"genre_scores_gemma":[0.99172944,0.0017273984,0.00023329801,0.00014844576,0.000026991836,0.000004842818,0.000010047728,0.000008177491,0.006111467],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99782324,0.00083116366,0.000058614365,0.00014234091,0.0007119802,0.0004325707],"domain_scores_gemma":[0.998201,0.0006515745,0.0003101007,0.0001909091,0.0004203889,0.0002259577],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019682532,0.00026715302,0.00025594444,0.0015372371,0.006170573,0.010080665,0.00073763874,0.0008922351,0.003452004],"category_scores_gemma":[0.0038257937,0.000155635,0.0001720906,0.0030255113,0.02538343,0.0035746845,0.003000288,0.0012822413,0.00022589226],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000041705975,0.000051669533,0.009232232,0.00019744453,0.0000190235,0.00033857976,0.20778564,0.00025677233,0.00048122526,0.73112005,0.001965175,0.048510578],"study_design_scores_gemma":[0.000021050524,0.00013300446,0.056873564,0.0008426994,0.000058082518,0.00063608837,0.3816857,0.0007425822,0.0012815096,0.1459726,0.41164535,0.00010776927],"about_ca_topic_score_codex":0.23602277,"about_ca_topic_score_gemma":0.23156892,"teacher_disagreement_score":0.23602277,"about_ca_system_score_codex":0.011909874,"about_ca_system_score_gemma":0.009123158,"threshold_uncertainty_score":0.46929795},"labels":[],"label_agreement":null},{"id":"W1740526619","doi":"","title":"Camino by Oliver Schroer, and: Hymns and Hers by Oliver Schroer (review)","year":2013,"lang":"en","type":"article","venue":"Journal of American Folklore","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Chorus; Celtic languages; History; Art; Literature; Singing; Visual arts; Art history; Ancient history","score_opus":0.004887112625906251,"score_gpt":0.1813442009118015,"score_spread":0.17645708828589526,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1740526619","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00013088847,0.9592834,0.00015323515,0.010282783,0.0152570065,0.000059241924,0.0009670888,0.0001332918,0.013733075],"genre_scores_gemma":[0.0019260483,0.8777991,0.0003579246,0.018458495,0.01208524,0.00020471562,0.0025599278,0.00011162351,0.08649692],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994462,0.00006426317,0.000060233593,0.0001175241,0.00025226187,0.000059465237],"domain_scores_gemma":[0.99848974,0.0003263777,0.00028467685,0.000047318714,0.0005687413,0.0002831109],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00053164497,0.0016252727,0.0013470575,0.0026276656,0.00042709737,0.00240514,0.001492556,0.0018427576,0.12184612],"category_scores_gemma":[0.0040356484,0.000424159,0.00076691626,0.0031043035,0.00047433242,0.0024515453,0.0013156126,0.002725352,0.086766705],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003047356,0.000008207168,0.00009339906,0.0045010513,0.000022741102,0.00005715858,0.000025004383,0.000033872413,0.00010189483,0.00018954634,0.9030837,0.09185298],"study_design_scores_gemma":[0.00002261112,0.000020666661,0.0008027489,0.0045695505,0.00003362547,0.00042562193,0.000058764173,0.000019614181,0.00003879096,0.00015716797,0.99383885,0.000012023607],"about_ca_topic_score_codex":0.0058565144,"about_ca_topic_score_gemma":0.008170275,"teacher_disagreement_score":0.12184612,"about_ca_system_score_codex":0.0014202021,"about_ca_system_score_gemma":0.0020233006,"threshold_uncertainty_score":0.40761584},"labels":[],"label_agreement":null},{"id":"W1740896491","doi":"","title":"View Item: A breath-taking view: Support, singing, and dispelling the myth of the countertenor voice Plenary Keynote Presentation VI","year":2014,"lang":"en","type":"article","venue":"The Journal of Macrodynamic Analysis (Memorial University of Newfoundland)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Singing; Presentation (obstetrics); Mythology; Psychology; Speech recognition; Computer science; Art; Acoustics; Literature; Physics; Medicine","score_opus":0.01068719507302062,"score_gpt":0.19999042424924454,"score_spread":0.1893032291762239,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1740896491","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0057628565,0.0023076634,0.0052424287,0.1347637,0.14117059,0.0006135553,0.0017642995,0.0014145072,0.7069604],"genre_scores_gemma":[0.034224533,0.001416768,0.0019170003,0.015631953,0.027299477,0.00033703668,0.00071862387,0.0013709534,0.9170835],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995214,0.00010355631,0.00001727501,0.000058873582,0.00020708248,0.00009185331],"domain_scores_gemma":[0.9978794,0.0006503168,0.0000759565,0.00011135566,0.00064199604,0.0006409029],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0009109892,0.00058926555,0.00045716576,0.00064882974,0.004134298,0.006617308,0.0008403419,0.003598501,0.37670732],"category_scores_gemma":[0.005497264,0.00021505274,0.00046250504,0.00046491603,0.0010685165,0.003639267,0.0035713033,0.0052485694,0.09042196],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000065611355,0.000023583421,0.00008472767,0.0000807899,0.0000021398325,0.00011069599,0.0010421647,0.000008710062,0.0010749621,0.0029206942,0.98315835,0.011427528],"study_design_scores_gemma":[0.00002185511,0.00007924835,0.0008552947,0.00020510537,0.00000593719,0.00020738083,0.0054237177,0.000052637653,0.00057882676,0.0014105556,0.9911432,0.000016271757],"about_ca_topic_score_codex":0.0024742514,"about_ca_topic_score_gemma":0.00708377,"teacher_disagreement_score":0.37670732,"about_ca_system_score_codex":0.0011226925,"about_ca_system_score_gemma":0.0010031612,"threshold_uncertainty_score":0.8890514},"labels":[],"label_agreement":null},{"id":"W1746054641","doi":"10.1111/jpms.12118","title":"Pete Seeger's Mediatized Folk","year":2015,"lang":"en","type":"article","venue":"Journal of Popular Music Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Citation; Computer science; Art history; History; Library science","score_opus":0.18950621116173108,"score_gpt":0.2901437628617491,"score_spread":0.10063755170001801,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1746054641","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.019362662,0.012480636,0.0014366488,0.12275434,0.009002029,0.000024358756,0.00015049883,0.000099715566,0.8346891],"genre_scores_gemma":[0.33986375,0.004519094,0.0005575617,0.026167464,0.0030138756,0.000033101278,0.00007493906,0.00029316155,0.62547696],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99933165,0.00031841357,0.000015273943,0.0000892855,0.00012728207,0.00011808063],"domain_scores_gemma":[0.9993187,0.0003805954,0.00002989479,0.00008341635,0.00008577568,0.000101601814],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006583473,0.00038552057,0.00027011218,0.0012927584,0.008891258,0.007080983,0.00065940624,0.0041590375,0.02180828],"category_scores_gemma":[0.0020574392,0.00020271057,0.0001842376,0.00083447347,0.007718157,0.006080006,0.0035611314,0.0051565086,0.002843345],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000044775792,0.000035079956,0.0003320943,0.00006668469,0.0000055468254,0.00048751308,0.02896826,0.00004100316,0.00042641367,0.69978875,0.24851103,0.02129283],"study_design_scores_gemma":[0.000004311604,0.000008286095,0.00041309668,0.00009555714,0.0000030013996,0.00026618587,0.015619966,0.000031449345,0.0003650974,0.025549382,0.95763427,0.000009294812],"about_ca_topic_score_codex":0.007398835,"about_ca_topic_score_gemma":0.02889387,"teacher_disagreement_score":0.02180828,"about_ca_system_score_codex":0.0019724315,"about_ca_system_score_gemma":0.0009745074,"threshold_uncertainty_score":0.07295591},"labels":[],"label_agreement":null},{"id":"W1760141022","doi":"","title":"Stanley G. Triggs: Some Bunkhouse Music from British Columbia","year":2015,"lang":"en","type":"article","venue":"Canadian Folk Music / Musique folklorique canadienne","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History; Geography","score_opus":0.03581754949286012,"score_gpt":0.17565745596367432,"score_spread":0.1398399064708142,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1760141022","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.21456987,0.06235727,0.00063495187,0.06716971,0.003691916,0.00015639832,0.0026504688,0.0001826312,0.64858675],"genre_scores_gemma":[0.39895988,0.019499365,0.000602802,0.0062428545,0.0003312249,0.00003563048,0.00063466793,0.0002537431,0.5734399],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995714,0.00005895406,0.000012792729,0.00005143389,0.00014665922,0.00015874635],"domain_scores_gemma":[0.99933857,0.000105982675,0.00002388214,0.000019222845,0.00028853427,0.00022383423],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00046488945,0.000645278,0.00036716124,0.0034577274,0.026186038,0.0048426073,0.0007740912,0.001193435,0.022655433],"category_scores_gemma":[0.0012356773,0.00036104236,0.00014663962,0.0049606324,0.0028521665,0.0014601322,0.001835853,0.0026695253,0.0019349423],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00028940977,0.000072658,0.014444506,0.0004461832,0.000029237739,0.0035311973,0.24878238,0.0001537384,0.0024471872,0.017840752,0.5152854,0.19667736],"study_design_scores_gemma":[0.000006536434,0.000015636799,0.03063998,0.00042656393,0.000013544296,0.00035897715,0.18269613,0.000036248595,0.0004144703,0.0007989371,0.7845432,0.000049866212],"about_ca_topic_score_codex":0.97660154,"about_ca_topic_score_gemma":0.9970613,"teacher_disagreement_score":0.026186038,"about_ca_system_score_codex":0.024365349,"about_ca_system_score_gemma":0.019238722,"threshold_uncertainty_score":0.1767838},"labels":[],"label_agreement":null},{"id":"W1771762531","doi":"10.21083/csieci.v10i1.3027","title":"When Beats Meet Critique: Sample-Based Hip-Hop as Knowledge-Practice","year":2015,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Rendering (computer graphics); Computer science; Sociology; Psychology; Artificial intelligence","score_opus":0.15142753093685699,"score_gpt":0.4060220548223469,"score_spread":0.25459452388548987,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1771762531","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.23976044,0.008728471,0.105000705,0.05967807,0.0015932592,0.0003508819,0.00005870438,0.0003540739,0.5844754],"genre_scores_gemma":[0.9875546,0.00053195644,0.0043890467,0.0010693744,0.00015636285,0.000076138844,0.00001311622,0.0000712018,0.006138163],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9753087,0.018612001,0.00050704536,0.0013202608,0.0029899979,0.0012620063],"domain_scores_gemma":[0.9732169,0.019795438,0.001413699,0.0027597768,0.001602585,0.001211699],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.021102298,0.0007253803,0.0006297709,0.0037520078,0.0109220855,0.019534646,0.0024766298,0.004331907,0.0044366117],"category_scores_gemma":[0.03769389,0.0003718795,0.0003724539,0.0021381634,0.091938905,0.017575327,0.014197764,0.0048653297,0.0005938861],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000030564985,0.000018469194,0.0004168656,0.000094377356,0.0000060357884,0.00023259789,0.38376498,0.00012718527,0.0002457705,0.60003185,0.0015342723,0.013497033],"study_design_scores_gemma":[0.000032251864,0.00006859295,0.00061773823,0.00048892025,0.0000137487,0.00040506697,0.34471157,0.0008774122,0.000959517,0.5139306,0.13786353,0.000030980424],"about_ca_topic_score_codex":0.0030961758,"about_ca_topic_score_gemma":0.0031572822,"teacher_disagreement_score":0.021102298,"about_ca_system_score_codex":0.008990797,"about_ca_system_score_gemma":0.005785137,"threshold_uncertainty_score":0.111600935},"labels":[],"label_agreement":null},{"id":"W1774082252","doi":"10.21083/csieci.v10i1.3144","title":"Tricia Rose Interviewed by George Lipsitz","year":2014,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Improvisation; Human sexuality; Gender studies; Jazz; Narrative; Sociology; Queer; Undoing; Racism; Art; Media studies; Art history; Psychoanalysis; Psychology; Visual arts; Literature","score_opus":0.0693029275455909,"score_gpt":0.34191738477145395,"score_spread":0.272614457225863,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1774082252","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.039965354,0.059768774,0.0011015985,0.57314503,0.016681887,0.0002359405,0.00040943912,0.00017211976,0.30851987],"genre_scores_gemma":[0.2554021,0.036286034,0.0018689911,0.21157777,0.0037067623,0.000699467,0.00036761697,0.00030026038,0.4897911],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.998204,0.00065459404,0.00004984091,0.00027959028,0.0005114711,0.00030054906],"domain_scores_gemma":[0.9987031,0.00047897204,0.0001039777,0.000041427447,0.00040069871,0.00027179057],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001424195,0.0005273912,0.00050997274,0.0014529029,0.011928019,0.003402509,0.00093168207,0.0024412458,0.016233798],"category_scores_gemma":[0.006089776,0.00039657785,0.00022010675,0.0013584412,0.002900171,0.0031816957,0.0040701935,0.006242282,0.0030352008],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002949733,0.000030775922,0.00077891717,0.00019397853,0.0000030682918,0.0015774518,0.051538832,0.000027335733,0.0006478345,0.025945948,0.8958207,0.023405772],"study_design_scores_gemma":[0.0000035963685,0.000010647084,0.0007011941,0.00026713917,0.0000021815306,0.0007035371,0.03709276,0.000028769591,0.00015180714,0.0009994517,0.96002793,0.000011010042],"about_ca_topic_score_codex":0.02566734,"about_ca_topic_score_gemma":0.03680521,"teacher_disagreement_score":0.02566734,"about_ca_system_score_codex":0.005331037,"about_ca_system_score_gemma":0.004064567,"threshold_uncertainty_score":0.05430746},"labels":[],"label_agreement":null},{"id":"W1779738782","doi":"","title":"The Year Dolly Parton Was My Mom — Canada 2010, 95 minutesThe Year Dolly Parton Was My Mom — Canada 2010, 95 minutes","year":2011,"lang":"en","type":"article","venue":"Séquences : La revue de cinéma","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Parton; Particle physics; Physics","score_opus":0.023980415595040164,"score_gpt":0.18635594617536255,"score_spread":0.1623755305803224,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1779738782","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.004521455,0.012192019,0.00067178835,0.06526992,0.121636815,0.0005015777,0.007458103,0.0011955714,0.7865528],"genre_scores_gemma":[0.009078272,0.0021205812,0.00030661924,0.0035056747,0.0051603895,0.00020213136,0.0013279995,0.00035692123,0.9779415],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99893457,0.00008665593,0.000021296875,0.00010880165,0.00045497113,0.0003936043],"domain_scores_gemma":[0.99479526,0.00013704103,0.00008152085,0.00005931622,0.0016687748,0.0032581592],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0009593382,0.0019084329,0.00088991254,0.0011105727,0.015270948,0.006446493,0.0010798465,0.0037992748,0.49113065],"category_scores_gemma":[0.004526637,0.0006467415,0.00064985926,0.0010764633,0.0013832577,0.0022326198,0.0043900977,0.0054614344,0.21175665],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000033593118,0.000009481022,0.00010093069,0.000017279825,0.00000101889,0.00004671069,0.00015575932,0.000013636408,0.00009126793,0.00026648515,0.99569404,0.0035697336],"study_design_scores_gemma":[0.0000080218915,0.0000118013395,0.0014485128,0.00006682479,0.0000014119472,0.000033903285,0.0012607493,0.000013596102,0.000037378464,0.000086472995,0.99702257,0.00000874157],"about_ca_topic_score_codex":0.31567457,"about_ca_topic_score_gemma":0.73598874,"teacher_disagreement_score":0.68432546,"about_ca_system_score_codex":0.011043241,"about_ca_system_score_gemma":0.008409744,"threshold_uncertainty_score":0.72584033},"labels":[],"label_agreement":null},{"id":"W1780425997","doi":"10.33524/cjar.v14i3.97","title":"LOOKIN’ FOR A HOME","year":2015,"lang":"en","type":"article","venue":"The Canadian Journal of Action Research","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Nipissing University","funders":"","keywords":"Nothing; Conversation; Hum; Psychology; History; Art; Communication; Art history; Philosophy; Performance art; Epistemology","score_opus":0.6119667969409066,"score_gpt":0.4005998299683933,"score_spread":0.21136696697251334,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1780425997","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0077784653,0.0015147561,0.0033847194,0.0423084,0.011860777,0.00015265367,0.0009930887,0.0024644246,0.92954284],"genre_scores_gemma":[0.026760044,0.0005297433,0.0021623927,0.010982316,0.00038861626,0.00005928185,0.00035073815,0.0007629773,0.95800394],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99903667,0.00022916048,0.000025978987,0.00015192907,0.00025469816,0.00030159025],"domain_scores_gemma":[0.9981711,0.00007446354,0.000059037673,0.00013151251,0.0004247029,0.0011392324],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00092243415,0.0008335777,0.0005213773,0.0006361385,0.010501967,0.0054524234,0.001215873,0.0024140303,0.44753602],"category_scores_gemma":[0.0031069887,0.00035743223,0.00071305566,0.00049055356,0.0018692439,0.0056576575,0.0068396465,0.0050285687,0.20709276],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000044490505,0.000068648165,0.00062286225,0.000077369376,0.00000794752,0.00075369136,0.009165716,0.000019371288,0.00032907017,0.013592353,0.9280228,0.047295652],"study_design_scores_gemma":[0.0000033381295,0.00001061824,0.00026992167,0.00004592562,0.0000018593563,0.0002245181,0.0050794524,0.000009248596,0.00004496893,0.0005942474,0.9937065,0.000009463506],"about_ca_topic_score_codex":0.013631943,"about_ca_topic_score_gemma":0.044723336,"teacher_disagreement_score":0.44753602,"about_ca_system_score_codex":0.0019073507,"about_ca_system_score_gemma":0.0020401236,"threshold_uncertainty_score":0.7880228},"labels":[],"label_agreement":null},{"id":"W1786918381","doi":"","title":"Gloria Sawai. A Song for Nettie Johnson","year":2005,"lang":"en","type":"article","venue":"International fiction review","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; History","score_opus":0.043502873376019026,"score_gpt":0.2799146146881827,"score_spread":0.23641174131216366,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1786918381","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006846585,0.3367447,0.0007337535,0.29887363,0.18154898,0.000076023476,0.00059645425,0.00036109186,0.18038078],"genre_scores_gemma":[0.004056494,0.07178493,0.0006311855,0.07406154,0.043302774,0.0000637276,0.0003654727,0.000276615,0.8054573],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999373,0.000111445996,0.000026033875,0.00007919423,0.00033469513,0.00007557041],"domain_scores_gemma":[0.9982095,0.0003695529,0.000117988195,0.00008364151,0.00057843287,0.0006408918],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010445352,0.0006832617,0.0005949878,0.0026086918,0.0017196595,0.0031357894,0.000833012,0.0021448336,0.12059304],"category_scores_gemma":[0.0039155153,0.00021736715,0.00030661555,0.0017434899,0.00076580915,0.003198686,0.0026539417,0.0021726287,0.05603246],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008716499,0.0000046205864,0.000031960557,0.00009969266,0.0000018725237,0.000012876119,0.000042761916,0.000003847112,0.000042263808,0.000763533,0.9639821,0.035005815],"study_design_scores_gemma":[0.000002708545,0.000005131834,0.00015321784,0.00010245283,0.0000015521949,0.000024618688,0.00010250228,0.000003787046,0.000014673052,0.00031907222,0.9992685,0.0000018526086],"about_ca_topic_score_codex":0.0033865874,"about_ca_topic_score_gemma":0.015482802,"teacher_disagreement_score":0.12059304,"about_ca_system_score_codex":0.0008975519,"about_ca_system_score_gemma":0.0011036646,"threshold_uncertainty_score":0.4034239},"labels":[],"label_agreement":null},{"id":"W1797961704","doi":"10.3138/topia.22.209","title":"A Saunter through History","year":2010,"lang":"en","type":"article","venue":"TOPIA Canadian Journal of Cultural Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"History","score_opus":0.07986988549002368,"score_gpt":0.24748320848583963,"score_spread":0.16761332299581594,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1797961704","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0056693684,0.011025888,0.0009952874,0.053626385,0.004495356,0.00002607015,0.0000792816,0.000081243954,0.92400116],"genre_scores_gemma":[0.18305638,0.0048481976,0.00068607903,0.01425188,0.001329001,0.000034844554,0.000060293965,0.00019657954,0.79553676],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99843496,0.0005472957,0.00003539693,0.0002116022,0.00038119536,0.0003895666],"domain_scores_gemma":[0.9987816,0.00024852352,0.00006131686,0.00020669057,0.0002342759,0.000467504],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017829201,0.00047772017,0.00039679717,0.0019863066,0.02004617,0.013785353,0.0008088771,0.0031914678,0.050102692],"category_scores_gemma":[0.0040531443,0.0003374601,0.0002847239,0.0014375692,0.026421888,0.010487359,0.007133695,0.0060149003,0.006716605],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001624518,0.000013972177,0.0003569309,0.000024754081,0.0000031503741,0.00012290248,0.01592167,0.000018712144,0.00009734632,0.8616458,0.10223313,0.019545369],"study_design_scores_gemma":[0.0000026315613,0.0000045507695,0.00019412913,0.00006528422,0.0000015269285,0.000042501313,0.0051833573,0.000009023664,0.000037415783,0.030583076,0.9638719,0.0000045167935],"about_ca_topic_score_codex":0.07062171,"about_ca_topic_score_gemma":0.1742779,"teacher_disagreement_score":0.9293783,"about_ca_system_score_codex":0.010575027,"about_ca_system_score_gemma":0.012095957,"threshold_uncertainty_score":0.16761023},"labels":[],"label_agreement":null},{"id":"W1800947135","doi":"10.3138/topia.15.45","title":"Hiphop with a Northern Touch!? Diasporic Wanderings/Wonderings on Canadian Blackness","year":2006,"lang":"en","type":"article","venue":"TOPIA Canadian Journal of Cultural Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":17,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Musical; Praxis; Sociology; Context (archaeology); Identity (music); Entertainment; Gender studies; Media studies; Aesthetics; Visual arts; Art; History; Political science","score_opus":0.0291012762530591,"score_gpt":0.2007709674031105,"score_spread":0.1716696911500514,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1800947135","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9674233,0.0009938832,0.00026785384,0.0034862873,0.00007961448,0.000028264509,0.00009406465,0.000017146562,0.027609618],"genre_scores_gemma":[0.99045205,0.0006422123,0.00022517344,0.00039328492,0.000010688813,0.000012186315,0.000029712166,0.000019103578,0.008215481],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9984037,0.00036898596,0.000017554063,0.00012744761,0.00034056956,0.00074181927],"domain_scores_gemma":[0.99864084,0.00031926588,0.00016257468,0.000042270993,0.0003188843,0.00051602355],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020091678,0.0006648996,0.00048739443,0.0021143397,0.035631396,0.0045330515,0.0010965905,0.0012211197,0.0058432617],"category_scores_gemma":[0.0025546057,0.00034999504,0.00022673013,0.0024867237,0.016503029,0.0015860633,0.005000545,0.0023054914,0.00020188387],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000029980378,0.0000070614456,0.0037551785,0.00004206495,0.0000035846706,0.00037683858,0.9829974,0.000024289366,0.0006356293,0.0048045292,0.0019000488,0.0054233405],"study_design_scores_gemma":[0.000001161103,0.00000775839,0.0048103766,0.000050101324,0.0000048550164,0.00008807408,0.97512007,0.000017055158,0.00013116316,0.00016685907,0.019587997,0.000014562182],"about_ca_topic_score_codex":0.9522082,"about_ca_topic_score_gemma":0.9836579,"teacher_disagreement_score":0.04779178,"about_ca_system_score_codex":0.03360217,"about_ca_system_score_gemma":0.03899442,"threshold_uncertainty_score":0.24380195},"labels":[],"label_agreement":null},{"id":"W1818360268","doi":"10.21992/t9ww56","title":"Conflicts of Interest, Culture Jamming and Subversive (S)ignifications: The High Fashion Logo as Locational Hip hop Artic","year":2014,"lang":"en","type":"article","venue":"TranscUlturAl A Journal of Translation and Cultural Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Politics; Sociology; Logo (programming language); Advertising; Art; Media studies; Art history; Visual arts; Aesthetics; Law; Political science; Computer science; Business","score_opus":0.13822866584516116,"score_gpt":0.2799104225646224,"score_spread":0.14168175671946123,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1818360268","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.37846774,0.004613589,0.0031234345,0.034953132,0.001218117,0.000020434112,0.000023224235,0.00005442952,0.5775259],"genre_scores_gemma":[0.9832991,0.000490163,0.00020890418,0.0016111358,0.00015719935,0.00000899672,0.0000046014507,0.000031955937,0.014187952],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99673754,0.0022738716,0.000044589946,0.00019540012,0.00029274626,0.00045578918],"domain_scores_gemma":[0.9983662,0.0009101963,0.00022138609,0.00012560995,0.000112817885,0.00026379633],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0024519698,0.00034019235,0.00021872098,0.0009540398,0.016355418,0.01460498,0.0007984769,0.0026241827,0.0034708143],"category_scores_gemma":[0.0037938629,0.0002989632,0.00015006245,0.0008870161,0.03877096,0.0061454065,0.0065415483,0.004694387,0.0004178442],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000031258318,0.000019504847,0.0008438109,0.000034534725,0.0000033227736,0.00091309164,0.5213769,0.000039325045,0.00031985142,0.459277,0.0072782575,0.009863145],"study_design_scores_gemma":[0.000012075867,0.00004254201,0.0015884278,0.00020775449,0.00000876231,0.00090537657,0.6323225,0.0001804152,0.0007684871,0.033687714,0.3302426,0.000033397464],"about_ca_topic_score_codex":0.008153487,"about_ca_topic_score_gemma":0.015050706,"teacher_disagreement_score":0.016355418,"about_ca_system_score_codex":0.0052637253,"about_ca_system_score_gemma":0.0023819471,"threshold_uncertainty_score":0.0381912},"labels":[],"label_agreement":null},{"id":"W1820369217","doi":"","title":"National Steps: Can You Be Greek If You Can’t Dance a Zebekiko?","year":2012,"lang":"en","type":"article","venue":"Modern Greek Studies (Australia and New Zealand)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dance; SWORD; Art; Singing; Art history; White (mutation); History; Literature; Engineering","score_opus":0.13726418573040552,"score_gpt":0.29295524713859367,"score_spread":0.15569106140818814,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1820369217","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10118567,0.014968667,0.0014801696,0.09887193,0.0052798497,0.000055630335,0.00010163567,0.00010360597,0.77795285],"genre_scores_gemma":[0.6174561,0.009423505,0.0014561925,0.01834001,0.00033686645,0.00006636995,0.00009240656,0.00018588065,0.35264271],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9992822,0.0003682325,0.000024113213,0.00006589561,0.0001246903,0.00013495794],"domain_scores_gemma":[0.99970657,0.000044836703,0.000023162469,0.00002546492,0.000059303893,0.000140679],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008437418,0.00034595715,0.00027587105,0.00032994567,0.00645375,0.0032049837,0.0003762591,0.0012686574,0.013038125],"category_scores_gemma":[0.0018085402,0.00013430572,0.00013496561,0.00041909082,0.007295698,0.003807897,0.0025558614,0.0031236932,0.0040422585],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011175203,0.0001141123,0.004704759,0.0003165474,0.000014822163,0.0019100066,0.38622537,0.00007163256,0.0012155264,0.2570455,0.2368372,0.111432746],"study_design_scores_gemma":[0.000011165746,0.000029752702,0.0030764942,0.00030241176,0.000003391515,0.00054841273,0.15863714,0.000028329696,0.00020275547,0.0077194427,0.82942665,0.000014045698],"about_ca_topic_score_codex":0.009203037,"about_ca_topic_score_gemma":0.034916982,"teacher_disagreement_score":0.013038125,"about_ca_system_score_codex":0.0020846217,"about_ca_system_score_gemma":0.001646639,"threshold_uncertainty_score":0.04361689},"labels":[],"label_agreement":null},{"id":"W1825680358","doi":"10.22230/cjc.2000v25n1a1148","title":"Exhausted Commodities: The Material Culture of Music","year":2000,"lang":"en","type":"article","venue":"Canadian Journal of Communication","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":39,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Musical; Order (exchange); Value (mathematics); Sociology; Aesthetics; History; Business; Art; Visual arts; Computer science","score_opus":0.03177992032519397,"score_gpt":0.19380281448393907,"score_spread":0.1620228941587451,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1825680358","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.50639737,0.013919333,0.0025451637,0.011899988,0.00024260358,0.000030641317,0.00006899039,0.000045451117,0.46485046],"genre_scores_gemma":[0.9846822,0.0029069877,0.00045838326,0.00049654336,0.00008823637,0.000009148459,0.000017723709,0.000028329538,0.011312402],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982168,0.00058548833,0.00006487743,0.00013306209,0.00076574,0.00023406214],"domain_scores_gemma":[0.9989008,0.0005313496,0.00015368512,0.00011856311,0.00014678673,0.00014870806],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020007466,0.0003373605,0.00028553617,0.0024628874,0.011067556,0.01562988,0.00093913864,0.0011778869,0.0043720547],"category_scores_gemma":[0.004155693,0.00020702582,0.00012400074,0.0027710488,0.032330066,0.005769323,0.0048475782,0.0014669724,0.0002922294],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000051853338,0.000018084816,0.002095723,0.0001135981,0.000009324949,0.0005396931,0.61729664,0.00014072728,0.000986462,0.334444,0.0029386587,0.041365188],"study_design_scores_gemma":[0.000018464056,0.00008632955,0.010360944,0.0005634599,0.000017207421,0.0008541566,0.4842636,0.000283176,0.00092177896,0.06837079,0.43420678,0.0000532948],"about_ca_topic_score_codex":0.040500112,"about_ca_topic_score_gemma":0.043934714,"teacher_disagreement_score":0.040500112,"about_ca_system_score_codex":0.0068887183,"about_ca_system_score_gemma":0.003936144,"threshold_uncertainty_score":0.080528736},"labels":[],"label_agreement":null},{"id":"W1826297421","doi":"10.21083/csieci.v1i2.16","title":"“I wanted to live in that music:” Blues, Bessie Smith and Improvised Identities in Ann-Marie MacDonald’s &lt;i&gt;Fall on Your Knees&lt;/i&gt;","year":2005,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Lakehead University","funders":"","keywords":"Hogan; Blues; Lyrics; Femininity; Context (archaeology); Singing; Sociology; Patriarchy; Gender studies; Power (physics); Art; Literature; Art history; History; Anthropology","score_opus":0.07232441393049188,"score_gpt":0.3180126548714716,"score_spread":0.24568824094097974,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1826297421","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.53591627,0.0048136027,0.0036904707,0.051492866,0.001563263,0.000048511756,0.00004890455,0.00008337721,0.40234274],"genre_scores_gemma":[0.92903745,0.0007849922,0.0004744757,0.0021749872,0.00021010764,0.000029374247,0.000012545388,0.00007649694,0.06719964],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986603,0.0007099978,0.00001794321,0.00010580091,0.0002971655,0.00020878494],"domain_scores_gemma":[0.99887496,0.0005808585,0.00011602409,0.00006623538,0.000113697984,0.00024818908],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015697925,0.00044846884,0.00020707339,0.00052715826,0.010597752,0.0057654786,0.0007075051,0.0017746735,0.004624895],"category_scores_gemma":[0.0034565479,0.00016865693,0.00013471578,0.00029614652,0.019628877,0.0024898164,0.0034511252,0.003834871,0.00060732994],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009816623,0.000035120145,0.0009596109,0.000100526275,0.00000666107,0.0010276495,0.86705464,0.00006793281,0.002029416,0.09824554,0.014371382,0.016003378],"study_design_scores_gemma":[0.000016179587,0.000064577594,0.0027905426,0.00025231327,0.000006641413,0.000666358,0.58372396,0.00013995705,0.0013603235,0.009611221,0.40134543,0.00002258958],"about_ca_topic_score_codex":0.012264417,"about_ca_topic_score_gemma":0.026905486,"teacher_disagreement_score":0.012264417,"about_ca_system_score_codex":0.003508001,"about_ca_system_score_gemma":0.0016396318,"threshold_uncertainty_score":0.025452435},"labels":[],"label_agreement":null},{"id":"W1830544498","doi":"","title":"The Redhead Review: popular cultural studies and accelerated modernity","year":2006,"lang":"en","type":"article","venue":"History of intellectual culture","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Modernity; Sociology; Aesthetics; Art; Epistemology; Philosophy","score_opus":0.10239068945367055,"score_gpt":0.2683486854716138,"score_spread":0.16595799601794323,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1830544498","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00018924978,0.91829354,0.00008374971,0.04658309,0.031407885,0.000008228095,0.00004884504,0.0000070543047,0.00337833],"genre_scores_gemma":[0.0040375553,0.8807805,0.0001995928,0.040850863,0.0670206,0.000027172113,0.000092218404,0.00002261041,0.006968929],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982376,0.0007450136,0.00017171251,0.00021640085,0.0004783052,0.00015100258],"domain_scores_gemma":[0.9852116,0.008866527,0.0010060874,0.00057036657,0.0035902262,0.00075525633],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0030376823,0.0009736574,0.0022272652,0.005537065,0.0016521629,0.0053365873,0.0015217686,0.0063639837,0.016172701],"category_scores_gemma":[0.010553935,0.00042838382,0.0006919331,0.008812679,0.003590085,0.007483509,0.0024291512,0.0049829814,0.0035803316],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006198753,0.000021340631,0.00034973575,0.0057941712,0.000044682958,0.00015260067,0.0003998134,0.00003822632,0.00010344461,0.013446706,0.87537414,0.104213186],"study_design_scores_gemma":[0.000020758005,0.000026422662,0.001454439,0.0076708524,0.000056713823,0.00023363896,0.0007602531,0.000029998333,0.00004689489,0.0040651103,0.9856209,0.000013986061],"about_ca_topic_score_codex":0.0042382395,"about_ca_topic_score_gemma":0.011164583,"teacher_disagreement_score":0.016172701,"about_ca_system_score_codex":0.0021154326,"about_ca_system_score_gemma":0.0052593877,"threshold_uncertainty_score":0.054103076},"labels":[],"label_agreement":null},{"id":"W1847862356","doi":"10.21083/csieci.v1i2.17","title":"The Challenge of the Changing Same: The Jazz Avant-Garde of the 1960s, the Black Aesthetic and the Black Arts Movement","year":2005,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":12,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Jazz; Aesthetics; The arts; Improvisation; Musical; Black music; Identity (music); Movement (music); Art; Experimentalism; Narrative; Visual arts; Literature; Sociology; Epistemology; Philosophy","score_opus":0.04501381176105545,"score_gpt":0.29629960606788536,"score_spread":0.2512857943068299,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1847862356","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3450654,0.027445465,0.003724163,0.12985499,0.004273897,0.000025395155,0.000018512812,0.000051227365,0.48954093],"genre_scores_gemma":[0.9537184,0.0031268906,0.00090909406,0.0063396245,0.00070169993,0.000019692165,0.0000054845173,0.000059435424,0.035119716],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9965857,0.0021377224,0.00003775674,0.00028562907,0.0004697592,0.00048333098],"domain_scores_gemma":[0.9983209,0.0008815814,0.00014498575,0.00010994228,0.00013298527,0.0004096961],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004420269,0.0005045704,0.00035695176,0.0010942187,0.021911291,0.010269203,0.0007454242,0.0032605508,0.0033568973],"category_scores_gemma":[0.0036928214,0.000193201,0.00024550472,0.0005620123,0.04370788,0.0064625773,0.0053699417,0.006876958,0.000399141],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000052639592,0.000029209794,0.00041579656,0.00004353438,0.0000045492834,0.00024006305,0.21908706,0.000060200862,0.00057844823,0.75860614,0.006616629,0.014265715],"study_design_scores_gemma":[0.000022939324,0.00008054215,0.0015501302,0.0005244705,0.0000123035725,0.00030596415,0.24508081,0.00017839498,0.0007332229,0.10413638,0.64734364,0.00003119468],"about_ca_topic_score_codex":0.012936001,"about_ca_topic_score_gemma":0.020502118,"teacher_disagreement_score":0.021911291,"about_ca_system_score_codex":0.005872077,"about_ca_system_score_gemma":0.0033005003,"threshold_uncertainty_score":0.042605042},"labels":[],"label_agreement":null},{"id":"W1856686330","doi":"10.3998/mij.15031809.0001.110","title":"There Is No Music Industry","year":2014,"lang":"en","type":"article","venue":"Media Industries","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":36,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Business","score_opus":0.051077696580979916,"score_gpt":0.19778396850762264,"score_spread":0.14670627192664273,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1856686330","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.013760808,0.0067508514,0.0010529897,0.06951667,0.003732652,0.000023965697,0.0002234691,0.00012871939,0.90480983],"genre_scores_gemma":[0.3012502,0.0069774706,0.0013295589,0.045863964,0.0033810772,0.00009534252,0.000558629,0.00020121069,0.64034253],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9959459,0.00057934347,0.00013248302,0.000913644,0.0016124015,0.0008162895],"domain_scores_gemma":[0.99620146,0.0004474304,0.00031991367,0.0004525921,0.0008135357,0.0017651161],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001997723,0.00048541554,0.00068767945,0.0015459071,0.0064751087,0.012563019,0.0019695875,0.003966478,0.081916094],"category_scores_gemma":[0.004960894,0.0003406985,0.0005430715,0.0014446339,0.0076493407,0.008436779,0.0067705913,0.00605491,0.023321182],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010475269,0.00009060603,0.0024354209,0.0002791537,0.000021546035,0.00018652988,0.0023324743,0.000030492418,0.0006310646,0.80806327,0.11818966,0.06763506],"study_design_scores_gemma":[0.000014227623,0.00003991126,0.0018343211,0.00020788822,0.000009521189,0.00014837929,0.0021300951,0.00003262427,0.00019531116,0.02149192,0.9738826,0.000013116541],"about_ca_topic_score_codex":0.0064925617,"about_ca_topic_score_gemma":0.013109156,"teacher_disagreement_score":0.081916094,"about_ca_system_score_codex":0.0038726013,"about_ca_system_score_gemma":0.005793187,"threshold_uncertainty_score":0.27403665},"labels":[],"label_agreement":null},{"id":"W185851167","doi":"10.5860/choice.41-0020","title":"International who's who in popular music","year":2003,"lang":"en","type":"article","venue":"Choice Reviews Online","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Popular music; Art; Literature; History","score_opus":0.0852777536066628,"score_gpt":0.2901541952006944,"score_spread":0.20487644159403162,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W185851167","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000944268,0.07596935,0.0007798436,0.07069399,0.015904916,0.00013956234,0.0014009195,0.0001939604,0.8339732],"genre_scores_gemma":[0.026250333,0.060125083,0.0022422574,0.038812917,0.00816805,0.00043858078,0.0027075575,0.00049674447,0.8607585],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99608827,0.00072975684,0.0002391618,0.00040916837,0.0014777188,0.0010559108],"domain_scores_gemma":[0.9970078,0.000601319,0.00033791823,0.00033858858,0.00094989216,0.00076454197],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004700598,0.000793908,0.0005147402,0.0035481805,0.0025325648,0.010660544,0.0012517668,0.0042609046,0.05219058],"category_scores_gemma":[0.009176102,0.00042309574,0.00032697868,0.0070292572,0.0017534823,0.0079742,0.004175571,0.0035317286,0.02083665],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009083745,0.000008541433,0.00044679947,0.00014623516,0.0000019300905,0.000035364315,0.0013188757,0.000013628905,0.00006818282,0.043728314,0.9038592,0.050363798],"study_design_scores_gemma":[0.0000014008501,0.000002389977,0.0006980951,0.00022329808,9.378602e-7,0.000018299052,0.00040863347,0.0000036108956,0.000017024462,0.0006679938,0.99795604,0.0000022132658],"about_ca_topic_score_codex":0.027428601,"about_ca_topic_score_gemma":0.033367764,"teacher_disagreement_score":0.05219058,"about_ca_system_score_codex":0.0031095417,"about_ca_system_score_gemma":0.011609454,"threshold_uncertainty_score":0.17459488},"labels":[],"label_agreement":null},{"id":"W1874667269","doi":"10.21083/csieci.v1i2.22","title":"Freedom Is, Freedom Ain’t: Jazz and the Making of the Sixties","year":2005,"lang":"fr","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":53,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Jazz; Ain't; Art; Art history; Aesthetics; Literature","score_opus":0.051213642636527675,"score_gpt":0.3297871935618373,"score_spread":0.2785735509253096,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1874667269","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07813309,0.03153396,0.0022565096,0.115094036,0.0065783598,0.000031413347,0.000051060135,0.00007818196,0.7662434],"genre_scores_gemma":[0.8844785,0.0066978526,0.00050929136,0.009221299,0.0018952921,0.000032309566,0.000033999662,0.00006985705,0.097061634],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99802786,0.0010456801,0.000028771827,0.00010407461,0.00032298497,0.00047061307],"domain_scores_gemma":[0.99901783,0.00039299662,0.00008504613,0.00004855121,0.0000770028,0.0003785356],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018781224,0.00045640575,0.0002839405,0.0011064637,0.014406007,0.011202381,0.00072923605,0.0018700663,0.005396847],"category_scores_gemma":[0.0023772528,0.00017650062,0.00024945123,0.00088703126,0.02485768,0.00517375,0.0047254083,0.0053487127,0.0006975659],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000081260594,0.000045378467,0.00089940376,0.00010222159,0.0000083159275,0.00030691217,0.17270866,0.00005943876,0.00024409179,0.7220035,0.079086535,0.024454245],"study_design_scores_gemma":[0.000013441438,0.000029524146,0.0020976968,0.00021982007,0.0000051253287,0.00017598421,0.08639069,0.000054641718,0.00017614625,0.060444828,0.8503747,0.000017346158],"about_ca_topic_score_codex":0.011112849,"about_ca_topic_score_gemma":0.026155114,"teacher_disagreement_score":0.014406007,"about_ca_system_score_codex":0.0030904175,"about_ca_system_score_gemma":0.0019144034,"threshold_uncertainty_score":0.022422612},"labels":[],"label_agreement":null},{"id":"W1881326314","doi":"10.21083/csieci.v10i1.3179","title":"“Schizophonophilia”: An Audio-Interplay Between Wayde Compton and Paul Watkins","year":2014,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Guelph; Vancouver Island University","funders":"","keywords":"Jazz; Archivist; Interpretation (philosophy); Improvisation; Insider; Sociology; Media studies; History; Art; Literature; Art history; Visual arts; Linguistics; Epistemology; Philosophy","score_opus":0.07529750538015492,"score_gpt":0.3750099827718196,"score_spread":0.29971247739166473,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1881326314","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.32364222,0.018752825,0.010477963,0.40103677,0.0075995005,0.0003480065,0.00008986244,0.00021643707,0.23783648],"genre_scores_gemma":[0.9029894,0.0049452274,0.0026994282,0.024944557,0.00077747164,0.00024731844,0.000024123186,0.00019100464,0.063181475],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9905386,0.0070918263,0.00011063498,0.00041183142,0.0011272545,0.00071994204],"domain_scores_gemma":[0.9902312,0.0064795627,0.00035105887,0.00029644062,0.00094838056,0.0016933457],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005834327,0.0007219638,0.0005195151,0.0020963796,0.03173433,0.011095743,0.0013353614,0.0039575757,0.0043805875],"category_scores_gemma":[0.01375495,0.00053958147,0.00022698534,0.0014149075,0.03080363,0.006085947,0.009207234,0.008399614,0.0005672348],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000041346113,0.00003062049,0.00050727965,0.00009176729,0.000006223445,0.001558484,0.8962511,0.000052302585,0.0009021873,0.045108963,0.039484914,0.015964974],"study_design_scores_gemma":[0.000007050533,0.0000201786,0.00042946436,0.00030361585,0.000003568623,0.000667618,0.682774,0.0000736222,0.0003606088,0.005702459,0.3096359,0.0000218784],"about_ca_topic_score_codex":0.06448971,"about_ca_topic_score_gemma":0.13399096,"teacher_disagreement_score":0.06448971,"about_ca_system_score_codex":0.009730295,"about_ca_system_score_gemma":0.006957606,"threshold_uncertainty_score":0.12822872},"labels":[],"label_agreement":null},{"id":"W1889185319","doi":"10.7202/1023742ar","title":"De Coke La Rock à Run-DMC : Les phases poétiques du hip-hop Old School","year":2014,"lang":"fr","type":"article","venue":"Les Cahiers de la Société québécoise de recherche en musique","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université Laval","funders":"","keywords":"Humanities; Art; Physics","score_opus":0.043372732817690135,"score_gpt":0.3088653131917845,"score_spread":0.2654925803740944,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1889185319","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7476687,0.0073412396,0.0012102185,0.023635708,0.0011211568,0.000099695935,0.00013105433,0.000052801974,0.21873935],"genre_scores_gemma":[0.9517601,0.0013224658,0.00022505791,0.0008321622,0.00013792918,0.000027544538,0.000027118738,0.00004166664,0.045625962],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981927,0.00068446,0.00004184413,0.00011986446,0.0003576919,0.00060334755],"domain_scores_gemma":[0.99867827,0.00037590766,0.00016137371,0.000055928413,0.0002186149,0.00050993497],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002037215,0.00035139755,0.0002809209,0.001487769,0.013969681,0.0068071643,0.0006920297,0.0013196315,0.0059712776],"category_scores_gemma":[0.004174857,0.0002921971,0.00017231079,0.0014317129,0.017125707,0.0032043804,0.004935273,0.0038162791,0.0007894175],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009726925,0.000042160926,0.0042555314,0.00010129992,0.0000036069323,0.00090533355,0.87081337,0.00003658421,0.0004251071,0.096430145,0.008837567,0.018051943],"study_design_scores_gemma":[0.000010205963,0.00005572456,0.011537482,0.00023901199,0.0000058430223,0.00034327977,0.68652296,0.000034578527,0.000646051,0.00486537,0.29570478,0.00003473754],"about_ca_topic_score_codex":0.07246147,"about_ca_topic_score_gemma":0.17200805,"teacher_disagreement_score":0.07246147,"about_ca_system_score_codex":0.01056332,"about_ca_system_score_gemma":0.007708421,"threshold_uncertainty_score":0.14407945},"labels":[],"label_agreement":null},{"id":"W1891991051","doi":"10.21083/csieci.v4i2.850","title":"When Did Jazz Go Straight?: a queer question for jazz studies","year":2008,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":68,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Jazz; Queer; Human sexuality; Sociology; Aesthetics; Romance; Queer theory; Gender studies; Literature; Art; Visual arts","score_opus":0.17257976369362624,"score_gpt":0.38441198944682925,"score_spread":0.211832225753203,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1891991051","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.38802484,0.015699882,0.0065875254,0.30789983,0.0014387168,0.00007883423,0.00010473132,0.00009944532,0.28006622],"genre_scores_gemma":[0.97876066,0.0015653254,0.0004879118,0.0051861596,0.00044772497,0.000025213234,0.000015734568,0.000041376665,0.013469925],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99483997,0.0035583135,0.00011217417,0.00041021983,0.00046110863,0.0006181936],"domain_scores_gemma":[0.99122417,0.0062728324,0.0006243938,0.00042356862,0.00064925913,0.00080571836],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.008992781,0.00038099015,0.000538071,0.0017291986,0.01793227,0.015500889,0.0014308303,0.0035341093,0.0054071564],"category_scores_gemma":[0.013579257,0.0002003916,0.00024753783,0.0016006038,0.06991353,0.014886897,0.0050443225,0.0077189356,0.00057064387],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000031678926,0.000020733785,0.0011039106,0.00004530321,0.0000051844204,0.00019550903,0.7196494,0.000016708005,0.00021442448,0.26387545,0.00513691,0.0097048795],"study_design_scores_gemma":[0.0000057683396,0.000013868773,0.001091351,0.00018861468,0.000004333388,0.00009325499,0.8908492,0.000044839577,0.00017749389,0.04541016,0.06210845,0.00001277594],"about_ca_topic_score_codex":0.016169112,"about_ca_topic_score_gemma":0.024774374,"teacher_disagreement_score":0.01793227,"about_ca_system_score_codex":0.006861669,"about_ca_system_score_gemma":0.0032211365,"threshold_uncertainty_score":0.049785137},"labels":[],"label_agreement":null},{"id":"W1892038004","doi":"10.21971/p77w26","title":"Seattle in the 1960s: Music, Identity, and the Struggle for Civil Rights","year":2009,"lang":"en","type":"article","venue":"Crossing boundaries","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Identity (music); Blues; Musical; Civil rights; Black music; Gender studies; Politics; Sociology; Political science; Aesthetics; History; Visual arts; Art; Law; Art history","score_opus":0.03882085349137835,"score_gpt":0.2618207348617788,"score_spread":0.22299988137040047,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1892038004","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.76673925,0.020102855,0.00022873012,0.02651486,0.00066703017,0.000014258842,0.00003541329,0.000016685577,0.18568087],"genre_scores_gemma":[0.970021,0.005943427,0.00011167895,0.001105218,0.00015970306,0.000009806051,0.00001719785,0.000009728375,0.02262212],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99948895,0.00022312405,0.000016173708,0.0000542344,0.00004621719,0.00017118464],"domain_scores_gemma":[0.99966395,0.00010952136,0.000061050196,0.00001630584,0.00002135291,0.0001278704],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007543399,0.00039654912,0.00019086122,0.0015431856,0.014473138,0.006520399,0.00046219563,0.0015959593,0.0052753133],"category_scores_gemma":[0.0011466591,0.00020649905,0.00010154332,0.0014224545,0.011854953,0.005274425,0.0045498656,0.002968474,0.00033491783],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006267063,0.00009956676,0.0085537825,0.000075793876,0.0000078017365,0.0012322522,0.79606724,0.00005838532,0.0005566952,0.13331248,0.0102876965,0.049685646],"study_design_scores_gemma":[0.00001324607,0.00005443941,0.020489115,0.0006214659,0.000009194083,0.0004037975,0.68913496,0.000046685167,0.0003501982,0.011009974,0.27784535,0.00002158802],"about_ca_topic_score_codex":0.050606824,"about_ca_topic_score_gemma":0.15658256,"teacher_disagreement_score":0.050606824,"about_ca_system_score_codex":0.0046259006,"about_ca_system_score_gemma":0.0021189807,"threshold_uncertainty_score":0.1006245},"labels":[],"label_agreement":null},{"id":"W1898673914","doi":"10.12801/1947-5403.2012.04.02.01","title":"What to Ask Women Composers: Feminist Fieldwork in Electronic Dance Music","year":2012,"lang":"en","type":"article","venue":"Dancecult","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":7,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"York University","keywords":"Dance; Ask price; Electronic dance music; Visual arts; Gender studies; Sociology; Psychology; Aesthetics; Art","score_opus":0.023982815421832504,"score_gpt":0.2216870036151896,"score_spread":0.19770418819335708,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1898673914","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.86472756,0.0058661937,0.008842078,0.026630705,0.0011274095,0.0011496868,0.00026758807,0.00010999286,0.09127874],"genre_scores_gemma":[0.962209,0.0023357281,0.004664654,0.0034594308,0.00039850434,0.0008386874,0.00007091081,0.00013830564,0.025884846],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9821592,0.0144901145,0.00030378447,0.0011079626,0.0007275009,0.0012113093],"domain_scores_gemma":[0.9854849,0.012211545,0.00043631642,0.00046823715,0.00050098565,0.00089807605],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.01865869,0.0008580094,0.000864991,0.0031956271,0.026669158,0.011185154,0.0018196737,0.002799115,0.0075071733],"category_scores_gemma":[0.017321298,0.0009917812,0.00042190237,0.0026509548,0.02853674,0.007464055,0.008060607,0.0042162524,0.00086732913],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025946047,0.000031967214,0.000484945,0.00006248965,0.0000018312543,0.00021961938,0.98814887,0.000012874,0.0004835473,0.0036754974,0.0009909142,0.005861484],"study_design_scores_gemma":[0.000009113735,0.000035549623,0.00048269972,0.00011797712,0.0000021788103,0.00016061192,0.9642311,0.000023513161,0.0004981182,0.0012003733,0.033230573,0.000008276116],"about_ca_topic_score_codex":0.0069264825,"about_ca_topic_score_gemma":0.016704869,"teacher_disagreement_score":0.026669158,"about_ca_system_score_codex":0.005196882,"about_ca_system_score_gemma":0.0041116783,"threshold_uncertainty_score":0.098677754},"labels":[],"label_agreement":null},{"id":"W1914044255","doi":"","title":"Mindy Yan Miller : Dropout","year":2001,"lang":"fr","type":"article","venue":"Espace Sculpture","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Miller; Economics; Dropout (neural networks); Political science; Computer science; Geology","score_opus":0.015260460936974937,"score_gpt":0.2101263729698793,"score_spread":0.19486591203290435,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1914044255","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009005859,0.0034815983,0.0025559773,0.48290282,0.011874877,0.00019767796,0.0012377104,0.0008069457,0.4879365],"genre_scores_gemma":[0.038728863,0.0018096151,0.0006245547,0.04290998,0.0041760122,0.00019778385,0.00055090326,0.000417264,0.9105849],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981797,0.0004651125,0.00009715536,0.00016036246,0.0005601787,0.0005375178],"domain_scores_gemma":[0.9926571,0.0011025914,0.0003453059,0.000675922,0.0021654374,0.0030536253],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0030763948,0.00036085176,0.000664853,0.001127093,0.005403414,0.0036902907,0.001667125,0.003669009,0.3127629],"category_scores_gemma":[0.019185435,0.00025002364,0.00040507247,0.0010533103,0.0013280337,0.003932976,0.0051931683,0.0045386516,0.07568979],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004303934,0.000075151474,0.0012737486,0.0000327973,0.0000031370955,0.00014966996,0.00017906434,0.000018573697,0.000039234365,0.0130199995,0.9384992,0.046666436],"study_design_scores_gemma":[0.000049069014,0.000028316861,0.002292802,0.0001647373,0.000007724931,0.00030951202,0.0008385853,0.0001415812,0.00013645185,0.020629147,0.975387,0.00001509154],"about_ca_topic_score_codex":0.005996733,"about_ca_topic_score_gemma":0.010216135,"teacher_disagreement_score":0.3127629,"about_ca_system_score_codex":0.0022779016,"about_ca_system_score_gemma":0.0056456737,"threshold_uncertainty_score":0.9802603},"labels":[],"label_agreement":null},{"id":"W1916509179","doi":"10.3138/topia.13.176","title":"Contemporary Sound Cultures","year":2005,"lang":"en","type":"article","venue":"TOPIA Canadian Journal of Cultural Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sound (geography); Art history; Art; History; Sound recording and reproduction; Media studies; Anthropology; Sociology; Acoustics","score_opus":0.1017947495779631,"score_gpt":0.2774579413501843,"score_spread":0.17566319177222123,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1916509179","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0028433376,0.904104,0.00063369056,0.0072671417,0.0036180846,0.000008962065,0.00015603942,0.000026416466,0.08134237],"genre_scores_gemma":[0.064280905,0.8861875,0.00093203783,0.004207311,0.0034092073,0.000032161024,0.00035846702,0.00008542063,0.040507093],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99918574,0.0001636783,0.00009282885,0.00017806463,0.00027116912,0.0001085272],"domain_scores_gemma":[0.99912184,0.00035506455,0.00006516903,0.0000515498,0.0002953557,0.000110999375],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008711473,0.001000789,0.0005824166,0.00435144,0.0028084326,0.0068229823,0.00080459943,0.0014443574,0.021284228],"category_scores_gemma":[0.0025600598,0.00032796772,0.00027189162,0.007879171,0.0033890088,0.004524197,0.0025561007,0.0022056166,0.00465627],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000051056544,0.000052781597,0.0015042411,0.0029533573,0.000024399273,0.00027522736,0.013771615,0.00013301347,0.0004411988,0.09651278,0.2178977,0.6663827],"study_design_scores_gemma":[0.0000030875506,0.000011320307,0.0022208446,0.0022446234,0.00000849656,0.0003644238,0.0062930644,0.000020558962,0.00009779421,0.005998857,0.9827235,0.000013527382],"about_ca_topic_score_codex":0.013933346,"about_ca_topic_score_gemma":0.022938635,"teacher_disagreement_score":0.021284228,"about_ca_system_score_codex":0.0027546028,"about_ca_system_score_gemma":0.003113454,"threshold_uncertainty_score":0.071202815},"labels":[],"label_agreement":null},{"id":"W1918442651","doi":"10.21083/csieci.v6i2.1264","title":"Giving Back Time: Improvisation in Australian Hip-Hop Pedagogy and Performance","year":2010,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Improvisation; Disadvantaged; Sociology; Indigenous; Pedagogy; Visual arts; Art; Political science; Law","score_opus":0.05749943109700575,"score_gpt":0.3457379682194796,"score_spread":0.2882385371224739,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1918442651","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.77352357,0.003466789,0.010543124,0.00857479,0.00034128837,0.0001335364,0.000017907727,0.00010741481,0.2032916],"genre_scores_gemma":[0.9883189,0.0006062159,0.0010724692,0.00019630563,0.00004282533,0.000030840576,0.0000061801497,0.00003390565,0.009692381],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99246466,0.004940999,0.00015936891,0.00038654217,0.001319143,0.00072931533],"domain_scores_gemma":[0.9917868,0.0055905352,0.0005757864,0.00051873375,0.0005969921,0.00093127927],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0067443736,0.0004793786,0.00045400052,0.0021628446,0.015295224,0.008967227,0.0018628858,0.0026025267,0.0052924776],"category_scores_gemma":[0.015031422,0.00032682254,0.00022947126,0.0013934034,0.028378066,0.0035648053,0.010658749,0.003786195,0.0004900813],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022317634,0.000030467578,0.0007495056,0.00010118369,0.000002463156,0.00037829834,0.96266437,0.00006692677,0.0005054796,0.019735824,0.00055701635,0.015186126],"study_design_scores_gemma":[0.000006406173,0.00008564312,0.0049522244,0.00042490955,0.000008045852,0.00053480983,0.9091417,0.00028946405,0.00078587775,0.008520642,0.07522624,0.000024000514],"about_ca_topic_score_codex":0.020420788,"about_ca_topic_score_gemma":0.03250523,"teacher_disagreement_score":0.020420788,"about_ca_system_score_codex":0.0059053614,"about_ca_system_score_gemma":0.005652102,"threshold_uncertainty_score":0.04284656},"labels":[],"label_agreement":null},{"id":"W1920210730","doi":"10.3366/dls.2015.0204","title":"The Take and the Stutter: Glenn Gould's Time Synthesis","year":2015,"lang":"en","type":"article","venue":"Deleuze Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Lethbridge","funders":"","keywords":"Musical; Active listening; Piano; Deleuze and Guattari; Aesthetics; Temporality; Modernism (music); Studio; Art; Art history; Philosophy; Epistemology; Sociology; Literature; Visual arts; Communication","score_opus":0.07544858652774035,"score_gpt":0.2327971712024257,"score_spread":0.15734858467468538,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1920210730","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07899781,0.028855966,0.04738292,0.108995,0.0037285902,0.000069804504,0.00011755534,0.00043914176,0.73141325],"genre_scores_gemma":[0.8648095,0.004243062,0.009868797,0.008405177,0.00044848456,0.0000885555,0.000046313973,0.0002899301,0.111800194],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985259,0.0008354763,0.000027219847,0.00019475822,0.00030599968,0.00011057374],"domain_scores_gemma":[0.9992507,0.0004845551,0.000033258784,0.00008543066,0.00007528768,0.00007081207],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018124449,0.0005215714,0.00026515117,0.0013325962,0.005160318,0.006411678,0.0008194845,0.0023035628,0.0040124613],"category_scores_gemma":[0.0034444178,0.00016095323,0.00033561542,0.00090175384,0.017555496,0.0047053793,0.0037388748,0.0026864097,0.00063242886],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003304534,0.0000073380993,0.00009287969,0.00002998552,0.000002745899,0.0001457466,0.049214087,0.00016867266,0.00040008116,0.91603833,0.013758276,0.020108752],"study_design_scores_gemma":[0.00001716191,0.000021709156,0.00029492917,0.00016537984,0.000007815728,0.00020066497,0.024512734,0.0004303419,0.00070489594,0.3588366,0.6147712,0.000036675854],"about_ca_topic_score_codex":0.015070894,"about_ca_topic_score_gemma":0.031435132,"teacher_disagreement_score":0.015070894,"about_ca_system_score_codex":0.0066115055,"about_ca_system_score_gemma":0.0021311834,"threshold_uncertainty_score":0.047970116},"labels":[],"label_agreement":null},{"id":"W1920323665","doi":"10.1111/1468-2427.12087","title":"Rebels Without a Pause: Hip‐hop and Resistance in the City","year":2014,"lang":"en","type":"article","venue":"International Journal of Urban and Regional Research","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":43,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Institut National de la Recherche Scientifique","funders":"","keywords":"Graffiti; Sociology; Democracy; Resistance (ecology); Citizenship; Politics; Media studies; Law; Criminology; Political economy; Political science; Gender studies; Art; Visual arts","score_opus":0.1237496520023608,"score_gpt":0.33920534762767846,"score_spread":0.21545569562531766,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1920323665","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7860821,0.002538679,0.00077135756,0.018931057,0.0003903112,0.000036690777,0.00003867329,0.00003899263,0.19117226],"genre_scores_gemma":[0.99212366,0.0003942546,0.000040607076,0.00047483473,0.000040637566,0.000009628189,0.0000051194265,0.000011381755,0.006899804],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99632627,0.0023438274,0.00005441058,0.0001801947,0.0003155812,0.0007797684],"domain_scores_gemma":[0.9977187,0.0011029755,0.0003147319,0.0001500804,0.00014759251,0.0005659742],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022281066,0.00037026213,0.0004918116,0.001602288,0.017652152,0.0124492785,0.0012031472,0.0025665394,0.0057281987],"category_scores_gemma":[0.003683486,0.00032501694,0.0002096475,0.0017336021,0.038588386,0.003175839,0.009041027,0.004760904,0.00041805478],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025307954,0.000035690788,0.0019128595,0.000041148305,0.0000062375584,0.00062927784,0.9418053,0.000051916122,0.00013192392,0.04621161,0.0045884554,0.004560274],"study_design_scores_gemma":[0.00000497853,0.00001450431,0.0020014516,0.0000692179,0.000003944641,0.000123202,0.95303255,0.000040122955,0.00007216569,0.0019689023,0.042658206,0.000010664944],"about_ca_topic_score_codex":0.027433414,"about_ca_topic_score_gemma":0.049524553,"teacher_disagreement_score":0.027433414,"about_ca_system_score_codex":0.006222242,"about_ca_system_score_gemma":0.0032262558,"threshold_uncertainty_score":0.05454749},"labels":[],"label_agreement":null},{"id":"W1920339076","doi":"10.32316/hse/rhe.v25i2.4313","title":"Managing the Muses: Musical Performance and Modernity in the Public Schools of Late-Nineteenth Century Toronto","year":2013,"lang":"en","type":"article","venue":"Historical Studies in Education / Revue d histoire de l éducation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Modernity; Humanities; Period (music); Musical; Art history; Art; Sociology; Middle class; Youth culture; Visual arts; Media studies; Aesthetics; Political science; Gender studies; Law","score_opus":0.07977553426635373,"score_gpt":0.27024159902092293,"score_spread":0.1904660647545692,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1920339076","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8290094,0.0048120813,0.0013773314,0.00918853,0.00020134602,0.000045406814,0.0002898158,0.000061607265,0.1550144],"genre_scores_gemma":[0.9862831,0.000638209,0.00014984587,0.00007353623,0.000021601947,0.0000064241567,0.000023194232,0.00001206912,0.012791905],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9990683,0.00020422645,0.000026211706,0.00010625759,0.00021546763,0.00037959535],"domain_scores_gemma":[0.99894255,0.00023608383,0.00017866283,0.00006811838,0.00019720689,0.00037748832],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010472299,0.0003821314,0.00020149289,0.001507343,0.013237613,0.0066142054,0.00094793784,0.00083241926,0.0076787225],"category_scores_gemma":[0.0014948843,0.00027804475,0.00014540099,0.0019434636,0.01776773,0.0017290399,0.003582159,0.0014020295,0.0002618713],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005583042,0.000015605605,0.01218049,0.00015690943,0.000011788955,0.0007642238,0.88124907,0.00027213842,0.0009065777,0.075186566,0.005637823,0.0235631],"study_design_scores_gemma":[0.000008478657,0.00004463324,0.057074092,0.0002468228,0.000017584765,0.00023200273,0.6717968,0.00020625924,0.0006517952,0.0027880855,0.26689553,0.000037961036],"about_ca_topic_score_codex":0.8529753,"about_ca_topic_score_gemma":0.9529158,"teacher_disagreement_score":0.14702469,"about_ca_system_score_codex":0.07262145,"about_ca_system_score_gemma":0.026386641,"threshold_uncertainty_score":0.5269079},"labels":[],"label_agreement":null},{"id":"W1924066056","doi":"10.4000/volume.3056","title":"Contre-cultures : Musiques, Théorie et Scènes","year":2012,"lang":"fr","type":"article","venue":"Volume !","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Queen's University","funders":"","keywords":"Art","score_opus":0.017719808428943096,"score_gpt":0.23870693193438713,"score_spread":0.22098712350544403,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1924066056","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.050769728,0.04114041,0.009434232,0.055803515,0.001809682,0.000028408534,0.000055747652,0.00006501737,0.8408933],"genre_scores_gemma":[0.9298349,0.010785547,0.0017170171,0.0037180998,0.0006060162,0.00005479724,0.000033794295,0.00010389461,0.05314592],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99768925,0.0016305444,0.00004435789,0.00017829408,0.0002638184,0.00019375414],"domain_scores_gemma":[0.9986243,0.00088365516,0.00014447032,0.00013478386,0.00009358348,0.00011912297],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019028718,0.0006687097,0.00032304204,0.001639411,0.0067576906,0.009994369,0.00091651623,0.001995287,0.0069409646],"category_scores_gemma":[0.0031143615,0.00024644186,0.00031867847,0.001742622,0.031852797,0.00836066,0.0037728492,0.00418197,0.0007570952],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008172472,0.0000046377604,0.00021634855,0.000045008906,0.0000028340196,0.000048902297,0.026948363,0.000053533167,0.00006336296,0.96494627,0.0032066416,0.004455929],"study_design_scores_gemma":[0.0000127587855,0.000027780081,0.001635365,0.00058288383,0.00001328323,0.0003382551,0.10607368,0.00042042445,0.00055158394,0.43986785,0.45045024,0.000025855461],"about_ca_topic_score_codex":0.00822376,"about_ca_topic_score_gemma":0.009202655,"teacher_disagreement_score":0.009994369,"about_ca_system_score_codex":0.0050041405,"about_ca_system_score_gemma":0.0021937087,"threshold_uncertainty_score":0.036307752},"labels":[],"label_agreement":null},{"id":"W1926062582","doi":"10.21083/csieci.v5i1.1017","title":"Improvising Digital Culture: A Conversation","year":2009,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":18,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Miller; Improvisation; Conversation; Jazz; Musical; Presentation (obstetrics); Subject (documents); Art; Visual arts; Literature; Media studies; Sociology; Computer science; Communication","score_opus":0.0784422834847222,"score_gpt":0.35345405291026777,"score_spread":0.27501176942554556,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1926062582","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.363245,0.0053779874,0.015829178,0.32268903,0.0050630304,0.00046454772,0.0002314906,0.0003533833,0.28674638],"genre_scores_gemma":[0.90779936,0.0019049859,0.0037641893,0.031089231,0.0015406815,0.0005819672,0.000067851164,0.00025333816,0.052998368],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99143183,0.0061689126,0.00014238055,0.00058955577,0.00087393256,0.000793421],"domain_scores_gemma":[0.9915405,0.0060589537,0.00029492847,0.00022792195,0.00039416872,0.0014835839],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.008420889,0.00085874303,0.00060725235,0.0018636829,0.025156053,0.012794439,0.002180547,0.006685174,0.0077631287],"category_scores_gemma":[0.015144171,0.0004564188,0.00043541344,0.001623722,0.027906582,0.016061565,0.014558964,0.013341758,0.0012653021],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003065912,0.00004456989,0.00017794291,0.00003969046,0.0000031549812,0.0005091272,0.91421854,0.000046046658,0.0007155858,0.067690015,0.012065273,0.0044594854],"study_design_scores_gemma":[0.000016234735,0.00005019217,0.00022377126,0.00016975016,0.0000035290648,0.00028067658,0.7118117,0.00021355152,0.00033323385,0.0103540085,0.2765197,0.000023665752],"about_ca_topic_score_codex":0.0052510845,"about_ca_topic_score_gemma":0.004629716,"teacher_disagreement_score":0.025156053,"about_ca_system_score_codex":0.0082602585,"about_ca_system_score_gemma":0.0033160232,"threshold_uncertainty_score":0.05993271},"labels":[],"label_agreement":null},{"id":"W1927664463","doi":"10.21083/csieci.v10i1.3118","title":"Retaining a New Format: Jazz-Rap, Cultural Memory, and the New Cultural Politics of Difference","year":2014,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Jazz; Lyrics; Politics; Literature; Art; History; Visual arts; Political science; Law","score_opus":0.07392388434826958,"score_gpt":0.33472966235901014,"score_spread":0.26080577801074056,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1927664463","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.28070554,0.025660928,0.005409172,0.06960293,0.0016451433,0.000030915762,0.00006348847,0.000073340634,0.61680853],"genre_scores_gemma":[0.98614687,0.0018012719,0.00037953554,0.001187537,0.00052086124,0.000011784673,0.000010583437,0.000027652459,0.009913721],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9969759,0.0018503619,0.000082158425,0.00032457215,0.00037416175,0.00039290162],"domain_scores_gemma":[0.9962984,0.002267947,0.00031114003,0.0005390708,0.00021368927,0.0003697412],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004198598,0.00032569095,0.00033883678,0.0019013102,0.01065802,0.015964732,0.0010880304,0.0021218653,0.005084155],"category_scores_gemma":[0.0059287813,0.0001737478,0.00017757252,0.0018120799,0.07038215,0.013392988,0.0067504896,0.004204535,0.00037909747],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000044728138,0.00001116623,0.00043226272,0.00004604566,0.0000031489553,0.00014722462,0.2079918,0.0000306177,0.00016382638,0.77184314,0.0031174247,0.01616873],"study_design_scores_gemma":[0.00003408226,0.00008250288,0.0026022515,0.000458503,0.00001285115,0.0005781518,0.38007757,0.00017812966,0.00054839783,0.20767374,0.40771532,0.000038579397],"about_ca_topic_score_codex":0.0057784133,"about_ca_topic_score_gemma":0.0075860457,"teacher_disagreement_score":0.015964732,"about_ca_system_score_codex":0.0050709783,"about_ca_system_score_gemma":0.0019387688,"threshold_uncertainty_score":0.036792755},"labels":[],"label_agreement":null},{"id":"W1933388663","doi":"10.1163/22134360-08903007","title":"Radical Moves: Caribbean Migrants and the Politics of Race in the Jazz Age, written by Lara Putnam","year":2015,"lang":"en","type":"article","venue":"New West Indian Guide / Nieuwe West-Indische Gids","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Jazz; Race (biology); Politics; Gender studies; History; Political science; Genealogy; Sociology; Art history; Law","score_opus":0.023963865596620136,"score_gpt":0.23771191381470766,"score_spread":0.21374804821808752,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1933388663","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.012754241,0.23822236,0.00023875291,0.49839774,0.022385668,0.00006943588,0.00030084525,0.00004136762,0.22758956],"genre_scores_gemma":[0.19285996,0.15925427,0.00057544245,0.13180888,0.026568044,0.0003668883,0.0002367219,0.00029669557,0.48803306],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.9996357,0.00014925138,0.000013246031,0.000043575572,0.000050262097,0.00010791344],"domain_scores_gemma":[0.9990841,0.0005020532,0.00005671583,0.00002951504,0.000119362536,0.00020832848],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001128388,0.0009570677,0.00054631004,0.0012816864,0.013583313,0.010984369,0.0008820368,0.0039941766,0.011402971],"category_scores_gemma":[0.0024825127,0.0003450033,0.00026893348,0.0020090337,0.004911356,0.0053636697,0.0031924709,0.0062389174,0.0013659676],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000064252876,0.000036767564,0.00057786383,0.00038327818,0.00001106353,0.00028725486,0.08450515,0.00009185403,0.00025189412,0.12354842,0.76105833,0.029183825],"study_design_scores_gemma":[0.000014129678,0.000011135861,0.0024384332,0.0008157149,0.0000090131,0.00007048209,0.11711531,0.000052113126,0.00007759851,0.00809171,0.8712855,0.000018847233],"about_ca_topic_score_codex":0.15293743,"about_ca_topic_score_gemma":0.36704996,"teacher_disagreement_score":0.15293743,"about_ca_system_score_codex":0.004928012,"about_ca_system_score_gemma":0.0062992764,"threshold_uncertainty_score":0.30409443},"labels":[],"label_agreement":null},{"id":"W1934060973","doi":"10.4000/volume.3689","title":"Marta García Quiñones, Anahid Kassabian et Elena Boschi (eds), Ubiquituous Musics. The Everyday Sounds that we Don’t Always Notice","year":2013,"lang":"en","type":"article","venue":"Volume !","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Musée de la Civilisation","funders":"","keywords":"Humanities; Art","score_opus":0.028226661781890736,"score_gpt":0.19699500118522442,"score_spread":0.1687683394033337,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1934060973","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0041221394,0.696,0.0029387444,0.16935548,0.010550894,0.00002307159,0.00018639141,0.00011389848,0.11670942],"genre_scores_gemma":[0.06517155,0.74992925,0.003569701,0.017119693,0.009763767,0.000081075064,0.00024155012,0.00019383608,0.1539296],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993326,0.00023923589,0.000022800232,0.00010119467,0.00023273451,0.000071369286],"domain_scores_gemma":[0.999183,0.00042871365,0.00010640313,0.00003782266,0.00014442741,0.00009960802],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010718538,0.0010276708,0.0005768479,0.0015734866,0.0039802296,0.0072051203,0.00097445876,0.0023354946,0.015594412],"category_scores_gemma":[0.0017594905,0.00049697584,0.00035782057,0.0022990436,0.0036753176,0.0075689848,0.0021529377,0.00415822,0.005911324],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006193732,0.000048919967,0.0020547295,0.0012674109,0.00003053665,0.0002559996,0.02318392,0.00013892214,0.00048131673,0.12026813,0.6909793,0.16122888],"study_design_scores_gemma":[0.000006176882,0.000015160628,0.0044734967,0.00092118257,0.000015032751,0.0003830353,0.015637232,0.00006888244,0.00017911871,0.018568106,0.95971227,0.000020328142],"about_ca_topic_score_codex":0.015866673,"about_ca_topic_score_gemma":0.04547031,"teacher_disagreement_score":0.015866673,"about_ca_system_score_codex":0.0022031958,"about_ca_system_score_gemma":0.0021747851,"threshold_uncertainty_score":0.052168548},"labels":[],"label_agreement":null},{"id":"W1939314428","doi":"10.21083/csieci.v6i2.1020","title":"“Patience, Sincerity, and Consistency”: Fred Anderson’s Musical and Social Practices","year":2010,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Musical; Honor; Jazz; Sincerity; Performing arts; Realm; Townsend; Gratitude; Symphony; Sociology; Superstar; Psychology; Aesthetics; Visual arts; Art history; Art; Social psychology; History","score_opus":0.11557792629513185,"score_gpt":0.372103833582284,"score_spread":0.25652590728715213,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1939314428","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.70804435,0.003783954,0.0025660861,0.08566621,0.00030602142,0.000040605384,0.000033609926,0.000083433246,0.1994757],"genre_scores_gemma":[0.9838785,0.00042277336,0.00047818673,0.0017814673,0.000029309644,0.000010172783,0.0000039006177,0.000017992204,0.0133777335],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99649006,0.0022009546,0.00005241216,0.00029297546,0.0004358495,0.0005277251],"domain_scores_gemma":[0.9959942,0.0022306603,0.0003306286,0.0001684907,0.00047975354,0.0007961158],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003854437,0.00029896776,0.00023415279,0.0014834167,0.025637824,0.008086559,0.0014459306,0.0018550009,0.0023057833],"category_scores_gemma":[0.0071743545,0.0003216637,0.00014100297,0.0008764067,0.03419611,0.003574965,0.0041984026,0.0029880404,0.0002840637],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003077126,0.00003491839,0.0019432947,0.000028733686,0.0000067134156,0.00061754585,0.87023395,0.000108469685,0.0006004905,0.09394715,0.019439582,0.013008335],"study_design_scores_gemma":[0.000007327552,0.000029020859,0.0030374452,0.00008980308,0.000008544844,0.000587501,0.69784814,0.00020042408,0.0006736278,0.010666668,0.28680065,0.00005092513],"about_ca_topic_score_codex":0.07748706,"about_ca_topic_score_gemma":0.14306884,"teacher_disagreement_score":0.07748706,"about_ca_system_score_codex":0.013496824,"about_ca_system_score_gemma":0.008457882,"threshold_uncertainty_score":0.15407205},"labels":[],"label_agreement":null},{"id":"W1943954865","doi":"10.1111/1468-2427.12098","title":"‘Street Music’, Urban Ethnography and Ghettoized Communities","year":2014,"lang":"en","type":"article","venue":"International Journal of Urban and Regional Research","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":19,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Ethnography; Sociology; Politics; Citizenship; Social movement; Resistance (ecology); Movement (music); Gender studies; Aesthetics; Political science; Anthropology; Art; Law","score_opus":0.1668064279946904,"score_gpt":0.33276472002605684,"score_spread":0.16595829203136644,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1943954865","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.93410087,0.0011814295,0.0008231355,0.0018595519,0.000049670307,0.00003842454,0.000054471788,0.000015465232,0.061877023],"genre_scores_gemma":[0.99746513,0.00034800541,0.00014735012,0.0000887889,0.000020052776,0.000016523982,0.0000118885955,0.0000060772445,0.0018961532],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9971957,0.0021779279,0.000051396277,0.0001368381,0.00014266821,0.00029549393],"domain_scores_gemma":[0.997789,0.0015504106,0.00024514174,0.00013694876,0.00007673468,0.0002017404],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023380627,0.00022127056,0.0002474732,0.0031434426,0.007586599,0.005116374,0.00072985375,0.0009397213,0.005023449],"category_scores_gemma":[0.0030277646,0.0002155372,0.00010104568,0.002923184,0.018684665,0.0029318389,0.0045772414,0.0009384486,0.00019150323],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022297307,0.000023151062,0.0034915782,0.00007106873,0.000004504607,0.00030812024,0.9593435,0.000047354173,0.00023165916,0.028366668,0.0009417449,0.0071483585],"study_design_scores_gemma":[0.0000030214562,0.000016893073,0.003946249,0.00007624699,0.0000025083318,0.00014323155,0.9754076,0.000046870147,0.000099502606,0.0024778177,0.017774498,0.0000054867523],"about_ca_topic_score_codex":0.011095492,"about_ca_topic_score_gemma":0.025546962,"teacher_disagreement_score":0.011095492,"about_ca_system_score_codex":0.0020547241,"about_ca_system_score_gemma":0.0010165186,"threshold_uncertainty_score":0.022061825},"labels":[],"label_agreement":null},{"id":"W1945008676","doi":"","title":"Library Guides @ VIU: Music History: Canadian Music","year":2009,"lang":"en","type":"libguides","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Political science","score_opus":0.0560491360107435,"score_gpt":0.18089278319214855,"score_spread":0.12484364718140505,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1945008676","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0012780856,0.0025619445,0.00011078534,0.0021736326,0.00041899082,0.000053231786,0.0054938677,0.00039369817,0.9875157],"genre_scores_gemma":[0.0023316776,0.0008483947,0.00009406783,0.00009437091,0.000021205295,0.000010594597,0.0006557068,0.00008796453,0.99585587],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995751,0.000018114182,0.000009872245,0.000038459944,0.00023179852,0.00012671614],"domain_scores_gemma":[0.9988894,0.00006597899,0.000020504116,0.000033300832,0.0006709689,0.0003198525],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00041077472,0.0007821278,0.00038050103,0.0032818161,0.010199364,0.007501125,0.0010933877,0.0017315026,0.54377896],"category_scores_gemma":[0.0013961224,0.00046498232,0.00027041032,0.006597555,0.0015095832,0.0023636287,0.0016342159,0.0017254509,0.111301534],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015689831,0.0000154523,0.00046286135,0.000102048536,0.0000014753529,0.000050383158,0.0007447242,0.000047028465,0.00007707355,0.010883666,0.9397881,0.047811516],"study_design_scores_gemma":[0.0000019437805,0.000002339166,0.0021233582,0.0000640226,0.00000128904,0.000017518118,0.0010867474,0.000020167556,0.000079852056,0.000405563,0.996191,0.000006156091],"about_ca_topic_score_codex":0.9371343,"about_ca_topic_score_gemma":0.98612773,"teacher_disagreement_score":0.54377896,"about_ca_system_score_codex":0.029979516,"about_ca_system_score_gemma":0.050580606,"threshold_uncertainty_score":0.65074396},"labels":[],"label_agreement":null},{"id":"W1945421168","doi":"10.7202/1014510ar","title":"Judith Tick. Ruth Crawford Seeger: A Composer's Search for American Music. New York and Oxford: Oxford University Press, 1997. xiv, 457 pp. ISBN 0-195-06509-3 (paperback)","year":2002,"lang":"en","type":"article","venue":"Canadian University Music Review","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art history; Art","score_opus":0.06040600363708157,"score_gpt":0.19203121021645866,"score_spread":0.1316252065793771,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1945421168","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00017793171,0.9366031,0.00015203189,0.03165038,0.006294274,0.000018487939,0.00011523039,0.000043997443,0.024944527],"genre_scores_gemma":[0.004058601,0.7389659,0.00071168295,0.015446735,0.005486981,0.000037389582,0.00019616201,0.00009578883,0.23500073],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987778,0.00016419684,0.00007348809,0.00011910049,0.0007312578,0.00013413592],"domain_scores_gemma":[0.99867225,0.0004533247,0.00014497137,0.000034473316,0.00042611608,0.00026886392],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014148598,0.001448214,0.00088569307,0.0042506536,0.0026210009,0.004589764,0.001576886,0.004067027,0.07167249],"category_scores_gemma":[0.0034534878,0.00087349047,0.00040261933,0.006128134,0.0014819158,0.007840702,0.0015799882,0.0031918322,0.03799345],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015715445,0.000004233334,0.000049217648,0.00031639816,0.0000046437804,0.000039709616,0.00018899611,0.000010144669,0.00007054797,0.0011615183,0.9571029,0.04103607],"study_design_scores_gemma":[0.000009669433,0.000007734152,0.0010398679,0.0006816844,0.000008931539,0.00013370332,0.0006044656,0.000011302858,0.00006161181,0.0011340973,0.99629754,0.000009569403],"about_ca_topic_score_codex":0.07749906,"about_ca_topic_score_gemma":0.24891569,"teacher_disagreement_score":0.07749906,"about_ca_system_score_codex":0.0032575517,"about_ca_system_score_gemma":0.004884587,"threshold_uncertainty_score":0.23976839},"labels":[],"label_agreement":null},{"id":"W1946384231","doi":"10.4000/volume.3129","title":"Kevin Fellezs, Birds of Fire : Jazz, Rock, Funk and the Creation of Fusion","year":2012,"lang":"fr","type":"article","venue":"Volume !","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université Laval","funders":"","keywords":"Jazz; Funk; Musical; Art; Art history; Visual arts; Literature","score_opus":0.014415895862994995,"score_gpt":0.19907404944530074,"score_spread":0.18465815358230575,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1946384231","genre_codex":"commentary","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.02198617,0.31853542,0.0022528225,0.45610726,0.00918342,0.000015292559,0.00012184799,0.00008830668,0.19170938],"genre_scores_gemma":[0.58377856,0.11903676,0.0016253606,0.056284912,0.0075523066,0.000050789542,0.000078460966,0.00022704493,0.23136583],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99957174,0.00022156804,0.000013283171,0.000049840473,0.00009640143,0.00004721403],"domain_scores_gemma":[0.999496,0.00030680213,0.000044734545,0.000020131025,0.000064549284,0.0000678568],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00063600903,0.00038283842,0.00023500627,0.00059074134,0.005660504,0.0047136396,0.00053767033,0.0022030775,0.006085765],"category_scores_gemma":[0.001573026,0.00023419254,0.00010600368,0.00059664913,0.007011128,0.0066304263,0.0015592381,0.0038376844,0.001582223],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007804166,0.000018848155,0.00092176115,0.00013922864,0.00000994481,0.0003162964,0.048271872,0.00007664717,0.0003691604,0.27786428,0.6431017,0.028832318],"study_design_scores_gemma":[0.000008858665,0.000014706509,0.00217204,0.00030805625,0.000003871574,0.00047944806,0.048434414,0.000065384804,0.0003732927,0.036990423,0.9111287,0.00002083545],"about_ca_topic_score_codex":0.013554968,"about_ca_topic_score_gemma":0.04523568,"teacher_disagreement_score":0.013554968,"about_ca_system_score_codex":0.0016216655,"about_ca_system_score_gemma":0.00073332473,"threshold_uncertainty_score":0.026952147},"labels":[],"label_agreement":null},{"id":"W1960582087","doi":"10.21083/csieci.v2i1.53","title":"Jeanne Lee's Voice","year":2006,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Improvisation; Politics; Aesthetics; Jazz; Vision; Nationalism; Sociology; Negotiation; Variety (cybernetics); Art; Visual arts; Social science; Law; Political science; Anthropology","score_opus":0.07184382651920422,"score_gpt":0.33785277948749803,"score_spread":0.2660089529682938,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1960582087","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.048279908,0.022251645,0.002764193,0.1663227,0.02450295,0.00005373568,0.00010144601,0.00025887287,0.73546463],"genre_scores_gemma":[0.3895214,0.008984098,0.0011164461,0.026149187,0.005418709,0.000051214014,0.000046075238,0.00028393345,0.5684289],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991793,0.00024096515,0.000014747284,0.00014739684,0.0002863787,0.00013119879],"domain_scores_gemma":[0.99880564,0.0004700642,0.00007669026,0.000061898354,0.0002415942,0.0003441785],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00082607457,0.00027213592,0.00014071084,0.00056498806,0.004965024,0.0052321614,0.00041454466,0.0012572249,0.012903948],"category_scores_gemma":[0.0037108723,0.0001226871,0.00010043866,0.00032465832,0.0035417797,0.0026003937,0.0021635764,0.0032133914,0.0025698056],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000061585975,0.000045462955,0.0013359775,0.00019679808,0.000006170264,0.001757774,0.08262047,0.00009686682,0.0023541173,0.18828216,0.63830584,0.084936775],"study_design_scores_gemma":[0.0000017614499,0.000012674132,0.00025173803,0.00011882204,9.2714924e-7,0.0004703202,0.014204513,0.000029078301,0.00020573846,0.0020450382,0.98265254,0.0000068874297],"about_ca_topic_score_codex":0.0041670576,"about_ca_topic_score_gemma":0.0089795925,"teacher_disagreement_score":0.012903948,"about_ca_system_score_codex":0.0017222892,"about_ca_system_score_gemma":0.0015505377,"threshold_uncertainty_score":0.043168068},"labels":[],"label_agreement":null},{"id":"W1962441061","doi":"10.4000/conflits.18972","title":"La signification du politique dans le rap","year":2015,"lang":"fr","type":"article","venue":"Cultures & conflits/Cultures et conflits","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":12,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université du Québec à Montréal","funders":"","keywords":"Humanities; Exposition (narrative); Art; Sociology; Ethnology; Politics; Political science; Literature; Law","score_opus":0.04867510393826197,"score_gpt":0.2798292089274117,"score_spread":0.23115410498914973,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1962441061","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1010291,0.0052361395,0.032120094,0.017749388,0.00021677875,0.00006355445,0.00010437417,0.00009912425,0.84338146],"genre_scores_gemma":[0.97389734,0.0012351444,0.0026321092,0.0005230312,0.00009512171,0.0000549052,0.00003160554,0.000068723726,0.02146205],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9892022,0.0067556347,0.00026000856,0.0012569518,0.0015020535,0.0010231253],"domain_scores_gemma":[0.9917734,0.005206749,0.0007167133,0.0011377808,0.0008163113,0.0003489464],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0073665264,0.00046456454,0.00041422687,0.0023142265,0.010799513,0.014334092,0.0010773697,0.0021261254,0.009388824],"category_scores_gemma":[0.009250071,0.0004012587,0.00038464667,0.0028801702,0.056289036,0.009139644,0.006970872,0.0031483383,0.00092892855],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001085151,0.0000044906396,0.00058466196,0.0000687349,0.000007210886,0.000091603244,0.057332326,0.00011180508,0.00023389544,0.9320771,0.0008392105,0.008638169],"study_design_scores_gemma":[0.000020930964,0.00005076404,0.004251025,0.0008451916,0.00003579191,0.0005229229,0.09974099,0.00064786617,0.0009254015,0.40351498,0.48939672,0.000047411693],"about_ca_topic_score_codex":0.013817686,"about_ca_topic_score_gemma":0.014093253,"teacher_disagreement_score":0.014334092,"about_ca_system_score_codex":0.00967493,"about_ca_system_score_gemma":0.005517329,"threshold_uncertainty_score":0.07019693},"labels":[],"label_agreement":null},{"id":"W1964097166","doi":"10.1080/03007766.2011.618051","title":"“When You Have to Say ‘I Do’”: Orientalism in Michael Jackson's “Liberian Girl”","year":2012,"lang":"en","type":"article","venue":"Popular Music & Society","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Orientalism; Girl; Musical; Mainstream; Literature; Semiotics; Art; Representation (politics); Storytelling; Stereotype (UML); Sociology; Art history; History; Narrative; Philosophy; Psychology; Politics; Law; Theology; Linguistics","score_opus":0.030438564126799652,"score_gpt":0.22621027837289595,"score_spread":0.1957717142460963,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1964097166","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5514174,0.0020367838,0.0034607397,0.045219496,0.00077498256,0.000060214188,0.00006120362,0.00012517835,0.3968439],"genre_scores_gemma":[0.97624683,0.0002999813,0.00033643126,0.0015880024,0.000092709735,0.000024225219,0.000009375171,0.000060421688,0.021342026],"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.998075,0.001353398,0.000025065801,0.00011898821,0.00021692572,0.0002105267],"domain_scores_gemma":[0.9986773,0.0005935172,0.00022502616,0.000042016673,0.00012679843,0.00033528687],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017447976,0.00049125735,0.00024018121,0.0005757627,0.010723634,0.004256747,0.00079890847,0.0012646139,0.0047211917],"category_scores_gemma":[0.0032388775,0.00024719964,0.00013284519,0.00036024972,0.014625583,0.0027234138,0.0036299096,0.0038099268,0.00068679394],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000498638,0.00004097181,0.001341122,0.000057779736,0.0000049593546,0.0013563639,0.9185872,0.00002347586,0.0010927389,0.057759047,0.012690484,0.0069959904],"study_design_scores_gemma":[0.000010794679,0.000033376877,0.0024519437,0.00014406722,0.00000723392,0.0007245199,0.6946204,0.000114759336,0.0008056936,0.0053286427,0.2957352,0.000023386323],"about_ca_topic_score_codex":0.010519711,"about_ca_topic_score_gemma":0.021537837,"teacher_disagreement_score":0.010723634,"about_ca_system_score_codex":0.003933931,"about_ca_system_score_gemma":0.001093482,"threshold_uncertainty_score":0.028542817},"labels":[],"label_agreement":null},{"id":"W1964531130","doi":"10.3138/md.47.2.309","title":"\"Something Better than This\": <i>Sweet Charity </i>and the Feminist Utopia of Broadway Musicals","year":2004,"lang":"en","type":"article","venue":"Modern Drama","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":7,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Musical; Utopia; Cult; Power (physics); Art; Art history; Style (visual arts); History; Literature; Ancient history","score_opus":0.02450400422277032,"score_gpt":0.21940923023161982,"score_spread":0.1949052260088495,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1964531130","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06591984,0.041428223,0.0013326402,0.2406121,0.004398252,0.000017482944,0.00004636663,0.00012778488,0.64611727],"genre_scores_gemma":[0.77244246,0.009084208,0.0004682223,0.026693003,0.0024927338,0.000033484586,0.000022198039,0.00013389507,0.18862969],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985298,0.0008783475,0.000012089026,0.00009587739,0.00018556228,0.0002982759],"domain_scores_gemma":[0.9993536,0.00025734378,0.00005953718,0.000038258033,0.00006244139,0.00022884918],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016776625,0.000408665,0.00020134175,0.00083,0.014614241,0.009806153,0.00051027007,0.0017861733,0.01197384],"category_scores_gemma":[0.0020757716,0.0001757925,0.00013823286,0.0005897718,0.017302236,0.006083029,0.0047469544,0.004399384,0.001100069],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009686432,0.00004264122,0.0008751543,0.00011225555,0.000007687276,0.00032314478,0.12990634,0.000057419336,0.0005162298,0.590122,0.22541714,0.052523095],"study_design_scores_gemma":[0.000008685524,0.000023748764,0.001036588,0.00025255716,0.0000036860813,0.00022112134,0.09308394,0.000041908526,0.00027251462,0.029518176,0.87552214,0.000014796218],"about_ca_topic_score_codex":0.009158266,"about_ca_topic_score_gemma":0.027258916,"teacher_disagreement_score":0.014614241,"about_ca_system_score_codex":0.003400697,"about_ca_system_score_gemma":0.0016898552,"threshold_uncertainty_score":0.040056467},"labels":[],"label_agreement":null},{"id":"W1966154764","doi":"10.1016/j.emospa.2009.10.006","title":"Into the Magic Soundbox, Live performance for radio broadcast","year":2010,"lang":"en","type":"article","venue":"Emotion, space and society","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Queen's University","funders":"","keywords":"MAGIC (telescope); Computer science; Telecommunications; Computer network; Astronomy; Physics","score_opus":0.012319137921655909,"score_gpt":0.19813075813527684,"score_spread":0.18581162021362094,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1966154764","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.025949514,0.0036433588,0.022226455,0.016833983,0.007759079,0.00025726866,0.002685202,0.009207862,0.9114373],"genre_scores_gemma":[0.15099534,0.0017624523,0.01789592,0.004456996,0.0037976704,0.0002868512,0.0018592762,0.004841524,0.8141039],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99962723,0.000086049804,0.000012250694,0.00004855957,0.0001430749,0.00008276868],"domain_scores_gemma":[0.9991922,0.00018555809,0.000020744264,0.0000866211,0.00014633525,0.00036848933],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008590271,0.0006989118,0.0002528457,0.0007305782,0.0033825166,0.0057086158,0.0006847232,0.0011471491,0.15401967],"category_scores_gemma":[0.0032894835,0.00023003425,0.00022769133,0.00040384673,0.0013780724,0.003264573,0.0035503153,0.0018073785,0.025304142],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004190078,0.00007094153,0.00067845575,0.00023015306,0.000011389692,0.000205879,0.005653776,0.00014602169,0.0038403904,0.028294615,0.7674093,0.19304016],"study_design_scores_gemma":[0.000033513872,0.00009394027,0.001295631,0.00012983146,0.000011940364,0.00012704398,0.004132369,0.00024450308,0.00064257166,0.0041916785,0.98908013,0.000016741626],"about_ca_topic_score_codex":0.0040818676,"about_ca_topic_score_gemma":0.015292152,"teacher_disagreement_score":0.15401967,"about_ca_system_score_codex":0.00070567924,"about_ca_system_score_gemma":0.0010019375,"threshold_uncertainty_score":0.5152471},"labels":[],"label_agreement":null},{"id":"W1966301150","doi":"10.3138/jrpc.25.2.264","title":"Religious Imperatives, Boogaloo Rhythms: Taking another Listen to Albert Ayler’s <i>New Grass</i>","year":2013,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Jazz; Rhythm; Sociology; Aesthetics; Art; Art history; Literature; Visual arts","score_opus":0.016826457148349003,"score_gpt":0.22648595426457196,"score_spread":0.20965949711622295,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1966301150","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5403887,0.012524531,0.0016536593,0.18041341,0.0066181766,0.000053469626,0.00006985489,0.00008895289,0.25818932],"genre_scores_gemma":[0.9340081,0.0016875481,0.00040484377,0.017540226,0.0012523296,0.000023545166,0.000021891281,0.00009342974,0.044968013],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99854016,0.0009708438,0.000015372336,0.00009461797,0.00019608889,0.00018302107],"domain_scores_gemma":[0.9983224,0.00086571247,0.00014327471,0.00007272354,0.00016930739,0.00042650808],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019518483,0.00043163437,0.00029090984,0.00049479963,0.017371349,0.0066491175,0.0006424378,0.0027096984,0.004929277],"category_scores_gemma":[0.0035175118,0.00019807898,0.00017341679,0.0002822988,0.0131137045,0.003567777,0.0040291334,0.0074854433,0.0009527848],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011078682,0.00009257707,0.0012782734,0.00008759647,0.000010139515,0.0012265154,0.8628722,0.00003818542,0.0015071024,0.055726368,0.06631283,0.0107375],"study_design_scores_gemma":[0.000021210193,0.00007251897,0.0027733494,0.00015743126,0.0000072062267,0.0005121108,0.6107701,0.00007114794,0.0004788001,0.00442241,0.38068393,0.000029875218],"about_ca_topic_score_codex":0.012838329,"about_ca_topic_score_gemma":0.04290807,"teacher_disagreement_score":0.017371349,"about_ca_system_score_codex":0.0035246662,"about_ca_system_score_gemma":0.000993245,"threshold_uncertainty_score":0.025573313},"labels":[],"label_agreement":null},{"id":"W1967640243","doi":"10.7202/1006379ar","title":"Hybridization and the Creation of “Third Spaces”: an Analysis of Two Works by Tomás Gubitsch","year":2011,"lang":"en","type":"article","venue":"Intersections Canadian Journal of Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Popularity; Phenomenon; Period (music); Musical; Performance art; History; First world war; World War II; Art history; Art; Visual arts; Literature; Humanities; Aesthetics; Political science; Epistemology; Philosophy; Law","score_opus":0.026119116273489982,"score_gpt":0.20816587110920548,"score_spread":0.1820467548357155,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1967640243","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.63551474,0.010527148,0.0030860414,0.006737272,0.0005616701,0.00008405281,0.000073822295,0.0000761385,0.34333915],"genre_scores_gemma":[0.97624296,0.0017177769,0.0008525524,0.00036580957,0.000105877414,0.00004366844,0.00003120899,0.00006236036,0.02057765],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99863154,0.00072083675,0.000026640695,0.00014979142,0.00026361746,0.00020759464],"domain_scores_gemma":[0.9992748,0.00041822527,0.000076135504,0.000054493696,0.00006337236,0.000113035414],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001091804,0.00060140673,0.0003945316,0.0021623208,0.014238512,0.0057434896,0.0006300119,0.001235286,0.004375003],"category_scores_gemma":[0.0017849853,0.00018861069,0.00026905967,0.0023308995,0.014754716,0.002852457,0.004483146,0.001981752,0.0003970204],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010812557,0.000021709671,0.0012343896,0.00012413232,0.000009268607,0.0018661681,0.84904134,0.00011901473,0.0009217318,0.12370409,0.00491092,0.017939165],"study_design_scores_gemma":[0.000020061916,0.00009937258,0.009509788,0.0004008752,0.000021012322,0.0020481038,0.6298707,0.00027478393,0.00086395326,0.012975057,0.34387344,0.000042873147],"about_ca_topic_score_codex":0.017085623,"about_ca_topic_score_gemma":0.037867017,"teacher_disagreement_score":0.017085623,"about_ca_system_score_codex":0.0064185862,"about_ca_system_score_gemma":0.0017414188,"threshold_uncertainty_score":0.0465703},"labels":[],"label_agreement":null},{"id":"W1967658911","doi":"10.1080/10304312.2012.665845","title":"Breaking expectations: Imagined affinities in mediated youth cultures","year":2012,"lang":"en","type":"article","venue":"Continuum","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":51,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Dance; Perception; Sociology; Funk; Aesthetics; Visual arts; Art; Epistemology; Art history; Philosophy","score_opus":0.03388928339857789,"score_gpt":0.2283566709251633,"score_spread":0.1944673875265854,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1967658911","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8915695,0.0019556382,0.012570722,0.0035874676,0.00018389811,0.000071919305,0.000043741322,0.000081927275,0.089935206],"genre_scores_gemma":[0.9973289,0.00020944267,0.0005458668,0.000102483194,0.000021467862,0.000026584412,0.000013752067,0.00002055254,0.0017309394],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.98381746,0.011918083,0.0004986806,0.0010058328,0.0015834969,0.0011764913],"domain_scores_gemma":[0.9912219,0.005058932,0.0012571949,0.0008002946,0.0005579285,0.0011036753],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0075265574,0.000781766,0.00066187844,0.002369635,0.015433839,0.018623823,0.002357973,0.0028621624,0.004837768],"category_scores_gemma":[0.01640401,0.0009309142,0.0006430262,0.0012589822,0.040802,0.014149314,0.019897811,0.004849937,0.0004913653],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017213155,0.000013604187,0.001948526,0.000041546515,0.000005536414,0.00069218746,0.9683543,0.000047811263,0.00025468026,0.025798285,0.00015608252,0.0026703007],"study_design_scores_gemma":[0.0000070234364,0.000048470538,0.0011094128,0.00013336932,0.000008493271,0.0011211791,0.9711826,0.00015937805,0.00030061923,0.008329914,0.017571483,0.000028023182],"about_ca_topic_score_codex":0.0038475774,"about_ca_topic_score_gemma":0.0039574048,"teacher_disagreement_score":0.018623823,"about_ca_system_score_codex":0.0035451604,"about_ca_system_score_gemma":0.002177245,"threshold_uncertainty_score":0.039804757},"labels":[],"label_agreement":null},{"id":"W1967710180","doi":"10.1007/s10708-006-0014-0","title":"The distant beat of my father’s drums: Contemporary Aboriginal music and NCI-FM broadcasting, Manitoba, Canada","year":2006,"lang":"en","type":"article","venue":"GeoJournal","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Aboriginal Affairs Northern Dev Canada; University of Victoria; University of Winnipeg","funders":"National Cancer Institute","keywords":"Broadcasting (networking); Population; Variety (cybernetics); Human geography; Indigenous; Media studies; Sociology; Social science; Demography","score_opus":0.018775621334367824,"score_gpt":0.18119202141677876,"score_spread":0.16241640008241093,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1967710180","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9179019,0.006273168,0.00014227645,0.008894428,0.00013901084,0.000036752797,0.00034499596,0.000017142078,0.06625035],"genre_scores_gemma":[0.97700447,0.0042804917,0.00015637965,0.000660754,0.000033878547,0.000011582417,0.000110472836,0.00002632517,0.017715659],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99924695,0.00011677944,0.000018286866,0.0000623129,0.00019036533,0.00036529146],"domain_scores_gemma":[0.9985072,0.00022549563,0.00012846148,0.00002948821,0.0005824648,0.00052695785],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00084074354,0.0002721341,0.00031911902,0.002438922,0.026419915,0.0059029856,0.0014413712,0.000989075,0.007667971],"category_scores_gemma":[0.0022198923,0.00029160126,0.00016407622,0.00681103,0.0055177743,0.00089327287,0.002296407,0.002185073,0.00037852183],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017505528,0.000059507955,0.06389371,0.00022676901,0.000029069006,0.0017116795,0.8743902,0.000155913,0.0012985572,0.008972977,0.012022623,0.037064023],"study_design_scores_gemma":[0.00000614678,0.000019958006,0.11580818,0.00018140709,0.00002379121,0.00024680846,0.8428318,0.000044476838,0.00011760953,0.00021740138,0.04048271,0.000019674912],"about_ca_topic_score_codex":0.995738,"about_ca_topic_score_gemma":0.9993001,"teacher_disagreement_score":0.055030443,"about_ca_system_score_codex":0.055030443,"about_ca_system_score_gemma":0.07260328,"threshold_uncertainty_score":0.39927566},"labels":[],"label_agreement":null},{"id":"W1967919129","doi":"10.1080/03007760903232995","title":"The Music of Joni Mitchell","year":2010,"lang":"en","type":"article","venue":"Popular Music & Society","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Popular music; Visual arts","score_opus":0.027808075717361852,"score_gpt":0.2050017435857546,"score_spread":0.17719366786839275,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1967919129","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0021809295,0.5903828,0.00089054543,0.07149251,0.030161139,0.000039010043,0.00039146762,0.00024090198,0.3042207],"genre_scores_gemma":[0.01749095,0.15837282,0.0013164143,0.007780311,0.005088989,0.000022521795,0.00016936673,0.00020037327,0.8095582],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994735,0.00005744974,0.000015399371,0.00009407664,0.000286217,0.000073447045],"domain_scores_gemma":[0.9995826,0.0000578749,0.000026530055,0.00001996981,0.00016214089,0.00015080883],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000742297,0.00092231156,0.00043656593,0.0012768789,0.0043690414,0.0040866644,0.00062283454,0.00097293226,0.031178756],"category_scores_gemma":[0.0019962625,0.00030559153,0.00020368511,0.0012907756,0.0016027571,0.0025635639,0.0015693391,0.0022208937,0.013058562],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000036193433,0.000009371506,0.00019974375,0.00017289496,0.000003986424,0.000094277704,0.00158444,0.000034505956,0.00027641215,0.008450346,0.9111769,0.07796087],"study_design_scores_gemma":[0.0000012211704,0.000002966908,0.00037809683,0.00012934642,0.000001310462,0.000091855065,0.0007054778,0.000008189389,0.0000435303,0.00048057316,0.9981535,0.000003874285],"about_ca_topic_score_codex":0.15404002,"about_ca_topic_score_gemma":0.31000024,"teacher_disagreement_score":0.15404002,"about_ca_system_score_codex":0.0041359984,"about_ca_system_score_gemma":0.0072606467,"threshold_uncertainty_score":0.30628687},"labels":[],"label_agreement":null},{"id":"W1968122349","doi":"10.1386/sdf.7.2.147_1","title":"Indicting Truth: Jean-Luc Godard’s Sympathy for the Devil and 1960s documentary cinema","year":2013,"lang":"en","type":"article","venue":"Studies in Documentary Film","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":19,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Movie theater; Sympathy; Art; Documentary film; Post truth; Literature; Art history; Aesthetics; Politics; Psychology; Political science; Social psychology; Law","score_opus":0.05538913310105614,"score_gpt":0.28333496168514,"score_spread":0.22794582858408385,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1968122349","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7444478,0.008051533,0.0010019162,0.063573144,0.0011559975,0.000026961312,0.000027286225,0.00008146939,0.18163387],"genre_scores_gemma":[0.9891717,0.00043286607,0.000120349614,0.0017787097,0.0001837268,0.000004633013,0.0000028360093,0.000021854614,0.00828331],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9964562,0.0024268418,0.000057801935,0.0002786133,0.000453027,0.00032741405],"domain_scores_gemma":[0.9942227,0.0039063334,0.00064816925,0.00019147407,0.00049753144,0.0005337367],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0031457567,0.00025713045,0.0002740047,0.0010082081,0.0105135385,0.0075857155,0.00066209864,0.0029514844,0.0022257662],"category_scores_gemma":[0.009156163,0.00024257445,0.00011373173,0.00044541605,0.014698516,0.0025169596,0.0027897127,0.0040077916,0.00026059087],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004599586,0.000023564977,0.0016440733,0.0000523813,0.000008361934,0.0015607558,0.9000995,0.000032828182,0.0010713391,0.07887187,0.009237415,0.007351902],"study_design_scores_gemma":[0.000021218366,0.00009225438,0.00934307,0.00058150885,0.000020063395,0.0015773582,0.4575527,0.00031876078,0.0016029361,0.00580795,0.52301455,0.00006754936],"about_ca_topic_score_codex":0.021903975,"about_ca_topic_score_gemma":0.032108065,"teacher_disagreement_score":0.021903975,"about_ca_system_score_codex":0.0053474796,"about_ca_system_score_gemma":0.0013023285,"threshold_uncertainty_score":0.043552935},"labels":[],"label_agreement":null},{"id":"W1968249639","doi":"10.1177/0891241610366259","title":"Sound Acts: Elocution, Somatic Work, and the Performance of Sonic Alignment","year":2010,"lang":"en","type":"article","venue":"Journal of Contemporary Ethnography","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":36,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Royal Roads University","funders":"","keywords":"Performative utterance; Introspection; Sound (geography); Variety (cybernetics); Aesthetics; Property (philosophy); Sociology; Acoustics; Computer science; Epistemology; Art; Philosophy; Artificial intelligence","score_opus":0.02728341576474434,"score_gpt":0.21975665112749532,"score_spread":0.192473235362751,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1968249639","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.84331036,0.0008512344,0.016840104,0.0025396373,0.0001484674,0.000040405317,0.000016543027,0.000070767615,0.13618247],"genre_scores_gemma":[0.997017,0.00009488484,0.0007819263,0.00006550723,0.000017975259,0.0000100361585,0.0000038002252,0.000010353012,0.0019985037],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9960199,0.0026129922,0.0001176488,0.00020753608,0.0006951306,0.00034681236],"domain_scores_gemma":[0.99700755,0.0019488992,0.0004271272,0.0002827049,0.0001345256,0.00019915905],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002177009,0.00040366544,0.00022202417,0.0009904226,0.0035877712,0.0046392865,0.00071332924,0.0009681065,0.0014255355],"category_scores_gemma":[0.0073811817,0.00015821052,0.00017499493,0.000656118,0.02310664,0.0024678665,0.0053553223,0.0014396178,0.00015510699],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000093626506,0.000044158893,0.0033636151,0.00012598258,0.000010833063,0.0009846118,0.8169429,0.00026975814,0.0048850966,0.14350145,0.0005897119,0.029188292],"study_design_scores_gemma":[0.000020990728,0.00017279295,0.013023544,0.00024442398,0.000019751731,0.0017334677,0.8868938,0.00079307874,0.0042184833,0.048256088,0.044567607,0.000055925328],"about_ca_topic_score_codex":0.0007534788,"about_ca_topic_score_gemma":0.0011298147,"teacher_disagreement_score":0.0046392865,"about_ca_system_score_codex":0.00084633176,"about_ca_system_score_gemma":0.000789137,"threshold_uncertainty_score":0.011513293},"labels":[],"label_agreement":null},{"id":"W1968323833","doi":"10.7202/1013311ar","title":"\"We Shall Be Better Canadians by Being Conscious Jews\": Multiculturalism and the Construction of Canadian Identity in the Toronto Jewish Folk Choir","year":2012,"lang":"en","type":"article","venue":"Intersections Canadian Journal of Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Choir; Multiculturalism; Mainstream; Identity (music); Cultural assimilation; Ethnic group; Gender studies; Judaism; Rhetoric; Musical; Politics; Jewish identity; Sociology; Cultural identity; Religious studies; History; Political science; Aesthetics; Literature; Art; Anthropology; Law; Pedagogy; Social science; Theology; Philosophy","score_opus":0.020426038664220488,"score_gpt":0.20682386122464286,"score_spread":0.18639782256042237,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1968323833","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.64739376,0.0043308255,0.0012101459,0.029951585,0.0005085579,0.000043596672,0.00012308263,0.000043035732,0.3163954],"genre_scores_gemma":[0.9891521,0.0006653831,0.00031164265,0.0008695037,0.000025066267,0.0000057358848,0.000017520599,0.000017612438,0.008935344],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9978035,0.0005420026,0.000036235706,0.00019291745,0.00055403524,0.0008712263],"domain_scores_gemma":[0.9984149,0.00035614037,0.00011646385,0.000065690416,0.0005873003,0.00045948345],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023177457,0.00051120453,0.00029340305,0.0016994242,0.045860223,0.009643411,0.0010931361,0.0015097627,0.0035167783],"category_scores_gemma":[0.0026768479,0.00030504222,0.00030952648,0.001894274,0.03201053,0.0020268634,0.0041475,0.0024967242,0.00023245333],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004953984,0.000011202856,0.004883743,0.00004911974,0.000011212347,0.00053047726,0.8811815,0.000078154226,0.0005540657,0.091774695,0.008318638,0.012557713],"study_design_scores_gemma":[0.000010041083,0.0000163491,0.011698614,0.00017478684,0.000030923762,0.00025093136,0.8344896,0.00012148189,0.00035516484,0.0033081288,0.14947858,0.00006544132],"about_ca_topic_score_codex":0.98369825,"about_ca_topic_score_gemma":0.9925327,"teacher_disagreement_score":0.0675303,"about_ca_system_score_codex":0.0675303,"about_ca_system_score_gemma":0.0662952,"threshold_uncertainty_score":0.4899689},"labels":[],"label_agreement":null},{"id":"W1969901402","doi":"10.7202/1014481ar","title":"An Interview with Rob Walser in Toronto","year":2013,"lang":"en","type":"article","venue":"Canadian University Music Review","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Scholarship; Musicology; Popular music; Scope (computer science); Music education; Sociology; Visual arts; Media studies; Music history; Art; Political science; Law; Computer science","score_opus":0.02627579699904912,"score_gpt":0.17917263053830412,"score_spread":0.152896833539255,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1969901402","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06357455,0.12406337,0.0009929669,0.52914876,0.011825774,0.00043075377,0.0028609312,0.00015700916,0.2669458],"genre_scores_gemma":[0.31131378,0.06750611,0.00090132427,0.13302249,0.001452202,0.00056588073,0.00106598,0.00015080608,0.48402146],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9979857,0.00068828044,0.000050526898,0.00018845902,0.00051579403,0.0005710923],"domain_scores_gemma":[0.997965,0.0008154435,0.00012718719,0.000036663143,0.0005957435,0.00046003584],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016555192,0.0008201005,0.000701962,0.0023167897,0.020204477,0.0047318577,0.0011861739,0.0042011007,0.024913272],"category_scores_gemma":[0.0049350318,0.0006381664,0.00032167384,0.005434436,0.0042485977,0.002531104,0.0018032804,0.004946425,0.0025955788],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004970281,0.000029171137,0.0015849822,0.00027843774,0.00000959447,0.002228927,0.18637806,0.000080756756,0.0004760972,0.010347981,0.7838278,0.014708411],"study_design_scores_gemma":[0.000008450864,0.000014367155,0.0034602347,0.00034543462,0.0000066067196,0.00018602847,0.13906373,0.00002952214,0.00009035713,0.00038252483,0.8563838,0.000028895298],"about_ca_topic_score_codex":0.8900846,"about_ca_topic_score_gemma":0.9635123,"teacher_disagreement_score":0.109915376,"about_ca_system_score_codex":0.046877947,"about_ca_system_score_gemma":0.031069113,"threshold_uncertainty_score":0.3401249},"labels":[],"label_agreement":null},{"id":"W1971809202","doi":"10.1111/j.1533-1598.2008.00160.x","title":"In Excess? Body Genres, “Bad” Music, and the Judgment of Audiences","year":2008,"lang":"en","type":"article","venue":"Journal of Popular Music Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":24,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Citation; Judgement; Taste; Popular music; Politics; Rock music; History; Media studies; Art history; Sociology; Literature; Art; Psychology; Law; Political science","score_opus":0.0873589713898988,"score_gpt":0.25953882318895005,"score_spread":0.17217985179905126,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1971809202","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9061487,0.0010826009,0.00050030655,0.007343928,0.000260742,0.000012440431,0.000055917626,0.00001342599,0.08458197],"genre_scores_gemma":[0.9979133,0.00014163821,0.0000740091,0.0004252276,0.000100930934,0.0000035268627,0.000013695139,0.000007979244,0.0013197274],"study_design_codex":"observational","study_design_gemma":"qualitative","domain_scores_codex":[0.99735105,0.001316667,0.0001255483,0.00021731234,0.0006485434,0.00034084506],"domain_scores_gemma":[0.98799765,0.0043872115,0.0027688115,0.00069594465,0.0020804144,0.0020698376],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003417141,0.00030197794,0.0002944205,0.0015827722,0.0017373237,0.006121899,0.0005017541,0.001971021,0.007224188],"category_scores_gemma":[0.02513854,0.00023981508,0.0001990136,0.000683234,0.00507923,0.0028183078,0.0022755242,0.0017710093,0.0007979898],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.003131208,0.0005815566,0.51029974,0.0004958039,0.00035333724,0.0015093207,0.28492525,0.000435383,0.017469661,0.037793722,0.017608253,0.12539679],"study_design_scores_gemma":[0.000092835435,0.00027840378,0.53901017,0.00028797044,0.000118063086,0.00074606185,0.41267014,0.00069371867,0.0014329797,0.021536889,0.02301142,0.00012129936],"about_ca_topic_score_codex":0.0049861884,"about_ca_topic_score_gemma":0.0069312262,"teacher_disagreement_score":0.007224188,"about_ca_system_score_codex":0.00074725243,"about_ca_system_score_gemma":0.0003865731,"threshold_uncertainty_score":0.024167359},"labels":[],"label_agreement":null},{"id":"W1972820009","doi":"10.5406/jamerfolk.126.500.0174","title":"In Search of America: Sidney Robertson Cowell in Ireland in 1955–1956","year":2013,"lang":"en","type":"article","venue":"Journal of American Folklore","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History; Economic history; Art","score_opus":0.014829389892454602,"score_gpt":0.2265277553627582,"score_spread":0.2116983654703036,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1972820009","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.698862,0.01190527,0.00047540056,0.04487433,0.0013548217,0.00012586881,0.00038929287,0.000083948806,0.24192901],"genre_scores_gemma":[0.7628756,0.0039460436,0.0006366867,0.008887159,0.00017654608,0.000052946445,0.00012457444,0.0001197977,0.2231806],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9981779,0.00045039537,0.000039800565,0.00022679377,0.00033155453,0.00077373406],"domain_scores_gemma":[0.9981571,0.00039291647,0.00017100725,0.000050793446,0.0004966494,0.00073157385],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016525838,0.00035499485,0.000407921,0.0017424626,0.015864654,0.004216515,0.0012230129,0.0012816797,0.006714553],"category_scores_gemma":[0.002928146,0.00038087502,0.00014167927,0.0018408571,0.008665571,0.0017089564,0.0042942124,0.0036029473,0.0012808176],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001512491,0.00009948023,0.015289631,0.00013617243,0.000012175694,0.005554648,0.8082367,0.00008695549,0.0018002613,0.014982793,0.104105726,0.049544252],"study_design_scores_gemma":[0.0000034699406,0.000038135273,0.009895053,0.00016605588,0.0000034758293,0.0007277499,0.34062517,0.000018467008,0.00045858204,0.00036202552,0.6476676,0.00003418251],"about_ca_topic_score_codex":0.41549343,"about_ca_topic_score_gemma":0.7696819,"teacher_disagreement_score":0.41549343,"about_ca_system_score_codex":0.016744869,"about_ca_system_score_gemma":0.011487966,"threshold_uncertainty_score":0.82614994},"labels":[],"label_agreement":null},{"id":"W1974886395","doi":"10.3138/jrpc.25.3.315","title":"Hip Hop and Religion: Gangsta Rap’s Christian Rhetoric","year":2013,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Ethos; Rhetorical question; Rhetoric; Sociology; Aesthetics; Theme (computing); Religious studies; Philosophy; Literature; Art; Theology; Linguistics","score_opus":0.015072849253786361,"score_gpt":0.21223950501334954,"score_spread":0.1971666557595632,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1974886395","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5097575,0.005459714,0.0036179428,0.025720559,0.0007215192,0.00003834981,0.000034520475,0.00008440713,0.4545655],"genre_scores_gemma":[0.9944892,0.0003577855,0.00020978095,0.000484216,0.00008557429,0.000006297057,0.000004453603,0.000012970179,0.0043496382],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9963972,0.0028886155,0.000034521134,0.00010673664,0.00034040803,0.00023251343],"domain_scores_gemma":[0.99521166,0.0038275553,0.00028160316,0.00017731583,0.00021555794,0.0002863298],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0036828753,0.00029296003,0.00024169715,0.0019891975,0.010421544,0.0060872626,0.00056594016,0.0019765603,0.0047844704],"category_scores_gemma":[0.00644849,0.00017886263,0.00013564348,0.0013809083,0.019143712,0.00260569,0.004983932,0.0028584132,0.00031145263],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007210431,0.00004615424,0.0016522157,0.00016528768,0.000012777089,0.0006861273,0.61591107,0.00013640012,0.0004950246,0.35539597,0.0061654598,0.01926146],"study_design_scores_gemma":[0.00002428294,0.00010522368,0.0033332098,0.00070723007,0.000018706902,0.0010405498,0.61102885,0.00062286545,0.0009741633,0.046733405,0.33538398,0.000027488662],"about_ca_topic_score_codex":0.002241848,"about_ca_topic_score_gemma":0.004320934,"teacher_disagreement_score":0.010421544,"about_ca_system_score_codex":0.0022135791,"about_ca_system_score_gemma":0.0015128122,"threshold_uncertainty_score":0.019477189},"labels":[],"label_agreement":null},{"id":"W1974897540","doi":"10.1017/s0261143015000069","title":"Philosophizing Rock Performance: Dylan, Hendrix, Bowie. By Wade Hollingshaus. Lanham, MD, Toronto and Plymouth: Scarecrow Press, 2013. xvii + 185 pp. ISBN 978-0-810-88404-5","year":2015,"lang":"en","type":"article","venue":"Popular Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History; Performance art; Art history; Art","score_opus":0.061290670693065714,"score_gpt":0.2182157033504021,"score_spread":0.1569250326573364,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1974897540","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0002929195,0.9347453,0.0005605968,0.017707314,0.0044702115,0.000020576634,0.00024976005,0.000113606846,0.04183963],"genre_scores_gemma":[0.013186675,0.5363074,0.0013474261,0.006339269,0.004067243,0.00011597634,0.00043307056,0.00035600452,0.43784687],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99948406,0.00013078812,0.00003759111,0.00010045331,0.00017094058,0.00007620717],"domain_scores_gemma":[0.99949884,0.00017410249,0.000056756584,0.000033444005,0.0001307877,0.000106106985],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011154918,0.002895006,0.0014972142,0.0035698696,0.0027412523,0.004357257,0.0016256054,0.0023322862,0.0765579],"category_scores_gemma":[0.0023305258,0.0015165154,0.000520898,0.0059622074,0.003254913,0.0073134326,0.0028952044,0.003682865,0.03644366],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000036331057,0.000015577421,0.00008586306,0.0005501174,0.000011232759,0.000056598677,0.0012397489,0.00008382063,0.000095905816,0.007389939,0.9156898,0.07474506],"study_design_scores_gemma":[0.000008036986,0.000010694833,0.00093292666,0.0012563434,0.000009293054,0.00017490999,0.0017604907,0.0000471785,0.000072501396,0.0036607857,0.9920547,0.000012144031],"about_ca_topic_score_codex":0.054957274,"about_ca_topic_score_gemma":0.10857535,"teacher_disagreement_score":0.0765579,"about_ca_system_score_codex":0.004244881,"about_ca_system_score_gemma":0.0034317672,"threshold_uncertainty_score":0.25611168},"labels":[],"label_agreement":null},{"id":"W1974988401","doi":"10.2989/18121004.2014.995447","title":"Female Voices from an Eνe Dance-Drumming Community in Ghana: Our Music has become a Divine SpiritBurns, James (2009). <i>Female Voices from an Eve Dance-Drumming Community in Ghana: Our Music has become a Divine Spirit</i> . Surrey, England: Ashgate. SOAS Musicology Series. ISBN: 978-0-7546-6495-6. 28 b&amp;w illustrations, 58 musical illustrations, glossary and DVD. 234 pp. &lt;www.ashgate.com&gt; $59.95 (cloth).","year":2014,"lang":"en","type":"article","venue":"Journal of Musical Arts in Africa","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Dance; Electronic dance music; Art; Visual arts; Sacred music; Aesthetics; Sociology; Musical","score_opus":0.08370246907428165,"score_gpt":0.27109702860095497,"score_spread":0.18739455952667333,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1974988401","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6767177,0.049929623,0.00071666157,0.103233494,0.0039941003,0.00015999743,0.0004885334,0.00010247279,0.16465743],"genre_scores_gemma":[0.814165,0.031080019,0.0007698936,0.008347168,0.00079075375,0.00008656686,0.00014136796,0.00011232346,0.14450704],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9996661,0.00012338613,0.000010432315,0.000020624884,0.00008004904,0.000099284414],"domain_scores_gemma":[0.99954623,0.00012789169,0.00007554012,0.000010272892,0.000045579098,0.00019440563],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007067453,0.0004309938,0.00024785384,0.00044425586,0.0062929303,0.0021943634,0.00047607187,0.0014626392,0.01968733],"category_scores_gemma":[0.0013436025,0.00031419823,0.000114879695,0.0007772223,0.0017043606,0.002139797,0.0025492157,0.0014139089,0.0020409955],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017927549,0.00008098802,0.005251872,0.0006097556,0.000005449527,0.010749357,0.7159162,0.000023466742,0.004514096,0.0034781448,0.15296943,0.106221884],"study_design_scores_gemma":[0.000020540883,0.00011047543,0.013358314,0.00070962386,0.0000073034525,0.0043009883,0.67757756,0.000017923972,0.00043088052,0.00046111835,0.3029879,0.000017438742],"about_ca_topic_score_codex":0.013681703,"about_ca_topic_score_gemma":0.069135986,"teacher_disagreement_score":0.01968733,"about_ca_system_score_codex":0.0009156504,"about_ca_system_score_gemma":0.0010002685,"threshold_uncertainty_score":0.06586069},"labels":[],"label_agreement":null},{"id":"W1975915090","doi":"10.1353/rpc.2012.0033","title":"Sacred Symbols with a Secular Beat?: A Content Analysis of Religious and Sexual Imagery in Modern Rock, Hip Hop, Christian, and Country Music Videos","year":2012,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Beat (acoustics); Content analysis; Musical; Popular music; Sacred music; Literature; Psychology; Sociology; History; Art; Acoustics; Anthropology","score_opus":0.024303431794880266,"score_gpt":0.21888163019959098,"score_spread":0.19457819840471072,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1975915090","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9970175,0.00020938208,0.0003263291,0.00007078587,0.000007687894,0.00006946059,0.0005248441,0.000006505773,0.0017674947],"genre_scores_gemma":[0.996121,0.00032116528,0.0018524992,0.00004835884,0.000020085448,0.000104827326,0.00075712684,0.000008729819,0.00076633255],"study_design_codex":"observational","study_design_gemma":"qualitative","domain_scores_codex":[0.9997265,0.0000969565,0.000028293636,0.00003974377,0.000067307796,0.000041257357],"domain_scores_gemma":[0.9981357,0.0009843052,0.00040179698,0.0000583311,0.00031980447,0.00009995834],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00055658066,0.00010155107,0.00014531463,0.0032011776,0.00045342467,0.00091975613,0.00017568075,0.00020369481,0.001194965],"category_scores_gemma":[0.0031165974,0.00007623635,0.00012460393,0.0025191861,0.0005689055,0.0006714688,0.0005107399,0.00020687033,0.0001324546],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0010497872,0.00040213353,0.5045384,0.0017812749,0.00012960056,0.0016238085,0.16339229,0.00026698553,0.041539673,0.002024171,0.0042515933,0.27900028],"study_design_scores_gemma":[0.000011038123,0.00014938647,0.9028025,0.00024069908,0.00004907122,0.00087919965,0.08289524,0.0011076108,0.0029384303,0.00027359967,0.008630032,0.000023206852],"about_ca_topic_score_codex":0.004455434,"about_ca_topic_score_gemma":0.008317112,"teacher_disagreement_score":0.004455434,"about_ca_system_score_codex":0.00056363206,"about_ca_system_score_gemma":0.00037578036,"threshold_uncertainty_score":0.008859038},"labels":[],"label_agreement":null},{"id":"W1977430426","doi":"10.1017/s0261143004000285","title":"‘Some guy designed this room I’m standing in': marking gender in press coverage of Ani DiFranco","year":2005,"lang":"en","type":"article","venue":"Popular Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":48,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Newspaper; Criticism; Musical; History; Art; Literature; Visual arts; Sociology; Media studies","score_opus":0.0615749744835299,"score_gpt":0.22767839598579842,"score_spread":0.16610342150226853,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1977430426","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9048793,0.0029913783,0.00057432085,0.0022104464,0.00024237676,0.000031002986,0.00027512966,0.000016853508,0.088779174],"genre_scores_gemma":[0.99093163,0.0014463187,0.00031712343,0.00031213692,0.00018694445,0.000035440567,0.00014007543,0.000040028008,0.006590205],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9974859,0.001315852,0.00010886207,0.0002170546,0.0006707003,0.00020157915],"domain_scores_gemma":[0.97283113,0.019820599,0.003539722,0.00089505356,0.0025197978,0.0003936608],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0032707308,0.00024877148,0.00029429927,0.0061869123,0.004612544,0.0042576124,0.00043878218,0.00057711045,0.0024169844],"category_scores_gemma":[0.016156882,0.00016744937,0.00007742144,0.0053062346,0.004830905,0.001981237,0.0016683628,0.00072234264,0.00029673803],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018778094,0.000035014695,0.035052687,0.0006149647,0.000014669827,0.0009770409,0.89605844,0.000028333168,0.0045059845,0.0074539543,0.0061222063,0.048948884],"study_design_scores_gemma":[0.000008042336,0.00005529882,0.15900925,0.00089156325,0.000027625016,0.0007981692,0.6639556,0.00013305736,0.0033422736,0.0006077385,0.17114183,0.000029527007],"about_ca_topic_score_codex":0.017499864,"about_ca_topic_score_gemma":0.058935966,"teacher_disagreement_score":0.017499864,"about_ca_system_score_codex":0.0025009972,"about_ca_system_score_gemma":0.0011881822,"threshold_uncertainty_score":0.034796},"labels":[],"label_agreement":null},{"id":"W1982201922","doi":"10.7202/1014602ar","title":"Theory and Fieldwork","year":2013,"lang":"en","type":"article","venue":"Canadian University Music Review","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Sociology; Musicology; Scholarship; Discipline; Epistemology; Popular music; Music theory; Cultural studies; Music history; Aesthetics; Social science; Music education; Visual arts; Anthropology; Musical; Pedagogy; Art; Philosophy; Law; Political science","score_opus":0.019637231104799015,"score_gpt":0.15382756073575307,"score_spread":0.13419032963095406,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1982201922","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005928553,0.07941634,0.022423862,0.2587361,0.009103957,0.0005907972,0.00023548612,0.0001245804,0.6234403],"genre_scores_gemma":[0.39874354,0.07499854,0.031107455,0.07444761,0.004210504,0.0022726185,0.00040103693,0.00023733408,0.41358128],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9876123,0.0073739896,0.00036028173,0.0016378596,0.0019942306,0.0010213366],"domain_scores_gemma":[0.9885103,0.006964456,0.00037639798,0.0011712027,0.0018138646,0.0011637238],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0127620045,0.00045481467,0.0008081998,0.0026046566,0.011526585,0.008780208,0.0030536547,0.0034645542,0.015833015],"category_scores_gemma":[0.01546576,0.0005636576,0.00045484133,0.0038090402,0.03396469,0.0058036544,0.0045818104,0.0046343654,0.0020349321],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010070443,0.000021249789,0.00028485127,0.00020385317,0.0000037295022,0.00008465001,0.008366238,0.00009149261,0.000039645874,0.8770436,0.091378,0.022472603],"study_design_scores_gemma":[0.000015992677,0.000009316959,0.0003341255,0.00077938446,0.0000028747572,0.000056382825,0.006758416,0.00008152326,0.00005623499,0.100886494,0.89101046,0.000008718516],"about_ca_topic_score_codex":0.12047745,"about_ca_topic_score_gemma":0.10898514,"teacher_disagreement_score":0.12047745,"about_ca_system_score_codex":0.021201499,"about_ca_system_score_gemma":0.036145583,"threshold_uncertainty_score":0.23955238},"labels":[],"label_agreement":null},{"id":"W1982882476","doi":"10.5429/2079-3871(2014)v4i1.17en","title":"Contemporary Carioca: Technologies of mixing in a Brazilian Music Scene","year":2014,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Mixing (physics); Contemporary classical music; Art; Visual arts; Geography; Physics; Musical","score_opus":0.03956438413776471,"score_gpt":0.20857420714704195,"score_spread":0.16900982300927725,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1982882476","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.29490536,0.012379367,0.015185008,0.017976979,0.00054253597,0.0002433527,0.00011467924,0.00031290465,0.6583398],"genre_scores_gemma":[0.9528329,0.0032652763,0.005922268,0.0009515523,0.00008739016,0.00015373768,0.00004418146,0.00013053969,0.036612246],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9979474,0.00096291467,0.000056881276,0.0002568988,0.00045183222,0.000324069],"domain_scores_gemma":[0.998926,0.0004936207,0.000087333174,0.00017490596,0.00014702455,0.00017112022],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0027793134,0.000720066,0.00040511842,0.0022036007,0.012812345,0.00875217,0.0012161632,0.002138703,0.006188742],"category_scores_gemma":[0.0051553734,0.000427334,0.0005401843,0.0020421047,0.012883544,0.0047955466,0.00699343,0.0020914525,0.0005735404],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000080809754,0.00006421026,0.002400271,0.0003256882,0.000014003861,0.0012152797,0.5631165,0.00026576596,0.006548376,0.31313613,0.0072232727,0.105609685],"study_design_scores_gemma":[0.000018355631,0.00010155216,0.006233809,0.0006377782,0.000034350767,0.0014777661,0.24675,0.00057747925,0.001706625,0.019999113,0.722406,0.000057125428],"about_ca_topic_score_codex":0.035207663,"about_ca_topic_score_gemma":0.073251344,"teacher_disagreement_score":0.035207663,"about_ca_system_score_codex":0.0062428564,"about_ca_system_score_gemma":0.0038194638,"threshold_uncertainty_score":0.07000548},"labels":[],"label_agreement":null},{"id":"W1983428354","doi":"10.1017/s0261143011000195","title":"Gender, genius and rock and roll in<i>‘Roy Orbison and Friends: A Black and White Night’</i>","year":2011,"lang":"en","type":"article","venue":"Popular Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Guelph","funders":"","keywords":"Genius; Frith; White (mutation); Normative; Masculinity; Narrative; Mythology; Art; Romance; Literature; History; Gender studies; Sociology; Philosophy","score_opus":0.06423690380578133,"score_gpt":0.19629791531635793,"score_spread":0.1320610115105766,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1983428354","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.67680174,0.0045453613,0.00043251546,0.015986273,0.00057163386,0.000024381523,0.000079039244,0.00004249152,0.30151665],"genre_scores_gemma":[0.9568042,0.0006049812,0.000111713845,0.00073569705,0.00013894119,0.0000120490095,0.000017846485,0.000057373403,0.041517157],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9989976,0.0005470576,0.00001092906,0.000084931424,0.00013085792,0.00022849905],"domain_scores_gemma":[0.9992101,0.00031768213,0.00012511786,0.000044841116,0.00007119523,0.00023099263],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012314868,0.00044281367,0.00034501383,0.00088771776,0.012544011,0.006626731,0.00068176474,0.0016635235,0.009286636],"category_scores_gemma":[0.0014871436,0.00027023145,0.00016858715,0.00072534784,0.011335953,0.0021124682,0.002999552,0.0027279556,0.00070386945],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000090173686,0.00005029477,0.0015391182,0.00006681083,0.000010113214,0.00090395194,0.9134983,0.00003227284,0.0010514234,0.0527184,0.022997713,0.0070415353],"study_design_scores_gemma":[0.000008699669,0.000048655063,0.008788438,0.00015816826,0.0000094919415,0.00036545732,0.695489,0.000045904955,0.00060296373,0.0016828038,0.2927703,0.00003014957],"about_ca_topic_score_codex":0.06236536,"about_ca_topic_score_gemma":0.16035913,"teacher_disagreement_score":0.06236536,"about_ca_system_score_codex":0.0038969505,"about_ca_system_score_gemma":0.0011381145,"threshold_uncertainty_score":0.12400472},"labels":[],"label_agreement":null},{"id":"W1983587071","doi":"10.1017/s0047404504313059","title":"<scp>Alain-Philippe Durand</scp> (ed.), <i>Black, blanc, beur: Rap music and hip-hop culture in the francophone world</i>. Lanham, MD: Scarecrow Press, 2002. Pp. xvii, 150. Cloth $49.50, Paper $24.50.","year":2004,"lang":"en","type":"article","venue":"Language in Society","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Subculture (biology); French; Dance; Art history; Art; Ethnography; Performance art; Youth culture; History; Anthropology; Sociology; Humanities; Literature; Gender studies","score_opus":0.01171427589484848,"score_gpt":0.20447612275520224,"score_spread":0.19276184686035377,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1983587071","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0019161211,0.71102375,0.0013294842,0.021460604,0.013605617,0.000053192194,0.0020094877,0.0005740458,0.24802767],"genre_scores_gemma":[0.009422459,0.28455812,0.0011330234,0.0033849354,0.0028508133,0.000051530904,0.0012968014,0.00024072279,0.69706166],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99978644,0.000022111139,0.000010062049,0.0000315326,0.00012231088,0.000027684324],"domain_scores_gemma":[0.9996686,0.00008972205,0.000029738878,0.000010870372,0.0001365176,0.0000644695],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00026248596,0.00131128,0.0005808798,0.0013168644,0.0012626515,0.0025657914,0.0006118679,0.0009847203,0.093091175],"category_scores_gemma":[0.0008458581,0.00039467588,0.00031092987,0.0022111235,0.0004204207,0.002049255,0.0007052096,0.0011999918,0.04818815],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009403221,0.0000057696416,0.00018427856,0.00020089104,0.000003101921,0.000052432708,0.00025490098,0.000030102394,0.000099722936,0.0004386498,0.9113895,0.08733119],"study_design_scores_gemma":[0.000001181833,0.0000048520583,0.0012866139,0.00029791208,0.0000026180085,0.00017448947,0.0004200743,0.00002204991,0.00004707351,0.0001569388,0.99758196,0.0000042434617],"about_ca_topic_score_codex":0.059900783,"about_ca_topic_score_gemma":0.13599443,"teacher_disagreement_score":0.093091175,"about_ca_system_score_codex":0.0016980757,"about_ca_system_score_gemma":0.0018829071,"threshold_uncertainty_score":0.31142098},"labels":[],"label_agreement":null},{"id":"W1984232462","doi":"10.1353/vpr.2014.0029","title":"British Brass Band Periodicals and the Construction of a Movement","year":2014,"lang":"en","type":"article","venue":"Victorian periodicals review","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Brass; Movement (music); Musical; Wright; Class (philosophy); History; Aesthetics; Sociology; Art; Art history; Literature; Philosophy; Metallurgy; Epistemology; Materials science","score_opus":0.008708440610300771,"score_gpt":0.19792523179960503,"score_spread":0.18921679118930426,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1984232462","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.036222935,0.5874755,0.00044781127,0.014968722,0.0023617202,0.0000191162,0.00004480855,0.00002967135,0.35842985],"genre_scores_gemma":[0.49213323,0.3215249,0.0006649388,0.004259167,0.0012750721,0.000028620667,0.00008758442,0.000054476404,0.17997205],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9983298,0.0005393453,0.0000864988,0.0001785943,0.0006381743,0.00022765376],"domain_scores_gemma":[0.99907506,0.00035531603,0.0001348236,0.000063739026,0.00024116185,0.00012983306],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018325765,0.00023219328,0.000235167,0.0035363955,0.004227005,0.00791869,0.00048417202,0.0015535739,0.0053756293],"category_scores_gemma":[0.0017656989,0.00030691037,0.00010840117,0.0049789874,0.008755903,0.0021793025,0.002296799,0.0013810641,0.0008973056],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009200835,0.000046095498,0.0010471945,0.0018712144,0.000018571482,0.00066502125,0.060594432,0.00019203383,0.0010380824,0.60981077,0.07574094,0.24888372],"study_design_scores_gemma":[0.0000036634797,0.000011797111,0.0022372107,0.0005599081,0.0000039343486,0.0000925463,0.0044574724,0.000013727684,0.00009261871,0.0023271954,0.9901945,0.000005430815],"about_ca_topic_score_codex":0.09188798,"about_ca_topic_score_gemma":0.14785418,"teacher_disagreement_score":0.09188798,"about_ca_system_score_codex":0.010395253,"about_ca_system_score_gemma":0.00850862,"threshold_uncertainty_score":0.18270624},"labels":[],"label_agreement":null},{"id":"W198500367","doi":"10.7202/902327ar","title":"Frank Zappa devant l’éternel : postérité problématique d’un iconoclaste impénitent","year":2010,"lang":"fr","type":"article","venue":"Circuit Musiques contemporaines","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.02112061019700975,"score_gpt":0.21263635884282928,"score_spread":0.19151574864581952,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W198500367","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07538058,0.015752267,0.00794257,0.086074606,0.003382861,0.000052622894,0.000094164054,0.00014648479,0.8111739],"genre_scores_gemma":[0.7696857,0.005656863,0.0015344449,0.0072421827,0.0011879987,0.00007189511,0.00004751288,0.00019818245,0.21437521],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.998696,0.0004596608,0.000024246749,0.00019967087,0.00029533007,0.00032504965],"domain_scores_gemma":[0.99892265,0.00071464566,0.000054219803,0.000055912282,0.00013348792,0.00011904111],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012159692,0.00060974737,0.0002949408,0.0011045249,0.010894227,0.008808045,0.0007905855,0.0031587922,0.008542118],"category_scores_gemma":[0.00483724,0.00031224228,0.00018522168,0.0010574532,0.010441769,0.004617957,0.004417183,0.0048958575,0.001647547],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008562423,0.000011978339,0.0005817106,0.00014265174,0.0000060871384,0.00089006976,0.10331905,0.00013551889,0.00045542524,0.7914049,0.07027726,0.03268977],"study_design_scores_gemma":[0.000008071154,0.00001495063,0.0009144369,0.0002518844,0.000009107502,0.00051726965,0.032972183,0.00017194693,0.0005048055,0.031667553,0.9329517,0.00001624737],"about_ca_topic_score_codex":0.018569661,"about_ca_topic_score_gemma":0.031735722,"teacher_disagreement_score":0.018569661,"about_ca_system_score_codex":0.00485804,"about_ca_system_score_gemma":0.002739949,"threshold_uncertainty_score":0.03692311},"labels":[],"label_agreement":null},{"id":"W1985566355","doi":"10.7202/1014820ar","title":"So You Want to Be a Rock'n'Roll Scholar — Well You Need to Get an MBA","year":2013,"lang":"en","type":"article","venue":"Canadian University Music Review","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Marxist philosophy; Memphis; Bankruptcy; Agency (philosophy); Scholarship; White (mutation); Sociology; Macro; Music industry; Law; Politics; Political science; History; Social science; Computer science","score_opus":0.03217884382290365,"score_gpt":0.18616179021672344,"score_spread":0.1539829463938198,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1985566355","genre_codex":"review","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.04053875,0.56885624,0.0003745667,0.048456248,0.0025458003,0.00004157548,0.0002858298,0.000050408,0.33885062],"genre_scores_gemma":[0.36810592,0.40561008,0.00047126782,0.008439472,0.00085442583,0.000028906257,0.00020728615,0.000030377914,0.21625228],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991365,0.00018000772,0.00004451167,0.00008245442,0.00039164652,0.00016493707],"domain_scores_gemma":[0.9984309,0.0006543983,0.00019618115,0.00004002296,0.0005556407,0.0001229021],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010886198,0.0002252361,0.00018076884,0.002078106,0.0034580524,0.0032938358,0.00051985757,0.00087805325,0.0066893897],"category_scores_gemma":[0.0023335535,0.00012052545,0.00012150932,0.0038425361,0.002591777,0.001438897,0.00059083255,0.0011471786,0.000913522],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007085369,0.00005208663,0.0060170987,0.00316908,0.000052144136,0.0007886197,0.01819308,0.00025540203,0.0009906498,0.16778937,0.37979734,0.42282423],"study_design_scores_gemma":[0.000006106566,0.00002709505,0.015659168,0.0011051275,0.000028767286,0.00018550712,0.015707051,0.00002510961,0.00032342036,0.00095834275,0.9659625,0.0000118486505],"about_ca_topic_score_codex":0.48878708,"about_ca_topic_score_gemma":0.76277184,"teacher_disagreement_score":0.48878708,"about_ca_system_score_codex":0.01088281,"about_ca_system_score_gemma":0.013408876,"threshold_uncertainty_score":0.9718841},"labels":[],"label_agreement":null},{"id":"W1986176956","doi":"10.3138/jrpc.25.2.230","title":"Shout-Outs to the Creator: The Use of Biblical Themes in Rap Lyrics","year":2013,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":7,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Lyrics; Literature; Power (physics); Incarnation; Aesthetics; Musical; Poetry; Faith; Sociology; Art; Philosophy; Theology","score_opus":0.05177110009808694,"score_gpt":0.24217233976929423,"score_spread":0.19040123967120728,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1986176956","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5275457,0.004084873,0.047549408,0.011650965,0.001377674,0.0003229076,0.000295153,0.0008208788,0.40635246],"genre_scores_gemma":[0.979192,0.0006665925,0.0066471975,0.00032008326,0.00023809515,0.000085731415,0.00006754545,0.00018008839,0.012602574],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.995129,0.0038179068,0.00010566857,0.00017144081,0.0005786034,0.00019742806],"domain_scores_gemma":[0.99158597,0.005919505,0.0006869637,0.00069227966,0.00080649613,0.00030869918],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0035307424,0.0004592809,0.00028906355,0.0025656084,0.0054781884,0.0052012643,0.00087289436,0.0011461416,0.004442188],"category_scores_gemma":[0.014344431,0.00022852694,0.00021017547,0.0014859791,0.008200485,0.0033909096,0.0041997703,0.00217567,0.0006807003],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012947532,0.00004655088,0.0017896254,0.0004692209,0.000017664777,0.00085039256,0.8195726,0.00027728264,0.0028474305,0.11674967,0.007919727,0.049330294],"study_design_scores_gemma":[0.000022380365,0.00019795606,0.006923174,0.0012738938,0.000034630975,0.002573828,0.4885964,0.0022699356,0.0046026977,0.018222496,0.47519025,0.00009235701],"about_ca_topic_score_codex":0.0012455566,"about_ca_topic_score_gemma":0.0032151912,"teacher_disagreement_score":0.0054781884,"about_ca_system_score_codex":0.0013565879,"about_ca_system_score_gemma":0.001084975,"threshold_uncertainty_score":0.018672585},"labels":[],"label_agreement":null},{"id":"W1986332478","doi":"10.1080/13534645.2014.957546","title":"Listening to Cultures in Conflict: the Politics of Sound in Buenos Aires in the 1960s","year":2014,"lang":"en","type":"article","venue":"Parallax","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sound (geography); Active listening; Politics; Acoustics; Political science; Sociology; Communication; Law; Physics","score_opus":0.034300351017816026,"score_gpt":0.257401964984114,"score_spread":0.22310161396629796,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1986332478","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6003566,0.063936606,0.00042332098,0.06895845,0.0032670528,0.000055895795,0.00023560102,0.000035482462,0.26273102],"genre_scores_gemma":[0.9725954,0.004191332,0.00009555889,0.00219738,0.0004030926,0.000039715535,0.00003599217,0.00002960505,0.02041187],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9983046,0.0007085836,0.00003557555,0.00019085026,0.00013276616,0.00062752195],"domain_scores_gemma":[0.9994253,0.00022571094,0.00007820331,0.000027626806,0.00005696991,0.00018630506],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018167633,0.00067303557,0.0006085235,0.0011536903,0.018933685,0.007001206,0.0009358993,0.0031073801,0.008370006],"category_scores_gemma":[0.0022659139,0.00051513873,0.0001444625,0.0012851419,0.013423088,0.003476575,0.0049658227,0.004453996,0.00065283023],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00062131643,0.00008562566,0.00476615,0.00028892764,0.000018969502,0.0018619318,0.8180689,0.000106141444,0.001060481,0.10406804,0.0332596,0.03579394],"study_design_scores_gemma":[0.00005443031,0.00006909438,0.03603154,0.00070952845,0.000020252583,0.00026318934,0.5370131,0.000090399066,0.00033706246,0.0058305333,0.4195331,0.000047739428],"about_ca_topic_score_codex":0.16618368,"about_ca_topic_score_gemma":0.32357237,"teacher_disagreement_score":0.16618368,"about_ca_system_score_codex":0.015145622,"about_ca_system_score_gemma":0.0025910346,"threshold_uncertainty_score":0.33043277},"labels":[],"label_agreement":null},{"id":"W1986799780","doi":"10.1386/sdf.2.3.257_1","title":"Matters of life and debt","year":2008,"lang":"en","type":"article","venue":"Studies in Documentary Film","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Queen's University","funders":"","keywords":"Persona; Representation (politics); Negotiation; Character (mathematics); Style (visual arts); Art; Visual arts; Sociology; Psychology; Aesthetics; History; Media studies; Literature; Humanities; Political science; Law; Social science; Politics","score_opus":0.05280829925496223,"score_gpt":0.25526226701183263,"score_spread":0.2024539677568704,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1986799780","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.09234282,0.0110328365,0.0007180679,0.13224937,0.0012149622,0.00002423388,0.00019571057,0.000021841079,0.76220006],"genre_scores_gemma":[0.949978,0.0031561055,0.000111568974,0.008266943,0.0004788056,0.00001607791,0.000060050956,0.00003068542,0.037901793],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.997558,0.0012343284,0.000075851414,0.00023099346,0.00032088195,0.0005799253],"domain_scores_gemma":[0.99681395,0.0007048667,0.00040128824,0.0002405573,0.00044356205,0.0013957932],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019865485,0.000166143,0.00032642612,0.00078879937,0.009661324,0.008434086,0.0006163133,0.0014911459,0.017871272],"category_scores_gemma":[0.008002388,0.000120650104,0.00011191179,0.0011347185,0.017301863,0.0059136585,0.0053792787,0.002996166,0.0012327073],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000032788423,0.00003672178,0.0066473694,0.000046306603,0.000007797713,0.00040554552,0.054048676,0.00005462197,0.00011778279,0.8449697,0.070068195,0.023564471],"study_design_scores_gemma":[0.000012842689,0.000030850024,0.009079596,0.00042306856,0.0000052076048,0.00052965846,0.120224044,0.000081543425,0.00010142689,0.15509635,0.71439695,0.000018489893],"about_ca_topic_score_codex":0.008074982,"about_ca_topic_score_gemma":0.011449682,"teacher_disagreement_score":0.017871272,"about_ca_system_score_codex":0.005151342,"about_ca_system_score_gemma":0.0030589742,"threshold_uncertainty_score":0.059785306},"labels":[],"label_agreement":null},{"id":"W1987054147","doi":"10.7202/902261ar","title":"Electroacoustic Music and the Digital Future","year":2010,"lang":"en","type":"article","venue":"Circuit Musiques contemporaines","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Electroacoustic music; Standardization; Dominance (genetics); Digital audio; The Internet; Music industry; Sociology; Multimedia; Aesthetics; Computer science; Art; Visual arts; Telecommunications; World Wide Web; Musical; Music education","score_opus":0.016933318365412925,"score_gpt":0.18127356032830796,"score_spread":0.16434024196289504,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1987054147","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03224517,0.04366377,0.00099505,0.028838083,0.0006412491,0.000003983182,0.000012782458,0.00002214041,0.8935778],"genre_scores_gemma":[0.86508024,0.03138126,0.0008630155,0.0035122456,0.0010210053,0.000011121718,0.000014693818,0.000015923226,0.0981004],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995604,0.00017150312,0.000014198995,0.000047525562,0.00012927082,0.000077081226],"domain_scores_gemma":[0.9996748,0.00014197241,0.000042575928,0.000029810677,0.00004747605,0.000063427906],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005882773,0.0001836721,0.00010600721,0.00082459964,0.0035029943,0.004616603,0.00029863647,0.001134911,0.009716291],"category_scores_gemma":[0.0009355552,0.00007545494,0.00009826587,0.0007222435,0.010103555,0.003957798,0.0021027375,0.0012920757,0.000648512],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010647099,0.00000946014,0.0003201336,0.000030416242,0.0000015155882,0.00014755013,0.008867964,0.00009073566,0.00015699396,0.9599862,0.0044402448,0.025938133],"study_design_scores_gemma":[0.000007356994,0.000023376379,0.0015501594,0.00021252883,0.0000030984133,0.0006119392,0.015580813,0.00013739389,0.00013737187,0.19368084,0.78804684,0.000008265951],"about_ca_topic_score_codex":0.003366462,"about_ca_topic_score_gemma":0.0068336506,"teacher_disagreement_score":0.009716291,"about_ca_system_score_codex":0.0024762235,"about_ca_system_score_gemma":0.0012661663,"threshold_uncertainty_score":0.03250426},"labels":[],"label_agreement":null},{"id":"W1987120664","doi":"10.5429/2079-3871(2014)v4i1.1en","title":"Introduction: Popular Music Perfomance","year":2014,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Performing arts; Prosumer; Aesthetics; Meaning (existential); Perspective (graphical); Popular music; Sociology; Psychology; Visual arts; Art; Engineering","score_opus":0.021152877597703734,"score_gpt":0.18240304746054392,"score_spread":0.1612501698628402,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1987120664","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.016428564,0.033050027,0.002789757,0.12265489,0.08661572,0.00006759571,0.00078694115,0.0002648163,0.73734176],"genre_scores_gemma":[0.31735754,0.031759955,0.0017651169,0.03431801,0.12037371,0.00016733256,0.0011280745,0.0007129677,0.4924174],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989806,0.00025956717,0.00004350708,0.00020594543,0.00039721333,0.00011323785],"domain_scores_gemma":[0.99806744,0.00097149814,0.00013879288,0.00014316192,0.0003998293,0.00027923498],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009934012,0.00049708504,0.00032121138,0.0018257987,0.003476816,0.006992079,0.00074282323,0.001893196,0.03446417],"category_scores_gemma":[0.0035637382,0.00015468267,0.00025678772,0.002366625,0.004325148,0.0042653554,0.0028109883,0.003485004,0.005127924],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000048944108,0.000032930227,0.0009744026,0.0005891702,0.0000074636505,0.000143935,0.012307822,0.000057394598,0.00041747838,0.1749955,0.7426423,0.067782626],"study_design_scores_gemma":[0.0000023515418,0.000019318415,0.0017807883,0.0003296099,0.00000364274,0.00016291342,0.003511203,0.00006155654,0.00013916822,0.005867177,0.9881144,0.000007937202],"about_ca_topic_score_codex":0.0027706705,"about_ca_topic_score_gemma":0.0046862573,"teacher_disagreement_score":0.03446417,"about_ca_system_score_codex":0.0017023213,"about_ca_system_score_gemma":0.0011406124,"threshold_uncertainty_score":0.11529416},"labels":[],"label_agreement":null},{"id":"W1989438503","doi":"10.1080/13555502.2013.829266","title":"My Old Man: A Personal History of Music Hall","year":2013,"lang":"en","type":"article","venue":"Journal of Victorian Culture","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Manitoba","funders":"","keywords":"Pilgrimage; Entertainment; Politics; Media studies; Prism; Dream; Art history; Prime minister; Visual arts; Art; History; Sociology; Law; Political science; Ancient history; Psychology","score_opus":0.02565867601739155,"score_gpt":0.18668559691744457,"score_spread":0.16102692090005302,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1989438503","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.048002254,0.040011305,0.0015747901,0.20121773,0.0139111765,0.00007936131,0.00023505863,0.00021962926,0.69474864],"genre_scores_gemma":[0.19986491,0.008931068,0.000435917,0.020126453,0.0017736099,0.00002794117,0.000059891652,0.00020611145,0.76857406],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982887,0.00066349044,0.000037263275,0.00016194089,0.0003878493,0.0004607766],"domain_scores_gemma":[0.99859077,0.0002285949,0.000072996045,0.00006713189,0.00020654665,0.0008339809],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013281084,0.00034247412,0.0003467635,0.0011864399,0.02315587,0.00847566,0.0010639238,0.002267907,0.027504776],"category_scores_gemma":[0.0031882052,0.00044640686,0.00019680467,0.0016610925,0.008696232,0.0066011315,0.0045578894,0.008334257,0.0054900763],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000045169505,0.00009045441,0.0011805863,0.00014873994,0.000006526507,0.0009222047,0.27293602,0.000029392526,0.00032694233,0.09253159,0.57748234,0.054300115],"study_design_scores_gemma":[0.000001240876,0.000014925863,0.00058456074,0.00009878373,0.0000014242271,0.00030423555,0.043561824,0.000015004475,0.00004793343,0.0012068502,0.9541543,0.000008941032],"about_ca_topic_score_codex":0.046322465,"about_ca_topic_score_gemma":0.15459205,"teacher_disagreement_score":0.046322465,"about_ca_system_score_codex":0.008074425,"about_ca_system_score_gemma":0.0056724893,"threshold_uncertainty_score":0.09210569},"labels":[],"label_agreement":null},{"id":"W1990277388","doi":"10.1080/13614533.2015.1022663","title":"Local Music Collections: Strategies for Digital Access, Presentation, and Preservation—A Case Study","year":2015,"lang":"en","type":"article","venue":"New Review of Academic Librarianship","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":10,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Saskatchewan","funders":"","keywords":"Data collection; Promotion (chess); Presentation (obstetrics); Collection development; Scholarship; World Wide Web; Digital scholarship; Computer science; Special collections; Multimedia; Library science; Sociology; Political science","score_opus":0.22859439282688546,"score_gpt":0.3349686058014542,"score_spread":0.10637421297456875,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1990277388","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.85384655,0.0029843706,0.0025737744,0.007919413,0.00011046758,0.0005946617,0.000072513874,0.00006778247,0.13183054],"genre_scores_gemma":[0.96823245,0.0034236612,0.0035597763,0.0007331701,0.000037177688,0.00023970696,0.000036158326,0.00003240618,0.023705427],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99216765,0.0054519256,0.00023368307,0.0002874663,0.00076523726,0.0010939451],"domain_scores_gemma":[0.99385107,0.0035685399,0.0004536976,0.00046357478,0.0006144765,0.0010487486],"candidate_categories":["scholarly_communication"],"consensus_categories":[],"category_scores_codex":[0.0071007675,0.00047800192,0.0004594839,0.0026836388,0.025339983,0.011770303,0.0032982219,0.0029747866,0.00857674],"category_scores_gemma":[0.011947789,0.00047117818,0.000331069,0.006043854,0.011153156,0.005631058,0.009167274,0.0024617373,0.0008430363],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000074800344,0.0005660384,0.007788019,0.0005494612,0.000017416189,0.013515104,0.854506,0.00030306767,0.00084404927,0.040580105,0.008775719,0.07248014],"study_design_scores_gemma":[0.000010710797,0.000057963123,0.0018102315,0.00023711793,0.000011738675,0.0016259464,0.9334418,0.00013189246,0.00034362954,0.0010742203,0.061239187,0.000015580968],"about_ca_topic_score_codex":0.06295196,"about_ca_topic_score_gemma":0.22242907,"teacher_disagreement_score":0.9882297,"about_ca_system_score_codex":0.018542798,"about_ca_system_score_gemma":0.014238949,"threshold_uncertainty_score":0.13453805},"labels":[],"label_agreement":null},{"id":"W1990737715","doi":"10.7202/1013309ar","title":"Finno-Ugric Rune Song Tradition Revisited: A Critical Discourse Analysis of Värttinä's \"Äijö\"","year":2012,"lang":"en","type":"article","venue":"Intersections Canadian Journal of Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Consumption (sociology); Popular music; Folk music; Sociology; History; Literature; Linguistics; Art; Philosophy; Social science","score_opus":0.04220953218254619,"score_gpt":0.2517504648127921,"score_spread":0.20954093263024592,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1990737715","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8987653,0.0030709228,0.0017192835,0.0028682873,0.00016575496,0.00008001104,0.00006914171,0.000022385564,0.093238935],"genre_scores_gemma":[0.9968779,0.00037933353,0.00030463262,0.00012840301,0.00002724852,0.00002468288,0.000019771573,0.00001012006,0.0022279525],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99810886,0.0009042914,0.00005718672,0.00027330694,0.00031391418,0.0003424015],"domain_scores_gemma":[0.9957902,0.003392716,0.0002570429,0.00010750066,0.00023721356,0.00021550436],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0033620463,0.00067289063,0.00049499044,0.003912563,0.016591778,0.01130646,0.0012244718,0.002313159,0.0017713635],"category_scores_gemma":[0.005100808,0.00027936324,0.00026461654,0.003670278,0.025365645,0.005423624,0.003984612,0.0025961983,0.00013226793],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021376765,0.000012309782,0.0008305039,0.00006063682,0.0000025199602,0.00046464318,0.9723332,0.00002097848,0.00041172208,0.022224387,0.0002704389,0.0033473647],"study_design_scores_gemma":[0.0000044543262,0.000017192711,0.002913319,0.0002009293,0.000010756155,0.00022914131,0.97100645,0.0001190486,0.00046143273,0.0026419228,0.022384351,0.000010964181],"about_ca_topic_score_codex":0.027725322,"about_ca_topic_score_gemma":0.053372473,"teacher_disagreement_score":0.027725322,"about_ca_system_score_codex":0.010097385,"about_ca_system_score_gemma":0.006009515,"threshold_uncertainty_score":0.073261976},"labels":[],"label_agreement":null},{"id":"W1992895328","doi":"10.3138/cras.2014.s01","title":"The Inward Turn: American Opera Revisits America’s Past","year":2014,"lang":"en","type":"article","venue":"Canadian Review of American Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Tragedy (event); Opera; Power (physics); American exceptionalism; Exceptionalism; Literature; American literature; History; Philosophy; Art; Law; Political science","score_opus":0.024218777186553707,"score_gpt":0.2540519873129832,"score_spread":0.22983321012642946,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1992895328","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10474276,0.025880296,0.00045161133,0.03759656,0.0016451292,0.0000043689347,0.00004497509,0.000028074912,0.82960624],"genre_scores_gemma":[0.9675495,0.009094665,0.00013467224,0.0029096657,0.00064096693,0.0000033025724,0.000019137417,0.00002359359,0.019624492],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99922717,0.00028821337,0.000013911783,0.00007925792,0.00015987121,0.00023151374],"domain_scores_gemma":[0.9990983,0.00031173514,0.00009322463,0.000077110126,0.00022765134,0.00019202844],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015158606,0.00014422189,0.00017111735,0.001152874,0.008006216,0.0076015233,0.00048449033,0.00088761596,0.0063540465],"category_scores_gemma":[0.0014422113,0.00010004015,0.00009325907,0.0016111104,0.014085158,0.0043385327,0.002606519,0.0027793783,0.0003919433],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000030865405,0.000021047532,0.0019202195,0.00008753637,0.0000060904995,0.00029206657,0.124154314,0.000049267157,0.00015077747,0.800052,0.037358254,0.035877597],"study_design_scores_gemma":[0.0000033319468,0.000008708859,0.004227901,0.00038495072,0.000007830379,0.00012793085,0.08492201,0.00004735776,0.000106019164,0.032065164,0.87808704,0.000011818919],"about_ca_topic_score_codex":0.058363147,"about_ca_topic_score_gemma":0.14160147,"teacher_disagreement_score":0.058363147,"about_ca_system_score_codex":0.005871653,"about_ca_system_score_gemma":0.0039572204,"threshold_uncertainty_score":0.116046846},"labels":[],"label_agreement":null},{"id":"W1995171332","doi":"10.7202/1014419ar","title":"When Women Play: The Relationship between Musical Instruments and Gender Style","year":2013,"lang":"en","type":"article","venue":"Canadian University Music Review","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":37,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Musical; Ideology; Style (visual arts); Gender studies; Affect (linguistics); Variety (cybernetics); Sociology; Social stratification; Psychology; Musical form; Social psychology; Aesthetics; Social science; Art; Visual arts; Communication; Political science; Politics","score_opus":0.0817937445265118,"score_gpt":0.19973944591447956,"score_spread":0.11794570138796777,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1995171332","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.41289464,0.32387513,0.0014316499,0.016013738,0.0010601653,0.00004458332,0.00017683802,0.000022933205,0.24448027],"genre_scores_gemma":[0.8950031,0.08912489,0.0004349096,0.0021405222,0.00037341256,0.000023083021,0.000053181328,0.000028099683,0.012818803],"study_design_codex":"design_other","study_design_gemma":"qualitative","domain_scores_codex":[0.99806637,0.00084400823,0.000077367826,0.00018905968,0.000535817,0.00028746153],"domain_scores_gemma":[0.9979169,0.0010956809,0.00044304904,0.000049380207,0.0003401734,0.00015481793],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002312874,0.00031107577,0.00041073305,0.0020718744,0.0020006655,0.0047790403,0.0007840269,0.0008037691,0.0030660362],"category_scores_gemma":[0.0074239615,0.00018145754,0.0001849379,0.0029820546,0.0078784395,0.002206027,0.0012265502,0.00071285927,0.00046586918],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00035599232,0.000094249044,0.14848496,0.0023124139,0.0002672857,0.0027057375,0.35199717,0.00015563652,0.0033841983,0.08686217,0.014092331,0.38928792],"study_design_scores_gemma":[0.000035450543,0.00019278933,0.43951863,0.0022308964,0.00014060288,0.002391543,0.379951,0.000074531614,0.0006360607,0.013641756,0.16111264,0.000074049356],"about_ca_topic_score_codex":0.10219498,"about_ca_topic_score_gemma":0.21761727,"teacher_disagreement_score":0.10219498,"about_ca_system_score_codex":0.0029397404,"about_ca_system_score_gemma":0.0030879872,"threshold_uncertainty_score":0.20320022},"labels":[],"label_agreement":null},{"id":"W1996340789","doi":"10.7202/1014451ar","title":"Articulations of Locality: Portraits and Narratives from the Toronto-Cuban Musicscape","year":2013,"lang":"en","type":"article","venue":"Canadian University Music Review","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Ethnomusicology; Narrative; Locality; Ethnography; Portrait; Statement (logic); Musical; Sociology; Aesthetics; Visual arts; History; Art; Anthropology; Linguistics; Literature; Philosophy","score_opus":0.025905235600026603,"score_gpt":0.17389845682499855,"score_spread":0.14799322122497194,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1996340789","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9190315,0.01372022,0.00070073985,0.007795476,0.00016253805,0.000057930418,0.0003508372,0.000020934276,0.05815984],"genre_scores_gemma":[0.98971224,0.0030629514,0.00016899093,0.00021866485,0.000019021416,0.000024657222,0.000064701715,0.000012380399,0.006716391],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99860305,0.0006593702,0.0000337884,0.00010810268,0.00015946552,0.00043613932],"domain_scores_gemma":[0.9988972,0.0004537454,0.00014590457,0.00004897437,0.000133304,0.00032094185],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013982188,0.0006228728,0.00050726556,0.0026080555,0.020276574,0.0064204205,0.0014206519,0.0011248603,0.0032490704],"category_scores_gemma":[0.0020805004,0.0003328492,0.0001892861,0.00515757,0.012784565,0.001846206,0.004300513,0.0017814848,0.00017259904],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000039421746,0.0000043457544,0.0023042245,0.00010839187,0.0000058972596,0.0011282915,0.98122567,0.00006374807,0.0004487569,0.008281982,0.0020275167,0.0043617547],"study_design_scores_gemma":[0.0000015648938,0.000004699934,0.0043498054,0.00009544844,0.0000066568805,0.00016921747,0.96790445,0.000029422672,0.000091591806,0.00017441146,0.027165364,0.000007397137],"about_ca_topic_score_codex":0.91777414,"about_ca_topic_score_gemma":0.97277325,"teacher_disagreement_score":0.08222586,"about_ca_system_score_codex":0.052804194,"about_ca_system_score_gemma":0.022592708,"threshold_uncertainty_score":0.38312304},"labels":[],"label_agreement":null},{"id":"W1997046048","doi":"10.1080/17411910801972909","title":"Sounds of Power: An Overview of Musical Instruments and Gender","year":2008,"lang":"en","type":"article","venue":"Ethnomusicology Forum","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":137,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Musical; Power (physics); Psychology; History; Computer science; Visual arts; Art; Physics","score_opus":0.1520572523702048,"score_gpt":0.294190782698282,"score_spread":0.14213353032807724,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1997046048","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.075650334,0.2948334,0.011140183,0.011901603,0.0020745494,0.00010955354,0.000084653504,0.000098592405,0.6041071],"genre_scores_gemma":[0.7666523,0.17449005,0.004542827,0.0020982064,0.0013309661,0.00019654912,0.00008713368,0.00010299789,0.050499097],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9977089,0.0012314438,0.00010882891,0.0001727993,0.0004930689,0.00028486634],"domain_scores_gemma":[0.99874073,0.0009739096,0.00008876198,0.000046890047,0.00006431642,0.00008536491],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0017424354,0.00082965207,0.000696017,0.0036924565,0.0042836214,0.008896844,0.0013008751,0.0029645676,0.00939904],"category_scores_gemma":[0.0021880006,0.00028582136,0.00040809097,0.003963531,0.015855106,0.0089664515,0.005161447,0.002286715,0.0010095513],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008376108,0.0000737824,0.0027323926,0.0016316621,0.000019350467,0.0034860587,0.2012437,0.00023013122,0.001187072,0.5920753,0.010835796,0.18640102],"study_design_scores_gemma":[0.0000094452935,0.000103999104,0.004054015,0.002953033,0.000016327476,0.0053243,0.14659625,0.00020672772,0.0006131371,0.06189325,0.77818763,0.000041886644],"about_ca_topic_score_codex":0.0037804868,"about_ca_topic_score_gemma":0.0036219317,"teacher_disagreement_score":0.9957164,"about_ca_system_score_codex":0.0030013295,"about_ca_system_score_gemma":0.0013618506,"threshold_uncertainty_score":0.03144288},"labels":[],"label_agreement":null},{"id":"W1997613508","doi":"10.3138/md.51.1.42","title":"“Who's Selling Here?” Sounds Like <i>The Music Man</i> Is Selling and We’re Buying","year":2008,"lang":"en","type":"article","venue":"Modern Drama","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Middlebrow; Musical; Art; Literature; Panegyric; Taste; Aesthetics; Psychology; Poetry","score_opus":0.051861200534769114,"score_gpt":0.20166099123965078,"score_spread":0.14979979070488167,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1997613508","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.034818713,0.003620875,0.0037631975,0.09487895,0.0034385258,0.000021223532,0.00007429,0.00017019559,0.859214],"genre_scores_gemma":[0.57878745,0.0031284906,0.0023046844,0.026029594,0.0020271244,0.000031237232,0.00008035092,0.00040807354,0.3872031],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989894,0.00039668797,0.000019578993,0.00012553767,0.0002667627,0.00020203262],"domain_scores_gemma":[0.9991447,0.00022460394,0.00011632867,0.00007733015,0.00013913601,0.00029787695],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015497354,0.00039439418,0.00021212752,0.0007202025,0.0062614526,0.00852776,0.00054228085,0.0020339468,0.019694034],"category_scores_gemma":[0.0022334175,0.00018638761,0.00016553499,0.00075900886,0.00877752,0.0055891243,0.0020465516,0.00435175,0.005920589],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000090547255,0.00006250451,0.0035624257,0.00011953822,0.000019404735,0.00055653165,0.07791973,0.00003218261,0.0015872915,0.49082732,0.368309,0.056913573],"study_design_scores_gemma":[0.000003892241,0.000027550772,0.0021656982,0.00010017612,0.000006447112,0.00047250066,0.05172411,0.00006868359,0.00039273498,0.01172332,0.9332992,0.00001564172],"about_ca_topic_score_codex":0.0061243162,"about_ca_topic_score_gemma":0.0137722045,"teacher_disagreement_score":0.019694034,"about_ca_system_score_codex":0.0017166482,"about_ca_system_score_gemma":0.0009870051,"threshold_uncertainty_score":0.0658831},"labels":[],"label_agreement":null},{"id":"W1998485176","doi":"10.1080/10509200109361542","title":"Music hall mimesis in<i>Those Were the Days</i>(1934),<i>Champagne Charlie</i>(1944), and<i>The Entertainer</i>(1960)","year":2001,"lang":"en","type":"article","venue":"Quarterly Review of Film and Video","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Simon Fraser University","funders":"","keywords":"Art; Entertainment; Art history; Visual arts; Performance art","score_opus":0.020097162892708933,"score_gpt":0.22454381861871975,"score_spread":0.2044466557260108,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1998485176","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.012875311,0.18684767,0.0011915686,0.14635873,0.049003094,0.000028922259,0.00021585728,0.00010331287,0.60337555],"genre_scores_gemma":[0.37851545,0.08715899,0.0011789731,0.06579371,0.04304894,0.00010037726,0.00030823075,0.000291094,0.42360422],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99889296,0.0004989879,0.000046556517,0.00016324192,0.00023224908,0.00016608577],"domain_scores_gemma":[0.9988681,0.00054714107,0.00011735468,0.00009133231,0.0001665484,0.0002094539],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014861418,0.000553113,0.0003342464,0.0020568636,0.0050704493,0.008636961,0.00092974363,0.0031250727,0.01907908],"category_scores_gemma":[0.0055156266,0.00020030852,0.00020947207,0.0028871626,0.01000491,0.007086987,0.0025288924,0.005235756,0.002032065],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008553215,0.000032980483,0.00035559456,0.00032062538,0.000009889853,0.00021147614,0.016441822,0.000024950878,0.00018417541,0.63658315,0.30020514,0.04554469],"study_design_scores_gemma":[0.00000833728,0.00001584862,0.00090364704,0.0002615071,0.0000041436906,0.00011049742,0.0054429295,0.000010346881,0.00014623391,0.010794785,0.98229367,0.000008061726],"about_ca_topic_score_codex":0.009778528,"about_ca_topic_score_gemma":0.025452342,"teacher_disagreement_score":0.01907908,"about_ca_system_score_codex":0.003907571,"about_ca_system_score_gemma":0.002268004,"threshold_uncertainty_score":0.063825905},"labels":[],"label_agreement":null},{"id":"W1998708657","doi":"10.7202/1026150ar","title":"“The mill whistle was blowing and the Germans were coming”","year":2014,"lang":"en","type":"article","venue":"Ethnologies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Memorial University of Newfoundland","funders":"","keywords":"Mill; Memorialization; Newspaper; Pulp mill; First world war; History; Law; Visual arts; Archaeology; Engineering; Political science; Art; Ancient history","score_opus":0.02410295825401127,"score_gpt":0.21459359324003072,"score_spread":0.19049063498601945,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1998708657","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.47373992,0.0059854197,0.007894499,0.017114269,0.003233417,0.00014561939,0.00046351424,0.00028731168,0.49113595],"genre_scores_gemma":[0.7803381,0.00167678,0.0017960921,0.002546621,0.00017393596,0.0000555567,0.00020444885,0.00014521505,0.21306321],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9993507,0.00021091584,0.000014742304,0.000096799144,0.00014937557,0.00017736266],"domain_scores_gemma":[0.99965644,0.00009256566,0.000049992705,0.000038918315,0.00007080813,0.00009121282],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000950773,0.0004284042,0.00014395756,0.0005019993,0.010095832,0.0042071175,0.00047040518,0.0010231443,0.009289215],"category_scores_gemma":[0.0015361945,0.00021214431,0.00013613729,0.0006086326,0.007614297,0.0017278864,0.0023503967,0.0026281194,0.0012904364],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00024438565,0.00006252977,0.011957666,0.00030809213,0.00001838484,0.002262597,0.55085486,0.00018206009,0.005399628,0.17944837,0.1724561,0.07680537],"study_design_scores_gemma":[0.000006742619,0.000040773906,0.006402547,0.00019388396,0.0000054938682,0.0004490114,0.20113997,0.000059299153,0.001521259,0.0015763382,0.7885836,0.000021065793],"about_ca_topic_score_codex":0.032530393,"about_ca_topic_score_gemma":0.14616704,"teacher_disagreement_score":0.032530393,"about_ca_system_score_codex":0.004266844,"about_ca_system_score_gemma":0.0022892458,"threshold_uncertainty_score":0.064682126},"labels":[],"label_agreement":null},{"id":"W1999910053","doi":"10.3138/jrpc.22.3.004","title":"God, Pain and Love in the Music of Nick Cave","year":2010,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Cave; Schema (genetic algorithms); Art; Literature; Philosophy; History; Archaeology; Computer science","score_opus":0.014692234861155144,"score_gpt":0.2116757709851863,"score_spread":0.19698353612403116,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1999910053","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.25013337,0.04794741,0.0014803838,0.1330772,0.0075756875,0.00008419618,0.00015663811,0.0000985435,0.5594466],"genre_scores_gemma":[0.88206404,0.006497391,0.001025874,0.013557672,0.002325739,0.000051706702,0.000041456115,0.000121673394,0.094314344],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990876,0.0004171138,0.000020794063,0.00010224036,0.00022221598,0.00014999395],"domain_scores_gemma":[0.99877816,0.00058155536,0.000115708775,0.000056592693,0.00017368652,0.00029426574],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008989623,0.0002916402,0.00031290506,0.00085856096,0.011348455,0.00535454,0.0005854253,0.0015032243,0.006378957],"category_scores_gemma":[0.0037722066,0.00023655563,0.00014111138,0.0006511258,0.0100413095,0.0034561963,0.0022554486,0.0031347612,0.00059752323],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00028807932,0.00010584382,0.005785533,0.0005370307,0.000030826406,0.002161907,0.447819,0.00014365782,0.0014896686,0.27430442,0.20939073,0.057943314],"study_design_scores_gemma":[0.000019565456,0.00007037089,0.005926665,0.00061687833,0.000010843482,0.0029820432,0.15842907,0.00012097257,0.00043499592,0.0152123505,0.8161252,0.000050981726],"about_ca_topic_score_codex":0.015036166,"about_ca_topic_score_gemma":0.06798992,"teacher_disagreement_score":0.015036166,"about_ca_system_score_codex":0.00263039,"about_ca_system_score_gemma":0.0015412134,"threshold_uncertainty_score":0.029897273},"labels":[],"label_agreement":null},{"id":"W2000970847","doi":"10.3138/jrpc.2.1.001","title":"The Evolution of Rock and Roll: Its Religious and Ecological Themes","year":2002,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":10,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Ecofeminism; Spirituality; Diversity (politics); Rock music; Aesthetics; Sociology; Environmental ethics; Ecology; Art; Philosophy; Literature; Anthropology; Popular music; Biology","score_opus":0.017288426675593094,"score_gpt":0.20732918249100188,"score_spread":0.19004075581540877,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2000970847","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8504843,0.0019415213,0.0017080564,0.0070944657,0.00014279978,0.000021036949,0.000030725685,0.000033815988,0.13854338],"genre_scores_gemma":[0.99724054,0.00019508062,0.00017112956,0.00009650415,0.00004169882,0.0000025485272,0.0000038533353,0.00000720672,0.002241373],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99929905,0.00031545872,0.000022450957,0.00007614106,0.00018896365,0.00009797501],"domain_scores_gemma":[0.99899405,0.00043341334,0.00019214212,0.00010894893,0.000101099715,0.00017041496],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001178237,0.00016335424,0.000120974626,0.001160999,0.0034310792,0.003836886,0.0004445471,0.0008209387,0.0020712803],"category_scores_gemma":[0.002611881,0.00011606468,0.00007700572,0.00087380054,0.012752264,0.0023387915,0.0020274904,0.0014611775,0.00015336864],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015676205,0.000055415996,0.01463229,0.00010821579,0.0000099370845,0.0012080873,0.65076256,0.00012305826,0.0044575017,0.2606905,0.0019200523,0.0658756],"study_design_scores_gemma":[0.00004091954,0.00034421973,0.1125342,0.00031776718,0.000037361315,0.0024365182,0.4936042,0.0007663482,0.0034087913,0.047393598,0.33904436,0.00007184404],"about_ca_topic_score_codex":0.003092769,"about_ca_topic_score_gemma":0.005346166,"teacher_disagreement_score":0.003836886,"about_ca_system_score_codex":0.0017580756,"about_ca_system_score_gemma":0.0006962108,"threshold_uncertainty_score":0.012755752},"labels":[],"label_agreement":null},{"id":"W2001174742","doi":"10.1558/source.v1i1.82","title":"Burns, Baby, Burns","year":2004,"lang":"en","type":"article","venue":"Jazz Research Journal","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":10,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Jazz; Battlefield; History; Conceptualization; Performance art; Art history; Art; Visual arts; Aesthetics; Philosophy","score_opus":0.1471910674473345,"score_gpt":0.3453102800625638,"score_spread":0.1981192126152293,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2001174742","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0071278447,0.042798053,0.0009873582,0.6187573,0.02572766,0.00002362064,0.00018935576,0.00018748232,0.30420128],"genre_scores_gemma":[0.13079888,0.028198149,0.0011609881,0.1735694,0.004624771,0.000054138654,0.00009341679,0.0004414989,0.6610587],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99873084,0.0004661838,0.000035697,0.00018571402,0.00040325764,0.00017826317],"domain_scores_gemma":[0.9976794,0.00064582226,0.00018057955,0.00014863646,0.0005988393,0.000746741],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013846535,0.0003187581,0.00023208106,0.00064240594,0.0071061854,0.00592083,0.0005785878,0.0027227004,0.0416909],"category_scores_gemma":[0.008838452,0.00031465807,0.00013599146,0.00076327124,0.0057333335,0.005863865,0.002308445,0.0074189594,0.010600798],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000032261883,0.00000810914,0.00041143555,0.00006582089,0.000002740239,0.00020008748,0.004952971,0.000012800219,0.00014726663,0.06447343,0.9027179,0.026975147],"study_design_scores_gemma":[0.0000029682012,0.0000061330943,0.00042277228,0.00011428331,0.0000011821674,0.00031223943,0.0047154506,0.000008937456,0.00009045694,0.004487184,0.9898315,0.0000068993468],"about_ca_topic_score_codex":0.011808679,"about_ca_topic_score_gemma":0.030501353,"teacher_disagreement_score":0.0416909,"about_ca_system_score_codex":0.003313805,"about_ca_system_score_gemma":0.0033919702,"threshold_uncertainty_score":0.13946998},"labels":[],"label_agreement":null},{"id":"W2002224418","doi":"10.4000/transposition.150","title":"Understanding Music and Sexuality through Ethnography: Dialogues between Queer Studies and Music","year":2013,"lang":"en","type":"article","venue":"Transposition","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"University of Cambridge; York University; University of Minnesota","keywords":"Humanities; Art; Queer; Ethnography; Sociology; Gender studies; Anthropology","score_opus":0.3560490654571345,"score_gpt":0.2875114017944156,"score_spread":0.0685376636627189,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2002224418","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9374052,0.0059628068,0.0057825097,0.010801017,0.000421781,0.00016167722,0.00015535866,0.000037355876,0.039272286],"genre_scores_gemma":[0.9866247,0.0023999605,0.00086784834,0.0010963655,0.00014783132,0.000101963196,0.000044129752,0.000050509338,0.008666706],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.98800874,0.009907288,0.00021517371,0.00044944868,0.00054574595,0.0008735612],"domain_scores_gemma":[0.97608966,0.020510832,0.0010090722,0.0006690448,0.0005976855,0.0011236836],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.010523587,0.0006968483,0.00075116963,0.002993075,0.015554092,0.00981755,0.0011659341,0.0024206904,0.0054366426],"category_scores_gemma":[0.017138394,0.0006614648,0.0004501969,0.0029640335,0.019416401,0.007846766,0.007719933,0.003930491,0.00037738006],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012898829,0.0000069041134,0.0007136513,0.000034489964,0.0000034008185,0.0002480449,0.9946976,0.000009681499,0.00026954434,0.0017457658,0.00024119623,0.002016786],"study_design_scores_gemma":[0.0000035480923,0.000013063942,0.0013232522,0.00008304996,0.0000036707543,0.0001345201,0.9824729,0.000018897019,0.0001359422,0.00060994277,0.015191446,0.000009779496],"about_ca_topic_score_codex":0.024552235,"about_ca_topic_score_gemma":0.0572851,"teacher_disagreement_score":0.024552235,"about_ca_system_score_codex":0.004938297,"about_ca_system_score_gemma":0.002692458,"threshold_uncertainty_score":0.055654705},"labels":[],"label_agreement":null},{"id":"W2003169415","doi":"10.4000/volume.295","title":"Lettre ouverte sur les musiques « noires », « afro-américaines » et « européennes »","year":2008,"lang":"fr","type":"article","venue":"Volume !","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":30,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"International Laboratory for Brain, Music and Sound Research","funders":"","keywords":"Humanities; Art","score_opus":0.05255770583779338,"score_gpt":0.21573366420475273,"score_spread":0.16317595836695936,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2003169415","genre_codex":"other","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.01268786,0.08335355,0.0038949405,0.13152966,0.050306812,0.000050373274,0.0010605588,0.00016246943,0.7169538],"genre_scores_gemma":[0.1640974,0.029590163,0.0025553226,0.033921294,0.024710776,0.0001547978,0.00077071274,0.00054644427,0.74365306],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99915075,0.0003184771,0.000039475945,0.00013661615,0.00026400137,0.000090778514],"domain_scores_gemma":[0.99878424,0.0006732531,0.0001052137,0.000060653947,0.0003057996,0.00007082845],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007168439,0.00081053755,0.00031103278,0.001350646,0.0039618937,0.004323957,0.0006399436,0.0020497513,0.01723294],"category_scores_gemma":[0.0023362248,0.00020556748,0.00037825748,0.0012628194,0.003667587,0.0029111926,0.0011961289,0.0033428196,0.004910005],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000107249674,0.000030439847,0.0007285641,0.00032889744,0.000017722772,0.00017171745,0.016483523,0.000098021526,0.001060155,0.22818153,0.71608096,0.03671114],"study_design_scores_gemma":[0.0000030480476,0.0000064563487,0.0010618328,0.00015533365,0.0000030676852,0.00006982905,0.0015037009,0.000032241256,0.00016511766,0.0052849012,0.99170953,0.0000050447566],"about_ca_topic_score_codex":0.012177561,"about_ca_topic_score_gemma":0.027108582,"teacher_disagreement_score":0.01723294,"about_ca_system_score_codex":0.002512864,"about_ca_system_score_gemma":0.0016202874,"threshold_uncertainty_score":0.05764985},"labels":[],"label_agreement":null},{"id":"W2004850142","doi":"10.3828/msmi.2013.8","title":"Interview with Music Video Director and Auteur Floria Sigismondi","year":2013,"lang":"en","type":"article","venue":"Music Sound and the Moving Image","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":25,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Auteur theory; Art; Psychology; Visual arts; Movie theater","score_opus":0.023098478481046396,"score_gpt":0.18495748714638757,"score_spread":0.16185900866534117,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2004850142","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.19101137,0.017740386,0.001221033,0.4922036,0.01564433,0.0006494673,0.0014372193,0.00046765327,0.27962506],"genre_scores_gemma":[0.4613399,0.009162642,0.0010874955,0.18491967,0.004689996,0.0011479572,0.0007461278,0.00021601836,0.33669013],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.9977176,0.00075511273,0.000099592726,0.0003446321,0.0005204212,0.000562688],"domain_scores_gemma":[0.9955362,0.001223995,0.00033194156,0.00007170995,0.0012633522,0.0015728686],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016203375,0.00046905116,0.00048061484,0.0017140271,0.009197053,0.0032834355,0.0009417734,0.0029285888,0.021316221],"category_scores_gemma":[0.00923074,0.000423666,0.00017589914,0.0011437645,0.0017303943,0.0020678442,0.002340326,0.004585287,0.003851097],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013156957,0.00015421685,0.006236771,0.0002590372,0.000006222797,0.0079992395,0.10666452,0.00008649041,0.0014648525,0.0032966835,0.83919144,0.034508925],"study_design_scores_gemma":[0.00001253761,0.00005755245,0.006327604,0.00027670857,0.000003883392,0.0018999511,0.20776978,0.00009064484,0.0002456739,0.00016094289,0.7831204,0.00003419111],"about_ca_topic_score_codex":0.09681292,"about_ca_topic_score_gemma":0.12449911,"teacher_disagreement_score":0.09681292,"about_ca_system_score_codex":0.008404099,"about_ca_system_score_gemma":0.004181734,"threshold_uncertainty_score":0.1924988},"labels":[],"label_agreement":null},{"id":"W2005606599","doi":"10.7202/1001961ar","title":"Articulating the African Diaspora through Rhythm","year":2011,"lang":"en","type":"article","venue":"Intermédialités Histoire et théorie des arts des lettres et des techniques","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":18,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Diaspora; Rhythm; Musical; Hybridity; Popular music; History; Sociology; Aesthetics; Art; Visual arts; Anthropology; Gender studies","score_opus":0.06901875069961858,"score_gpt":0.2719387971099613,"score_spread":0.20292004641034275,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2005606599","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5046147,0.01332656,0.043257836,0.01431597,0.00069265044,0.00008623759,0.0000770181,0.00007871313,0.42355043],"genre_scores_gemma":[0.99025893,0.002200533,0.0025688873,0.00025147127,0.00008017677,0.0000306417,0.00001220499,0.000027792032,0.0045693964],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99877673,0.0008509897,0.000031012612,0.00009766285,0.00009579242,0.00014781527],"domain_scores_gemma":[0.999033,0.00061928626,0.00010004304,0.00010669818,0.00006303345,0.00007802716],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019592152,0.00037032797,0.0002079378,0.0013920837,0.0037550034,0.00502817,0.0005880026,0.0007015704,0.0029064575],"category_scores_gemma":[0.0035205297,0.00019570324,0.0001519552,0.0011828176,0.01432605,0.0069480515,0.004263432,0.0012824856,0.0002163018],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000041237057,0.000013504686,0.0023206568,0.00012033256,0.000008886956,0.0003312519,0.1802533,0.00027227195,0.00096694863,0.78237337,0.0010568078,0.03224139],"study_design_scores_gemma":[0.00003199885,0.00008000419,0.006799624,0.0009397459,0.000026107466,0.0006024891,0.3028142,0.0015671373,0.0017547174,0.3196985,0.3656546,0.00003085154],"about_ca_topic_score_codex":0.0034839408,"about_ca_topic_score_gemma":0.005959422,"teacher_disagreement_score":0.00502817,"about_ca_system_score_codex":0.002040604,"about_ca_system_score_gemma":0.0017745779,"threshold_uncertainty_score":0.014805734},"labels":[],"label_agreement":null},{"id":"W2007375685","doi":"10.7202/1006375ar","title":"“Give a man a mask and he’ll tell the truth”: Arnold Schoenberg, David Bowie, and the Mask of Pierrot","year":2011,"lang":"en","type":"article","venue":"Intersections Canadian Journal of Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Musical; Art history; Parallels; Performance art; Character (mathematics); Psychoanalysis; Visual arts; History; Psychology; Engineering","score_opus":0.03546014572405948,"score_gpt":0.1689354814987889,"score_spread":0.13347533577472942,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2007375685","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.04468122,0.037454423,0.0035678488,0.5813314,0.004586196,0.000035773337,0.000048851423,0.000101559286,0.32819286],"genre_scores_gemma":[0.8209774,0.01259425,0.002204158,0.04476369,0.002505638,0.000060111714,0.000023478742,0.00015167642,0.1167196],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9976605,0.0012947156,0.000038932027,0.00019170126,0.0005506077,0.0002635],"domain_scores_gemma":[0.9986406,0.0007211269,0.0001186709,0.00006338628,0.0001825169,0.00027372467],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017115574,0.00040731716,0.00025349788,0.0006926506,0.013100239,0.0074903797,0.0006856083,0.0027921307,0.0039522974],"category_scores_gemma":[0.005637061,0.00030352734,0.00012591419,0.000550704,0.026479626,0.0067320513,0.0031404647,0.005858533,0.0011049064],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000756367,0.000026607557,0.00045333314,0.00008330898,0.0000064641317,0.00067671016,0.18582866,0.000090256835,0.00059430045,0.51668084,0.272405,0.023078835],"study_design_scores_gemma":[0.000015497446,0.000028007893,0.00054184825,0.00022926935,0.0000041925687,0.00094696943,0.07972196,0.00017602112,0.0003681907,0.049111,0.8688155,0.00004162019],"about_ca_topic_score_codex":0.028358173,"about_ca_topic_score_gemma":0.043250628,"teacher_disagreement_score":0.028358173,"about_ca_system_score_codex":0.0051727565,"about_ca_system_score_gemma":0.0025949047,"threshold_uncertainty_score":0.056386173},"labels":[],"label_agreement":null},{"id":"W2007440681","doi":"10.7202/1025553ar","title":"Centring The Periphery: Local Identity in the Music of Theodore Antoniou and other Twentieth-Century Greek Composers","year":2014,"lang":"en","type":"article","venue":"Intersections Canadian Journal of Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"National and Kapodistrian University of Athens","keywords":"Historiography; Argument (complex analysis); Identity (music); Context (archaeology); Literature; History; Art history; Art; Aesthetics; Epistemology; Philosophy; Archaeology","score_opus":0.023884814964249126,"score_gpt":0.20932758658235764,"score_spread":0.18544277161810852,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2007440681","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8359688,0.0035680786,0.0008629959,0.0026523268,0.00014547899,0.000023672,0.000017855346,0.000014538155,0.15674622],"genre_scores_gemma":[0.9896846,0.00060372177,0.00014925358,0.00019386025,0.00003325017,0.000008072505,0.000005802868,0.000013883978,0.009307596],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9988966,0.0004682008,0.00003584991,0.00020468365,0.00018848825,0.00020616292],"domain_scores_gemma":[0.9994186,0.00016058738,0.000115086565,0.000054319506,0.000072543626,0.00017885353],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014274388,0.00037434587,0.0006561818,0.0024096968,0.012332324,0.007199528,0.0007067227,0.0013022728,0.0030438516],"category_scores_gemma":[0.0019433923,0.00018225952,0.00015566884,0.0017764245,0.019927014,0.0035695964,0.006086784,0.0017051647,0.00032617385],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000477761,0.000011237818,0.0019793015,0.00003966611,0.0000036652573,0.00056031265,0.94467336,0.000032670578,0.000752363,0.040852774,0.00076300977,0.010283858],"study_design_scores_gemma":[0.000012445242,0.000055090157,0.014819152,0.00018675422,0.000008820631,0.00088763254,0.88825554,0.00007841795,0.00033096806,0.0073126717,0.088023566,0.000028955237],"about_ca_topic_score_codex":0.020883957,"about_ca_topic_score_gemma":0.050327934,"teacher_disagreement_score":0.979116,"about_ca_system_score_codex":0.0046025803,"about_ca_system_score_gemma":0.0018304513,"threshold_uncertainty_score":0.041524768},"labels":[],"label_agreement":null},{"id":"W2007998600","doi":"10.1353/amm.2011.0029","title":"No Boundary Line to Art: \"Bebop\" as Afro-Modernist Discourse","year":2011,"lang":"en","type":"article","venue":"Project Muse (Johns Hopkins University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; George (robot); Art history; Performance art; Black music; Contemporary classical music; Boundary line; Visual arts; Composition (language); Literature; Musical; Aesthetics; Engineering; Movement (music)","score_opus":0.03874171371144694,"score_gpt":0.22102624548796998,"score_spread":0.18228453177652304,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2007998600","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.040193234,0.024265984,0.0020782112,0.078199446,0.0014220855,0.000011823405,0.00002055075,0.00006395788,0.85374475],"genre_scores_gemma":[0.9392518,0.004110084,0.000647356,0.0050952686,0.0006377713,0.000030547173,0.000015878524,0.00010051667,0.05011086],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9971559,0.0019285275,0.000049039867,0.00018267098,0.00033668612,0.00034715893],"domain_scores_gemma":[0.9987424,0.0006744552,0.00011549208,0.00014361384,0.00015148014,0.00017266248],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004124354,0.00039270855,0.00034631946,0.0016610547,0.018662803,0.01609413,0.0007885976,0.003941715,0.0069120293],"category_scores_gemma":[0.0032446187,0.0002473819,0.00014172033,0.0016105038,0.05719333,0.009382006,0.005726409,0.0044354955,0.00079145306],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022725266,0.00001237412,0.00021804534,0.000027532948,0.0000017426001,0.00008707175,0.11208455,0.00003447367,0.000075069554,0.8643265,0.0150704235,0.008039569],"study_design_scores_gemma":[0.000013550822,0.000016030333,0.0008040788,0.0003825963,0.00000549029,0.00014969191,0.12594354,0.00020177105,0.00012428407,0.15634152,0.7160003,0.00001718389],"about_ca_topic_score_codex":0.022600027,"about_ca_topic_score_gemma":0.030747848,"teacher_disagreement_score":0.022600027,"about_ca_system_score_codex":0.008639177,"about_ca_system_score_gemma":0.0036682212,"threshold_uncertainty_score":0.062681854},"labels":[],"label_agreement":null},{"id":"W2008464301","doi":"10.3138/jrpc.25.2.205","title":"Thou Shalt Get thy Praise On!: Analysis on the Conversion and Community Maintenance Powers of Contemporary Christian Music","year":2013,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Panopticon; Praise; Gaze; Argument (complex analysis); Sociology; Epistemology; Aesthetics; Obedience; Law; Philosophy; Social psychology; Psychology; Psychoanalysis; Political science","score_opus":0.027185005661945098,"score_gpt":0.2238573905865149,"score_spread":0.19667238492456982,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2008464301","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.96135324,0.000493675,0.00042323323,0.0009979687,0.00002851348,0.0000267089,0.000028167287,0.000008179242,0.036640316],"genre_scores_gemma":[0.99744654,0.00017368305,0.0000853065,0.000041457042,0.000013704852,0.000009592581,0.000014092585,0.0000059274616,0.0022096944],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9990695,0.00046283216,0.000023042474,0.00007765792,0.00016642621,0.00020064537],"domain_scores_gemma":[0.99684554,0.0022225028,0.00029042753,0.00012778841,0.00026904664,0.00024469887],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018937655,0.00019618939,0.00020027357,0.003532989,0.007631903,0.0035294273,0.00074829813,0.00085549254,0.0058833943],"category_scores_gemma":[0.0043030353,0.00015592793,0.000101392965,0.0032637196,0.011335783,0.003071025,0.0027674262,0.0014702653,0.00023459594],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004066694,0.00003121982,0.004948433,0.00007368187,0.0000026299037,0.00046884135,0.95595646,0.000025268071,0.00056056055,0.024606982,0.00060748955,0.012677759],"study_design_scores_gemma":[0.0000030094322,0.000014991443,0.013993394,0.000075452816,0.0000025744082,0.0001361094,0.96925485,0.00009426431,0.00022974693,0.0015720873,0.014617134,0.0000062434656],"about_ca_topic_score_codex":0.013475304,"about_ca_topic_score_gemma":0.025081689,"teacher_disagreement_score":0.013475304,"about_ca_system_score_codex":0.0037690648,"about_ca_system_score_gemma":0.0020952907,"threshold_uncertainty_score":0.02734667},"labels":[],"label_agreement":null},{"id":"W2008753929","doi":"10.1017/s0261143004000339","title":"Charles Hamm @80: a song well sung","year":2005,"lang":"en","type":"article","venue":"Popular Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"History; Performance art; Art history; Art; Visual arts","score_opus":0.03638097528342758,"score_gpt":0.2053696365192816,"score_spread":0.16898866123585404,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2008753929","genre_codex":"other","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00667539,0.019279568,0.0015953219,0.1132075,0.063743874,0.00008845091,0.0003805462,0.0010723367,0.7939571],"genre_scores_gemma":[0.01160442,0.0023533644,0.0005793603,0.012908675,0.0031406318,0.000023235336,0.00008889321,0.0002762644,0.9690251],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997048,0.0000358495,0.000005386964,0.000030490486,0.00015848993,0.00006496565],"domain_scores_gemma":[0.9991812,0.000065063345,0.000020083426,0.000029254898,0.00021914176,0.00048519185],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005549772,0.00046969342,0.00020834107,0.00064449955,0.004615906,0.0041636117,0.00048159508,0.0012399011,0.09266849],"category_scores_gemma":[0.002104919,0.00016489021,0.00017697246,0.00039206588,0.00085221295,0.001691275,0.0022664398,0.0028016756,0.044478483],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014589989,0.000009201958,0.00009892527,0.000018007197,0.0000017560016,0.000056434877,0.00020938047,0.000006260342,0.00027311096,0.0026328764,0.9791349,0.017544517],"study_design_scores_gemma":[0.0000025452302,0.000008210669,0.00042262263,0.000032329208,0.0000010877446,0.000065776774,0.00039297302,0.000014500164,0.000086676184,0.00026711132,0.9987012,0.0000048136008],"about_ca_topic_score_codex":0.008015708,"about_ca_topic_score_gemma":0.03548857,"teacher_disagreement_score":0.09266849,"about_ca_system_score_codex":0.00069177424,"about_ca_system_score_gemma":0.001142253,"threshold_uncertainty_score":0.31000698},"labels":[],"label_agreement":null},{"id":"W2008841379","doi":"10.1558/jwpm.v1i2.26721","title":"Ruth Hellier, ed. 2013. &lt;i&gt;Women Singers in Global Contexts: Music, Biography, Identity&lt;/i&gt;","year":2015,"lang":"en","type":"article","venue":"Journal of World Popular Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Queen's University","funders":"","keywords":"Biography; Identity (music); Sociology; Media studies; Gerontology; Art history; Art; History; Medicine; Aesthetics","score_opus":0.02924531691042485,"score_gpt":0.2346464870270632,"score_spread":0.20540117011663836,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2008841379","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00034118444,0.8437438,0.0020246594,0.020954624,0.009537901,0.000024600067,0.0009506094,0.00056534796,0.121857285],"genre_scores_gemma":[0.00619264,0.6411951,0.0024510357,0.0030685074,0.0033896465,0.000067368106,0.00076223817,0.0005136739,0.34235978],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994374,0.000075567696,0.00005382317,0.00010013596,0.00027305653,0.000059988968],"domain_scores_gemma":[0.9993685,0.00022746222,0.00008110128,0.00004062967,0.0001660427,0.00011620392],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010064744,0.0021485188,0.00090498076,0.002662081,0.0010622684,0.0035229381,0.0012885905,0.0022242067,0.08666403],"category_scores_gemma":[0.0019008026,0.0011206393,0.00044677724,0.0028194606,0.0012243732,0.0064590755,0.0019095987,0.0023134947,0.081294596],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018333672,0.000006141626,0.0000914226,0.0003154027,0.0000034711607,0.000048841368,0.00038584677,0.000069532005,0.00015502567,0.0021666512,0.83144605,0.16529334],"study_design_scores_gemma":[0.0000029909481,0.0000048361744,0.00037982184,0.00082929083,0.0000042228676,0.00017189351,0.00039815696,0.000041032985,0.00012236105,0.0011590188,0.9968779,0.000008534016],"about_ca_topic_score_codex":0.015103708,"about_ca_topic_score_gemma":0.03358734,"teacher_disagreement_score":0.08666403,"about_ca_system_score_codex":0.001668003,"about_ca_system_score_gemma":0.0024572823,"threshold_uncertainty_score":0.28992003},"labels":[],"label_agreement":null},{"id":"W2010565304","doi":"10.1353/utq.2005.0230","title":"The Road of Excess: A History of Writers on Drugs (review)","year":2004,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Aside; Power (physics); History; Skepticism; Literature; Theme (computing); Praxis; Classics; Aesthetics; Art history; Law; Art; Philosophy; Theology; Political science","score_opus":0.012527180368086486,"score_gpt":0.17524073732746884,"score_spread":0.16271355695938236,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2010565304","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000044685235,0.9953217,0.00001091391,0.002411925,0.001564174,0.0000021703795,0.000012833107,0.0000035349015,0.0006280402],"genre_scores_gemma":[0.00082613237,0.9909757,0.0000442743,0.0045798696,0.0026344587,0.000009395337,0.00003119486,0.0000050297667,0.0008939805],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981865,0.00054017716,0.00029681725,0.00017277668,0.00064051955,0.00016318806],"domain_scores_gemma":[0.99207675,0.004132314,0.001402803,0.0001427468,0.0015938513,0.0006514976],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017583023,0.0008173259,0.0014832824,0.007279733,0.0010800333,0.005686471,0.0010926161,0.0026346305,0.009350663],"category_scores_gemma":[0.008124916,0.0005957644,0.00063302345,0.0105996225,0.0020064523,0.0056044026,0.0015979009,0.0034970203,0.004308017],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000115782954,0.000036256577,0.00042063562,0.02072243,0.000083709994,0.00021221735,0.0009677493,0.000050220755,0.00012602351,0.0023831765,0.52901137,0.44587046],"study_design_scores_gemma":[0.000013345954,0.000045824403,0.0011050992,0.018870108,0.000054031585,0.0006787981,0.00062984496,0.000008290998,0.00003097141,0.0005358941,0.978008,0.000019805262],"about_ca_topic_score_codex":0.0035657266,"about_ca_topic_score_gemma":0.012773178,"teacher_disagreement_score":0.009350663,"about_ca_system_score_codex":0.0023520757,"about_ca_system_score_gemma":0.004363488,"threshold_uncertainty_score":0.031281054},"labels":[],"label_agreement":null},{"id":"W2015678861","doi":"10.4000/volume.651","title":"Le critique rock, le fanzine et le magazine : « Ça s’en va et ça revient »","year":2006,"lang":"fr","type":"article","venue":"Volume !","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":13,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Saint Paul University","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.01039362831464974,"score_gpt":0.21752799230576347,"score_spread":0.20713436399111373,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2015678861","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.056323927,0.04847446,0.0026867962,0.17390776,0.0053108693,0.000032980057,0.00013321482,0.00010808527,0.7130219],"genre_scores_gemma":[0.72562295,0.0108905,0.0008105626,0.009070745,0.002565865,0.000034833727,0.000052252937,0.00012882958,0.25082338],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9976827,0.00097560475,0.00005210736,0.0002301592,0.00075722,0.00030221936],"domain_scores_gemma":[0.99786335,0.0010361382,0.00027499386,0.00013287211,0.00043600876,0.00025664357],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001692069,0.0005683229,0.0002794032,0.0013720257,0.007993898,0.012172245,0.0005578514,0.0032569047,0.013186201],"category_scores_gemma":[0.0049570864,0.00020168645,0.00019891553,0.001428788,0.016958587,0.005373641,0.0021604288,0.0038147601,0.001421753],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000119685654,0.000020507088,0.002492478,0.00041252267,0.000018234061,0.0004309257,0.10785624,0.00008468994,0.0014777951,0.7033483,0.1340133,0.049725227],"study_design_scores_gemma":[0.000012431326,0.00002819279,0.0033371337,0.0002445064,0.000010334236,0.00029790288,0.037988417,0.00006465023,0.00044820554,0.013774456,0.94377,0.000023775692],"about_ca_topic_score_codex":0.08620559,"about_ca_topic_score_gemma":0.15873672,"teacher_disagreement_score":0.08620559,"about_ca_system_score_codex":0.0073480178,"about_ca_system_score_gemma":0.0059430576,"threshold_uncertainty_score":0.17140764},"labels":[],"label_agreement":null},{"id":"W2016091849","doi":"10.1177/1367877911416881","title":"Scale and the digital: The miniaturizing of global knowledge","year":2011,"lang":"en","type":"article","venue":"International Journal of Cultural Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Miniaturization; Dance; Closeness; Computer science; Scale (ratio); Relation (database); Sociology; Multimedia; Aesthetics; Visual arts; Engineering; Art","score_opus":0.07557508970498462,"score_gpt":0.28690831034349357,"score_spread":0.21133322063850896,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2016091849","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5369196,0.0053996947,0.024787651,0.01258641,0.00025921053,0.00009304844,0.00010347084,0.00020687637,0.4196441],"genre_scores_gemma":[0.9912212,0.001007758,0.0023278994,0.0004617695,0.00009723745,0.000033415556,0.000019715666,0.000037000103,0.004793968],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99789596,0.0010066013,0.00008555265,0.00035018363,0.00046058127,0.0002011227],"domain_scores_gemma":[0.9956228,0.0022535517,0.00046622593,0.0011429865,0.0002188738,0.00029554713],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.002459028,0.00031499215,0.00023858402,0.0022375036,0.0028380274,0.009298901,0.00068490696,0.00072511734,0.006076601],"category_scores_gemma":[0.0067809946,0.000241291,0.00029950638,0.0017257902,0.018033976,0.011341962,0.0097913435,0.0011032221,0.00036313263],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010754442,0.000060684943,0.01203729,0.00040546973,0.00006579685,0.0009047378,0.3139094,0.00058436854,0.006062178,0.4872668,0.0045847916,0.17401086],"study_design_scores_gemma":[0.000048374506,0.000322955,0.027012208,0.00068106566,0.00008862745,0.0015245846,0.2710989,0.0011531095,0.0035311615,0.26285052,0.4315924,0.00009607336],"about_ca_topic_score_codex":0.0011309641,"about_ca_topic_score_gemma":0.001337636,"teacher_disagreement_score":0.997162,"about_ca_system_score_codex":0.0012185612,"about_ca_system_score_gemma":0.0009527444,"threshold_uncertainty_score":0.020328283},"labels":[],"label_agreement":null},{"id":"W2016112052","doi":"10.1353/not.2007.0029","title":"Some Hustling This! Taking Jazz to the World, 1914-1929 (review)","year":2007,"lang":"en","type":"article","venue":"Notes","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Jazz; Blues; Miller; Art history; Jazz dance; History; Musical; Art; Literature; Dance","score_opus":0.06159342933576464,"score_gpt":0.2760163199641557,"score_spread":0.21442289062839107,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2016112052","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00003277497,0.9975182,0.000009714733,0.00075712125,0.0007582188,0.0000034708023,0.000050042727,0.0000034286331,0.00086704677],"genre_scores_gemma":[0.00045364932,0.9960985,0.000028235894,0.0010827408,0.0006291049,0.000007407313,0.00008279473,0.0000029083217,0.0016146484],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995871,0.000064482556,0.00007062802,0.00007698044,0.0001494002,0.00005139748],"domain_scores_gemma":[0.99888486,0.00026764855,0.00021477204,0.000023319186,0.00044747186,0.00016189102],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007115188,0.0011471332,0.0014396502,0.0033083383,0.000589966,0.0022163307,0.0013190422,0.0012058452,0.02389737],"category_scores_gemma":[0.0027321114,0.00055763737,0.0008799058,0.005670618,0.00078175555,0.0029240267,0.0010905656,0.0024967135,0.010604841],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009719633,0.000028804296,0.0003315002,0.04622743,0.00014119156,0.0001598769,0.00027480783,0.0001006209,0.00023142553,0.001238936,0.542057,0.4091112],"study_design_scores_gemma":[0.000018440594,0.000038842692,0.0020981838,0.01874083,0.00012483678,0.0004970037,0.00023701067,0.00001167117,0.000050808914,0.00024437896,0.97791547,0.000022481841],"about_ca_topic_score_codex":0.012974484,"about_ca_topic_score_gemma":0.02704723,"teacher_disagreement_score":0.02389737,"about_ca_system_score_codex":0.0018558777,"about_ca_system_score_gemma":0.004088097,"threshold_uncertainty_score":0.07994467},"labels":[],"label_agreement":null},{"id":"W2016466098","doi":"10.1353/crt.0.0054","title":"Music from the Wrong Place: On the Italianicity of Quebec Disco","year":2008,"lang":"en","type":"article","venue":"Criticism","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":17,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Style (visual arts); Milestone; Dance; Musical; Electronic dance music; Art; Art history; History; Visual arts; Period (music); Aesthetics; Archaeology","score_opus":0.07279921175767749,"score_gpt":0.2091647927993881,"score_spread":0.1363655810417106,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2016466098","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1015129,0.01569635,0.0010707567,0.101720855,0.0026891173,0.000056281413,0.002616961,0.00022893753,0.7744079],"genre_scores_gemma":[0.5785485,0.0068318313,0.0006248695,0.016309563,0.0004818435,0.00003406275,0.0010150834,0.00038327722,0.39577097],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984156,0.00019210322,0.000025028534,0.0001979092,0.0006754389,0.0004940024],"domain_scores_gemma":[0.9976822,0.00022995834,0.00015088417,0.00014470919,0.0013345357,0.00045762822],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015229428,0.00038685603,0.00028174435,0.0019390483,0.017377358,0.009019432,0.0011629582,0.0012062645,0.026877368],"category_scores_gemma":[0.004107426,0.00022441764,0.00019373026,0.0036056787,0.0059091835,0.0019122945,0.002443611,0.0024863048,0.001997569],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016252446,0.00003703932,0.009419965,0.0001444694,0.000028573333,0.0005631934,0.034101013,0.00028538133,0.0006978876,0.07071059,0.78757,0.09627936],"study_design_scores_gemma":[0.0000088563365,0.000013758835,0.024986234,0.0002271255,0.000012747653,0.000113313006,0.020865647,0.00011450251,0.0002913575,0.00091248454,0.9524077,0.00004627467],"about_ca_topic_score_codex":0.98440206,"about_ca_topic_score_gemma":0.99575377,"teacher_disagreement_score":0.062854394,"about_ca_system_score_codex":0.062854394,"about_ca_system_score_gemma":0.03137208,"threshold_uncertainty_score":0.4560427},"labels":[],"label_agreement":null},{"id":"W2017663374","doi":"10.1177/0008429811408214","title":"‘‘ <i>HipHopKhasene</i> : a Marriage between Hip hop and Klezmer’’","year":2011,"lang":"en","type":"article","venue":"Studies in Religion/Sciences Religieuses","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Ottawa","funders":"","keywords":"Mainstream; Yiddish; Jewish culture; Youth culture; Judaism; Jewish identity; Art; Literature; Gender studies; History; Sociology; Theology; Archaeology; Philosophy","score_opus":0.23388551431179191,"score_gpt":0.31870739310078666,"score_spread":0.08482187878899475,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2017663374","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7074865,0.004455155,0.0010966362,0.040063653,0.0008551956,0.000033628825,0.00011081169,0.00005081585,0.24584755],"genre_scores_gemma":[0.9714447,0.00089331093,0.00034632077,0.0030874077,0.00009619305,0.0000066913553,0.000025147694,0.000026183054,0.024073936],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.999488,0.000104137245,0.000012296296,0.00005786191,0.000117295436,0.0002204409],"domain_scores_gemma":[0.99961686,0.000079923964,0.00006896352,0.000022692639,0.00009466762,0.00011688107],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00077380356,0.00024202093,0.00019812449,0.00048079333,0.013511655,0.0048421575,0.0006042885,0.0009511395,0.0036212343],"category_scores_gemma":[0.0014292827,0.00017525577,0.00010459224,0.00071902026,0.009838496,0.0013771724,0.0022935618,0.0023875479,0.0005081955],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010545573,0.00004205634,0.022401026,0.00011014722,0.00001652879,0.0028185495,0.73078,0.000037679903,0.0024554632,0.15794726,0.038829673,0.04445624],"study_design_scores_gemma":[0.000011427762,0.00004501486,0.03647537,0.00016076317,0.000014125016,0.0033171624,0.6184069,0.00010684551,0.00093777734,0.004744373,0.33573183,0.00004837391],"about_ca_topic_score_codex":0.32751784,"about_ca_topic_score_gemma":0.63076293,"teacher_disagreement_score":0.32751784,"about_ca_system_score_codex":0.0061404663,"about_ca_system_score_gemma":0.0061973175,"threshold_uncertainty_score":0.65122294},"labels":[],"label_agreement":null},{"id":"W2017980539","doi":"10.1080/10999949.2014.968978","title":"The Politics of Making Home: Opening Up the Work of Richard Iton in Canadian Hip Hop Context","year":2014,"lang":"en","type":"article","venue":"Souls","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":7,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Politics; Hop (telecommunications); Context (archaeology); Work (physics); Sociology; Gender studies; Telecommunications; Media studies; Political science; Engineering; History; Law; Mechanical engineering","score_opus":0.03027541600158912,"score_gpt":0.22354725954738527,"score_spread":0.19327184354579616,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2017980539","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.21719739,0.035945,0.0016524333,0.27406588,0.004123146,0.00019231274,0.00018712918,0.00013443115,0.4665023],"genre_scores_gemma":[0.8361625,0.01328675,0.0014137084,0.025391411,0.00045324324,0.00008508833,0.000053127515,0.00021801172,0.12293612],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9956833,0.0013666251,0.000045106925,0.00028798686,0.00078199146,0.0018350593],"domain_scores_gemma":[0.9966898,0.00095214415,0.00008641883,0.00006699975,0.00077834376,0.0014262949],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003503219,0.0006794941,0.0005751114,0.0019516653,0.079327255,0.01013132,0.0025681537,0.004321,0.0066687264],"category_scores_gemma":[0.0042779427,0.00046859556,0.00036794192,0.0020916706,0.03477512,0.0033910337,0.004976557,0.0076602832,0.0007279623],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000058463895,0.000027960394,0.0018939266,0.00010591482,0.000008042892,0.0015048715,0.8055433,0.00018055007,0.00034023644,0.05650662,0.11274614,0.021083957],"study_design_scores_gemma":[0.0000071133104,0.000013557833,0.0027630364,0.00023988144,0.000009206959,0.0002808888,0.5932644,0.000086358225,0.00015601168,0.0024818333,0.4006439,0.000053736683],"about_ca_topic_score_codex":0.9857546,"about_ca_topic_score_gemma":0.99630225,"teacher_disagreement_score":0.12490111,"about_ca_system_score_codex":0.12490111,"about_ca_system_score_gemma":0.09192632,"threshold_uncertainty_score":0.9062252},"labels":[],"label_agreement":null},{"id":"W2019465982","doi":"10.1111/j.1478-0542.2009.00612.x","title":"The Piano as Cultural Symbol in Colonial New Zealand","year":2009,"lang":"en","type":"article","venue":"History Compass","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":10,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"Victoria University of Wellington","keywords":"Piano; Appropriation; Colonialism; Symbol (formal); Gender studies; Scholarship; Redress; Indigenous; Nationalism; History; Agency (philosophy); Sociology; Aesthetics; Social science; Politics; Literature; Political science; Art; Archaeology; Linguistics; Law; Art history","score_opus":0.028157515520743012,"score_gpt":0.2186925645003003,"score_spread":0.1905350489795573,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2019465982","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8410874,0.0034021325,0.00035088643,0.0049711163,0.00016345178,0.000030258876,0.00003452388,0.000009074805,0.14995115],"genre_scores_gemma":[0.9914472,0.0012341294,0.00018565624,0.00013819463,0.000021453,0.000007981721,0.0000063995753,0.0000060730476,0.0069528106],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991788,0.00026598223,0.00004778683,0.00010571965,0.00020399695,0.00019762656],"domain_scores_gemma":[0.99889696,0.00031191733,0.0002627043,0.00008160178,0.00018328875,0.00026358946],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014007064,0.00021166749,0.00028902694,0.0011520282,0.008297364,0.0057620956,0.00047561736,0.0006021667,0.0065361126],"category_scores_gemma":[0.0028763206,0.00023579811,0.00008709957,0.0018783082,0.013247894,0.0020422535,0.00406481,0.0015495737,0.00021898953],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007510267,0.000023006183,0.012350696,0.00024442672,0.000007114787,0.0025871396,0.9179485,0.00003537835,0.00227319,0.03181556,0.002167099,0.030472701],"study_design_scores_gemma":[0.0000120889845,0.000095748415,0.06395499,0.00060149014,0.00001530656,0.0014102892,0.6673948,0.00010812696,0.00044145112,0.004393752,0.26152807,0.000043945147],"about_ca_topic_score_codex":0.2270364,"about_ca_topic_score_gemma":0.39203748,"teacher_disagreement_score":0.2270364,"about_ca_system_score_codex":0.006385053,"about_ca_system_score_gemma":0.0057110414,"threshold_uncertainty_score":0.45142984},"labels":[],"label_agreement":null},{"id":"W2021431109","doi":"10.4324/9780203417232","title":"Relocating Cultural Studies","year":2010,"lang":"en","type":"book","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":53,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sociology","score_opus":0.09245279794112471,"score_gpt":0.2641811688489514,"score_spread":0.17172837090782667,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2021431109","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.007662849,0.13968807,0.0047422703,0.1207012,0.023831042,0.00008057301,0.000059702976,0.00013744098,0.70309687],"genre_scores_gemma":[0.2696164,0.081363946,0.0061785523,0.05207566,0.012153234,0.00029573435,0.00016349489,0.0005160503,0.5776369],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99462235,0.0034864065,0.00012584838,0.0004629953,0.00083845295,0.00046410933],"domain_scores_gemma":[0.99389017,0.002721375,0.0002677802,0.00087271474,0.0009988763,0.0012490385],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004389314,0.00071137375,0.00047897978,0.003074332,0.008044115,0.01001333,0.0010739445,0.0022887655,0.020561054],"category_scores_gemma":[0.006949907,0.00037483315,0.00037297123,0.0022631385,0.02445804,0.010464355,0.011833455,0.006702257,0.0036061278],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011606775,0.000028708586,0.00024035752,0.00017139158,0.0000034211998,0.00009543418,0.033809002,0.000051416784,0.00019234345,0.7130085,0.18770881,0.06467898],"study_design_scores_gemma":[0.0000023596924,0.000006460007,0.00018267431,0.00030062345,0.0000012646711,0.000054479315,0.011485454,0.000017844905,0.000036170804,0.036735155,0.95117444,0.000003019492],"about_ca_topic_score_codex":0.009972637,"about_ca_topic_score_gemma":0.01867834,"teacher_disagreement_score":0.020561054,"about_ca_system_score_codex":0.009900877,"about_ca_system_score_gemma":0.008728382,"threshold_uncertainty_score":0.07183629},"labels":[],"label_agreement":null},{"id":"W2023213512","doi":"10.1080/03007766.2011.618054","title":"Michael Jackson's Queer Musical Belongings","year":2012,"lang":"en","type":"article","venue":"Popular Music & Society","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":22,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"Society for the Humanities, Cornell University; Dalhousie University","keywords":"Queer; Musical; Art; Art history; Visual arts; Sociology; Gender studies","score_opus":0.03167062502134193,"score_gpt":0.21918691429866508,"score_spread":0.18751628927732314,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2023213512","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08026772,0.004584709,0.0018529721,0.16930637,0.002341485,0.000035119647,0.000058943882,0.00009749086,0.74145514],"genre_scores_gemma":[0.81006306,0.0020898513,0.00044923121,0.01053104,0.0006735066,0.00003195931,0.000020666897,0.00007128968,0.17606942],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9969483,0.0016668447,0.00003930397,0.00028068782,0.00061469205,0.00045021655],"domain_scores_gemma":[0.99746704,0.0006710667,0.0002765554,0.00014269777,0.00036824413,0.0010743157],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0027997205,0.00046925218,0.0003566582,0.0011352748,0.021960177,0.007038066,0.00093991257,0.0022813233,0.0133638475],"category_scores_gemma":[0.00770566,0.00019681086,0.00019706003,0.0007536928,0.02098931,0.006738696,0.006233016,0.005511051,0.0017488635],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004194407,0.00003336698,0.0009112313,0.000051621573,0.0000063695184,0.0008558056,0.26425016,0.00006232554,0.00031875804,0.6148259,0.09926593,0.019376623],"study_design_scores_gemma":[0.000010382116,0.000019914385,0.0010567019,0.00023493978,0.000007385932,0.00039374284,0.18344173,0.00010595294,0.0001886538,0.053008042,0.7615031,0.000029416904],"about_ca_topic_score_codex":0.028048908,"about_ca_topic_score_gemma":0.049695484,"teacher_disagreement_score":0.028048908,"about_ca_system_score_codex":0.0069127227,"about_ca_system_score_gemma":0.002910383,"threshold_uncertainty_score":0.05577129},"labels":[],"label_agreement":null},{"id":"W2024355891","doi":"10.7202/1013113ar","title":"Privileging Narratives: Singing, the Polish Tatras, and Canada","year":2012,"lang":"en","type":"article","venue":"Intersections Canadian Journal of Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"CARE Canada; Canadian University Music Society","funders":"","keywords":"Narrative; Singing; Homeland; Centrality; Phrase; Diaspora; History; Aesthetics; Literature; Multiculturalism; Space (punctuation); Sociology; Art; Linguistics; Gender studies; Political science; Philosophy; Law; Acoustics","score_opus":0.01948526790801348,"score_gpt":0.181334945100252,"score_spread":0.16184967719223853,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2024355891","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8305298,0.0029570071,0.0005188133,0.010292116,0.00009243517,0.00006788898,0.00020466138,0.000036508416,0.15530072],"genre_scores_gemma":[0.9863533,0.0014398806,0.00019890135,0.00050714234,0.0000072335624,0.000024715118,0.000056496476,0.000028572103,0.011383715],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9978065,0.00035460657,0.000070170434,0.00020586234,0.0004784674,0.0010844639],"domain_scores_gemma":[0.99794775,0.0005618273,0.00017491655,0.00007952781,0.00041894804,0.00081699947],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014281438,0.00045408448,0.000530042,0.0022733957,0.038833175,0.01571569,0.0016645043,0.0017745332,0.005457118],"category_scores_gemma":[0.0041120476,0.0004027806,0.00022559975,0.005528638,0.02092484,0.0049938923,0.01030225,0.0036661113,0.00027707356],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007263475,0.000020882211,0.003467559,0.00008103974,0.000010236155,0.0014758877,0.9224594,0.00009401194,0.00046829504,0.05410004,0.0041627935,0.013587298],"study_design_scores_gemma":[0.0000053025688,0.000005793674,0.004142518,0.000077731565,0.0000075518524,0.0001727925,0.93352115,0.00007427575,0.00014664736,0.0022005476,0.05961923,0.000026467775],"about_ca_topic_score_codex":0.95968044,"about_ca_topic_score_gemma":0.9802485,"teacher_disagreement_score":0.058664437,"about_ca_system_score_codex":0.058664437,"about_ca_system_score_gemma":0.080064386,"threshold_uncertainty_score":0.4256423},"labels":[],"label_agreement":null},{"id":"W2024899098","doi":"10.4000/civilisations.475","title":"Audience-Based Research in the Era of Democratization","year":2006,"lang":"en","type":"article","venue":"Civilisations","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":11,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Musée de la Civilisation","funders":"","keywords":"Representativeness heuristic; Democratization; Active listening; Public relations; Political science; Politics; Sociology; Negotiation; Representation (politics); Media studies; Democracy; Social science; Psychology; Social psychology; Law","score_opus":0.14665796473778892,"score_gpt":0.29119037243198825,"score_spread":0.14453240769419934,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2024899098","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3501858,0.022291284,0.009317119,0.09746688,0.0012140808,0.00015600423,0.00012683803,0.00006540711,0.51917654],"genre_scores_gemma":[0.9861178,0.0019004071,0.0007137695,0.0019429263,0.00025742486,0.000105785184,0.000014168945,0.000023684297,0.008924179],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9581787,0.03679061,0.00038195742,0.00150144,0.0014776224,0.0016696665],"domain_scores_gemma":[0.9626456,0.03059046,0.0016352858,0.0016211461,0.0019074908,0.0016000969],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.04715139,0.00042555548,0.0007076386,0.005301377,0.015970455,0.014455453,0.0015213941,0.003847473,0.009676977],"category_scores_gemma":[0.026141569,0.00047764258,0.00027728974,0.0042853486,0.033839263,0.020981468,0.009143812,0.0048102937,0.0004594513],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000049673192,0.000053959197,0.0018422691,0.0002462276,0.000013607702,0.00028700658,0.6008452,0.00009197231,0.0002971812,0.37802932,0.002921199,0.015322435],"study_design_scores_gemma":[0.000032875418,0.000097160424,0.0054304027,0.0008312458,0.00001541516,0.0001878913,0.6798778,0.00023895867,0.00050456065,0.09947954,0.21327713,0.000027003694],"about_ca_topic_score_codex":0.0060407585,"about_ca_topic_score_gemma":0.008350348,"teacher_disagreement_score":0.04715139,"about_ca_system_score_codex":0.013588994,"about_ca_system_score_gemma":0.0048302235,"threshold_uncertainty_score":0.24936336},"labels":[],"label_agreement":null},{"id":"W2025295355","doi":"10.7202/1013225ar","title":"Local Logics and the Gendering of Music Technology: A Newfoundland Case Study","year":2006,"lang":"en","type":"article","venue":"Intersections Canadian Journal of Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sociology","score_opus":0.03126284176184617,"score_gpt":0.20302971070656217,"score_spread":0.171766868944716,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2025295355","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8975434,0.00087164564,0.00044481622,0.0025114266,0.00001970917,0.000046595243,0.00009887297,0.000010387419,0.09845326],"genre_scores_gemma":[0.9826125,0.0006242428,0.00017461916,0.00024336849,0.0000044447825,0.00002891846,0.000028637292,0.000009301017,0.016274001],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9978635,0.00082131446,0.000045546472,0.00015787594,0.00018685118,0.00092496397],"domain_scores_gemma":[0.99761707,0.0013455477,0.0002617886,0.00017042157,0.00022986834,0.00037532186],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0023018892,0.00026886477,0.00033589872,0.0018139991,0.016776435,0.0050645135,0.0012036029,0.0013185856,0.00975364],"category_scores_gemma":[0.0030857804,0.00025405004,0.00022298265,0.0031898436,0.011571046,0.0029462092,0.0045690145,0.0015962002,0.00047284385],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010235691,0.00016148185,0.035490654,0.00013281273,0.000015897063,0.009396284,0.8749527,0.00036219615,0.0006689956,0.043053154,0.0045462362,0.031117197],"study_design_scores_gemma":[0.0000075021385,0.00002617872,0.016688237,0.00016056717,0.000014629675,0.0004742086,0.95518017,0.0001027574,0.00016309481,0.00062155013,0.026546719,0.0000143318875],"about_ca_topic_score_codex":0.87123674,"about_ca_topic_score_gemma":0.9580448,"teacher_disagreement_score":0.98322356,"about_ca_system_score_codex":0.038465504,"about_ca_system_score_gemma":0.014038109,"threshold_uncertainty_score":0.27908802},"labels":[],"label_agreement":null},{"id":"W2025345903","doi":"10.7202/1015029ar","title":"“Our Brommtopp is of Our Own Design”","year":2013,"lang":"en","type":"article","venue":"Ethnologies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Winnipeg","funders":"","keywords":"Singing; Mainstream; Residence; Dozen; Musical; Period (music); Carnivalesque; Gender studies; History; Psychology; Sociology; Visual arts; Art; Demography; Aesthetics; Political science; Law","score_opus":0.10827359732232471,"score_gpt":0.26027159891796153,"score_spread":0.1519980015956368,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2025345903","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.020115644,0.0010040984,0.075491406,0.00794324,0.005605951,0.00068679225,0.0008997005,0.0032953988,0.8849579],"genre_scores_gemma":[0.20387703,0.0011945231,0.06352346,0.0060280995,0.0017303405,0.0018536884,0.0009053422,0.0040859883,0.7168015],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.99824727,0.00074079674,0.000054379852,0.0002823482,0.0005318818,0.0001433429],"domain_scores_gemma":[0.99820375,0.00030879217,0.000091359514,0.00067033636,0.00039064596,0.00033503378],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002027123,0.0008081052,0.00032882587,0.0007135638,0.0052868505,0.0045807795,0.0014411336,0.0012335529,0.09411266],"category_scores_gemma":[0.0051246723,0.0003541555,0.00041489632,0.0009855335,0.004501911,0.0030646154,0.005733442,0.0025118697,0.03067028],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00044918733,0.00016119864,0.0020923426,0.0008612462,0.00003988637,0.001159813,0.04630591,0.00029867032,0.009316863,0.16546963,0.4895359,0.28430936],"study_design_scores_gemma":[0.000009563664,0.00005644852,0.00075219094,0.00009831389,0.0000065464847,0.00031722343,0.0026040617,0.000104530314,0.0005155924,0.0019148865,0.9936074,0.000013312383],"about_ca_topic_score_codex":0.0030291898,"about_ca_topic_score_gemma":0.005655678,"teacher_disagreement_score":0.09411266,"about_ca_system_score_codex":0.0011643248,"about_ca_system_score_gemma":0.0013780083,"threshold_uncertainty_score":0.31483823},"labels":[],"label_agreement":null},{"id":"W2027502508","doi":"10.7202/1014507ar","title":"Representations of Gender in Barbara Pentland's Disasters of the Sun","year":2013,"lang":"en","type":"article","venue":"Canadian University Music Review","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sociology; Identity (music); Economic Justice; Gender studies; Aesthetics; Psychology; Art; Political science; Law","score_opus":0.040243920886709944,"score_gpt":0.19141738887051857,"score_spread":0.15117346798380862,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2027502508","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.12214589,0.37150902,0.0006468603,0.04995135,0.0025999327,0.000034688004,0.00017575665,0.000032268734,0.45290434],"genre_scores_gemma":[0.81481177,0.11734103,0.0003741658,0.007230603,0.00047519046,0.0000229931,0.00011402091,0.00003383569,0.059596416],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988146,0.000361454,0.000030175464,0.0001088523,0.00044271655,0.00024234864],"domain_scores_gemma":[0.99905115,0.00037441106,0.00010561846,0.000031645108,0.00028035353,0.00015676291],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017960302,0.0003139527,0.0003229321,0.0022605516,0.008991239,0.0047551976,0.0007109237,0.0012396541,0.0031037692],"category_scores_gemma":[0.0018959272,0.00016269994,0.00012326792,0.0026543506,0.009607633,0.0015821597,0.0014967175,0.001632834,0.00020041931],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012220096,0.000025265279,0.0057250136,0.0009428538,0.00003667756,0.0026285418,0.4437292,0.00028196195,0.0016182567,0.2049753,0.18516563,0.15474913],"study_design_scores_gemma":[0.0000064984383,0.000018403702,0.01680176,0.00096804474,0.000015385333,0.0007805236,0.1817588,0.000028512992,0.0002385065,0.0032594784,0.79609656,0.000027500813],"about_ca_topic_score_codex":0.7630716,"about_ca_topic_score_gemma":0.90951055,"teacher_disagreement_score":0.7630716,"about_ca_system_score_codex":0.020360045,"about_ca_system_score_gemma":0.014137439,"threshold_uncertainty_score":0.47664744},"labels":[],"label_agreement":null},{"id":"W2029148307","doi":"10.1017/s0261143008214121","title":"The North American Folk Music Revival: Nation and Identity in the United States and Canada, 1945–1980. By Gillian Mitchell. Aldershot: Ashgate, 2007. 222 pp. ISBN 0-7546-5756-6. £55.00 (hb)","year":2008,"lang":"en","type":"article","venue":"Popular Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History; Identity (music); Folk music; Media studies; Art history; Economic history; Sociology; Art; Literature; Musical; Aesthetics","score_opus":0.028123416455008432,"score_gpt":0.21102198734602914,"score_spread":0.1828985708910207,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2029148307","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0045216023,0.84953624,0.00013637013,0.030474544,0.004291501,0.000049658116,0.0053919884,0.00010240083,0.10549579],"genre_scores_gemma":[0.05030343,0.43499205,0.00073233707,0.0037731868,0.0011020708,0.00007236056,0.0040741265,0.00011156556,0.50483894],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99937207,0.00003716296,0.000021940436,0.000056151606,0.00037105044,0.00014167574],"domain_scores_gemma":[0.99922955,0.00005931767,0.000055947115,0.000017958766,0.000379546,0.00025763374],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006719246,0.00089398935,0.00057139545,0.002180906,0.004920932,0.003852956,0.0012833629,0.0013012239,0.037573952],"category_scores_gemma":[0.0010717798,0.0004884637,0.00028166405,0.008015319,0.0030281877,0.0025997013,0.0020963857,0.0018741525,0.008499794],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024139228,0.000010165112,0.0014046248,0.00036499844,0.000009481714,0.00004787852,0.002385427,0.00007016978,0.00007881662,0.0027491713,0.90926224,0.08359292],"study_design_scores_gemma":[0.0000036344675,0.0000044744684,0.014032167,0.00081167626,0.000008788181,0.000049633836,0.0074146464,0.000017136757,0.000046609064,0.0004418446,0.9771541,0.00001527274],"about_ca_topic_score_codex":0.9764525,"about_ca_topic_score_gemma":0.9938047,"teacher_disagreement_score":0.037573952,"about_ca_system_score_codex":0.03447532,"about_ca_system_score_gemma":0.055420503,"threshold_uncertainty_score":0.2501371},"labels":[],"label_agreement":null},{"id":"W2030441387","doi":"10.1177/1206331206292546","title":"Book Review: Music Scenes: Local, Translocal, and Virtual","year":2006,"lang":"en","type":"article","venue":"Space and Culture","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Visual arts; Sociology; History; Art","score_opus":0.008597226866240627,"score_gpt":0.18433831627626338,"score_spread":0.17574108941002275,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2030441387","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0001894397,0.8517686,0.0003869375,0.032545436,0.053079925,0.000055481632,0.00025938914,0.00007801759,0.061636828],"genre_scores_gemma":[0.0025530348,0.67502767,0.0006825448,0.03550248,0.04754774,0.00012431949,0.00045517387,0.00012354803,0.23798344],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99917895,0.00013693358,0.0000531308,0.00011504788,0.0004629422,0.00005291983],"domain_scores_gemma":[0.99690515,0.0013507046,0.00019143321,0.000060060516,0.0011828602,0.0003098317],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008600254,0.0009940029,0.0019327446,0.0036979932,0.0009698134,0.0036515705,0.001993296,0.004149854,0.06693023],"category_scores_gemma":[0.0037999176,0.00048806993,0.0005399066,0.006502926,0.0012214751,0.0036399586,0.0010586643,0.003622059,0.034909163],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009954573,0.000009425142,0.000026467142,0.00059184077,0.0000045973215,0.000027668979,0.000021479273,0.000021182559,0.000045283807,0.0007933675,0.95931137,0.03913745],"study_design_scores_gemma":[0.0000076772985,0.00000801435,0.00017404881,0.00044872006,0.000006970063,0.00015498983,0.000036815378,0.000010809188,0.0000162461,0.00030935043,0.9988219,0.0000044609683],"about_ca_topic_score_codex":0.0076369536,"about_ca_topic_score_gemma":0.030167433,"teacher_disagreement_score":0.06693023,"about_ca_system_score_codex":0.0018835282,"about_ca_system_score_gemma":0.0026111917,"threshold_uncertainty_score":0.22390395},"labels":[],"label_agreement":null},{"id":"W2030921531","doi":"10.7202/1014444ar","title":"Classification Systems, Social Hierarchies, and Gender: Examining Indian \"Light-Classical\" Music","year":2013,"lang":"en","type":"article","venue":"Canadian University Music Review","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":13,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Classical music; Musical; Musicology; Sociology; Point (geometry); Dynamics (music); Mathematics; Visual arts; Art","score_opus":0.09820262340806898,"score_gpt":0.19785531102389176,"score_spread":0.09965268761582277,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2030921531","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16632885,0.6060504,0.0008418822,0.026039833,0.00087269116,0.0000286504,0.00015568688,0.000014182842,0.19966784],"genre_scores_gemma":[0.75769794,0.23119809,0.00057705125,0.0025132766,0.00054904877,0.000027352426,0.00011837832,0.000014012859,0.007304813],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9985122,0.0006143725,0.00005085592,0.00011651821,0.00043398127,0.00027212634],"domain_scores_gemma":[0.9979303,0.0010945906,0.0003353313,0.000058359823,0.0004438892,0.00013751368],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0028724037,0.00026202513,0.00041580404,0.0068576015,0.002859737,0.0051486623,0.0009532302,0.0007105949,0.0022723156],"category_scores_gemma":[0.0030760863,0.00015649707,0.00027802913,0.013502308,0.010144245,0.003814226,0.0019061383,0.0011335236,0.0002217948],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007325671,0.000053907945,0.021758296,0.002514147,0.00011369922,0.0004664087,0.17134884,0.00031259866,0.00034587298,0.54236436,0.02161298,0.23903567],"study_design_scores_gemma":[0.000020827476,0.00006881932,0.16765764,0.004266012,0.00020819344,0.0004981712,0.31973186,0.00038527505,0.00023787934,0.057751283,0.4491084,0.0000657087],"about_ca_topic_score_codex":0.23533721,"about_ca_topic_score_gemma":0.3795246,"teacher_disagreement_score":0.23533721,"about_ca_system_score_codex":0.009805552,"about_ca_system_score_gemma":0.008352227,"threshold_uncertainty_score":0.4679348},"labels":[],"label_agreement":null},{"id":"W2034292532","doi":"10.1177/1206331210389273","title":"Saving Time and Annihilating Space: Discourses of Speed in AT&amp;T Advertising, 1909-1929","year":2011,"lang":"en","type":"article","venue":"Space and Culture","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Modernity; Capitalism; Sociology; Advertising; Product (mathematics); Space (punctuation); Telegraphy; Media studies; Service (business); Telecommunications; Engineering; Politics; Telephony; Computer science; Business; Law; Political science; Marketing","score_opus":0.025752226557544708,"score_gpt":0.22034932419473152,"score_spread":0.1945970976371868,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2034292532","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.37397835,0.01142647,0.0026742956,0.02646613,0.0009030865,0.00002733441,0.00005352359,0.000057753485,0.584413],"genre_scores_gemma":[0.9830251,0.0014296293,0.00021859251,0.0005840218,0.00023509013,0.000012217822,0.000007196474,0.00003456816,0.014453582],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9959877,0.0026179662,0.00010800913,0.00030876935,0.0005397679,0.00043773325],"domain_scores_gemma":[0.99573356,0.0032457772,0.0003129011,0.00016478135,0.0003175081,0.00022545591],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004853646,0.000592438,0.00043032182,0.0023313775,0.017458715,0.012990859,0.00076934905,0.0038615488,0.0035429797],"category_scores_gemma":[0.0069252914,0.00047820038,0.00022834813,0.0019812218,0.038461097,0.009079626,0.0032989099,0.0051260698,0.00046882455],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000039122548,0.000014446714,0.00035466778,0.00003277292,0.000002722307,0.00024335938,0.5590004,0.000063081454,0.00021366226,0.4327124,0.0026640592,0.0046593957],"study_design_scores_gemma":[0.000040741073,0.00008270214,0.0021683634,0.00038095994,0.000022907394,0.00054663327,0.41009393,0.000390504,0.00091423106,0.048478194,0.53682613,0.00005464115],"about_ca_topic_score_codex":0.01516627,"about_ca_topic_score_gemma":0.012655651,"teacher_disagreement_score":0.017458715,"about_ca_system_score_codex":0.011787832,"about_ca_system_score_gemma":0.0021527102,"threshold_uncertainty_score":0.08552712},"labels":[],"label_agreement":null},{"id":"W2036348396","doi":"10.1177/0305735608094513","title":"What radio can do to increase a song's appeal: a study of Canadian music presented to American college students","year":2008,"lang":"en","type":"article","venue":"Psychology of Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Appeal; Praise; Psychology; Active listening; Singing; Persuasion; Visual arts; Social psychology; Aesthetics; Communication; Art; Acoustics; Law","score_opus":0.06119454100061299,"score_gpt":0.2892678330293878,"score_spread":0.2280732920287748,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2036348396","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9971457,0.00003920262,0.000053719115,0.00010736874,0.000006578857,0.000046213125,0.000009356926,0.0000034074071,0.002588548],"genre_scores_gemma":[0.9965598,0.00012091755,0.00048686157,0.00021758187,0.000017182514,0.000037382248,0.000014934835,0.0000063465723,0.0025389523],"study_design_codex":"qualitative","study_design_gemma":"observational","domain_scores_codex":[0.99932814,0.00019622997,0.000013757813,0.00007741896,0.00024085445,0.00014363517],"domain_scores_gemma":[0.99734026,0.0014492735,0.0002634521,0.00010025697,0.0003414473,0.0005053408],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000983299,0.00033975043,0.00028621536,0.0004021512,0.0023889134,0.0011082196,0.00046452176,0.0006961759,0.0029252877],"category_scores_gemma":[0.0069882763,0.00023015094,0.00018155861,0.00030059746,0.0012307855,0.00038198408,0.00046401,0.0008198645,0.00022133999],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.009254915,0.022765653,0.22219832,0.0013046083,0.00025963708,0.0021592325,0.32453236,0.00069782115,0.16915077,0.0024829253,0.0049003176,0.2402934],"study_design_scores_gemma":[0.00091043295,0.009801375,0.87825334,0.000112521775,0.00034200292,0.00042102716,0.07589598,0.0008413034,0.0107781105,0.0007817169,0.02165711,0.0002050825],"about_ca_topic_score_codex":0.2976667,"about_ca_topic_score_gemma":0.5148746,"teacher_disagreement_score":0.70233333,"about_ca_system_score_codex":0.0025437835,"about_ca_system_score_gemma":0.0025378896,"threshold_uncertainty_score":0.59186816},"labels":[],"label_agreement":null},{"id":"W2036410675","doi":"10.7202/1013223ar","title":"In and Out of the Sound Studio","year":2012,"lang":"en","type":"article","venue":"Intersections Canadian Journal of Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":30,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Guelph; Queen's University; Memorial University of Newfoundland","funders":"","keywords":"Studio; Invisibility; Sound (geography); Terminology; Ethnography; Sociology; Visual arts; Aesthetics; Computer science; Linguistics; Art; Anthropology; Acoustics; Philosophy; Artificial intelligence","score_opus":0.04671937185781399,"score_gpt":0.21588197369704135,"score_spread":0.16916260183922735,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2036410675","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.029530847,0.025165785,0.004771574,0.07665346,0.022423165,0.000058404312,0.00036411115,0.00048993074,0.84054273],"genre_scores_gemma":[0.3844974,0.01875301,0.005073355,0.017712295,0.0065110344,0.000077676785,0.00041740897,0.0012113162,0.56574655],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9967559,0.0010271567,0.000085944885,0.00038287792,0.0012580715,0.0004900274],"domain_scores_gemma":[0.9985018,0.000571755,0.00007422024,0.0001306394,0.00034949483,0.00037206226],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015438866,0.0007279814,0.0005735764,0.0017203147,0.019181062,0.014955499,0.0013373921,0.0029850688,0.032424625],"category_scores_gemma":[0.004648248,0.0005026387,0.0005059198,0.0018018408,0.010079504,0.005408149,0.0059778504,0.005131564,0.0040270733],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009351827,0.00004814413,0.0032288323,0.00031755865,0.000022121128,0.0007669613,0.24470723,0.000073455994,0.0013469079,0.16331156,0.44150656,0.14457722],"study_design_scores_gemma":[0.0000011867826,0.000010990248,0.0011835581,0.00010340874,0.0000050332333,0.00018654748,0.038619857,0.000010498185,0.00015832335,0.0020855996,0.95762134,0.000013629445],"about_ca_topic_score_codex":0.10443406,"about_ca_topic_score_gemma":0.32013398,"teacher_disagreement_score":0.10443406,"about_ca_system_score_codex":0.0071012415,"about_ca_system_score_gemma":0.00585501,"threshold_uncertainty_score":0.20765239},"labels":[],"label_agreement":null},{"id":"W2037186011","doi":"10.3727/109830410x12910355181026","title":"Social Identity and Indie Music: Me or We?","year":2010,"lang":"en","type":"article","venue":"Tourism Culture & Communication","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Indie film; Consumption (sociology); Identity (music); Identification (biology); Opinion leadership; Psychology; Sociology; Advertising; Dimension (graph theory); Social identity theory; Social psychology; Media studies; Social science; Social group; Art; Aesthetics; Business; Mathematics","score_opus":0.059907869907383914,"score_gpt":0.2798920751852686,"score_spread":0.21998420527788468,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2037186011","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9820993,0.0010146962,0.00012969335,0.0038635274,0.0000437856,0.000006697254,0.00006110135,0.000003495091,0.0127776805],"genre_scores_gemma":[0.99817634,0.00051719765,0.00009492001,0.00023354741,0.000016778235,0.0000018852107,0.000020771155,0.000002037946,0.00093662675],"study_design_codex":"observational","study_design_gemma":"qualitative","domain_scores_codex":[0.9994573,0.00011089177,0.00001017035,0.00004603985,0.00019705277,0.00017853478],"domain_scores_gemma":[0.99828595,0.00023267264,0.00054374215,0.000064952066,0.0003025873,0.0005700676],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008427993,0.00017972219,0.00021884553,0.0009237125,0.0034769417,0.003169129,0.00046799539,0.000423767,0.0029234625],"category_scores_gemma":[0.0030664618,0.000109968496,0.00018988374,0.0011656531,0.004127981,0.0008472153,0.0013043216,0.000845357,0.0001513545],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017474197,0.000120265744,0.88562125,0.00006127087,0.00007146825,0.00022535681,0.05295664,0.0000543313,0.0006947155,0.006253694,0.0019944906,0.05177174],"study_design_scores_gemma":[0.000005945512,0.000048100934,0.8863315,0.00007343461,0.000044141412,0.00013371135,0.10326621,0.00013454688,0.00020665504,0.0009769581,0.008750417,0.000028402459],"about_ca_topic_score_codex":0.6053946,"about_ca_topic_score_gemma":0.73166466,"teacher_disagreement_score":0.6053946,"about_ca_system_score_codex":0.005148113,"about_ca_system_score_gemma":0.00571414,"threshold_uncertainty_score":0.7938586},"labels":[],"label_agreement":null},{"id":"W2037355351","doi":"10.1016/j.healthplace.2010.09.008","title":"Cool aid? Health, wellbeing and place in the work of Bono and U2","year":2010,"lang":"en","type":"article","venue":"Health & Place","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":23,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Simon Fraser University; McMaster University","funders":"","keywords":"Work (physics); Consumption (sociology); Diplomacy; Population; Sociology; Health geography; Human geography; Domain (mathematical analysis); Public relations; Media studies; Political science; Health care; Health promotion; Social science; International health; Engineering; Law","score_opus":0.019544931814077397,"score_gpt":0.23983918997976497,"score_spread":0.22029425816568757,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2037355351","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9444661,0.0048160986,0.000046429646,0.03416525,0.0008374518,0.000019540144,0.00014762489,0.0000039486845,0.015497573],"genre_scores_gemma":[0.9886994,0.0019001915,0.000066405475,0.0034638408,0.00012453877,0.000041936804,0.0000571103,0.0000110171995,0.0056355447],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9983411,0.00035843728,0.000020787325,0.000063742635,0.000051915093,0.0011640191],"domain_scores_gemma":[0.99900013,0.00010283571,0.00006925667,0.000015781921,0.000038878377,0.0007731767],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013438795,0.00066326075,0.00055977626,0.0009754447,0.02314345,0.0058915797,0.0009058612,0.0027625586,0.008499814],"category_scores_gemma":[0.0011953532,0.00046641903,0.0003073991,0.0015017535,0.0072208485,0.0033427894,0.007991733,0.0049771,0.0006671145],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005734018,0.0003886304,0.15748884,0.00024312473,0.000039490875,0.0017703379,0.753838,0.00008529598,0.0009403892,0.017117878,0.023405803,0.044108797],"study_design_scores_gemma":[0.0000073228334,0.00006969876,0.055117585,0.00023193758,0.000007799465,0.00018049248,0.92438257,0.000019738887,0.00005139112,0.000732887,0.019173456,0.000025122945],"about_ca_topic_score_codex":0.2690559,"about_ca_topic_score_gemma":0.5579425,"teacher_disagreement_score":0.2690559,"about_ca_system_score_codex":0.0071760183,"about_ca_system_score_gemma":0.008547017,"threshold_uncertainty_score":0.53497964},"labels":[],"label_agreement":null},{"id":"W2038601240","doi":"10.1162/dram_a_00182","title":"Bazoocam 4′33″","year":2012,"lang":"en","type":"article","venue":"TDR/The Drama Review","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Patience; Art history; Art; NOMINATE; Roulette; The arts; Musical; Visual arts; Performance art; RAID; John Cage; Media studies; History; Sociology; Philosophy; Computer science; Theology","score_opus":0.05152141384316248,"score_gpt":0.2396221193424854,"score_spread":0.18810070549932292,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2038601240","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.014231209,0.17538048,0.00059121294,0.016906137,0.006656708,0.00010811747,0.0008000835,0.00020920996,0.78511685],"genre_scores_gemma":[0.20058139,0.08297832,0.0009566804,0.0065860096,0.0013276492,0.00017292796,0.001091907,0.00015104725,0.70615405],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996232,0.000065811,0.0000067831047,0.00005288845,0.00011032564,0.00014093662],"domain_scores_gemma":[0.9997334,0.000055594734,0.00003516932,0.000016239523,0.000089722394,0.000069817455],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00047063394,0.00031258215,0.00020488848,0.000700118,0.0021160035,0.0030193813,0.0005078681,0.0013938241,0.048425376],"category_scores_gemma":[0.0009991513,0.00020912402,0.0003158013,0.0008554738,0.00097036373,0.00093149615,0.0013115773,0.0015518692,0.009355727],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000698068,0.00003730037,0.0022702147,0.0022778027,0.000044588494,0.00092223875,0.0060186894,0.00013688339,0.006393437,0.07526348,0.6094776,0.2964598],"study_design_scores_gemma":[0.000007764497,0.0000124995795,0.002335062,0.00018427303,0.0000027871133,0.00006127798,0.00042019394,0.0000039813976,0.0000894554,0.00022529809,0.99665487,0.000002391354],"about_ca_topic_score_codex":0.06525554,"about_ca_topic_score_gemma":0.21270432,"teacher_disagreement_score":0.06525554,"about_ca_system_score_codex":0.0024178366,"about_ca_system_score_gemma":0.002916313,"threshold_uncertainty_score":0.16199905},"labels":[],"label_agreement":null},{"id":"W2039087616","doi":"10.1386/ijcm.1.1.5_1","title":"The many ways of community music","year":2007,"lang":"en","type":"article","venue":"International Journal of Community Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":122,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Situated; Variety (cybernetics); Diversity (politics); Phenomenon; Point (geometry); Closure (psychology); Aesthetics; Epistemology; Relation (database); Sociology; Psychology; Cognitive science; Communication; Computer science; Political science; Art; Philosophy; Anthropology; Artificial intelligence; Mathematics; Law","score_opus":0.13324778601820172,"score_gpt":0.2776896478889116,"score_spread":0.14444186187070987,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2039087616","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.044696797,0.026425617,0.034247424,0.067306794,0.0029580824,0.00017524026,0.00010946069,0.00027557832,0.82380503],"genre_scores_gemma":[0.88614225,0.013594764,0.021227922,0.009509011,0.002111177,0.0003183582,0.000082964616,0.00023389232,0.066779695],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99194217,0.0048804963,0.00016522287,0.00059393194,0.0017382414,0.000679899],"domain_scores_gemma":[0.9971511,0.0008690245,0.00022597419,0.00055636157,0.00033813572,0.00085946213],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0038356485,0.0006919681,0.00047518167,0.0033310305,0.013966266,0.016748644,0.0014106835,0.0026822316,0.011354989],"category_scores_gemma":[0.0063598845,0.0003796621,0.00041262124,0.0031353051,0.039967563,0.015390252,0.0135744745,0.004216641,0.0013314037],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022716637,0.00001678112,0.0006381057,0.00013321012,0.000010099605,0.00010780435,0.038364165,0.00009427042,0.00018085953,0.91323614,0.01330173,0.033894118],"study_design_scores_gemma":[0.00002577434,0.00003485991,0.0011080483,0.0005512043,0.000009987627,0.0003632663,0.051864922,0.0002778449,0.00014133852,0.41641662,0.529164,0.000042193693],"about_ca_topic_score_codex":0.0049629235,"about_ca_topic_score_gemma":0.010785732,"teacher_disagreement_score":0.016748644,"about_ca_system_score_codex":0.0030765017,"about_ca_system_score_gemma":0.003303182,"threshold_uncertainty_score":0.03798622},"labels":[],"label_agreement":null},{"id":"W2039331969","doi":"10.1353/not.2010.0002","title":"B-Sides, Undercurrents and Overtones: Peripheries to Popular in Music, 1960 to the Present (review)","year":2010,"lang":"en","type":"article","venue":"Notes","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Guitar; Treasure; Metaphor; Art; George (robot); Popular music; Art history; Literature; Philosophy; Theology; Management","score_opus":0.04142173877179148,"score_gpt":0.2535018614439453,"score_spread":0.21208012267215384,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2039331969","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000060377744,0.9972511,0.000011310678,0.0005031289,0.00052383234,0.0000033743993,0.000038148206,0.0000033424608,0.0016055101],"genre_scores_gemma":[0.00061909604,0.99562776,0.000029418123,0.001029513,0.0006328787,0.000008261559,0.00008201197,0.0000030056317,0.0019680995],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99958414,0.00007008607,0.000064320106,0.000081398386,0.00014146895,0.000058592726],"domain_scores_gemma":[0.9992035,0.00025387728,0.00018409578,0.0000157967,0.00023147513,0.00011120956],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004179346,0.0009860045,0.0012381757,0.003563281,0.00055823644,0.003176517,0.000958748,0.0013846798,0.023117147],"category_scores_gemma":[0.0017599068,0.00052280055,0.0006003427,0.006014284,0.0010801845,0.0039504883,0.0013697591,0.0024131518,0.007932705],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001017208,0.00003977666,0.00050576666,0.04288677,0.00011051464,0.00017086475,0.0005986956,0.00009405096,0.00024007757,0.0024984363,0.36366665,0.5890867],"study_design_scores_gemma":[0.00002186042,0.000045226345,0.0035078155,0.022236705,0.00010941066,0.00064960966,0.00081386697,0.000012444198,0.00004422872,0.00059673167,0.97194,0.00002210231],"about_ca_topic_score_codex":0.0090120565,"about_ca_topic_score_gemma":0.019456562,"teacher_disagreement_score":0.023117147,"about_ca_system_score_codex":0.0012952326,"about_ca_system_score_gemma":0.0028204918,"threshold_uncertainty_score":0.07733458},"labels":[],"label_agreement":null},{"id":"W2039825761","doi":"10.7202/1014508ar","title":"Multiculturalism, Diversity and Containment on MuchMusic (Canada) and MTV (US)","year":2013,"lang":"en","type":"article","venue":"Canadian University Music Review","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Canadian University Music Society","funders":"","keywords":"Multiculturalism; Diversity (politics); Ethnocentrism; Sociology; Cultural diversity; Media studies; Gender studies; Anthropology","score_opus":0.023314411780776544,"score_gpt":0.14695446037747828,"score_spread":0.12364004859670173,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2039825761","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3604383,0.35670307,0.00023488421,0.012192788,0.00033649715,0.000034811583,0.00024731873,0.000019245896,0.26979312],"genre_scores_gemma":[0.8837058,0.09723709,0.00017176902,0.0010951022,0.00013197737,0.000015184483,0.00009656748,0.000011147538,0.01753536],"study_design_codex":"design_other","study_design_gemma":"qualitative","domain_scores_codex":[0.9988084,0.00015790733,0.000025464373,0.000088098874,0.00054105464,0.0003791151],"domain_scores_gemma":[0.9989843,0.00026854812,0.0001493729,0.000034646895,0.0003502007,0.00021292725],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013297816,0.00023883663,0.00032804528,0.002467795,0.0059910654,0.005438762,0.00093121256,0.0006886451,0.0033260488],"category_scores_gemma":[0.0014722499,0.00013869735,0.00013237745,0.0059273452,0.007156708,0.0012054489,0.0018161295,0.00074005977,0.00016799728],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00025422146,0.00007176878,0.021769604,0.0019029325,0.000058487272,0.0009528429,0.16105008,0.00033018677,0.002397058,0.2065676,0.033231094,0.57141423],"study_design_scores_gemma":[0.000019116766,0.00009019307,0.21774739,0.0026564212,0.00006248356,0.00047732863,0.1866846,0.00013194268,0.0011706537,0.0046009347,0.5863108,0.000048099664],"about_ca_topic_score_codex":0.9184697,"about_ca_topic_score_gemma":0.9666645,"teacher_disagreement_score":0.08153027,"about_ca_system_score_codex":0.033363402,"about_ca_system_score_gemma":0.043274112,"threshold_uncertainty_score":0.24206954},"labels":[],"label_agreement":null},{"id":"W2039849418","doi":"10.3138/md.43.1.100","title":"From Jug Band to Dixieland: The Musical Development behind August Wilson's <i>Ma Rainey's Black Bottom</i>","year":2000,"lang":"en","type":"article","venue":"Modern Drama","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Blues; White (mutation); Symbol (formal); Studio; Ambivalence; Musical; Levee; Art; Action (physics); History; Chorus; Visual arts; Literature; Art history; Cartography; Psychology; Philosophy; Psychoanalysis; Geography","score_opus":0.017644914665394803,"score_gpt":0.20168809716448663,"score_spread":0.18404318249909182,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2039849418","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16725658,0.014431717,0.0023603116,0.06676863,0.004415911,0.00004259198,0.00005411512,0.00020095755,0.74446917],"genre_scores_gemma":[0.7111412,0.0040740073,0.0012027718,0.004251671,0.0008627084,0.00002901707,0.00003055912,0.0001791758,0.2782289],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.99951386,0.00016491661,0.000008421369,0.00005935152,0.00010429688,0.00014919577],"domain_scores_gemma":[0.9995067,0.000114845505,0.000037446767,0.000025464127,0.00007002371,0.00024546866],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007316362,0.00029913028,0.0001374432,0.00050295645,0.009623022,0.005110307,0.000605815,0.0010311813,0.00958552],"category_scores_gemma":[0.001953416,0.00022340828,0.00008291271,0.0003225475,0.0049877074,0.0021193125,0.0026898345,0.0024925226,0.0014544943],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002752914,0.000101864905,0.0027764493,0.0001447751,0.000012615874,0.0021979092,0.29780853,0.000105151885,0.004084765,0.25172758,0.30378366,0.13698146],"study_design_scores_gemma":[0.0000046983228,0.000023362345,0.001697086,0.00011438078,0.000002473029,0.00026638038,0.03602355,0.000027388782,0.00032415535,0.0019275269,0.95958155,0.0000075392245],"about_ca_topic_score_codex":0.03454289,"about_ca_topic_score_gemma":0.09622624,"teacher_disagreement_score":0.03454289,"about_ca_system_score_codex":0.0033304621,"about_ca_system_score_gemma":0.0014582152,"threshold_uncertainty_score":0.068683624},"labels":[],"label_agreement":null},{"id":"W2041155189","doi":"10.3138/ctr.158.005","title":"Stuck to the Pole: Raven Virginia and the Redefinition of Burlesque in Calgary","year":2014,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Burlesque; Dance; Style (visual arts); Entertainment; Art; Visual arts","score_opus":0.015320628192486684,"score_gpt":0.1992848426276922,"score_spread":0.1839642144352055,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2041155189","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.21588436,0.47762924,0.00040438925,0.05194312,0.0025719467,0.0000989345,0.00014963216,0.000022638505,0.25129583],"genre_scores_gemma":[0.8244619,0.13071235,0.00064441736,0.0074749696,0.00048918574,0.00003391033,0.00010251692,0.000035482826,0.036045264],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99631387,0.0013801829,0.00013297281,0.0003657143,0.0011307044,0.00067658065],"domain_scores_gemma":[0.99578804,0.0017205318,0.00049975066,0.00019551284,0.001423619,0.0003725019],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0056479014,0.0003017966,0.00045943705,0.003052456,0.008947434,0.0086763585,0.0017542636,0.0019313517,0.0044138813],"category_scores_gemma":[0.0067358403,0.0003236055,0.00014488697,0.004582041,0.0116609875,0.0020119261,0.003994935,0.0029860428,0.0002734624],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018024318,0.00008048894,0.0099595385,0.003906756,0.000072151335,0.003610904,0.3919443,0.00041438226,0.0011059523,0.19704345,0.101078756,0.29060313],"study_design_scores_gemma":[0.000012859204,0.00005559785,0.0340628,0.0056095775,0.000045298468,0.0005078487,0.2565384,0.0000393834,0.0003436053,0.0018226904,0.70091915,0.00004281519],"about_ca_topic_score_codex":0.811181,"about_ca_topic_score_gemma":0.91469675,"teacher_disagreement_score":0.18881899,"about_ca_system_score_codex":0.030636339,"about_ca_system_score_gemma":0.036449663,"threshold_uncertainty_score":0.37986195},"labels":[],"label_agreement":null},{"id":"W2042334125","doi":"10.1017/s0261143012000347","title":"The power ballad","year":2012,"lang":"en","type":"article","venue":"Popular Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":24,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Ballad; Power (physics); Literature; Popular music; Musical; Tone (literature); Art; History; Aesthetics; Poetry","score_opus":0.03867834105365501,"score_gpt":0.2080941225349939,"score_spread":0.1694157814813389,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2042334125","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0483118,0.0070739477,0.0022898277,0.0076495125,0.0023013388,0.000058758444,0.0001723461,0.00014987505,0.9319926],"genre_scores_gemma":[0.5893096,0.004685672,0.0012408776,0.0023698583,0.0012433758,0.000054457374,0.00015295994,0.0001859121,0.4007573],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99880004,0.00036740725,0.000039139835,0.0002132877,0.0003790977,0.00020096636],"domain_scores_gemma":[0.9993006,0.00012561929,0.00007868367,0.00009188252,0.00015698519,0.00024615994],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008444854,0.00039895004,0.00021917546,0.0011636645,0.005773129,0.004976687,0.0006024535,0.000802095,0.030740805],"category_scores_gemma":[0.0019092325,0.00019735562,0.00014786694,0.001108745,0.0049469885,0.003513266,0.0048975423,0.0022951423,0.0063952915],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00026013507,0.00011027567,0.0047281254,0.0003784562,0.000012970614,0.0010443918,0.047258828,0.000104926454,0.0019626645,0.53961426,0.15680084,0.24772406],"study_design_scores_gemma":[0.000009145291,0.0000574516,0.0025603028,0.0001483576,0.0000027890924,0.0005043935,0.0087412,0.000045329998,0.00030602902,0.0055994117,0.98201597,0.000009638519],"about_ca_topic_score_codex":0.0061496594,"about_ca_topic_score_gemma":0.010010777,"teacher_disagreement_score":0.030740805,"about_ca_system_score_codex":0.0016239354,"about_ca_system_score_gemma":0.0011033908,"threshold_uncertainty_score":0.10283822},"labels":[],"label_agreement":null},{"id":"W2043250000","doi":"10.1353/can.2011.0006","title":"Growing with Canada: The Émigré Tradition in Canadian Music (review)","year":2011,"lang":"en","type":"article","venue":"Canadian Historical Review","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Émigré; Musicology; Musical; Music history; Limiting; History; Art history; Sociology; Art; Political science; Literature; Law; Engineering","score_opus":0.0644016176668844,"score_gpt":0.17700255502693246,"score_spread":0.11260093736004806,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2043250000","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0002736986,0.99836355,0.000007516902,0.0007039174,0.00010032328,0.0000025394006,0.000040397772,0.0000011426605,0.00050692423],"genre_scores_gemma":[0.0032199277,0.99593216,0.000034391807,0.00045639006,0.00006230398,0.0000036819326,0.00005501842,0.000001094126,0.0002351312],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992569,0.00007308864,0.00007935096,0.00008745004,0.00038089845,0.00012226218],"domain_scores_gemma":[0.99728215,0.00067646836,0.00036795507,0.000032298733,0.0013030083,0.00033817338],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001054238,0.0007035053,0.0011698435,0.004382199,0.0016582665,0.0033723915,0.001090447,0.0012454167,0.005166175],"category_scores_gemma":[0.0037803184,0.00031030062,0.00056729245,0.012801572,0.0018174318,0.0018323855,0.0011465783,0.0016345412,0.00045682638],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018173874,0.000036277583,0.0052535366,0.09059223,0.0004391801,0.00036567642,0.0026276826,0.00013577427,0.00021105679,0.0036333487,0.13643996,0.7600836],"study_design_scores_gemma":[0.000062567895,0.00007429661,0.07046414,0.10981022,0.0015057194,0.0018213699,0.006562311,0.0000857882,0.00014323587,0.0006027069,0.8087444,0.00012324587],"about_ca_topic_score_codex":0.8480306,"about_ca_topic_score_gemma":0.93684345,"teacher_disagreement_score":0.15196937,"about_ca_system_score_codex":0.012829993,"about_ca_system_score_gemma":0.055690728,"threshold_uncertainty_score":0.30572867},"labels":[],"label_agreement":null},{"id":"W2045438601","doi":"10.1023/b:joyo.0000013423.34021.45","title":"Rap Music Genres and Deviant Behaviors in French-Canadian Adolescents","year":2004,"lang":"en","type":"article","venue":"Journal of Youth and Adolescence","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":120,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Université de Montréal","funders":"","keywords":"Psychology; Developmental psychology; Normative; Health psychology; Lyrics; Preference; Psychosocial; Social psychology","score_opus":0.023707375162644175,"score_gpt":0.19478428140523718,"score_spread":0.171076906242593,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2045438601","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.99835324,0.00026978963,0.0000069069893,0.0000739823,0.0000055578766,0.000006468516,0.000087084874,0.0000013516723,0.0011955812],"genre_scores_gemma":[0.99830997,0.00034146718,0.000036726815,0.000032704465,0.0000039418337,0.00000857732,0.00013665202,0.0000025960128,0.0011273518],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.99913764,0.000098278644,0.00004757932,0.00008909475,0.0002935273,0.0003339666],"domain_scores_gemma":[0.9978364,0.00018806478,0.0005627641,0.000039977847,0.0006747935,0.00069795357],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007980684,0.0004945575,0.00055711274,0.0030118236,0.004444597,0.0023950178,0.0009493274,0.0009957184,0.0029050068],"category_scores_gemma":[0.0021886984,0.00036636228,0.0005489816,0.002345673,0.0010800677,0.00050359784,0.00087947847,0.0010942338,0.00026097178],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000056557063,0.0001702363,0.98531806,0.000014765516,0.000018669225,0.00026500295,0.010614362,0.000020632358,0.00028612989,0.00018597161,0.00021885285,0.0028309054],"study_design_scores_gemma":[0.0000021603641,0.000035846857,0.98386484,0.0000209109,0.000012209009,0.00013731417,0.015326088,0.00003141212,0.00003461805,0.000019812343,0.00050834194,0.0000063720354],"about_ca_topic_score_codex":0.87981254,"about_ca_topic_score_gemma":0.9269249,"teacher_disagreement_score":0.12018746,"about_ca_system_score_codex":0.0060955137,"about_ca_system_score_gemma":0.0058042626,"threshold_uncertainty_score":0.24179047},"labels":[],"label_agreement":null},{"id":"W2045523597","doi":"10.1111/j.1533-1598.2006.00112_2.x","title":"The Popular Music Studies Reader Edited by Bennett, Andy, Barry Shank, and Jason Toynbee","year":2007,"lang":"en","type":"article","venue":"Journal of Popular Music Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Citation; Art history; Art; Library science; Computer science","score_opus":0.07720240074967552,"score_gpt":0.28067556332823695,"score_spread":0.20347316257856143,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2045523597","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00094440306,0.4052578,0.0007614723,0.2226019,0.198031,0.000049667186,0.0008548137,0.00032683168,0.1711721],"genre_scores_gemma":[0.008950792,0.18089518,0.00084920676,0.03823607,0.069976285,0.00011823487,0.00078800705,0.0004073626,0.6997788],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99901414,0.0002995503,0.00005787156,0.00009164879,0.0004172952,0.00011948333],"domain_scores_gemma":[0.9967199,0.001128167,0.00012354484,0.00018162775,0.0012381986,0.0006085767],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019622645,0.0015152985,0.0017706116,0.0037811624,0.0044489605,0.010053142,0.0017240382,0.0042767096,0.05804362],"category_scores_gemma":[0.005507785,0.0008365545,0.00049563916,0.0058361692,0.0024680453,0.0065603047,0.004180197,0.0051191496,0.032375507],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000071992745,0.000007950682,0.000044652807,0.00005976921,0.0000014685559,0.000014355831,0.0004073021,0.0000074533486,0.00002077499,0.0020806051,0.98526436,0.012084],"study_design_scores_gemma":[0.000005094326,0.0000049896744,0.00038053552,0.00020765886,0.0000030887009,0.000027104272,0.0010950479,0.000008881418,0.00001506185,0.00091973745,0.99732804,0.000004622874],"about_ca_topic_score_codex":0.017112862,"about_ca_topic_score_gemma":0.06990428,"teacher_disagreement_score":0.05804362,"about_ca_system_score_codex":0.0022697083,"about_ca_system_score_gemma":0.0053041433,"threshold_uncertainty_score":0.1941753},"labels":[],"label_agreement":null},{"id":"W2045800593","doi":"10.3138/jrpc.25.2.186","title":"Aliens Are Us: Cosmic Liminality, Remixticism, and<i>Alien</i>ation in Psytrance","year":2013,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":38,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Alien; HERO; Narrative; Liminality; Consciousness; Media studies; Movie theater; Entertainment; Sociology; Aesthetics; Visual arts; History; Art; Literature; Epistemology; Philosophy","score_opus":0.018351181839197067,"score_gpt":0.22403894866973662,"score_spread":0.20568776683053955,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2045800593","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.85611695,0.0013581216,0.0014996729,0.0024849533,0.00008032109,0.00001608901,0.00002701671,0.000023278802,0.13839358],"genre_scores_gemma":[0.99630994,0.00017448915,0.00007998537,0.00011275046,0.000016445392,0.000004111305,0.000006538194,0.000009168737,0.0032865386],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99883753,0.00058236637,0.00002721196,0.00014203992,0.0001492664,0.00026148622],"domain_scores_gemma":[0.9990232,0.00045554226,0.00020032498,0.00009674187,0.00005896153,0.00016526648],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001454371,0.00031089995,0.00027690033,0.001137287,0.009346451,0.006401182,0.00045798926,0.0007672548,0.0041899006],"category_scores_gemma":[0.0023100015,0.00017749143,0.00018713623,0.0009911521,0.025905188,0.0041169086,0.0072883875,0.0024093713,0.00018522346],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004144703,0.000020656968,0.00355156,0.00004344042,0.0000056191825,0.00049246,0.9158634,0.000027836702,0.00036974938,0.07272951,0.0007567851,0.0060975095],"study_design_scores_gemma":[0.000012636333,0.00006150437,0.010411579,0.00015020686,0.000013319455,0.00097205146,0.855388,0.000116930794,0.0006063367,0.012217451,0.120029055,0.00002083399],"about_ca_topic_score_codex":0.005729421,"about_ca_topic_score_gemma":0.010320586,"teacher_disagreement_score":0.009346451,"about_ca_system_score_codex":0.0026550184,"about_ca_system_score_gemma":0.0011082048,"threshold_uncertainty_score":0.019263566},"labels":[],"label_agreement":null},{"id":"W2046524172","doi":"10.5429/2079-3871(2012)v3i1.3en","title":"Chiptuning Intellectual Property: Digital Culture Between Creative Commons and Moral Economy","year":2013,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"University of Toronto; York University","keywords":"Appropriation; Intellectual property; Commons; Craft; Law and economics; Property (philosophy); Sociology; Copyright law; Humanity; Political science; Business; Epistemology; Law","score_opus":0.04858945188314635,"score_gpt":0.2014882541858378,"score_spread":0.15289880230269143,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2046524172","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2799124,0.0041894354,0.027034026,0.023892857,0.00029242385,0.000038999773,0.000029085866,0.00007694507,0.66453385],"genre_scores_gemma":[0.99113935,0.00068524195,0.0015285602,0.0009550364,0.000073316856,0.000023397273,0.000004797425,0.000019346588,0.005570949],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9971499,0.0014865644,0.00009533771,0.00029640156,0.0006689782,0.0003027836],"domain_scores_gemma":[0.99515706,0.0031451792,0.0004195661,0.00080427376,0.00023779592,0.00023613131],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0038453848,0.00029717857,0.00031182967,0.0013125495,0.0052766036,0.011908517,0.0010770623,0.0016371094,0.0053493213],"category_scores_gemma":[0.0077808346,0.00020786526,0.00024966872,0.0013020713,0.053755414,0.011661653,0.00918167,0.0034166588,0.00033942718],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012501309,0.00001427712,0.00043907794,0.000030456951,0.0000030098772,0.00007099447,0.015906658,0.00014505182,0.00020007302,0.9716177,0.0006333386,0.010926899],"study_design_scores_gemma":[0.00002622266,0.000070966125,0.002555792,0.0003922987,0.000018384151,0.0004562481,0.05082718,0.0015065001,0.0016214042,0.7876345,0.15485466,0.00003583734],"about_ca_topic_score_codex":0.0014165288,"about_ca_topic_score_gemma":0.0013956113,"teacher_disagreement_score":0.9947234,"about_ca_system_score_codex":0.0040018344,"about_ca_system_score_gemma":0.0024883067,"threshold_uncertainty_score":0.029035509},"labels":[],"label_agreement":null},{"id":"W2049191308","doi":"10.1353/utq.0.0574","title":"The Ambivalence of Jizz and Mirth: Herschel Henlere in British Music Hall and Variety, 1921–1964","year":2009,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Ambivalence; Variety (cybernetics); History; Psychoanalysis; Psychology; Computer science; Artificial intelligence","score_opus":0.00953615829753725,"score_gpt":0.16195933373124277,"score_spread":0.1524231754337055,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2049191308","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.61106545,0.013788982,0.00030377216,0.022509294,0.0007613067,0.000029282182,0.00016124149,0.000039427014,0.35134125],"genre_scores_gemma":[0.85807884,0.0017466426,0.00011537134,0.001547793,0.0000883925,0.000009209831,0.000040123403,0.000042630487,0.13833107],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9988192,0.00022292988,0.000017644667,0.00018170747,0.00033416596,0.0004243214],"domain_scores_gemma":[0.9994306,0.00011968416,0.000040299004,0.000020581578,0.00017580809,0.00021303396],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00084882416,0.0002406298,0.00023490166,0.0011186576,0.024557559,0.004975086,0.0005997287,0.0013305899,0.008256286],"category_scores_gemma":[0.0016253794,0.00034891514,0.00009241814,0.001384631,0.010740729,0.0014071588,0.0024581184,0.0027236417,0.0007908929],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00027588278,0.000051454936,0.009478336,0.00012240789,0.000014725602,0.0019485971,0.7579677,0.00008655906,0.0023996264,0.08706014,0.0810825,0.05951217],"study_design_scores_gemma":[0.000009989391,0.000042248463,0.04307864,0.00014587602,0.000005803507,0.0004378286,0.14573988,0.000028514203,0.00034124916,0.00084729155,0.80928326,0.00003927192],"about_ca_topic_score_codex":0.8096683,"about_ca_topic_score_gemma":0.9544028,"teacher_disagreement_score":0.8096683,"about_ca_system_score_codex":0.032919362,"about_ca_system_score_gemma":0.006583816,"threshold_uncertainty_score":0.3829052},"labels":[],"label_agreement":null},{"id":"W2050545740","doi":"10.1558/pomh.2006.1.3.285","title":"Conflict and collaboration","year":2004,"lang":"en","type":"article","venue":"Popular Music History","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":40,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"World Federation of Science Journalists","funders":"","keywords":"Intermediary; Negotiation; Inscribed figure; Sociology; Music industry; Participant observation; Public relations; Media studies; Political science; Social science; Music education; Pedagogy; Business; Marketing","score_opus":0.045447782595663934,"score_gpt":0.20173314147685642,"score_spread":0.1562853588811925,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2050545740","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.044647608,0.010393758,0.05427959,0.052313864,0.0016753436,0.00024773032,0.00014812616,0.00014525281,0.8361487],"genre_scores_gemma":[0.9364759,0.003624817,0.0070791105,0.0058211377,0.00069212023,0.000466078,0.00016046663,0.00010095671,0.045579452],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.96158415,0.026492327,0.0012811861,0.0035875477,0.003912677,0.0031421725],"domain_scores_gemma":[0.9711701,0.014537288,0.0032504194,0.0030792877,0.002652485,0.005310452],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.01811681,0.00075100467,0.00094524754,0.0029524555,0.016203267,0.01938267,0.002895291,0.0049431236,0.020835618],"category_scores_gemma":[0.035128646,0.00046944455,0.0006578423,0.0031548985,0.0294024,0.013468377,0.025049213,0.005090126,0.0034712746],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003687806,0.000037273254,0.0016971134,0.00017355963,0.00003431825,0.00064129126,0.07432631,0.00033085444,0.00016781437,0.88322073,0.011455346,0.027878545],"study_design_scores_gemma":[0.000031999796,0.00004703769,0.00069722254,0.00035557977,0.000014792923,0.00082591514,0.054872584,0.00040899435,0.000106498475,0.56144965,0.38115942,0.00003030411],"about_ca_topic_score_codex":0.0018738108,"about_ca_topic_score_gemma":0.0014939088,"teacher_disagreement_score":0.020835618,"about_ca_system_score_codex":0.0053606387,"about_ca_system_score_gemma":0.007026206,"threshold_uncertainty_score":0.09581202},"labels":[],"label_agreement":null},{"id":"W2051383532","doi":"10.4000/volume.4344","title":"Psycherelic Rock","year":2014,"lang":"en","type":"article","venue":"Volume !","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Centre for Interdisciplinary Research in Music Media and Technology","funders":"","keywords":"Sound (geography); Rock music; Appeal; Aesthetics; Musical; Collective memory; Popular music; History; Art; Literature; Visual arts; Acoustics; Political science; Law","score_opus":0.018679483443297555,"score_gpt":0.1839940783311343,"score_spread":0.16531459488783673,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2051383532","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4973232,0.0020161085,0.001430402,0.0030541574,0.00028799038,0.000040910905,0.00004909613,0.000052132233,0.49574593],"genre_scores_gemma":[0.9667276,0.0006910744,0.00019710444,0.00045138274,0.00004994343,0.000012307684,0.000021641692,0.000016403166,0.03183256],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995573,0.000116980715,0.000012008677,0.000046283607,0.00013658612,0.00013084362],"domain_scores_gemma":[0.9997477,0.000057056106,0.00005111448,0.00003715184,0.00004309635,0.000063854844],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004614334,0.00028575893,0.00017361216,0.0006823023,0.005083005,0.0031703745,0.0005098782,0.0006996505,0.008774753],"category_scores_gemma":[0.001011193,0.00012143669,0.0001266666,0.00048672955,0.009277927,0.0017199935,0.0038178295,0.0016997027,0.00091145886],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00025788476,0.00014319699,0.0087012295,0.00066862244,0.00003130946,0.0046096733,0.59579307,0.00013690743,0.011076069,0.26800352,0.0107665,0.09981207],"study_design_scores_gemma":[0.000014895794,0.00032649684,0.059234574,0.0005266493,0.000033919503,0.0048559657,0.43103537,0.00031141026,0.0026455224,0.015293978,0.48566192,0.000059362035],"about_ca_topic_score_codex":0.00721535,"about_ca_topic_score_gemma":0.017250674,"teacher_disagreement_score":0.008774753,"about_ca_system_score_codex":0.001759183,"about_ca_system_score_gemma":0.0011366805,"threshold_uncertainty_score":0.029354513},"labels":[],"label_agreement":null},{"id":"W2053058076","doi":"10.1558/prbt.v14i2.120","title":"‘Suck more piss’","year":2014,"lang":"en","type":"article","venue":"Perfect Beat","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":11,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Period (music); History; Economic history; Visual arts; Political science; Art; Aesthetics","score_opus":0.014821502383937377,"score_gpt":0.19257470537326996,"score_spread":0.1777532029893326,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2053058076","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06581986,0.00086473074,0.004374372,0.017653933,0.0018146626,0.0001498761,0.00017391618,0.0003657351,0.9087829],"genre_scores_gemma":[0.30166695,0.0006735055,0.0031682784,0.004822629,0.00044454564,0.000063132764,0.00018320745,0.0005428832,0.6884349],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984401,0.00036869265,0.000035646946,0.00020624034,0.00054207176,0.00040737024],"domain_scores_gemma":[0.9981817,0.00015114107,0.000115881,0.0002346352,0.00040857485,0.0009080575],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017080877,0.00074185996,0.00040315662,0.0012822761,0.0099577475,0.006902825,0.0009178944,0.0013431829,0.07670984],"category_scores_gemma":[0.0047948505,0.00059350923,0.00053431914,0.0011416385,0.0069290013,0.0062945858,0.010676705,0.0046812985,0.02123297],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019183679,0.0001788721,0.009650807,0.0005082541,0.000037937363,0.0023059996,0.22090116,0.00018041965,0.0032310141,0.25065055,0.3142564,0.1979068],"study_design_scores_gemma":[0.000007286137,0.00009398936,0.0063840817,0.00012913201,0.00000875781,0.0004963291,0.035585005,0.00012779297,0.0003623215,0.005016974,0.95176226,0.000026048923],"about_ca_topic_score_codex":0.017016884,"about_ca_topic_score_gemma":0.043585025,"teacher_disagreement_score":0.07670984,"about_ca_system_score_codex":0.002824017,"about_ca_system_score_gemma":0.0025863426,"threshold_uncertainty_score":0.25662},"labels":[],"label_agreement":null},{"id":"W2053488040","doi":"10.1177/0255761412439925","title":"Pedagogical ideas on sonic, mediated, and virtual musical landscapes: Teaching hip hop in a university classroom","year":2012,"lang":"en","type":"article","venue":"International Journal of Music Education","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":12,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Alberta","funders":"","keywords":"Musical; Ethnomusicology; Popular music; Sociology; Improvisation; Negotiation; Music education; Pedagogy; Visual arts; Psychology; Art; Social science","score_opus":0.0480960551221304,"score_gpt":0.28083766137525695,"score_spread":0.23274160625312657,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2053488040","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3920313,0.0073096775,0.044033963,0.035535403,0.0011280543,0.00050028716,0.00002628103,0.00026465073,0.5191704],"genre_scores_gemma":[0.95496863,0.0029347837,0.011442377,0.0020678015,0.000114583534,0.00023277203,0.000010458995,0.000037253078,0.02819119],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9977793,0.0013003314,0.000039535193,0.00012297426,0.000352491,0.00040543848],"domain_scores_gemma":[0.9984133,0.0007996889,0.000103931474,0.00004781556,0.00009295412,0.0005422357],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021782655,0.0006110144,0.0004240941,0.0015932643,0.009079832,0.012793077,0.002223866,0.002904188,0.0034846396],"category_scores_gemma":[0.0024562846,0.0002775238,0.0004503643,0.00079013663,0.037403487,0.0031425208,0.008322887,0.0039055117,0.00040301122],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003504565,0.00027476094,0.002056894,0.00033094044,0.000009327435,0.0016475675,0.6809748,0.00040275312,0.0030159825,0.27110678,0.0038100476,0.036335114],"study_design_scores_gemma":[0.000041248677,0.00015414644,0.0031538028,0.00070413144,0.000026468553,0.0014762699,0.78680927,0.00045234966,0.0011667908,0.03305195,0.17292218,0.000041358184],"about_ca_topic_score_codex":0.020384701,"about_ca_topic_score_gemma":0.051311087,"teacher_disagreement_score":0.020384701,"about_ca_system_score_codex":0.007631539,"about_ca_system_score_gemma":0.0087628625,"threshold_uncertainty_score":0.055370986},"labels":[],"label_agreement":null},{"id":"W2054629903","doi":"10.1016/j.aodf.2009.06.005","title":"Stop Dancing With the Stars: Why the 6-Month Boogie is Costing You Money and Freedom","year":2009,"lang":"en","type":"article","venue":"Alpha Omegan","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Activity-based costing; Stars; Medicine; Physics; Economics; Astronomy","score_opus":0.020563754399034,"score_gpt":0.19788690006212506,"score_spread":0.17732314566309107,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2054629903","genre_codex":"commentary","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":"commentary","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.019782467,0.008623256,0.00046578998,0.79832834,0.01848797,0.00002011491,0.00008094212,0.00019316604,0.15401797],"genre_scores_gemma":[0.20525439,0.00805495,0.0010373078,0.34388363,0.005130501,0.00006393267,0.00010527505,0.0007542084,0.43571576],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9972584,0.00077436573,0.00005720953,0.00020786587,0.00068180397,0.001020399],"domain_scores_gemma":[0.99454534,0.0007795279,0.00024197738,0.00015074594,0.0010118774,0.0032704778],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0029182255,0.00041681126,0.00045362394,0.0005313321,0.02093192,0.010711879,0.0010649743,0.00811005,0.06358323],"category_scores_gemma":[0.008271892,0.0004929564,0.00048757982,0.00067773944,0.006930143,0.0071711084,0.0036869769,0.019100089,0.015084943],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000048406553,0.000049954957,0.0014877826,0.00003876226,0.00001182693,0.0002114402,0.010492896,0.00001445742,0.0001444187,0.009625572,0.95524246,0.022632018],"study_design_scores_gemma":[0.000013316548,0.000024541792,0.0031585025,0.00017890797,0.000009171473,0.00018073089,0.036564905,0.000030044439,0.000063098996,0.00356212,0.9561892,0.000025474152],"about_ca_topic_score_codex":0.049084574,"about_ca_topic_score_gemma":0.16790745,"teacher_disagreement_score":0.06358323,"about_ca_system_score_codex":0.0043925284,"about_ca_system_score_gemma":0.0066930954,"threshold_uncertainty_score":0.2127071},"labels":[],"label_agreement":null},{"id":"W2054907191","doi":"10.7202/045832ar","title":"« Crise » dans les industries de la musique au Québec","year":2011,"lang":"fr","type":"article","venue":"Recherches sociographiques","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Université de Montréal","funders":"","keywords":"Humanities; Art; Political science","score_opus":0.1900514436657732,"score_gpt":0.30209094117859875,"score_spread":0.11203949751282555,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2054907191","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.78436023,0.0029043118,0.0015865247,0.010135627,0.00008580917,0.00003226282,0.00014982978,0.000028146276,0.20071727],"genre_scores_gemma":[0.97167957,0.0005543854,0.00026024674,0.00029230237,0.000011936249,0.000009741275,0.000034509772,0.000007040016,0.027150307],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9985,0.00036617665,0.00003241988,0.00013745866,0.00039652613,0.0005674709],"domain_scores_gemma":[0.9978387,0.00064804795,0.00035617506,0.00009525383,0.0005952354,0.00046668595],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012359911,0.00023149695,0.00019404248,0.0012714033,0.011159199,0.0035722214,0.0006630433,0.0009590965,0.01144256],"category_scores_gemma":[0.002718638,0.00020318407,0.00013567193,0.0019973505,0.00579414,0.00091863633,0.0017579877,0.0020622066,0.0003552875],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022736272,0.00011042744,0.109459735,0.00043561342,0.000049341106,0.00236515,0.4311891,0.0017795191,0.0052604624,0.29061925,0.0153470365,0.14315698],"study_design_scores_gemma":[0.000016898364,0.0000958527,0.36856842,0.00042277476,0.000025688854,0.0004149136,0.21261528,0.0013692417,0.00092242996,0.0053719445,0.41010538,0.00007102911],"about_ca_topic_score_codex":0.9496199,"about_ca_topic_score_gemma":0.9861611,"teacher_disagreement_score":0.05038011,"about_ca_system_score_codex":0.035961874,"about_ca_system_score_gemma":0.034036152,"threshold_uncertainty_score":0.26092285},"labels":[],"label_agreement":null},{"id":"W2055188158","doi":"10.7202/016837ar","title":"Document. Alberto Ginastera au Centro Latinoamericano de Altos Estudios Musicales (CLAEM). Correspondance 1961-1970","year":2007,"lang":"fr","type":"article","venue":"Circuit Musiques contemporaines","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Humanities; Span (engineering); Art; Engineering","score_opus":0.028253614469915558,"score_gpt":0.2503205343959045,"score_spread":0.22206691992598895,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2055188158","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0038673922,0.043160416,0.00045686698,0.03863074,0.022110008,0.00029175615,0.015609956,0.0007653129,0.8751076],"genre_scores_gemma":[0.006535261,0.00532072,0.00028187718,0.0013206191,0.0009496536,0.00007032382,0.0024829973,0.00028224033,0.98275626],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99847597,0.000098152785,0.000047357382,0.00033110174,0.0007083931,0.00033900244],"domain_scores_gemma":[0.9971928,0.00023263208,0.00020584406,0.0001684279,0.0016669593,0.0005333038],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0010091744,0.00073684164,0.0006304537,0.0029657374,0.0033065905,0.0034528817,0.0011146925,0.0022524763,0.39241728],"category_scores_gemma":[0.0034578948,0.0004495078,0.00047076965,0.0035648104,0.00065162085,0.0020988209,0.0031903838,0.0026772665,0.15053374],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000066574015,0.00001780683,0.0005807104,0.0001616565,0.0000027625124,0.0001121276,0.00036780973,0.0000111099735,0.00027067386,0.0021073048,0.9666485,0.029652862],"study_design_scores_gemma":[0.0000056527792,0.000003876412,0.0018180227,0.000065686654,0.0000014875951,0.00004238162,0.00016338425,0.0000036151266,0.00009740816,0.00008495629,0.99771047,0.000002995388],"about_ca_topic_score_codex":0.12706456,"about_ca_topic_score_gemma":0.18474634,"teacher_disagreement_score":0.39241728,"about_ca_system_score_codex":0.0059095505,"about_ca_system_score_gemma":0.0046831025,"threshold_uncertainty_score":0.866643},"labels":[],"label_agreement":null},{"id":"W2055980317","doi":"10.1177/0163443704042258","title":"Long Play: Adult-Oriented Popular Music and the Temporal Logics of the Post-War Sound Recording Industry in the USA","year":2004,"lang":"en","type":"article","venue":"Media Culture & Society","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":80,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Period (music); Popular music; Historiography; Musical; Prime time; Commodity; Dominance (genetics); Music industry; Classical music; Sound (geography); Literature; History; Aesthetics; Visual arts; Art; Political science; Music education; Acoustics; Law; Economics; Archaeology; Market economy","score_opus":0.026227060108478903,"score_gpt":0.21433697052993625,"score_spread":0.18810991042145736,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2055980317","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.94944286,0.0011451939,0.00023112958,0.0037954806,0.000046334488,0.000006008685,0.00004682812,0.0000060362363,0.045280054],"genre_scores_gemma":[0.994795,0.00085900084,0.00007761143,0.0002895337,0.000033602784,0.0000032642088,0.000024424548,0.000002774015,0.003914894],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9997911,0.00006154049,0.000007851292,0.000021805547,0.000053763608,0.000063932326],"domain_scores_gemma":[0.9992137,0.00018778327,0.0002378698,0.000017758923,0.00015740386,0.00018550563],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005290406,0.00006260098,0.00005444989,0.000731342,0.0016792391,0.0023128828,0.0002981025,0.00041332518,0.0034294038],"category_scores_gemma":[0.0013340063,0.00007996483,0.000037811646,0.0008585876,0.0017475663,0.0011692552,0.0009530177,0.0009091633,0.00015156],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00052531995,0.00045472628,0.27214885,0.00020946962,0.000026969314,0.0026062091,0.33161315,0.00017873164,0.004273557,0.115295894,0.016115157,0.25655207],"study_design_scores_gemma":[0.000011923364,0.00015247821,0.59516394,0.00021071493,0.000013758893,0.000490233,0.29089132,0.00032530515,0.0009372743,0.0030239085,0.10875678,0.000022329288],"about_ca_topic_score_codex":0.047602516,"about_ca_topic_score_gemma":0.18431847,"teacher_disagreement_score":0.047602516,"about_ca_system_score_codex":0.002285932,"about_ca_system_score_gemma":0.0014669537,"threshold_uncertainty_score":0.094650865},"labels":[],"label_agreement":null},{"id":"W2056132543","doi":"10.1353/not.2012.0058","title":"North American Fiddle Music: A Research and Information Guide (review)","year":2012,"lang":"en","type":"article","venue":"Notes","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Violin; Folk music; Musical; Newspaper; Frontier; Popular music; White (mutation); History; Guitar; Art; Immigration; Art history; Visual arts; Media studies; Sociology","score_opus":0.1196790720936836,"score_gpt":0.3055056990958647,"score_spread":0.1858266270021811,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2056132543","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0000488382,0.99247384,0.00015123618,0.0015739212,0.0012031836,0.00023808614,0.001015532,0.00004994832,0.0032454885],"genre_scores_gemma":[0.00033507572,0.99115866,0.0006910574,0.001963106,0.00039865178,0.0006032631,0.0011138311,0.000017864797,0.0037184542],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9977598,0.00040670813,0.00060298183,0.00021129301,0.00085295463,0.00016614498],"domain_scores_gemma":[0.9912049,0.0034987954,0.001586323,0.00020181273,0.0031089147,0.00039918342],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0031226852,0.002003275,0.0037159333,0.016725495,0.0008231327,0.0035272914,0.0031526648,0.0022856114,0.06021448],"category_scores_gemma":[0.011258735,0.0011594517,0.0025259915,0.020084674,0.0008283672,0.0042336253,0.002460253,0.0026033276,0.01981563],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008079388,0.000038286886,0.00015051318,0.1860349,0.00015521531,0.00010084346,0.00017542251,0.00010446136,0.00020210234,0.0010370233,0.42673194,0.3851885],"study_design_scores_gemma":[0.000038845024,0.000036985177,0.0011544611,0.15216857,0.00035140023,0.0002499529,0.00017838369,0.00003581538,0.00006572171,0.0007533594,0.8449329,0.00003356887],"about_ca_topic_score_codex":0.015043053,"about_ca_topic_score_gemma":0.027579311,"teacher_disagreement_score":0.9849569,"about_ca_system_score_codex":0.003900669,"about_ca_system_score_gemma":0.013100184,"threshold_uncertainty_score":0.20143747},"labels":[],"label_agreement":null},{"id":"W2056754677","doi":"10.1353/ecf.2005.0004","title":"\"The Middle State\": Italian Opera in Frances Burney's Cecilia","year":2005,"lang":"en","type":"article","venue":"Eighteenth-Century Fiction","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Opera; Art; State (computer science); Art history; Theology; Philosophy; Computer science","score_opus":0.023490185831202083,"score_gpt":0.19790410991953197,"score_spread":0.1744139240883299,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2056754677","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.049089346,0.006957574,0.0004054632,0.052424196,0.0038375726,0.00003985279,0.00005058876,0.000045911424,0.8871496],"genre_scores_gemma":[0.5968709,0.0022872074,0.0002962163,0.016084313,0.003272899,0.00006513354,0.000039226437,0.00017571992,0.38090846],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994367,0.00015796657,0.000007673882,0.000051212006,0.00006695785,0.00027953833],"domain_scores_gemma":[0.99971646,0.000088496236,0.000022680966,0.0000166525,0.000042861255,0.00011277413],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008428427,0.00065692107,0.00031526372,0.0011577836,0.01833955,0.005313583,0.0005978568,0.0023959111,0.006951879],"category_scores_gemma":[0.0014626308,0.00022020708,0.00023291967,0.00094870717,0.009586507,0.0014284375,0.0031254855,0.007330675,0.0010487156],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017936844,0.00007427858,0.00074139406,0.000106518244,0.000008449956,0.0010900095,0.13014719,0.00009006293,0.00044685844,0.48135924,0.36815378,0.017602911],"study_design_scores_gemma":[0.000011340605,0.000023834273,0.003408219,0.00018062527,0.0000058954593,0.0001930312,0.019847069,0.000043900192,0.00015631413,0.0035314092,0.97258365,0.000014769174],"about_ca_topic_score_codex":0.08193159,"about_ca_topic_score_gemma":0.24033003,"teacher_disagreement_score":0.08193159,"about_ca_system_score_codex":0.008736729,"about_ca_system_score_gemma":0.0025527512,"threshold_uncertainty_score":0.16290939},"labels":[],"label_agreement":null},{"id":"W2059656025","doi":"10.1558/prbt.v14i1.79","title":"Olivier Julien, ed. 2008. Sgt. Pepper and the Beatles: It Was Forty Years Ago Today","year":2013,"lang":"en","type":"article","venue":"Perfect Beat","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"History; Pepper; Media studies; Sociology; Computer science; Computer security","score_opus":0.011600221957764752,"score_gpt":0.19039568253103015,"score_spread":0.1787954605732654,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2059656025","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0003597526,0.8702736,0.0012368961,0.011547109,0.007183407,0.00001543198,0.0004901046,0.00028841916,0.108605295],"genre_scores_gemma":[0.0053235907,0.62155545,0.002233246,0.0020753643,0.0023960043,0.00003670966,0.0005484634,0.00033837315,0.3654929],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99959725,0.00004400226,0.000023326918,0.00007891048,0.00021332223,0.000043192762],"domain_scores_gemma":[0.99941874,0.00017853333,0.000054605127,0.000020501602,0.00022666247,0.00010102162],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005971822,0.0017309644,0.0007991445,0.001581378,0.0013104916,0.0037906994,0.00078145874,0.0017443573,0.100882776],"category_scores_gemma":[0.0016825045,0.00062848657,0.00033824617,0.0026154746,0.00070749497,0.0056684245,0.0011758164,0.0022638352,0.09457198],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024052733,0.000006832472,0.00010025127,0.00042119483,0.0000030315096,0.000049707505,0.00046411407,0.000050802737,0.00015063053,0.0029429456,0.82632935,0.16945702],"study_design_scores_gemma":[0.0000020192924,0.000004172244,0.0003370151,0.0007067296,0.0000030984088,0.00013929496,0.00034646748,0.000020045956,0.00007388036,0.0011657942,0.9971963,0.0000050170265],"about_ca_topic_score_codex":0.0143663185,"about_ca_topic_score_gemma":0.0314654,"teacher_disagreement_score":0.100882776,"about_ca_system_score_codex":0.0017166693,"about_ca_system_score_gemma":0.0023712814,"threshold_uncertainty_score":0.3374865},"labels":[],"label_agreement":null},{"id":"W2060876311","doi":"10.3828/qs.41.1.27","title":"Un Interview avec <i>Loco Locass</i>","year":2006,"lang":"fr","type":"article","venue":"Quebec Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.03696841600843672,"score_gpt":0.23637017995224135,"score_spread":0.19940176394380463,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2060876311","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4179906,0.0037281495,0.0018255673,0.2800102,0.0052200705,0.0013060168,0.0031656874,0.0002443253,0.28650942],"genre_scores_gemma":[0.5706726,0.0020850925,0.001099454,0.0813642,0.000638489,0.001221155,0.00064761995,0.000115533134,0.342156],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99909306,0.00029310974,0.000024771698,0.00012788991,0.00015343643,0.000307808],"domain_scores_gemma":[0.9977647,0.0003993643,0.000117292584,0.000047398535,0.0008633594,0.00080789067],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012350295,0.00032951063,0.00034719682,0.0005779411,0.01261894,0.0026935055,0.0006041076,0.0022964594,0.022538679],"category_scores_gemma":[0.0027578897,0.00033747763,0.00012867454,0.00085573795,0.0018051992,0.001435111,0.0013759014,0.0042061927,0.002977561],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008887831,0.00012402414,0.012295775,0.00014944866,0.000005701575,0.0020809036,0.3755483,0.00006601262,0.0028257985,0.0034955905,0.58697784,0.01634177],"study_design_scores_gemma":[0.000008724487,0.000044550823,0.016971936,0.00022227474,0.000005294748,0.00023239142,0.30566952,0.0001195253,0.00035430462,0.00020534579,0.67611784,0.00004831341],"about_ca_topic_score_codex":0.6583025,"about_ca_topic_score_gemma":0.8240622,"teacher_disagreement_score":0.6583025,"about_ca_system_score_codex":0.01329853,"about_ca_system_score_gemma":0.008412624,"threshold_uncertainty_score":0.68741965},"labels":[],"label_agreement":null},{"id":"W2063023074","doi":"10.1111/j.1524-2226.2006.00074.x","title":"Music and Canadian Nationhood Post 9/11: An Analysis of Music Without Borders: Live","year":2006,"lang":"en","type":"article","venue":"Journal of Popular Music Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Queen's University; McMaster University","funders":"","keywords":"Queen (butterfly); Citation; Popular music; Visual arts; Art history; History; Art; Library science; Computer science","score_opus":0.041227849878323695,"score_gpt":0.2561373695997476,"score_spread":0.2149095197214239,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2063023074","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3587268,0.0046270755,0.00034773,0.030016059,0.0006162613,0.00015889083,0.002143223,0.00004572043,0.6033182],"genre_scores_gemma":[0.9048854,0.0035317903,0.00034289,0.0036141132,0.00014731138,0.00007180178,0.00084993296,0.000076584074,0.08648004],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9987091,0.00010681556,0.000017586548,0.00009038653,0.00043114217,0.00064497755],"domain_scores_gemma":[0.9980683,0.00018438729,0.00013302086,0.00007080116,0.00071428437,0.00082933187],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00095262594,0.00043369952,0.0002962679,0.004425625,0.033313513,0.009441364,0.002188821,0.0020252774,0.020065308],"category_scores_gemma":[0.0028420244,0.00023897651,0.00029377895,0.007244335,0.010046145,0.0032956803,0.005035705,0.0036567405,0.0009541779],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013603306,0.00015143113,0.033811502,0.00018261553,0.000024676738,0.0014617444,0.58280116,0.00013505801,0.00044300247,0.19263992,0.11944311,0.068769716],"study_design_scores_gemma":[0.0000086249465,0.000021277883,0.08994434,0.00017876751,0.000012656165,0.00012363323,0.60812616,0.000066545246,0.000121671204,0.0017130114,0.29964504,0.00003826116],"about_ca_topic_score_codex":0.98922265,"about_ca_topic_score_gemma":0.9959996,"teacher_disagreement_score":0.11754468,"about_ca_system_score_codex":0.11754468,"about_ca_system_score_gemma":0.08943204,"threshold_uncertainty_score":0.8528503},"labels":[],"label_agreement":null},{"id":"W2065082673","doi":"10.7202/1006376ar","title":"Bruce Springsteen, sociologie d’un rocker","year":2011,"lang":"fr","type":"article","venue":"Intersections Canadian Journal of Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.0868606842871064,"score_gpt":0.20774285973204462,"score_spread":0.12088217544493822,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2065082673","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.12729223,0.06123167,0.0035264285,0.25886646,0.0038702586,0.000049474736,0.00017801081,0.00006369486,0.5449218],"genre_scores_gemma":[0.77779764,0.02483659,0.0014726644,0.013409051,0.0011008908,0.00009381867,0.00005314224,0.00010875147,0.18112747],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9984407,0.0008624839,0.000040273833,0.00017871823,0.00029491715,0.0001829175],"domain_scores_gemma":[0.9986891,0.0007850889,0.00013450894,0.000042040097,0.00015243632,0.00019688216],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013545526,0.00028987133,0.00020629085,0.0011301452,0.013186245,0.003815043,0.0005600629,0.0016100791,0.009062272],"category_scores_gemma":[0.0023337477,0.00021162086,0.00009909091,0.0011861472,0.016706577,0.0044943565,0.0024771811,0.0028281142,0.0010179655],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005500321,0.000030646435,0.0027594515,0.00020852339,0.0000055262235,0.00091470196,0.3015257,0.00008600663,0.0008496625,0.5834583,0.08348514,0.026621262],"study_design_scores_gemma":[0.0000063099787,0.000024591547,0.002941137,0.00036417422,0.000004072098,0.00037810495,0.11100889,0.00006766163,0.00034129762,0.03626357,0.8485749,0.000025293046],"about_ca_topic_score_codex":0.069180585,"about_ca_topic_score_gemma":0.1163511,"teacher_disagreement_score":0.069180585,"about_ca_system_score_codex":0.0046372,"about_ca_system_score_gemma":0.0037314647,"threshold_uncertainty_score":0.13755578},"labels":[],"label_agreement":null},{"id":"W2065224826","doi":"10.7202/1014477ar","title":"Same As It Ever Was? Musicology Continues to Wrestle with Rock","year":2013,"lang":"en","type":"article","venue":"Canadian University Music Review","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Musicology; Popular music; Music history; Discipline; Music theory; Sociology; Aesthetics; Music education; Social science; Art; Visual arts; Musical","score_opus":0.027931248631994476,"score_gpt":0.17894741898440086,"score_spread":0.1510161703524064,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2065224826","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0047351844,0.6801329,0.0007306195,0.21335639,0.0060279937,0.000012928623,0.000061060215,0.000034104738,0.09490883],"genre_scores_gemma":[0.21437417,0.6772051,0.0010632923,0.046850387,0.006207517,0.00003489914,0.00011024982,0.00012076837,0.0540337],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99431497,0.0017140885,0.00019422268,0.0006293823,0.0023496095,0.00079765817],"domain_scores_gemma":[0.99253756,0.0031752246,0.00063392153,0.00036138174,0.0024295934,0.00086232607],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0062251226,0.00072097377,0.0014947348,0.0045807166,0.011503898,0.016423278,0.002378264,0.0038050201,0.00805731],"category_scores_gemma":[0.010750395,0.00029676914,0.00045218307,0.008712607,0.033499397,0.010607838,0.003185509,0.0047646873,0.0018775279],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009924168,0.000025349298,0.0024391322,0.0039045676,0.00011247894,0.00052268995,0.045184627,0.00017891233,0.0004494286,0.462603,0.22982548,0.25465512],"study_design_scores_gemma":[0.0000091516495,0.00001949559,0.0026868826,0.0022022803,0.000032475724,0.00015280252,0.030741196,0.00003077268,0.00008305986,0.016819438,0.94719595,0.000026415697],"about_ca_topic_score_codex":0.65480053,"about_ca_topic_score_gemma":0.77571225,"teacher_disagreement_score":0.65480053,"about_ca_system_score_codex":0.031756204,"about_ca_system_score_gemma":0.049422402,"threshold_uncertainty_score":0.6944648},"labels":[],"label_agreement":null},{"id":"W2066217832","doi":"10.7202/1013110ar","title":"The Present State of Unpopular Music","year":2012,"lang":"en","type":"article","venue":"Intersections Canadian Journal of Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Modernism (music); State (computer science); Musical; History; Vocabulary; Popular music; Aesthetics; Literature; Art history; Art; Linguistics; Philosophy; Computer science","score_opus":0.04011356629751363,"score_gpt":0.20665091838503552,"score_spread":0.1665373520875219,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2066217832","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.246071,0.01378679,0.0016151593,0.04583712,0.00059840333,0.000029231403,0.0005247556,0.0001112985,0.6914262],"genre_scores_gemma":[0.9482908,0.0052085705,0.00051142514,0.0042907316,0.0005456994,0.000018072951,0.00022172826,0.00005244625,0.040860653],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983315,0.00022365665,0.000058231257,0.00032024202,0.0007088596,0.00035755467],"domain_scores_gemma":[0.9973074,0.00051910995,0.0003639811,0.0002638807,0.00086889387,0.0006766878],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016627129,0.00017732718,0.00024298692,0.0020962798,0.007212963,0.011634754,0.0008333228,0.0009549691,0.02374473],"category_scores_gemma":[0.0034779697,0.00015377149,0.00013332335,0.0023679987,0.014911988,0.0054079616,0.003288169,0.002209342,0.0021974652],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002074468,0.000056332858,0.011053811,0.0005230611,0.000028957518,0.0006816247,0.17082526,0.000103662685,0.0048877024,0.519499,0.045324586,0.24680845],"study_design_scores_gemma":[0.000011604882,0.00005303744,0.029945062,0.00043224928,0.00001760783,0.0007495877,0.12045123,0.00015953527,0.00087566255,0.04212886,0.80513006,0.00004550177],"about_ca_topic_score_codex":0.051316544,"about_ca_topic_score_gemma":0.11437455,"teacher_disagreement_score":0.051316544,"about_ca_system_score_codex":0.0068769776,"about_ca_system_score_gemma":0.005468997,"threshold_uncertainty_score":0.1020357},"labels":[],"label_agreement":null},{"id":"W2067635879","doi":"10.3138/jrpc.23.1.14","title":"Hidden in Music","year":2011,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Plea; Religiosity; Perspective (graphical); Sociology; Transcendental number; Scale (ratio); Aesthetics; Epistemology; Psychology; Social psychology; Visual arts; Art; Political science; Cartography; Law; Philosophy; Geography","score_opus":0.038783938954196844,"score_gpt":0.21699852178766335,"score_spread":0.1782145828334665,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2067635879","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.20956117,0.013780677,0.007274564,0.028116956,0.0035772645,0.000077954515,0.0003670271,0.00020148544,0.73704296],"genre_scores_gemma":[0.88686895,0.0039097345,0.0017107482,0.0027330446,0.00069061934,0.000032728603,0.00013203247,0.00010152438,0.10382063],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99898285,0.00037403128,0.000039182254,0.00014213742,0.00026563098,0.00019605819],"domain_scores_gemma":[0.9987413,0.00035971435,0.00013840648,0.0002173444,0.0001563068,0.00038689407],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012456765,0.00030584043,0.0002733743,0.0008547091,0.004914627,0.008559751,0.0005114909,0.0013050933,0.021823157],"category_scores_gemma":[0.0041587967,0.00020471703,0.00031347925,0.0007443655,0.007755526,0.005749295,0.005515315,0.0019528377,0.0029498795],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00026708533,0.00011800663,0.010774068,0.00059657847,0.000063546126,0.0020569381,0.2775053,0.00015800401,0.0037324973,0.4798005,0.048121713,0.17680578],"study_design_scores_gemma":[0.000021802185,0.00012716926,0.0075196954,0.0006451054,0.00003172308,0.0012397858,0.14725477,0.0001140436,0.0009791617,0.04806735,0.79396224,0.000037228085],"about_ca_topic_score_codex":0.0023925675,"about_ca_topic_score_gemma":0.005088151,"teacher_disagreement_score":0.021823157,"about_ca_system_score_codex":0.0012441154,"about_ca_system_score_gemma":0.001144897,"threshold_uncertainty_score":0.073005795},"labels":[],"label_agreement":null},{"id":"W2069711865","doi":"10.1177/0038038511399627","title":"The Prosumer and the Project Studio: The Battle for Distinction in the Field of Music Recording","year":2011,"lang":"en","type":"article","venue":"Sociology","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":41,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Bishop's University","funders":"","keywords":"Habitus; Sociology; Cultural capital; Prosumer; Field (mathematics); Doxa; Epistemology; Social science","score_opus":0.08474387361941935,"score_gpt":0.27423634667379904,"score_spread":0.1894924730543797,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2069711865","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.84486175,0.0029606454,0.017301733,0.018894454,0.00025485543,0.000106526975,0.000038271013,0.000028349126,0.115553424],"genre_scores_gemma":[0.99567693,0.0004647381,0.0013571203,0.0005767461,0.00008298754,0.00004209123,0.00000707901,0.00002065162,0.0017717513],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9865211,0.010863862,0.00019011046,0.0009303978,0.0009897423,0.0005046675],"domain_scores_gemma":[0.9834652,0.014031641,0.0007594459,0.000995371,0.00032683898,0.0004214298],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.012972536,0.00038758898,0.0005077803,0.002189148,0.0078028245,0.01026458,0.0013910361,0.002266579,0.0031803588],"category_scores_gemma":[0.015447916,0.0004828451,0.0002582503,0.0023904946,0.049891215,0.016176501,0.006883116,0.0041030007,0.00027718983],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009118925,0.000079187914,0.0026625015,0.000095498624,0.0000056898293,0.00033853314,0.82461786,0.000052892025,0.0007034751,0.15279885,0.0008829144,0.017671386],"study_design_scores_gemma":[0.00003688326,0.000113617745,0.0078009185,0.0003370461,0.0000143180105,0.00067378883,0.8794081,0.00036996944,0.0009781669,0.06357327,0.046659775,0.000034172],"about_ca_topic_score_codex":0.0020448666,"about_ca_topic_score_gemma":0.0033035635,"teacher_disagreement_score":0.99219716,"about_ca_system_score_codex":0.002762929,"about_ca_system_score_gemma":0.0023200964,"threshold_uncertainty_score":0.06860614},"labels":[],"label_agreement":null},{"id":"W2069781389","doi":"10.3138/jrpc.21.1.005","title":"Unveiling Satan’s Wrath: Aesthetics and Ideology in Anti-Christian Heavy Metal","year":2009,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":12,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Ideology; Blasphemy; Christianity; Resistance (ecology); Aesthetics; Art; Literature; Philosophy; Religious studies; Theology; Politics; Law; Political science","score_opus":0.01675677049484731,"score_gpt":0.23214641016079676,"score_spread":0.21538963966594946,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2069781389","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6123367,0.0014339963,0.0026747498,0.00691323,0.00040106478,0.000012178062,0.000019446648,0.000045910725,0.37616274],"genre_scores_gemma":[0.9900435,0.00013137574,0.00029207306,0.00017042241,0.000042570107,0.000002174935,0.0000037693503,0.000022202326,0.009291776],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.999448,0.00030300306,0.0000067511223,0.000031149215,0.0001026514,0.00010829903],"domain_scores_gemma":[0.999706,0.00012624479,0.000036081405,0.000036482117,0.00004037351,0.000054777367],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009443212,0.000357384,0.00013078513,0.00094744435,0.008010269,0.0043917173,0.0003950559,0.0010157097,0.0040812823],"category_scores_gemma":[0.00081699184,0.00016696437,0.00015566038,0.00059561536,0.016377995,0.0015189723,0.0031141806,0.002042689,0.00034421484],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00025361212,0.000049436614,0.002794517,0.000118512675,0.000016115608,0.0012165494,0.52283746,0.0002303034,0.0056736274,0.43668747,0.010568665,0.019553764],"study_design_scores_gemma":[0.000046871704,0.00015815793,0.011133596,0.00024779222,0.000026450736,0.0021358796,0.58823335,0.0008987532,0.0028534462,0.054956395,0.3392613,0.000047942754],"about_ca_topic_score_codex":0.0018509977,"about_ca_topic_score_gemma":0.0072016995,"teacher_disagreement_score":0.008010269,"about_ca_system_score_codex":0.0015378783,"about_ca_system_score_gemma":0.00047692098,"threshold_uncertainty_score":0.013653219},"labels":[],"label_agreement":null},{"id":"W2070065675","doi":"10.7202/1027774ar","title":"Authenticities: A Semiotic Exploration1","year":2014,"lang":"en","type":"article","venue":"Recherches sémiotiques","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":7,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Lament; Postmodernism; Ideology; Sign (mathematics); Object (grammar); Semiotics; Sociology; Epistemology; Aesthetics; Linguistics; Literature; Philosophy; Art; Mathematics; Political science; Law; Politics","score_opus":0.14989994570144297,"score_gpt":0.27273510671619405,"score_spread":0.12283516101475109,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2070065675","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.084448054,0.018666523,0.113193914,0.029396921,0.0014810836,0.00017428352,0.000107167645,0.0002127234,0.7523193],"genre_scores_gemma":[0.97397286,0.002991218,0.010320691,0.0006916628,0.00031679077,0.00010716214,0.00004900525,0.00010233725,0.011448361],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9794104,0.017263664,0.00045559707,0.00080490863,0.0014611587,0.0006042877],"domain_scores_gemma":[0.9867193,0.010072433,0.0007375191,0.0011252745,0.0008305376,0.000514876],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.011422861,0.00086455425,0.0005872695,0.0037495669,0.012217762,0.013584009,0.0016223321,0.0035806207,0.0034228796],"category_scores_gemma":[0.012002916,0.00043500747,0.00066371536,0.0031413916,0.08009575,0.015854226,0.010592599,0.0050784852,0.00064101303],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008533757,0.0000074513,0.00014954795,0.000048515703,0.0000019860956,0.00016521197,0.083222635,0.00006957365,0.00013301692,0.9125666,0.0009434467,0.002683465],"study_design_scores_gemma":[0.000015478156,0.00005841356,0.0003527394,0.00042937204,0.0000074948825,0.001214153,0.123615414,0.0009707122,0.0006374938,0.5356038,0.3370637,0.000031175532],"about_ca_topic_score_codex":0.0018110409,"about_ca_topic_score_gemma":0.0018713055,"teacher_disagreement_score":0.013584009,"about_ca_system_score_codex":0.0056159766,"about_ca_system_score_gemma":0.002997394,"threshold_uncertainty_score":0.06041056},"labels":[],"label_agreement":null},{"id":"W2071199559","doi":"10.7202/1014691ar","title":"Post-World War II Rhythm and Blues: Jump Blues, Club Blues, and Roy Brown","year":2013,"lang":"en","type":"article","venue":"Canadian University Music Review","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Blues; Singing; Rhythm; Dance; Bass (fish); Art; Club; Jazz; Art history; Visual arts; Literature; Aesthetics; Management; Biology","score_opus":0.017655655193669097,"score_gpt":0.16658930775256892,"score_spread":0.14893365255889982,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2071199559","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.022601126,0.9134866,0.000110430075,0.026366819,0.0012987191,0.000011147481,0.00006911157,0.0000080356795,0.036048047],"genre_scores_gemma":[0.24001461,0.71674186,0.0002601274,0.007969628,0.002317964,0.00002027807,0.00010332898,0.00001981706,0.032552384],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99898106,0.00025910776,0.000036291236,0.000107426014,0.00045125716,0.00016487885],"domain_scores_gemma":[0.9984864,0.00042289717,0.00016247237,0.00003588296,0.0007157584,0.00017659787],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017578271,0.00025872645,0.00030254852,0.0029430338,0.002646912,0.0024326073,0.0006519222,0.00075056753,0.0027986718],"category_scores_gemma":[0.0028568085,0.00014274675,0.00010822134,0.004531597,0.0057426677,0.0015943409,0.0011885324,0.0011669286,0.00054070586],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003338984,0.00006727819,0.015948858,0.0041420874,0.000069209105,0.0014575775,0.061067384,0.00028500924,0.0015579293,0.07358925,0.28327766,0.55820394],"study_design_scores_gemma":[0.000015347821,0.00006816516,0.06229727,0.0018722285,0.00003109459,0.00082543475,0.038726903,0.000031168667,0.000275876,0.0021750275,0.8936488,0.000032721447],"about_ca_topic_score_codex":0.4495027,"about_ca_topic_score_gemma":0.61048824,"teacher_disagreement_score":0.4495027,"about_ca_system_score_codex":0.007057367,"about_ca_system_score_gemma":0.01361901,"threshold_uncertainty_score":0.8937726},"labels":[],"label_agreement":null},{"id":"W2071234697","doi":"10.7202/1014470ar","title":"Judith Tick. Ruth Crawford Seeger: A Composer's Search for American Music. New York and Oxford: Oxford University Press, 1997. xiv, 457 pp. ISBN 0-19- 506509-3 (hardcover) Joseph N. Straus. The Music of Ruth Crawford Seeger. Cambridge: Cambridge University Press, 1995. xii, 260 pp. ISBN 0-521-41646-9 (hardcover)","year":2000,"lang":"en","type":"article","venue":"Canadian University Music Review","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art history; Art","score_opus":0.03585013206968259,"score_gpt":0.20193323574180674,"score_spread":0.16608310367212414,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2071234697","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0001456669,0.9551558,0.00010624865,0.01756486,0.0037747554,0.000016159653,0.00015103484,0.000038780818,0.023046758],"genre_scores_gemma":[0.003538287,0.7763197,0.0005550749,0.008894294,0.003398126,0.000039177594,0.00026807285,0.000085231455,0.20690206],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99862015,0.00015738749,0.00008531944,0.00014620573,0.00082386547,0.00016696074],"domain_scores_gemma":[0.9986753,0.000351117,0.00015968601,0.000043806078,0.00046107068,0.0003090774],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012786131,0.0016536469,0.0009769459,0.005808061,0.0029188597,0.0048625255,0.00147561,0.0033721176,0.07739356],"category_scores_gemma":[0.0035229349,0.00093195774,0.00044064762,0.009638813,0.0016680785,0.0062695374,0.0017867312,0.002966096,0.041356795],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000127052,0.000004256529,0.00006371579,0.0004128055,0.0000051577977,0.00003199779,0.00020234165,0.000011921962,0.000074780786,0.0010801532,0.9508541,0.047246173],"study_design_scores_gemma":[0.000007054044,0.0000064238397,0.001180666,0.00081642944,0.000007795168,0.000105406034,0.00047274656,0.000007568108,0.00004067708,0.0007063539,0.99664056,0.000008287704],"about_ca_topic_score_codex":0.13321617,"about_ca_topic_score_gemma":0.41901672,"teacher_disagreement_score":0.13321617,"about_ca_system_score_codex":0.0046185027,"about_ca_system_score_gemma":0.0070132334,"threshold_uncertainty_score":0.26488155},"labels":[],"label_agreement":null},{"id":"W2071623507","doi":"10.3138/cras-s031-02-05","title":"“Holler if Ya Hear Me”: Black Men, (Bad) Raps, and Resistance","year":2001,"lang":"en","type":"article","venue":"Canadian Review of American Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Resistance (ecology); Praxis; Power (physics); Argument (complex analysis); Silence; Relation (database); Frontier; Oppression; Art; Sociology; History; Aesthetics; Art history; Literature; Politics; Law; Political science","score_opus":0.032335047013307444,"score_gpt":0.25566114296699693,"score_spread":0.2233260959536895,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2071623507","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.42990002,0.050107356,0.0009635585,0.17604059,0.0026642613,0.00004325962,0.000048671787,0.000042743075,0.34018943],"genre_scores_gemma":[0.9711031,0.0059773335,0.000183203,0.0049157892,0.00066648563,0.000029307614,0.000009280412,0.00002478955,0.017090695],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99706763,0.0020828359,0.00003168724,0.0001629091,0.00025531277,0.00039962117],"domain_scores_gemma":[0.9981337,0.0010402249,0.0002722381,0.00006131327,0.0001271563,0.00036533855],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026315239,0.00053973065,0.00033528908,0.0012464866,0.019992396,0.0074918303,0.0008005625,0.002215136,0.0042458205],"category_scores_gemma":[0.0038988725,0.00028054832,0.00012801417,0.0009918852,0.033478953,0.004874314,0.0032880283,0.004064515,0.0003900537],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004345124,0.000054719112,0.0025338796,0.000110172674,0.000008148658,0.0003296352,0.7620436,0.000038059734,0.00014916828,0.18058309,0.037953675,0.016152319],"study_design_scores_gemma":[0.000010806235,0.000045115125,0.0043957965,0.00047476706,0.000011730728,0.00024150702,0.7564347,0.00006446716,0.00015366134,0.015726613,0.22242258,0.000018302433],"about_ca_topic_score_codex":0.012880476,"about_ca_topic_score_gemma":0.020926243,"teacher_disagreement_score":0.019992396,"about_ca_system_score_codex":0.0036168536,"about_ca_system_score_gemma":0.0020762149,"threshold_uncertainty_score":0.026242256},"labels":[],"label_agreement":null},{"id":"W2074450242","doi":"10.2752/174589309x388609","title":"Sound Containers: Recent Sound Art in Toronto","year":2009,"lang":"en","type":"article","venue":"The Senses and Society","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sound (geography); Acoustics; Geology; Physics","score_opus":0.02634766053709568,"score_gpt":0.2372785168195304,"score_spread":0.21093085628243474,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2074450242","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.12966165,0.061688986,0.0025075157,0.030169884,0.0021839824,0.00005405077,0.0020610965,0.00023616066,0.77143663],"genre_scores_gemma":[0.6922327,0.026597902,0.0016882693,0.0009875044,0.00054321444,0.000025661873,0.00069907616,0.0001830441,0.27704263],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99935347,0.00008477535,0.000023357488,0.00008814872,0.00023111435,0.00021916158],"domain_scores_gemma":[0.9991823,0.000183303,0.00008802829,0.00009074624,0.00021528537,0.00024035583],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00066558114,0.0004924191,0.00027143786,0.0020771292,0.010639397,0.007420769,0.00090256834,0.0014800746,0.040317755],"category_scores_gemma":[0.0015163652,0.000318417,0.00028371534,0.007552962,0.0060500624,0.0025041478,0.0037181934,0.0021324381,0.0017992612],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004269991,0.000044129185,0.0067594936,0.00097199646,0.000037508464,0.0022157491,0.15259849,0.0009427927,0.0024295566,0.38988173,0.17893721,0.26475438],"study_design_scores_gemma":[0.000007162161,0.000024351568,0.018429989,0.00026338297,0.000017220962,0.00020187207,0.03419928,0.00018580626,0.00046492455,0.0037120203,0.9424632,0.000030803116],"about_ca_topic_score_codex":0.84338456,"about_ca_topic_score_gemma":0.9657898,"teacher_disagreement_score":0.15661544,"about_ca_system_score_codex":0.036863364,"about_ca_system_score_gemma":0.019547092,"threshold_uncertainty_score":0.31507552},"labels":[],"label_agreement":null},{"id":"W2075955827","doi":"10.1177/0008429814548175","title":"Music and the Divine","year":2014,"lang":"en","type":"article","venue":"Studies in Religion/Sciences Religieuses","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Meaning (existential); Foundation (evidence); Movement (music); Visual arts; Aesthetics; Psychology; Sociology; History; Art; Epistemology; Philosophy; Archaeology","score_opus":0.08722006525311311,"score_gpt":0.29279380565176805,"score_spread":0.20557374039865495,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2075955827","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.021899678,0.015288798,0.00080954627,0.019565508,0.0014176714,0.000011444944,0.000033261313,0.000033498403,0.9409406],"genre_scores_gemma":[0.81747127,0.007992658,0.00072535244,0.0045394753,0.0024977406,0.000025316707,0.000042154996,0.000059981678,0.16664597],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99911934,0.0004632825,0.000021443895,0.00010453876,0.00016921695,0.00012211358],"domain_scores_gemma":[0.999253,0.00025021652,0.00009799843,0.000097875614,0.00008221425,0.0002187399],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00083749404,0.00032869924,0.00020471311,0.0009903343,0.006087234,0.0074074017,0.00059643225,0.0018006912,0.01979092],"category_scores_gemma":[0.002201668,0.00009696512,0.00010675219,0.0006992062,0.021111086,0.0033784488,0.0033023423,0.0023000708,0.0018255397],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000042534328,0.000030409452,0.0009882293,0.00008838046,0.000005564655,0.0001712449,0.02673174,0.00007557772,0.00024806493,0.9066405,0.02212276,0.04285507],"study_design_scores_gemma":[0.00001846302,0.00006551974,0.002145659,0.00027279358,0.0000036972242,0.00034705983,0.020416435,0.000063798434,0.00014905121,0.13473108,0.8417734,0.000013036885],"about_ca_topic_score_codex":0.0027320501,"about_ca_topic_score_gemma":0.005289808,"teacher_disagreement_score":0.01979092,"about_ca_system_score_codex":0.0017515462,"about_ca_system_score_gemma":0.0011491873,"threshold_uncertainty_score":0.06620723},"labels":[],"label_agreement":null},{"id":"W2076000789","doi":"10.1177/0196859913479800","title":"Communicative Power and Ideology in Popular Music","year":2013,"lang":"en","type":"article","venue":"Journal of Communication Inquiry","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":7,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Wilfrid Laurier University","funders":"","keywords":"Popular music; Ideology; Sociology; Aesthetics; Musical; Power (physics); Subjectivity; Context (archaeology); Capitalism; Critical theory; Music and emotion; Politics; Music history; Consumption (sociology); Epistemology; Social science; Literature; Political science; Art; History; Philosophy; Law","score_opus":0.06283619208066105,"score_gpt":0.2657805728463288,"score_spread":0.20294438076566773,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2076000789","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.23333007,0.0036186588,0.00602283,0.017432282,0.00029664466,0.00003753799,0.000018822437,0.000025114552,0.7392181],"genre_scores_gemma":[0.9942468,0.00040300912,0.00044735358,0.0003862602,0.00019190556,0.000021823751,0.0000034349805,0.000010542091,0.0042889705],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9936487,0.0039999345,0.00011249488,0.0004797351,0.0011026671,0.0006564607],"domain_scores_gemma":[0.9944898,0.004102448,0.00049025496,0.00028619415,0.00030819388,0.00032307373],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004519282,0.00039341766,0.00031599222,0.0033536127,0.00945313,0.011396431,0.00075956486,0.0028350777,0.003794111],"category_scores_gemma":[0.0068231407,0.00029029616,0.00026272182,0.0015630294,0.056144565,0.006190144,0.0065867915,0.0026355593,0.0002951698],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020154794,0.000018653049,0.0005446184,0.00003344838,0.0000055498567,0.00013463947,0.046354946,0.0000764912,0.00019140361,0.9474509,0.0005401378,0.0046290867],"study_design_scores_gemma":[0.000119883494,0.00009053717,0.00418481,0.0002783069,0.000030192141,0.0003879024,0.083523214,0.0010482939,0.000824722,0.7960734,0.113396876,0.00004189466],"about_ca_topic_score_codex":0.0020688698,"about_ca_topic_score_gemma":0.0015873271,"teacher_disagreement_score":0.011396431,"about_ca_system_score_codex":0.0043336703,"about_ca_system_score_gemma":0.001512864,"threshold_uncertainty_score":0.03144318},"labels":[],"label_agreement":null},{"id":"W2077601907","doi":"10.1353/not.2011.0172","title":"I Don't Sound Like Nobody: Remaking Music in 1950s America (review)","year":2011,"lang":"en","type":"article","venue":"Notes","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"nobody; Portrait; Musical; Popular music; Harpsichord; Art history; History; Art; Funk; White (mutation); Performance art; Piano; Visual arts; Literature","score_opus":0.1077037800347785,"score_gpt":0.2367447948115539,"score_spread":0.12904101477677538,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2077601907","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000045529334,0.99943525,0.000004230617,0.00026413825,0.00009198354,0.0000013742388,0.000009562316,9.473855e-7,0.00014686023],"genre_scores_gemma":[0.00057572406,0.99863976,0.000020372276,0.000470059,0.00011794195,0.000004938019,0.00002028366,7.1562215e-7,0.000150179],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99959284,0.000096512755,0.00008981233,0.000060438833,0.000119361954,0.00004101342],"domain_scores_gemma":[0.9984763,0.0007632513,0.0003403651,0.000021320426,0.0002510911,0.00014758715],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010223876,0.0005521954,0.0010038859,0.0024240562,0.00032701233,0.0015105522,0.00084727025,0.0010907992,0.0050067813],"category_scores_gemma":[0.0029633993,0.00033851215,0.00067122345,0.0032639105,0.0006071835,0.0016462135,0.0007236583,0.0015125284,0.0013568791],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016032656,0.000045505767,0.00068618834,0.08346684,0.00040498012,0.00009863623,0.0004031628,0.0000919817,0.00019399755,0.0011897279,0.1260726,0.78718615],"study_design_scores_gemma":[0.00009536687,0.00023172594,0.009944486,0.10575435,0.00096982147,0.0010852958,0.00092375197,0.00004932756,0.000115985065,0.00074291317,0.8800419,0.00004513171],"about_ca_topic_score_codex":0.007659109,"about_ca_topic_score_gemma":0.022107676,"teacher_disagreement_score":0.007659109,"about_ca_system_score_codex":0.0009725476,"about_ca_system_score_gemma":0.0021950086,"threshold_uncertainty_score":0.016749382},"labels":[],"label_agreement":null},{"id":"W2081452721","doi":"10.1080/09298215.2013.848903","title":"Record Producers’ Best Practices For Artistic Direction—From Light Coaching To Deeper Collaboration With Musicians","year":2013,"lang":"en","type":"article","venue":"Journal of New Music Research","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":11,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Coaching; Context (archaeology); Musical; Studio; Grounded theory; Best practice; Tacit knowledge; Citizen journalism; Process (computing); Production (economics); Qualitative research; Psychology; Computer science; Sociology; Knowledge management; Visual arts; Art; Management; World Wide Web; Social science","score_opus":0.21066546495895486,"score_gpt":0.36791190850503014,"score_spread":0.15724644354607528,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2081452721","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7847309,0.0019403807,0.07085612,0.01378493,0.00019163893,0.00064899836,0.00010606982,0.00039221122,0.12734865],"genre_scores_gemma":[0.97735596,0.0005177637,0.016466847,0.00031229336,0.00002349919,0.00016439793,0.00002937102,0.00006937956,0.0050605303],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9768677,0.016445229,0.0008635559,0.0016538281,0.003041236,0.0011283942],"domain_scores_gemma":[0.98073226,0.011281114,0.0018481793,0.00248722,0.0017843791,0.0018668183],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.019675612,0.0004594548,0.00040628616,0.0019881679,0.009326048,0.008991928,0.0016854481,0.0019785527,0.0035036018],"category_scores_gemma":[0.025858007,0.0006267226,0.00040404004,0.0010425454,0.011498823,0.008075884,0.0081369225,0.0022427612,0.00062255235],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006603883,0.000099893085,0.006927863,0.00035294605,0.000019675517,0.00073107675,0.9271772,0.00018734529,0.0036875138,0.015308975,0.0021606446,0.043280885],"study_design_scores_gemma":[0.000037361086,0.00016351226,0.007656642,0.0007270022,0.000037866434,0.001305423,0.8640941,0.00054526597,0.0024150938,0.009923717,0.11302241,0.00007165271],"about_ca_topic_score_codex":0.00269008,"about_ca_topic_score_gemma":0.004347017,"teacher_disagreement_score":0.019675612,"about_ca_system_score_codex":0.0030225741,"about_ca_system_score_gemma":0.0046090055,"threshold_uncertainty_score":0.10405582},"labels":[],"label_agreement":null},{"id":"W2081771460","doi":"10.1179/174581407x176685","title":"Music in Exile: Russian Émigré Composers and their Search For National Identity","year":2007,"lang":"en","type":"article","venue":"Slavonica","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Musical; Nationality; Émigré; National identity; German; Diaspora; Literature; Identity (music); Ethnic group; Russian culture; History; Musicology; Poetry; Folk music; Art; Gender studies; Sociology; Aesthetics; Anthropology; Political science; Immigration; Law; Politics","score_opus":0.06423597898134425,"score_gpt":0.2766558437046874,"score_spread":0.21241986472334312,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2081771460","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.95238596,0.0027560533,0.00029811726,0.0029946293,0.00017211058,0.000008539374,0.000010542216,0.000012733195,0.041361302],"genre_scores_gemma":[0.99379385,0.0010169417,0.00008634855,0.00030856056,0.000039958224,0.00000615106,0.000008371523,0.0000074067843,0.004732388],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99840134,0.0008851348,0.00005679817,0.00012709192,0.00019075391,0.0003388898],"domain_scores_gemma":[0.99885404,0.000409809,0.00026636102,0.0000686584,0.00012335423,0.00027776623],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022483608,0.0004321408,0.00056901394,0.0013863491,0.008483422,0.007623338,0.0007259194,0.0015393384,0.0034564263],"category_scores_gemma":[0.00377769,0.0002224503,0.00021104519,0.0009033353,0.008358145,0.0026546523,0.0058262288,0.002670734,0.00042077975],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007779629,0.000041854517,0.011824726,0.00006888597,0.000015222967,0.0010594663,0.9592701,0.000021846836,0.0008971424,0.012116697,0.0010739058,0.013532282],"study_design_scores_gemma":[0.00000639175,0.000039199687,0.01370321,0.000063644,0.0000060897164,0.00046301004,0.96774185,0.0000307337,0.00012781368,0.00080327666,0.017007526,0.000007228201],"about_ca_topic_score_codex":0.0061231786,"about_ca_topic_score_gemma":0.010333086,"teacher_disagreement_score":0.008483422,"about_ca_system_score_codex":0.0011724908,"about_ca_system_score_gemma":0.0008006491,"threshold_uncertainty_score":0.012175083},"labels":[],"label_agreement":null},{"id":"W2081941754","doi":"10.1017/s0364009407000785","title":"Ted Merwin. In Their Own Image: New York Jews in Jazz Age Popular Culture. New Brunswick, NJ: Rutgers University Press, 2006. xiii, 215 pp.","year":2007,"lang":"en","type":"article","venue":"AJS Review The Journal of the Association for Jewish Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Jazz; Art history; Media studies; Art; History; Sociology","score_opus":0.04421212789671026,"score_gpt":0.2572183272717014,"score_spread":0.21300619937499116,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2081941754","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0013531611,0.7923778,0.00033889106,0.14611103,0.0114478525,0.000021667069,0.00031061843,0.00010807077,0.04793088],"genre_scores_gemma":[0.032849725,0.540131,0.0012725827,0.04053193,0.010974688,0.00008479237,0.00047234655,0.00023570964,0.37344718],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99967694,0.00008803844,0.00002085711,0.000030184181,0.00014225219,0.000041752843],"domain_scores_gemma":[0.99922955,0.00023753353,0.00006967149,0.000024659177,0.00026682098,0.00017174419],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00085887325,0.0009544261,0.0005351448,0.0020950404,0.0035226266,0.0026415337,0.0011999232,0.0025969814,0.039067477],"category_scores_gemma":[0.002184121,0.00064988335,0.0002839264,0.0022981337,0.001758818,0.0055109616,0.0012629781,0.002785753,0.012748735],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013392045,0.000004655529,0.0001933586,0.00011006488,0.0000030827093,0.000049666698,0.0010952541,0.0000051030584,0.000053654585,0.001492753,0.96818787,0.028791118],"study_design_scores_gemma":[0.000012156793,0.000009960131,0.0042755567,0.000677961,0.000011108107,0.00023074436,0.008188477,0.000018457567,0.000102143196,0.00175008,0.98471224,0.000011166302],"about_ca_topic_score_codex":0.058774058,"about_ca_topic_score_gemma":0.222953,"teacher_disagreement_score":0.058774058,"about_ca_system_score_codex":0.0019551516,"about_ca_system_score_gemma":0.0018358225,"threshold_uncertainty_score":0.13069373},"labels":[],"label_agreement":null},{"id":"W2082916556","doi":"10.7202/1014442ar","title":"Origins and Distinctions of the \"World Music\" and \"World Beat\" Designations","year":2013,"lang":"en","type":"article","venue":"Canadian University Music Review","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Jazz; Musical; Mainstream; Beat (acoustics); Art; Popular music; Music; Literature; History; Visual arts; Music education; Political science; Law; Acoustics","score_opus":0.03610258624648198,"score_gpt":0.17536356185592022,"score_spread":0.13926097560943823,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2082916556","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.040601935,0.3761874,0.0075178784,0.027977463,0.0029102343,0.000077070115,0.00018346576,0.00006644987,0.5444781],"genre_scores_gemma":[0.7747189,0.17585282,0.004935211,0.006878047,0.002225519,0.0001968713,0.0002789252,0.00012825304,0.034785498],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99450386,0.0023183215,0.0003153601,0.0006135124,0.0015726183,0.0006763795],"domain_scores_gemma":[0.996438,0.0015949262,0.00044391095,0.00023413399,0.0010456336,0.00024331738],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0058475398,0.00051505823,0.0006874668,0.0062503275,0.0031178899,0.009919325,0.0014455375,0.0016630357,0.0021184797],"category_scores_gemma":[0.006595812,0.00030281977,0.00026959865,0.007331841,0.025191415,0.005183198,0.002489609,0.003386423,0.000480471],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000252951,0.000008439532,0.0007701563,0.000287708,0.000008335268,0.0000795896,0.023237562,0.0000501296,0.0002501062,0.92698234,0.0067713996,0.04152902],"study_design_scores_gemma":[0.000022497801,0.000031745752,0.01758553,0.0018758883,0.000036523874,0.0004371304,0.027239745,0.00013828998,0.00030892587,0.083101325,0.8691799,0.00004247848],"about_ca_topic_score_codex":0.08140568,"about_ca_topic_score_gemma":0.08710479,"teacher_disagreement_score":0.08140568,"about_ca_system_score_codex":0.009782241,"about_ca_system_score_gemma":0.009190797,"threshold_uncertainty_score":0.16186368},"labels":[],"label_agreement":null},{"id":"W2083664808","doi":"10.1111/j.1533-1598.2007.00130.x","title":"Join the Ranks! Québec's Musical Union and “Emergent Musics”: A New Field of Cultural Activity?<sup>1</sup>","year":2007,"lang":"en","type":"article","venue":"Journal of Popular Music Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Université de Montréal","funders":"","keywords":"Musical; French; Humanities; Art; Art history; Sociology; Visual arts","score_opus":0.06745084865705181,"score_gpt":0.2860423594488096,"score_spread":0.21859151079175781,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2083664808","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.114419445,0.011549665,0.0005517264,0.22632276,0.005836322,0.00005605236,0.0012129389,0.00011932875,0.63993186],"genre_scores_gemma":[0.6095343,0.0032199384,0.00036370772,0.014507458,0.000979577,0.00004415832,0.0002806214,0.00009746869,0.37097284],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.9988796,0.0002346965,0.000016007465,0.00007590296,0.00027935323,0.0005144314],"domain_scores_gemma":[0.99796104,0.00035718436,0.00012764965,0.00008470222,0.0006516856,0.0008177502],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013383719,0.00027494205,0.00032189806,0.00080557377,0.016968438,0.011888839,0.0013186396,0.0024146987,0.07256612],"category_scores_gemma":[0.0025000218,0.00018394095,0.00025874397,0.002008876,0.005942683,0.0030950117,0.0018553672,0.002611024,0.0035299268],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018566313,0.00010136968,0.01831684,0.00021996134,0.000022970027,0.0004523509,0.06711089,0.00012038108,0.0005289476,0.17271577,0.63056636,0.1096585],"study_design_scores_gemma":[0.000014739825,0.000022849481,0.034440916,0.00020960675,0.000011809202,0.000078871955,0.13597904,0.00008391385,0.0001712143,0.0024532508,0.82650185,0.0000319751],"about_ca_topic_score_codex":0.96609646,"about_ca_topic_score_gemma":0.9899575,"teacher_disagreement_score":0.07256612,"about_ca_system_score_codex":0.028606402,"about_ca_system_score_gemma":0.045440197,"threshold_uncertainty_score":0.24275786},"labels":[],"label_agreement":null},{"id":"W2083982862","doi":"10.1080/1743873x.2013.799172","title":"Remembering the Beatles' legacy in Hamburg's problematic tourism strategy","year":2013,"lang":"en","type":"article","venue":"Journal of Heritage Tourism","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":15,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"City of Melbourne","keywords":"Tourism; Quarter (Canadian coin); Musical; Ideology; Cultural heritage; Investment (military); Music festival; Economy; History; Political science; Geography; Visual arts; Archaeology; Art; Politics; Law; Economics","score_opus":0.02437968490332606,"score_gpt":0.20924307627792002,"score_spread":0.18486339137459395,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2083982862","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.72034746,0.006719533,0.0019003211,0.029766785,0.001119433,0.000021415903,0.00012995405,0.00008512693,0.23991002],"genre_scores_gemma":[0.97735286,0.000848125,0.00025543774,0.0010874574,0.00006828236,0.0000056042454,0.000027391887,0.00002320482,0.020331558],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9991679,0.00029776603,0.00002299322,0.00007224557,0.00008346368,0.00035558586],"domain_scores_gemma":[0.99945337,0.0001709068,0.00008171524,0.000045241115,0.000041990494,0.00020684203],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011276293,0.00036962275,0.00020214968,0.0010188819,0.010656442,0.00886036,0.0006930798,0.0014817014,0.0044352873],"category_scores_gemma":[0.001238471,0.00025633737,0.00012354681,0.0010076631,0.016538287,0.0033493694,0.00477794,0.00191818,0.0005930843],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012136487,0.000041941337,0.008008528,0.00013796844,0.00002913868,0.004312758,0.5457838,0.00034308407,0.000683338,0.31539837,0.07925158,0.045888044],"study_design_scores_gemma":[0.000007973462,0.000025800779,0.006968556,0.00016384442,0.000010939071,0.0010697324,0.59177655,0.000132951,0.000336743,0.007817583,0.39165604,0.000033183336],"about_ca_topic_score_codex":0.034580763,"about_ca_topic_score_gemma":0.101748995,"teacher_disagreement_score":0.034580763,"about_ca_system_score_codex":0.007528103,"about_ca_system_score_gemma":0.0025000814,"threshold_uncertainty_score":0.068758965},"labels":[],"label_agreement":null},{"id":"W2084989111","doi":"10.7202/1014308ar","title":"Interpretation out of Contradiction: A World of Music in the West Indies","year":2013,"lang":"en","type":"article","venue":"Canadian University Music Review","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Canadian University Music Society","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Phenomenon; Interpretation (philosophy); Viewpoints; Dialogical self; Martinique; Sociology; Ethnography; Polyphony; Epistemology; Contradiction; Aesthetics; Representation (politics); Politics; History; Linguistics; Anthropology; West indies; Visual arts; Philosophy; Art; Ethnology","score_opus":0.03611016554315502,"score_gpt":0.18306209959036263,"score_spread":0.1469519340472076,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2084989111","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.94266933,0.0056546773,0.0031522491,0.011923344,0.00015979011,0.00004219674,0.00003264028,0.000029766627,0.036335964],"genre_scores_gemma":[0.9961577,0.000960539,0.0008953588,0.0005115371,0.000036071826,0.000021382126,0.000010419533,0.000024417663,0.0013824732],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9900068,0.0074944664,0.00026402695,0.0004119076,0.00085369055,0.0009690687],"domain_scores_gemma":[0.9939825,0.0043110093,0.0006645687,0.0004456483,0.00030518687,0.00029096843],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.008812908,0.0008453199,0.001082027,0.0034953193,0.023492087,0.01467944,0.0021571408,0.0036582404,0.0016329242],"category_scores_gemma":[0.011096606,0.00079373363,0.0005058749,0.0033924473,0.04399972,0.0073827193,0.010691392,0.0040279836,0.00024221091],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000030959643,0.0000053942977,0.00096523156,0.000051253628,0.000008908379,0.0013699586,0.98016924,0.00003710466,0.000560483,0.014247605,0.00017932216,0.002374544],"study_design_scores_gemma":[0.000007502709,0.000012394391,0.001518319,0.00016289517,0.0000153308,0.0008665736,0.97438985,0.00013703342,0.00039096986,0.004235879,0.018243462,0.000019820258],"about_ca_topic_score_codex":0.039870866,"about_ca_topic_score_gemma":0.05688292,"teacher_disagreement_score":0.039870866,"about_ca_system_score_codex":0.01033491,"about_ca_system_score_gemma":0.0046367045,"threshold_uncertainty_score":0.079277575},"labels":[],"label_agreement":null},{"id":"W2085406125","doi":"10.1177/016344370202400206","title":"Country music and cultural industry: mediating structures in transnational media flow","year":2002,"lang":"en","type":"article","venue":"Media Culture & Society","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":11,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Concordia University","funders":"","keywords":"Taste; Context (archaeology); Popular music; Creative industries; Consumption (sociology); Sociology; Music industry; Advertising; Business; Political science; History; Law; Social science; Literature; Psychology","score_opus":0.033604477298455296,"score_gpt":0.20599393069587701,"score_spread":0.17238945339742173,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2085406125","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.39796898,0.002324825,0.025514556,0.016220842,0.00016431851,0.0001438087,0.00013345401,0.00011920443,0.55741],"genre_scores_gemma":[0.9938798,0.00051927334,0.0015041623,0.00023808781,0.000019258581,0.000059882586,0.000019996765,0.000020123836,0.0037393584],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9951615,0.003134206,0.00013843365,0.0004193749,0.00044086945,0.00070570764],"domain_scores_gemma":[0.9959947,0.002209075,0.00053710485,0.00036678472,0.0003518097,0.0005404384],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0041168598,0.00045274597,0.00036562016,0.0033633888,0.008124862,0.01579633,0.0013364721,0.0018589081,0.016477995],"category_scores_gemma":[0.008816116,0.00051804195,0.00045670863,0.003373198,0.025703406,0.01311076,0.012201383,0.002121938,0.0007083329],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000030955078,0.000035150842,0.0046785376,0.000045483797,0.000012090341,0.00022143718,0.072882324,0.0001595941,0.00023847332,0.9132718,0.0004531907,0.00797094],"study_design_scores_gemma":[0.00011122694,0.000105842075,0.022419814,0.00056672934,0.00010337891,0.00031942193,0.29370797,0.0018880497,0.0011246471,0.59689283,0.082695,0.00006520754],"about_ca_topic_score_codex":0.020439606,"about_ca_topic_score_gemma":0.017103888,"teacher_disagreement_score":0.020439606,"about_ca_system_score_codex":0.006763621,"about_ca_system_score_gemma":0.0077937185,"threshold_uncertainty_score":0.055124402},"labels":[],"label_agreement":null},{"id":"W2085957376","doi":"10.3167/ej.2009.420210","title":"Singing in Yiddish about London: 1880-1940","year":2009,"lang":"en","type":"article","venue":"European Judaism","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Singing; Yiddish; History; Meaning (existential); Pavilion; Comics; Judaism; Literature; Art; Art history; Visual arts","score_opus":0.019553775975205134,"score_gpt":0.19504983755531696,"score_spread":0.17549606158011183,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2085957376","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6922545,0.017583285,0.00037935324,0.0040036133,0.0004088391,0.00003642157,0.0012430556,0.000052554256,0.28403845],"genre_scores_gemma":[0.84835005,0.004001215,0.00018739844,0.00043341477,0.00006856257,0.00001999769,0.0003215755,0.000060549322,0.1465572],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99965215,0.000062623236,0.000016603732,0.000056305707,0.00007918538,0.00013325052],"domain_scores_gemma":[0.99977416,0.00004682951,0.000038256618,0.000021980683,0.000055463122,0.000063365886],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00048190803,0.00027268368,0.00022748149,0.00091137935,0.00445444,0.002275536,0.0003064332,0.0006881479,0.009667522],"category_scores_gemma":[0.000869892,0.00025273772,0.00009579297,0.0014541175,0.0049220575,0.0012333338,0.0021396554,0.00109882,0.00193747],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00036253233,0.00003126892,0.027752241,0.00053255673,0.00003965153,0.0026497,0.7958951,0.00014436818,0.0064285584,0.045550823,0.041184247,0.079428904],"study_design_scores_gemma":[0.000013605982,0.000049227743,0.06154133,0.00026452655,0.000015797084,0.00053934497,0.103014804,0.000018058377,0.0012168394,0.00044938683,0.83284944,0.000027770287],"about_ca_topic_score_codex":0.10345346,"about_ca_topic_score_gemma":0.3951807,"teacher_disagreement_score":0.10345346,"about_ca_system_score_codex":0.007725714,"about_ca_system_score_gemma":0.0018350711,"threshold_uncertainty_score":0.2057026},"labels":[],"label_agreement":null},{"id":"W2086181943","doi":"10.3138/md.47.2.269","title":"Choreographies of Resistance: Latinalo Queer Dance and the Utopian Performative","year":2004,"lang":"en","type":"article","venue":"Modern Drama","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":76,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"Tehran University of Medical Sciences and Health Services","keywords":"Queer; Witness; Performative utterance; Dance; Aesthetics; Reverence; Heaven; Pleasure; Art; Realm; Identity (music); Resistance (ecology); Human sexuality; Sociology; Visual arts; Gender studies; History; Literature; Psychology; Political science","score_opus":0.011601966116683507,"score_gpt":0.18928364074732543,"score_spread":0.1776816746306419,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2086181943","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5693188,0.0074443747,0.0019942212,0.017685208,0.0005101254,0.00008510519,0.00019328194,0.00010822363,0.4026607],"genre_scores_gemma":[0.9677541,0.0019948822,0.00027256733,0.0009686481,0.00008515186,0.0000554384,0.000052049814,0.00010165097,0.02871546],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986424,0.00087890617,0.000018324634,0.00008932242,0.000081881386,0.00028918975],"domain_scores_gemma":[0.9993204,0.00037893397,0.00007890337,0.000052541083,0.000045125395,0.00012416806],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011398232,0.00075841707,0.00039136162,0.002177127,0.01666232,0.0060646,0.00097330444,0.0015651599,0.0094018625],"category_scores_gemma":[0.0024237381,0.00024100176,0.0003354088,0.0017644109,0.015271644,0.0023975098,0.0059195454,0.0026310745,0.00062946934],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000038555492,0.000011195842,0.0007817717,0.000071563896,0.000008083088,0.000992579,0.964356,0.000040568288,0.0005700021,0.024862051,0.0042299745,0.004037731],"study_design_scores_gemma":[0.000005967847,0.000009351772,0.001863115,0.00019114646,0.000009212592,0.00029931107,0.8776516,0.00004748402,0.00022809746,0.0014264408,0.118258744,0.000009489922],"about_ca_topic_score_codex":0.07089974,"about_ca_topic_score_gemma":0.15814163,"teacher_disagreement_score":0.07089974,"about_ca_system_score_codex":0.00472004,"about_ca_system_score_gemma":0.0016083262,"threshold_uncertainty_score":0.1409741},"labels":[],"label_agreement":null},{"id":"W2088745077","doi":"10.1111/socf.12109","title":"Innovation and Diversity Redux: Analyzing Musical Form and Content in the American Recording Industry, 1990–2009","year":2014,"lang":"en","type":"article","venue":"Sociological Forum","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":11,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Diversity (politics); Musical; Context (archaeology); Performing arts; Music industry; Sociology; Perspective (graphical); Autonomy; Digitization; Political science; Visual arts; Art; Computer science; History; Anthropology","score_opus":0.09613320218896994,"score_gpt":0.25421367812277507,"score_spread":0.15808047593380514,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2088745077","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9939029,0.00040029,0.00021045696,0.00015466944,0.0000043728637,0.000011321767,0.00009507123,0.0000022752677,0.0052185683],"genre_scores_gemma":[0.99802315,0.00029681335,0.00031275026,0.00003133006,0.000015346672,0.000012802841,0.0002030882,0.0000020774057,0.0011026714],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.998958,0.00022982196,0.00009089639,0.00015591756,0.00033060802,0.00023480156],"domain_scores_gemma":[0.9936278,0.002280819,0.0021700575,0.00026503764,0.0011207067,0.0005356113],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002010011,0.00018286338,0.0002114954,0.0064762593,0.0018653204,0.002300457,0.00067652785,0.0004883273,0.0011093831],"category_scores_gemma":[0.006594209,0.0001565008,0.00024268733,0.007325788,0.0024740407,0.0021171274,0.0031329826,0.000870122,0.00014974157],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018270004,0.00017628432,0.8501465,0.000101024016,0.000043646327,0.0005266849,0.062175695,0.00057590636,0.001333299,0.0044112797,0.0010146111,0.07931248],"study_design_scores_gemma":[0.000002975737,0.000043802385,0.9663939,0.000023835757,0.000014655865,0.00012795092,0.029243758,0.0003582099,0.00028368048,0.00047252403,0.0030255239,0.000009218391],"about_ca_topic_score_codex":0.060523085,"about_ca_topic_score_gemma":0.13564782,"teacher_disagreement_score":0.060523085,"about_ca_system_score_codex":0.0031880809,"about_ca_system_score_gemma":0.0016575347,"threshold_uncertainty_score":0.1203416},"labels":[],"label_agreement":null},{"id":"W2089426646","doi":"10.1558/rsth.v29i2.171","title":"“Hate Me Now”","year":2011,"lang":"en","type":"article","venue":"Religious Studies and Theology","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Memorial University of Newfoundland","funders":"","keywords":"Aesthetics; Realm; Musical; Messiah; Sensibility; Sociology; Absurdity; Politics; Metaphor; Literature; Art; Philosophy; Law; Theology; Political science","score_opus":0.04584192201742751,"score_gpt":0.22709863678298736,"score_spread":0.18125671476555985,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2089426646","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.23824008,0.0012760097,0.009186185,0.0150010055,0.0028625522,0.00006531379,0.0002613269,0.00022557046,0.73288196],"genre_scores_gemma":[0.87554646,0.00081196456,0.0019124738,0.0019850486,0.00044562036,0.00003540304,0.00015265313,0.00012525282,0.118985206],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992601,0.00034365238,0.0000112250045,0.000072517316,0.00022854556,0.000083875486],"domain_scores_gemma":[0.9991652,0.0003465702,0.000105915184,0.000065285254,0.00017669027,0.00014048998],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00049311947,0.00033237733,0.00011962994,0.0004602708,0.0033366026,0.0018238055,0.00039891995,0.0008182103,0.009203076],"category_scores_gemma":[0.0028939066,0.00008937141,0.00013736826,0.00021730995,0.002789778,0.0016853574,0.0014974966,0.0013361425,0.001675113],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00029913802,0.00011625068,0.0068215504,0.0004430221,0.000035849742,0.0017993458,0.39730906,0.000343554,0.012424086,0.21526718,0.16370338,0.2014376],"study_design_scores_gemma":[0.0000051790216,0.00006869583,0.0062415125,0.00019128638,0.000009467218,0.0011371437,0.12472654,0.00036821785,0.0022942952,0.0033250612,0.8616037,0.000028812801],"about_ca_topic_score_codex":0.0056324517,"about_ca_topic_score_gemma":0.014196817,"teacher_disagreement_score":0.009203076,"about_ca_system_score_codex":0.00096312235,"about_ca_system_score_gemma":0.0005132826,"threshold_uncertainty_score":0.030787349},"labels":[],"label_agreement":null},{"id":"W2090868150","doi":"10.1111/j.0021-8529.2005.00206.x","title":"Just a Song? Exploring the Aesthetics of Popular Song Performance","year":2005,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":16,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Ottawa","funders":"","keywords":"Feeling; Aesthetics; Art; Expression (computer science); Relevance (law); Love song; Literature; Psychology; Social psychology; Poetry; Law","score_opus":0.055022450467881345,"score_gpt":0.23100012257242664,"score_spread":0.1759776721045453,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2090868150","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.29147568,0.019256242,0.0042185434,0.020707726,0.0010278784,0.000043367345,0.00004570137,0.00007486327,0.6631501],"genre_scores_gemma":[0.9777123,0.0026038603,0.00052770553,0.0008162934,0.0004493647,0.000023435925,0.000012700934,0.000067834415,0.017786605],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99724823,0.0020164386,0.000030438952,0.00011015709,0.00035502217,0.00023975906],"domain_scores_gemma":[0.9990114,0.0005817456,0.00008109907,0.00007910369,0.000104733226,0.00014196863],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022093083,0.00055233017,0.00030195402,0.0014884667,0.0075936094,0.012244614,0.0010337781,0.0015578261,0.0059304847],"category_scores_gemma":[0.0026736546,0.00022655574,0.0002591454,0.0011559554,0.02390044,0.0046945205,0.0040105865,0.0024638718,0.00052440714],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000112073634,0.000065492655,0.002750544,0.00027765086,0.000026810134,0.00079327746,0.6500519,0.00022572833,0.0014650854,0.2977757,0.012407408,0.03404845],"study_design_scores_gemma":[0.000038930786,0.00011353177,0.008566405,0.000469108,0.00002338744,0.0010249784,0.63938236,0.0005071026,0.00050429726,0.05655504,0.29278088,0.00003408169],"about_ca_topic_score_codex":0.0036584695,"about_ca_topic_score_gemma":0.009496332,"teacher_disagreement_score":0.012244614,"about_ca_system_score_codex":0.0029151568,"about_ca_system_score_gemma":0.0008242783,"threshold_uncertainty_score":0.021151066},"labels":[],"label_agreement":null},{"id":"W2091109429","doi":"10.7202/1014478ar","title":"What's the Difference? Reflections on Discourses of Morality, Modernism, and Mosaics in the Study of Music in Canada","year":2013,"lang":"en","type":"article","venue":"Canadian University Music Review","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Hybridity; Modernism (music); Realm; Morality; Relation (database); Sociology; Aesthetics; Colonialism; Ethnomusicology; Art; Musical; Literature; Epistemology; Anthropology; Political science; Philosophy; Law","score_opus":0.09435611320896092,"score_gpt":0.23562344575007133,"score_spread":0.1412673325411104,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2091109429","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18210791,0.4498754,0.00078823615,0.1794585,0.0020307293,0.00006452198,0.00027290467,0.000044908913,0.18535686],"genre_scores_gemma":[0.8655527,0.107261,0.0006408297,0.007852464,0.0003411981,0.000029056044,0.00008027574,0.000042477186,0.018199995],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99471855,0.0015501819,0.00015708417,0.00036187793,0.0016683112,0.0015439616],"domain_scores_gemma":[0.993309,0.0026457096,0.00045479138,0.00012047613,0.002492175,0.0009778031],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0061182156,0.00049608934,0.0007378932,0.0055193235,0.02268224,0.014664847,0.0023993452,0.002611994,0.0033436918],"category_scores_gemma":[0.008836089,0.00033737117,0.00035754096,0.0134034455,0.021606542,0.0036018828,0.0034205758,0.0028229537,0.00019726362],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016024508,0.000048008784,0.006366345,0.0018631581,0.00006600736,0.0012961279,0.48352396,0.0005818614,0.0010930834,0.32794103,0.071690954,0.10536923],"study_design_scores_gemma":[0.000024316945,0.00002360897,0.022505239,0.0017163391,0.000081312915,0.0003158856,0.41188273,0.00025269232,0.00046700405,0.010515068,0.5521209,0.00009483262],"about_ca_topic_score_codex":0.99417675,"about_ca_topic_score_gemma":0.9968501,"teacher_disagreement_score":0.18731725,"about_ca_system_score_codex":0.18731725,"about_ca_system_score_gemma":0.22500382,"threshold_uncertainty_score":0.9425968},"labels":[],"label_agreement":null},{"id":"W2092392775","doi":"10.7202/018836ar","title":"The Social Poetics of the Red River Jig in Alberta and Beyond","year":2008,"lang":"en","type":"article","venue":"Ethnologies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Poetics; Performative utterance; Dance; Identity (music); Visual arts; Art; Aesthetics; Archaeology; History; Sociology; Literature; Poetry","score_opus":0.03625938364333415,"score_gpt":0.22618564200661315,"score_spread":0.189926258363279,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2092392775","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.62550133,0.0049781157,0.0020290404,0.007866971,0.0001516161,0.000041098865,0.0000782186,0.00007434106,0.35927927],"genre_scores_gemma":[0.97376156,0.0009496353,0.0007952654,0.00027696366,0.000012661127,0.000009209575,0.000020782163,0.000014710826,0.024159225],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9987596,0.00036141515,0.0000145937975,0.00012508911,0.00028164548,0.00045756577],"domain_scores_gemma":[0.9994518,0.00013870798,0.000039719893,0.00003260639,0.00010859896,0.00022866571],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00097314594,0.00036970485,0.0002783893,0.0016937831,0.02225592,0.007854034,0.0012414864,0.0011142079,0.0030167773],"category_scores_gemma":[0.0011513014,0.0001956969,0.00015375037,0.002470151,0.025478287,0.001349654,0.0030761226,0.0013639124,0.00013639509],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007349714,0.000036725574,0.010722668,0.000102305625,0.000013882568,0.0015799828,0.67668736,0.00070486404,0.0017614268,0.24674335,0.008926196,0.052647687],"study_design_scores_gemma":[0.000006465574,0.000026195143,0.03347224,0.00019561608,0.000016909871,0.0003861898,0.7549518,0.00043723366,0.0003542282,0.012826645,0.19727072,0.000055808032],"about_ca_topic_score_codex":0.9736502,"about_ca_topic_score_gemma":0.99256235,"teacher_disagreement_score":0.04480413,"about_ca_system_score_codex":0.04480413,"about_ca_system_score_gemma":0.044207282,"threshold_uncertainty_score":0.3250782},"labels":[],"label_agreement":null},{"id":"W2093238235","doi":"10.1080/17493460600658318","title":"Translations: Artifacts from an Actor-Network Perspective","year":2007,"lang":"en","type":"article","venue":"Artifact","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":50,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Ephemeral key; Malleability; Perspective (graphical); Computer science; Actor–network theory; Everyday life; Cognitive science; Data science; Sociology; Epistemology; Artificial intelligence; Psychology; Social science; Computer security; Philosophy","score_opus":0.04313783863368842,"score_gpt":0.26800111929087933,"score_spread":0.2248632806571909,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2093238235","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.05862085,0.0026082515,0.4013043,0.018381631,0.000550775,0.00021509787,0.00032687996,0.00041336953,0.5175788],"genre_scores_gemma":[0.87648875,0.0020272483,0.07739405,0.00056618726,0.00020835322,0.00026594676,0.000262678,0.00019885204,0.042588066],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9939488,0.0047824495,0.0001574883,0.00040053533,0.0005271569,0.00018357161],"domain_scores_gemma":[0.99343675,0.0043865265,0.00042877655,0.0012690292,0.00031087303,0.00016794383],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0044036442,0.0006426408,0.00027279212,0.0014753753,0.0033540332,0.007035621,0.0011765901,0.0017800845,0.010806341],"category_scores_gemma":[0.008001396,0.0003502898,0.00040003142,0.0020937398,0.0122113,0.011584836,0.0036021275,0.0016928206,0.0009691243],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00000916182,0.0000069046996,0.00024084294,0.00004241218,0.0000037569819,0.00021509225,0.011707654,0.0006082467,0.00017502427,0.9780788,0.0010766321,0.00783561],"study_design_scores_gemma":[0.000018088193,0.00002169213,0.00042490682,0.00015064434,0.000015088336,0.00041560372,0.017380968,0.0058741523,0.00085734215,0.7475808,0.22724734,0.000013457485],"about_ca_topic_score_codex":0.002033427,"about_ca_topic_score_gemma":0.0019250967,"teacher_disagreement_score":0.996646,"about_ca_system_score_codex":0.0026602484,"about_ca_system_score_gemma":0.0014420493,"threshold_uncertainty_score":0.036150873},"labels":[],"label_agreement":null},{"id":"W2093795034","doi":"10.1080/03007766.2010.537928","title":"The “Ground Zero” of Goth: Bauhaus, “Bela Lugosi's Dead” and the Origins of Gothic Rock","year":2012,"lang":"en","type":"article","venue":"Popular Music & Society","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":29,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Style (visual arts); Context (archaeology); Art; Sine qua non; Literature; Palette (painting); Art history; History; Visual arts; Archaeology; Philosophy; Linguistics","score_opus":0.031133202626118826,"score_gpt":0.21751756479676634,"score_spread":0.18638436217064752,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2093795034","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.44186634,0.0104783,0.00087362755,0.0085177,0.00038447184,0.000021201116,0.000074933014,0.00003700253,0.5377464],"genre_scores_gemma":[0.9842934,0.00084010884,0.00013237991,0.00013067752,0.000038724025,0.000004182737,0.000016742106,0.0000135686605,0.014530217],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992785,0.00031750425,0.000016750048,0.00006471112,0.00016689037,0.00015566147],"domain_scores_gemma":[0.99935335,0.0002749043,0.00008449365,0.00003709262,0.00014034419,0.000109799556],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005917236,0.00021603449,0.00021080345,0.0013892045,0.004850643,0.0054647787,0.0005228806,0.00078726484,0.007832094],"category_scores_gemma":[0.001761614,0.00020128016,0.00008075674,0.0013716728,0.015168783,0.0015138318,0.0019675181,0.0013628594,0.00046727835],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019670084,0.000029296367,0.009877077,0.00022740035,0.00001348873,0.0011090825,0.5088968,0.00009257244,0.0009349146,0.42699823,0.010047486,0.041576892],"study_design_scores_gemma":[0.00001644544,0.000055456276,0.041369483,0.0006023509,0.000020125637,0.000670892,0.46156058,0.00010722507,0.00073489355,0.018418688,0.47639915,0.000044694345],"about_ca_topic_score_codex":0.11013339,"about_ca_topic_score_gemma":0.26615393,"teacher_disagreement_score":0.11013339,"about_ca_system_score_codex":0.0058448655,"about_ca_system_score_gemma":0.0019904994,"threshold_uncertainty_score":0.21898466},"labels":[],"label_agreement":null},{"id":"W2094834613","doi":"10.7202/1013308ar","title":"Glenn Gould's Idea of North and the production of place in music","year":2012,"lang":"en","type":"article","venue":"Intersections Canadian Journal of Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Musical; Identity (music); Object (grammar); Visual arts; Art; Sense of place; Literature; Aesthetics; Art history; Sociology; Linguistics; Philosophy; Social science","score_opus":0.02606865908013487,"score_gpt":0.18798735522061263,"score_spread":0.16191869614047777,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2094834613","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08945357,0.013678276,0.012461061,0.05302205,0.000727776,0.000037704904,0.000037281767,0.000058961014,0.83052325],"genre_scores_gemma":[0.9576275,0.0025644368,0.0033465447,0.0031380442,0.000114287825,0.000038138744,0.000010074334,0.0000434574,0.033117604],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9974361,0.0015663723,0.000042140753,0.00024992143,0.0005236727,0.00018185674],"domain_scores_gemma":[0.9985967,0.0009403949,0.00011794631,0.00009982004,0.00011278368,0.00013235539],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001969029,0.00043418637,0.0002360899,0.002108053,0.007123847,0.005233561,0.0008272424,0.002001419,0.0030852156],"category_scores_gemma":[0.002661033,0.00022502744,0.00020416439,0.001223845,0.051919516,0.0055059595,0.0036960475,0.0022801852,0.00024598412],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000027506747,0.000007346049,0.00053696183,0.00006549218,0.0000024178632,0.00018667681,0.1470065,0.00011094822,0.00040499217,0.83382815,0.006496777,0.011326194],"study_design_scores_gemma":[0.000016383898,0.0000289176,0.002771418,0.0004848154,0.00000851678,0.00084760797,0.114738524,0.0002500161,0.0005711661,0.3498314,0.53039914,0.000052199768],"about_ca_topic_score_codex":0.031702306,"about_ca_topic_score_gemma":0.06008822,"teacher_disagreement_score":0.9682977,"about_ca_system_score_codex":0.0074289385,"about_ca_system_score_gemma":0.0031239826,"threshold_uncertainty_score":0.06303555},"labels":[],"label_agreement":null},{"id":"W2097068941","doi":"10.1111/j.1548-1425.2008.01105.x","title":"Facing the music: Rituals of belonging and recognition in contemporary Western art music","year":2009,"lang":"en","type":"article","venue":"American Ethnologist","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":33,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université de Montréal; Université Laval","funders":"","keywords":"CONTEST; Musical; Subjectivity; Agency (philosophy); Identity (music); Aesthetics; Sociology; Music history; Visual arts; Art; Social science; Political science; Epistemology; Law; Philosophy","score_opus":0.09107853171045657,"score_gpt":0.2617691217412242,"score_spread":0.1706905900307676,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2097068941","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.932871,0.00057902804,0.001626415,0.0011248551,0.00008686659,0.000016494847,0.0000049445243,0.00002578613,0.063664585],"genre_scores_gemma":[0.99628544,0.000098364566,0.00022709247,0.000069292524,0.000023140776,0.0000065677423,0.0000024517462,0.000009895766,0.0032777174],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9973054,0.001629095,0.000074524796,0.00021553853,0.00043127424,0.0003440803],"domain_scores_gemma":[0.9982742,0.00080086914,0.00028031296,0.00013037169,0.0001222656,0.00039194734],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0030143016,0.00030433116,0.00034033798,0.0011367557,0.010409041,0.00898233,0.000608042,0.0013670628,0.0025408838],"category_scores_gemma":[0.005165599,0.00022594287,0.00019282245,0.00063487416,0.022968706,0.0030173138,0.005597845,0.002357733,0.00027709946],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000026147258,0.000039781156,0.004476433,0.000030854986,0.000006390634,0.0004700339,0.95611525,0.00005004859,0.0012644809,0.024181541,0.00064651825,0.012692435],"study_design_scores_gemma":[0.000007847721,0.00006414479,0.016634325,0.000083032486,0.000011972533,0.0009200129,0.9398494,0.00028597418,0.00063366746,0.006483046,0.03498652,0.000040001076],"about_ca_topic_score_codex":0.0036067292,"about_ca_topic_score_gemma":0.006865429,"teacher_disagreement_score":0.010409041,"about_ca_system_score_codex":0.0010838077,"about_ca_system_score_gemma":0.00087790104,"threshold_uncertainty_score":0.015941322},"labels":[],"label_agreement":null},{"id":"W2097250849","doi":"10.1353/jaf.2002.0020","title":"\"I Think I Wrote a Folksong\": Popularity and Regional Vernacular Anthems","year":2002,"lang":"en","type":"article","venue":"Journal of American Folklore","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Vernacular; Popularity; Lyrics; Dream; Assertiveness; Sociology; Aesthetics; Literature; History; Psychology; Political science; Art; Law; Social psychology","score_opus":0.037751751743889866,"score_gpt":0.21290548579349453,"score_spread":0.17515373404960466,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2097250849","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9008062,0.0019162685,0.00035142913,0.0027055435,0.00008626708,0.000010968988,0.00010947862,0.000027485452,0.09398647],"genre_scores_gemma":[0.9968299,0.00038618527,0.00006286297,0.00013519544,0.00003907705,0.0000047982076,0.000035987418,0.000013134425,0.0024928744],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9990393,0.00043290376,0.000040505114,0.0000998121,0.00021442967,0.00017319115],"domain_scores_gemma":[0.99597627,0.0016704118,0.00094308046,0.00014042607,0.0007589328,0.0005109028],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017068629,0.00018992719,0.00022239283,0.0017739006,0.0046569905,0.0068597617,0.00047306635,0.000574402,0.0038990946],"category_scores_gemma":[0.00823051,0.00015455027,0.00011575057,0.002507986,0.0050587673,0.0028749641,0.0014540636,0.0011136832,0.00034080294],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002431438,0.000046134668,0.100407705,0.00017585576,0.000048635207,0.0008438735,0.8115759,0.000079954676,0.0014986478,0.027354335,0.011656304,0.04606958],"study_design_scores_gemma":[0.000007874375,0.000040991337,0.20715281,0.00011465788,0.00002380299,0.00039892207,0.7619988,0.0001297925,0.000300246,0.000802847,0.029002175,0.00002713473],"about_ca_topic_score_codex":0.111191645,"about_ca_topic_score_gemma":0.21051358,"teacher_disagreement_score":0.111191645,"about_ca_system_score_codex":0.0035929282,"about_ca_system_score_gemma":0.0016966269,"threshold_uncertainty_score":0.22108883},"labels":[],"label_agreement":null},{"id":"W2098210715","doi":"10.1177/1461444806067737","title":"The mp3 as cultural artifact","year":2006,"lang":"en","type":"article","venue":"New Media & Society","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":205,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Artifact (error); Psychoacoustics; Software portability; Computer science; Representation (politics); Digital audio; Cultural artifact; Sound recording and reproduction; Multimedia; Sociology; Psychology; Speech recognition; Audio signal; Perception; Acoustics; Artificial intelligence","score_opus":0.026493940185811627,"score_gpt":0.21127175562605657,"score_spread":0.18477781544024494,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2098210715","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07132944,0.0016679271,0.05725028,0.013107607,0.0007863994,0.00009505166,0.00015375543,0.0004049595,0.8552045],"genre_scores_gemma":[0.8802592,0.0012673936,0.027461689,0.0020642555,0.00034633218,0.00017450502,0.00008890525,0.0003829495,0.087954834],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99744296,0.0015148179,0.00007942333,0.00022466981,0.00057342654,0.00016463661],"domain_scores_gemma":[0.9974318,0.0008903705,0.00014478648,0.0009719656,0.00033961024,0.00022146848],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002891295,0.0004349594,0.00014610338,0.0010489668,0.005315963,0.009070076,0.000961686,0.0017178425,0.008697165],"category_scores_gemma":[0.005421444,0.00018541729,0.00031799832,0.0011841446,0.015081982,0.0056155026,0.0061442386,0.001860341,0.0012947805],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025274674,0.000015923626,0.00034263977,0.00006259862,0.0000055112823,0.0003879436,0.030494422,0.0002774833,0.00083226373,0.92253643,0.007757962,0.03726144],"study_design_scores_gemma":[0.000010728463,0.000040626837,0.00061752734,0.00016141764,0.000012496434,0.0006819699,0.012668071,0.00062116166,0.0018461208,0.15180618,0.8315103,0.000023259852],"about_ca_topic_score_codex":0.0027870836,"about_ca_topic_score_gemma":0.00244333,"teacher_disagreement_score":0.009070076,"about_ca_system_score_codex":0.0028129674,"about_ca_system_score_gemma":0.002406154,"threshold_uncertainty_score":0.029094875},"labels":[],"label_agreement":null},{"id":"W2100707393","doi":"10.1525/jlca.2003.8.1.116","title":"Brazilian <i>Mulatice</i>: Performing Race, Gender, and the Nation","year":2003,"lang":"pt","type":"article","venue":"Journal of Latin American Anthropology","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":30,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Race (biology); Humanities; Sociology; Art; Gender studies","score_opus":0.03403796774961741,"score_gpt":0.27617441023432393,"score_spread":0.2421364424847065,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2100707393","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.30568177,0.007630354,0.0008968839,0.0148174865,0.0003525587,0.000028188013,0.00010177899,0.0000285503,0.6704624],"genre_scores_gemma":[0.97100407,0.0028331222,0.00037182364,0.00055547734,0.00003973107,0.00001697993,0.00002801023,0.000024474286,0.02512638],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99947304,0.00024885597,0.000012989263,0.000049547656,0.000085852356,0.00012968587],"domain_scores_gemma":[0.99936706,0.00019641026,0.00010818911,0.00006662617,0.000119990254,0.00014182426],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011227605,0.0003702355,0.00027602917,0.0009659703,0.0070490246,0.0041679717,0.0003781062,0.00051776995,0.010450227],"category_scores_gemma":[0.0022189652,0.00014281455,0.0001596196,0.0019274527,0.0054617375,0.0011998438,0.002326258,0.0006878731,0.00048168344],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006554272,0.00005872176,0.027513433,0.0002753424,0.000015910427,0.0005739474,0.49305442,0.00011090125,0.0017438793,0.34922278,0.027399054,0.099966094],"study_design_scores_gemma":[0.000007109099,0.00005555727,0.08905001,0.00068532827,0.000041317537,0.00048070156,0.42037117,0.00023991437,0.0005089718,0.020602146,0.4679231,0.000034723245],"about_ca_topic_score_codex":0.16773139,"about_ca_topic_score_gemma":0.48173413,"teacher_disagreement_score":0.16773139,"about_ca_system_score_codex":0.002941071,"about_ca_system_score_gemma":0.0031119462,"threshold_uncertainty_score":0.33351022},"labels":[],"label_agreement":null},{"id":"W2102337538","doi":"10.20355/c5tg6v","title":"Losing my Western Baggage: An autobiographical case for relocating human rights within cultural studies discourse","year":2008,"lang":"en","type":"article","venue":"Journal of Contemporary Issues in Education","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Simon Fraser University","funders":"","keywords":"Diaspora; Sociology; Narrative; Generosity; Conversation; Aesthetics; Gender studies; Media studies; Pedagogy; Political science; Law; Literature; Art","score_opus":0.10998924074359326,"score_gpt":0.38240636588663834,"score_spread":0.27241712514304506,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2102337538","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5385943,0.010690491,0.011056827,0.10561894,0.0028594066,0.00017261991,0.00006415684,0.00019552054,0.33074784],"genre_scores_gemma":[0.9754646,0.0010240388,0.0008409619,0.004748189,0.00032931127,0.00008128823,0.000017409353,0.00014066795,0.017353494],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.987948,0.009124576,0.00016474853,0.00066102395,0.00073939096,0.0013622964],"domain_scores_gemma":[0.9908448,0.0055122124,0.0007821944,0.0009813568,0.00055853376,0.0013208659],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0115967225,0.0010860426,0.0009975045,0.00393585,0.04560572,0.01750265,0.0025576085,0.0067413077,0.005650288],"category_scores_gemma":[0.01562658,0.0008635992,0.00056229363,0.0030843078,0.112792194,0.022558,0.01867976,0.018324077,0.0007916975],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000007111096,0.000012045615,0.00012765164,0.000015540047,0.0000015736797,0.0003941782,0.95595646,0.00000931893,0.00008436655,0.041186422,0.0010965654,0.0011087008],"study_design_scores_gemma":[0.0000066555567,0.000015802885,0.00028785423,0.00027838766,0.000005857275,0.00064350147,0.87427825,0.000113229245,0.00017385869,0.018325647,0.1058548,0.00001618406],"about_ca_topic_score_codex":0.013128888,"about_ca_topic_score_gemma":0.012382414,"teacher_disagreement_score":0.04560572,"about_ca_system_score_codex":0.0074793813,"about_ca_system_score_gemma":0.004477942,"threshold_uncertainty_score":0.06133008},"labels":[],"label_agreement":null},{"id":"W2104689130","doi":"10.1017/s1752196309090117","title":"Tunes That Bind: Paul J. Seelig, Eva Gauthier, Charles T. Griffes, and the Javanese Other","year":2009,"lang":"en","type":"article","venue":"Journal of the Society for American Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Orientalism; German; Harmony (Music); Harmony (color); Literature; History; Turkish; Musical; Philosophy; Art; Linguistics; Visual arts","score_opus":0.02245626623096065,"score_gpt":0.21496596069570884,"score_spread":0.1925096944647482,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2104689130","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.50755006,0.009444778,0.001827931,0.040634986,0.0014157868,0.000045641023,0.00006150786,0.00011282933,0.43890637],"genre_scores_gemma":[0.96546125,0.001564825,0.00045687665,0.0031645761,0.00011687328,0.000013567581,0.00001416724,0.000066652945,0.029141238],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991449,0.00030946257,0.000017617258,0.00013977535,0.00019950762,0.00018864877],"domain_scores_gemma":[0.99929965,0.00018450335,0.00010337774,0.000038014558,0.00008304195,0.00029136584],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010107476,0.00030640722,0.0002742347,0.00066928315,0.008721334,0.006177259,0.00044289939,0.0010552327,0.004810355],"category_scores_gemma":[0.0013519434,0.00024553377,0.00013789715,0.00056671095,0.007018532,0.0028756713,0.002733494,0.0023684448,0.0004862028],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00020249252,0.00014502241,0.011624674,0.00017363037,0.000042053267,0.001653283,0.6786935,0.00010367191,0.0070002805,0.1810196,0.057068687,0.06227304],"study_design_scores_gemma":[0.000024646426,0.000059439284,0.025358181,0.00032335139,0.00002171249,0.000996821,0.45692778,0.00018879032,0.0019066401,0.010618154,0.50352424,0.00005025158],"about_ca_topic_score_codex":0.0360009,"about_ca_topic_score_gemma":0.12905617,"teacher_disagreement_score":0.0360009,"about_ca_system_score_codex":0.0029549594,"about_ca_system_score_gemma":0.0014202793,"threshold_uncertainty_score":0.071582735},"labels":[],"label_agreement":null},{"id":"W2107415861","doi":"10.1002/casp.2197","title":"Eschewing Community: Black Metal","year":2014,"lang":"en","type":"article","venue":"Journal of Community & Applied Social Psychology","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":67,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Alberta; Concordia University","funders":"Concordia University","keywords":"Sociology; Social psychology; Psychology; Political science","score_opus":0.09552542291346272,"score_gpt":0.31236541292782505,"score_spread":0.21683999001436233,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2107415861","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9168631,0.00030735804,0.0010421992,0.0009089682,0.00005045885,0.000022178521,0.00002319599,0.000017345017,0.08076516],"genre_scores_gemma":[0.9924975,0.00010498778,0.00029134337,0.000111156536,0.000011122043,0.000005389785,0.000008266327,0.00000881794,0.0069613983],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.999303,0.00033550494,0.000012177937,0.00008004637,0.00014727148,0.00012210364],"domain_scores_gemma":[0.99937755,0.00021877926,0.00012874954,0.00005700991,0.00007789143,0.00014003286],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006250175,0.00026898732,0.00017153982,0.00078270264,0.005567237,0.002848184,0.00045708602,0.000637573,0.008480551],"category_scores_gemma":[0.0012568084,0.00011588486,0.00010908939,0.0006840041,0.0046735904,0.0014265724,0.0028917126,0.0006317328,0.0003426439],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004607953,0.00022403397,0.034102786,0.0003943447,0.000027711174,0.0031340146,0.7752627,0.00018633105,0.00997161,0.059234157,0.0067709754,0.11023054],"study_design_scores_gemma":[0.000020667492,0.00020343358,0.053664222,0.00021152577,0.000020655985,0.0011764052,0.8058331,0.00033049844,0.0025630419,0.008435197,0.12750784,0.00003345943],"about_ca_topic_score_codex":0.006679107,"about_ca_topic_score_gemma":0.017170317,"teacher_disagreement_score":0.008480551,"about_ca_system_score_codex":0.0009867192,"about_ca_system_score_gemma":0.0006895915,"threshold_uncertainty_score":0.028370261},"labels":[],"label_agreement":null},{"id":"W2110364754","doi":"10.7202/1030868ar","title":"The Cyclic Nature of Joni Mitchell's Court and Spark","year":2015,"lang":"en","type":"article","venue":"Intersections Canadian Journal of Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"SPARK (programming language); Scholarship; Romance; Perspective (graphical); Musical; Inference; Literature; Norm (philosophy); Computer science; Epistemology; Art; Philosophy; Artificial intelligence; Law; Political science","score_opus":0.029809319868950808,"score_gpt":0.20628311576270839,"score_spread":0.17647379589375758,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2110364754","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.12992108,0.0036546513,0.0061012865,0.066905946,0.0027631994,0.000055375218,0.00009810986,0.00016968831,0.79033065],"genre_scores_gemma":[0.9197939,0.0006160072,0.0014690646,0.00302496,0.0005728369,0.000037546448,0.000029170846,0.00013971272,0.07431682],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9977684,0.0007465637,0.000045520814,0.0003403934,0.00079862226,0.00030052822],"domain_scores_gemma":[0.9964734,0.0017330695,0.00039442335,0.00034623925,0.00037490195,0.00067796925],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017108864,0.00030609974,0.00021870575,0.0009699182,0.011956641,0.008444716,0.0009570049,0.0019373298,0.004595567],"category_scores_gemma":[0.006127605,0.00022794785,0.00015044514,0.0009128681,0.019230729,0.004181376,0.004057788,0.0045205154,0.0005582569],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004586551,0.00002435081,0.0007218826,0.00004049906,0.0000035739838,0.0006119654,0.11179365,0.00007756138,0.0007813486,0.8258951,0.04753146,0.012472758],"study_design_scores_gemma":[0.000012723672,0.000024302679,0.0021772652,0.0001316659,0.000005165213,0.00062023837,0.04922535,0.00030439065,0.0007034806,0.06974347,0.8770181,0.00003381392],"about_ca_topic_score_codex":0.015416053,"about_ca_topic_score_gemma":0.038942873,"teacher_disagreement_score":0.015416053,"about_ca_system_score_codex":0.005859533,"about_ca_system_score_gemma":0.0029414892,"threshold_uncertainty_score":0.042514145},"labels":[],"label_agreement":null},{"id":"W2111641223","doi":"10.4337/qmjip.2015.03.06","title":"Tactical destabilization for economic justice: the first phase of the 1984–2004 rhythm &amp; blues royalty reform movement","year":2015,"lang":"en","type":"article","venue":"Queen Mary Journal of Intellectual Property","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Blues; Redress; Economic Justice; Scholarship; Law; Sociology; Politics; Racism; Political science; Economics; Management","score_opus":0.08474984685113991,"score_gpt":0.278443757440973,"score_spread":0.1936939105898331,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2111641223","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.47241127,0.0045605544,0.0024943608,0.22181691,0.0014499419,0.000101179634,0.000052153395,0.00006107418,0.29705253],"genre_scores_gemma":[0.91775686,0.0007622356,0.00056822464,0.030187888,0.0006194669,0.000056594752,0.000015793414,0.000042199354,0.049990684],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9932535,0.0020071648,0.0001513237,0.00069130916,0.0013335401,0.0025630868],"domain_scores_gemma":[0.9952537,0.0021523857,0.0006884462,0.00034248957,0.0006576634,0.00090535457],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0071305204,0.00027367394,0.00035622867,0.0016420824,0.025918975,0.0115199,0.0014795027,0.008784052,0.0056614485],"category_scores_gemma":[0.018199641,0.0003170998,0.00043029143,0.0019161372,0.028996065,0.004691369,0.008582519,0.009468283,0.00050902425],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000059493977,0.00008935193,0.0017169705,0.000035346635,0.000007997438,0.00044013225,0.08587085,0.00020938326,0.0004955593,0.85826886,0.026604183,0.026201935],"study_design_scores_gemma":[0.000051538635,0.00011081673,0.02088731,0.00022670343,0.000010246979,0.00012689784,0.06625713,0.00051021506,0.0009715427,0.07348133,0.83729875,0.00006745422],"about_ca_topic_score_codex":0.12105441,"about_ca_topic_score_gemma":0.14571993,"teacher_disagreement_score":0.12105441,"about_ca_system_score_codex":0.026542868,"about_ca_system_score_gemma":0.023805268,"threshold_uncertainty_score":0.24069959},"labels":[],"label_agreement":null},{"id":"W2112201483","doi":"10.3138/seminar.2015.51.4.301","title":"Berlin without Borders? Urban Anthems in Twenty-First-Century Popular Music","year":2015,"lang":"en","type":"article","venue":"Seminar A Journal of Germanic Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Deterritorialization; Sociology; Glocalization; Globalization; Multiculturalism; Musical; Politics; Media studies; Visual arts; Political science; Art; Law","score_opus":0.06511288203372168,"score_gpt":0.2848697870348302,"score_spread":0.2197569050011085,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2112201483","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.72715133,0.017491385,0.0010168069,0.0056406744,0.0015277237,0.00003439185,0.00015152848,0.000087857516,0.24689831],"genre_scores_gemma":[0.9741707,0.0018146754,0.00016147454,0.00029223345,0.000274933,0.000009598007,0.00003614865,0.000029818271,0.023210512],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9996369,0.00014565184,0.00001442311,0.00003512443,0.00007544316,0.00009248514],"domain_scores_gemma":[0.99967873,0.00013480347,0.000053502557,0.000020357851,0.000021798149,0.00009082918],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00071624096,0.00031033758,0.00016986803,0.0014314797,0.0036495533,0.0057899416,0.00038822985,0.0006780389,0.004233955],"category_scores_gemma":[0.0010769577,0.00017886092,0.000097518714,0.0011036115,0.0050098156,0.0021040277,0.0021966624,0.0009302225,0.0004784254],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00044870292,0.00015116154,0.0069831805,0.0004882562,0.00003742942,0.002306888,0.55582255,0.0003244572,0.0042893896,0.300979,0.039942294,0.0882267],"study_design_scores_gemma":[0.000028834951,0.000086773674,0.01848625,0.00030384745,0.000017235156,0.00062011834,0.20090209,0.00013446949,0.0009669392,0.0038535546,0.77457285,0.00002688513],"about_ca_topic_score_codex":0.0017159954,"about_ca_topic_score_gemma":0.0081662,"teacher_disagreement_score":0.0057899416,"about_ca_system_score_codex":0.001981185,"about_ca_system_score_gemma":0.00039819238,"threshold_uncertainty_score":0.014374554},"labels":[],"label_agreement":null},{"id":"W2113691327","doi":"10.3138/seminar.2015.51.4.315","title":"Establishing Minimal Techno as Soundtrack to the Creative City: Hannes Stöhr’s<i>Berlin Calling</i>","year":2015,"lang":"en","type":"article","venue":"Seminar A Journal of Germanic Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dance; Narrative; Club; Legitimation; Art history; Feature film; Media studies; Art; Sociology; Visual arts; History; Movie theater; Literature; Law; Politics; Political science","score_opus":0.1202904796780898,"score_gpt":0.31324451317007,"score_spread":0.1929540334919802,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2113691327","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5456946,0.004066207,0.0036600959,0.020914907,0.0015794764,0.000037138183,0.0000735599,0.000099381235,0.42387468],"genre_scores_gemma":[0.9817852,0.00040220065,0.00030301933,0.0009390701,0.00008837923,0.000008263245,0.000014067518,0.00003571116,0.016424222],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99923515,0.00033201874,0.000018211553,0.000059919086,0.00014204782,0.00021272982],"domain_scores_gemma":[0.9995989,0.00016096736,0.00006018181,0.000043106258,0.000023759492,0.0001131573],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009915904,0.000276293,0.00017777056,0.00077173946,0.006132925,0.007263056,0.00051110884,0.0011665479,0.0037582084],"category_scores_gemma":[0.001522275,0.00020507454,0.00016173076,0.0004744665,0.015313462,0.0028180263,0.004193961,0.0025619648,0.00045440425],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016525204,0.000085002335,0.0024633592,0.00012382414,0.000015836478,0.001138386,0.29615545,0.00030413436,0.0020627538,0.64148706,0.02850861,0.027490312],"study_design_scores_gemma":[0.00004076611,0.000091387075,0.008225578,0.00029386245,0.000022892851,0.00090730435,0.21533614,0.00046715073,0.0022532905,0.032772962,0.7395277,0.000060892882],"about_ca_topic_score_codex":0.0045614084,"about_ca_topic_score_gemma":0.011955808,"teacher_disagreement_score":0.007263056,"about_ca_system_score_codex":0.0031907416,"about_ca_system_score_gemma":0.0008950867,"threshold_uncertainty_score":0.023150563},"labels":[],"label_agreement":null},{"id":"W2114889881","doi":"10.7202/014121ar","title":"Chants et contrechamps de l’ethnomusicologie (Essai bibliographique)","year":2006,"lang":"fr","type":"article","venue":"Anthropologie et Sociétés","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Art","score_opus":0.20381965820560197,"score_gpt":0.4933781987776782,"score_spread":0.2895585405720762,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2114889881","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.028298741,0.13718946,0.01330328,0.06384972,0.0046165786,0.00009354238,0.0005647324,0.0001628093,0.7519211],"genre_scores_gemma":[0.71124375,0.08595859,0.007484095,0.008267919,0.0047479505,0.0005194548,0.00042553633,0.0003864142,0.18096627],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99567765,0.0028802094,0.00016922221,0.0004415211,0.00055450544,0.00027681643],"domain_scores_gemma":[0.99747723,0.0016226412,0.00025082837,0.00023668274,0.00032012578,0.000092580995],"candidate_categories":["bibliometrics"],"consensus_categories":[],"category_scores_codex":[0.003991006,0.00070755265,0.0005343309,0.0059255925,0.006400263,0.012323156,0.00062020915,0.0018295437,0.008261071],"category_scores_gemma":[0.0049596415,0.00024913036,0.0002578033,0.00797686,0.023122933,0.006866577,0.0032615939,0.0033233943,0.0010854035],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013920662,0.0000045991187,0.00040873492,0.00018915217,0.0000049895352,0.00007462099,0.046135213,0.000081356986,0.00015221318,0.9259258,0.009756142,0.01725323],"study_design_scores_gemma":[0.0000070009364,0.000015292297,0.0025074284,0.0010483465,0.0000090137955,0.0001574378,0.033705264,0.00014004917,0.00025796032,0.11276573,0.84936446,0.00002206354],"about_ca_topic_score_codex":0.022866795,"about_ca_topic_score_gemma":0.029038379,"teacher_disagreement_score":0.9940744,"about_ca_system_score_codex":0.009863375,"about_ca_system_score_gemma":0.0054942383,"threshold_uncertainty_score":0.07156414},"labels":[],"label_agreement":null},{"id":"W2115097733","doi":"10.1177/1367549413515257","title":"Negative dialectics in music: Adorno and heavy metal","year":2014,"lang":"en","type":"article","venue":"European Journal of Cultural Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":10,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Wilfrid Laurier University","funders":"","keywords":"Dialectic; Facticity; Aesthetics; Modernity; Power (physics); Epistemology; Popular music; Communicative action; Sociology; Philosophy; Literature; Art","score_opus":0.0757749461979908,"score_gpt":0.24667962734309407,"score_spread":0.17090468114510327,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2115097733","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.21244012,0.01652377,0.008861339,0.028289754,0.0009116016,0.00005283092,0.00001761208,0.000035494686,0.7328675],"genre_scores_gemma":[0.9773557,0.0018563698,0.00092115276,0.001657671,0.00021560414,0.000028966884,0.000006434265,0.000031473377,0.01792657],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.997006,0.002084391,0.0000497961,0.00017217928,0.0003984913,0.00028917711],"domain_scores_gemma":[0.9981627,0.0013399114,0.00014198523,0.000099613404,0.00013969773,0.0001162037],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022554274,0.0004313506,0.000292366,0.0018647433,0.008568771,0.0089581,0.00088016666,0.0021243414,0.002041379],"category_scores_gemma":[0.003812599,0.00022109551,0.00019318405,0.0013404213,0.04004948,0.00691163,0.005243859,0.0025215705,0.0002815666],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003811646,0.000022763457,0.0005667748,0.000045069413,0.000003890489,0.00023301823,0.1547462,0.000055568227,0.00017544543,0.8346134,0.0024185656,0.0070812106],"study_design_scores_gemma":[0.000043347747,0.000052915468,0.0013059183,0.00042198208,0.000017559616,0.0007850652,0.25974378,0.00068944955,0.000916146,0.37558103,0.3604095,0.000033358603],"about_ca_topic_score_codex":0.0058655106,"about_ca_topic_score_gemma":0.0069719125,"teacher_disagreement_score":0.0089581,"about_ca_system_score_codex":0.004207149,"about_ca_system_score_gemma":0.0013451152,"threshold_uncertainty_score":0.030525148},"labels":[],"label_agreement":null},{"id":"W2116317216","doi":"10.1504/ijsmm.2008.015965","title":"Dangerous liaisons: how can sports brands capitalise on the Hip Hop movement","year":2007,"lang":"en","type":"article","venue":"International Journal of Sport Management and Marketing","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université Laval","funders":"","keywords":"Hop (telecommunications); Hip pain; Business; Advertising; Marketing; Public relations; Operations management; Engineering; Telecommunications; Physical therapy; Political science; Medicine","score_opus":0.0141223113207893,"score_gpt":0.20433773546056672,"score_spread":0.1902154241397774,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2116317216","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.40369156,0.0005492205,0.005436226,0.01651479,0.0001726563,0.0001655469,0.000041568244,0.00012397897,0.5733045],"genre_scores_gemma":[0.99251705,0.00018394145,0.00046487484,0.00038717597,0.000044935925,0.000016618002,0.000008530736,0.000014444623,0.006362342],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9973425,0.0011293477,0.000058174406,0.00028457196,0.0006367356,0.00054866966],"domain_scores_gemma":[0.99063265,0.0034889542,0.0014490379,0.0007799927,0.0015905265,0.0020588816],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0040337974,0.00045153656,0.00032682877,0.0018064186,0.0038305088,0.012349808,0.0009083512,0.0034487303,0.017781496],"category_scores_gemma":[0.015915485,0.00032671753,0.00036811506,0.0006905128,0.0066607334,0.010487913,0.0046317996,0.0020641142,0.0022594677],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00030133539,0.0011704641,0.10917643,0.00035730956,0.0001277923,0.0029717463,0.08785907,0.0020857493,0.0039130575,0.5499441,0.017059885,0.22503291],"study_design_scores_gemma":[0.00014215613,0.0011379059,0.13890071,0.00080968044,0.00026327744,0.0014499573,0.19260123,0.008270405,0.004236465,0.43338272,0.21853928,0.00026625645],"about_ca_topic_score_codex":0.0041987514,"about_ca_topic_score_gemma":0.0055625974,"teacher_disagreement_score":0.017781496,"about_ca_system_score_codex":0.0026412157,"about_ca_system_score_gemma":0.0026280007,"threshold_uncertainty_score":0.05948502},"labels":[],"label_agreement":null},{"id":"W2117949706","doi":"10.21083/csieci.v7i2.1675","title":"“A Door to Other Doors”: Henry Threadgill Interview with Daniel Fischlin","year":2011,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Guelph","funders":"","keywords":"Musical; Jazz; Concerto; Performance art; Visual arts; Violin; Art; Art history; Dismissal; Appeal; Classical music; MOZART; Guitar; Dance; Sociology; Law; Piano; Management; Political science","score_opus":0.18161340785485428,"score_gpt":0.3423065749896185,"score_spread":0.1606931671347642,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2117949706","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08041212,0.017245267,0.0011910788,0.81469715,0.0036882928,0.00009811745,0.00013199229,0.00008528592,0.08245076],"genre_scores_gemma":[0.59334004,0.0076565514,0.0011680303,0.25066552,0.0012150992,0.0003416722,0.00005104929,0.0001361721,0.14542596],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9969868,0.0014560262,0.00004265712,0.00040656942,0.00047832588,0.00062955543],"domain_scores_gemma":[0.9964875,0.0018430789,0.00019307152,0.000048637772,0.00034912126,0.0010785983],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002713549,0.00050815166,0.0005010064,0.001016656,0.024664504,0.0065763285,0.0014039295,0.006701333,0.0071254084],"category_scores_gemma":[0.0086531555,0.0005068352,0.00023280754,0.0008526784,0.011051989,0.007607076,0.0034626257,0.009109448,0.0009486398],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000046668873,0.00007482114,0.0016140981,0.00007607554,0.000004086243,0.0018627014,0.5060056,0.00008604078,0.0006262245,0.051882382,0.42489055,0.01283081],"study_design_scores_gemma":[0.0000065306704,0.000024490031,0.0008814628,0.00032453067,0.0000026512441,0.0004797584,0.2319686,0.00008015625,0.00018624325,0.0038016222,0.7622045,0.000039411214],"about_ca_topic_score_codex":0.13206652,"about_ca_topic_score_gemma":0.1294884,"teacher_disagreement_score":0.13206652,"about_ca_system_score_codex":0.01565762,"about_ca_system_score_gemma":0.008333843,"threshold_uncertainty_score":0.2625956},"labels":[],"label_agreement":null},{"id":"W2118005318","doi":"","title":"Some Observations and Data on the Vancouver Hippie","year":2012,"lang":"en","type":"article","venue":"Canadian Journal of Counselling and Psychotherapy","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Personality; Psychology; Value (mathematics); Population; Sample (material); Life span; Social psychology; Big Five personality traits; Sociology; Demography; Gerontology; Medicine","score_opus":0.12092993407219076,"score_gpt":0.2555388499081515,"score_spread":0.13460891583596074,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2118005318","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9776586,0.00071260054,0.00019509572,0.00029466496,0.000025226193,0.00004604942,0.0013973874,0.000014198274,0.019656206],"genre_scores_gemma":[0.9861411,0.0028436647,0.0005596072,0.0002781805,0.00007992885,0.000067604946,0.0026857972,0.000019859885,0.0073243175],"study_design_codex":"observational","study_design_gemma":"qualitative","domain_scores_codex":[0.99899966,0.00020093024,0.000091793896,0.00010914027,0.0004554086,0.0001430407],"domain_scores_gemma":[0.9934762,0.0022464113,0.0017319145,0.00048468672,0.0013558684,0.00070487347],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000782684,0.00021446547,0.0001877634,0.004424902,0.0027327337,0.00076448504,0.0006322568,0.00047324967,0.0029176914],"category_scores_gemma":[0.0062013185,0.00024944672,0.00013251574,0.0061367135,0.0018479537,0.00034067285,0.0010397126,0.0007194778,0.00044845088],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00038609264,0.00025512208,0.7966501,0.00057723606,0.0000518752,0.0043782857,0.12092579,0.00007728571,0.00455791,0.0012611356,0.0047072237,0.06617188],"study_design_scores_gemma":[0.0000028781994,0.00007280415,0.9705264,0.000047890186,0.000010765467,0.0010663212,0.015563882,0.000017636223,0.00045053608,0.000079792655,0.012147816,0.000013363692],"about_ca_topic_score_codex":0.15060882,"about_ca_topic_score_gemma":0.34212348,"teacher_disagreement_score":0.84939116,"about_ca_system_score_codex":0.0013620639,"about_ca_system_score_gemma":0.0012401857,"threshold_uncertainty_score":0.2994644},"labels":[],"label_agreement":null},{"id":"W2118633702","doi":"10.1177/0002764210381728","title":"Culture, Rap Music, “Bitch,” and the Development of the Censorship Frame","year":2010,"lang":"en","type":"article","venue":"American Behavioral Scientist","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":29,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia, Okanagan Campus; University of British Columbia","funders":"","keywords":"Censorship; Popular music; Sociology; Deviance (statistics); Mass media; Framing (construction); Popular culture; Public opinion; Demonization; Media studies; Social psychology; Psychology; Political science; Law; Politics; Visual arts; History; Art","score_opus":0.029036279007520094,"score_gpt":0.2474021955022364,"score_spread":0.21836591649471632,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2118633702","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7207766,0.0046246382,0.0056862696,0.016271112,0.0002285059,0.000037730362,0.000027546135,0.000026417974,0.25232127],"genre_scores_gemma":[0.9978399,0.00042198703,0.0003213932,0.00027702126,0.00005533671,0.0000099006165,0.000002948212,0.0000045024976,0.0010669874],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9953061,0.0033396266,0.00013961061,0.0003205138,0.0005654241,0.00032873973],"domain_scores_gemma":[0.9902778,0.0054573864,0.002149126,0.00091398245,0.00056510564,0.00063658506],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004227224,0.00030579438,0.00022536798,0.00244341,0.006868164,0.007525239,0.0009070634,0.001502503,0.0019090816],"category_scores_gemma":[0.00869536,0.00020331838,0.00015462204,0.0011360417,0.04410381,0.0053034644,0.0044560498,0.002600692,0.00011384392],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007695943,0.00006385188,0.014718782,0.00011191147,0.000017472023,0.0006446132,0.38850373,0.00015636935,0.0006889542,0.5607731,0.0011570902,0.033087183],"study_design_scores_gemma":[0.00003598855,0.0001803661,0.053003002,0.001012543,0.000055020824,0.0011521779,0.6577287,0.0009133342,0.0021291208,0.17722103,0.106484555,0.00008428038],"about_ca_topic_score_codex":0.0050183013,"about_ca_topic_score_gemma":0.0067764265,"teacher_disagreement_score":0.007525239,"about_ca_system_score_codex":0.0029174723,"about_ca_system_score_gemma":0.0017059937,"threshold_uncertainty_score":0.022355974},"labels":[],"label_agreement":null},{"id":"W2119342315","doi":"10.1177/0042085908322713","title":"The Tale of the Talent Night Rap: Hip-Hop Culture in Schools and the Challenge of Interpretation","year":2009,"lang":"en","type":"article","venue":"Urban Education","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":37,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Curriculum; Sociology; Pedagogy; Interpretation (philosophy); Poetry; Youth culture; Qualitative research; White (mutation); Jazz; Gender studies; Social science; Visual arts; Literature; Linguistics; Art","score_opus":0.008093324870355988,"score_gpt":0.20898783635710316,"score_spread":0.20089451148674717,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2119342315","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.78754044,0.012551998,0.0069841905,0.08306448,0.0006810249,0.000050739156,0.000030552517,0.000073546835,0.109023094],"genre_scores_gemma":[0.9974541,0.0007780672,0.0003069285,0.00068223046,0.00004934036,0.000010059881,0.000001915578,0.000010575675,0.0007067536],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9694038,0.025687706,0.00058597204,0.0009620321,0.0018576621,0.0015027475],"domain_scores_gemma":[0.9749724,0.018198889,0.0024881954,0.0013472651,0.0013144865,0.0016788177],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.01999099,0.00047830414,0.0008648699,0.0032425188,0.022772374,0.020219132,0.002410372,0.003892528,0.0018968803],"category_scores_gemma":[0.022275943,0.0007841304,0.00031660558,0.00239533,0.13102533,0.010505416,0.012314814,0.007256647,0.00022862785],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001388873,0.000016820675,0.0031033542,0.00009830638,0.0000063956336,0.00034070757,0.938593,0.000042412456,0.0000769555,0.05048456,0.000895126,0.006328539],"study_design_scores_gemma":[0.0000034919506,0.000010226384,0.0015750545,0.0002262279,0.0000054264333,0.00016697601,0.97440207,0.0000681481,0.00009194631,0.015447832,0.007990583,0.000012140287],"about_ca_topic_score_codex":0.011765395,"about_ca_topic_score_gemma":0.01779356,"teacher_disagreement_score":0.022772374,"about_ca_system_score_codex":0.0070888125,"about_ca_system_score_gemma":0.006829545,"threshold_uncertainty_score":0.10572374},"labels":[],"label_agreement":null},{"id":"W2119387118","doi":"","title":"The Relevant Jazz Band: Advancing the Big Band for All Peoples in Our Modern World","year":2010,"lang":"en","type":"article","venue":"Sound Ideas (University of Puget Sound)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Jazz; Political science; History; Art history","score_opus":0.019137720721469416,"score_gpt":0.2088739788052645,"score_spread":0.1897362580837951,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2119387118","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.017361835,0.036079817,0.008268915,0.40387005,0.038037244,0.00007087791,0.00013284528,0.00060577097,0.49557272],"genre_scores_gemma":[0.3439931,0.03134825,0.017142626,0.12036505,0.0180715,0.00016574118,0.0002582785,0.0011221381,0.46753332],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.998345,0.0005432927,0.000044068598,0.00013658189,0.0004303082,0.0005007841],"domain_scores_gemma":[0.99692446,0.00045558088,0.00011873311,0.00019390663,0.00049962534,0.0018077472],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0034467343,0.0006953093,0.00035078404,0.0014617764,0.01221217,0.01603008,0.0010207391,0.0046186233,0.045369063],"category_scores_gemma":[0.0060971514,0.0003145861,0.00033791212,0.0009451367,0.006405569,0.013005621,0.010565299,0.008339398,0.009943082],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015972953,0.00015391862,0.0009640768,0.00029084648,0.000008755107,0.00019275273,0.017448682,0.00005982311,0.0015057273,0.18674818,0.52916104,0.2633065],"study_design_scores_gemma":[0.000010759143,0.0000355893,0.0009967368,0.0002511926,0.000008001291,0.00010210367,0.012922041,0.000027410053,0.00020050976,0.02288074,0.96255213,0.000012720387],"about_ca_topic_score_codex":0.0052443836,"about_ca_topic_score_gemma":0.015226791,"teacher_disagreement_score":0.045369063,"about_ca_system_score_codex":0.0021139304,"about_ca_system_score_gemma":0.0051592025,"threshold_uncertainty_score":0.15177464},"labels":[],"label_agreement":null},{"id":"W2119954544","doi":"10.21083/csieci.v3i2.300","title":"McLean's Scene: Jackie McLean as Improviser, Educator and Activist","year":2007,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Improvisation; Musical; Openness to experience; Visual arts; Sociology; Pedagogy; Psychology; Space (punctuation); Aesthetics; Social psychology; Art; Linguistics","score_opus":0.07579056705376694,"score_gpt":0.38782797871163815,"score_spread":0.31203741165787124,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2119954544","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07543711,0.060497858,0.003459511,0.64278704,0.009494743,0.00006354473,0.0000452308,0.0001632179,0.20805174],"genre_scores_gemma":[0.68731314,0.014786481,0.003113178,0.09065297,0.0031356032,0.00013353206,0.00002168594,0.00021640972,0.20062698],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978459,0.001149908,0.000028834147,0.0002306931,0.0004569209,0.0002877927],"domain_scores_gemma":[0.998317,0.00087618525,0.000136033,0.000048213977,0.0002126781,0.0004098997],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020645622,0.0004969652,0.00028027056,0.0010965707,0.0191017,0.0077362563,0.0014135601,0.0032803174,0.0037512274],"category_scores_gemma":[0.004818486,0.00032218607,0.00016545814,0.00073172787,0.013195368,0.0052946173,0.0042360164,0.0067405663,0.0005267095],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007477284,0.000047242724,0.00085875636,0.0001547969,0.000007946902,0.0011625679,0.4193057,0.00009839837,0.000729591,0.16981196,0.3768919,0.03085637],"study_design_scores_gemma":[0.000006893284,0.000029867937,0.0008063052,0.00028488936,0.00000433404,0.0006663612,0.1748926,0.00008066613,0.00032683995,0.008345263,0.8145294,0.000026476877],"about_ca_topic_score_codex":0.051993847,"about_ca_topic_score_gemma":0.11450449,"teacher_disagreement_score":0.051993847,"about_ca_system_score_codex":0.0061146296,"about_ca_system_score_gemma":0.0034569171,"threshold_uncertainty_score":0.10338241},"labels":[],"label_agreement":null},{"id":"W2121558785","doi":"10.1177/0193723502262004","title":"Global Celebrity Athletes and Nationalism","year":2002,"lang":"en","type":"article","venue":"Journal of Sport and Social Issues","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":57,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Okanagan College; University of Calgary","funders":"Canadian Imperial Bank of Commerce","keywords":"Transnationalism; Nationalism; Globalization; Athletes; Context (archaeology); Citizenship; Symbol (formal); National identity; Political science; Gender studies; Deterritorialization; Sociology; Political economy; Law; Politics; Geography","score_opus":0.028966803645254367,"score_gpt":0.2356302648328414,"score_spread":0.20666346118758705,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2121558785","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.23188296,0.0059660594,0.00031517725,0.019951591,0.00037713107,0.000013380548,0.000051488434,0.000014221028,0.7414279],"genre_scores_gemma":[0.9722955,0.00296285,0.00013347264,0.0016364605,0.0002472173,0.000012840414,0.000035256002,0.000013951848,0.022662392],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99921584,0.0002737064,0.00001561893,0.000101474194,0.000096880096,0.00029656506],"domain_scores_gemma":[0.99948275,0.000081957645,0.000077692195,0.000037586942,0.00006322996,0.00025668187],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009143689,0.00021916375,0.00019010366,0.000981472,0.004719666,0.0057980306,0.000362957,0.0009849482,0.008668062],"category_scores_gemma":[0.001096995,0.0000912542,0.0001560121,0.0008855446,0.0110744415,0.0022401912,0.004412905,0.0013223737,0.00039328792],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006321368,0.00009021826,0.025939003,0.00015582297,0.00002229539,0.0004677603,0.085675105,0.00016177841,0.00021235662,0.80792665,0.025143823,0.054141887],"study_design_scores_gemma":[0.000025810654,0.0000932489,0.059375867,0.00069427706,0.00003265487,0.000567073,0.17574628,0.00018345649,0.00025302538,0.0914227,0.6715782,0.000027374577],"about_ca_topic_score_codex":0.018394982,"about_ca_topic_score_gemma":0.032256402,"teacher_disagreement_score":0.018394982,"about_ca_system_score_codex":0.0029174306,"about_ca_system_score_gemma":0.0018609432,"threshold_uncertainty_score":0.036575794},"labels":[],"label_agreement":null},{"id":"W2122042001","doi":"10.1080/14636200902990687","title":"THE MANY FACES OF JULIO IGLESIAS: “UN CANTO A GALICIA”, EMIGRATION AND THE NETWORK SOCIETY","year":2009,"lang":"en","type":"article","venue":"Journal of Spanish Cultural Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"German; Portuguese; Emigration; Turkish; Diaspora; History; Poetry; Lyrics; Humanities; Art; Literature; Sociology; Gender studies; Linguistics","score_opus":0.02953864006663613,"score_gpt":0.2440459489900861,"score_spread":0.21450730892345,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2122042001","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.12258522,0.030439256,0.0005805569,0.37788084,0.007698398,0.0000189711,0.00028006508,0.00017621959,0.46034038],"genre_scores_gemma":[0.82376516,0.012233354,0.00026006997,0.020501906,0.0021503647,0.000036710335,0.00013458506,0.00017879104,0.14073904],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.99968255,0.0001269561,0.000004832638,0.00003875629,0.00005180367,0.0000949949],"domain_scores_gemma":[0.9995486,0.00008872245,0.000059346796,0.000024798668,0.00006063227,0.00021782231],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00068588374,0.00041937976,0.00020321837,0.00074658875,0.0046257293,0.0064723818,0.00059895555,0.0014856912,0.012198442],"category_scores_gemma":[0.0013135218,0.000106709136,0.00009743041,0.0010503918,0.004517465,0.0039616567,0.0032278541,0.0021989064,0.0017361235],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000088926616,0.000020165138,0.00295188,0.00016101715,0.000011417917,0.0011151509,0.1379605,0.00009309551,0.00040950155,0.14867559,0.6603766,0.048136313],"study_design_scores_gemma":[0.0000059755494,0.000007846049,0.0045105712,0.00025224203,0.0000029997962,0.00019959202,0.11472848,0.000029951325,0.000071235445,0.0039211567,0.87625873,0.000011160986],"about_ca_topic_score_codex":0.02527273,"about_ca_topic_score_gemma":0.040371154,"teacher_disagreement_score":0.02527273,"about_ca_system_score_codex":0.0037536498,"about_ca_system_score_gemma":0.00093410246,"threshold_uncertainty_score":0.050251245},"labels":[],"label_agreement":null},{"id":"W2123477528","doi":"10.1080/01490400601160796","title":"Defining the Groove: From Remix to Research in <i>The Beat of Boyle Street</i>","year":2007,"lang":"en","type":"article","venue":"Leisure Sciences","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":63,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Alberta","funders":"","keywords":"Sociology; Musical; The arts; Visual arts; Media studies; Narrative; Ethnography; Popular music; Indigenous; Aesthetics; Art; Literature; Anthropology","score_opus":0.10663838201880027,"score_gpt":0.3376457777784921,"score_spread":0.2310073957596918,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2123477528","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7234033,0.01414714,0.018813562,0.031745326,0.00066781713,0.00034199574,0.00017497802,0.0001825311,0.21052335],"genre_scores_gemma":[0.9780683,0.0026045875,0.004863308,0.0013419541,0.000095338415,0.00012778403,0.00004174997,0.00011107682,0.012745949],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9921984,0.005451616,0.000115610965,0.00044844707,0.00076717697,0.0010187733],"domain_scores_gemma":[0.99417394,0.0033148197,0.00036824725,0.00071359193,0.0006248098,0.00080459256],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.010537838,0.00055210677,0.000491716,0.0023023807,0.0227971,0.012604002,0.0019726926,0.001898262,0.0030595209],"category_scores_gemma":[0.010665519,0.00068567664,0.00026991294,0.0025913478,0.05492313,0.008523181,0.014088999,0.004404439,0.0003808106],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014060798,0.0000078808225,0.00057602144,0.0000460646,0.0000015143736,0.00021076691,0.9708127,0.000014404787,0.00032337278,0.018671554,0.0009808436,0.008340754],"study_design_scores_gemma":[0.0000033478,0.000016027107,0.000940984,0.00015469498,0.0000029920868,0.00016037238,0.94795305,0.00002729599,0.0003294097,0.0034418453,0.046961702,0.00000824418],"about_ca_topic_score_codex":0.15180078,"about_ca_topic_score_gemma":0.3035066,"teacher_disagreement_score":0.15180078,"about_ca_system_score_codex":0.011671043,"about_ca_system_score_gemma":0.01191226,"threshold_uncertainty_score":0.3018344},"labels":[],"label_agreement":null},{"id":"W2123518007","doi":"10.3138/ctr.141.21","title":"Stardom/Fandom: Celebrity and Fan Tribute Performance","year":2010,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Tribute; Fandom; Favourite; Art; Fantasy; Art history; Performance art; Boulevard; Media studies; Literature; History; Sociology; Philosophy; Theology; Archaeology","score_opus":0.01620072125518912,"score_gpt":0.19614988788164056,"score_spread":0.17994916662645144,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2123518007","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03452325,0.41206813,0.00050573796,0.024537062,0.003270368,0.00004420261,0.00015081644,0.000048884263,0.5248515],"genre_scores_gemma":[0.627829,0.22013164,0.0003918731,0.005675679,0.0020936544,0.000037437854,0.00027254378,0.000095022806,0.14347315],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.998212,0.0004991735,0.000040026433,0.00011399914,0.0007064143,0.0004284725],"domain_scores_gemma":[0.9983492,0.00037638404,0.00016166554,0.00007872324,0.0006706009,0.00036346624],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0025527657,0.00047239804,0.00034446002,0.002247474,0.0047136177,0.00487657,0.0009375553,0.0013576535,0.00655119],"category_scores_gemma":[0.003222331,0.000181365,0.0001575214,0.0029801459,0.006947335,0.002047635,0.0014684225,0.0013914064,0.00079576176],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00024964818,0.00006685669,0.0061930097,0.0019134855,0.000037894366,0.0014059453,0.060777377,0.00018098453,0.0005645701,0.22166894,0.40324736,0.30369392],"study_design_scores_gemma":[0.000011678986,0.000026778655,0.013900312,0.0007174666,0.000015311032,0.00044503435,0.024205836,0.000035390258,0.0002042622,0.0016464099,0.958775,0.000016568978],"about_ca_topic_score_codex":0.4787686,"about_ca_topic_score_gemma":0.7214742,"teacher_disagreement_score":0.4787686,"about_ca_system_score_codex":0.016347341,"about_ca_system_score_gemma":0.010728597,"threshold_uncertainty_score":0.95196366},"labels":[],"label_agreement":null},{"id":"W2123621286","doi":"10.7202/014262ar","title":"Stratégies narratives dans « Stan » d’Eminem","year":2007,"lang":"fr","type":"article","venue":"Protée","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":19,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.021373584640667923,"score_gpt":0.23701910197121404,"score_spread":0.2156455173305461,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2123621286","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.534437,0.00504507,0.02938428,0.007924994,0.00033055595,0.00009680909,0.00015327046,0.00026447754,0.42236358],"genre_scores_gemma":[0.96397334,0.00080691936,0.0027344942,0.00026508037,0.000032391265,0.000040772295,0.000045570836,0.00006745359,0.032034054],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99816424,0.0013206846,0.000048940343,0.00013586206,0.0002081063,0.00012222136],"domain_scores_gemma":[0.9986382,0.0008172105,0.00013760861,0.00014480243,0.00014504028,0.00011720688],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020649375,0.000633872,0.0002660037,0.0012104189,0.0035251034,0.0059842714,0.0006524156,0.001212034,0.0046935226],"category_scores_gemma":[0.0040178117,0.00022844589,0.00017472368,0.0014579596,0.008941656,0.004797532,0.00396059,0.0012611726,0.0006009799],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006675395,0.000017761262,0.0018882836,0.00016290779,0.000011807654,0.0009877057,0.67345566,0.00026709627,0.0019135087,0.29432097,0.0032538523,0.023653751],"study_design_scores_gemma":[0.000014123196,0.000058365713,0.0031681333,0.0003298479,0.0000143698135,0.0009788112,0.42104122,0.00082069123,0.0036462124,0.042333994,0.5275645,0.000029678187],"about_ca_topic_score_codex":0.003462403,"about_ca_topic_score_gemma":0.0066493596,"teacher_disagreement_score":0.0059842714,"about_ca_system_score_codex":0.0029680566,"about_ca_system_score_gemma":0.0013495332,"threshold_uncertainty_score":0.02153486},"labels":[],"label_agreement":null},{"id":"W2123977814","doi":"10.1111/j.1524-2226.2005.0049f.x","title":"Kruse, Holly. Site and Sound: Understanding Independent Music Scenes. New York: Peter Lang, 2003","year":2005,"lang":"en","type":"article","venue":"Journal of Popular Music Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Trent University","funders":"","keywords":"Citation; Sound (geography); Art history; History; Performance art; Art; Library science; Computer science","score_opus":0.1893276337851625,"score_gpt":0.2725580481376133,"score_spread":0.0832304143524508,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2123977814","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.003829078,0.8094259,0.01964726,0.03600262,0.002970062,0.00009508758,0.0032203014,0.00078492984,0.12402491],"genre_scores_gemma":[0.087631196,0.7023477,0.035167083,0.006683061,0.0013173112,0.00020650684,0.0020836215,0.0014735308,0.16309],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995834,0.00007679186,0.00005790846,0.00006829006,0.0001807267,0.000032803855],"domain_scores_gemma":[0.99750274,0.0012136138,0.00011840091,0.00010441163,0.0009169067,0.00014391898],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009303981,0.0013805347,0.0009669044,0.0077253254,0.0039051257,0.005544869,0.0017048685,0.002738192,0.029249735],"category_scores_gemma":[0.00476675,0.0016502237,0.00046416413,0.0057661296,0.004320544,0.0138297,0.0020490843,0.0027067994,0.012621568],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000084653744,0.000041381812,0.0017570422,0.0014339479,0.00003774622,0.00047781246,0.014093077,0.00029980004,0.00090790546,0.040550202,0.6066663,0.3336502],"study_design_scores_gemma":[0.000016905477,0.000018360593,0.0093377605,0.0019098243,0.0000741643,0.00093333755,0.012396464,0.0002117559,0.00085231906,0.047896642,0.9262948,0.00005771863],"about_ca_topic_score_codex":0.05740457,"about_ca_topic_score_gemma":0.1884849,"teacher_disagreement_score":0.05740457,"about_ca_system_score_codex":0.0014421282,"about_ca_system_score_gemma":0.0023385298,"threshold_uncertainty_score":0.11414087},"labels":[],"label_agreement":null},{"id":"W2124357392","doi":"","title":"The Hip-Hop Aesthetics and Visual Poetry of Wayde Compton's Performance Bond: Claiming Black Space in Contemporary Canada","year":2009,"lang":"en","type":"article","venue":"University Library - University of Saskatchewan (University of Saskatchewan)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Poetry; Aesthetics; Space (punctuation); Art; Narrative; Bond; Literature; Philosophy; Linguistics; Economics","score_opus":0.010134341798918842,"score_gpt":0.1525982630680182,"score_spread":0.14246392126909935,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2124357392","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18336047,0.005134116,0.0039905054,0.031169077,0.0017195406,0.000067812456,0.00015373161,0.00016582687,0.7742389],"genre_scores_gemma":[0.73848844,0.0024901612,0.0016048154,0.0016807144,0.00008101832,0.00003763665,0.00004144879,0.00019300377,0.2553828],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99851316,0.00027492055,0.00001752524,0.00010922598,0.000610623,0.00047454747],"domain_scores_gemma":[0.99869615,0.00017542644,0.000046443587,0.000042393804,0.0005281884,0.00051143835],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00093434856,0.0004868163,0.00026876098,0.001150266,0.03741198,0.011164142,0.0010612938,0.0012580287,0.009064656],"category_scores_gemma":[0.0022464327,0.0002482592,0.00016619085,0.00186462,0.016491547,0.0016937813,0.0043496797,0.0033094266,0.0006776148],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008551986,0.000047192938,0.003622821,0.00014449138,0.000012075187,0.00088289817,0.3713775,0.00045694332,0.0012343337,0.38592476,0.1622892,0.073922254],"study_design_scores_gemma":[0.0000046686387,0.000017010478,0.0031292164,0.00016322966,0.000009012322,0.00032939983,0.20591065,0.0003209342,0.00040198324,0.006330125,0.7833341,0.000049758313],"about_ca_topic_score_codex":0.96189505,"about_ca_topic_score_gemma":0.98462474,"teacher_disagreement_score":0.05179279,"about_ca_system_score_codex":0.05179279,"about_ca_system_score_gemma":0.050888907,"threshold_uncertainty_score":0.3757847},"labels":[],"label_agreement":null},{"id":"W2124431192","doi":"10.7202/1021243ar","title":"Les drogues dans le projet autobiographique de Mötley Crüe","year":2014,"lang":"fr","type":"article","venue":"Drogues santé et société","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Ottawa","funders":"","keywords":"Humanities; Art; Political science","score_opus":0.027385593613409833,"score_gpt":0.28278216683694646,"score_spread":0.25539657322353665,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2124431192","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.60042727,0.007122933,0.0019474027,0.026714133,0.0010868429,0.00006909121,0.00028026797,0.000061071536,0.36229107],"genre_scores_gemma":[0.784826,0.0023794658,0.00073291693,0.0019973866,0.0002582296,0.000043469696,0.00011014507,0.000061292216,0.20959109],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992937,0.00032079837,0.000013683357,0.000087517416,0.00015307406,0.00013114738],"domain_scores_gemma":[0.9990368,0.00043334713,0.0001203373,0.00007628706,0.0001365361,0.0001968343],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009030939,0.00029213194,0.00014389251,0.00094153715,0.007372226,0.002662238,0.00042440675,0.0010520988,0.010050808],"category_scores_gemma":[0.0017614212,0.00013975863,0.00011348516,0.00082228455,0.0071525853,0.0017022435,0.0020968984,0.0024978383,0.0010319719],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009557332,0.000028058472,0.0032874204,0.00015237903,0.000008593013,0.0014278494,0.7864693,0.00009687769,0.002211666,0.15143651,0.024671013,0.030114794],"study_design_scores_gemma":[0.000006940798,0.0000476791,0.011246325,0.00025162994,0.000005480093,0.0006451108,0.19771396,0.00007657166,0.0006318087,0.0034682506,0.78588426,0.000021950998],"about_ca_topic_score_codex":0.048137885,"about_ca_topic_score_gemma":0.12010233,"teacher_disagreement_score":0.048137885,"about_ca_system_score_codex":0.0041246503,"about_ca_system_score_gemma":0.0025987742,"threshold_uncertainty_score":0.095715344},"labels":[],"label_agreement":null},{"id":"W2124588624","doi":"10.1017/s0261143010000668","title":"The ‘world’ before globalisation: Moroccan elements in The Incredible String Band's music","year":2011,"lang":"en","type":"article","venue":"Popular Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia, Okanagan Campus; University of British Columbia","funders":"","keywords":"Appropriation; Globalization; Popular music; Context (archaeology); Aesthetics; History; Sociology; Literature; Political science; Art; Epistemology; Law; Philosophy; Archaeology","score_opus":0.08425623649007383,"score_gpt":0.22922236714780078,"score_spread":0.14496613065772695,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2124588624","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.66274107,0.003011343,0.0007494727,0.0074591544,0.00032162064,0.000017674025,0.00004099349,0.000018579894,0.32564008],"genre_scores_gemma":[0.993576,0.00031420682,0.00013359648,0.00021494624,0.000065895314,0.0000029308835,0.0000065554423,0.000008769977,0.0056772525],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9994106,0.00027282824,0.000012361254,0.00004493604,0.00009106646,0.00016820694],"domain_scores_gemma":[0.9996295,0.00013360965,0.00005988805,0.000040239807,0.000055230572,0.00008147136],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010206855,0.00037255386,0.00020307503,0.00095129857,0.0069075404,0.005732883,0.00040141577,0.00069420127,0.0074361996],"category_scores_gemma":[0.0009388456,0.00013475832,0.00010957982,0.001225187,0.00867873,0.0014849544,0.003229499,0.0012596414,0.0003942912],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00029645683,0.00006307221,0.007911832,0.00022318176,0.000014334991,0.0036212576,0.64295244,0.00015333676,0.0063826046,0.27930102,0.005924587,0.053155888],"study_design_scores_gemma":[0.00002483773,0.00019333177,0.04893344,0.0005107487,0.000019835023,0.0014376771,0.4164924,0.00024560784,0.0013321851,0.014564404,0.51621246,0.00003305618],"about_ca_topic_score_codex":0.01850244,"about_ca_topic_score_gemma":0.036771763,"teacher_disagreement_score":0.01850244,"about_ca_system_score_codex":0.004477525,"about_ca_system_score_gemma":0.0010041154,"threshold_uncertainty_score":0.036789477},"labels":[],"label_agreement":null},{"id":"W2125332302","doi":"10.5429/2225-0301.2011.14","title":"Singing the body electric: Real-time and virtual performance","year":2012,"lang":"en","type":"article","venue":"IASPM proceedings","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"Jyväskylän Yliopisto; Coordenação de Aperfeiçoamento de Pessoal de Nível Superior; National Research Foundation","keywords":"Watson; Jazz; Improvisation; Visual arts; Singing; Pavilion; Art history; Art; History; Computer science; Archaeology; Acoustics; Artificial intelligence; Physics","score_opus":0.012940673137201094,"score_gpt":0.1898280901562478,"score_spread":0.1768874170190467,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2125332302","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3131233,0.0038526587,0.01158461,0.0076771257,0.0009829579,0.000057555244,0.00018590262,0.0005336564,0.6620022],"genre_scores_gemma":[0.92394495,0.0019322495,0.0034797108,0.00038275815,0.00033790598,0.000051027168,0.00014185222,0.00013886121,0.069590636],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99886787,0.0006411738,0.000024162686,0.0000931842,0.00022287974,0.0001507207],"domain_scores_gemma":[0.9991722,0.0003329138,0.00006743234,0.0001010948,0.000049402825,0.00027693808],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014552535,0.00036492478,0.0001681702,0.0006881561,0.0028143893,0.0075292257,0.0009822812,0.000694333,0.016537642],"category_scores_gemma":[0.003190963,0.00017603254,0.00014035104,0.00064157596,0.0050616357,0.0027810282,0.0050119082,0.00088637567,0.0017765843],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00048471836,0.00024895213,0.0075653796,0.00065538345,0.00007666265,0.0014809695,0.32968026,0.0021310935,0.009891942,0.16523573,0.11778143,0.36476752],"study_design_scores_gemma":[0.00004204797,0.00026421843,0.012307958,0.00040400153,0.00002726055,0.0009867328,0.17243442,0.0009991141,0.0015961424,0.014879128,0.7959969,0.00006215259],"about_ca_topic_score_codex":0.0029903243,"about_ca_topic_score_gemma":0.009148116,"teacher_disagreement_score":0.016537642,"about_ca_system_score_codex":0.0010489029,"about_ca_system_score_gemma":0.00051001355,"threshold_uncertainty_score":0.0553239},"labels":[],"label_agreement":null},{"id":"W2125980027","doi":"10.1017/s0261143010000231","title":"Resisting exile and asserting musical voice: the Dixie Chicks are ‘Not Ready to Make Nice’","year":2010,"lang":"en","type":"article","venue":"Popular Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":13,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Ottawa","funders":"","keywords":"Lyrics; Musical; Oppression; Silence; Criticism; Resistance (ecology); Interpretation (philosophy); Popular music; Power (physics); Politics; Art; Visual arts; Sociology; Media studies; Gender studies; History; Aesthetics; Art history; Literature; Political science; Law; Linguistics","score_opus":0.05246164780859906,"score_gpt":0.2440486726576674,"score_spread":0.1915870248490683,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2125980027","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.81645036,0.0010307506,0.0014228672,0.013029989,0.0006630149,0.00002374114,0.0000549159,0.000049371105,0.16727507],"genre_scores_gemma":[0.9808957,0.00028033945,0.0002826511,0.0006933467,0.000069976064,0.000009897816,0.000013382398,0.00002124824,0.017733553],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99849236,0.000775379,0.000025933108,0.00014914908,0.0002806345,0.00027647818],"domain_scores_gemma":[0.9979347,0.0010946926,0.00027439155,0.00014458827,0.00023535942,0.0003163029],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013400122,0.00034693873,0.00020500689,0.00063643744,0.009790434,0.0072176014,0.00068427145,0.0017506827,0.00600905],"category_scores_gemma":[0.0045100325,0.00027709972,0.000118662756,0.0004684611,0.016754543,0.0023157122,0.0034557085,0.0036946218,0.0008119669],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017099752,0.000035323763,0.0041894754,0.0001286986,0.000012728967,0.002033515,0.9149802,0.000090400456,0.0041598394,0.044547215,0.016401786,0.013249867],"study_design_scores_gemma":[0.000008390857,0.00005390933,0.0062008626,0.00014062988,0.000008568046,0.00064193585,0.82124984,0.00010884741,0.0012489567,0.0011023339,0.16919836,0.00003730969],"about_ca_topic_score_codex":0.023170061,"about_ca_topic_score_gemma":0.050798807,"teacher_disagreement_score":0.023170061,"about_ca_system_score_codex":0.002736091,"about_ca_system_score_gemma":0.0010028358,"threshold_uncertainty_score":0.046070397},"labels":[],"label_agreement":null},{"id":"W2126703831","doi":"10.7202/1030873ar","title":"Quand le metal flirte avec ABBA : Analyse des transformations formelles et thématiques de « Summer Night City »","year":2015,"lang":"fr","type":"article","venue":"Intersections Canadian Journal of Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.09729562245249997,"score_gpt":0.2548548691651037,"score_spread":0.15755924671260374,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2126703831","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.90877366,0.0007532944,0.002812992,0.0010478859,0.00011459905,0.000042138097,0.00022890704,0.000043990698,0.08618253],"genre_scores_gemma":[0.970017,0.0002874339,0.0008884358,0.00008211489,0.000018040746,0.000019210627,0.0001224155,0.00005125732,0.028514147],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994357,0.00013390975,0.000014374252,0.00010886205,0.00016425393,0.0001427655],"domain_scores_gemma":[0.99954045,0.00014165205,0.00006655872,0.000047870133,0.00011728246,0.00008614456],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007493836,0.00031682843,0.00020513868,0.0010426443,0.004626522,0.004299382,0.0005328989,0.00067886134,0.012032952],"category_scores_gemma":[0.0016644503,0.00017679165,0.00031299458,0.0018483838,0.004134023,0.0017531068,0.0016691524,0.0009116112,0.0014133132],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00033842007,0.000057741738,0.046711937,0.00036474728,0.00003935065,0.0016247029,0.7855566,0.0004112827,0.0121685155,0.048957925,0.0064942604,0.09727455],"study_design_scores_gemma":[0.0000088146035,0.000082550425,0.21647018,0.00014451964,0.000026308944,0.00066920294,0.6088165,0.00044536416,0.0016241368,0.0031847977,0.16848317,0.000044499964],"about_ca_topic_score_codex":0.08633181,"about_ca_topic_score_gemma":0.22225067,"teacher_disagreement_score":0.08633181,"about_ca_system_score_codex":0.0035285302,"about_ca_system_score_gemma":0.0018979947,"threshold_uncertainty_score":0.17165864},"labels":[],"label_agreement":null},{"id":"W2127593635","doi":"10.1177/0002764205277647","title":"Digital Recording and the Reconfiguration of Music as Performance","year":2005,"lang":"en","type":"article","venue":"American Behavioral Scientist","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":14,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Acadia University","funders":"","keywords":"Performative utterance; Digital audio; Musical; Music industry; Popular music; Music technology; Character (mathematics); Visual arts; Contemporary classical music; Sociology; Aesthetics; Art; Computer science; Music education; Telecommunications; Audio signal","score_opus":0.02366170758494807,"score_gpt":0.23479650560673443,"score_spread":0.21113479802178636,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2127593635","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.34445107,0.0066514933,0.005516133,0.0074290284,0.00026625465,0.000035932382,0.00010481765,0.00009759101,0.6354477],"genre_scores_gemma":[0.9686603,0.0022690375,0.0007629889,0.00036413566,0.00009855953,0.0000124699745,0.000030160698,0.000030923704,0.027771316],"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9986148,0.00063690374,0.000030696123,0.0001269749,0.00030361267,0.00028709444],"domain_scores_gemma":[0.99939406,0.00022414766,0.00009302644,0.00010394589,0.00006388183,0.00012094442],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000988247,0.00028477685,0.00016312432,0.0010169884,0.00614037,0.008260656,0.0007309549,0.0009434479,0.008521022],"category_scores_gemma":[0.0023845446,0.00014810034,0.0001486052,0.0013392861,0.025291596,0.003735053,0.0040545114,0.0012650839,0.0004986578],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015953311,0.00006291664,0.003964135,0.00018966493,0.00001353783,0.0007216194,0.49802503,0.00042596422,0.004680787,0.368852,0.006175585,0.11672934],"study_design_scores_gemma":[0.000038729515,0.00015435884,0.015606699,0.00038889816,0.0000346143,0.0016052105,0.3686566,0.00040021454,0.0014379617,0.038504325,0.5731101,0.000062302526],"about_ca_topic_score_codex":0.054937206,"about_ca_topic_score_gemma":0.08139387,"teacher_disagreement_score":0.054937206,"about_ca_system_score_codex":0.00453552,"about_ca_system_score_gemma":0.0031511725,"threshold_uncertainty_score":0.10923487},"labels":[],"label_agreement":null},{"id":"W2127652324","doi":"10.21083/csieci.v5i1.1121","title":"Improvisation and the Unnameable: On Being Instrumental","year":2009,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":29,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Guelph","funders":"","keywords":"Improvisation; Aesthetics; Embodied cognition; Musical; Sociology; Epistemology; Art; Psychology; Visual arts; Philosophy","score_opus":0.05383377580922331,"score_gpt":0.33251112091102925,"score_spread":0.2786773451018059,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2127652324","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.053791437,0.029486809,0.011581764,0.13285299,0.011716924,0.000049180097,0.00002853324,0.00013236575,0.76035994],"genre_scores_gemma":[0.90782315,0.0056769033,0.001135817,0.006828125,0.0036371578,0.000049608057,0.000018053312,0.00017364291,0.07465747],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9910024,0.0058129258,0.00017778648,0.00068814115,0.0016145747,0.0007042645],"domain_scores_gemma":[0.9913898,0.0066927834,0.00035559342,0.00062671344,0.0005006042,0.00043448535],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0051163984,0.0006421816,0.00056938233,0.0014170625,0.012898883,0.014905489,0.0018044456,0.004578254,0.006752962],"category_scores_gemma":[0.012008086,0.00017056594,0.00032724094,0.0007781379,0.06137489,0.012396463,0.007130312,0.007805882,0.00082046475],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024646592,0.000011263797,0.00007796199,0.00007582206,0.0000029315888,0.00013634001,0.08395757,0.00003845694,0.00015969643,0.9009051,0.0074959975,0.00711425],"study_design_scores_gemma":[0.000014484215,0.00004279487,0.000245704,0.00062278524,0.000008181858,0.00027283994,0.10207153,0.00015545351,0.0006213777,0.24530388,0.6506189,0.000022056574],"about_ca_topic_score_codex":0.0020004201,"about_ca_topic_score_gemma":0.003046689,"teacher_disagreement_score":0.014905489,"about_ca_system_score_codex":0.003950406,"about_ca_system_score_gemma":0.0025234974,"threshold_uncertainty_score":0.028662324},"labels":[],"label_agreement":null},{"id":"W2128051517","doi":"10.1111/blar.12307","title":"Making Samba: A New History of Race and Music in Brazil ‐ by Hertzman, Marc A.","year":2015,"lang":"en","type":"article","venue":"Bulletin of Latin American Research","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Race (biology); Citation; Latin Americans; Library science; Humanities; History; Art; Art history; Sociology; Computer science; Political science; Law; Gender studies","score_opus":0.18262100044850166,"score_gpt":0.3316206265854601,"score_spread":0.14899962613695844,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2128051517","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10129125,0.10688567,0.0031089608,0.31070954,0.008091269,0.00008009391,0.00019445481,0.00011049438,0.46952823],"genre_scores_gemma":[0.81922185,0.032747686,0.0016166446,0.0152836135,0.0013071663,0.00006017322,0.00006134657,0.00014448,0.1295571],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992945,0.00033665416,0.000023857232,0.00007944731,0.00013545218,0.00013005428],"domain_scores_gemma":[0.99928087,0.00031743056,0.00007784261,0.000077769,0.0001239379,0.00012224495],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018257509,0.0003902938,0.00027874706,0.0011715144,0.006464329,0.004164818,0.00047336475,0.001014339,0.006038657],"category_scores_gemma":[0.0031420905,0.00020568611,0.00025862854,0.0011036567,0.008350849,0.004460145,0.0033665039,0.003031522,0.0005731589],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000080359416,0.00004303504,0.0030274016,0.0002173627,0.000014315802,0.00051087665,0.18248959,0.00007985018,0.001506954,0.6630972,0.046138853,0.10279421],"study_design_scores_gemma":[0.0000058572377,0.000018799874,0.0038555677,0.00043613813,0.000009109963,0.00020858811,0.036827017,0.00006492966,0.00036755417,0.02442078,0.9337718,0.000013888015],"about_ca_topic_score_codex":0.05776342,"about_ca_topic_score_gemma":0.18128587,"teacher_disagreement_score":0.05776342,"about_ca_system_score_codex":0.0045154733,"about_ca_system_score_gemma":0.005082571,"threshold_uncertainty_score":0.114854395},"labels":[],"label_agreement":null},{"id":"W2128084654","doi":"10.4000/volume.326","title":"Peut-on parler de musique noire ? (mais peut-on ne pas en parler...)","year":2008,"lang":"fr","type":"article","venue":"HAL (Le Centre pour la Communication Scientifique Directe)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":7,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.03569896079669305,"score_gpt":0.23071924341860217,"score_spread":0.19502028262190912,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2128084654","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.016139518,0.047402345,0.0058707753,0.5005901,0.021948226,0.000031966403,0.00012962751,0.0002141589,0.40767324],"genre_scores_gemma":[0.35412967,0.030868797,0.004650231,0.09868977,0.0061375,0.000077517376,0.00011138044,0.000417385,0.50491774],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986687,0.00065331993,0.000036484602,0.00021745275,0.00024403934,0.00018013168],"domain_scores_gemma":[0.9990495,0.000361488,0.00009802698,0.00008613098,0.0002431913,0.0001617322],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018010742,0.00039636676,0.00026592432,0.00028346226,0.0045681014,0.00505888,0.0005058983,0.002244904,0.012066056],"category_scores_gemma":[0.004697705,0.00017256365,0.00018899755,0.0003902754,0.0081671765,0.008410086,0.0021126934,0.0037686026,0.0047922917],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007237194,0.000017214583,0.0013202776,0.00024194,0.00001947571,0.00028768127,0.029705368,0.000060057984,0.0008904139,0.56530434,0.33820534,0.06387556],"study_design_scores_gemma":[0.000004661928,0.000020222604,0.0008215372,0.00015850419,0.0000051682277,0.00032654474,0.01160874,0.00004008638,0.0002773504,0.031263143,0.9554566,0.000017512624],"about_ca_topic_score_codex":0.007942426,"about_ca_topic_score_gemma":0.017038358,"teacher_disagreement_score":0.012066056,"about_ca_system_score_codex":0.0016109892,"about_ca_system_score_gemma":0.0013633182,"threshold_uncertainty_score":0.04036504},"labels":[],"label_agreement":null},{"id":"W2128864932","doi":"10.3138/cras.41.2.199","title":"Strange Notes from the LA Punk Underground: The Durability of Darby Crash and the Germs","year":2011,"lang":"en","type":"article","venue":"Canadian Review of American Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Punk; Crash; Charisma; Ideology; Art; Literature; History; Art history; Philosophy; Law; Theology; Political science; Politics; Computer science","score_opus":0.06808683620781919,"score_gpt":0.24799723107769142,"score_spread":0.17991039486987223,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2128864932","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.65236527,0.045216788,0.0004142703,0.069672324,0.0024523095,0.000022950937,0.00020070015,0.000075810465,0.22957951],"genre_scores_gemma":[0.9815653,0.0063474225,0.000062806146,0.0020281489,0.00038126545,0.0000091433085,0.000030386826,0.000026312708,0.009549334],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983417,0.0009902195,0.000035708417,0.0000971802,0.00032434455,0.00021088622],"domain_scores_gemma":[0.99760985,0.0010298698,0.00037806592,0.00011509266,0.00046202308,0.00040504851],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016263138,0.00030315283,0.00030258426,0.001466832,0.011190872,0.0068145473,0.0007946854,0.0011025354,0.0073361075],"category_scores_gemma":[0.0040459903,0.00021205473,0.00009618071,0.00146192,0.010484218,0.0030283877,0.003945634,0.002631191,0.00068314717],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012595905,0.000056816607,0.014188908,0.0005139097,0.00002275886,0.0021070598,0.7897894,0.00007778169,0.0004094929,0.05026482,0.09412992,0.04831321],"study_design_scores_gemma":[0.000009059805,0.000034956705,0.012157087,0.0004251175,0.000008475471,0.0005853636,0.70814186,0.000025146142,0.0001371494,0.0014385346,0.277016,0.000021316033],"about_ca_topic_score_codex":0.041006736,"about_ca_topic_score_gemma":0.119334035,"teacher_disagreement_score":0.041006736,"about_ca_system_score_codex":0.004808869,"about_ca_system_score_gemma":0.0026702248,"threshold_uncertainty_score":0.081536114},"labels":[],"label_agreement":null},{"id":"W2130030265","doi":"10.22230/cjc.2010v35n3a2261","title":"Silent Alarm: The Mosquito Youth Deterrent and the Politics of Frequency","year":2010,"lang":"en","type":"article","venue":"Canadian Journal of Communication","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":32,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Sound (geography); ALARM; Space (punctuation); Politics; Psychology; Acoustics; Political science; Computer science; Engineering; Law; Physics; Electrical engineering","score_opus":0.027333413224971383,"score_gpt":0.2026898852475168,"score_spread":0.17535647202254542,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2130030265","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16695477,0.016366068,0.0059102434,0.11047883,0.0022451244,0.000030780873,0.000048518345,0.00006853253,0.6978972],"genre_scores_gemma":[0.9351354,0.003380406,0.00074162794,0.008642713,0.0008252055,0.000020479327,0.000011207382,0.000044559973,0.051198546],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9985638,0.0006916482,0.00003255301,0.00012284932,0.00031081424,0.0002783829],"domain_scores_gemma":[0.99780315,0.0012848334,0.00025738374,0.000091419926,0.0002347709,0.00032837232],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018736246,0.0002621461,0.00019417389,0.00065603014,0.0072561693,0.006799296,0.0005479264,0.0022586852,0.0041030087],"category_scores_gemma":[0.0038872433,0.00018395393,0.00017502313,0.00038153445,0.01724736,0.0032079434,0.0030640736,0.00407801,0.00055031077],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006513125,0.000030320925,0.0026396718,0.0000507903,0.0000070737447,0.00039363076,0.06843253,0.000065843844,0.00056257815,0.8650671,0.024133025,0.038552266],"study_design_scores_gemma":[0.000036619032,0.00011921118,0.00814009,0.00048794516,0.000030731684,0.00097393454,0.08490675,0.0003318454,0.0014490149,0.10000608,0.803474,0.00004383201],"about_ca_topic_score_codex":0.018411236,"about_ca_topic_score_gemma":0.029493267,"teacher_disagreement_score":0.9815888,"about_ca_system_score_codex":0.003700232,"about_ca_system_score_gemma":0.0022641832,"threshold_uncertainty_score":0.03660816},"labels":[],"label_agreement":null},{"id":"W2132948865","doi":"10.7202/029963ar","title":"Karen Ahlquist, ed. 2006. Chorus and Community. Illinois: University of Illinois Press. 336 pp. ISBN-13: 978-0-252-03037-6 (cloth and compact disc)","year":2008,"lang":"en","type":"article","venue":"Intersections Canadian Journal of Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Chorus; History; Media studies; Art; Sociology; Literature","score_opus":0.03874839605094665,"score_gpt":0.192359290998689,"score_spread":0.15361089494774235,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2132948865","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0004084775,0.8747089,0.00086771336,0.011253779,0.0018133048,0.000021188493,0.00042799627,0.00020090182,0.11029782],"genre_scores_gemma":[0.0067059617,0.7891118,0.0028185698,0.0014429349,0.0007627118,0.00008086388,0.00060264446,0.00026601448,0.19820844],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99942076,0.000109127344,0.000053393494,0.00010092418,0.00025005333,0.00006577528],"domain_scores_gemma":[0.9990571,0.00037161013,0.0000928617,0.00004227148,0.00026674845,0.00016934218],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00085212855,0.0022081672,0.0011537024,0.0029271746,0.0021631802,0.004299704,0.0011779475,0.0022804162,0.09688839],"category_scores_gemma":[0.0017953491,0.0012593481,0.00042257394,0.003915125,0.002174455,0.0070580486,0.0020057457,0.003163945,0.05679566],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000051637657,0.000019810988,0.00027018966,0.0009116101,0.0000073345836,0.00008896206,0.0016706911,0.00011847854,0.0001551462,0.008576883,0.8064017,0.18172757],"study_design_scores_gemma":[0.0000038136839,0.0000047377675,0.000652185,0.0017910176,0.000005672994,0.0001533564,0.0011802929,0.000024430316,0.00006954924,0.0029564747,0.9931443,0.000014129894],"about_ca_topic_score_codex":0.037089564,"about_ca_topic_score_gemma":0.069755964,"teacher_disagreement_score":0.09688839,"about_ca_system_score_codex":0.0029007639,"about_ca_system_score_gemma":0.004564614,"threshold_uncertainty_score":0.32412398},"labels":[],"label_agreement":null},{"id":"W2133561641","doi":"10.1017/s0261143014000671","title":"Assuming niceness: private and public relationships in Drake's<i>Nothing Was the Same</i>","year":2014,"lang":"en","type":"article","venue":"Popular Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Queen's University","funders":"","keywords":"Foregrounding; Nothing; Masculinity; Context (archaeology); Aesthetics; Reflexive pronoun; Sociology; Media studies; Art; Gender studies; History; Literature; Epistemology; Philosophy; Archaeology","score_opus":0.06962006167316535,"score_gpt":0.21286971021616674,"score_spread":0.14324964854300137,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2133561641","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7671326,0.0006878731,0.002268883,0.02347283,0.00032629582,0.00003388634,0.000029363628,0.00004564752,0.20600267],"genre_scores_gemma":[0.9920461,0.00009521298,0.00013457281,0.00040831981,0.000034290042,0.00000529575,0.0000034032687,0.000011557465,0.0072611826],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9968274,0.0018978192,0.000060314578,0.00023312194,0.0005003682,0.00048085532],"domain_scores_gemma":[0.99634844,0.0012974875,0.00081376365,0.00031584656,0.00031345314,0.000911031],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0024400975,0.0002648687,0.0002817712,0.00068849453,0.01755728,0.01021494,0.000785998,0.0019509381,0.0076481863],"category_scores_gemma":[0.0047375313,0.00046455278,0.0001719138,0.00046873785,0.020929154,0.004827002,0.0062723267,0.0055441353,0.00061525573],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006453764,0.00008344872,0.0025226178,0.00005117529,0.000008755728,0.0014720489,0.8911217,0.000047855672,0.0015554024,0.0855536,0.007078353,0.010440506],"study_design_scores_gemma":[0.000011590614,0.00005881553,0.0053696577,0.00011119187,0.0000127004905,0.0017193106,0.8833032,0.00016985647,0.0005760255,0.008785184,0.099845745,0.000036716072],"about_ca_topic_score_codex":0.008521111,"about_ca_topic_score_gemma":0.017880421,"teacher_disagreement_score":0.01755728,"about_ca_system_score_codex":0.0031420963,"about_ca_system_score_gemma":0.0015560121,"threshold_uncertainty_score":0.02558577},"labels":[],"label_agreement":null},{"id":"W2133736008","doi":"10.1017/s0261143010000681","title":"(Un)originality, hypertextuality and identity in Tiga's ‘Sunglasses at Night’","year":2011,"lang":"en","type":"article","venue":"Popular Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Université de Hearst","funders":"","keywords":"Musical; Poetics; Identity (music); Postmodernism; Originality; Art; Meaning (existential); Utterance; Absurdism; Subject (documents); Orchestration; Aesthetics; Art history; Literature; Visual arts; History; Linguistics; Psychology; Philosophy; Computer science; Poetry; Epistemology; World Wide Web; Social psychology","score_opus":0.08926797071241416,"score_gpt":0.24998728064922618,"score_spread":0.16071930993681202,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2133736008","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5940658,0.001439612,0.0040986445,0.0038904697,0.0002937797,0.000026775973,0.00004932714,0.000080190795,0.39605546],"genre_scores_gemma":[0.99413514,0.000097853284,0.0001384623,0.000034273,0.00002208524,0.000003918568,0.000007056733,0.000007312134,0.0055539003],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99884844,0.0004375661,0.00002185841,0.00011304593,0.00033425126,0.00024484424],"domain_scores_gemma":[0.99877506,0.0005923911,0.00012784981,0.00022068043,0.00014472369,0.00013915286],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011094122,0.00025397108,0.00016877003,0.0009292973,0.00489629,0.007129839,0.00065893505,0.0010545865,0.005331429],"category_scores_gemma":[0.0031535549,0.00015072628,0.00013244247,0.0011122449,0.033120938,0.0031558701,0.0038305325,0.001863542,0.00024681576],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000079185,0.00002136013,0.0014511278,0.00008285343,0.000005623393,0.0007240297,0.5804991,0.00017461278,0.002316522,0.3945636,0.0018132916,0.018268712],"study_design_scores_gemma":[0.000041577903,0.00014476755,0.017549904,0.0003017531,0.000022473276,0.0012649745,0.5627702,0.00088165636,0.0032574364,0.06351533,0.3501803,0.000069557944],"about_ca_topic_score_codex":0.031158704,"about_ca_topic_score_gemma":0.032976557,"teacher_disagreement_score":0.031158704,"about_ca_system_score_codex":0.007459189,"about_ca_system_score_gemma":0.0022561077,"threshold_uncertainty_score":0.061954677},"labels":[],"label_agreement":null},{"id":"W2134615037","doi":"10.1017/s0261143008004108","title":"Canadian content regulations and the formation of a national scene","year":2008,"lang":"en","type":"article","venue":"Popular Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":17,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Brock University","funders":"","keywords":"Active listening; Tracking (education); Music industry; Advertising; State (computer science); The Internet; Business; Political science; Sociology; Computer science; Visual arts; Art; World Wide Web","score_opus":0.10337789911342421,"score_gpt":0.19729998096217305,"score_spread":0.09392208184874884,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2134615037","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1319551,0.001156966,0.0011413216,0.016766893,0.00034907856,0.000057461544,0.00037860998,0.000092775335,0.84810174],"genre_scores_gemma":[0.93917376,0.0006340701,0.0010380413,0.0026207739,0.000052876196,0.000020964771,0.0002181579,0.00007078458,0.056170728],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9947413,0.0005979528,0.000110546345,0.00045940513,0.0024698083,0.0016209129],"domain_scores_gemma":[0.99214387,0.0009843918,0.00057201396,0.0004166047,0.0045363624,0.0013468052],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003234999,0.00016059451,0.00020517097,0.002372923,0.02062631,0.011230366,0.0011680773,0.0013785457,0.014366169],"category_scores_gemma":[0.0091708535,0.00032937087,0.00023768694,0.0025315494,0.009740128,0.0018518382,0.0038188922,0.00213924,0.0007424817],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007496379,0.0000446147,0.016294131,0.0001413978,0.000017866814,0.000648499,0.06501949,0.00039642892,0.0011689474,0.7531795,0.10896127,0.054052833],"study_design_scores_gemma":[0.000010249429,0.00002225409,0.050524738,0.00024286068,0.000023679077,0.00013371582,0.051605735,0.00028193404,0.0008841974,0.006608381,0.88959515,0.000067100606],"about_ca_topic_score_codex":0.9621319,"about_ca_topic_score_gemma":0.9793259,"teacher_disagreement_score":0.08043048,"about_ca_system_score_codex":0.08043048,"about_ca_system_score_gemma":0.08239338,"threshold_uncertainty_score":0.58356667},"labels":[],"label_agreement":null},{"id":"W2135874944","doi":"10.4000/volume.3415","title":"Scream from the Heart: Yoko Ono’s Rock and Roll Revolution","year":2012,"lang":"fr","type":"article","venue":"Volume !","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Musée de la Civilisation","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.020621851495860922,"score_gpt":0.19701877920615407,"score_spread":0.17639692771029314,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2135874944","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.88785934,0.0010764515,0.00033704174,0.0049838666,0.0002888011,0.00001906278,0.00001893488,0.00001295811,0.10540355],"genre_scores_gemma":[0.96961415,0.0005515337,0.00014789896,0.00085100357,0.00006810496,0.0000150026935,0.000015044616,0.000024870204,0.028712375],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995377,0.00017218293,0.000008262606,0.00004131003,0.000055443023,0.00018514067],"domain_scores_gemma":[0.99978715,0.000077518365,0.000037209116,0.000016856062,0.000018296576,0.00006296372],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00068719394,0.00024718174,0.00021995045,0.0003406831,0.007161435,0.0032533724,0.00029753492,0.0011691783,0.0047953874],"category_scores_gemma":[0.0009195497,0.00015993328,0.00013094411,0.00046785778,0.0048336955,0.0017163656,0.0025546895,0.0024094,0.00041070543],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001948866,0.00008773427,0.00795052,0.0000990499,0.0000113740925,0.001813871,0.9082045,0.000046825313,0.0054715453,0.042819522,0.0068568164,0.026443353],"study_design_scores_gemma":[0.000013147367,0.00008802804,0.02518069,0.00010677857,0.000015444622,0.00034525924,0.8214012,0.000113101625,0.0007129724,0.0020666097,0.14992648,0.000030353547],"about_ca_topic_score_codex":0.009432925,"about_ca_topic_score_gemma":0.04350464,"teacher_disagreement_score":0.009432925,"about_ca_system_score_codex":0.0013256625,"about_ca_system_score_gemma":0.00086716306,"threshold_uncertainty_score":0.018756032},"labels":[],"label_agreement":null},{"id":"W2137331083","doi":"10.1353/rpc.2012.0037","title":"Music Sacred and Profane: Exploring the Use of Popular Music in Evangelical Worship Services","year":2012,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Worship; Sacred music; Popular music; Christian music; Aesthetics; Art; Evangelism; Sociology; Religious studies; Literature; Philosophy; Social science; Theology; Musical","score_opus":0.11744971883415965,"score_gpt":0.24581291594753055,"score_spread":0.1283631971133709,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2137331083","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.99000835,0.00029603546,0.00022604573,0.0012989042,0.00002760832,0.000031648655,0.000022468255,0.00000485384,0.008084038],"genre_scores_gemma":[0.996781,0.00047436933,0.0003620223,0.0005275123,0.000018035937,0.000043014013,0.000017678825,0.000010968453,0.0017654222],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.995937,0.0028062048,0.0000851381,0.00014022541,0.0003674507,0.00066396955],"domain_scores_gemma":[0.99577266,0.002574768,0.00049643253,0.00012084925,0.0003014409,0.0007339254],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0038806202,0.0003180411,0.00033000828,0.0017877189,0.008123083,0.0055820635,0.001073112,0.0014390033,0.0037433717],"category_scores_gemma":[0.007250037,0.00041811974,0.0002372875,0.0013668558,0.006772997,0.0038978097,0.005780732,0.002382574,0.0003213618],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000038057562,0.0001092853,0.009839894,0.00008364336,0.0000074434,0.0004314595,0.9786225,0.00001207743,0.00047474424,0.0013154845,0.0006215148,0.008443967],"study_design_scores_gemma":[0.0000022096801,0.000021631658,0.004215962,0.000034564124,0.0000022924878,0.00009668792,0.99188155,0.000018272298,0.00004756594,0.000087932734,0.003587098,0.0000041827197],"about_ca_topic_score_codex":0.01454643,"about_ca_topic_score_gemma":0.054463927,"teacher_disagreement_score":0.01454643,"about_ca_system_score_codex":0.0025971492,"about_ca_system_score_gemma":0.0028308104,"threshold_uncertainty_score":0.028923512},"labels":[],"label_agreement":null},{"id":"W2139209575","doi":"10.7202/1014417ar","title":"Deep Rivers: Selected Songs of Florence Price and MargaretBonds","year":2013,"lang":"en","type":"article","venue":"Canadian University Music Review","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Jazz; Melody; Blues; Emancipation; Musical form; Portrait; Musical; Dream; Art; History; Art history; Literature; Politics; Political science; Law; Psychology","score_opus":0.01579564632988669,"score_gpt":0.15290664072475812,"score_spread":0.13711099439487143,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2139209575","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.32861647,0.20850159,0.0007812794,0.04761019,0.0074063893,0.000111512796,0.0004078875,0.00007945426,0.40648514],"genre_scores_gemma":[0.6807965,0.062105965,0.0007813066,0.006406414,0.00454426,0.00009727316,0.0001844982,0.00009823973,0.24498552],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.9996395,0.000087722125,0.000007302676,0.000051181334,0.0001573618,0.000056857163],"domain_scores_gemma":[0.9997147,0.00009969059,0.00003389389,0.00000830718,0.000068921014,0.000074564676],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005156413,0.00027173976,0.00019307689,0.0010988336,0.0023852817,0.0012660578,0.00038019867,0.00058121904,0.004856007],"category_scores_gemma":[0.0013601494,0.0001192898,0.000074369906,0.00087838713,0.0012017259,0.0007691728,0.0010707394,0.000648363,0.00049574405],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00025984264,0.000094723844,0.0064153015,0.0012673789,0.0000416863,0.004645767,0.17406559,0.00012260818,0.0060946634,0.03164832,0.50884455,0.2664996],"study_design_scores_gemma":[0.000007883876,0.000036533747,0.010659527,0.0002676459,0.0000045898264,0.00097435364,0.025462478,0.000013270594,0.00023090039,0.0002713605,0.96206087,0.000010609238],"about_ca_topic_score_codex":0.042374052,"about_ca_topic_score_gemma":0.124377504,"teacher_disagreement_score":0.042374052,"about_ca_system_score_codex":0.0018992163,"about_ca_system_score_gemma":0.0007847661,"threshold_uncertainty_score":0.0842548},"labels":[],"label_agreement":null},{"id":"W2139909056","doi":"10.3366/afr.2010.0306","title":"Lip-synch Gospel: Christian Music and the Ethnopoetics of Identity in Kenya","year":2010,"lang":"en","type":"article","venue":"Africa","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":13,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Social Sciences and Humanities Research Council of Canada; Wenner-Gren Foundation","keywords":"Gospel; Politics; Hypocrisy; Public sphere; Sociology; Aesthetics; Identity politics; Identity (music); Gender studies; Media studies; Political science; Literature; Art; Law","score_opus":0.022119920902480206,"score_gpt":0.21452065609089527,"score_spread":0.19240073518841505,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2139909056","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.94083834,0.0022003504,0.00027715924,0.0019196931,0.00004305224,0.000041416326,0.00003035596,0.0000046050804,0.054644942],"genre_scores_gemma":[0.99681795,0.00063422625,0.00012482594,0.00014432485,0.00001141261,0.0000149685375,0.00000891381,0.000005011461,0.002238422],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99914634,0.0004872211,0.000021117045,0.00006047426,0.000071907,0.00021297013],"domain_scores_gemma":[0.9994103,0.00033202753,0.00011032308,0.000028230117,0.000028968532,0.00009019605],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001336007,0.00040145044,0.00029648296,0.0018218576,0.015544728,0.004088722,0.0004830044,0.0012316685,0.0050507956],"category_scores_gemma":[0.0018265044,0.00025872941,0.00008381489,0.0016043535,0.013415835,0.0031543197,0.0035793586,0.0011800122,0.00020469888],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009695867,0.00003366686,0.0069050547,0.00016405158,0.0000053032,0.0010841384,0.9550329,0.000028795916,0.0024306914,0.02229248,0.0010036743,0.010922335],"study_design_scores_gemma":[0.000010683832,0.00003838593,0.016428782,0.00023172318,0.00000639458,0.0003558017,0.9554382,0.000040559706,0.00037076962,0.0012294864,0.025836283,0.00001296653],"about_ca_topic_score_codex":0.016027657,"about_ca_topic_score_gemma":0.075828485,"teacher_disagreement_score":0.016027657,"about_ca_system_score_codex":0.003162219,"about_ca_system_score_gemma":0.0016109155,"threshold_uncertainty_score":0.031868756},"labels":[],"label_agreement":null},{"id":"W2141590500","doi":"10.1017/s0261143008004042","title":"‘Amerrrika ist wunderrrbarrr’: promotion of Germany through <i>Radio Goethe</i>’s cultural export of German popular music to North America","year":2008,"lang":"en","type":"article","venue":"Popular Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"US-UK Fulbright Commission","keywords":"German; Popular music; Media studies; Political science; Promotion (chess); Politics; Sociology; History; Art; Literature; Law","score_opus":0.07623577304309348,"score_gpt":0.25330110903422504,"score_spread":0.17706533599113156,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2141590500","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8945611,0.00099582,0.00026993314,0.0042682956,0.00013828235,0.000010243947,0.000042499603,0.000020348309,0.09969352],"genre_scores_gemma":[0.98814666,0.00040007953,0.00008975751,0.00034049412,0.000029782022,0.0000052346677,0.00001652893,0.000018312372,0.010953176],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99941945,0.00022089209,0.000013031758,0.000070061484,0.00008835469,0.00018819059],"domain_scores_gemma":[0.9995004,0.0002015583,0.00011408686,0.000034835666,0.000032430147,0.00011667369],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010613337,0.00017568929,0.00012880172,0.00056675065,0.003989016,0.0032495433,0.00037358116,0.000803585,0.0059441086],"category_scores_gemma":[0.0010440422,0.00016011883,0.00007764028,0.0007766522,0.0042663338,0.0019103413,0.0021251705,0.0011883649,0.0005546792],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000271977,0.00015482587,0.015449716,0.0002473431,0.000022035654,0.0045444597,0.7663678,0.00016901728,0.009522795,0.10652384,0.035448547,0.061277658],"study_design_scores_gemma":[0.000014105002,0.00009828944,0.0521264,0.00021952915,0.000012182974,0.0013069364,0.41638425,0.00016551005,0.0017943456,0.0010810846,0.52675927,0.0000380676],"about_ca_topic_score_codex":0.0131581295,"about_ca_topic_score_gemma":0.038448296,"teacher_disagreement_score":0.98684186,"about_ca_system_score_codex":0.0027217644,"about_ca_system_score_gemma":0.00093288434,"threshold_uncertainty_score":0.026163101},"labels":[],"label_agreement":null},{"id":"W2141783528","doi":"10.1177/2158244014547179","title":"Themes of Lust and Love in Popular Music Lyrics From 1971 to 2011","year":2014,"lang":"en","type":"article","venue":"SAGE Open","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":32,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Simon Fraser University","funders":"","keywords":"Lust; Lyrics; Theme (computing); Human sexuality; Popular music; Psychology; Romance; Heteronormativity; Musical; Literature; Gender studies; Art; Sociology; Psychoanalysis","score_opus":0.04980336039772928,"score_gpt":0.22984531533877678,"score_spread":0.1800419549410475,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2141783528","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9948649,0.0017346529,0.000096923904,0.00021367424,0.000030697942,0.000024046172,0.00042086293,0.0000062999825,0.0026079242],"genre_scores_gemma":[0.99426055,0.0016550996,0.00028272133,0.00013120357,0.000081534316,0.000058106303,0.0007888324,0.000012681656,0.002729226],"study_design_codex":"observational","study_design_gemma":"qualitative","domain_scores_codex":[0.99941707,0.00015693778,0.000055072214,0.000074274605,0.00018104851,0.000115597104],"domain_scores_gemma":[0.99749905,0.0007195065,0.0009136832,0.00008267648,0.00049626944,0.00028878453],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011846072,0.00016585745,0.0002937308,0.002954028,0.0012427564,0.0013832116,0.000361462,0.00035399702,0.0021332826],"category_scores_gemma":[0.004646314,0.00017929514,0.00024066283,0.0019139178,0.0010483979,0.00079956034,0.0017676473,0.000580997,0.00029434304],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0006704876,0.00007235287,0.5933276,0.0013684508,0.00010019646,0.0013661324,0.23958749,0.00014685318,0.00717901,0.0005699092,0.0038829183,0.15172847],"study_design_scores_gemma":[0.000004724072,0.00007212399,0.9511521,0.00012219904,0.000013662648,0.00054651505,0.038567435,0.00004078357,0.00027233045,0.000031832962,0.00916244,0.000013920153],"about_ca_topic_score_codex":0.0104095135,"about_ca_topic_score_gemma":0.040019304,"teacher_disagreement_score":0.0104095135,"about_ca_system_score_codex":0.0011308026,"about_ca_system_score_gemma":0.0005903978,"threshold_uncertainty_score":0.020697832},"labels":[],"label_agreement":null},{"id":"W2144159861","doi":"","title":"The Dilemma of Representation: Local Content at the Calgary Folk Festival, 1999-2009","year":2009,"lang":"en","type":"article","venue":"Canadian Folk Music / Musique folklorique canadienne","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Downtown; Dilemma; Folk music; Representation (politics); Variety (cybernetics); Musical; Visual arts; Music festival; History; Art; Political science; Archaeology; Law; Computer science; Artificial intelligence","score_opus":0.03981252293328014,"score_gpt":0.20289534722742283,"score_spread":0.1630828242941427,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2144159861","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2791144,0.0036596237,0.0016332906,0.2425968,0.0013319188,0.00013015754,0.0005330782,0.00017988894,0.4708208],"genre_scores_gemma":[0.8976047,0.00096431014,0.00037882177,0.010328596,0.00034715232,0.00006444642,0.0001570395,0.00019817811,0.08995677],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99465126,0.002346497,0.00009411115,0.00031808106,0.0008795383,0.001710461],"domain_scores_gemma":[0.99483395,0.001694754,0.0002837268,0.00035703916,0.0011250873,0.001705437],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0067813033,0.00027384277,0.0003889906,0.0019131191,0.042245515,0.024305254,0.0023281632,0.0036419462,0.028046673],"category_scores_gemma":[0.012058141,0.00042800032,0.00021923606,0.0037723964,0.017478593,0.0077939844,0.010300665,0.005511025,0.0020271577],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008670835,0.00004642093,0.0036290763,0.00012772485,0.000011281587,0.00040054857,0.6816113,0.00011185092,0.00030803256,0.1018665,0.15702458,0.054775946],"study_design_scores_gemma":[0.000013511893,0.000016378808,0.004654498,0.00022267882,0.000009825378,0.00006284468,0.7020232,0.00007666873,0.00014489186,0.0045536435,0.28820136,0.000020523928],"about_ca_topic_score_codex":0.4959847,"about_ca_topic_score_gemma":0.67317724,"teacher_disagreement_score":0.5040153,"about_ca_system_score_codex":0.0359692,"about_ca_system_score_gemma":0.022485254,"threshold_uncertainty_score":0.9861955},"labels":[],"label_agreement":null},{"id":"W2144387756","doi":"10.1177/0255761411434861","title":"YouTube, fanvids, forums, vlogs and blogs: Informal music learning in a convergent on- and offline music community","year":2012,"lang":"en","type":"article","venue":"International Journal of Music Education","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":145,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Windsor","funders":"","keywords":"Narrative; Ethnography; The Internet; Online community; Music education; Hyperlink; Online and offline; Sociology; World Wide Web; Multimedia; Computer science; Pedagogy; Web page; Art; Literature","score_opus":0.04466587558823385,"score_gpt":0.2620492581729349,"score_spread":0.21738338258470105,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2144387756","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9647243,0.0003816999,0.0042739334,0.0006597932,0.000069373906,0.00020334334,0.00019972588,0.00006709915,0.02942074],"genre_scores_gemma":[0.9913442,0.00017131207,0.0019260594,0.00010659248,0.000024820689,0.000120681136,0.00013667168,0.00004830559,0.006121246],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99809223,0.001204007,0.000039028895,0.00018846421,0.0002098594,0.00026636609],"domain_scores_gemma":[0.9954918,0.002760242,0.000377055,0.00030727437,0.00020424857,0.00085943],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0024546622,0.0002936994,0.00022699314,0.0021769383,0.0052463887,0.0040356717,0.00091330963,0.00067594845,0.0038566238],"category_scores_gemma":[0.00473447,0.00025164703,0.00013459599,0.0017515328,0.0071830167,0.0056935903,0.0052255536,0.0008122462,0.000420361],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017290513,0.00016832654,0.029216219,0.00021578482,0.000017372304,0.0019736267,0.8978547,0.00013691037,0.0030750802,0.010620339,0.0031480757,0.053400636],"study_design_scores_gemma":[0.000038450427,0.00010148595,0.027618336,0.00019271475,0.000013240929,0.0005975336,0.90106106,0.00071335887,0.0010806407,0.003695015,0.06485152,0.000036579222],"about_ca_topic_score_codex":0.011505801,"about_ca_topic_score_gemma":0.0360887,"teacher_disagreement_score":0.011505801,"about_ca_system_score_codex":0.0016527309,"about_ca_system_score_gemma":0.0015880519,"threshold_uncertainty_score":0.022877693},"labels":[],"label_agreement":null},{"id":"W2145663181","doi":"","title":"Ce que la critique rock entend dans la musique heavy metal : une exploration épistémologique","year":2007,"lang":"fr","type":"article","venue":"Commposite","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Humanities; Rock music; Art; Philosophy; Popular music; Literature","score_opus":0.021575600830983255,"score_gpt":0.24816024058097402,"score_spread":0.22658463974999077,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2145663181","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.26627803,0.013603816,0.051179077,0.06400093,0.00092272443,0.0000748929,0.00008443974,0.00008085746,0.60377514],"genre_scores_gemma":[0.9730084,0.0020987273,0.002762174,0.0011426869,0.00018150055,0.000025777577,0.00001368999,0.000051328727,0.020715652],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9961526,0.0024432587,0.00008570001,0.00041250582,0.0006108939,0.0002950649],"domain_scores_gemma":[0.9960615,0.0027823774,0.00029052753,0.00028786308,0.0004094755,0.00016813225],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004286944,0.000599701,0.00059535966,0.0021320132,0.007406326,0.010940165,0.0013262711,0.004132537,0.005160245],"category_scores_gemma":[0.006288987,0.00033109295,0.00044184367,0.0019186648,0.04406892,0.00929866,0.0045613805,0.0036447989,0.0006501324],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000049579445,0.000010753714,0.0011065867,0.00013248068,0.00001126409,0.00020043,0.13948643,0.00016258721,0.0005891606,0.84896237,0.0012501443,0.008038326],"study_design_scores_gemma":[0.000036392445,0.000086703796,0.0030157396,0.00064458326,0.000040572657,0.000577332,0.30771586,0.0012210998,0.0013594669,0.44532064,0.23992267,0.000058949263],"about_ca_topic_score_codex":0.015091894,"about_ca_topic_score_gemma":0.021265937,"teacher_disagreement_score":0.015091894,"about_ca_system_score_codex":0.004742575,"about_ca_system_score_gemma":0.0032444347,"threshold_uncertainty_score":0.03441},"labels":[],"label_agreement":null},{"id":"W2146965869","doi":"10.1353/esc.0.0087","title":"The Socio-poetic Soundscape of Geraldine Monk","year":2007,"lang":"en","type":"article","venue":"English studies in Canada","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Soundscape; Poetry; Art; Literature; Aesthetics; History; Geology; Geomorphology; Sound (geography)","score_opus":0.03116286732847672,"score_gpt":0.23505629879286974,"score_spread":0.203893431464393,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2146965869","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14161445,0.047164056,0.0038843218,0.37215567,0.012622429,0.000056714056,0.00020572355,0.00054039597,0.42175627],"genre_scores_gemma":[0.8360629,0.0030799357,0.00093325233,0.017929621,0.0007165809,0.000031412656,0.000024722784,0.00037676236,0.14084476],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99764436,0.0013087005,0.000031361775,0.00020187243,0.00041395903,0.00039967807],"domain_scores_gemma":[0.9988231,0.00034811348,0.000080784455,0.00007622647,0.00018824068,0.0004835774],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001920214,0.0004289784,0.00030459152,0.0006949615,0.0107324235,0.006718638,0.0006917363,0.0013565264,0.004292394],"category_scores_gemma":[0.0033361365,0.0002448815,0.00012203162,0.00047950284,0.0153707815,0.0023922578,0.0038460572,0.0046573463,0.0012426546],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019176412,0.00007081166,0.002207501,0.00021061259,0.000017301849,0.0021069737,0.3003013,0.00023957739,0.0022202057,0.21840824,0.42977473,0.04425098],"study_design_scores_gemma":[0.0000047155913,0.000016820879,0.0021627562,0.00010457114,0.0000027721926,0.00073386694,0.04675681,0.0001259735,0.00040591127,0.0073115295,0.9423417,0.000032603864],"about_ca_topic_score_codex":0.041941933,"about_ca_topic_score_gemma":0.08332277,"teacher_disagreement_score":0.041941933,"about_ca_system_score_codex":0.0065823314,"about_ca_system_score_gemma":0.0027641763,"threshold_uncertainty_score":0.0833956},"labels":[],"label_agreement":null},{"id":"W2149232595","doi":"10.21083/csieci.v1i1.10","title":"Modes and Manifestations of Improvisation in Urban Planning, Design, and Theory","year":2004,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":19,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"McGill University","keywords":"Improvisation; Ethos; Sociology; Function (biology); Aesthetics; Work (physics); Musical; Urban planning; Epistemology; Management science; Psychology; Political science; Visual arts; Engineering; Art; Civil engineering; Law; Philosophy","score_opus":0.09448889873064628,"score_gpt":0.3501401158690235,"score_spread":0.25565121713837724,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2149232595","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.24505499,0.006409446,0.10847995,0.021097317,0.0002714814,0.00018065874,0.000034425473,0.00021609363,0.61825556],"genre_scores_gemma":[0.987063,0.00064392353,0.004568809,0.00018383343,0.000034889563,0.00007907874,0.0000067839537,0.000040308852,0.007379411],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9911725,0.006733242,0.00018585987,0.0005037779,0.0008084225,0.00059623126],"domain_scores_gemma":[0.99251246,0.00561034,0.00045013992,0.0008449664,0.00024452445,0.00033754943],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0064187567,0.0007404654,0.00044457908,0.0027413762,0.0073746094,0.013156656,0.0019957675,0.0026289232,0.003678294],"category_scores_gemma":[0.008436742,0.00053977437,0.00044768184,0.002146657,0.09668309,0.0075277262,0.007538139,0.0037556349,0.00026954108],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019342611,0.000012333596,0.00048204404,0.000053852185,0.0000033448216,0.00016227526,0.07039491,0.00065917586,0.00016821291,0.92092955,0.00040898746,0.006706028],"study_design_scores_gemma":[0.000029218843,0.0000715572,0.0011992158,0.00036132504,0.000012299498,0.00044540057,0.15842016,0.0029150837,0.0009736787,0.75428414,0.08125743,0.000030509269],"about_ca_topic_score_codex":0.003162315,"about_ca_topic_score_gemma":0.00407487,"teacher_disagreement_score":0.013156656,"about_ca_system_score_codex":0.0074288617,"about_ca_system_score_gemma":0.0030663789,"threshold_uncertainty_score":0.05390036},"labels":[],"label_agreement":null},{"id":"W2150693984","doi":"10.7146/mediekultur.v27i51.4080","title":"The labelling process in popular music: Being-called “musiques émergentes” in Montréal","year":2011,"lang":"en","type":"article","venue":"MedieKultur Journal of media and communication research","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Western University","funders":"","keywords":"Popular music; Labelling; Relation (database); Aesthetics; Literature; Sociology; Visual arts; History; Art; Social science; Computer science","score_opus":0.16391962403282376,"score_gpt":0.31691667093644843,"score_spread":0.15299704690362467,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2150693984","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6840177,0.0020638048,0.0059604035,0.019530606,0.00038468267,0.00022228253,0.00028123098,0.00015335981,0.28738582],"genre_scores_gemma":[0.97631276,0.000310278,0.0009901832,0.00044534457,0.000030005667,0.00002713807,0.000041957854,0.00006311524,0.021779256],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9942754,0.0024855281,0.00009988046,0.00067943754,0.0012311916,0.0012285729],"domain_scores_gemma":[0.99468213,0.0022807082,0.00054114667,0.00033407984,0.0012238957,0.00093795324],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005527081,0.0005437873,0.00034603185,0.0015786107,0.027594171,0.010695205,0.002305,0.0021602416,0.006637094],"category_scores_gemma":[0.011037962,0.0004940298,0.0003155569,0.002892934,0.02811534,0.0030638783,0.006981899,0.0030528987,0.00035976717],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008421884,0.000027137023,0.005801321,0.00009556833,0.000011150295,0.0012563688,0.83662015,0.00026685122,0.002642093,0.122168854,0.00680433,0.024221977],"study_design_scores_gemma":[0.000027871058,0.00006202872,0.03285793,0.00026259193,0.000028348002,0.00028378365,0.6043729,0.00076576445,0.0020201216,0.0064668525,0.35264823,0.00020350533],"about_ca_topic_score_codex":0.9591324,"about_ca_topic_score_gemma":0.9784747,"teacher_disagreement_score":0.09994688,"about_ca_system_score_codex":0.09994688,"about_ca_system_score_gemma":0.048678063,"threshold_uncertainty_score":0.72516876},"labels":[],"label_agreement":null},{"id":"W2151088719","doi":"10.1086/666595","title":"Taste Regimes and Market-Mediated Practice","year":2012,"lang":"en","type":"article","venue":"Journal of Consumer Research","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":399,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Taste; Psychology; Marketing; Business","score_opus":0.11165422611664828,"score_gpt":0.3537715726210518,"score_spread":0.24211734650440353,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2151088719","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.73117656,0.00079802214,0.025325071,0.0035291691,0.000046485977,0.000082179606,0.00002819872,0.0000819678,0.23893234],"genre_scores_gemma":[0.99667156,0.0000865592,0.001437892,0.000056715933,0.000007337659,0.000020305924,0.0000036640795,0.000010124105,0.0017057551],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99524766,0.0029682426,0.0001816049,0.0005237346,0.0007447107,0.0003340397],"domain_scores_gemma":[0.99502075,0.0029717956,0.0006811596,0.0007782863,0.00024407072,0.00030379093],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005303135,0.00025308106,0.00032135533,0.0019834295,0.0038942937,0.007172021,0.0008949025,0.0013769265,0.0041874903],"category_scores_gemma":[0.007862299,0.00034280078,0.00030467924,0.0013874704,0.035444867,0.006460866,0.006181716,0.0013799887,0.000225009],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008519761,0.0001496176,0.009048115,0.00021225339,0.000029878522,0.00059731095,0.33645833,0.0006077947,0.0049047456,0.6051063,0.00056302274,0.042237423],"study_design_scores_gemma":[0.00010652395,0.00030917727,0.022492608,0.0003975149,0.000033848704,0.00083534856,0.2834054,0.0026254167,0.0025211114,0.59275836,0.094409786,0.00010494909],"about_ca_topic_score_codex":0.0013200131,"about_ca_topic_score_gemma":0.0017411222,"teacher_disagreement_score":0.007172021,"about_ca_system_score_codex":0.0032962458,"about_ca_system_score_gemma":0.00164586,"threshold_uncertainty_score":0.028045952},"labels":[],"label_agreement":null},{"id":"W2151184545","doi":"10.1162/lmj.2008.18.77","title":"Glenn Gould, the Vanishing Performer and the Ambivalence of the Studio","year":2008,"lang":"en","type":"article","venue":"Leonardo Music Journal","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":37,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Studio; Ambivalence; Performing arts; Art; Visual arts; Performance art; Art history; Psychology; Psychoanalysis","score_opus":0.03277084753461203,"score_gpt":0.17098831091839053,"score_spread":0.1382174633837785,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2151184545","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11333653,0.009327492,0.0013920997,0.17421505,0.0013061413,0.000022797674,0.00005647394,0.00012157792,0.70022184],"genre_scores_gemma":[0.8777811,0.002530001,0.00055552454,0.009797627,0.00014876295,0.0000123324635,0.000015071694,0.000093721756,0.10906584],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9975337,0.000828992,0.00002805789,0.000238905,0.00079017313,0.0005802002],"domain_scores_gemma":[0.99872226,0.00029460026,0.00006312096,0.000051822113,0.0003240473,0.00054415414],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018241493,0.0003021006,0.0002473918,0.0009599897,0.03618645,0.009210936,0.0010269509,0.0020367827,0.008055222],"category_scores_gemma":[0.00281733,0.00022409437,0.00012980314,0.0008203107,0.038599152,0.0029791568,0.0047369534,0.0045793233,0.0006568979],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000085938984,0.00002861516,0.0021736948,0.00006684413,0.0000058835485,0.00054648786,0.22335263,0.00019527109,0.00088678027,0.6272651,0.1119977,0.03339508],"study_design_scores_gemma":[0.000009739028,0.000026678867,0.0026285688,0.00019682678,0.000006030168,0.00026434558,0.18015333,0.000119667005,0.0003329579,0.029081117,0.7871252,0.000055619337],"about_ca_topic_score_codex":0.72547007,"about_ca_topic_score_gemma":0.8693,"teacher_disagreement_score":0.72547007,"about_ca_system_score_codex":0.03085539,"about_ca_system_score_gemma":0.025650447,"threshold_uncertainty_score":0.55229336},"labels":[],"label_agreement":null},{"id":"W2151606164","doi":"10.21083/csieci.v4i1.361","title":"From the Margins to the Mainstream: Jazz, Social Relations, and Discourses of Value","year":2008,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":61,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Jazz; Mainstream; Aesthetics; Sociology; Rhetorical question; Conceptualization; Politics; Value (mathematics); Gender studies; Literature; Art; Political science; Visual arts; Linguistics; Law; Philosophy","score_opus":0.07760260573981394,"score_gpt":0.3342400860321651,"score_spread":0.25663748029235117,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2151606164","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5194996,0.009636727,0.0053905775,0.04716566,0.0005229078,0.000021604103,0.00003669735,0.00006260022,0.41766357],"genre_scores_gemma":[0.9950093,0.0006946631,0.00014561527,0.00057293347,0.00016637414,0.000008830332,0.000006225049,0.000021141574,0.0033748862],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.991968,0.005121268,0.00015135139,0.0006430744,0.0012831112,0.0008332],"domain_scores_gemma":[0.9926214,0.0053216633,0.00060160033,0.0003247307,0.00047424005,0.0006563542],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0069625694,0.0005172978,0.00049417437,0.0034032643,0.018748185,0.022587191,0.0010586405,0.0028499584,0.005053758],"category_scores_gemma":[0.008227137,0.00024770832,0.00024809144,0.002985462,0.0665534,0.016166601,0.011343063,0.004486135,0.00041482828],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000044768563,0.000020823367,0.0011200939,0.000055776938,0.0000064929145,0.00022838816,0.55314875,0.000045143923,0.00041048325,0.43300453,0.0018600554,0.01005475],"study_design_scores_gemma":[0.000018518904,0.00004886038,0.0031027338,0.00036248902,0.000012283293,0.0001766605,0.70812196,0.00023567554,0.0003658006,0.15528442,0.13223802,0.0000326671],"about_ca_topic_score_codex":0.007635869,"about_ca_topic_score_gemma":0.0077245953,"teacher_disagreement_score":0.022587191,"about_ca_system_score_codex":0.0072734505,"about_ca_system_score_gemma":0.002698851,"threshold_uncertainty_score":0.05277282},"labels":[],"label_agreement":null},{"id":"W2151742664","doi":"10.21083/csieci.v3i1.243","title":"Voicing Silence: The Legend of Buddy Bolden","year":2007,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Improvisation; Jazz; Silence; Legend; Power (physics); History; Voice; Aesthetics; Art; Visual arts; Literature; Linguistics; Philosophy","score_opus":0.1132036625422028,"score_gpt":0.3883870083409406,"score_spread":0.2751833457987378,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2151742664","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.34824872,0.024593959,0.005929849,0.0720207,0.010758569,0.000051720122,0.00017917286,0.00039764168,0.5378197],"genre_scores_gemma":[0.90854937,0.0029722487,0.0007926688,0.007648574,0.0012198782,0.00002646713,0.00006703867,0.00033710935,0.078386545],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99860054,0.0006242021,0.000027349466,0.00021317009,0.00026551238,0.000269268],"domain_scores_gemma":[0.9988431,0.00053379685,0.00009541584,0.00006829267,0.00015723569,0.00030212564],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010550488,0.00055777055,0.0004784897,0.0006694953,0.013403502,0.009328652,0.0011674578,0.0021626388,0.0041192477],"category_scores_gemma":[0.0035305745,0.00031355486,0.00020001632,0.0003816183,0.013410333,0.0043028104,0.0050204117,0.0066838767,0.001780471],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022508916,0.000038168153,0.0012089792,0.00018499231,0.000020217436,0.0036534497,0.7572945,0.00015957635,0.0036750897,0.14734153,0.06441064,0.021787759],"study_design_scores_gemma":[0.000015872463,0.000061835446,0.0014182643,0.0003962308,0.0000140937345,0.0023518992,0.2644262,0.00026565095,0.0017137866,0.009496303,0.7197763,0.00006360161],"about_ca_topic_score_codex":0.009212947,"about_ca_topic_score_gemma":0.021737998,"teacher_disagreement_score":0.013403502,"about_ca_system_score_codex":0.0033379998,"about_ca_system_score_gemma":0.0011041625,"threshold_uncertainty_score":0.024218976},"labels":[],"label_agreement":null},{"id":"W2152500730","doi":"10.1017/s0261143009001858","title":"Empire of Dirt: The Aesthetics and Rituals of British Indie Music. By Wendy Fonarow. Middletown: Wesleyan University Press, 2006. xiv + 315 pp. ISBN 978-0-8195-6811-3 (pb)","year":2009,"lang":"en","type":"article","venue":"Popular Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Indie film; Dirt; Art history; Art; Empire; History; Archaeology; Visual arts; Geography; Cartography","score_opus":0.023437566948099755,"score_gpt":0.18441899636292688,"score_spread":0.16098142941482713,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2152500730","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0038194242,0.9319061,0.0006143014,0.008671665,0.0016148324,0.000014465771,0.00015060458,0.00007505211,0.053133555],"genre_scores_gemma":[0.10422562,0.51551855,0.0029730485,0.0028560434,0.0013011472,0.0000631374,0.00036357853,0.00030031506,0.3723986],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998124,0.00005601217,0.000011697882,0.000020443185,0.00007473879,0.000024768904],"domain_scores_gemma":[0.9997987,0.00008261528,0.000027821501,0.000016146505,0.000039133036,0.00003565238],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00054305803,0.0013375564,0.0005886545,0.0017400748,0.002110233,0.0032383401,0.00056053523,0.001055463,0.016179856],"category_scores_gemma":[0.0010450035,0.00056168536,0.00025795033,0.002452692,0.0026550475,0.0029397642,0.0011119695,0.001611233,0.004804702],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000113166454,0.000032758024,0.0010091789,0.0014421176,0.000038416278,0.00028920037,0.015861735,0.00017883562,0.0012678424,0.014424715,0.5462539,0.4190881],"study_design_scores_gemma":[0.000004286228,0.000018118308,0.010995742,0.0014156773,0.000014322144,0.00066420715,0.006882203,0.00008277232,0.00021689854,0.0039260965,0.9757579,0.00002176039],"about_ca_topic_score_codex":0.078455195,"about_ca_topic_score_gemma":0.2715907,"teacher_disagreement_score":0.078455195,"about_ca_system_score_codex":0.002375163,"about_ca_system_score_gemma":0.001277868,"threshold_uncertainty_score":0.1559971},"labels":[],"label_agreement":null},{"id":"W2153034418","doi":"10.1558/jazz.v1i2.153","title":"Musical genre distinction and the uniculture","year":2008,"lang":"en","type":"article","venue":"Jazz Research Journal","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Trent University","funders":"","keywords":"Jazz; Musical; Frith; Popular music; Relation (database); Context (archaeology); Dance; Electronic dance music; Aesthetics; Art; Musical form; Visual arts; Literature; Sociology; History; Linguistics; Computer science; Philosophy","score_opus":0.15362036613844807,"score_gpt":0.30522906335741634,"score_spread":0.15160869721896827,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2153034418","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.19977784,0.03308944,0.0014334063,0.031308845,0.0014908421,0.000010436371,0.000031967746,0.000024244402,0.73283297],"genre_scores_gemma":[0.98487955,0.0027186119,0.00028657867,0.0012867035,0.00034419526,0.000006414195,0.000009099905,0.000017792163,0.010451059],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99723345,0.0016528915,0.00007381775,0.00027139814,0.00043794778,0.0003305097],"domain_scores_gemma":[0.99869835,0.0005991338,0.00015497286,0.00013110912,0.00014064413,0.00027575728],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018978257,0.0002963377,0.00035182963,0.002107296,0.0079365745,0.009135823,0.0006024308,0.0010262668,0.003474286],"category_scores_gemma":[0.0022700767,0.00019007627,0.00016077085,0.0015345432,0.02488631,0.004013433,0.005983216,0.0022947895,0.00044081823],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000059787344,0.000022532575,0.002459023,0.000052225383,0.000008815001,0.00026611218,0.10561438,0.00003677796,0.0003815076,0.8633568,0.007649948,0.020092001],"study_design_scores_gemma":[0.00004138168,0.00008978555,0.011991385,0.00041773173,0.00001881275,0.0009463887,0.11550582,0.00021890325,0.00048049114,0.28153077,0.58871806,0.000040569408],"about_ca_topic_score_codex":0.0054182047,"about_ca_topic_score_gemma":0.01201846,"teacher_disagreement_score":0.009135823,"about_ca_system_score_codex":0.0026523632,"about_ca_system_score_gemma":0.0007938993,"threshold_uncertainty_score":0.019244313},"labels":[],"label_agreement":null},{"id":"W2154737706","doi":"10.1558/pomh.v1i2.125","title":"‘Rock, roll and remember?’","year":2004,"lang":"en","type":"article","venue":"Popular Music History","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Jazz; Popular music; Parallels; Popular culture; Scholarship; Narrative; Rock music; Music; Musical; Music education; Music history; Literature; Historiography; Art; Aesthetics; Visual arts; History; Political science; Law","score_opus":0.04317705430070927,"score_gpt":0.1859570222831056,"score_spread":0.14277996798239634,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2154737706","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.21407893,0.022419993,0.0040223654,0.15130097,0.0047602924,0.000040063376,0.00013694352,0.00013080545,0.60310954],"genre_scores_gemma":[0.8731101,0.0062104193,0.000773886,0.0123349205,0.00140463,0.000023274573,0.000063387386,0.00008485019,0.10599453],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9988696,0.0005594641,0.000033978693,0.00011976126,0.00021702886,0.00020013876],"domain_scores_gemma":[0.9989743,0.00047307718,0.00013480923,0.00009900644,0.00013169795,0.00018711465],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019259802,0.00033766267,0.00024250968,0.0008894251,0.007908489,0.0076426333,0.0005713696,0.0018470084,0.01159557],"category_scores_gemma":[0.0047106184,0.0002150515,0.00016906494,0.0008532945,0.013185388,0.009094654,0.0025145677,0.0026366662,0.0019565187],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000085267835,0.00003444225,0.0039909137,0.00019275749,0.000012833604,0.0007199316,0.5266794,0.000032675325,0.0005544298,0.30645102,0.10456432,0.056682024],"study_design_scores_gemma":[0.000008757167,0.00003420999,0.0025964319,0.0001615068,0.0000073234837,0.0009113259,0.34721392,0.000049248334,0.0003022096,0.014623089,0.6340745,0.0000174348],"about_ca_topic_score_codex":0.0049410253,"about_ca_topic_score_gemma":0.01219909,"teacher_disagreement_score":0.01159557,"about_ca_system_score_codex":0.0014067877,"about_ca_system_score_gemma":0.0007244601,"threshold_uncertainty_score":0.03879106},"labels":[],"label_agreement":null},{"id":"W2154792643","doi":"10.1002/asi.22840","title":"The impact of technological advances on recording studio practices","year":2013,"lang":"en","type":"article","venue":"Journal of the American Society for Information Science and Technology","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":45,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université de Montréal; McGill University; Centre for Interdisciplinary Research in Music Media and Technology","funders":"","keywords":"Studio; Musical; Variety (cybernetics); Scope (computer science); TRACE (psycholinguistics); Music industry; Sound recording and reproduction; The Internet; Computer science; Visual arts; Management; Telecommunications; Art; Economics; World Wide Web","score_opus":0.026611583642416586,"score_gpt":0.30411165947811203,"score_spread":0.27750007583569547,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2154792643","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.92529094,0.0013306123,0.001198875,0.0037049367,0.000072921655,0.000034549088,0.000050340826,0.000018888617,0.06829798],"genre_scores_gemma":[0.9919526,0.0016276716,0.0006754861,0.000213811,0.00005388103,0.00001882753,0.000025724195,0.000015482527,0.005416468],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9920832,0.0035582196,0.0006028376,0.00078267173,0.0020728682,0.0009002986],"domain_scores_gemma":[0.97429854,0.017182134,0.0030564768,0.0015101586,0.0023652255,0.0015875192],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.008388486,0.00021558364,0.00025515357,0.0018129953,0.0041880948,0.008639107,0.001086731,0.0012396938,0.006321657],"category_scores_gemma":[0.023797309,0.00038838622,0.000271888,0.0020474838,0.007549731,0.0062403837,0.0059104334,0.002784377,0.00077591685],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003239319,0.00025813692,0.059310924,0.00061225716,0.00003206273,0.0033754979,0.7192216,0.00076830515,0.0055607664,0.058067933,0.0032065252,0.14926209],"study_design_scores_gemma":[0.00003566071,0.000441429,0.16692553,0.0008001511,0.000064290725,0.0034956583,0.6241728,0.0009519122,0.0043676603,0.006448246,0.19217718,0.000119447664],"about_ca_topic_score_codex":0.0044681723,"about_ca_topic_score_gemma":0.006921315,"teacher_disagreement_score":0.9958119,"about_ca_system_score_codex":0.004194497,"about_ca_system_score_gemma":0.002999706,"threshold_uncertainty_score":0.04436308},"labels":[],"label_agreement":null},{"id":"W2154878536","doi":"10.20381/ruor-3537","title":"Tuning In to a Hit Parade Pedagogy","year":2014,"lang":"en","type":"dissertation","venue":"uO Research (University of Ottawa)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"University of Ottawa","keywords":"Parade; Curriculum; Lyrics; Sociology; Improvisation; Critical pedagogy; Pedagogy; Music education; Art; Visual arts; Media studies; Literature; Art history","score_opus":0.08349900792853555,"score_gpt":0.32478257310652203,"score_spread":0.2412835651779865,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2154878536","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.33737722,0.0010647438,0.022627253,0.0219586,0.0011651594,0.00042646655,0.00019816881,0.0007327899,0.6144496],"genre_scores_gemma":[0.89319617,0.0007087956,0.0066651264,0.0017094287,0.00014556688,0.00013308988,0.000084105246,0.00013308352,0.09722463],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99781954,0.0010864668,0.000053278774,0.00019978428,0.0003968739,0.00044414675],"domain_scores_gemma":[0.99801564,0.00046636022,0.00013349701,0.00025531364,0.00028954924,0.0008395565],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023754577,0.00034102428,0.0003337503,0.00080210884,0.00942892,0.006938803,0.00095665484,0.001243152,0.014655996],"category_scores_gemma":[0.0053045307,0.0002117254,0.0002970157,0.0006629015,0.011930358,0.004601436,0.0061086775,0.0030609043,0.0020476875],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012972469,0.00038042146,0.014114312,0.00044180927,0.000018669429,0.0012596429,0.4132281,0.0007084126,0.0041435864,0.33787683,0.08002064,0.14767788],"study_design_scores_gemma":[0.000017211007,0.0002506386,0.007905331,0.0003112222,0.000010221184,0.0003890402,0.38607875,0.00033246586,0.00129751,0.01658588,0.58678347,0.000038342765],"about_ca_topic_score_codex":0.009480777,"about_ca_topic_score_gemma":0.028455727,"teacher_disagreement_score":0.014655996,"about_ca_system_score_codex":0.0039486163,"about_ca_system_score_gemma":0.005085274,"threshold_uncertainty_score":0.04902923},"labels":[],"label_agreement":null},{"id":"W2157480969","doi":"10.7202/902282ar","title":"Off the Map?","year":2010,"lang":"en","type":"article","venue":"Circuit Musiques contemporaines","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dichotomy; Divergence (linguistics); Sociology; Fragmentation (computing); Convergence (economics); Aesthetics; Field (mathematics); Visual arts; Media studies; Epistemology; Computer science; Art; Linguistics; Mathematics; Philosophy","score_opus":0.035294050510529335,"score_gpt":0.2110007401339095,"score_spread":0.17570668962338015,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2157480969","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.007263526,0.007944283,0.0036130853,0.09961976,0.010625279,0.000026141908,0.00020790799,0.00039168142,0.87030834],"genre_scores_gemma":[0.21372624,0.009556748,0.0023930066,0.022581344,0.0024900278,0.00006390491,0.00034361237,0.00066715165,0.7481781],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.998871,0.00040736696,0.000028396666,0.0001937516,0.00025645606,0.00024305744],"domain_scores_gemma":[0.9992567,0.00016322131,0.000049078084,0.00012977247,0.00017983236,0.00022139662],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011110599,0.0005996227,0.00037263398,0.0011100343,0.009198325,0.013950646,0.0010668616,0.0028400777,0.115217],"category_scores_gemma":[0.004479009,0.00022456962,0.00029189722,0.0011868797,0.008396497,0.013831378,0.0072641564,0.004684423,0.031286385],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000575456,0.000025846075,0.0006986811,0.00013411895,0.000009328558,0.0004407216,0.017432882,0.000096111915,0.00018013235,0.49039948,0.38014293,0.11038216],"study_design_scores_gemma":[0.0000025726156,0.000008100311,0.0001798121,0.00011743299,0.0000019077022,0.0001170025,0.012939978,0.000032427924,0.000054009415,0.027689481,0.9588517,0.0000054654947],"about_ca_topic_score_codex":0.00692871,"about_ca_topic_score_gemma":0.011115417,"teacher_disagreement_score":0.115217,"about_ca_system_score_codex":0.0024245153,"about_ca_system_score_gemma":0.0022587033,"threshold_uncertainty_score":0.38543928},"labels":[],"label_agreement":null},{"id":"W2157790358","doi":"10.1558/pomh.v3i3.295","title":"Traditional music and the World Music marketplace","year":2009,"lang":"en","type":"article","venue":"Popular Music History","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"World Federation of Science Journalists","funders":"","keywords":"Modernity; Music history; Rhythm; Visual arts; Musical; Aesthetics; Art; History; Political science; Law","score_opus":0.07492336918564242,"score_gpt":0.18699336635887412,"score_spread":0.1120699971732317,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2157790358","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.119873434,0.00937639,0.00086561224,0.014654571,0.00062469393,0.00001502538,0.000041068233,0.00002285251,0.85452634],"genre_scores_gemma":[0.95142484,0.0049143014,0.00043741768,0.0011067644,0.00059485366,0.000015170694,0.00002168009,0.000020905409,0.041464046],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994312,0.0002056814,0.000011171527,0.000046318826,0.00013884198,0.00016678301],"domain_scores_gemma":[0.9996352,0.00011954849,0.00008952709,0.00002547345,0.000039008904,0.000091301044],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005890513,0.00022799459,0.00012948802,0.001703363,0.0044749733,0.008556211,0.00050664536,0.0015157573,0.0087233465],"category_scores_gemma":[0.0008722831,0.00013130259,0.00014521932,0.0021007273,0.007416976,0.004548445,0.002372974,0.0011885557,0.00056239916],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002959338,0.000030264993,0.0014721922,0.000026370146,0.0000040067057,0.00036520654,0.016927678,0.000083961975,0.00018745095,0.95262164,0.0066329543,0.021618666],"study_design_scores_gemma":[0.000030797655,0.00006877692,0.011922311,0.00026955307,0.000008425965,0.0005891057,0.07218246,0.0005298691,0.00031342957,0.16903742,0.74501884,0.000029004957],"about_ca_topic_score_codex":0.007949775,"about_ca_topic_score_gemma":0.022446834,"teacher_disagreement_score":0.0087233465,"about_ca_system_score_codex":0.0031938886,"about_ca_system_score_gemma":0.0012620066,"threshold_uncertainty_score":0.029182494},"labels":[],"label_agreement":null},{"id":"W2158097076","doi":"10.1017/s0261143002002143","title":"Local scenes and dangerous crossroads: punk and theories of cultural hybridity","year":2002,"lang":"en","type":"article","venue":"Popular Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":100,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Hybridity; Punk; Subculture (biology); Ethnography; Sociology; Musical; Resistance (ecology); Aesthetics; Relevance (law); Globalization; Cultural studies; Media studies; Anthropology; History; Art; Art history; Visual arts; Political science; Law","score_opus":0.04527816528457502,"score_gpt":0.21125118021185466,"score_spread":0.16597301492727964,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2158097076","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.54907966,0.0064960946,0.018639904,0.013117348,0.00016749758,0.000056433717,0.00004754961,0.000063823856,0.41233173],"genre_scores_gemma":[0.9970335,0.0004034286,0.000567285,0.0001382402,0.000014952939,0.000015051917,0.0000070599276,0.000011365891,0.0018091083],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9965553,0.002305742,0.000052336276,0.0004223269,0.00021174109,0.00045255665],"domain_scores_gemma":[0.9958526,0.0027985375,0.00047803193,0.0003626818,0.00015796837,0.0003501331],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0034150875,0.0005115638,0.00045513018,0.0030619246,0.00789001,0.013824686,0.001609591,0.0022699945,0.005226523],"category_scores_gemma":[0.004770389,0.00046156955,0.0005252375,0.0028103576,0.06652425,0.014421789,0.009358746,0.0028901128,0.00026826918],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021902782,0.000023924269,0.0028248427,0.000048553746,0.00000932794,0.00033003907,0.19288914,0.00023985117,0.0000464115,0.7970508,0.0003323598,0.006182797],"study_design_scores_gemma":[0.000024365556,0.00005181766,0.00474238,0.0002252887,0.000021128946,0.0005514519,0.4149135,0.0010510524,0.0001036241,0.5464723,0.031807423,0.000035719713],"about_ca_topic_score_codex":0.006373673,"about_ca_topic_score_gemma":0.006149765,"teacher_disagreement_score":0.013824686,"about_ca_system_score_codex":0.004630551,"about_ca_system_score_gemma":0.0013446247,"threshold_uncertainty_score":0.03359717},"labels":[],"label_agreement":null},{"id":"W2158741244","doi":"10.1525/si.2006.29.1.71","title":"The Club DJ: A Semiotic and Interactionist Analysis","year":2006,"lang":"en","type":"article","venue":"Symbolic Interaction","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":12,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Guelph","funders":"","keywords":"Semiotics; Introspection; Club; Reflexivity; Musical; Sociology; Symbolic interactionism; Epistemology; Aesthetics; Psychology; Social science; Art; Visual arts; Philosophy","score_opus":0.007859398786833878,"score_gpt":0.20499952632139706,"score_spread":0.1971401275345632,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2158741244","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.34235,0.0035892364,0.08962574,0.007580337,0.00044535883,0.00027030057,0.00021505955,0.00015539148,0.5557685],"genre_scores_gemma":[0.983527,0.0010249048,0.0068560704,0.00018123449,0.00008309667,0.00008865381,0.00005021141,0.000059924983,0.008128874],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9965342,0.0026118832,0.00006783042,0.00016528669,0.0004107821,0.00020995748],"domain_scores_gemma":[0.99727887,0.0020805954,0.0001720363,0.00018177813,0.0001233574,0.00016331139],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002712362,0.00046238338,0.00039197077,0.0033047777,0.0058962484,0.010351564,0.00096603844,0.00095211284,0.0033180302],"category_scores_gemma":[0.00398303,0.0002412919,0.00033789244,0.0027027952,0.02323883,0.0055698934,0.0040869205,0.00192564,0.0002634628],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000058657046,0.000037200116,0.0011657357,0.00013942512,0.000008585034,0.00084597827,0.49465424,0.00037387607,0.0010227445,0.48537806,0.0015978492,0.014717583],"study_design_scores_gemma":[0.000029187224,0.000071902214,0.004734962,0.00033951784,0.000021031634,0.0012245283,0.5486674,0.0018846028,0.0011984687,0.16586724,0.27591845,0.000042738644],"about_ca_topic_score_codex":0.00412766,"about_ca_topic_score_gemma":0.0044951737,"teacher_disagreement_score":0.010351564,"about_ca_system_score_codex":0.0031203183,"about_ca_system_score_gemma":0.0019919549,"threshold_uncertainty_score":0.022639573},"labels":[],"label_agreement":null},{"id":"W2159122524","doi":"10.1353/crv.0.0024","title":"Reconsidering Rap’s “I”: Eminem’s Autobiographical Postures and the Construction of Identity Authenticity","year":2008,"lang":"en","type":"article","venue":"Canadian Review of American Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":18,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Subjectivity; Identity (music); Representation (politics); Aesthetics; Malleability; Sociology; Order (exchange); Epistemology; Philosophy; Computer science; Politics; Law; Political science","score_opus":0.06006430332317995,"score_gpt":0.25103666238632594,"score_spread":0.190972359063146,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2159122524","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.47288546,0.003913624,0.018466905,0.036783583,0.0010083917,0.000042079595,0.000047862843,0.00013926206,0.46671286],"genre_scores_gemma":[0.98042136,0.00035245463,0.0011441049,0.0008125997,0.00011856423,0.000016221466,0.0000070358715,0.000041990257,0.017085819],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9963381,0.0026060862,0.000058417885,0.00025432385,0.00039711435,0.00034596323],"domain_scores_gemma":[0.99637336,0.002009712,0.00038715443,0.00046800834,0.00039029343,0.00037142375],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0042000613,0.0004000903,0.00031006345,0.0011367357,0.008082828,0.006026446,0.0009874005,0.0022257566,0.002685283],"category_scores_gemma":[0.007706965,0.00024099118,0.00022640348,0.00048566452,0.030300718,0.0069120815,0.005242625,0.0043800236,0.000507223],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002751908,0.000016281798,0.00067243585,0.00003923582,0.0000040894997,0.0005472031,0.636047,0.00006347846,0.0005092392,0.35044158,0.0027524894,0.008879367],"study_design_scores_gemma":[0.000010198888,0.000090324706,0.0020710058,0.0004444331,0.000015405956,0.0017895527,0.5714769,0.000724707,0.0020390765,0.0712806,0.3500135,0.000044310906],"about_ca_topic_score_codex":0.0025859517,"about_ca_topic_score_gemma":0.0028224813,"teacher_disagreement_score":0.008082828,"about_ca_system_score_codex":0.0022022298,"about_ca_system_score_gemma":0.0014235061,"threshold_uncertainty_score":0.022212267},"labels":[],"label_agreement":null},{"id":"W2159842616","doi":"10.1177/0038038506062030","title":"Punk’s Not Dead: The Continuing Significance of Punk Rock for an Older Generation of Fans","year":2006,"lang":"en","type":"article","venue":"Sociology","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":201,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Brock University","funders":"","keywords":"Punk; Sociology; Subculture (biology); Articulation (sociology); Redress; Ethnography; Style (visual arts); Popular music; Gender studies; Media studies; Aesthetics; Visual arts; Art; Art history; Law; Anthropology; Literature; Political science; Politics","score_opus":0.05821956645796887,"score_gpt":0.25157077382661125,"score_spread":0.19335120736864236,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2159842616","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9864825,0.0011834942,0.00019116893,0.0017567107,0.00015351643,0.000007654739,0.000011027955,0.000008489791,0.010205639],"genre_scores_gemma":[0.9959067,0.00046813858,0.00012404851,0.00024789706,0.000077413104,0.000003840127,0.000007767656,0.0000088708575,0.0031553584],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9992374,0.00032587507,0.000022622457,0.00009480783,0.00013302866,0.00018618515],"domain_scores_gemma":[0.998103,0.00061009685,0.00030718147,0.00010653849,0.0003040544,0.00056905317],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026336934,0.00036532246,0.00038027385,0.0013192564,0.0057956595,0.0045763464,0.0007218328,0.0010162382,0.0041863485],"category_scores_gemma":[0.0056963307,0.00021902879,0.00017125478,0.0005209243,0.0059099062,0.0030147259,0.0028558157,0.0016798922,0.00028655533],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000752295,0.000039954466,0.02722355,0.000074429954,0.000007480679,0.0017193161,0.93783,0.000009168308,0.0014673715,0.0027333286,0.0013793905,0.027440762],"study_design_scores_gemma":[0.0000054715665,0.00011116894,0.054646708,0.00011006948,0.000012857453,0.002204476,0.9147946,0.00004033659,0.00021456082,0.0007747314,0.027061893,0.000022990265],"about_ca_topic_score_codex":0.0077194255,"about_ca_topic_score_gemma":0.018720387,"teacher_disagreement_score":0.0077194255,"about_ca_system_score_codex":0.0009786969,"about_ca_system_score_gemma":0.00062723976,"threshold_uncertainty_score":0.015348971},"labels":[],"label_agreement":null},{"id":"W2161976966","doi":"10.1057/9781137560346_3","title":"Humpday, Soul Power, and the Politics of Hip","year":2016,"lang":"en","type":"book-chapter","venue":"Palgrave Macmillan US eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Soul; Politics; Identity (music); Power (physics); Identity politics; Sociology; Art; Gender studies; Aesthetics; Political science; Law; Philosophy; Epistemology; Physics","score_opus":0.02155378428214106,"score_gpt":0.20590721808166348,"score_spread":0.18435343379952243,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2161976966","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.019998718,0.010165509,0.0037422418,0.006211379,0.00028595745,0.0000086365335,0.000027914295,0.000032484335,0.9595272],"genre_scores_gemma":[0.7616031,0.0053863954,0.0016327315,0.0012050229,0.00034242633,0.000018895056,0.000031958152,0.000054954748,0.22972442],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99971527,0.00012355621,0.0000052761497,0.000037820697,0.00006843716,0.000049647893],"domain_scores_gemma":[0.9998184,0.00008812701,0.000019635461,0.00001756305,0.000015039431,0.000041238647],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00035944046,0.00027496932,0.00014591488,0.00055867,0.0025521636,0.003718879,0.00026069,0.0006980434,0.009429704],"category_scores_gemma":[0.00087023596,0.00010253268,0.000099232944,0.00073010736,0.010449124,0.002779948,0.0014459346,0.0013663156,0.00096531055],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023148654,0.000005893346,0.00031086424,0.0000345461,0.0000021711446,0.000048316106,0.008746851,0.00011317211,0.00014206584,0.94213384,0.013897917,0.03454123],"study_design_scores_gemma":[0.000011042936,0.000028833045,0.0032098969,0.00021936561,0.000003930449,0.00027386728,0.012217387,0.0004460614,0.0006443389,0.3091371,0.67379516,0.000013014874],"about_ca_topic_score_codex":0.004146037,"about_ca_topic_score_gemma":0.010211892,"teacher_disagreement_score":0.009429704,"about_ca_system_score_codex":0.0019705174,"about_ca_system_score_gemma":0.0008391452,"threshold_uncertainty_score":0.03154546},"labels":[],"label_agreement":null},{"id":"W2162723424","doi":"10.3138/cras.2013.006","title":"“Living in your American skin”: Bruce Springsteen and the Possibility of Politics","year":2013,"lang":"en","type":"article","venue":"Canadian Review of American Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Ballad; Lyrics; Politics; Immediacy; Narrative; Poetry; Literature; Art; Philosophy; Law; Political science; Epistemology","score_opus":0.026890673931807416,"score_gpt":0.2584696139556051,"score_spread":0.23157894002379767,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2162723424","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.09582414,0.15512745,0.00047170432,0.24296762,0.0035973506,0.000016967726,0.000048831942,0.000020706935,0.5019252],"genre_scores_gemma":[0.8855819,0.06020374,0.00025735315,0.013981106,0.0013437242,0.000028740154,0.000027433727,0.000021129146,0.038554806],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989197,0.0006534885,0.00001616243,0.000070952185,0.0001954309,0.00014426534],"domain_scores_gemma":[0.9987387,0.0007869041,0.00010587725,0.000028169155,0.0001605971,0.00017972733],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012150025,0.00020109082,0.00019710664,0.0013365039,0.008511384,0.0052749296,0.00047017657,0.0013270709,0.004674178],"category_scores_gemma":[0.0019344415,0.00012237036,0.000070712325,0.001994461,0.012326442,0.003806508,0.0015115681,0.0021132191,0.00042377244],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003973778,0.000041058905,0.0023575304,0.0002438686,0.000007422738,0.00058447674,0.2103371,0.00004252538,0.00026554373,0.53024536,0.21416867,0.04166666],"study_design_scores_gemma":[0.000004358264,0.000008170164,0.0033936389,0.0007296774,0.000004757813,0.00019466045,0.17595083,0.00002508474,0.00008448068,0.016041556,0.8035529,0.000009911765],"about_ca_topic_score_codex":0.083087884,"about_ca_topic_score_gemma":0.20610563,"teacher_disagreement_score":0.083087884,"about_ca_system_score_codex":0.0051938207,"about_ca_system_score_gemma":0.0044624065,"threshold_uncertainty_score":0.16520852},"labels":[],"label_agreement":null},{"id":"W2162901735","doi":"10.4000/volume.4380","title":"« Le train qui siffle ». Nostalgie et modernité dans la chanson country-western au Québec","year":2014,"lang":"fr","type":"article","venue":"Volume !","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Musée de la Civilisation","funders":"","keywords":"Humanities; Art","score_opus":0.012365787693073567,"score_gpt":0.20112182399137954,"score_spread":0.18875603629830598,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2162901735","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.37591603,0.014584042,0.0016476955,0.018822994,0.0008218106,0.000043274296,0.00047421368,0.00010222313,0.5875878],"genre_scores_gemma":[0.8428936,0.0020905938,0.00032052805,0.0005078714,0.00005572684,0.00001127137,0.00006916176,0.000037830643,0.15401335],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996062,0.000082776416,0.000008161515,0.000045809662,0.00010375896,0.00015330456],"domain_scores_gemma":[0.99958974,0.000055750043,0.00003774745,0.000025011459,0.00016101716,0.00013069708],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00047668032,0.00025942005,0.00013694844,0.0006501439,0.007610625,0.0035448472,0.00045253732,0.0005724846,0.014310868],"category_scores_gemma":[0.0009376907,0.00012585189,0.000112455535,0.0011610719,0.006577428,0.00091462675,0.0010222216,0.0012621093,0.00088373484],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00020563365,0.000076314245,0.048687715,0.00033846727,0.00003090914,0.0013383449,0.3069318,0.00061339024,0.003911028,0.33132225,0.10197672,0.20456748],"study_design_scores_gemma":[0.000013396172,0.000056597193,0.13577044,0.00032838393,0.000015207991,0.000298239,0.09319962,0.0003344147,0.00049638643,0.0030099622,0.7664221,0.000055265566],"about_ca_topic_score_codex":0.9390598,"about_ca_topic_score_gemma":0.97631955,"teacher_disagreement_score":0.060940206,"about_ca_system_score_codex":0.020117017,"about_ca_system_score_gemma":0.015327944,"threshold_uncertainty_score":0.14595985},"labels":[],"label_agreement":null},{"id":"W2163502266","doi":"10.1177/0306312704047173","title":"The Network Studio","year":2004,"lang":"en","type":"article","venue":"Social Studies of Science","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":118,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Studio; Session (web analytics); Musical; The Internet; Space (punctuation); Service (business); Visual arts; Multimedia; Computer science; Sociology; Telecommunications; World Wide Web; Art; Business; Marketing","score_opus":0.0762091597694412,"score_gpt":0.28632911514422643,"score_spread":0.21011995537478523,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2163502266","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0113278,0.0018907235,0.0050299205,0.003017597,0.0011188793,0.00006471588,0.00022058267,0.00033142732,0.97699827],"genre_scores_gemma":[0.25435618,0.0037260924,0.01039943,0.0020853607,0.0008021582,0.00016598427,0.00060926523,0.0005906683,0.7272648],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99889874,0.000287126,0.000046195186,0.00029401624,0.0002753301,0.00019863385],"domain_scores_gemma":[0.999146,0.00011909294,0.000059982343,0.00014753595,0.00009941349,0.00042791275],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0010584444,0.0004658412,0.00023935686,0.0010561872,0.005342055,0.008788495,0.001049692,0.00129001,0.07817756],"category_scores_gemma":[0.0018411997,0.00026383004,0.00033137845,0.0011438652,0.0032502816,0.005583578,0.0071996646,0.0019510206,0.011427245],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00024857343,0.00008388229,0.00231433,0.00037873958,0.000009799003,0.00073848874,0.018643115,0.00032550743,0.0022663148,0.6490657,0.12877958,0.19714603],"study_design_scores_gemma":[0.000006377024,0.000022318665,0.000628964,0.000072609066,0.0000026482733,0.0003948148,0.002195704,0.00006796504,0.0002340104,0.007507034,0.9888603,0.0000071242816],"about_ca_topic_score_codex":0.0034885958,"about_ca_topic_score_gemma":0.011240056,"teacher_disagreement_score":0.99465793,"about_ca_system_score_codex":0.0024872038,"about_ca_system_score_gemma":0.0030031519,"threshold_uncertainty_score":0.26152998},"labels":[],"label_agreement":null},{"id":"W2163972565","doi":"10.7202/1025748ar","title":"« Chantez au Seigneur un chant nouveau… » (Ps.95.1) : le portrait de la musique rock chrétienne","year":2014,"lang":"fr","type":"article","venue":"Approches inductives Travail intellectuel et construction des connaissances","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université du Québec à Trois-Rivières","funders":"","keywords":"Art; Humanities","score_opus":0.01926360828540477,"score_gpt":0.22860391895271592,"score_spread":0.20934031066731115,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2163972565","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.13802351,0.007793469,0.026957478,0.01879667,0.00077683874,0.00009671063,0.00014513568,0.000118846336,0.8072913],"genre_scores_gemma":[0.9061342,0.002489301,0.004361928,0.001528271,0.00027721247,0.000096843396,0.00006023882,0.00006930259,0.08498265],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9989629,0.00063062063,0.000013587167,0.00012610789,0.0001678136,0.00009898341],"domain_scores_gemma":[0.99939287,0.00039621722,0.000046995043,0.000043700973,0.0000752269,0.000045146877],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014239807,0.00039541928,0.00018320142,0.0011207915,0.004857749,0.0042792344,0.0007851136,0.0012137989,0.007500426],"category_scores_gemma":[0.0020420204,0.00017112371,0.0002530473,0.0010346771,0.017310288,0.0035619962,0.0017097008,0.0026414795,0.0010089985],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000052000978,0.000012105051,0.0016544602,0.0001461334,0.000007550819,0.0003951303,0.1921473,0.00020648858,0.0010930336,0.77792656,0.0065161083,0.019842938],"study_design_scores_gemma":[0.00001756965,0.000107044296,0.007855503,0.00065408385,0.000028151371,0.0011027848,0.18442233,0.000634169,0.0020856648,0.12464489,0.67839354,0.000054398217],"about_ca_topic_score_codex":0.01172202,"about_ca_topic_score_gemma":0.022446688,"teacher_disagreement_score":0.01172202,"about_ca_system_score_codex":0.0026286093,"about_ca_system_score_gemma":0.0018863892,"threshold_uncertainty_score":0.02509147},"labels":[],"label_agreement":null},{"id":"W2165047905","doi":"10.1080/0739314032000071226","title":"Punk Subculture in Mexico and the Anti-globalization Movement: A Report from the Front","year":2003,"lang":"en","type":"article","venue":"New Political Science","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":29,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Trent University","funders":"","keywords":"Punk; Subculture (biology); Habitus; Globalization; Politics; Sociology; Movement (music); Front (military); Style (visual arts); Boulevard; Gender studies; Media studies; Aesthetics; Political science; Social science; Law; History; Art history; Art; Visual arts; Cultural capital; Geography","score_opus":0.018162364888243833,"score_gpt":0.22759875047915648,"score_spread":0.20943638559091265,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2165047905","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.97309834,0.0009972162,0.000070991344,0.0034873334,0.00008633003,0.000020874342,0.00008978263,0.000004259671,0.022144804],"genre_scores_gemma":[0.9900359,0.0013157806,0.000106432926,0.0006621999,0.00007860815,0.000042933207,0.000081518454,0.0000048101783,0.007671726],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9993618,0.00016805554,0.000015304118,0.00005531471,0.00008918811,0.00031038318],"domain_scores_gemma":[0.99897206,0.00032973636,0.00024929646,0.00005336815,0.0001905158,0.0002050238],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011738742,0.00019594672,0.0002441732,0.0011209202,0.009267251,0.0032487032,0.00042115035,0.0010693347,0.0038432758],"category_scores_gemma":[0.0012800357,0.00013789466,0.00013827241,0.0017949141,0.0024005189,0.00096084666,0.0033044727,0.0018405548,0.000112559275],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00037156502,0.0003784753,0.18280725,0.00060123,0.000035839625,0.004177754,0.7077648,0.000088510504,0.0025295776,0.028649427,0.014984297,0.057611257],"study_design_scores_gemma":[0.000009086785,0.000089591806,0.27759126,0.0001688378,0.000018267552,0.0003369221,0.62136495,0.000054177388,0.0005631341,0.00049493933,0.09929371,0.000015070019],"about_ca_topic_score_codex":0.07201748,"about_ca_topic_score_gemma":0.1096536,"teacher_disagreement_score":0.07201748,"about_ca_system_score_codex":0.003562741,"about_ca_system_score_gemma":0.0028797977,"threshold_uncertainty_score":0.14319658},"labels":[],"label_agreement":null},{"id":"W2166247859","doi":"10.21083/csieci.v7i1.1360","title":"Dancing Samba in Tight Places","year":2011,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dance; Meditation; Constraint (computer-aided design); Politics; Choreography; Aesthetics; Visual arts; Sociology; Art; History; Political science; Law; Engineering","score_opus":0.23723835346198827,"score_gpt":0.3584396676697338,"score_spread":0.12120131420774552,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2166247859","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5346775,0.0028539714,0.0072274855,0.0083821425,0.0015283079,0.00010090233,0.00007895413,0.00016499186,0.44498578],"genre_scores_gemma":[0.957545,0.00063992816,0.0011296712,0.0005344083,0.0001556533,0.000024587938,0.000030662053,0.00008119977,0.039858904],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988483,0.0005945452,0.000024075269,0.00013130199,0.00013704553,0.00026473115],"domain_scores_gemma":[0.99947983,0.00018942748,0.000048974434,0.000056042794,0.000048061313,0.00017772813],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010266933,0.00060446304,0.0003827539,0.0012187109,0.013694359,0.0051982207,0.0008431893,0.0014526035,0.016723856],"category_scores_gemma":[0.0020172268,0.00021064552,0.00032158458,0.00095285475,0.012163567,0.003837105,0.0072757746,0.0031553484,0.0015487574],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00026500932,0.00013337418,0.0025244814,0.0004272816,0.00004196205,0.0016517009,0.7720889,0.00035707135,0.0055445717,0.15590985,0.011513281,0.049542595],"study_design_scores_gemma":[0.00001399296,0.00016725746,0.0043933955,0.00040054697,0.000011793767,0.0006630901,0.6850069,0.00022338211,0.0014069575,0.010544431,0.29713917,0.000029008497],"about_ca_topic_score_codex":0.00373741,"about_ca_topic_score_gemma":0.016342917,"teacher_disagreement_score":0.016723856,"about_ca_system_score_codex":0.001623736,"about_ca_system_score_gemma":0.0007269519,"threshold_uncertainty_score":0.055946827},"labels":[],"label_agreement":null},{"id":"W2166625696","doi":"10.1177/1470593114523446","title":"Theoretical reflections on dystopian consumer culture","year":2014,"lang":"en","type":"article","venue":"Marketing Theory","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":36,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Dystopia; Popularity; Aesthetics; Sociology; Context (archaeology); Consumption (sociology); Mythology; Subculture (biology); Popular culture; History; Media studies; Art; Literature; Psychology; Social psychology; Archaeology","score_opus":0.020149672007697905,"score_gpt":0.24050266353696698,"score_spread":0.22035299152926907,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2166625696","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4403898,0.0028855694,0.017239729,0.028201789,0.0001602812,0.0000702846,0.00006912779,0.000034159995,0.5109493],"genre_scores_gemma":[0.9949484,0.00046165523,0.0009661042,0.0004929533,0.000021473721,0.000034360986,0.000009179289,0.000013256098,0.0030525671],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99597245,0.0027246173,0.00008320755,0.00035378808,0.00046718828,0.0003987093],"domain_scores_gemma":[0.9971269,0.0019484783,0.0002598226,0.00026363324,0.00023642865,0.0001648034],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0043239715,0.0005402479,0.00033589153,0.0022660552,0.007895278,0.009344358,0.0011680028,0.0020919133,0.004760822],"category_scores_gemma":[0.004379978,0.00033309739,0.0003095371,0.0022632247,0.055179544,0.008588907,0.0071020015,0.002898296,0.0003049367],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008886764,0.0000121093835,0.0006499885,0.00002850729,0.0000021608969,0.00014597856,0.08367057,0.00010875791,0.00009747991,0.9134113,0.00031251917,0.0015517197],"study_design_scores_gemma":[0.00001946809,0.000030259122,0.0015199261,0.00025818677,0.00000966485,0.00040546342,0.27967134,0.0016768514,0.0005253836,0.6581338,0.057725057,0.000024647765],"about_ca_topic_score_codex":0.0060930327,"about_ca_topic_score_gemma":0.0042048907,"teacher_disagreement_score":0.009344358,"about_ca_system_score_codex":0.008121989,"about_ca_system_score_gemma":0.0028380586,"threshold_uncertainty_score":0.058929384},"labels":[],"label_agreement":null},{"id":"W2170681367","doi":"10.1177/1527476410372096","title":"“Integral to the Plot, and in No Way Gratuitous”? Constructing Creative Freedom in the Liberalization of Canadian Content Regulation","year":2010,"lang":"en","type":"article","venue":"Television & New Media","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Scholarship; Sociology; Plot (graphics); Censorship; Law; Law and economics; Political science","score_opus":0.044169298803139495,"score_gpt":0.21254041172732474,"score_spread":0.16837111292418525,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2170681367","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.093004495,0.0040278416,0.023760289,0.093798235,0.00071842084,0.000086024855,0.00010605818,0.0002683629,0.7842303],"genre_scores_gemma":[0.9714425,0.0007436982,0.00246206,0.0023714504,0.00010386325,0.000033274184,0.00002623038,0.00010629355,0.02271065],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9875853,0.004371319,0.00017226106,0.0010304583,0.004428794,0.002411905],"domain_scores_gemma":[0.9922512,0.0037038396,0.00043597675,0.001114005,0.0017484865,0.00074645603],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.009306711,0.00058648916,0.00042304653,0.0028527607,0.030438928,0.021036973,0.0020807893,0.0031737941,0.004013534],"category_scores_gemma":[0.018733058,0.0005089772,0.00047873196,0.0026722497,0.12645705,0.007832394,0.0066762227,0.005810449,0.00038153463],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016262133,0.0000068112395,0.0005676093,0.0000348597,0.0000047721974,0.0001062239,0.093271025,0.00021663393,0.00020671984,0.8901619,0.0056501185,0.009757116],"study_design_scores_gemma":[0.000038049053,0.000020990094,0.004552408,0.0004422161,0.000036040787,0.00018266405,0.13018599,0.0009884298,0.0012892981,0.2996631,0.56245905,0.00014176131],"about_ca_topic_score_codex":0.838611,"about_ca_topic_score_gemma":0.8494136,"teacher_disagreement_score":0.161389,"about_ca_system_score_codex":0.097118996,"about_ca_system_score_gemma":0.07919389,"threshold_uncertainty_score":0.70465094},"labels":[],"label_agreement":null},{"id":"W2171328594","doi":"10.1017/s0265051706006917","title":"Preservation and development in the transformative zone: Fusing disparate styles and traditions in a pedagogy workshop with Cuban musicians","year":2006,"lang":"en","type":"article","venue":"British Journal of Music Education","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Transformative learning; Blessing; Feeling; Aesthetics; Happiness; Musical; Psychology; Patience; Sociology; Expression (computer science); Pedagogy; Social psychology; Visual arts; Art; Philosophy","score_opus":0.029259674601548335,"score_gpt":0.23420680517353093,"score_spread":0.2049471305719826,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2171328594","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9814108,0.00030290033,0.0011213733,0.0036138734,0.000110053006,0.000102697944,0.000017536051,0.000030517804,0.013290198],"genre_scores_gemma":[0.98946136,0.00021239131,0.0011446256,0.00060910877,0.000019228999,0.00010415292,0.000018435208,0.000035424688,0.008395298],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99442214,0.0036330726,0.0000939247,0.00032444237,0.00027758992,0.001248858],"domain_scores_gemma":[0.9960278,0.0015908092,0.00028588003,0.00023435387,0.0003039528,0.0015571981],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.007347367,0.00082406314,0.0008166416,0.0013172552,0.03288916,0.008493832,0.0028715585,0.002412741,0.0038159182],"category_scores_gemma":[0.0065234075,0.0008000748,0.00043944918,0.00093500665,0.0134543,0.0037800306,0.015071495,0.004790252,0.0006548966],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009491278,0.00018355016,0.0018507915,0.000058571848,0.0000058528935,0.0014680465,0.9852142,0.000062539024,0.0012809304,0.0026563753,0.0009704999,0.00615376],"study_design_scores_gemma":[0.000010044522,0.0000692887,0.0014615838,0.00005875024,0.000005960884,0.00023763393,0.981915,0.000089630936,0.0005357546,0.0004640963,0.015132284,0.000019968014],"about_ca_topic_score_codex":0.040593177,"about_ca_topic_score_gemma":0.091408335,"teacher_disagreement_score":0.040593177,"about_ca_system_score_codex":0.007894471,"about_ca_system_score_gemma":0.0068589984,"threshold_uncertainty_score":0.08071381},"labels":[],"label_agreement":null},{"id":"W2172052796","doi":"","title":"Youth and Postcolonial Subjectivity in Contemporary Nigerian Pop Music","year":2014,"lang":"en","type":"article","venue":"Postcolonial text","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":9,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Subjectivity; Lyrics; Popular music; Perspective (graphical); Sociology; Media studies; Gender studies; Anthropology; Literature; Art; Visual arts; Epistemology; Philosophy","score_opus":0.041723418736423594,"score_gpt":0.2242089802281173,"score_spread":0.1824855614916937,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2172052796","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.964834,0.0026076275,0.000113076865,0.00089716393,0.00009713444,0.000013380701,0.000028519127,0.0000057907746,0.03140328],"genre_scores_gemma":[0.9947678,0.0011568277,0.000039638348,0.00008697651,0.00005515072,0.000010687774,0.000013373217,0.0000077436935,0.0038618569],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9991738,0.00037633334,0.000040671526,0.00006742859,0.00013702393,0.00020482948],"domain_scores_gemma":[0.9988084,0.0005788429,0.0002793384,0.000041016658,0.00009902181,0.0001934223],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019097514,0.00032945944,0.0003215742,0.002415552,0.0070408457,0.006803255,0.0003719768,0.00069970416,0.003584442],"category_scores_gemma":[0.0024970982,0.00020056615,0.00012560109,0.0016979236,0.009157968,0.0019448875,0.0035886816,0.001162798,0.00029424904],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000031651318,0.00001813261,0.011386302,0.0000505915,0.0000030720914,0.0008074235,0.9732184,0.000006144619,0.000560587,0.0070895054,0.00034578456,0.0064824745],"study_design_scores_gemma":[0.0000031263703,0.00002332053,0.025773965,0.00014714885,0.0000042674465,0.00047145688,0.94982547,0.000012855664,0.00016775305,0.00057587103,0.022989146,0.0000055283085],"about_ca_topic_score_codex":0.005679756,"about_ca_topic_score_gemma":0.014828681,"teacher_disagreement_score":0.0070408457,"about_ca_system_score_codex":0.0018455671,"about_ca_system_score_gemma":0.0010234655,"threshold_uncertainty_score":0.013390601},"labels":[],"label_agreement":null},{"id":"W2172706803","doi":"","title":"I Am Hutterite: The Fascinating True Story of a Young Woman’s Journey to Reclaim Her Heritage","year":2008,"lang":"en","type":"article","venue":"Journal of Mennonite studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"History; Art history; Genealogy; Art; Environmental ethics; Archaeology; Philosophy","score_opus":0.0895263750268061,"score_gpt":0.2775468572326563,"score_spread":0.18802048220585021,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2172706803","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4122073,0.007319206,0.0034006645,0.3112257,0.013814272,0.00015731195,0.00023144626,0.0002856277,0.2513585],"genre_scores_gemma":[0.7805034,0.0033399588,0.0013152893,0.027199356,0.0016510771,0.00008814914,0.00007590769,0.00035689003,0.18547001],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99843544,0.0008154437,0.000026870443,0.00009566577,0.00020414554,0.00042242254],"domain_scores_gemma":[0.99769586,0.0005633044,0.00014234285,0.00006710693,0.00017139525,0.0013599978],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018660936,0.0010111097,0.0006805343,0.0006800772,0.03199109,0.0076769893,0.0017029429,0.007212021,0.00657464],"category_scores_gemma":[0.005511477,0.0006502523,0.00048588312,0.0005528137,0.0140174525,0.006133884,0.009215145,0.019340102,0.0014593439],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000050234914,0.00004957278,0.0010869354,0.0000630607,0.000009633741,0.0075220014,0.9159071,0.0000386043,0.000480324,0.018471587,0.050469037,0.0058518844],"study_design_scores_gemma":[0.000003112592,0.000026523976,0.00043482587,0.00013017467,0.000004497864,0.0028443853,0.80804026,0.00003314141,0.0001537809,0.0010528351,0.18725936,0.000017056645],"about_ca_topic_score_codex":0.023843978,"about_ca_topic_score_gemma":0.08019877,"teacher_disagreement_score":0.03199109,"about_ca_system_score_codex":0.0035236012,"about_ca_system_score_gemma":0.0044496553,"threshold_uncertainty_score":0.04741037},"labels":[],"label_agreement":null},{"id":"W2178335080","doi":"","title":"The Complete Tante Tina: Mennonite Blues and Recipes.","year":2006,"lang":"en","type":"article","venue":"Journal of Mennonite studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Blues; History; Sociology; Art; Psychoanalysis; Psychology; Art history","score_opus":0.044182438317716705,"score_gpt":0.24205294830341292,"score_spread":0.19787050998569622,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2178335080","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.02924525,0.025733279,0.004611377,0.014355791,0.006982199,0.00020383764,0.0008521608,0.0010158638,0.91700023],"genre_scores_gemma":[0.060947467,0.0059077153,0.009648128,0.002485971,0.0003635702,0.00010012761,0.00032662408,0.0009654497,0.9192549],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997887,0.000060995604,0.000008311997,0.00002305376,0.00009545344,0.000023412495],"domain_scores_gemma":[0.9997887,0.00003779304,0.000014551602,0.000020464644,0.0000603862,0.00007806362],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00052274874,0.00052710425,0.0002755456,0.00069432,0.0030312282,0.0019435643,0.0004196223,0.0007073791,0.07337735],"category_scores_gemma":[0.001134939,0.00021911818,0.00018335084,0.00059467065,0.0009845964,0.0019543653,0.0018726705,0.0018486036,0.011915168],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00042968168,0.00028455202,0.0013305845,0.0008694439,0.000019595669,0.0004015899,0.01378693,0.00010936122,0.0046573053,0.04399003,0.6077004,0.32642052],"study_design_scores_gemma":[0.0000054935194,0.000020946487,0.0010511013,0.00016581094,0.0000033661179,0.00008050457,0.0025599347,0.000032815085,0.00032192343,0.0012817844,0.99446976,0.0000066364105],"about_ca_topic_score_codex":0.0049281754,"about_ca_topic_score_gemma":0.054949682,"teacher_disagreement_score":0.07337735,"about_ca_system_score_codex":0.00051119504,"about_ca_system_score_gemma":0.0009255229,"threshold_uncertainty_score":0.24547166},"labels":[],"label_agreement":null},{"id":"W2179093596","doi":"","title":"Backwater Mystic Blues","year":2007,"lang":"en","type":"article","venue":"Journal of Mennonite studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Blues; Mysticism; Art; Art history; Literature","score_opus":0.07558651052782416,"score_gpt":0.29694659079133345,"score_spread":0.22136008026350928,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2179093596","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.025386402,0.002503064,0.00034569995,0.016089257,0.004044524,0.000019194813,0.000113729024,0.000104813465,0.9513934],"genre_scores_gemma":[0.06738481,0.0006482122,0.00022508473,0.0018117185,0.00038413983,0.000010174688,0.000042860738,0.00009959605,0.9293935],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99964404,0.000081560385,0.000008560046,0.00005114663,0.00011857838,0.000096072756],"domain_scores_gemma":[0.9995303,0.00007762183,0.000026586136,0.00004840991,0.000094696625,0.00022233927],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006166512,0.00027986016,0.0002498778,0.00078565464,0.011424418,0.0048774956,0.00049904175,0.0009449585,0.1202098],"category_scores_gemma":[0.0012820165,0.00016116041,0.00012790655,0.0006137956,0.002704994,0.0022832071,0.003968523,0.0026058608,0.011805669],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001514312,0.000077407916,0.0020766654,0.00013342046,0.0000059567687,0.00055831135,0.040994447,0.000030702977,0.0011618531,0.28186828,0.5642519,0.10868967],"study_design_scores_gemma":[0.0000024561725,0.000008027952,0.0007567284,0.000051636907,9.1051027e-7,0.000080910446,0.0075142435,0.000011949118,0.000111370435,0.0016216076,0.98983735,0.000002880567],"about_ca_topic_score_codex":0.0101235,"about_ca_topic_score_gemma":0.07245421,"teacher_disagreement_score":0.1202098,"about_ca_system_score_codex":0.0016868414,"about_ca_system_score_gemma":0.001495921,"threshold_uncertainty_score":0.4021418},"labels":[],"label_agreement":null},{"id":"W2186295842","doi":"10.1515/irsr-2012-0013","title":"‘Catalanism Only Will Win by the Force of Songs’, Revisited 100 Years After. The Role of Catalan(ist) Pop-Rock Music in Socially Sanitizing Working-Class Neighborhoods of Barcelona (1976–2000)","year":2012,"lang":"en","type":"article","venue":"International Review of Social Research","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Universidade Nova de Lisboa; Fundação para a Ciência e a Tecnologia; Federation for the Humanities and Social Sciences","keywords":"Catalan; Working class; Politics; Nationalism; Government (linguistics); Class (philosophy); Sociology; Upper class; Visual arts; Aesthetics; History; Media studies; Art; Political science; Humanities; Law; Social science; Linguistics","score_opus":0.046670814433610174,"score_gpt":0.3222310957296555,"score_spread":0.2755602812960454,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2186295842","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8598323,0.018050848,0.00020371264,0.012112066,0.0006717708,0.000017272774,0.00010840124,0.000016292885,0.10898734],"genre_scores_gemma":[0.9859774,0.0014120839,0.000059534577,0.0008391915,0.000103451195,0.0000062511203,0.000049145336,0.000013938939,0.011539055],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99897885,0.00042646285,0.000022510601,0.00019396184,0.00011278381,0.0002654137],"domain_scores_gemma":[0.99904746,0.00023548528,0.00020910168,0.00010846241,0.00020256278,0.00019692052],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002125833,0.0002626086,0.0003793155,0.0007596007,0.0052990844,0.00536497,0.0012450543,0.0014057363,0.0035582478],"category_scores_gemma":[0.0020033924,0.0002220466,0.00019989393,0.00084402895,0.00779304,0.0014487691,0.002326373,0.0017549986,0.00060885417],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0014999574,0.00024261497,0.07379042,0.00073866727,0.000100391844,0.003385678,0.62271386,0.00026838324,0.0026975828,0.09206348,0.045030218,0.15746881],"study_design_scores_gemma":[0.00005976139,0.0001670478,0.27766028,0.00045660968,0.00003528694,0.00052618847,0.36491194,0.00011868355,0.00047684592,0.002465884,0.35307977,0.000041828014],"about_ca_topic_score_codex":0.10725974,"about_ca_topic_score_gemma":0.21333177,"teacher_disagreement_score":0.10725974,"about_ca_system_score_codex":0.0096488185,"about_ca_system_score_gemma":0.0022758122,"threshold_uncertainty_score":0.21327084},"labels":[],"label_agreement":null},{"id":"W2192798310","doi":"","title":"Settling the Score: Copyright in Modern Editions of Public Domain Musical Works","year":2014,"lang":"en","type":"article","venue":"eYLS (Yale Law School)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"McGill University","funders":"","keywords":"Musical; Public domain; Settling; Domain (mathematical analysis); Computer science; Art; History; Literature; Mathematics; Engineering; Mathematical analysis; Archaeology","score_opus":0.026029333989130973,"score_gpt":0.21394433207598093,"score_spread":0.18791499808684997,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2192798310","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.25140402,0.0015770724,0.0028797805,0.016278781,0.00023482012,0.00003492101,0.0000823897,0.00008034908,0.7274279],"genre_scores_gemma":[0.95349115,0.0006174271,0.0006065126,0.0015458033,0.00015052895,0.0000120272525,0.000026545247,0.000023584693,0.043526378],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9946772,0.00067960157,0.0001515296,0.0004964568,0.0032031664,0.00079208193],"domain_scores_gemma":[0.99087954,0.0050357827,0.0005876443,0.001333634,0.0017896631,0.00037375072],"candidate_categories":["scholarly_communication"],"consensus_categories":[],"category_scores_codex":[0.0036657944,0.0002319479,0.00020979946,0.0018917865,0.011765551,0.018491127,0.0018250281,0.0037780113,0.0061949743],"category_scores_gemma":[0.017828446,0.00028398325,0.0002825896,0.0023944892,0.02257047,0.0069061797,0.0041670534,0.0032152631,0.0005224765],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000037218793,0.000022415312,0.0028000951,0.000039853698,0.000005700354,0.00073730864,0.028506568,0.0002786824,0.0008406849,0.9288162,0.011696174,0.026219105],"study_design_scores_gemma":[0.000079116035,0.00009704738,0.059255995,0.0006495689,0.00012728965,0.0012986057,0.083860554,0.0038792028,0.009460176,0.26759073,0.57349336,0.00020838453],"about_ca_topic_score_codex":0.45634726,"about_ca_topic_score_gemma":0.6285839,"teacher_disagreement_score":0.98150885,"about_ca_system_score_codex":0.021424325,"about_ca_system_score_gemma":0.0155412415,"threshold_uncertainty_score":0.907382},"labels":[],"label_agreement":null},{"id":"W2197309755","doi":"","title":"The Relevance of Jazz History in the Twenty-First Century: Jazz Practice and Pedagogy in Canada","year":2012,"lang":"en","type":"article","venue":"Journal of music history pedagogy","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Jazz; Jazz dance; Musical; History; Visual arts; Swing; Art history; Enthusiasm; Popularity; Art; Psychology; Political science; Law; Dance","score_opus":0.039399962411750006,"score_gpt":0.2570655832117107,"score_spread":0.21766562079996069,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2197309755","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.48626822,0.05086,0.00096762466,0.10524136,0.0021898078,0.00017329538,0.000243448,0.0001275207,0.3539288],"genre_scores_gemma":[0.953223,0.010297011,0.00053615845,0.002962407,0.00008927499,0.00003513312,0.0000589118,0.000038541166,0.032759484],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9959085,0.0006230218,0.00009802148,0.00029512937,0.0011769203,0.0018983884],"domain_scores_gemma":[0.98953795,0.000864632,0.00028573864,0.000090193345,0.0023200512,0.006901502],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004112522,0.0004140401,0.0005397162,0.0030475059,0.051876906,0.01762752,0.0025823016,0.002219397,0.0071422],"category_scores_gemma":[0.006076013,0.0003241536,0.00025679162,0.0047305147,0.018249897,0.0026789708,0.0067613814,0.0038379214,0.0004698488],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016376746,0.00023464579,0.019336618,0.00049826055,0.000022498481,0.0013291897,0.6973566,0.00031271207,0.00090979534,0.09869669,0.059750285,0.12138906],"study_design_scores_gemma":[0.000016180986,0.00004989902,0.027632328,0.0007609146,0.000013835251,0.0001782534,0.49496457,0.00019761831,0.00029701722,0.0027590056,0.47305778,0.00007263804],"about_ca_topic_score_codex":0.9886719,"about_ca_topic_score_gemma":0.9961383,"teacher_disagreement_score":0.21560572,"about_ca_system_score_codex":0.21560572,"about_ca_system_score_gemma":0.38387862,"threshold_uncertainty_score":0.90978616},"labels":[],"label_agreement":null},{"id":"W2208072698","doi":"","title":"Gender Consciousness Among Women Fiddlers in Ontario Fiddle Contests","year":2000,"lang":"en","type":"article","venue":"Canadian Folk Music / Musique folklorique canadienne","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Gender studies; Consciousness; Sociology; Psychology; Social psychology; Political science","score_opus":0.026205756185249847,"score_gpt":0.16822158538411336,"score_spread":0.14201582919886352,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2208072698","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9796745,0.00031658402,0.000058749552,0.00223081,0.000072023744,0.000035674035,0.00013773132,0.000004186744,0.017469723],"genre_scores_gemma":[0.9846335,0.0002578818,0.00005714359,0.0005556325,0.000019184346,0.000023546927,0.00007926636,0.000011161481,0.014362822],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9972792,0.00040897465,0.00006304221,0.00019736354,0.0006201676,0.0014312192],"domain_scores_gemma":[0.9946931,0.0005856637,0.00072517403,0.000114719274,0.0014626562,0.002418688],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017150082,0.00029384732,0.0005994399,0.0021177842,0.025378894,0.0055736634,0.0016361885,0.0018159507,0.00860621],"category_scores_gemma":[0.005557072,0.0005897029,0.00029300136,0.0022172504,0.006987591,0.0014683505,0.0048686694,0.0027587884,0.00051964034],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022328125,0.00009273414,0.1114169,0.000054327655,0.000013033266,0.0007931975,0.8698078,0.000022906708,0.0007145156,0.002718997,0.0054062004,0.008736131],"study_design_scores_gemma":[0.0000057925204,0.000028316923,0.09119459,0.00006530304,0.000005314831,0.000090793896,0.8868341,0.000024366755,0.00009247073,0.00013671673,0.021499522,0.000022695229],"about_ca_topic_score_codex":0.9566674,"about_ca_topic_score_gemma":0.98684305,"teacher_disagreement_score":0.043332577,"about_ca_system_score_codex":0.036636516,"about_ca_system_score_gemma":0.032269474,"threshold_uncertainty_score":0.26581776},"labels":[],"label_agreement":null},{"id":"W2208136673","doi":"","title":"From Accra to New York and Back Again: the Transnational Nature of Ghanaian Hiplife Music, 1982-2000","year":2013,"lang":"en","type":"article","venue":"SSRN Electronic Journal","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Democratization; Expatriate; Politics; Musical; Popular music; Gender studies; Negotiation; Globalization; Jazz; Sociology; Period (music); History; Political science; Art; Aesthetics; Social science; Visual arts; Democracy; Law; Art history","score_opus":0.014507755968306883,"score_gpt":0.19497452572225865,"score_spread":0.18046676975395176,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2208136673","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9434187,0.004424164,0.00009269471,0.006197348,0.00009956429,0.000026017398,0.000110468165,0.0000048343736,0.04562629],"genre_scores_gemma":[0.9877149,0.002919714,0.00008936135,0.0005851377,0.000043160886,0.000024020106,0.000060183822,0.000010304293,0.008553235],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99971646,0.00007747933,0.000012365095,0.000034957793,0.000035097895,0.00012354423],"domain_scores_gemma":[0.99951184,0.00014735061,0.00013690814,0.000017191012,0.000055641867,0.00013107696],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00073595357,0.0001809218,0.00017695356,0.0010399667,0.0054444675,0.0026913367,0.000331673,0.0005757051,0.005994224],"category_scores_gemma":[0.0017293997,0.00016691502,0.000064137144,0.0021754578,0.0035352176,0.0027839323,0.0023659067,0.0013256662,0.00034631515],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014751666,0.00004487644,0.02770123,0.00017489509,0.0000049511063,0.00268404,0.89742243,0.000020864805,0.0014209653,0.016399426,0.0052551683,0.04872356],"study_design_scores_gemma":[0.000013609174,0.000027471528,0.11650098,0.0003891438,0.0000057153097,0.0005731682,0.7872051,0.000028441314,0.00016848696,0.0006650932,0.09441347,0.000009449338],"about_ca_topic_score_codex":0.11031238,"about_ca_topic_score_gemma":0.35365734,"teacher_disagreement_score":0.11031238,"about_ca_system_score_codex":0.005402384,"about_ca_system_score_gemma":0.0026135573,"threshold_uncertainty_score":0.21934056},"labels":[],"label_agreement":null},{"id":"W2208826823","doi":"10.3138/cras.2015.s10","title":"Representations of Identity in Jewish Jazz Autobiography","year":2015,"lang":"en","type":"article","venue":"Canadian Review of American Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Jazz; Identity (music); Judaism; White (mutation); Ethnic group; Sociology; Biography; Diversity (politics); Art; Art history; Aesthetics; Anthropology; Theology; Philosophy","score_opus":0.07046040922925587,"score_gpt":0.321508344779785,"score_spread":0.2510479355505292,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2208826823","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7302855,0.024583893,0.0015091347,0.007506768,0.0005890365,0.000015204255,0.0000649188,0.000050445346,0.23539498],"genre_scores_gemma":[0.9875782,0.0036114578,0.00017935486,0.0005204096,0.00012970132,0.0000051517254,0.00002284126,0.000013128196,0.007939754],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.999089,0.0005254928,0.000023767083,0.00006668313,0.00018810538,0.00010695672],"domain_scores_gemma":[0.9990146,0.00043561333,0.00022005026,0.000074672025,0.00014386083,0.00011108499],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015092929,0.00026318838,0.00021868198,0.0022803694,0.0063292966,0.004904847,0.0004090735,0.0007331008,0.0023907856],"category_scores_gemma":[0.002281522,0.00016670236,0.0001022821,0.0014865156,0.011074098,0.0023563146,0.0026341057,0.001237704,0.00026401549],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000044608816,0.000021591646,0.003675053,0.00007690941,0.000012614814,0.00074765476,0.8827638,0.000029599885,0.0009836005,0.08703073,0.004669091,0.019944629],"study_design_scores_gemma":[0.000011767502,0.0000361992,0.01897362,0.00036341764,0.000021186614,0.0016533728,0.6284702,0.00010134469,0.0005588436,0.0120834205,0.33770287,0.000023749799],"about_ca_topic_score_codex":0.014416871,"about_ca_topic_score_gemma":0.035878148,"teacher_disagreement_score":0.014416871,"about_ca_system_score_codex":0.0033415076,"about_ca_system_score_gemma":0.0013956206,"threshold_uncertainty_score":0.0286659},"labels":[],"label_agreement":null},{"id":"W2209531525","doi":"","title":"Evivva la banda!: The Wind Band and the Italian Festa Tradition in Toronto and the Greater Toronto Area","year":2013,"lang":"en","type":"article","venue":"Canadian Folk Music / Musique folklorique canadienne","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Geography; SAINT; Meaning (existential); History; Ethnology; Ancient history; Art history; Psychology","score_opus":0.012666764779785065,"score_gpt":0.16557491447086523,"score_spread":0.15290814969108016,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2209531525","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.92118174,0.0054273424,0.00018820836,0.006780931,0.00015446306,0.0000457533,0.00020230455,0.000011882934,0.066007346],"genre_scores_gemma":[0.9879872,0.00184097,0.00009772647,0.00033311793,0.000041573574,0.00001716615,0.00006035574,0.000013033849,0.009608845],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99863464,0.00044784148,0.000026656715,0.00014045862,0.00019010775,0.0005603004],"domain_scores_gemma":[0.998374,0.0002791402,0.00027913915,0.00006007769,0.0001552174,0.0008524596],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010836765,0.00043572855,0.00035399466,0.0011627964,0.017204624,0.006078631,0.0010236143,0.0009502844,0.004836269],"category_scores_gemma":[0.0017297511,0.00040035468,0.00021964636,0.0028779758,0.015106651,0.0015492094,0.003935837,0.0021950544,0.00026681268],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005698911,0.000017477683,0.015829207,0.00011400512,0.000011532999,0.0013425703,0.96075416,0.000050970983,0.00039374045,0.011675499,0.005684752,0.004069093],"study_design_scores_gemma":[0.0000068674904,0.000024747489,0.062455148,0.00018411085,0.000018458808,0.00025806297,0.864468,0.000057004545,0.00008631151,0.00027146502,0.072148666,0.000021150134],"about_ca_topic_score_codex":0.9346603,"about_ca_topic_score_gemma":0.9861281,"teacher_disagreement_score":0.065339684,"about_ca_system_score_codex":0.059674814,"about_ca_system_score_gemma":0.020413902,"threshold_uncertainty_score":0.4329731},"labels":[],"label_agreement":null},{"id":"W2210810572","doi":"","title":"Waiting for Elvis","year":2009,"lang":"en","type":"article","venue":"Journal of Mennonite studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.11692500984948018,"score_gpt":0.3169255983019181,"score_spread":0.2000005884524379,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2210810572","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.030574095,0.005428445,0.00046879268,0.534529,0.033220805,0.000060979535,0.00020614332,0.0002507318,0.39526096],"genre_scores_gemma":[0.08508913,0.0014329059,0.0002994449,0.13040534,0.0029894614,0.000044775552,0.00012414427,0.00022615457,0.7793886],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9979722,0.00032571115,0.00005278368,0.0001614834,0.00034704024,0.0011407359],"domain_scores_gemma":[0.9960664,0.0004223166,0.000113598864,0.00021174764,0.00069732236,0.002488563],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0028932365,0.00030282928,0.0004213437,0.0006309355,0.015251313,0.008595134,0.0010102907,0.0053614522,0.14899868],"category_scores_gemma":[0.0068198843,0.0002903828,0.00047226952,0.00040088288,0.003420982,0.006935577,0.006664908,0.0098570995,0.028307686],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014409774,0.00018432278,0.00313436,0.00005762598,0.000011431047,0.0011573395,0.0047077024,0.000019607674,0.00047976727,0.036603335,0.8845998,0.06890063],"study_design_scores_gemma":[0.000013975907,0.000029880366,0.001536995,0.00012135688,0.000005481605,0.00022897741,0.018687222,0.000018840728,0.00023344239,0.005892506,0.97321635,0.000014960094],"about_ca_topic_score_codex":0.0111440355,"about_ca_topic_score_gemma":0.043268852,"teacher_disagreement_score":0.14899868,"about_ca_system_score_codex":0.0030452355,"about_ca_system_score_gemma":0.008975702,"threshold_uncertainty_score":0.49845022},"labels":[],"label_agreement":null},{"id":"W2223744780","doi":"","title":"Teaching “Trad”: A Fiddling Ethnomusicologist’s Reflections on Fiddle Camp","year":2011,"lang":"en","type":"article","venue":"Canadian Folk Music / Musique folklorique canadienne","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Memorial University of Newfoundland","funders":"","keywords":"Ethnomusicology; Art; History; Visual arts; Musical","score_opus":0.13218814038475588,"score_gpt":0.2367498598767493,"score_spread":0.10456171949199342,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2223744780","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.17117149,0.007500374,0.0033806558,0.3902892,0.0042097806,0.00016901853,0.00012830825,0.00017787183,0.42297336],"genre_scores_gemma":[0.8406339,0.0013890029,0.0010196106,0.03975805,0.0004080321,0.00007142427,0.000029233286,0.00021252575,0.11647822],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9915455,0.0032483703,0.00009232686,0.000658206,0.0009084651,0.0035471374],"domain_scores_gemma":[0.9950493,0.0018163807,0.00017204256,0.00025694256,0.0008873124,0.0018181336],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.006812008,0.0009921829,0.0007510333,0.0028199323,0.11854567,0.016638562,0.004616934,0.0101086255,0.010965548],"category_scores_gemma":[0.009601945,0.00065019843,0.00064671563,0.003181561,0.087207675,0.008038483,0.011025273,0.022550406,0.0007906424],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000033165925,0.000041199954,0.00043243667,0.00004341257,0.0000039438746,0.0005193003,0.7489577,0.000064826396,0.0003157945,0.19434868,0.04550563,0.009733813],"study_design_scores_gemma":[0.0000105445315,0.000015569964,0.0007985296,0.000112583184,0.0000053179238,0.00016592573,0.6565361,0.00005034076,0.00023889431,0.009087021,0.3329501,0.00002901225],"about_ca_topic_score_codex":0.86927444,"about_ca_topic_score_gemma":0.9501797,"teacher_disagreement_score":0.13072556,"about_ca_system_score_codex":0.08338795,"about_ca_system_score_gemma":0.07015371,"threshold_uncertainty_score":0.60502476},"labels":[],"label_agreement":null},{"id":"W2223808213","doi":"","title":"The Good Book: Reading Ishmael Reed’s Mumbo Jumbo as Neo-Hoodoo’s Sacred Text","year":2015,"lang":"en","type":"article","venue":"˜The œalbatross","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Bricolage; White (mutation); Trickster; Literature; Reading (process); History; Art; Philosophy; Linguistics","score_opus":0.03226893312056781,"score_gpt":0.2285300743929805,"score_spread":0.1962611412724127,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2223808213","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.01715522,0.0511899,0.0019529875,0.04420472,0.018990194,0.000041465122,0.00029289926,0.0001996211,0.86597306],"genre_scores_gemma":[0.13766634,0.012676478,0.0014446347,0.0050689597,0.0039945045,0.000034782308,0.00020631286,0.00026040873,0.8386476],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998795,0.00003903887,0.0000027541412,0.0000155736,0.00004186622,0.000021318441],"domain_scores_gemma":[0.99979955,0.00009994523,0.000013859522,0.000012865653,0.00003244403,0.000041380874],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002161039,0.00037843364,0.00017525292,0.0006981472,0.003527903,0.0032383373,0.00029721425,0.0008233022,0.022962147],"category_scores_gemma":[0.0010687079,0.00016254178,0.00009501297,0.00070587127,0.0023643516,0.0021989408,0.000868352,0.0017054555,0.0028420773],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000037558955,0.00002039542,0.00034072925,0.00019334182,0.0000037714783,0.00036000882,0.022162616,0.000074284435,0.0008677839,0.10236362,0.82661915,0.0469567],"study_design_scores_gemma":[0.0000015336476,0.000004510492,0.0006720572,0.00013396284,0.0000010758705,0.00010771846,0.0029287713,0.000025852974,0.000091560825,0.0018003951,0.99422956,0.0000029994105],"about_ca_topic_score_codex":0.008860323,"about_ca_topic_score_gemma":0.04098408,"teacher_disagreement_score":0.022962147,"about_ca_system_score_codex":0.0016907718,"about_ca_system_score_gemma":0.0009311479,"threshold_uncertainty_score":0.07681608},"labels":[],"label_agreement":null},{"id":"W2224609704","doi":"10.7202/1032698ar","title":"“The Spectacle of a Young Man”: Glenn Gould, Graham Steed, and an Unpublished Concert Review for the Windsor Star","year":2015,"lang":"en","type":"article","venue":"Intersections Canadian Journal of Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Windsor; Spectacle; Context (archaeology); History; Art history; Law; Archaeology; Political science","score_opus":0.0658250505096798,"score_gpt":0.249557846481866,"score_spread":0.1837327959721862,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2224609704","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00053337275,0.69292367,0.00011443165,0.24773405,0.055041783,0.000016623027,0.00008825515,0.000010533882,0.0035373021],"genre_scores_gemma":[0.019134687,0.61369455,0.00059666776,0.24476048,0.10424475,0.00011207207,0.00015798547,0.000101084646,0.017197656],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.98901576,0.003874273,0.0010679412,0.0008624262,0.0045404863,0.00063921174],"domain_scores_gemma":[0.95636225,0.01620554,0.0031584548,0.00088131597,0.020155668,0.0032367278],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.015577987,0.0006499268,0.0009779708,0.0053189415,0.003137291,0.0068995794,0.001574014,0.0048057875,0.0029166124],"category_scores_gemma":[0.044730704,0.0004974398,0.0005220018,0.0053614522,0.004561519,0.004384274,0.0020859772,0.0043766852,0.0012732083],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000029370236,0.0000037020698,0.00015585648,0.0019896496,0.00003300012,0.0001365131,0.0017043331,0.000018865194,0.00012080962,0.002956155,0.9745321,0.018319428],"study_design_scores_gemma":[0.0000046184578,0.0000072760745,0.00029787995,0.003172242,0.000022135366,0.00011777038,0.0007524933,0.0000037560403,0.00004445801,0.00024590932,0.9953211,0.000010332594],"about_ca_topic_score_codex":0.06440902,"about_ca_topic_score_gemma":0.14529018,"teacher_disagreement_score":0.935591,"about_ca_system_score_codex":0.0100429915,"about_ca_system_score_gemma":0.031900253,"threshold_uncertainty_score":0.12806821},"labels":[],"label_agreement":null},{"id":"W2224837681","doi":"","title":"The Secret Musical Self: Nostalgic Reification of Music According to Adorno","year":2004,"lang":"en","type":"article","venue":"Alternate routes","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Reification (Marxism); Musical; Aesthetics; Art; Psychology; Literature; Political science","score_opus":0.026397594688700364,"score_gpt":0.22003105517493157,"score_spread":0.1936334604862312,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2224837681","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03991407,0.012098148,0.003803656,0.05588936,0.004962535,0.000034888002,0.000028901826,0.00008785644,0.8831807],"genre_scores_gemma":[0.8646248,0.0023758775,0.00082542055,0.009072498,0.0019750681,0.000036936024,0.000019119843,0.00018386962,0.120886385],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99778736,0.0012173064,0.00005996022,0.00021525683,0.00037617222,0.0003438889],"domain_scores_gemma":[0.9989041,0.0005283995,0.00007995119,0.00021908601,0.000114546194,0.00015398022],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026864174,0.0003555596,0.0003596936,0.00096852804,0.010928763,0.0113546355,0.0009427727,0.0031726738,0.003271273],"category_scores_gemma":[0.0044891983,0.0001831651,0.00019656423,0.0006962373,0.039457723,0.006272996,0.005638012,0.00712157,0.00060198194],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002382451,0.000011290548,0.00013538486,0.000019896423,0.0000023133173,0.00009986958,0.061808534,0.000029000606,0.00010049835,0.921127,0.011020083,0.005622177],"study_design_scores_gemma":[0.000017936887,0.000022472208,0.00058158574,0.00017716129,0.000008706481,0.0003443324,0.054768395,0.00021555848,0.00044206748,0.24117868,0.7022155,0.000027571099],"about_ca_topic_score_codex":0.006610475,"about_ca_topic_score_gemma":0.012638335,"teacher_disagreement_score":0.0113546355,"about_ca_system_score_codex":0.0032389697,"about_ca_system_score_gemma":0.0021268153,"threshold_uncertainty_score":0.023500502},"labels":[],"label_agreement":null},{"id":"W2229789258","doi":"","title":"How do Outsider Styles Become Legitimated? The Introduction of Bossa Nova in the Jazz Field","year":2012,"lang":"en","type":"preprint","venue":"RePEc: Research Papers in Economics","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Nova (rocket); Jazz; Field (mathematics); Political science; Nova scotia; Art; Sociology; Art history; Engineering; Ethnology; Aeronautics","score_opus":0.06884247882119189,"score_gpt":0.29074808144915276,"score_spread":0.22190560262796089,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2229789258","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8368476,0.00041333548,0.002230224,0.0027445608,0.00013232966,0.00002616201,0.000027980612,0.000023108578,0.15755479],"genre_scores_gemma":[0.9948147,0.00010692597,0.00026817655,0.00018953341,0.000049389113,0.000006711531,0.000013244107,0.000018764811,0.0045325393],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99352694,0.0031738463,0.0002286549,0.0008885441,0.0013657861,0.000816225],"domain_scores_gemma":[0.98797256,0.0042838953,0.0030590023,0.0017613411,0.0013857435,0.0015374884],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.007592058,0.00029296338,0.00050138595,0.002081037,0.005158906,0.011353035,0.0006229363,0.001242419,0.0068925684],"category_scores_gemma":[0.01984348,0.0002938798,0.0002453007,0.0016504279,0.010445766,0.0050492766,0.0037145088,0.0023926187,0.0007772086],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00048113937,0.00027471952,0.25522596,0.00022322361,0.00007189845,0.0011787984,0.39839923,0.0002294939,0.011007159,0.20866115,0.0036118922,0.120635405],"study_design_scores_gemma":[0.000053547756,0.0002849393,0.48111916,0.0005165168,0.000052365667,0.0009073667,0.34934738,0.0011016617,0.0031890457,0.02497304,0.13830788,0.00014715602],"about_ca_topic_score_codex":0.0062657893,"about_ca_topic_score_gemma":0.009661105,"teacher_disagreement_score":0.011353035,"about_ca_system_score_codex":0.0027847942,"about_ca_system_score_gemma":0.0011294828,"threshold_uncertainty_score":0.04015112},"labels":[],"label_agreement":null},{"id":"W223312238","doi":"","title":"The Human Hambone","year":2009,"lang":"en","type":"article","venue":"Western Folklore","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art history; White (mutation); Art; Nothing; Percussion; History; Visual arts; Philosophy; Medicine","score_opus":0.028768264067221282,"score_gpt":0.2350291490421083,"score_spread":0.20626088497488704,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W223312238","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.003683281,0.07074692,0.0022569168,0.02404304,0.011388144,0.000073513154,0.00030669165,0.00030678147,0.8871948],"genre_scores_gemma":[0.032055248,0.015264115,0.0017519824,0.0061167167,0.0009388907,0.000045624995,0.00013464844,0.00020759275,0.9434852],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997131,0.00008787076,0.000006595268,0.000057152265,0.00008219925,0.00005298883],"domain_scores_gemma":[0.99981564,0.000033707573,0.0000140169295,0.000021416643,0.00004366346,0.00007160045],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004497045,0.00094946584,0.00023369736,0.0006394806,0.003532855,0.003743638,0.00046891771,0.0014978723,0.079170145],"category_scores_gemma":[0.0009600395,0.00032655903,0.00027290892,0.000391973,0.0039183283,0.0029846008,0.0030144148,0.0019238216,0.018493652],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028561555,0.000008958377,0.00015224253,0.00013386384,0.0000023755815,0.0001980964,0.0043814857,0.000032486038,0.00048119505,0.046821166,0.8735471,0.07421245],"study_design_scores_gemma":[0.000001260159,0.0000057077,0.00014808142,0.00008711403,6.463272e-7,0.00015901173,0.0009737927,0.000007664613,0.00005073985,0.00088644284,0.9976775,0.0000020412267],"about_ca_topic_score_codex":0.01377221,"about_ca_topic_score_gemma":0.033809774,"teacher_disagreement_score":0.079170145,"about_ca_system_score_codex":0.0016464493,"about_ca_system_score_gemma":0.0016962119,"threshold_uncertainty_score":0.2648505},"labels":[],"label_agreement":null},{"id":"W2234454149","doi":"","title":"Music and Memory in Keepintime","year":2011,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Musical; Diaspora; Reading (process); Literature; Cultural memory; Identity (music); Art; History; Visual arts; Aesthetics; Sociology; Anthropology; Linguistics; Gender studies; Philosophy","score_opus":0.07573886747652751,"score_gpt":0.1693833584017402,"score_spread":0.0936444909252127,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2234454149","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.30224705,0.051387385,0.0007963006,0.028736394,0.0015526147,0.000039603525,0.0002802514,0.00007419348,0.6148862],"genre_scores_gemma":[0.9306688,0.008202023,0.000339412,0.0020559393,0.0003707526,0.000024269375,0.000084380925,0.000034356242,0.0582201],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.999785,0.000067960624,0.000007083058,0.000031882046,0.000047383033,0.00006067553],"domain_scores_gemma":[0.99966776,0.00012684373,0.000057209,0.00002717851,0.000041501527,0.00007949489],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00034283148,0.00026100138,0.00013802765,0.0006287721,0.004725953,0.008159833,0.00040394298,0.00085179484,0.008491448],"category_scores_gemma":[0.0015173713,0.00012593124,0.00008951589,0.00056829146,0.004422622,0.00332962,0.003016862,0.0011721106,0.00048319044],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005650202,0.00013077294,0.010441103,0.0008167099,0.00007083241,0.0030633032,0.47016212,0.00014418796,0.004037241,0.20172024,0.14048952,0.16835898],"study_design_scores_gemma":[0.00006398181,0.00015982697,0.024750233,0.00080840057,0.00004587311,0.0019636287,0.3148654,0.00010474684,0.0013319734,0.023652975,0.63221276,0.000040166953],"about_ca_topic_score_codex":0.00858114,"about_ca_topic_score_gemma":0.026199592,"teacher_disagreement_score":0.00858114,"about_ca_system_score_codex":0.0015526991,"about_ca_system_score_gemma":0.00095697155,"threshold_uncertainty_score":0.02840674},"labels":[],"label_agreement":null},{"id":"W2236578882","doi":"","title":"\"To Everything There Is a Season\": Pete Seeger and the Power of Song. Allan M. Winkler. Gone to the Country: The New Lost City Ramblers and the Folk Music Revival. Ray Allen.","year":2012,"lang":"en","type":"article","venue":"MUSICultures","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Power (physics); Country; Art; Art history; History; Theology; Philosophy; Management; Physics","score_opus":0.022377538696666605,"score_gpt":0.21159977995324916,"score_spread":0.18922224125658255,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2236578882","genre_codex":"commentary","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0018600764,0.21720885,0.0005658524,0.6829417,0.049286664,0.000045576395,0.00011193528,0.00012952069,0.04784987],"genre_scores_gemma":[0.04850905,0.13176708,0.0012226983,0.32790864,0.015598781,0.00014193908,0.00015138327,0.00047292857,0.47422737],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99892056,0.0004674295,0.000036041507,0.00010416948,0.00028358196,0.0001882244],"domain_scores_gemma":[0.99789256,0.00050128275,0.000116682124,0.00009616572,0.00059708836,0.0007962473],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020950572,0.0011494406,0.00054297573,0.0010342534,0.014077949,0.007506047,0.0012452513,0.0047416273,0.027924303],"category_scores_gemma":[0.0052573327,0.0007586646,0.00036847,0.0011111362,0.005139394,0.011301131,0.004436772,0.010402619,0.010083521],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011728238,0.000009254223,0.00012208047,0.00007717036,0.0000020388845,0.0000890141,0.0056920424,0.000005907179,0.000059646118,0.003336538,0.973343,0.017251574],"study_design_scores_gemma":[0.000004263817,0.000010537049,0.0005921085,0.00037753253,0.000004296304,0.00031495176,0.023710977,0.0000120375325,0.000080607926,0.0016617683,0.97322005,0.0000108553795],"about_ca_topic_score_codex":0.032555297,"about_ca_topic_score_gemma":0.1426598,"teacher_disagreement_score":0.032555297,"about_ca_system_score_codex":0.0030138688,"about_ca_system_score_gemma":0.0048956787,"threshold_uncertainty_score":0.093416095},"labels":[],"label_agreement":null},{"id":"W2239096144","doi":"","title":"Getting To The Trane: Relating History and the Politics of Race and Jazz in Toronto through the Lived Experiences of 5 African Canadian Musicians","year":2014,"lang":"en","type":"article","venue":"York University Digital Library (York University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Race (biology); Lived experience; Gender studies; Jazz; Politics; Sociology; History; Anthropology; Ethnology; Political science; Art history; Psychology; Law","score_opus":0.012953134618233076,"score_gpt":0.1451775250070534,"score_spread":0.1322243903888203,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2239096144","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8905606,0.0074391626,0.00035058806,0.019521626,0.00038487787,0.0001021996,0.000407565,0.00004332656,0.08119011],"genre_scores_gemma":[0.9715415,0.0024514215,0.00022595261,0.0014923777,0.00003451619,0.000038392474,0.00008947228,0.000044524964,0.024081875],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99634117,0.0011323768,0.00007489755,0.00027829036,0.00058204937,0.001591082],"domain_scores_gemma":[0.99666816,0.00064251944,0.00025151635,0.00008955263,0.00062912767,0.0017191662],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002177932,0.0008321049,0.00065879663,0.0021057392,0.06854516,0.009951323,0.0022775137,0.0021708193,0.007525706],"category_scores_gemma":[0.004208644,0.00055047916,0.00039417844,0.0036354547,0.028748244,0.003207913,0.008225164,0.004467769,0.00047971634],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018556531,0.000006809452,0.0017980051,0.000036504116,0.0000035028932,0.0004598553,0.99008816,0.000018681143,0.00023296788,0.0023179455,0.0030107498,0.0020082053],"study_design_scores_gemma":[9.4253534e-7,0.0000052781847,0.002757152,0.000053136773,0.000004117469,0.00005088415,0.97581327,0.000010919393,0.00004546694,0.000076446784,0.021172075,0.000010367262],"about_ca_topic_score_codex":0.9894338,"about_ca_topic_score_gemma":0.9970964,"teacher_disagreement_score":0.11956589,"about_ca_system_score_codex":0.11956589,"about_ca_system_score_gemma":0.07638842,"threshold_uncertainty_score":0.8675153},"labels":[],"label_agreement":null},{"id":"W2241072854","doi":"","title":"Groove Music: The Art and Culture of the Hip-Hop DJ","year":2013,"lang":"en","type":"article","venue":"MUSICultures","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Groove (engineering); Hop (telecommunications); Art; Art history; Engineering; Telecommunications; Mechanical engineering","score_opus":0.019918753729935693,"score_gpt":0.18055227407246716,"score_spread":0.16063352034253148,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2241072854","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.38075557,0.01475497,0.0016720861,0.035148244,0.0030275593,0.000035464513,0.00011866334,0.00014283285,0.5643445],"genre_scores_gemma":[0.9633353,0.002799806,0.00046025252,0.0020988195,0.00090299576,0.000012783317,0.000023846898,0.00009963897,0.030266585],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989673,0.0004315725,0.000029241855,0.00008149523,0.00024138871,0.00024899395],"domain_scores_gemma":[0.99905235,0.00032672202,0.00009702511,0.00008232914,0.000092323935,0.000349188],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012122154,0.0003542708,0.00021691994,0.0012696335,0.007138269,0.01002948,0.0007394923,0.001359865,0.0065467847],"category_scores_gemma":[0.0039940076,0.0001511484,0.00010920618,0.0014321962,0.016772203,0.0020263966,0.005611284,0.0028110512,0.0006060465],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00026958622,0.00010502851,0.006151251,0.00028580517,0.00002211504,0.0016080621,0.44668165,0.00019562434,0.0024518182,0.34843105,0.06327684,0.13052112],"study_design_scores_gemma":[0.000031034866,0.00009494395,0.0115466,0.00037753888,0.000013863101,0.0015001522,0.36448815,0.00017371941,0.00048889953,0.02079145,0.6004442,0.00004940946],"about_ca_topic_score_codex":0.012269165,"about_ca_topic_score_gemma":0.033554796,"teacher_disagreement_score":0.012269165,"about_ca_system_score_codex":0.0023786465,"about_ca_system_score_gemma":0.0019846305,"threshold_uncertainty_score":0.024395525},"labels":[],"label_agreement":null},{"id":"W2241996724","doi":"10.1177/0308275x15569852","title":"Soaring to dizzying heights: Christ the Saviour Cathedral as a historical arena for the persecution of Pussy Riot","year":2015,"lang":"en","type":"article","venue":"Critique of Anthropology","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"University of Toronto","keywords":"Punk; Disenchantment; Prayer; Homecoming; Persecution; Charisma; Victory; Sociology; History; Art; Religious studies; Politics; Law; Art history; Philosophy; Political science","score_opus":0.0747218956275563,"score_gpt":0.31180138791806505,"score_spread":0.23707949229050876,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2241996724","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.63710946,0.0073592896,0.0012539494,0.014556976,0.001314718,0.00003156116,0.00003065195,0.0000744629,0.338269],"genre_scores_gemma":[0.9903054,0.00047644775,0.000093672534,0.00027541,0.000093378294,0.000005563642,0.0000044872813,0.000022487862,0.0087231845],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99714905,0.0019041259,0.000030703053,0.00020974388,0.00019506179,0.00051132706],"domain_scores_gemma":[0.99911004,0.00037722557,0.000105329156,0.00007424853,0.00006220913,0.00027095212],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017512093,0.0003985904,0.00030420988,0.0009343169,0.020742305,0.008123968,0.0011212112,0.002645193,0.0036724845],"category_scores_gemma":[0.003007515,0.00037775474,0.00019408377,0.0006683691,0.033804048,0.002488973,0.006057384,0.0045771785,0.000518239],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006794429,0.000024715368,0.0010368564,0.000059998834,0.0000075669163,0.002126126,0.81302863,0.00009473646,0.0005732496,0.16950008,0.0057418607,0.007738206],"study_design_scores_gemma":[0.000012789163,0.000090873975,0.0032177016,0.00021419012,0.000008223543,0.00117843,0.74189496,0.000097127624,0.0005926027,0.006752182,0.24590464,0.000036256373],"about_ca_topic_score_codex":0.019263191,"about_ca_topic_score_gemma":0.051784124,"teacher_disagreement_score":0.020742305,"about_ca_system_score_codex":0.004419998,"about_ca_system_score_gemma":0.0025507899,"threshold_uncertainty_score":0.038302124},"labels":[],"label_agreement":null},{"id":"W2243560343","doi":"10.25071/1708-6701.33798","title":"raW: Chamber Music by James Rolfe (CD Review)","year":2011,"lang":"en","type":"article","venue":"CAML Review / Revue de l ACBM","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Raw material; Chemistry; Organic chemistry","score_opus":0.05522084688181514,"score_gpt":0.2219000129278604,"score_spread":0.16667916604604527,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2243560343","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000160158,0.7692261,0.00024431475,0.07869779,0.1205307,0.000101869926,0.000358214,0.00012321795,0.030557731],"genre_scores_gemma":[0.0038927265,0.5333751,0.0008903931,0.11477994,0.09455685,0.00021315271,0.0005993749,0.00013158108,0.25156084],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991881,0.00015688565,0.00007338952,0.000102248894,0.00037451345,0.00010493142],"domain_scores_gemma":[0.9978132,0.0004613526,0.00031473563,0.00008491717,0.0008739881,0.00045170647],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016853302,0.0010971501,0.0011643659,0.0027851625,0.0008487004,0.0029778641,0.001417584,0.0032288393,0.06605168],"category_scores_gemma":[0.0061838464,0.0004142004,0.00063849974,0.002224502,0.00084792235,0.0024799115,0.0022282973,0.002816103,0.03310963],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000030669635,0.000004887437,0.000018462542,0.0007836783,0.000010173313,0.000025513466,0.000008418239,0.0000054598336,0.000075181655,0.00025712134,0.9482099,0.050570656],"study_design_scores_gemma":[0.00002550569,0.000016213145,0.00021993519,0.0010018486,0.000022020036,0.00009958368,0.000023348843,0.0000047767307,0.000053653577,0.0001938583,0.9983341,0.0000052095334],"about_ca_topic_score_codex":0.0038317316,"about_ca_topic_score_gemma":0.0119245015,"teacher_disagreement_score":0.06605168,"about_ca_system_score_codex":0.001451211,"about_ca_system_score_gemma":0.003069351,"threshold_uncertainty_score":0.22096485},"labels":[],"label_agreement":null},{"id":"W2248291377","doi":"10.25071/1923-9408.25541","title":"Birthday Barbie / Memo to Barbie: Re the Breakup","year":2004,"lang":"en","type":"article","venue":"Tessera","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Breakup; Art; Psychology; Social psychology","score_opus":0.025147570466732896,"score_gpt":0.2062567414823348,"score_spread":0.18110917101560192,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2248291377","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0154863205,0.02201072,0.0010418497,0.2412083,0.1518578,0.000052990184,0.00065851264,0.0006636404,0.5670199],"genre_scores_gemma":[0.05115337,0.004325981,0.00037867558,0.015380595,0.006753668,0.000027617429,0.00021980362,0.0009192103,0.9208411],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990715,0.00020961663,0.000019912448,0.00010710969,0.00024886255,0.00034299248],"domain_scores_gemma":[0.9986725,0.0001355628,0.000056083732,0.000116017385,0.00028404847,0.00073579955],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013260444,0.0005181254,0.00040530864,0.00074286707,0.014580263,0.0077953967,0.000769499,0.002551632,0.085085236],"category_scores_gemma":[0.0039602253,0.0002952956,0.0003975582,0.0004713282,0.002651421,0.0032442794,0.005816007,0.0093011325,0.021915667],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000043543863,0.000013890485,0.00015871944,0.000052864696,0.0000052858168,0.00015254208,0.00713767,0.000009794189,0.00031189295,0.011137082,0.96674514,0.014231639],"study_design_scores_gemma":[0.0000013918892,0.000003923565,0.0003283177,0.000047491878,0.000002067682,0.000044394168,0.0045052893,0.0000024858061,0.00012130089,0.00041289,0.9945252,0.0000053721124],"about_ca_topic_score_codex":0.03217946,"about_ca_topic_score_gemma":0.11312285,"teacher_disagreement_score":0.085085236,"about_ca_system_score_codex":0.003851816,"about_ca_system_score_gemma":0.002835052,"threshold_uncertainty_score":0.28463846},"labels":[],"label_agreement":null},{"id":"W2249844523","doi":"","title":"Ending the \"War against Youth\": Social Media and Hip-Hop Culture as Sites of Resistance, Transformation and (Re) Conceptualization.","year":2013,"lang":"en","type":"article","venue":"The Journal for Critical Education Policy Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":9,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sociology; Conceptualization; Oppression; Youth studies; Praxis; Gender studies; Empowerment; Media studies; Youth culture; Public relations; Politics; Political science; Law","score_opus":0.08256950218826847,"score_gpt":0.35215571035924725,"score_spread":0.2695862081709788,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2249844523","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.44320452,0.03687953,0.00807536,0.09769565,0.0026220696,0.00014837726,0.00007761371,0.00009571436,0.41120124],"genre_scores_gemma":[0.98602873,0.0041843196,0.0004728926,0.0032666218,0.00033862682,0.00006345639,0.000012549725,0.000028466276,0.0056042997],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9945486,0.0038429343,0.00011059557,0.00027719108,0.00054770533,0.00067289924],"domain_scores_gemma":[0.9956162,0.0029617324,0.00046862997,0.00024795573,0.0002563904,0.00044923867],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004615089,0.0008110304,0.00041051125,0.0036255002,0.012754953,0.018344812,0.0017022864,0.004460494,0.002673756],"category_scores_gemma":[0.005976182,0.00029460498,0.00028751476,0.0020584369,0.0644358,0.013197475,0.011447948,0.005528216,0.00023055902],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016945778,0.000033642453,0.0017437853,0.000116697054,0.0000078641215,0.00042219248,0.6033524,0.000055821612,0.00012189749,0.3790334,0.0031460824,0.011949152],"study_design_scores_gemma":[0.000007029652,0.000039517574,0.0016129012,0.0008517836,0.000011839341,0.00039787445,0.8466892,0.0001572738,0.0003152721,0.041731983,0.10816685,0.00001834194],"about_ca_topic_score_codex":0.006279048,"about_ca_topic_score_gemma":0.0059843254,"teacher_disagreement_score":0.018344812,"about_ca_system_score_codex":0.0053014676,"about_ca_system_score_gemma":0.004688618,"threshold_uncertainty_score":0.038464963},"labels":[],"label_agreement":null},{"id":"W2252534748","doi":"10.29173/md23293","title":"Rebel Girl and the Wrecking Ball – The Cruel Optimism of Empowerment and the Revival of Feminism in Contemporary Popular Music","year":2015,"lang":"en","type":"article","venue":"Multilingual Discourses","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Feminism; Plea; Appropriation; Girl; Ideology; Empowerment; Optimism; Sociology; Aesthetics; Punk; Gender studies; Dance; Art; Visual arts; Art history; Psychology; Political science; Law; Social psychology; Politics; Philosophy; Epistemology","score_opus":0.10534402799204,"score_gpt":0.29247764270863197,"score_spread":0.18713361471659196,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2252534748","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.27089012,0.008029881,0.0025569568,0.091957465,0.00083069847,0.000023651332,0.000027203492,0.00007005633,0.6256139],"genre_scores_gemma":[0.9764864,0.00077667803,0.0002394769,0.001822786,0.00029506962,0.000012379917,0.0000041692288,0.000049662824,0.02031332],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9957794,0.0027451206,0.00005013041,0.00036325326,0.0005509002,0.00051126874],"domain_scores_gemma":[0.99818486,0.0011022497,0.00017144704,0.00017451186,0.00010406795,0.00026277202],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0049527776,0.00040363544,0.000288357,0.0011168747,0.012390008,0.012141198,0.0007620084,0.0021030097,0.0060169217],"category_scores_gemma":[0.0041334163,0.00019881615,0.00020501393,0.00047275593,0.061152503,0.005502718,0.008092605,0.0043497193,0.00048248027],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001031656,0.000027060414,0.0010656228,0.000068742054,0.0000072100675,0.0004931112,0.38114938,0.00011495397,0.0007049488,0.5883315,0.008957908,0.018976351],"study_design_scores_gemma":[0.000027633849,0.00006784244,0.0030128341,0.00036637348,0.000008565843,0.0007229299,0.43503702,0.0002596013,0.0012397701,0.07312477,0.48609594,0.000036732356],"about_ca_topic_score_codex":0.007615017,"about_ca_topic_score_gemma":0.011797145,"teacher_disagreement_score":0.012390008,"about_ca_system_score_codex":0.005777559,"about_ca_system_score_gemma":0.0018221204,"threshold_uncertainty_score":0.04191929},"labels":[],"label_agreement":null},{"id":"W2253873995","doi":"10.25071/1708-6701.40208","title":"Look for the Silver Lining – Phil Dwyer and Don Thompson (CD Review)","year":2015,"lang":"en","type":"article","venue":"CAML Review / Revue de l ACBM","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Forensic engineering; Psychology; Engineering","score_opus":0.08907615119924975,"score_gpt":0.2740390732761525,"score_spread":0.18496292207690276,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2253873995","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00006376438,0.6555451,0.0001978895,0.21310855,0.12556773,0.000031977852,0.00010813635,0.000059571357,0.0053173485],"genre_scores_gemma":[0.0014886379,0.47573924,0.00047948761,0.3865906,0.105822295,0.00010786068,0.00019866732,0.00007191782,0.029501256],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99815184,0.00045756297,0.00018068675,0.00022332891,0.00079501496,0.00019156681],"domain_scores_gemma":[0.99422544,0.001718866,0.0005775805,0.00017431035,0.0023360262,0.0009677681],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003595114,0.0010740105,0.0016873722,0.0028158017,0.0011715702,0.0047431444,0.0020832254,0.007904954,0.027342051],"category_scores_gemma":[0.015546823,0.0006184752,0.0012746656,0.0022525203,0.0018836493,0.00757366,0.003323393,0.0071768137,0.013402928],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018553841,0.0000035298722,0.000017997772,0.00065834273,0.000015049207,0.000032275755,0.000014054492,0.000007780963,0.000026706142,0.00055291865,0.9767567,0.021896081],"study_design_scores_gemma":[0.00003935079,0.000019383931,0.00012372415,0.002703634,0.000038020728,0.00020336099,0.00007318797,0.0000082330025,0.000023556464,0.0014485299,0.9953062,0.000012685141],"about_ca_topic_score_codex":0.0045391363,"about_ca_topic_score_gemma":0.012566611,"teacher_disagreement_score":0.027342051,"about_ca_system_score_codex":0.001993183,"about_ca_system_score_gemma":0.0053220126,"threshold_uncertainty_score":0.091468275},"labels":[],"label_agreement":null},{"id":"W2260849057","doi":"10.1353/not.2016.0039","title":"The Road Goes On Forever-50 Years of Inspiration by Neil Young (review)","year":2016,"lang":"en","type":"article","venue":"Notes","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Musical; Pride; Superstar; History; Active listening; Art; Art history; Visual arts; Psychology; Law","score_opus":0.024215852439683713,"score_gpt":0.216591408366372,"score_spread":0.19237555592668829,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2260849057","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00009876259,0.9820603,0.00007585183,0.007759594,0.006083519,0.000031330568,0.00016373953,0.000030265985,0.0036965823],"genre_scores_gemma":[0.002252269,0.9504754,0.00025936504,0.021801516,0.005486356,0.00011965414,0.00061915786,0.0000359798,0.018950293],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99901557,0.00023724769,0.00011132202,0.00013584743,0.00038770714,0.00011217844],"domain_scores_gemma":[0.9967681,0.00068532437,0.0004818242,0.00007377712,0.0014798124,0.00051111664],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015265958,0.0009269243,0.001488554,0.0021654582,0.0005895577,0.0032437395,0.0016715331,0.0017154205,0.028920997],"category_scores_gemma":[0.0059065535,0.0004211473,0.00088829873,0.0022795615,0.00054377277,0.0024323564,0.0010962846,0.0033864216,0.011634599],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000615038,0.00002084781,0.00022979017,0.014240231,0.00010769575,0.0001030378,0.00008005566,0.00004704933,0.00014293681,0.00051211024,0.83370984,0.15074492],"study_design_scores_gemma":[0.000032894986,0.0000381705,0.0008528503,0.0188453,0.00014425634,0.0005888027,0.00013288982,0.00002412138,0.00007751794,0.00028314462,0.9789549,0.000025158064],"about_ca_topic_score_codex":0.0054582627,"about_ca_topic_score_gemma":0.01091379,"teacher_disagreement_score":0.028920997,"about_ca_system_score_codex":0.0018167493,"about_ca_system_score_gemma":0.0047845063,"threshold_uncertainty_score":0.09675044},"labels":[],"label_agreement":null},{"id":"W2261699945","doi":"10.12801/1947-5403.2015.07.02.06","title":"Remixology: Tracing the Dub Diaspora (Paul Sullivan)","year":2015,"lang":"en","type":"article","venue":"Dancecult","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Association of Universities and Colleges of Canada; Université de Montréal","funders":"","keywords":"Diaspora; Tracing; Sociology; Computer science; Operating system; Gender studies","score_opus":0.0659295730885567,"score_gpt":0.22447260168418087,"score_spread":0.1585430285956242,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2261699945","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1751103,0.07252503,0.0034140665,0.15535325,0.005812731,0.00013548227,0.00016710327,0.00013070709,0.5873513],"genre_scores_gemma":[0.7191768,0.021161545,0.0015575641,0.015007433,0.0014591438,0.00017520308,0.00004634603,0.00028820641,0.24112773],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987953,0.00067811983,0.000029141589,0.00012157195,0.00014800222,0.0002278281],"domain_scores_gemma":[0.99853325,0.0007598663,0.00013415629,0.00008955394,0.00011866153,0.00036450737],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018156145,0.00052934047,0.0003719201,0.0015029716,0.019773815,0.008500746,0.0010368599,0.0027025575,0.004795443],"category_scores_gemma":[0.0036197503,0.00030777915,0.00015394035,0.0013879034,0.016108088,0.005589875,0.0076864325,0.0054013846,0.0007217698],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000044874225,0.000031752443,0.0011593906,0.0001832873,0.000005648193,0.0006962858,0.6043869,0.000039823866,0.00054326124,0.27745035,0.07408645,0.041372027],"study_design_scores_gemma":[0.0000052472683,0.000013494059,0.0014667759,0.0003549486,0.0000035563692,0.0003234272,0.25459266,0.00003985629,0.00039467026,0.011412596,0.73137826,0.000014528727],"about_ca_topic_score_codex":0.03459671,"about_ca_topic_score_gemma":0.1219941,"teacher_disagreement_score":0.03459671,"about_ca_system_score_codex":0.00400715,"about_ca_system_score_gemma":0.00426455,"threshold_uncertainty_score":0.068790674},"labels":[],"label_agreement":null},{"id":"W2264241759","doi":"","title":"\"Musical Futures\" and Multiculturalism in Canada: Guitars, Guiros and the Gong Ageng","year":2012,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Guitar; Multiculturalism; Musical; Futures contract; Sociology; Art; Aesthetics; Humanities; Literature; Acoustics; Business; Pedagogy","score_opus":0.01580109557231857,"score_gpt":0.1651354782359519,"score_spread":0.14933438266363333,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2264241759","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.707882,0.011001034,0.0004420057,0.050290283,0.00038369469,0.00004170672,0.00016705884,0.00003234071,0.22975989],"genre_scores_gemma":[0.9791556,0.0015148356,0.0001671522,0.001251904,0.000017991579,0.000006069943,0.000025578922,0.00001551699,0.01784539],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99804485,0.0002998453,0.000032725013,0.00015938385,0.00035385173,0.0011093955],"domain_scores_gemma":[0.9979328,0.000348651,0.000110888956,0.00004921883,0.00043528999,0.001123214],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017337187,0.00038237174,0.00041907025,0.0014203367,0.032748193,0.0146043785,0.0015791857,0.0022238747,0.009874022],"category_scores_gemma":[0.0029552178,0.00025345414,0.00029186605,0.0030641393,0.018047811,0.0027395452,0.005542393,0.0041207424,0.00028163102],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001592083,0.0001039677,0.029719727,0.00014539596,0.000026445512,0.0011279803,0.6665633,0.00024511866,0.0006137708,0.21222238,0.023276914,0.0657958],"study_design_scores_gemma":[0.000015850721,0.00001771412,0.023364605,0.00021481038,0.000023061697,0.00016561942,0.847746,0.00016502143,0.00016930171,0.0073191654,0.12073563,0.00006326282],"about_ca_topic_score_codex":0.99224675,"about_ca_topic_score_gemma":0.9978801,"teacher_disagreement_score":0.07566884,"about_ca_system_score_codex":0.07566884,"about_ca_system_score_gemma":0.12902611,"threshold_uncertainty_score":0.54901844},"labels":[],"label_agreement":null},{"id":"W2265255358","doi":"10.1093/oxfordhb/9780199935321.013.30","title":"Phenomenological Approaches in the History of Ethnomusicology","year":2015,"lang":"en","type":"book-chapter","venue":"Oxford University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Memorial University of Newfoundland","funders":"","keywords":"Ethnomusicology; Phenomenology (philosophy); Temporality; Musical; Trance; Epistemology; Aesthetics; Interpretative phenomenological analysis; Sociology; Musicology; History; Literature; Art; Social science; Anthropology; Philosophy; Qualitative research","score_opus":0.2713413790808003,"score_gpt":0.20272233886430646,"score_spread":0.06861904021649384,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2265255358","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.015935209,0.39463326,0.053161267,0.093423225,0.005904832,0.00025315516,0.0001788732,0.00014411504,0.4363661],"genre_scores_gemma":[0.66858554,0.22406326,0.030791901,0.018336179,0.0056550708,0.0012121935,0.00017948773,0.00020333233,0.050973043],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9854865,0.012722899,0.00026603334,0.00047810597,0.00075440446,0.00029191282],"domain_scores_gemma":[0.96860105,0.029000465,0.00047175368,0.0009537292,0.0005530389,0.00041991228],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.012010094,0.0007604698,0.00074591703,0.0054459344,0.007307726,0.011900922,0.001960285,0.0036348465,0.004501268],"category_scores_gemma":[0.010859881,0.00048758538,0.0004385919,0.006162263,0.076254144,0.0119107105,0.005705715,0.007225081,0.00039815577],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001095143,0.000014154698,0.0001231458,0.00029789453,0.0000053965496,0.00010650035,0.0465064,0.00015077094,0.000050216848,0.937459,0.004604439,0.010671071],"study_design_scores_gemma":[0.000015604222,0.000021273514,0.00034863182,0.0025516949,0.000006100261,0.0002045535,0.044959627,0.00030060476,0.00014013979,0.5920971,0.35933143,0.00002326138],"about_ca_topic_score_codex":0.0047835144,"about_ca_topic_score_gemma":0.0051417304,"teacher_disagreement_score":0.012010094,"about_ca_system_score_codex":0.011803656,"about_ca_system_score_gemma":0.0045682383,"threshold_uncertainty_score":0.08564192},"labels":[],"label_agreement":null},{"id":"W2265327770","doi":"10.16995/dscn.25","title":"Generalizing case-based analyses in the study of global music consumption","year":2016,"lang":"en","type":"article","venue":"Digital Studies / Le champ numérique","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Download; Upload; Musical; Humanities; Consumption (sociology); Art; Computer science; History; World Wide Web; Literature; Aesthetics","score_opus":0.1892712583562333,"score_gpt":0.32333168123142514,"score_spread":0.13406042287519185,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2265327770","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8045923,0.001467725,0.15732455,0.0011868052,0.00013427869,0.0027026339,0.0019820535,0.00015875249,0.03045085],"genre_scores_gemma":[0.95612484,0.00036780507,0.039582815,0.00024070668,0.00005504597,0.001667655,0.00091553055,0.00004830179,0.0009973458],"study_design_codex":"observational","study_design_gemma":"qualitative","domain_scores_codex":[0.96631306,0.026629344,0.0015228543,0.0024719888,0.0021172552,0.0009455253],"domain_scores_gemma":[0.9224045,0.060984362,0.005285584,0.008469117,0.0023520503,0.0005043518],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.02660525,0.00070698914,0.0007985515,0.008787848,0.0024822366,0.0042254017,0.001753878,0.0013341467,0.0074006002],"category_scores_gemma":[0.06798455,0.0005619212,0.002110247,0.008016744,0.0035377685,0.0033875306,0.004840852,0.001546178,0.00081035873],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00043157372,0.0015137249,0.7716285,0.001129676,0.002041426,0.0033972554,0.07156077,0.008242737,0.002619611,0.07306683,0.0022613548,0.06210655],"study_design_scores_gemma":[0.00019706166,0.0011216704,0.6716001,0.0010926878,0.0010476147,0.0036299685,0.14395326,0.06018809,0.0027088716,0.08749971,0.026754593,0.00020630643],"about_ca_topic_score_codex":0.017151017,"about_ca_topic_score_gemma":0.014115179,"teacher_disagreement_score":0.02660525,"about_ca_system_score_codex":0.0023325211,"about_ca_system_score_gemma":0.001395,"threshold_uncertainty_score":0.14070368},"labels":[],"label_agreement":null},{"id":"W2266045017","doi":"10.32396/usurj.v2i1.152","title":"D.O.A.'s \"General Strike\" and the Politics of Punk Rock in Late Twentieth-Century British Columbia","year":2015,"lang":"en","type":"article","venue":"USURJ University of Saskatchewan Undergraduate Research Journal","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Saskatchewan","funders":"","keywords":"Punk; Solidarity; Politics; Popular music; Sociology; Mainstream; Social movement; Rock music; Media studies; Narrative; Context (archaeology); Political science; Gender studies; History; Law; Literature; Art; Art history; Archaeology","score_opus":0.03856464900178084,"score_gpt":0.23856511322895113,"score_spread":0.2000004642271703,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2266045017","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.80803126,0.007345846,0.00014083191,0.013201361,0.00020083458,0.0000289058,0.00015954404,0.000021423459,0.1708701],"genre_scores_gemma":[0.9583609,0.0023735813,0.000067332585,0.0011582487,0.000013709324,0.000010480674,0.000041367435,0.000013242573,0.037961133],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9992537,0.000072387986,0.0000122660795,0.00006258329,0.00013905593,0.00046001092],"domain_scores_gemma":[0.99922836,0.0001295645,0.000062767285,0.000014763712,0.00021041329,0.0003542068],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004453014,0.0002187214,0.0002908943,0.0012713658,0.02663903,0.005837052,0.00075876695,0.0011465073,0.004247321],"category_scores_gemma":[0.0011943112,0.00027062235,0.000109491244,0.002062725,0.007686549,0.0008335758,0.0024239754,0.0026449237,0.00028734567],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002153231,0.00015634597,0.062648855,0.000305158,0.00003087414,0.0036316635,0.69495726,0.00035526347,0.003561664,0.08114371,0.05443707,0.09855682],"study_design_scores_gemma":[0.000015750695,0.000028520411,0.19537097,0.00035834484,0.000019186671,0.0003415581,0.50599015,0.000119896344,0.00040119002,0.0018472734,0.29543373,0.00007344314],"about_ca_topic_score_codex":0.9912265,"about_ca_topic_score_gemma":0.9984549,"teacher_disagreement_score":0.074890204,"about_ca_system_score_codex":0.074890204,"about_ca_system_score_gemma":0.051942524,"threshold_uncertainty_score":0.543369},"labels":[],"label_agreement":null},{"id":"W2267717563","doi":"","title":"Learning through Resistance: Contextualisation, Creation and Incorporation of a ‘Punk Pedagogy’","year":2015,"lang":"en","type":"article","venue":"Middlesex University Research Repository (Middlesex University Of London)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":9,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Punk; Sociology; Experiential learning; Pedagogy; Subculture (biology); Facilitator; Resistance (ecology); Politics; Aesthetics; Psychology; Social psychology; Art; Political science","score_opus":0.09294188997484368,"score_gpt":0.2715037927917377,"score_spread":0.17856190281689402,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2267717563","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.42075938,0.0038985945,0.09016634,0.028785301,0.00096575427,0.00037510463,0.00005036018,0.0006588906,0.4543403],"genre_scores_gemma":[0.9766226,0.0007447725,0.010669802,0.0007614416,0.00006486973,0.00015153064,0.000019825551,0.00018564417,0.010779398],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.97242254,0.022359151,0.0003808905,0.0019350883,0.0015660462,0.001336133],"domain_scores_gemma":[0.9885034,0.006873191,0.00086028065,0.0019341675,0.0006548338,0.0011741268],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.012544819,0.00058053393,0.00073325663,0.0020557304,0.012582353,0.013867945,0.002591417,0.0027336837,0.005070469],"category_scores_gemma":[0.021333944,0.00047015637,0.0005909241,0.0013196234,0.043368343,0.012276946,0.019697662,0.004999957,0.0009266091],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000026107322,0.00011355916,0.0018337074,0.00026764438,0.000013285549,0.0008296768,0.7496497,0.00028237503,0.0007774309,0.19552684,0.0020411257,0.048638556],"study_design_scores_gemma":[0.00002630632,0.00019523113,0.0028294274,0.0010058775,0.000023815897,0.0014249755,0.5062091,0.0010347286,0.0012061475,0.1258981,0.36008132,0.00006502344],"about_ca_topic_score_codex":0.001344284,"about_ca_topic_score_gemma":0.0028355254,"teacher_disagreement_score":0.013867945,"about_ca_system_score_codex":0.005118384,"about_ca_system_score_gemma":0.005652102,"threshold_uncertainty_score":0.0663442},"labels":[],"label_agreement":null},{"id":"W2268162989","doi":"10.1215/9780822383376","title":"Rock Over the Edge","year":2002,"lang":"no","type":"book","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":60,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art history; Rock music; Historiography; Art; Musicology; Musical; History; Popular music; Sociology; Archaeology; Visual arts","score_opus":0.034975459725807526,"score_gpt":0.19151592956538716,"score_spread":0.15654046983957964,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2268162989","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0013318356,0.009818641,0.0005393088,0.028449789,0.02522537,0.000040830335,0.0005383687,0.0005276363,0.93352824],"genre_scores_gemma":[0.0063149226,0.0028874197,0.0002851892,0.004170686,0.0028898218,0.000015939131,0.00021689264,0.0003272655,0.9828919],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990777,0.000121822115,0.000030867854,0.00016641154,0.00037860268,0.00022460065],"domain_scores_gemma":[0.9988574,0.0001236531,0.0000435541,0.0001247875,0.00038661368,0.00046393022],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0006680555,0.00081168534,0.0004983233,0.0012797164,0.0054575945,0.009008502,0.0009902031,0.002329392,0.4851299],"category_scores_gemma":[0.0024252613,0.0003271826,0.0004905482,0.0011798948,0.0013614569,0.0061808107,0.0055612316,0.0037647807,0.16508855],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021796577,0.000012609503,0.00012990413,0.000057695204,0.0000014347543,0.000073455005,0.0005125529,0.000017813854,0.00016305083,0.010200835,0.9369003,0.05190862],"study_design_scores_gemma":[7.995729e-7,0.00000302465,0.00007695734,0.000046164656,5.8797735e-7,0.000028746193,0.00038338493,0.0000034732593,0.000016412096,0.0002697005,0.9991691,0.0000017286445],"about_ca_topic_score_codex":0.013918791,"about_ca_topic_score_gemma":0.034881137,"teacher_disagreement_score":0.4851299,"about_ca_system_score_codex":0.001845678,"about_ca_system_score_gemma":0.0026733482,"threshold_uncertainty_score":0.7343997},"labels":[],"label_agreement":null},{"id":"W2268253608","doi":"10.1177/1474474015612716","title":"Diachronic loops/deadweight tonnage/bad made measure","year":2015,"lang":"en","type":"article","venue":"Cultural Geographies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":138,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Queen's University","funders":"","keywords":"Conversation; Scripting language; Race (biology); Tonnage; Invocation; Sociology; Poetry; Knowledge production; Anthropology; History; Literature; Gender studies; Art; Communication; Computer science","score_opus":0.052533263683161344,"score_gpt":0.22370435817185497,"score_spread":0.1711710944886936,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2268253608","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.055619687,0.0013184301,0.04390398,0.017939867,0.001956162,0.000059650036,0.00018322411,0.00033499833,0.8786841],"genre_scores_gemma":[0.880764,0.00049600314,0.005365252,0.001863355,0.0003905238,0.000050942526,0.000069410984,0.00045278127,0.110547744],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99768937,0.001136579,0.00007743868,0.00034506008,0.00053389283,0.00021763705],"domain_scores_gemma":[0.9977028,0.00084323576,0.0002012192,0.00067281985,0.00039014872,0.00018984018],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026043258,0.00064230035,0.00025625943,0.0014287375,0.004664385,0.005952245,0.00072653044,0.0014465372,0.014907666],"category_scores_gemma":[0.008065036,0.0002538982,0.0002681408,0.000999355,0.02159676,0.0076392596,0.0040922207,0.0030664618,0.002180939],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004087258,0.000007573845,0.0003176305,0.000026644886,0.0000040934583,0.00009580991,0.018838279,0.00007009703,0.0004420463,0.96799725,0.0041658436,0.007993931],"study_design_scores_gemma":[0.000017382403,0.000051480605,0.0009984188,0.00012603929,0.000016779726,0.0003814713,0.026177503,0.0004979012,0.0017260684,0.41765404,0.55231744,0.000035580255],"about_ca_topic_score_codex":0.0027508931,"about_ca_topic_score_gemma":0.0034780472,"teacher_disagreement_score":0.014907666,"about_ca_system_score_codex":0.0025670389,"about_ca_system_score_gemma":0.0011285046,"threshold_uncertainty_score":0.049871087},"labels":[],"label_agreement":null},{"id":"W2271540607","doi":"","title":"Listening Together, Thinking out Loud: Popular Music and Political Consciousness in Congo-Zaire","year":2014,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Active listening; Politics; Consciousness; Opposition (politics); Democracy; Sociology; Interpersonal communication; Political consciousness; Psychology; Aesthetics; Media studies; Social science; Political science; Law; Art; Communication","score_opus":0.02734698946466024,"score_gpt":0.2238703922932656,"score_spread":0.19652340282860536,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2271540607","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9028584,0.004295938,0.0008464579,0.011419327,0.00023574969,0.00003448734,0.000023045606,0.000012680144,0.08027401],"genre_scores_gemma":[0.99529004,0.00085780286,0.000120377954,0.0008608975,0.000076423166,0.000012848975,0.000004021616,0.000007676607,0.0027699699],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99858403,0.0009321998,0.000026932763,0.00006340681,0.00009525555,0.00029825457],"domain_scores_gemma":[0.9991769,0.0005157937,0.00013844758,0.000020574862,0.00003583706,0.000112478105],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017073537,0.00035464167,0.0002824482,0.0010994552,0.012688158,0.006934477,0.00061602966,0.0020751897,0.0031786424],"category_scores_gemma":[0.002196842,0.00023818377,0.00023736943,0.00070152496,0.012370402,0.0030685384,0.0034697407,0.003229602,0.00020308935],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004438434,0.00003473592,0.0026660082,0.0000879459,0.000010564358,0.00086417596,0.97640127,0.00003236447,0.001659973,0.010645773,0.00063844095,0.0069143507],"study_design_scores_gemma":[0.000009627132,0.00004569932,0.013083133,0.000180339,0.000017752067,0.00042421883,0.9643008,0.000066300694,0.0005429214,0.001715156,0.01959431,0.00001980475],"about_ca_topic_score_codex":0.020249652,"about_ca_topic_score_gemma":0.04038624,"teacher_disagreement_score":0.020249652,"about_ca_system_score_codex":0.0033412296,"about_ca_system_score_gemma":0.0010186906,"threshold_uncertainty_score":0.040263593},"labels":[],"label_agreement":null},{"id":"W2272271259","doi":"10.1558/equinox.20104","title":"The West Texas Musicscape and Buddy Holly’s Musical Idiolect, 1950–1955","year":2010,"lang":"en","type":"article","venue":"Equinox eBooks Publishing","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Guitar; Musical; Soundscape; Section (typography); Sound (geography); Art history; Art; History; Visual arts; Advertising; Management; Acoustics","score_opus":0.019518267665344112,"score_gpt":0.20052395451253513,"score_spread":0.181005686847191,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2272271259","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.35929027,0.027397364,0.0017652666,0.011205495,0.0021370375,0.0000779844,0.00022730374,0.00007131887,0.59782803],"genre_scores_gemma":[0.7938942,0.0046180882,0.0005807973,0.0009357525,0.0003450466,0.000053102613,0.000065291606,0.00005051175,0.19945727],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997063,0.00006210845,0.000008260769,0.00005975487,0.000044324053,0.000119220545],"domain_scores_gemma":[0.99982136,0.000051653922,0.000027127966,0.000011537459,0.00002233425,0.00006595061],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00034824468,0.0004377557,0.00018240156,0.0013801056,0.013186748,0.004491302,0.0005674655,0.0008012689,0.0048914785],"category_scores_gemma":[0.0005404091,0.0002573284,0.00008799905,0.0013482659,0.010479673,0.001891088,0.0021642486,0.0024862245,0.000639936],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001248415,0.000048482972,0.0029577587,0.000118113385,0.000007735298,0.0013385921,0.5070092,0.000110615045,0.0009045119,0.41147524,0.04078879,0.035116214],"study_design_scores_gemma":[0.000009078901,0.00004159366,0.011520748,0.00021706714,0.00000716749,0.00046939155,0.086591594,0.00005810993,0.00044212487,0.00407562,0.8965548,0.000012543444],"about_ca_topic_score_codex":0.09370337,"about_ca_topic_score_gemma":0.24790414,"teacher_disagreement_score":0.09370337,"about_ca_system_score_codex":0.011358336,"about_ca_system_score_gemma":0.0033859161,"threshold_uncertainty_score":0.1863159},"labels":[],"label_agreement":null},{"id":"W2273074229","doi":"10.1177/1532708615617640","title":"Authorship and Nostalgia in Contemporary Cowboy Repertoire","year":2015,"lang":"en","type":"article","venue":"Culture Studies &#x2194 Critical Methodologies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"York University","keywords":"Repertoire; Sentimentality; Period (music); Literature; Composition (language); History; Art; Musical; Aesthetics; Visual arts","score_opus":0.48031242068090135,"score_gpt":0.4286321572238711,"score_spread":0.05168026345703025,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2273074229","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7147701,0.0064838193,0.0028510923,0.0029405216,0.00029007657,0.000032277698,0.000037476257,0.00004085364,0.27255383],"genre_scores_gemma":[0.9928585,0.0005629825,0.00026587807,0.00007110345,0.00007424699,0.000014186486,0.00000682292,0.000020612712,0.006125743],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.996221,0.002230781,0.00014331822,0.0004763842,0.0005490113,0.00037951203],"domain_scores_gemma":[0.9919253,0.005230863,0.001175495,0.000684164,0.00047093641,0.0005132539],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0031391585,0.00024755838,0.00034729647,0.003130367,0.007249049,0.009002468,0.001029596,0.0010752922,0.005070416],"category_scores_gemma":[0.013387079,0.00026943188,0.00009937356,0.0027130302,0.025482353,0.0054786927,0.00637389,0.0015009221,0.0002777904],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005584266,0.00003113467,0.005809621,0.00014362928,0.000005678259,0.00039010926,0.816709,0.000051513307,0.00079066725,0.14940326,0.0008600605,0.025749477],"study_design_scores_gemma":[0.000023904659,0.000116278505,0.041158423,0.0007029585,0.000021030783,0.0011947275,0.77481395,0.00026255118,0.0009825864,0.05787096,0.12281411,0.000038411265],"about_ca_topic_score_codex":0.0032250586,"about_ca_topic_score_gemma":0.007966038,"teacher_disagreement_score":0.009002468,"about_ca_system_score_codex":0.0038219446,"about_ca_system_score_gemma":0.0018225333,"threshold_uncertainty_score":0.027730227},"labels":[],"label_agreement":null},{"id":"W2274711454","doi":"10.5539/hes.v6n1p182","title":"Music Confucius Institute: Evaluating Its Approach as an Agent for International Chinese Music Dissemination","year":2016,"lang":"en","type":"article","venue":"Higher Education Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"China; Order (exchange); Musical; Presentational and representational acting; Chinese society; Sociology; Public relations; Political science; Business; Literature; Art; Law; Aesthetics","score_opus":0.18390771758653116,"score_gpt":0.39956466632546134,"score_spread":0.21565694873893018,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2274711454","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8662108,0.000524619,0.007969924,0.0028269284,0.00017284234,0.0047049583,0.00009787167,0.00011367689,0.11737829],"genre_scores_gemma":[0.9862152,0.00021637396,0.0072063534,0.00038673144,0.00004884027,0.0028491458,0.000051913357,0.000021756401,0.00300377],"study_design_codex":"design_other","study_design_gemma":"qualitative","domain_scores_codex":[0.9638009,0.029145239,0.0011820862,0.0012158866,0.0033501836,0.0013057246],"domain_scores_gemma":[0.914371,0.05968257,0.008467144,0.0044248737,0.0057688616,0.0072855484],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.045647558,0.0006554861,0.0005036775,0.001822593,0.003800058,0.008909796,0.0019016385,0.002460576,0.00910561],"category_scores_gemma":[0.06413466,0.00027606788,0.0005662137,0.0014782745,0.005240559,0.0065498,0.005544956,0.0022508833,0.0009137187],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.010336664,0.020913985,0.1781892,0.004542982,0.0008010596,0.00076585106,0.12818173,0.006706247,0.0058369436,0.24155056,0.005393366,0.39678144],"study_design_scores_gemma":[0.012429736,0.07402035,0.22806866,0.0031394216,0.0042941305,0.00041528608,0.35983235,0.061313774,0.019909509,0.04500504,0.1910177,0.00055407296],"about_ca_topic_score_codex":0.006487074,"about_ca_topic_score_gemma":0.004171096,"teacher_disagreement_score":0.045647558,"about_ca_system_score_codex":0.010431084,"about_ca_system_score_gemma":0.012705338,"threshold_uncertainty_score":0.24141026},"labels":[],"label_agreement":null},{"id":"W2274911809","doi":"10.25071/1708-6701.2423","title":"Who Killed the Jingle? How a Unique American Art Form Disappeared (Book Review)","year":2006,"lang":"en","type":"article","venue":"CAML Review / Revue de l ACBM","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Documentation; Visual arts; History; Library science; Art; Computer science","score_opus":0.012345914398873878,"score_gpt":0.2100246505122029,"score_spread":0.19767873611332903,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2274911809","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00017596642,0.97225,0.000027516067,0.011030995,0.0066498998,0.000009193964,0.000033804696,0.000009645746,0.009813071],"genre_scores_gemma":[0.002671796,0.95047176,0.00011183048,0.018280957,0.0046020444,0.00003845977,0.0000823263,0.000013541164,0.023727428],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99935156,0.0001309706,0.00005079907,0.000070235474,0.00034090556,0.0000555594],"domain_scores_gemma":[0.9988017,0.0003908861,0.000120866745,0.000023692728,0.00055717013,0.00010572661],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012037238,0.00039036042,0.00083259935,0.0016511133,0.0010599656,0.0033515636,0.00080144446,0.0022478504,0.014009494],"category_scores_gemma":[0.0033920004,0.00030765915,0.00036680684,0.002704401,0.0012191108,0.0023380972,0.00072169723,0.0025259831,0.005558511],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017402983,0.000008959151,0.000115017865,0.0025110713,0.000014943821,0.00008402914,0.00016342143,0.000016290925,0.00006694258,0.002410732,0.81076443,0.18382679],"study_design_scores_gemma":[0.0000041242897,0.000009184338,0.00062296423,0.0019047732,0.000016527914,0.00020435709,0.00018814123,0.0000036401518,0.00002419725,0.0002128068,0.9968047,0.000004638461],"about_ca_topic_score_codex":0.017814757,"about_ca_topic_score_gemma":0.04964283,"teacher_disagreement_score":0.017814757,"about_ca_system_score_codex":0.00208671,"about_ca_system_score_gemma":0.004695951,"threshold_uncertainty_score":0.046866477},"labels":[],"label_agreement":null},{"id":"W2276699308","doi":"10.14288/1.0058348","title":"Ghanaian children’s music cultures : a video ethnography of selected singing games","year":2009,"lang":"en","type":"article","venue":"cIRcle (University of British Columbia)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":34,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Singing; Ethnography; Visual arts; Communication; Sociology; Psychology; Art; Anthropology; Acoustics","score_opus":0.009272696080167247,"score_gpt":0.16225974677471658,"score_spread":0.15298705069454932,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2276699308","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9976446,0.0002096097,0.00022239883,0.00012303918,0.0000042223087,0.000047162877,0.00009035057,0.0000036784315,0.0016547726],"genre_scores_gemma":[0.9969798,0.00070625416,0.0008571676,0.00006838118,0.000008039162,0.00008061615,0.00011709998,0.00001139206,0.0011711188],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9991704,0.0003885704,0.00004072705,0.0001138284,0.00006808657,0.00021833189],"domain_scores_gemma":[0.9989895,0.0005899053,0.00015856363,0.000041922925,0.00008976309,0.00013037531],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00085086195,0.0004900374,0.00043044874,0.0015987722,0.0035296902,0.0014725835,0.0006803303,0.00066486985,0.0020925684],"category_scores_gemma":[0.0020454046,0.00038292637,0.00020244672,0.0021775477,0.0021284553,0.00161183,0.0014892714,0.00076592487,0.00017479932],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000035814664,0.00004977934,0.018702507,0.00008715767,0.000005906301,0.002122822,0.9677508,0.000028719547,0.0020178573,0.00044442146,0.00031020748,0.008443999],"study_design_scores_gemma":[0.000005359533,0.00007034088,0.04444751,0.000094096256,0.0000112267335,0.0008756678,0.9446735,0.00006137265,0.00045870026,0.000086750864,0.009204429,0.00001110089],"about_ca_topic_score_codex":0.03145402,"about_ca_topic_score_gemma":0.10345974,"teacher_disagreement_score":0.03145402,"about_ca_system_score_codex":0.0023642248,"about_ca_system_score_gemma":0.0008484299,"threshold_uncertainty_score":0.0625419},"labels":[],"label_agreement":null},{"id":"W2276792501","doi":"","title":"Big Woman Blues","year":2013,"lang":"en","type":"article","venue":"Canadian women's studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Blues; Art; Art history","score_opus":0.034544991509982276,"score_gpt":0.20312024033465148,"score_spread":0.1685752488246692,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2276792501","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.002161487,0.0013928829,0.00029298107,0.023158573,0.005747522,0.000055283053,0.00058367744,0.0003119362,0.9662958],"genre_scores_gemma":[0.0045020445,0.00023383979,0.00008433082,0.0031192678,0.0001395573,0.000009495699,0.00008000128,0.000068631125,0.9917629],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99855953,0.00009893344,0.000013407215,0.00014412231,0.0005636096,0.0006203186],"domain_scores_gemma":[0.99830544,0.00009885847,0.000024505245,0.00008640172,0.0005354723,0.0009493007],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00091775064,0.0006754195,0.00037085812,0.0015350145,0.018068096,0.006324686,0.0010625275,0.0022103703,0.33524206],"category_scores_gemma":[0.002207622,0.00042420087,0.0004256938,0.0012928451,0.0020414365,0.0018075317,0.0039518187,0.0037754406,0.07932005],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001682949,0.000009175568,0.00025278964,0.000016700369,0.0000010398883,0.00007108817,0.0007398143,0.000011933805,0.0001229945,0.014399461,0.96267474,0.021683466],"study_design_scores_gemma":[0.0000014404559,0.0000021940275,0.00040651075,0.000013640377,6.043533e-7,0.000013101406,0.00077678513,0.000005027671,0.000026415742,0.0003408688,0.9984108,0.0000025387606],"about_ca_topic_score_codex":0.45702735,"about_ca_topic_score_gemma":0.78439903,"teacher_disagreement_score":0.45702735,"about_ca_system_score_codex":0.011569312,"about_ca_system_score_gemma":0.017540058,"threshold_uncertainty_score":0.94819653},"labels":[],"label_agreement":null},{"id":"W2278088813","doi":"10.14288/1.0092337","title":"Solo drumming in the Puerto Rican bomba : an analysis of musical processes and improvisational strategies","year":2009,"lang":"en","type":"article","venue":"cIRcle (University of British Columbia)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Improvisation; Puerto rican; Musical; Communication; Geography; Visual arts; Sociology; Psychology; Art; Anthropology","score_opus":0.012549283719515697,"score_gpt":0.17660784963728765,"score_spread":0.16405856591777196,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2278088813","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.99179524,0.0003766638,0.00026795093,0.00021470674,0.0000039707684,0.000040548908,0.000034781628,0.0000051304955,0.007260953],"genre_scores_gemma":[0.9960905,0.000672042,0.00054639124,0.000048330527,0.000004595283,0.00004396128,0.000049466602,0.000007744619,0.0025369134],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99964976,0.00016569375,0.000012118628,0.0000429598,0.0000483629,0.000081022525],"domain_scores_gemma":[0.9994222,0.00035675731,0.00007887792,0.000028838413,0.00006129986,0.000051953473],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007631057,0.00028072734,0.00026031272,0.0014021845,0.0029678026,0.0019180403,0.00057975453,0.000548289,0.0017996527],"category_scores_gemma":[0.0018625399,0.00019935849,0.00014528832,0.0017496081,0.0023475774,0.0007918454,0.0017133076,0.00059285766,0.00020537003],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008579393,0.00004221796,0.019381555,0.00021043996,0.000012892116,0.0017706167,0.93061155,0.00009845295,0.0071089594,0.0031191756,0.0004068059,0.037151564],"study_design_scores_gemma":[0.0000036155418,0.000043023603,0.101440355,0.0000913848,0.0000108153645,0.000368662,0.8828411,0.00030906958,0.00060044235,0.00048460817,0.013795451,0.00001154619],"about_ca_topic_score_codex":0.044023287,"about_ca_topic_score_gemma":0.11589226,"teacher_disagreement_score":0.044023287,"about_ca_system_score_codex":0.0023195457,"about_ca_system_score_gemma":0.0011689182,"threshold_uncertainty_score":0.08753407},"labels":[],"label_agreement":null},{"id":"W2280320182","doi":"","title":"Archival News: News from the Black Film Center/Archive","year":2013,"lang":"en","type":"article","venue":"Project Muse (Johns Hopkins University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Blues; Alchemy; Soul; Art history; Poetry; Black Power; Art; Performance art; History; Humanities; Literature; Politics; Law; Theology; Philosophy; Political science","score_opus":0.023811804678646204,"score_gpt":0.18741741097668113,"score_spread":0.16360560629803492,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2280320182","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.010675099,0.029853476,0.00068490725,0.040235948,0.029349053,0.00017457051,0.02329747,0.001977645,0.86375177],"genre_scores_gemma":[0.025137749,0.014627132,0.0013024245,0.005889615,0.007788418,0.0001341884,0.01326851,0.0020100237,0.92984194],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99905807,0.000089041874,0.000037008354,0.000080804384,0.0005595547,0.00017550742],"domain_scores_gemma":[0.9980976,0.0002786053,0.00016856818,0.0002719716,0.00068943726,0.000493797],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014635824,0.0007248005,0.00040381594,0.002996626,0.005216769,0.009436824,0.0008757852,0.0014199114,0.13587753],"category_scores_gemma":[0.0038651642,0.0004175372,0.00024932544,0.0039145355,0.0007557808,0.0025646945,0.002439537,0.0030872505,0.0584418],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000042311258,0.000012689903,0.00014430903,0.0000695154,0.0000027852898,0.000077897894,0.00048058626,0.0000059659583,0.000194735,0.0008764902,0.974944,0.023148637],"study_design_scores_gemma":[0.0000029677099,0.0000029997557,0.00068561774,0.00007213427,0.0000016927571,0.000023690349,0.00038607637,0.000008099363,0.00014003518,0.000054965272,0.9986185,0.00000335368],"about_ca_topic_score_codex":0.029648475,"about_ca_topic_score_gemma":0.08569022,"teacher_disagreement_score":0.13587753,"about_ca_system_score_codex":0.002152705,"about_ca_system_score_gemma":0.0021897117,"threshold_uncertainty_score":0.45455563},"labels":[],"label_agreement":null},{"id":"W2281351028","doi":"10.1080/03612759.2005.10526471","title":"A Singing Ambivalence: American Immigrants between Old World and New, 1830–1930","year":2005,"lang":"en","type":"article","venue":"History Reviews of New Books","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Ambivalence; Immigration; Singing; Sociology; Gender studies; Psychology; Political science; Psychoanalysis; Law; Economics; Management","score_opus":0.10720584686126074,"score_gpt":0.25872510880723576,"score_spread":0.15151926194597504,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2281351028","genre_codex":"empirical","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.86128205,0.009062487,0.00010452327,0.016880885,0.0011638,0.000016736885,0.000084282634,0.0000057699312,0.11139954],"genre_scores_gemma":[0.9549582,0.004542754,0.00006872862,0.00316264,0.00040988438,0.000020846279,0.000049214443,0.000010219349,0.036777508],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.999539,0.00013583968,0.000012303703,0.000041652234,0.00005577604,0.00021553604],"domain_scores_gemma":[0.9996308,0.0000983628,0.00004598044,0.000011164024,0.00007486673,0.00013877463],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008675482,0.00021469299,0.0001955501,0.00075608835,0.012515645,0.003005247,0.00054086384,0.0010955506,0.0045022676],"category_scores_gemma":[0.0011240088,0.00015157403,0.00009599726,0.0016672688,0.0059425705,0.0026860137,0.0027028339,0.0031399599,0.00029253215],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000098769524,0.000056852983,0.012794607,0.0000775722,0.000008041888,0.0006541383,0.90853775,0.00001993251,0.0004429267,0.028876085,0.015452675,0.03298056],"study_design_scores_gemma":[0.000007536045,0.000038769027,0.048089996,0.000113216476,0.000009029379,0.00025512438,0.7839526,0.000018228751,0.00012003907,0.001024984,0.16635498,0.00001539984],"about_ca_topic_score_codex":0.097591475,"about_ca_topic_score_gemma":0.2663458,"teacher_disagreement_score":0.097591475,"about_ca_system_score_codex":0.002759232,"about_ca_system_score_gemma":0.0032609238,"threshold_uncertainty_score":0.19404685},"labels":[],"label_agreement":null},{"id":"W2281926979","doi":"10.14288/1.0167562","title":"Michigan Womyn's Music Festival : place making and the queer persistence of feminism","year":2014,"lang":"en","type":"article","venue":"cIRcle (University of British Columbia)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Feminism; Queer; Gender studies; Persistence (discontinuity); Sociology; Art; Engineering","score_opus":0.014767543164226257,"score_gpt":0.14975885743380588,"score_spread":0.1349913142695796,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2281926979","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6039794,0.008042205,0.0014623216,0.040367696,0.0008950594,0.000042960266,0.00014395575,0.00002799031,0.3450385],"genre_scores_gemma":[0.9736821,0.002134154,0.00026406,0.0011802806,0.00029075757,0.000033175373,0.000024702706,0.000018702056,0.02237211],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9993216,0.00039191017,0.000006771507,0.00006252037,0.000082290804,0.00013490343],"domain_scores_gemma":[0.9993905,0.00021619133,0.00013645072,0.000039100723,0.00003536292,0.00018239355],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012707514,0.00017648259,0.00015363151,0.0004260858,0.009048844,0.0053016935,0.00058895786,0.00094231917,0.006432599],"category_scores_gemma":[0.0012536208,0.00011092139,0.00011654522,0.00060343236,0.010809451,0.0031981831,0.0035844776,0.0018787205,0.00030439673],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010957995,0.000066211556,0.008054412,0.00012829705,0.000009825189,0.0007535096,0.56571466,0.00008756628,0.00070703495,0.36293438,0.029611953,0.0318226],"study_design_scores_gemma":[0.000011156794,0.00008404713,0.02033662,0.00039708323,0.000008966189,0.00029924532,0.51488924,0.00013872686,0.0005325978,0.017712306,0.44556123,0.000028781284],"about_ca_topic_score_codex":0.019822545,"about_ca_topic_score_gemma":0.08315878,"teacher_disagreement_score":0.019822545,"about_ca_system_score_codex":0.0040765735,"about_ca_system_score_gemma":0.0013949389,"threshold_uncertainty_score":0.039414287},"labels":[],"label_agreement":null},{"id":"W2284497715","doi":"","title":"Concert of Music progressive quartet at Cellar Jazz club","year":2013,"lang":"en","type":"other","venue":"Goce Delchev University Repository (Goce Delčev University of Štip)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Symphony; Jazz; Club; Oboe; Art; Art history; Classical music; Visual arts; History; Literature; Musical; Geology","score_opus":0.011474305804549325,"score_gpt":0.14373219810756352,"score_spread":0.13225789230301419,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2284497715","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005756215,0.000501642,0.0002627338,0.0006567951,0.0020700768,0.00009967013,0.0016921605,0.0004285275,0.98853207],"genre_scores_gemma":[0.010483454,0.00022001908,0.00022050686,0.00009346593,0.00017798158,0.000024721385,0.0009968564,0.00019594056,0.9875871],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996817,0.000017071377,0.0000062040826,0.000062851366,0.00013783624,0.000094263574],"domain_scores_gemma":[0.9996152,0.000010425976,0.000007263734,0.000021120566,0.00010882771,0.00023718372],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00034336332,0.0007231675,0.000335778,0.001467697,0.0047289613,0.0035443339,0.0005632363,0.00052474265,0.43736553],"category_scores_gemma":[0.00055534363,0.00020208993,0.0002454846,0.00083684037,0.00043433707,0.00087409205,0.0029532264,0.0013436,0.12157506],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013730624,0.00006841315,0.0007703831,0.000082586026,0.00000557684,0.00022507625,0.0007743984,0.000042666186,0.0013342234,0.0033540295,0.921125,0.07208032],"study_design_scores_gemma":[0.0000069534685,0.000018367498,0.004031141,0.000036358353,0.0000012915749,0.000078557794,0.00057563273,0.000027641834,0.00019288472,0.000116601535,0.9949103,0.000004264761],"about_ca_topic_score_codex":0.021969995,"about_ca_topic_score_gemma":0.17297982,"teacher_disagreement_score":0.43736553,"about_ca_system_score_codex":0.0016758307,"about_ca_system_score_gemma":0.0010369148,"threshold_uncertainty_score":0.8025298},"labels":[],"label_agreement":null},{"id":"W2288504246","doi":"10.1111/socf.12247","title":"Gender, Field, and Habitus: How Gendered Dispositions Reproduce Fields of Cultural Production","year":2016,"lang":"en","type":"article","venue":"Sociological Forum","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":46,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Toronto","funders":"","keywords":"Habitus; Sociology; Field (mathematics); Action (physics); Gender studies; Cultural capital; Social science","score_opus":0.06520895832501264,"score_gpt":0.25024080248132347,"score_spread":0.18503184415631083,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2288504246","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.70844144,0.0009020055,0.0107162995,0.0028288118,0.00009217092,0.000043412998,0.000057875357,0.000068899775,0.2768492],"genre_scores_gemma":[0.9969645,0.0000796875,0.00064449786,0.00005722857,0.0000070845012,0.000010480564,0.000005368848,0.00001632589,0.0022147445],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9978131,0.001485559,0.00003431631,0.00021224139,0.0002324804,0.00022234583],"domain_scores_gemma":[0.9957931,0.0026540845,0.00043557666,0.00052461337,0.0002023957,0.00039029648],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003422047,0.00019987315,0.00017472735,0.0012957138,0.003395791,0.006148969,0.0006009306,0.00068251265,0.004989049],"category_scores_gemma":[0.0070967544,0.0001859761,0.0002046776,0.0008866067,0.022801945,0.0045066555,0.0025352766,0.00068783347,0.0002775688],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001016592,0.000054203294,0.024980793,0.00006836365,0.000013662914,0.00054793106,0.41924548,0.00027911246,0.0018552913,0.5122341,0.0014198942,0.039199434],"study_design_scores_gemma":[0.00006375034,0.00015039745,0.07894977,0.00033202447,0.000026103096,0.00084739545,0.4480263,0.0011727747,0.0023379887,0.3613448,0.10666541,0.00008332464],"about_ca_topic_score_codex":0.0064375415,"about_ca_topic_score_gemma":0.008964579,"teacher_disagreement_score":0.0064375415,"about_ca_system_score_codex":0.0026831487,"about_ca_system_score_gemma":0.0016356893,"threshold_uncertainty_score":0.019467711},"labels":[],"label_agreement":null},{"id":"W2288777019","doi":"10.14288/1.0072173","title":"Music education and community development in Vancouver's Downtown Eastside : an ethnographic case study of the Carnegie Centre Jazz Band","year":2014,"lang":"en","type":"article","venue":"cIRcle (University of British Columbia)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Downtown; Jazz; Ethnography; Visual arts; Media studies; Sociology; History; Political science; Art history; Art; Archaeology","score_opus":0.018428768263585023,"score_gpt":0.1730201836935093,"score_spread":0.15459141542992427,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2288777019","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9844536,0.0006259303,0.00026754246,0.0010923907,0.00003443995,0.00013372245,0.00004569523,0.000006232466,0.01334044],"genre_scores_gemma":[0.9881344,0.0010452869,0.0006475338,0.00042076962,0.000012636373,0.00007810837,0.00005007353,0.000013456238,0.009597779],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9977373,0.00097567023,0.000059977454,0.00022055773,0.00033263644,0.000673832],"domain_scores_gemma":[0.9973949,0.000959396,0.00014312835,0.00010033736,0.00030516114,0.0010969548],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012410909,0.0005702037,0.0005691821,0.0012658541,0.02602239,0.005752826,0.0021826043,0.0019058589,0.002924459],"category_scores_gemma":[0.0028868592,0.0007021714,0.00022894656,0.0020948679,0.008468082,0.0010695257,0.004478809,0.0029736834,0.00030918024],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000052320447,0.00016519972,0.01102099,0.00016605994,0.0000126990735,0.009975892,0.96099895,0.00013244202,0.0011039193,0.0017663904,0.0019352505,0.012669758],"study_design_scores_gemma":[0.000003404436,0.00003322911,0.00452379,0.00010184499,0.0000055946193,0.00062488695,0.98155653,0.00005097257,0.00012513585,0.00007345028,0.012891885,0.000009353102],"about_ca_topic_score_codex":0.6672676,"about_ca_topic_score_gemma":0.914216,"teacher_disagreement_score":0.33273238,"about_ca_system_score_codex":0.014269754,"about_ca_system_score_gemma":0.014489274,"threshold_uncertainty_score":0.66938376},"labels":[],"label_agreement":null},{"id":"W2295757189","doi":"10.25071/1708-6701.40243","title":"Poetic Sketches – Elaine Keillor, piano (CD Review)","year":2015,"lang":"en","type":"article","venue":"CAML Review / Revue de l ACBM","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Piano; Poetry; Art; Literature; Visual arts; Art history","score_opus":0.06181915233624981,"score_gpt":0.25004917313357666,"score_spread":0.18823002079732687,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2295757189","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000060052087,0.8899721,0.00017036505,0.053636257,0.05014178,0.000014933185,0.000060413855,0.000024224208,0.0059198784],"genre_scores_gemma":[0.0018976639,0.82238483,0.00038499903,0.08307474,0.06400007,0.00006950574,0.00012210135,0.000031457217,0.028034579],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994331,0.00015379724,0.000056711302,0.00009797003,0.00021227075,0.0000460296],"domain_scores_gemma":[0.9983157,0.00073287275,0.00016335059,0.00005724048,0.00051694247,0.00021380282],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014493384,0.0007403867,0.0008284082,0.0023703058,0.0009263248,0.0033433295,0.0010776833,0.0027592082,0.019217985],"category_scores_gemma":[0.0071119275,0.00041131076,0.0004481447,0.0023052383,0.0016247273,0.0033673823,0.002161566,0.0045266054,0.010351329],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016586831,0.000006259623,0.000024033447,0.0011315743,0.000011607693,0.000058242393,0.000047009406,0.0000222297,0.000058403468,0.0015365175,0.93509185,0.061995585],"study_design_scores_gemma":[0.00001132803,0.000007407349,0.00010700761,0.0013124077,0.000009256618,0.00027885137,0.000051354076,0.0000062130644,0.000019591813,0.00075390964,0.99743795,0.000004646563],"about_ca_topic_score_codex":0.0033947665,"about_ca_topic_score_gemma":0.008793274,"teacher_disagreement_score":0.019217985,"about_ca_system_score_codex":0.001492084,"about_ca_system_score_gemma":0.0028994803,"threshold_uncertainty_score":0.06429058},"labels":[],"label_agreement":null},{"id":"W229664025","doi":"","title":"When Wisdom Speaks Sparks Fly: Raging Grannies Perform Humor as Protest","year":2007,"lang":"en","type":"article","venue":"Women’s Studies Quarterly","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":16,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Politics; Media studies; Law; Sociology; Political science; Gender studies","score_opus":0.02787318104166577,"score_gpt":0.24744090170019542,"score_spread":0.21956772065852964,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W229664025","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.77421534,0.003752643,0.0018663898,0.027143335,0.001953896,0.00008688554,0.00013494764,0.000422685,0.19042397],"genre_scores_gemma":[0.9332854,0.0011548745,0.0013871168,0.0070831017,0.00022957008,0.0000514579,0.00008426754,0.00020977021,0.056514565],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9986123,0.0007414063,0.000020441657,0.00013852844,0.00017127249,0.00031602243],"domain_scores_gemma":[0.9992501,0.00016170375,0.000120841694,0.00006216281,0.000100585086,0.0003046391],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016461406,0.0006518951,0.0003387525,0.0010645316,0.011481216,0.006637861,0.0008698749,0.0026185354,0.007823421],"category_scores_gemma":[0.0028576346,0.00031384674,0.0003257661,0.0005114124,0.0067343824,0.00399686,0.005845024,0.0029509864,0.0020296904],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017062093,0.0001643135,0.006143113,0.00015914664,0.000033881144,0.0016193006,0.8777096,0.000048993814,0.0017834742,0.010355205,0.061957803,0.039854493],"study_design_scores_gemma":[0.000015031609,0.00007894981,0.0040514288,0.0001522436,0.000018441136,0.00068499794,0.72216517,0.00004273503,0.00039097172,0.001515673,0.27084923,0.000035128112],"about_ca_topic_score_codex":0.0067252126,"about_ca_topic_score_gemma":0.03467208,"teacher_disagreement_score":0.011481216,"about_ca_system_score_codex":0.0020839067,"about_ca_system_score_gemma":0.001347055,"threshold_uncertainty_score":0.026171923},"labels":[],"label_agreement":null},{"id":"W2298113985","doi":"","title":"Notes from the Field: A Weekend in Toronto’s Old-Time Music Community","year":2013,"lang":"en","type":"article","venue":"Canadian Folk Music / Musique folklorique canadienne","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dance; Midnight; History; Art history; Visual arts; Art","score_opus":0.020463455044729847,"score_gpt":0.1892964687057811,"score_spread":0.16883301366105125,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2298113985","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.066988096,0.011141056,0.0011692268,0.1516635,0.06503601,0.0014493807,0.023965064,0.0016081944,0.6769794],"genre_scores_gemma":[0.10902184,0.0035605517,0.0007427472,0.022276096,0.00472127,0.00042197862,0.0046637203,0.0010647031,0.8535271],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.9983524,0.00022353938,0.000033949735,0.00016059163,0.00051752926,0.00071200187],"domain_scores_gemma":[0.99098575,0.00018327327,0.000121756086,0.00014072756,0.0011557578,0.0074127875],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011691365,0.0018531695,0.00094747316,0.0013356488,0.03609081,0.007789355,0.0023329952,0.003479988,0.122242175],"category_scores_gemma":[0.0032221228,0.0010312835,0.00065093004,0.0020974362,0.004448897,0.00256433,0.008109506,0.007600649,0.026316123],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006552907,0.000036919908,0.0007948252,0.00008665599,0.0000073017013,0.0010879567,0.0238751,0.000023399694,0.0003083561,0.00050099555,0.9675367,0.0056762416],"study_design_scores_gemma":[0.000017583896,0.0000429815,0.009107628,0.00018878418,0.0000042114784,0.00009154036,0.09171242,0.000021377049,0.000058895723,0.00012704926,0.8985976,0.000029937552],"about_ca_topic_score_codex":0.70863694,"about_ca_topic_score_gemma":0.95015365,"teacher_disagreement_score":0.29136306,"about_ca_system_score_codex":0.025195647,"about_ca_system_score_gemma":0.019538129,"threshold_uncertainty_score":0.5861579},"labels":[],"label_agreement":null},{"id":"W2298442104","doi":"","title":"\"git yr/ eye of Canada / and onto internat criteria/\": Exploring the influence of Ezra Pound on the cultural production of Louis Dudek","year":2001,"lang":"en","type":"article","venue":"Essays on Canadian writing","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Pound (networking); Art; History; Computer science","score_opus":0.0394215138054883,"score_gpt":0.21497626868504308,"score_spread":0.17555475487955477,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2298442104","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14950818,0.009012036,0.00066789065,0.15963912,0.0017031177,0.000052577365,0.00021189993,0.000059067606,0.6791461],"genre_scores_gemma":[0.8544907,0.0030080376,0.00033809504,0.010892386,0.00027753433,0.000027591695,0.00003821955,0.00015881378,0.13076854],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9960537,0.001192083,0.00005368286,0.00029106438,0.00103599,0.0013734977],"domain_scores_gemma":[0.9922665,0.0032985155,0.00032530876,0.00014117884,0.0025004318,0.0014680355],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0033550172,0.00062203006,0.0003946552,0.0031463546,0.054014966,0.01920977,0.0015653453,0.0038862573,0.008674259],"category_scores_gemma":[0.012848177,0.0003415491,0.00021311826,0.0031562918,0.03176614,0.0038347617,0.0061023524,0.0075015686,0.00063377625],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000046177614,0.000022549708,0.0017385824,0.000072116345,0.000008289208,0.00073024177,0.51461244,0.000099608944,0.00034065498,0.33558062,0.13273053,0.014018142],"study_design_scores_gemma":[0.0000071621457,0.000008983189,0.003671487,0.0002465466,0.000010962477,0.00011844976,0.41219103,0.0000728262,0.00044547985,0.007378877,0.5758145,0.000033661603],"about_ca_topic_score_codex":0.944242,"about_ca_topic_score_gemma":0.97885954,"teacher_disagreement_score":0.084062286,"about_ca_system_score_codex":0.084062286,"about_ca_system_score_gemma":0.090536736,"threshold_uncertainty_score":0.6099174},"labels":[],"label_agreement":null},{"id":"W2298987831","doi":"","title":"Film Review. Down: Indie Rock in the PRC.","year":2014,"lang":"en","type":"article","venue":"Pacific Affairs","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Indie film; Political science; Art; Geology; Visual arts","score_opus":0.017541227869874935,"score_gpt":0.20401155947631763,"score_spread":0.1864703316064427,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2298987831","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0008479413,0.44134462,0.00014322464,0.23056549,0.120897025,0.00015650195,0.003439846,0.00019636855,0.20240901],"genre_scores_gemma":[0.011735992,0.37571374,0.00031489422,0.0749132,0.054226812,0.00020827263,0.002656986,0.00016942476,0.48006073],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99929965,0.000078946076,0.0000689984,0.00007139669,0.00037743966,0.00010359259],"domain_scores_gemma":[0.99617624,0.0006522471,0.0002666462,0.000104529456,0.0023384925,0.00046189048],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011159537,0.0006236569,0.0006682567,0.0018525206,0.0016393749,0.0037861194,0.0014458197,0.0037996394,0.104712404],"category_scores_gemma":[0.005806346,0.00036813735,0.0005690638,0.0021590702,0.0005959683,0.0017781326,0.0011014888,0.0040419456,0.032412007],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016531842,0.0000030138951,0.000044028104,0.0005674814,0.0000050750687,0.00006735699,0.000021047172,0.0000052510254,0.0000729982,0.00028170313,0.983835,0.015080584],"study_design_scores_gemma":[0.0000042950205,0.000005564402,0.0006901016,0.0007133831,0.000010525969,0.00005926668,0.00007683757,0.000004225715,0.000052163086,0.000046298894,0.99833447,0.0000028406744],"about_ca_topic_score_codex":0.030856654,"about_ca_topic_score_gemma":0.09218983,"teacher_disagreement_score":0.104712404,"about_ca_system_score_codex":0.0028487376,"about_ca_system_score_gemma":0.0052686436,"threshold_uncertainty_score":0.35029787},"labels":[],"label_agreement":null},{"id":"W2299545770","doi":"","title":"Goodman, Pearl. Peril: From Jackboots to Jack Benny. Dundas, Ontario: Bridgeross Communications, 2012.","year":2015,"lang":"en","type":"article","venue":"Women in Judaism A Multidisciplinary e-Journal","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Carleton University","funders":"","keywords":"Pearl; History; Archaeology","score_opus":0.07501021408124645,"score_gpt":0.27305321140115607,"score_spread":0.19804299731990962,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2299545770","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0033092538,0.53301525,0.0011628955,0.20686844,0.013235054,0.000044666427,0.0012908332,0.00054811203,0.24052547],"genre_scores_gemma":[0.029472344,0.14298233,0.001113046,0.018057339,0.0017311107,0.000037524733,0.00036126008,0.0007317335,0.80551326],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992198,0.0001711343,0.000044364042,0.000074069256,0.0003239596,0.00016672642],"domain_scores_gemma":[0.99792093,0.0004913648,0.00012456332,0.00007628446,0.00074015284,0.00064672326],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011917425,0.0009621493,0.0005113239,0.002266704,0.009308117,0.0051183333,0.0011408476,0.003127373,0.088508524],"category_scores_gemma":[0.003282203,0.00094381924,0.00023341899,0.0039233305,0.0034225236,0.0068538846,0.0026590305,0.0031835986,0.031478185],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021958704,0.0000042038696,0.0002870968,0.00014055989,0.0000019508368,0.00012367372,0.004687008,0.0000104776245,0.00009660042,0.0023836028,0.95012414,0.042118695],"study_design_scores_gemma":[0.0000016919226,0.0000028514694,0.0010099664,0.00021155612,0.000002054569,0.00007028389,0.0054328223,0.000004878738,0.00004297015,0.0003885765,0.9928269,0.000005498228],"about_ca_topic_score_codex":0.36589232,"about_ca_topic_score_gemma":0.774495,"teacher_disagreement_score":0.6341077,"about_ca_system_score_codex":0.0058051515,"about_ca_system_score_gemma":0.0077343527,"threshold_uncertainty_score":0.7275252},"labels":[],"label_agreement":null},{"id":"W2299843281","doi":"10.7202/1034498ar","title":"« Du feu sous les cendres » : aux sources de la Radical Jewish Culture","year":2016,"lang":"fr","type":"article","venue":"Circuit Musiques contemporaines","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.031214755803598237,"score_gpt":0.23616210451930922,"score_spread":0.204947348715711,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2299843281","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5054885,0.033261366,0.00096324855,0.03380426,0.0012078808,0.00003214465,0.00026230534,0.00003867742,0.4249416],"genre_scores_gemma":[0.87896717,0.0068539632,0.00023884235,0.00096024794,0.00020299478,0.000029355579,0.00007026634,0.000035975918,0.11264123],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99973816,0.000088578716,0.0000099158,0.000040749022,0.000056811878,0.00006579542],"domain_scores_gemma":[0.9996797,0.0001904959,0.000035169574,0.00001899552,0.00003796263,0.00003763094],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005160664,0.00022447415,0.00015658737,0.00092247763,0.0061358614,0.0047855102,0.00037497145,0.00069238234,0.0069144783],"category_scores_gemma":[0.00089073664,0.00017151429,0.000057092075,0.0013370635,0.0059264326,0.0017289708,0.0014333206,0.0017136738,0.00043101434],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010665397,0.000021442767,0.006016303,0.00017489673,0.000012148149,0.0010217356,0.4973157,0.00003952114,0.0015177146,0.4211241,0.024232738,0.048417],"study_design_scores_gemma":[0.00003156401,0.000035337915,0.03344818,0.0004597646,0.000021913787,0.0003516485,0.19970638,0.000091937625,0.00089513196,0.013038813,0.7518932,0.000026112364],"about_ca_topic_score_codex":0.13076343,"about_ca_topic_score_gemma":0.38128865,"teacher_disagreement_score":0.13076343,"about_ca_system_score_codex":0.0057473653,"about_ca_system_score_gemma":0.0029203326,"threshold_uncertainty_score":0.26000458},"labels":[],"label_agreement":null},{"id":"W2300158311","doi":"10.21810/strm.v2i1.36","title":"Subculture Theory and the Fetishism of Style","year":2009,"lang":"en","type":"article","venue":"Stream Interdisciplinary Journal of Communication","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Subculture (biology); Sociology; Fetishism; Style (visual arts); Typology; Critical theory; Culture theory; Consumption (sociology); Cultural studies; Social theory; Epistemology; Social science; Aesthetics; Anthropology; Philosophy; History","score_opus":0.011847371975609578,"score_gpt":0.25418535561049155,"score_spread":0.24233798363488196,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2300158311","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.20576881,0.007858131,0.059582807,0.0139026195,0.00059014384,0.0000663789,0.00007054214,0.00007041041,0.7120902],"genre_scores_gemma":[0.9794097,0.0016757703,0.0049049393,0.00085034774,0.00021972877,0.000049786093,0.000020049343,0.00003469066,0.0128349345],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9965318,0.001997011,0.00009836985,0.00031032469,0.0007469651,0.0003155803],"domain_scores_gemma":[0.9972184,0.0013911875,0.00030918713,0.00046091512,0.00034140638,0.00027885538],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0029229023,0.0005518282,0.0003410607,0.0023579572,0.0043598954,0.0069206594,0.0010343624,0.001246534,0.0028442172],"category_scores_gemma":[0.0037078888,0.00020347004,0.0004131534,0.0018323384,0.032795966,0.005993198,0.004151025,0.0016780461,0.00042256326],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014840576,0.000010307244,0.0016329183,0.000044368102,0.0000062929817,0.000084927866,0.01910164,0.00012883348,0.00014935088,0.9667496,0.00059526233,0.011481693],"study_design_scores_gemma":[0.000011869289,0.00004603369,0.0024789893,0.00010163719,0.000010296916,0.00020766498,0.010955368,0.00068372977,0.00029863406,0.933528,0.051663358,0.000014273198],"about_ca_topic_score_codex":0.0031723448,"about_ca_topic_score_gemma":0.004004188,"teacher_disagreement_score":0.0069206594,"about_ca_system_score_codex":0.0037695693,"about_ca_system_score_gemma":0.0014277528,"threshold_uncertainty_score":0.027350307},"labels":[],"label_agreement":null},{"id":"W2300552270","doi":"10.30535/mto.15.3.4","title":"More Than the Blues","year":2009,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Blues; Art; Visual arts; Art history","score_opus":0.030643216859844863,"score_gpt":0.2288827076945131,"score_spread":0.19823949083466824,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2300552270","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0022132013,0.009929752,0.002753571,0.5130329,0.047510155,0.000029553661,0.00042068466,0.000569278,0.42354095],"genre_scores_gemma":[0.02611645,0.0043483735,0.001256339,0.1549078,0.017616466,0.000059668757,0.00022646463,0.0009317327,0.79453677],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9949327,0.0014931498,0.00012912594,0.00083339243,0.001945578,0.0006660187],"domain_scores_gemma":[0.98438406,0.0037511254,0.00063873146,0.002895476,0.0037637695,0.0045667435],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0052294717,0.00096519524,0.00087532925,0.0021269054,0.008429207,0.018536838,0.0017430974,0.007054778,0.23812585],"category_scores_gemma":[0.021340806,0.00055960263,0.0006986314,0.002178502,0.009334842,0.032132417,0.010267749,0.014229306,0.08375417],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000030535637,0.000033207918,0.00030369984,0.00006515506,0.000008224593,0.000045287365,0.0010167575,0.000023983108,0.00013109684,0.07057672,0.8880657,0.03969968],"study_design_scores_gemma":[0.000005562523,0.0000071110135,0.00020809709,0.00009033132,0.0000031358015,0.00003617192,0.0012407188,0.00003221797,0.000040450137,0.018221568,0.9801056,0.000009059856],"about_ca_topic_score_codex":0.0050539263,"about_ca_topic_score_gemma":0.010572419,"teacher_disagreement_score":0.23812585,"about_ca_system_score_codex":0.0029743284,"about_ca_system_score_gemma":0.0043620006,"threshold_uncertainty_score":0.7966103},"labels":[],"label_agreement":null},{"id":"W2302233459","doi":"10.4000/itineraires.2765","title":"Les performances d’improvisation de Tanya Tagaq : une analyse descriptive de la culture ethno-pop","year":2015,"lang":"fr","type":"article","venue":"Itinéraires","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Musée de la Civilisation","funders":"","keywords":"Humanities; Art","score_opus":0.054285556226322244,"score_gpt":0.28229079333031437,"score_spread":0.22800523710399212,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2302233459","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.98123163,0.00046586915,0.0011601904,0.00034225715,0.000025043422,0.000027440052,0.000040332267,0.0000074217023,0.016699906],"genre_scores_gemma":[0.99182,0.00045648453,0.00042902303,0.00007721972,0.000012776987,0.000041905954,0.000037961407,0.00002232151,0.007102305],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992059,0.00036278382,0.000034168334,0.00012538621,0.000108049164,0.0001637634],"domain_scores_gemma":[0.99837947,0.0010598921,0.00013388094,0.00010132179,0.00021218372,0.000113176946],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018174225,0.00061208627,0.00035377438,0.0014464725,0.0063354685,0.0041787205,0.0008332073,0.0010951244,0.0036334551],"category_scores_gemma":[0.0024192273,0.00040563062,0.000237891,0.0022553587,0.009386487,0.0026549527,0.0026312736,0.0016129599,0.00046515188],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002882958,0.000013199961,0.005054184,0.0000746423,0.0000051072325,0.00046857772,0.98289007,0.00003982726,0.0022627518,0.004648991,0.00014127155,0.004372661],"study_design_scores_gemma":[0.000003349309,0.000036449674,0.01826698,0.00010042601,0.000009661989,0.00036952752,0.9594451,0.00010199776,0.0007397109,0.0006042623,0.02030803,0.000014614274],"about_ca_topic_score_codex":0.024462972,"about_ca_topic_score_gemma":0.06102302,"teacher_disagreement_score":0.024462972,"about_ca_system_score_codex":0.003238345,"about_ca_system_score_gemma":0.002081125,"threshold_uncertainty_score":0.048641145},"labels":[],"label_agreement":null},{"id":"W2302852992","doi":"10.11575/prism/11326","title":"The transmission of Ghanaian music by Abdul Adams in Calgary, Alberta, Canada: teaching and learning Kpanlogo of the Ga and Adowa of the Ashanti as social expression","year":2001,"lang":"en","type":"dissertation","venue":"PRISM (University of Calgary)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Transmission (telecommunications); Expression (computer science); Geography; Engineering; Telecommunications; Computer science","score_opus":0.006416206463213703,"score_gpt":0.1652279359243281,"score_spread":0.1588117294611144,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2302852992","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8590867,0.00701042,0.00025091477,0.02538282,0.00019001009,0.000068145986,0.00022752554,0.00001969063,0.10776371],"genre_scores_gemma":[0.9623285,0.0036547955,0.0002043885,0.00087489525,0.00002099329,0.0000110009705,0.000040006085,0.00001600638,0.03284946],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99933344,0.00017781636,0.00001257949,0.000048039343,0.000100195175,0.00032790602],"domain_scores_gemma":[0.99908984,0.0002683942,0.000104998675,0.000026203972,0.00028616688,0.00022430562],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008579322,0.00032870928,0.00021644168,0.0009732336,0.01649605,0.0032398999,0.0012429334,0.0013424021,0.0064521516],"category_scores_gemma":[0.0020688057,0.00025193175,0.0001024756,0.0023527693,0.0058126994,0.0011816561,0.0021356032,0.0024746375,0.00038927532],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002213068,0.00007503313,0.026231201,0.00021428792,0.00001665406,0.0034890769,0.8304604,0.00023787674,0.0018503163,0.036901798,0.02817615,0.07212587],"study_design_scores_gemma":[0.000019850635,0.000037976017,0.07587445,0.00025635536,0.000019098981,0.00046770024,0.81607646,0.0000781385,0.00083675975,0.0011163205,0.10519407,0.00002286769],"about_ca_topic_score_codex":0.96508807,"about_ca_topic_score_gemma":0.9909627,"teacher_disagreement_score":0.04124989,"about_ca_system_score_codex":0.04124989,"about_ca_system_score_gemma":0.04227095,"threshold_uncertainty_score":0.2992903},"labels":[],"label_agreement":null},{"id":"W2314332285","doi":"10.3138/jrpc.9.1.004","title":"Popular Music on Christianity in the United States: Christianity’s Failure to Love","year":2005,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Christianity; Oppression; Philosophy; Religious studies; Sociology; Law; Political science","score_opus":0.021685580387076228,"score_gpt":0.2336177182912617,"score_spread":0.21193213790418547,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2314332285","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2572465,0.013096965,0.00023181963,0.20907445,0.0033220076,0.000011510068,0.000048008453,0.000018970743,0.5169497],"genre_scores_gemma":[0.94609416,0.005742522,0.00008756984,0.027851492,0.0013579202,0.000010170605,0.000021951146,0.000017492033,0.018816803],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99880385,0.0005007181,0.000028746676,0.00007833422,0.0002614836,0.00032695397],"domain_scores_gemma":[0.9974113,0.0012060874,0.00029301344,0.00013728811,0.00043159656,0.00052075577],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016015109,0.0001958354,0.00023325435,0.0009306764,0.01708098,0.0065979175,0.0004911464,0.0037801727,0.007944895],"category_scores_gemma":[0.005024403,0.00017289472,0.00015167899,0.0009816642,0.0117035555,0.003381944,0.004875783,0.0062851943,0.0005109254],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016358105,0.00017384574,0.007639568,0.00010023064,0.000024795932,0.0016266129,0.21045502,0.00007927936,0.0008618772,0.5534149,0.1635228,0.061937526],"study_design_scores_gemma":[0.00004127466,0.000082564555,0.02222762,0.0006619501,0.000027057435,0.0007114531,0.20643996,0.00013851932,0.0005674614,0.032595936,0.73645765,0.00004857304],"about_ca_topic_score_codex":0.02406518,"about_ca_topic_score_gemma":0.056079123,"teacher_disagreement_score":0.02406518,"about_ca_system_score_codex":0.002739871,"about_ca_system_score_gemma":0.002201573,"threshold_uncertainty_score":0.04785019},"labels":[],"label_agreement":null},{"id":"W2314639801","doi":"10.1558/pomh.v6i1.52","title":"Triumph of the maggots?","year":2012,"lang":"en","type":"article","venue":"Popular Music History","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Legitimacy; Historiography; Literature; History; Art; Aesthetics; Archaeology; Law; Political science; Politics","score_opus":0.06402988404681921,"score_gpt":0.18632505815036896,"score_spread":0.12229517410354974,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2314639801","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.42862526,0.02587332,0.002145565,0.10099662,0.004121275,0.000038341157,0.00009252004,0.00012864136,0.43797845],"genre_scores_gemma":[0.95838195,0.0028092416,0.00040177527,0.0052646264,0.00070351973,0.000010038942,0.000025664103,0.00005888224,0.032344293],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982333,0.00053608656,0.00006308483,0.0003696444,0.00051513506,0.00028274706],"domain_scores_gemma":[0.9978504,0.0006885942,0.00047681422,0.00028946484,0.00032991407,0.0003649236],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023031796,0.00027666442,0.00032626902,0.0014744132,0.003727084,0.007010325,0.0006996665,0.0018276098,0.009936484],"category_scores_gemma":[0.00742178,0.00016442139,0.00020463936,0.0011192887,0.013318736,0.0067229196,0.004159486,0.002385738,0.0015719795],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004728075,0.00006152835,0.021992521,0.00074669847,0.00008524096,0.0020884448,0.21411473,0.00006162695,0.003972107,0.5304193,0.03805411,0.1879309],"study_design_scores_gemma":[0.000029453984,0.0001985072,0.02634297,0.0006865694,0.000052356194,0.0013818701,0.2547405,0.00010485934,0.0021783058,0.06284404,0.6513996,0.00004098487],"about_ca_topic_score_codex":0.004796508,"about_ca_topic_score_gemma":0.0067407647,"teacher_disagreement_score":0.009936484,"about_ca_system_score_codex":0.0021573892,"about_ca_system_score_gemma":0.0012724397,"threshold_uncertainty_score":0.033240855},"labels":[],"label_agreement":null},{"id":"W2315109106","doi":"10.1177/1527476414556184","title":"Now You’ve Got the Shiveries","year":2014,"lang":"en","type":"article","venue":"Television & New Media","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":152,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Pleasure; Perception; Power (physics); Psychology; Space (punctuation); Advertising; Aesthetics; Public space; Sociology; Media studies; Internet privacy; Social psychology; Art; Computer science; Business","score_opus":0.029707199203414733,"score_gpt":0.20510962355159604,"score_spread":0.17540242434818132,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2315109106","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10569624,0.01170222,0.010162398,0.10785748,0.020992756,0.00018526714,0.0011241827,0.001652106,0.7406274],"genre_scores_gemma":[0.25349167,0.004512379,0.0043182345,0.01962235,0.001752641,0.00006368859,0.0005119826,0.0008678908,0.71485907],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995946,0.00008734105,0.000011535931,0.00006151519,0.00012357287,0.000121350575],"domain_scores_gemma":[0.99947613,0.00007444821,0.00003824189,0.000044376942,0.00014078507,0.0002259813],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005784158,0.0005832915,0.000283412,0.0005806147,0.0050899177,0.0033456201,0.00036767105,0.0012197369,0.06365335],"category_scores_gemma":[0.00247875,0.00019299278,0.00042109855,0.0003954805,0.002685407,0.004322984,0.0025012756,0.0036398843,0.014908465],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00030583612,0.00009226792,0.0055426713,0.00048375514,0.00007334034,0.0026407826,0.075880595,0.00011423608,0.009684389,0.050570108,0.6764232,0.17818885],"study_design_scores_gemma":[0.000011464228,0.00007454216,0.0035660954,0.00015363576,0.000012655686,0.0011414785,0.03373008,0.00005105522,0.0008469108,0.0026027772,0.9577686,0.000040531035],"about_ca_topic_score_codex":0.00818465,"about_ca_topic_score_gemma":0.02056155,"teacher_disagreement_score":0.06365335,"about_ca_system_score_codex":0.00097363273,"about_ca_system_score_gemma":0.00061126135,"threshold_uncertainty_score":0.21294165},"labels":[],"label_agreement":null},{"id":"W2316326036","doi":"10.1097/cnj.0b013e318295ad9b","title":"I'm Not Your Honey","year":2013,"lang":"en","type":"article","venue":"Journal of Christian Nursing","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Sheridan College","funders":"","keywords":"Miami; Center (category theory); Sociology; Nursing; Theology; Medicine; Philosophy","score_opus":0.036586609842300825,"score_gpt":0.23974398123996796,"score_spread":0.20315737139766712,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2316326036","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.006387704,0.014869913,0.0029842658,0.6434757,0.12034744,0.00015327916,0.0002734861,0.00095805415,0.2105502],"genre_scores_gemma":[0.04064489,0.009378263,0.0023945516,0.35723004,0.011643132,0.00017199459,0.00022402692,0.00068921957,0.57762384],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99580413,0.0012508322,0.000101713274,0.00046242302,0.0015147481,0.00086614484],"domain_scores_gemma":[0.99058586,0.00062138814,0.0004762049,0.0004958122,0.0037005988,0.0041200295],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0032682943,0.0012487889,0.001145132,0.0008629362,0.01122773,0.009708188,0.0016379436,0.0050695566,0.0915382],"category_scores_gemma":[0.020454671,0.0005011397,0.001103354,0.0004933376,0.005405544,0.010736073,0.005685311,0.015444944,0.06876078],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003180016,0.000048714068,0.00064461224,0.000109771514,0.00002106801,0.0003370329,0.0020395187,0.00002199586,0.00021733435,0.0040310845,0.96843576,0.02406142],"study_design_scores_gemma":[0.00000999848,0.000044059947,0.0005010328,0.00031927423,0.00001479287,0.0010377889,0.008592233,0.000037911628,0.00013413039,0.00242736,0.986844,0.000037388592],"about_ca_topic_score_codex":0.0073517747,"about_ca_topic_score_gemma":0.0109154675,"teacher_disagreement_score":0.0915382,"about_ca_system_score_codex":0.0016971994,"about_ca_system_score_gemma":0.0029014177,"threshold_uncertainty_score":0.30622578},"labels":[],"label_agreement":null},{"id":"W2317932439","doi":"10.1386/eme.10.1-2.75_1","title":"Radiohead and the Media Fallout of OK Computer","year":2011,"lang":"en","type":"article","venue":"Explorations in Media Ecology","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Existentialism; Control reconfiguration; Landmark; Sociology; Media studies; Computer science; Political science; Law; Artificial intelligence","score_opus":0.0664429599203299,"score_gpt":0.1955259121791926,"score_spread":0.12908295225886268,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2317932439","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.30639988,0.0057546813,0.0021629236,0.08348858,0.0016883635,0.000024268686,0.00007238157,0.00025222724,0.60015655],"genre_scores_gemma":[0.8974578,0.001697265,0.00043783977,0.0065110303,0.00046718962,0.000015551452,0.000029476763,0.00022147455,0.09316242],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99803406,0.00081644394,0.00002515167,0.00016729024,0.00052250567,0.0004345374],"domain_scores_gemma":[0.9980667,0.00087920367,0.00023037716,0.00011203364,0.0003233711,0.00038829428],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015003341,0.00032789705,0.00014274607,0.0011451986,0.015613469,0.00918551,0.0006626905,0.0028927687,0.01540369],"category_scores_gemma":[0.004363399,0.00029912885,0.00013207622,0.000741212,0.014178416,0.0041249166,0.004185953,0.0037803594,0.0020776936],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00026922234,0.000065710345,0.0071225003,0.0001318291,0.000018199851,0.0018223454,0.6093633,0.00013942916,0.003346091,0.18640919,0.10592269,0.085389525],"study_design_scores_gemma":[0.0000129858945,0.00007321761,0.0067966837,0.00016093343,0.000008492407,0.0005588691,0.2945976,0.000069669586,0.000658612,0.0057658893,0.69126177,0.000035314944],"about_ca_topic_score_codex":0.0745252,"about_ca_topic_score_gemma":0.12287204,"teacher_disagreement_score":0.0745252,"about_ca_system_score_codex":0.004648113,"about_ca_system_score_gemma":0.002149394,"threshold_uncertainty_score":0.14818287},"labels":[],"label_agreement":null},{"id":"W2319868568","doi":"10.1177/1367877904044252","title":"Punk and Globalization","year":2004,"lang":"en","type":"article","venue":"International Journal of Cultural Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":32,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Trent University","funders":"","keywords":"Punk; Globalization; Habitus; Sociology; Subculture (biology); Ethnography; Tourism; Musical; The Internet; Media studies; Inequality; Public space; Gender studies; Social science; Aesthetics; Political science; Anthropology; Visual arts; History; Law; Art history; Art","score_opus":0.05274270982443439,"score_gpt":0.29766456593641644,"score_spread":0.24492185611198206,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2319868568","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.067970745,0.009794244,0.002080452,0.021848448,0.00048427226,0.000023353301,0.00003305927,0.0000349475,0.89773047],"genre_scores_gemma":[0.9595745,0.005001209,0.00062483136,0.0034245641,0.0002401668,0.000036818477,0.000022893926,0.00003142426,0.03104353],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99821633,0.00088008924,0.000047673548,0.00026067518,0.00020413384,0.00039104407],"domain_scores_gemma":[0.999241,0.00025334844,0.00012720608,0.0001148245,0.00008265894,0.00018092533],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013060189,0.00041288274,0.0004818506,0.00095060497,0.008460446,0.0076125055,0.00059265486,0.0015133987,0.011658191],"category_scores_gemma":[0.0018659028,0.000158377,0.00024859697,0.0017631114,0.028139638,0.005546539,0.00909844,0.003201252,0.0004855787],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016351436,0.000018811126,0.0012434949,0.000060729722,0.0000054824063,0.00015920257,0.02124844,0.000105511055,0.000052856623,0.9600353,0.0029518378,0.014101944],"study_design_scores_gemma":[0.000023366356,0.00004904569,0.0060726646,0.00039201527,0.000010397454,0.00048387065,0.035594907,0.00014031184,0.00010250867,0.47518703,0.4819202,0.000023673989],"about_ca_topic_score_codex":0.003725282,"about_ca_topic_score_gemma":0.0049625956,"teacher_disagreement_score":0.011658191,"about_ca_system_score_codex":0.0036850874,"about_ca_system_score_gemma":0.0022882419,"threshold_uncertainty_score":0.03900051},"labels":[],"label_agreement":null},{"id":"W2321330446","doi":"10.1386/ijcm.5.3.253_1","title":"Circles of learning: Appalachian mountain music and issues of tradition in the twenty-first century","year":2012,"lang":"en","type":"article","venue":"International Journal of Community Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Windsor","funders":"","keywords":"Appalachia; Gatekeeping; The Internet; Perception; Commercialization; Sociology; Media studies; History; Visual arts; Psychology; Advertising; Art; Political science","score_opus":0.054988957103923285,"score_gpt":0.2587983795075891,"score_spread":0.2038094224036658,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2321330446","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.91951436,0.004606239,0.00044951754,0.009438958,0.000100673475,0.00003930514,0.000009811864,0.000009917975,0.06583126],"genre_scores_gemma":[0.9970682,0.00072985084,0.00009913705,0.00023157381,0.000027460534,0.00001629688,0.000003453007,0.0000020647478,0.0018219834],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99637306,0.0023244517,0.00009358825,0.00030822438,0.00036007375,0.0005405762],"domain_scores_gemma":[0.98986477,0.0056439256,0.0014753715,0.00041477496,0.00075018173,0.001851037],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0044561853,0.00031843764,0.0003684818,0.0036658533,0.03536771,0.014697245,0.0018452959,0.0032434543,0.0029336768],"category_scores_gemma":[0.009972783,0.0002853533,0.0001342764,0.0027596648,0.038229574,0.009221011,0.01276126,0.0028948437,0.0001796648],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000067596384,0.000019375288,0.0021546115,0.000024032997,0.000001471318,0.00037876717,0.98005235,0.000010320418,0.00003957809,0.011674871,0.00027903434,0.005358957],"study_design_scores_gemma":[0.0000020846421,0.000016170889,0.0031062886,0.00008156059,0.0000022100992,0.00016393769,0.98494464,0.000014975466,0.000032806736,0.0017727623,0.009856454,0.0000061793953],"about_ca_topic_score_codex":0.056459785,"about_ca_topic_score_gemma":0.1373832,"teacher_disagreement_score":0.056459785,"about_ca_system_score_codex":0.009825544,"about_ca_system_score_gemma":0.010321064,"threshold_uncertainty_score":0.11226231},"labels":[],"label_agreement":null},{"id":"W2322508530","doi":"","title":"Minutes of the 2006 Annual General Meeting of the Canadian Society for Traditional Music","year":2006,"lang":"en","type":"article","venue":"Canadian Folk Music / Musique folklorique canadienne","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History; Political science","score_opus":0.034653155920846127,"score_gpt":0.1681680525619912,"score_spread":0.13351489664114508,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2322508530","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.007181626,0.0459143,0.0008868301,0.20849632,0.24520767,0.0022194088,0.026203228,0.00049481745,0.46339577],"genre_scores_gemma":[0.005661335,0.008185201,0.0004329401,0.009426222,0.013361101,0.00029293884,0.0049848952,0.00012495923,0.95753044],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989679,0.00008783792,0.000038488077,0.00011422896,0.00048701887,0.00030452924],"domain_scores_gemma":[0.9970265,0.00013648726,0.00010174765,0.00004879746,0.0015373632,0.0011491247],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017612559,0.0016383233,0.0009062431,0.0016715308,0.0060949875,0.0030324862,0.0012557212,0.004012993,0.18745688],"category_scores_gemma":[0.0025334167,0.0004991057,0.00054617133,0.0015408428,0.0008147404,0.0013669463,0.0016971583,0.00273865,0.055210736],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002836395,0.000008636124,0.0001176142,0.000038871472,0.0000015191375,0.000018519826,0.000052362484,0.000013193758,0.000082094164,0.00013774511,0.99532914,0.004171965],"study_design_scores_gemma":[0.000009248908,0.000008225945,0.00288271,0.000051194682,0.0000023102918,0.000009059143,0.00036316234,0.000016091311,0.000021991948,0.000081945676,0.99654645,0.000007640001],"about_ca_topic_score_codex":0.44074482,"about_ca_topic_score_gemma":0.8096427,"teacher_disagreement_score":0.5592552,"about_ca_system_score_codex":0.008406131,"about_ca_system_score_gemma":0.01666636,"threshold_uncertainty_score":0.8763588},"labels":[],"label_agreement":null},{"id":"W2323222272","doi":"10.1086/ahr.116.3.832","title":"Lisa E. Davenport . Jazz Diplomacy: Promoting America in the Cold War Era . (American Made Music Series.) Jackson: University Press of Mississippi. 2009. Pp. 219. $50.00.","year":2011,"lang":"en","type":"article","venue":"The American Historical Review","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Wilfrid Laurier University","funders":"","keywords":"Jazz; Diplomacy; Cold war; History; Art history; Classics; Economic history; Media studies; Political science; Law; Sociology; Politics","score_opus":0.04838315655809131,"score_gpt":0.22401579218837653,"score_spread":0.17563263563028522,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2323222272","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00010386815,0.8803382,0.00011321575,0.061488282,0.0051010367,0.000017060729,0.00029719967,0.000064437496,0.05247671],"genre_scores_gemma":[0.0030509064,0.8310052,0.00029157294,0.018660119,0.003942806,0.000051080853,0.0002713175,0.00007237083,0.14265457],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990208,0.00024846525,0.00007321137,0.00010441397,0.00046341706,0.000089719346],"domain_scores_gemma":[0.996994,0.0008864619,0.0004211603,0.000059879072,0.0010791017,0.00055939757],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015096609,0.0012774081,0.0005824996,0.004850192,0.0018939015,0.003578243,0.0013182316,0.0037092983,0.10715692],"category_scores_gemma":[0.0045641093,0.00074616546,0.00039224923,0.006623297,0.0010689701,0.006005741,0.0015695265,0.0036617736,0.07420591],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000007320478,0.000004582235,0.00006540314,0.0004621983,0.0000036376282,0.00001924632,0.00011000637,0.000007126329,0.000020891443,0.0009838735,0.97887725,0.019438453],"study_design_scores_gemma":[0.000004888224,0.000005514111,0.0005493342,0.0008361533,0.0000058493165,0.00005989191,0.00018556259,0.0000043117116,0.000026483462,0.0005679767,0.9977481,0.00000584096],"about_ca_topic_score_codex":0.036752418,"about_ca_topic_score_gemma":0.09130586,"teacher_disagreement_score":0.10715692,"about_ca_system_score_codex":0.0035666584,"about_ca_system_score_gemma":0.005355548,"threshold_uncertainty_score":0.35847563},"labels":[],"label_agreement":null},{"id":"W2326123940","doi":"10.1177/1359183510394943","title":"When a book is not a book: objects as ‘players’ in identity and community formation","year":2011,"lang":"en","type":"article","venue":"Journal of Material Culture","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":22,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Memorial University of Newfoundland","funders":"Memorial University of Newfoundland","keywords":"Ethnography; Identity (music); Poetry; Sociology; Meaning (existential); Centrality; Aesthetics; Software deployment; Social identity theory; Media studies; Anthropology; Art; Literature; Epistemology; Social science; Social group; Computer science","score_opus":0.06166108623751636,"score_gpt":0.23404211609415454,"score_spread":0.17238102985663817,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2326123940","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.59399056,0.0049929796,0.021396361,0.008594293,0.00047587103,0.00009121853,0.000037032343,0.000081724414,0.37034],"genre_scores_gemma":[0.9841403,0.0005872644,0.0021176864,0.00019063795,0.00005991388,0.00003825711,0.000020601665,0.000054244105,0.012791133],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9937355,0.0044395593,0.00012503353,0.00046285562,0.0008497186,0.0003874487],"domain_scores_gemma":[0.9953447,0.0028387017,0.00048201674,0.00039933526,0.0002830126,0.00065226905],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0051743737,0.00038034003,0.00046613283,0.0021841866,0.013286259,0.019147513,0.0012253947,0.0020481152,0.0033676012],"category_scores_gemma":[0.009899493,0.0004298769,0.00022422045,0.0019931763,0.036168873,0.018102035,0.0081567615,0.0021411963,0.0006088472],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000055993863,0.000040047245,0.0036124943,0.0000702149,0.000010806029,0.000704561,0.6710901,0.00009724843,0.0005577134,0.30537885,0.0013467786,0.017035166],"study_design_scores_gemma":[0.00003193965,0.000091101145,0.0047701625,0.000360039,0.00003372679,0.00063057215,0.67090183,0.00046848838,0.001194699,0.12854628,0.19290565,0.000065552216],"about_ca_topic_score_codex":0.0037839208,"about_ca_topic_score_gemma":0.0047274786,"teacher_disagreement_score":0.019147513,"about_ca_system_score_codex":0.002528832,"about_ca_system_score_gemma":0.0020400458,"threshold_uncertainty_score":0.027365029},"labels":[],"label_agreement":null},{"id":"W2327314697","doi":"10.3138/jrpc.18.1.003","title":"Bluegrass Theology: From Primitive (Baptist) to Postmodern","year":2008,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Sermon; Gospel; Artifact (error); Postmodernism; Code (set theory); Theology; Philosophy; Literature; Art; Psychology; Computer science","score_opus":0.021076924352752192,"score_gpt":0.22207623159384915,"score_spread":0.20099930724109696,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2327314697","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.58048826,0.0070909527,0.0031507753,0.00842799,0.00044062457,0.000025149655,0.000027501557,0.000056355526,0.40029246],"genre_scores_gemma":[0.9822432,0.0010793546,0.00067731057,0.00045052372,0.00009998227,0.000010837081,0.000011082961,0.000028181777,0.015399573],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991334,0.00041176632,0.0000190842,0.000078325094,0.00022969644,0.00012769326],"domain_scores_gemma":[0.9992118,0.00034099966,0.00009431546,0.00007474113,0.000096729775,0.00018135777],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012031003,0.0002814493,0.00016874926,0.00096686947,0.006293336,0.0057292846,0.0004158762,0.0007189551,0.0029375735],"category_scores_gemma":[0.0022000722,0.00009990916,0.00006537773,0.0009524444,0.021159356,0.0021587114,0.0029898938,0.0020162256,0.00028412516],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000107262334,0.000027519045,0.002757804,0.00014174962,0.0000056339736,0.00084313983,0.57309246,0.00007168931,0.0018008387,0.36662787,0.003907297,0.05061671],"study_design_scores_gemma":[0.000028951363,0.0001974303,0.036770254,0.0004234634,0.000012385527,0.001535073,0.40871435,0.0002608391,0.0013492054,0.07599816,0.474665,0.00004491033],"about_ca_topic_score_codex":0.008889838,"about_ca_topic_score_gemma":0.03366081,"teacher_disagreement_score":0.008889838,"about_ca_system_score_codex":0.002818907,"about_ca_system_score_gemma":0.0014921273,"threshold_uncertainty_score":0.020452738},"labels":[],"label_agreement":null},{"id":"W2328656936","doi":"10.1386/eme.12.1-2.45_1","title":"Reconfigurations: Unfolding the spaces of mobile listening","year":2013,"lang":"en","type":"article","venue":"Explorations in Media Ecology","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Simon Fraser University","funders":"","keywords":"Soundscape; Active listening; Embodied cognition; Mediation; Transparency (behavior); Phenomenology (philosophy); Sociology; Affordance; Cognitive science; Communication; Psychology; Epistemology; Human–computer interaction; Computer science; Acoustics; Philosophy; Sound (geography)","score_opus":0.03309782389482307,"score_gpt":0.22435981885708958,"score_spread":0.1912619949622665,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2328656936","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6759353,0.0018781271,0.054903865,0.0057681752,0.0003370813,0.000102053724,0.00014405133,0.00034413813,0.26058725],"genre_scores_gemma":[0.9954348,0.00014734724,0.0018360978,0.00007404352,0.0000266667,0.000021407852,0.000018892813,0.000040418832,0.0024002183],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9979096,0.0011829324,0.0000476925,0.00027178816,0.00026293666,0.0003250608],"domain_scores_gemma":[0.9979697,0.0011304761,0.00018669451,0.00034395096,0.00011442496,0.0002547967],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019636033,0.00038209005,0.00031664636,0.0011901503,0.0047383993,0.007841637,0.0010915139,0.0013446285,0.0072184247],"category_scores_gemma":[0.0055803116,0.00040627227,0.000497186,0.001007119,0.021326752,0.008091414,0.0087735625,0.0017658436,0.00058742485],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013732733,0.00002894956,0.0023886405,0.00013150058,0.00002016754,0.001689561,0.63643175,0.00115866,0.0065567456,0.32907164,0.0012513082,0.021133857],"study_design_scores_gemma":[0.000028905984,0.00014226911,0.0081934035,0.00035119065,0.000040953895,0.0012907458,0.6278978,0.0025872735,0.0027984679,0.19533333,0.16124168,0.000094019975],"about_ca_topic_score_codex":0.0023592566,"about_ca_topic_score_gemma":0.002553606,"teacher_disagreement_score":0.007841637,"about_ca_system_score_codex":0.0017970249,"about_ca_system_score_gemma":0.00095723424,"threshold_uncertainty_score":0.024148047},"labels":[],"label_agreement":null},{"id":"W2330925940","doi":"10.1017/s1537781414000784","title":"DOUBLE-VOICED: MUSIC, GENDER, AND NATURE IN PERFORMANCE","year":2015,"lang":"en","type":"article","venue":"The Journal of the Gilded Age and Progressive Era","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":13,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Wilfrid Laurier University","funders":"","keywords":"Singing; Transgressive; Silence; Context (archaeology); Entertainment; Performing arts; Argument (complex analysis); Variety (cybernetics); Tone (literature); Intonation (linguistics); Identity (music); Vocal music; History; Psychology; Literature; Linguistics; Aesthetics; Art; Visual arts; Music; Acoustics; Music education; Philosophy","score_opus":0.05769490831550397,"score_gpt":0.24185200744998472,"score_spread":0.18415709913448075,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2330925940","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.37196854,0.018533222,0.0021003734,0.02993201,0.0023827408,0.000025463974,0.00010292149,0.000034971483,0.5749198],"genre_scores_gemma":[0.98259705,0.001475208,0.00024109546,0.0010866139,0.0005159804,0.00000985389,0.000010892563,0.000018887964,0.0140444655],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99822074,0.0011111799,0.000055772,0.00015076087,0.00025507403,0.00020631895],"domain_scores_gemma":[0.9972965,0.0017135752,0.00026957112,0.000115450326,0.00020814202,0.00039675855],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0025445858,0.00028973626,0.00028429125,0.0010353127,0.0034264093,0.009199325,0.00055786176,0.0013379488,0.007689212],"category_scores_gemma":[0.0043574744,0.00013892753,0.00014010475,0.0006000784,0.012619095,0.0032751502,0.0035532045,0.0019293387,0.00055383286],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00020715212,0.00015434297,0.01810064,0.00027690845,0.000019045608,0.0010441754,0.5129787,0.00013988398,0.0013011136,0.40470326,0.019839114,0.041235738],"study_design_scores_gemma":[0.000037385187,0.0002255695,0.041210253,0.0009935268,0.000028489092,0.0011515784,0.46401402,0.00037829464,0.00089465384,0.09159536,0.39940444,0.00006645273],"about_ca_topic_score_codex":0.003969473,"about_ca_topic_score_gemma":0.01015604,"teacher_disagreement_score":0.009199325,"about_ca_system_score_codex":0.0018513155,"about_ca_system_score_gemma":0.0010601373,"threshold_uncertainty_score":0.02572298},"labels":[],"label_agreement":null},{"id":"W2331591331","doi":"","title":"A Conversation with Kiran Ahluwalia","year":2003,"lang":"fr","type":"article","venue":"AUSpace (Athabasca University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Conversation; Evening; Order (exchange); Sociology; Linguistics; Communication; Philosophy; Economics","score_opus":0.01210593707404559,"score_gpt":0.15754400877099156,"score_spread":0.14543807169694598,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2331591331","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.33508,0.011501514,0.0021013655,0.22090587,0.0076884185,0.00029874075,0.00039597633,0.00030293458,0.42172518],"genre_scores_gemma":[0.8141916,0.0028548283,0.0014670815,0.046333477,0.00034867896,0.00020214698,0.00013100111,0.00013081671,0.13434045],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980615,0.0010534025,0.00003400545,0.00015202747,0.0002264559,0.0004726706],"domain_scores_gemma":[0.9982829,0.0006226072,0.00008173787,0.000055729273,0.00024112742,0.0007159115],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019282897,0.0005804092,0.0005451802,0.0006821839,0.022133833,0.004345907,0.00081382017,0.0018218394,0.011051462],"category_scores_gemma":[0.0038433983,0.0004336867,0.00023706138,0.0007298451,0.0049817567,0.003954224,0.004768288,0.008626152,0.0034771499],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002144716,0.00026796962,0.002315284,0.0002831029,0.000020149846,0.0046433285,0.7125249,0.00010991904,0.0045662816,0.028196579,0.21676086,0.030097233],"study_design_scores_gemma":[0.0000121371795,0.000062726074,0.0018131646,0.00027345153,0.000008368343,0.0015355436,0.6043341,0.00013282833,0.00081588863,0.0019724783,0.38896582,0.000073510375],"about_ca_topic_score_codex":0.019045807,"about_ca_topic_score_gemma":0.039975222,"teacher_disagreement_score":0.022133833,"about_ca_system_score_codex":0.004628505,"about_ca_system_score_gemma":0.003968125,"threshold_uncertainty_score":0.03786987},"labels":[],"label_agreement":null},{"id":"W2332328075","doi":"10.3138/jrpc.3.1.002","title":"The Truth and Divinity of Sickness and Rage in the Karaoke of Despair","year":2003,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Divinity; Opposition (politics); Rock music; Aesthetics; Rage (emotion); Philosophy; Idealism; Religious studies; Psychoanalysis; Literature; Sociology; Art; Psychology; Theology; Popular music; Law; Epistemology; Social psychology; Political science; Politics","score_opus":0.016250710919124747,"score_gpt":0.21657205457715317,"score_spread":0.20032134365802842,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2332328075","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.15367521,0.04800051,0.0058711926,0.3378088,0.006280785,0.00004077798,0.00009857855,0.00011951325,0.4481047],"genre_scores_gemma":[0.9741983,0.003804433,0.00038794795,0.008981515,0.0011802202,0.000012842606,0.00001051545,0.000033128923,0.011391051],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.998159,0.001138765,0.00005056705,0.00013752763,0.00024515335,0.00026899317],"domain_scores_gemma":[0.9975235,0.0011809139,0.00038386002,0.00020811395,0.0002688337,0.00043477133],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023613148,0.00029740133,0.00041656912,0.0008907719,0.0073153265,0.00747146,0.0005950369,0.0033302451,0.0026538116],"category_scores_gemma":[0.0077540623,0.00022730113,0.00023579114,0.00048219317,0.061740387,0.0060331794,0.005189839,0.0054266118,0.0005830987],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015049908,0.000024303637,0.001603846,0.00019246887,0.000019970003,0.00069954613,0.18876727,0.00015630858,0.0006475917,0.77141863,0.023070224,0.013249365],"study_design_scores_gemma":[0.000034557273,0.00008322225,0.003925776,0.0005802654,0.000017353817,0.0017024204,0.21596189,0.00025877528,0.00055379345,0.46860904,0.30819556,0.000077369084],"about_ca_topic_score_codex":0.003613444,"about_ca_topic_score_gemma":0.005399054,"teacher_disagreement_score":0.00747146,"about_ca_system_score_codex":0.00216484,"about_ca_system_score_gemma":0.0019483105,"threshold_uncertainty_score":0.015707076},"labels":[],"label_agreement":null},{"id":"W2333248030","doi":"10.1386/mms.2.1.87_1","title":"Finally getting out of the maze: Understanding the narrative structure of extreme metal through a study of ‘Mad Architect’ by Septicflesh","year":2016,"lang":"en","type":"article","venue":"Metal Music Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université Laval","funders":"","keywords":"Lyrics; Narrative; Timbre; Narratology; Harmony (color); Melody; Literature; Alienation; Musical; Lament; Art; Aesthetics; Psychology; Visual arts","score_opus":0.18072582165731418,"score_gpt":0.27479259259286126,"score_spread":0.09406677093554708,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2333248030","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9446241,0.0017102981,0.0037736325,0.0052506616,0.00009605378,0.00003212876,0.000018549978,0.000028742332,0.04446585],"genre_scores_gemma":[0.9939714,0.0003496642,0.0006539706,0.00031640136,0.00002066181,0.000011756218,0.000008285554,0.00001712916,0.0046507013],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9986284,0.00094070006,0.000024540164,0.00010784202,0.00016504416,0.00013363898],"domain_scores_gemma":[0.99890435,0.0007033774,0.00012211851,0.00004541796,0.00008126255,0.00014348379],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017699711,0.00051342644,0.0003047068,0.001027155,0.0073842467,0.0061952528,0.00087073486,0.0014410383,0.001158222],"category_scores_gemma":[0.0030398837,0.000289776,0.00022915904,0.000504871,0.01509953,0.0048081754,0.0034010992,0.0029972743,0.00020021094],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020312462,0.000008974435,0.00075275585,0.000025617968,0.0000028481923,0.0006140721,0.9818856,0.00004418796,0.0006327787,0.012472302,0.00061594456,0.0029245997],"study_design_scores_gemma":[0.0000058926703,0.00007755722,0.0027917365,0.0000883237,0.000007361968,0.0013549698,0.9377126,0.00021218469,0.00061051117,0.0064138426,0.050701503,0.000023545652],"about_ca_topic_score_codex":0.006797551,"about_ca_topic_score_gemma":0.013913869,"teacher_disagreement_score":0.0073842467,"about_ca_system_score_codex":0.0022736175,"about_ca_system_score_gemma":0.00094826746,"threshold_uncertainty_score":0.01649636},"labels":[],"label_agreement":null},{"id":"W2333869009","doi":"10.3138/jrpc.5.1.004","title":"Devil Music and the Great Beast: Ozzy Osbourne, Aleister Crowley, and the Christian Right","year":2003,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Icon; Meaning (existential); Power (physics); State (computer science); History; Sociology; Religious studies; Law; Media studies; Art history; Political science; Philosophy; Epistemology","score_opus":0.013649427529563269,"score_gpt":0.20201417145901276,"score_spread":0.1883647439294495,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2333869009","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18146268,0.18997887,0.0003755495,0.36279172,0.0050765956,0.000022278673,0.000050807947,0.000027450842,0.260214],"genre_scores_gemma":[0.87513626,0.031770237,0.00023343707,0.015132507,0.0017428668,0.000011900924,0.000014080391,0.000032555632,0.075926125],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99951804,0.00023037224,0.000009991228,0.00003405524,0.0001267152,0.00008085685],"domain_scores_gemma":[0.9990839,0.0004162142,0.000086814805,0.000032897868,0.00009104676,0.000289237],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010770453,0.00028643486,0.0002053614,0.0010566124,0.0070370603,0.0050024386,0.00046449478,0.0014950316,0.0043602083],"category_scores_gemma":[0.0019184832,0.00018096302,0.00006288021,0.0008097327,0.012866067,0.002826083,0.0032656766,0.0031690565,0.00040350636],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000118471464,0.00010689326,0.0038557986,0.00023227399,0.000011632897,0.0010995152,0.4133924,0.00006662597,0.00071076787,0.3509851,0.18427049,0.04515006],"study_design_scores_gemma":[0.000027450045,0.00003410634,0.0068785297,0.00048135943,0.000007904332,0.0005842363,0.33991948,0.000050471514,0.00019062254,0.021903735,0.6298955,0.000026619635],"about_ca_topic_score_codex":0.029916536,"about_ca_topic_score_gemma":0.12616277,"teacher_disagreement_score":0.029916536,"about_ca_system_score_codex":0.0027244822,"about_ca_system_score_gemma":0.0019577714,"threshold_uncertainty_score":0.05948478},"labels":[],"label_agreement":null},{"id":"W2334677827","doi":"10.1558/jazz.v9i1.28042","title":"Ellen Johnson, Jazz Child: A Portrait of Sheila Jordan","year":2015,"lang":"en","type":"article","venue":"Jazz Research Journal","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Jazz; Portrait; Performance art; Sociology; Art history; History; Art; Religious studies; Media studies; Philosophy","score_opus":0.16146864223839755,"score_gpt":0.3369351215371049,"score_spread":0.17546647929870737,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2334677827","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008426666,0.21889928,0.0019930394,0.07815148,0.011533513,0.00011234665,0.0004822415,0.0004210331,0.67998046],"genre_scores_gemma":[0.03293321,0.07636682,0.0022665714,0.018457484,0.0016323196,0.00008053445,0.00021985326,0.00047004662,0.8675732],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99975175,0.00006406176,0.000007157556,0.000023073957,0.00011060374,0.000043318254],"domain_scores_gemma":[0.999747,0.000045911198,0.000015659727,0.000007740692,0.000077258206,0.00010657189],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005366036,0.0008152708,0.00035694326,0.00085465214,0.004510116,0.0019882112,0.00072660594,0.0012630966,0.06716493],"category_scores_gemma":[0.00084622216,0.00034078737,0.00033466984,0.0008264868,0.0012261191,0.0030508547,0.0020772447,0.0032800587,0.020996414],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028027021,0.000016190781,0.0002235932,0.00010931807,0.0000027435892,0.0007888128,0.0053081866,0.000038825227,0.00035097502,0.0031032483,0.9623259,0.027704153],"study_design_scores_gemma":[0.000001950377,0.0000057022376,0.00047833647,0.00015317215,0.0000020777977,0.00091805315,0.005662978,0.000012008965,0.000071616036,0.0003129146,0.9923759,0.0000054977013],"about_ca_topic_score_codex":0.02409104,"about_ca_topic_score_gemma":0.098775834,"teacher_disagreement_score":0.06716493,"about_ca_system_score_codex":0.0013656288,"about_ca_system_score_gemma":0.0015164504,"threshold_uncertainty_score":0.22468907},"labels":[],"label_agreement":null},{"id":"W2334971511","doi":"10.3138/jrpc.14.1.003","title":"“<b>Then Sings My Soul”: Gospel Music as Popular Culture in the Spiritual lives of Kenyan Pentecostal/Charismatic Christians</b>","year":2006,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":22,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Charisma; Sociology; Christianity; Gospel; Popular culture; Gender studies; Aesthetics; Religious studies; Media studies; Literature; Political science; Art; Law; Philosophy","score_opus":0.015020358394261813,"score_gpt":0.21976918666058803,"score_spread":0.20474882826632623,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2334971511","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.90420663,0.0061422186,0.00034422602,0.013948123,0.00025715615,0.00003188389,0.000056009758,0.0000060074885,0.07500777],"genre_scores_gemma":[0.99312556,0.0019764146,0.0001764743,0.0011428307,0.00005608189,0.00001672077,0.000020810447,0.00000790256,0.003477258],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99959093,0.00022155434,0.000007849151,0.000026989528,0.0000511911,0.000101485275],"domain_scores_gemma":[0.9995266,0.00020347758,0.00011210863,0.000014538315,0.000051401774,0.00009184355],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00088629924,0.00024196322,0.00015108357,0.0007327006,0.008199915,0.0039694067,0.00033454705,0.000993814,0.0032255673],"category_scores_gemma":[0.0010142389,0.00015561793,0.00012900108,0.0007909385,0.007176736,0.0025540737,0.0019388904,0.0014043688,0.0002404211],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012896,0.000088365116,0.023604177,0.000293905,0.000017256418,0.001142024,0.90152675,0.000036101923,0.002335322,0.037667345,0.008432816,0.024727037],"study_design_scores_gemma":[0.0000066415028,0.000056093966,0.0442718,0.00031784817,0.000015634743,0.0003752682,0.89240605,0.00006117229,0.00043712065,0.0014827786,0.060550563,0.000019107993],"about_ca_topic_score_codex":0.014111987,"about_ca_topic_score_gemma":0.04432375,"teacher_disagreement_score":0.014111987,"about_ca_system_score_codex":0.0022216938,"about_ca_system_score_gemma":0.0016386595,"threshold_uncertainty_score":0.028059721},"labels":[],"label_agreement":null},{"id":"W2335695061","doi":"10.1386/st.5.1.37_1","title":"Debasing the voice: Subversive vocality in Harmony Korine’s Trash Humpers","year":2012,"lang":"en","type":"article","venue":"The Soundtrack","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Narrative; Movie theater; Aesthetics; Art; Artificiality; Visual arts; Literature; Framing (construction); Philosophy; History","score_opus":0.0524996237446628,"score_gpt":0.23232045557512032,"score_spread":0.17982083183045752,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2335695061","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.71152186,0.0021863638,0.003465214,0.0072509525,0.0006558281,0.00003807793,0.000074199525,0.0001153672,0.2746921],"genre_scores_gemma":[0.97674257,0.00033267358,0.00042102675,0.0006317977,0.000086968095,0.000009974037,0.00001304002,0.000043959022,0.021717977],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.999498,0.00025456073,0.000009398259,0.00006290278,0.000097391916,0.00007771701],"domain_scores_gemma":[0.999522,0.00022097713,0.00006623418,0.00004221084,0.0000500752,0.00009855357],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00056209747,0.00028687186,0.00014971245,0.00032508015,0.0037585637,0.0033028978,0.0004254652,0.001186562,0.004166822],"category_scores_gemma":[0.0012001593,0.00016038286,0.0000893179,0.00014161444,0.006527272,0.0018625009,0.0023731636,0.0017506118,0.0004937784],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018669249,0.00007973276,0.0025688307,0.00028842516,0.000014214761,0.0063108164,0.7470184,0.0001745689,0.015811361,0.18585528,0.017336857,0.024354815],"study_design_scores_gemma":[0.000022932634,0.000220455,0.011956507,0.0004508995,0.000022556245,0.006793851,0.4170688,0.00059768616,0.008112635,0.015878132,0.5388017,0.00007386596],"about_ca_topic_score_codex":0.0031833656,"about_ca_topic_score_gemma":0.008676498,"teacher_disagreement_score":0.004166822,"about_ca_system_score_codex":0.0011055656,"about_ca_system_score_gemma":0.00050859357,"threshold_uncertainty_score":0.013939381},"labels":[],"label_agreement":null},{"id":"W2337117628","doi":"10.1177/1367549415603376","title":"Resistance through realism: Youth subculture films in 1970s (and 1980s) Britain","year":2015,"lang":"en","type":"article","venue":"European Journal of Cultural Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Subculture (biology); Scholarship; Cultural studies; Sociology; Period (music); Realism; Social realism; Media studies; Gender studies; Resistance (ecology); Aesthetics; Anthropology; Art; Political science; Literature; Law","score_opus":0.1502551315170387,"score_gpt":0.2723014082057862,"score_spread":0.12204627668874748,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2337117628","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.81368965,0.00828018,0.0004011083,0.009233976,0.0009405864,0.000053231568,0.00010779757,0.000034250632,0.16725926],"genre_scores_gemma":[0.97298175,0.00317028,0.00019248635,0.0009110713,0.00018373414,0.000032220505,0.00005073098,0.00006467894,0.02241304],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99747074,0.0013829371,0.000066661785,0.00019021932,0.0003573231,0.00053208036],"domain_scores_gemma":[0.9980458,0.0011120329,0.00017356133,0.0000761614,0.00016406931,0.00042833664],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023124886,0.0006699912,0.0005949864,0.0018100713,0.013098451,0.008478498,0.000958785,0.0024356132,0.004326643],"category_scores_gemma":[0.004270888,0.00055893604,0.00026563395,0.0020825772,0.009050986,0.0030043472,0.006170755,0.005126603,0.00057353],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000056014487,0.000023399643,0.0007275353,0.000074998934,0.0000045843803,0.0010326733,0.98096013,0.000018809209,0.0005911555,0.00814103,0.0038384767,0.00453128],"study_design_scores_gemma":[0.000023440854,0.00007159663,0.011020324,0.0005304547,0.000012518097,0.000695918,0.7278366,0.000060244773,0.0006240528,0.0013171475,0.257783,0.00002468532],"about_ca_topic_score_codex":0.05292537,"about_ca_topic_score_gemma":0.13039282,"teacher_disagreement_score":0.05292537,"about_ca_system_score_codex":0.008112238,"about_ca_system_score_gemma":0.0017441896,"threshold_uncertainty_score":0.10523462},"labels":[],"label_agreement":null},{"id":"W2338407470","doi":"","title":"A pedagogy of cultural sustainability: YEGH3 (Edmonton hip-hop history) as a decentralized model for hip-hop’s global microhistories","year":2014,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Hop (telecommunications); Sustainability; Telecommunications; Computer science; Ecology","score_opus":0.033142914835449136,"score_gpt":0.2756310569682936,"score_spread":0.24248814213284448,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2338407470","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.052962754,0.00055973226,0.03819635,0.038671955,0.00038352993,0.00013831755,0.000029510122,0.000286384,0.8687715],"genre_scores_gemma":[0.85225093,0.000354582,0.016810935,0.0027643067,0.000106414474,0.00018926103,0.000023204177,0.00016223082,0.12733805],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9988164,0.000718507,0.0000119230845,0.00011384038,0.00013835513,0.000201077],"domain_scores_gemma":[0.9987005,0.0004969491,0.000067234425,0.00017455574,0.0000936249,0.000467175],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002977969,0.00029136922,0.00011727419,0.0005421126,0.007878525,0.0070701255,0.0009542924,0.0024763895,0.016682489],"category_scores_gemma":[0.002699367,0.00021803261,0.000185348,0.00059490756,0.0120235905,0.005167385,0.006660219,0.0033744902,0.0007645357],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008535629,0.000044012617,0.00038968687,0.000021374257,0.000001197348,0.00006141335,0.010474317,0.0005820879,0.00018519051,0.9608998,0.008580032,0.018752377],"study_design_scores_gemma":[0.00003894193,0.000049506634,0.0012023934,0.00019963432,0.000005235117,0.000070365655,0.017273886,0.0022547082,0.0006191195,0.40695873,0.57131106,0.00001642273],"about_ca_topic_score_codex":0.025561431,"about_ca_topic_score_gemma":0.07159275,"teacher_disagreement_score":0.97443855,"about_ca_system_score_codex":0.011073727,"about_ca_system_score_gemma":0.014023339,"threshold_uncertainty_score":0.08034587},"labels":[],"label_agreement":null},{"id":"W2338918426","doi":"","title":"The Evolution of Alexina Louie’s Piano Music: Reflections of a Soul Searching Journey","year":2009,"lang":"en","type":"article","venue":"OhioLink ETD Center (Ohio Library and Information Network)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Soul; Piano; Art; Aesthetics; Visual arts; Literature; Art history; Philosophy; Epistemology","score_opus":0.018915879224052017,"score_gpt":0.2165195288635611,"score_spread":0.19760364963950908,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2338918426","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6385133,0.0067172577,0.0018258572,0.023819279,0.0008661869,0.000059455724,0.000092787566,0.000102602804,0.32800323],"genre_scores_gemma":[0.9442519,0.0018482923,0.0005673291,0.0015336946,0.00011086877,0.000012753003,0.00002341957,0.00008698074,0.051564787],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986914,0.00042523298,0.000016866194,0.00013629481,0.0003582599,0.0003719367],"domain_scores_gemma":[0.9989662,0.00042430472,0.000067092675,0.000034411187,0.00020954298,0.00029840032],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013310626,0.0004971571,0.00036910092,0.0015602005,0.0231694,0.007469692,0.0010356057,0.0014656773,0.0035190866],"category_scores_gemma":[0.0030135207,0.00029473082,0.00020698951,0.0011933714,0.016651768,0.0024790566,0.003554282,0.0032663515,0.00066392537],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000057965404,0.000027215736,0.0022869164,0.00006534359,0.000007007285,0.0025410291,0.9133323,0.000058265912,0.0013855513,0.052347288,0.011795479,0.0160957],"study_design_scores_gemma":[0.0000047071317,0.000031727042,0.005316405,0.0001919014,0.00000709423,0.0012587134,0.53300697,0.00012209459,0.00051396195,0.0022114888,0.45729646,0.000038445527],"about_ca_topic_score_codex":0.280809,"about_ca_topic_score_gemma":0.57291466,"teacher_disagreement_score":0.280809,"about_ca_system_score_codex":0.014692164,"about_ca_system_score_gemma":0.0069241473,"threshold_uncertainty_score":0.558349},"labels":[],"label_agreement":null},{"id":"W2339150963","doi":"10.3138/jrpc.23.2.139","title":"Searching for the (Sacred) Sound: Phil Lesh, the Grateful Dead, and Religion","year":2011,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":18,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Phenomenon; Charisma; Religiosity; Lyrics; Dead end; Sociology; Epistemology; Aesthetics; Art; Philosophy; Literature; Theology","score_opus":0.04926592569013376,"score_gpt":0.24529363667971782,"score_spread":0.19602771098958405,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2339150963","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5647938,0.026684834,0.0027647156,0.10984361,0.0013200002,0.000029706589,0.00004313989,0.000046763424,0.2944734],"genre_scores_gemma":[0.9857745,0.0030906366,0.00028171018,0.0019049261,0.0003032356,0.000007166652,0.000004919015,0.000008594293,0.008624314],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993224,0.00047553185,0.000011773798,0.000044894514,0.00008127865,0.00006409021],"domain_scores_gemma":[0.998659,0.00090131996,0.00017504924,0.000034444758,0.00007591167,0.0001542037],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012315196,0.00018780101,0.00014804088,0.000746439,0.0064768447,0.005422721,0.0004045158,0.0014659606,0.0035142372],"category_scores_gemma":[0.0022394774,0.00014881037,0.00007141029,0.00056229386,0.013232525,0.0032557393,0.0021657827,0.0026976706,0.00031876203],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009472355,0.00014491052,0.0077958503,0.00027955687,0.000014067764,0.0020359445,0.68714744,0.00010029879,0.00077563425,0.22375837,0.030815829,0.0470374],"study_design_scores_gemma":[0.000017239361,0.00008504907,0.0073828762,0.00046132266,0.000012305152,0.0013932771,0.76193607,0.00019186897,0.00054154417,0.030848961,0.19710249,0.000027097794],"about_ca_topic_score_codex":0.0015799723,"about_ca_topic_score_gemma":0.00405699,"teacher_disagreement_score":0.0064768447,"about_ca_system_score_codex":0.0009858228,"about_ca_system_score_gemma":0.0005732087,"threshold_uncertainty_score":0.011756301},"labels":[],"label_agreement":null},{"id":"W2339619633","doi":"","title":"Bill Sarjeant: Singing from Sheffield to Saskatchewan","year":2000,"lang":"fr","type":"article","venue":"Canadian Folk Music / Musique folklorique canadienne","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Singing; History; Economics; Management","score_opus":0.014017166667021073,"score_gpt":0.17580747120856174,"score_spread":0.16179030454154067,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2339619633","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07609102,0.026467104,0.00069263903,0.25673926,0.018925065,0.0001841433,0.002266436,0.0003650327,0.6182693],"genre_scores_gemma":[0.045724627,0.0047711697,0.0002883186,0.013464815,0.00027210827,0.000026388543,0.00020669283,0.00017032535,0.93507546],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99925846,0.000083630286,0.000019746867,0.000103696955,0.00016657854,0.00036784346],"domain_scores_gemma":[0.9988073,0.00007609757,0.000025223855,0.00002762729,0.00035712364,0.0007066758],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00077204773,0.00073837576,0.0004442876,0.0013562152,0.028497837,0.0037748108,0.0010411101,0.0023748397,0.10525025],"category_scores_gemma":[0.0013176441,0.00041612322,0.00037485798,0.0019986092,0.003046243,0.0017883052,0.0032734708,0.004756689,0.014149168],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000114970324,0.000038667597,0.004897067,0.000185124,0.000013477494,0.001672641,0.034911346,0.000081134094,0.0020225884,0.0064939596,0.87803227,0.071536645],"study_design_scores_gemma":[0.000005167976,0.000016898375,0.009884038,0.00019800029,0.0000067819656,0.0003064025,0.08962481,0.000014599158,0.00026311725,0.00036277383,0.899288,0.000029412717],"about_ca_topic_score_codex":0.8981976,"about_ca_topic_score_gemma":0.9869071,"teacher_disagreement_score":0.10525025,"about_ca_system_score_codex":0.02009005,"about_ca_system_score_gemma":0.031488545,"threshold_uncertainty_score":0.35209715},"labels":[],"label_agreement":null},{"id":"W2340148561","doi":"10.20361/g2j88d","title":"Oscar Peterson: The Man and His Jazz by J. Batten","year":2013,"lang":"en","type":"article","venue":"The Deakin Review of Children s Literature","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Jazz; Musical; Biography; Art history; Art; Theme (computing); History; Visual arts","score_opus":0.005764228312472328,"score_gpt":0.18536093058213768,"score_spread":0.17959670226966534,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2340148561","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005273353,0.446512,0.0011206019,0.1536733,0.03516416,0.000069748065,0.00030922506,0.00042222138,0.35745537],"genre_scores_gemma":[0.024069676,0.11026134,0.0011697882,0.019310413,0.0042950073,0.000055106822,0.00021542727,0.0003267446,0.84029645],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99956733,0.000078320045,0.000011575774,0.000053996035,0.00020659177,0.000082151375],"domain_scores_gemma":[0.99949753,0.00007524396,0.000025193789,0.00001389979,0.00017314902,0.00021501693],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004846231,0.0007583151,0.00036664077,0.00080918736,0.006515313,0.004120877,0.0008195064,0.0014712862,0.026600063],"category_scores_gemma":[0.0014482698,0.00050325954,0.00023521877,0.0012641118,0.002192509,0.0033548814,0.0019524985,0.0030859679,0.013012925],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000006228947,0.000009800585,0.00013093655,0.00007462333,0.0000012897689,0.00010575954,0.00335928,0.000011698752,0.00007765291,0.0034713747,0.9719696,0.020781826],"study_design_scores_gemma":[8.910789e-7,0.0000046658038,0.00047404598,0.00013259854,0.0000014236807,0.00019048393,0.0031704935,0.000006796258,0.000021059099,0.00032300194,0.9956703,0.0000042007878],"about_ca_topic_score_codex":0.10636361,"about_ca_topic_score_gemma":0.3064618,"teacher_disagreement_score":0.10636361,"about_ca_system_score_codex":0.0035839363,"about_ca_system_score_gemma":0.005467597,"threshold_uncertainty_score":0.21148896},"labels":[],"label_agreement":null},{"id":"W2344804993","doi":"10.1017/cbo9781316145074","title":"The Cambridge Companion to Percussion","year":2016,"lang":"en","type":"book","venue":"Cambridge University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":75,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Percussion; Symphony; Musical; Visual arts; Drum; Rhythm; Art; Guitar; Piano; History; Literature; Aesthetics; Acoustics; Art history","score_opus":0.024676351392348892,"score_gpt":0.18276717413197852,"score_spread":0.15809082273962963,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2344804993","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0003312039,0.04476262,0.0010049981,0.003777961,0.007577783,0.000033265227,0.00017724448,0.00020418603,0.9421307],"genre_scores_gemma":[0.001836947,0.012455839,0.0005381076,0.0011195355,0.0012229829,0.000028703365,0.00013360499,0.00014017463,0.982524],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991049,0.00011491928,0.0000422496,0.00014205031,0.0005228229,0.000072917406],"domain_scores_gemma":[0.9994313,0.000122028745,0.00002611387,0.00007935354,0.00023350675,0.00010771875],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00037588697,0.0011293176,0.0007488054,0.0029643758,0.0032861396,0.005942582,0.0010840874,0.0021154024,0.1898691],"category_scores_gemma":[0.0020051387,0.00053294125,0.0004649626,0.0031212366,0.0017812354,0.00526059,0.0038472244,0.0032140496,0.0880467],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012737464,0.000017640054,0.000047810132,0.00019317104,0.0000018676054,0.000103138394,0.00081766164,0.000057615325,0.00031095772,0.032686904,0.8861375,0.07961301],"study_design_scores_gemma":[8.8448e-7,0.0000027803187,0.0000532516,0.00009428181,3.820112e-7,0.00006385275,0.000070402064,0.0000075419725,0.000024485866,0.0012441407,0.9984363,0.0000018059317],"about_ca_topic_score_codex":0.0055783195,"about_ca_topic_score_gemma":0.012812839,"teacher_disagreement_score":0.1898691,"about_ca_system_score_codex":0.0035634197,"about_ca_system_score_gemma":0.0019978695,"threshold_uncertainty_score":0.63517547},"labels":[],"label_agreement":null},{"id":"W2345731181","doi":"10.1111/jpms.12172","title":"Allison McCracken, Real Men Don't Sing: Crooning in American Culture. Durham, NC: Duke University Press, 2015. 429 pp.","year":2016,"lang":"en","type":"article","venue":"Journal of Popular Music Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Citation; Art history; Art; Media studies; Library science; Sociology; Computer science","score_opus":0.05126866899243912,"score_gpt":0.2598791778290331,"score_spread":0.20861050883659396,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2345731181","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00078351033,0.8844065,0.0003925873,0.086410746,0.0064512095,0.00001749181,0.00034196698,0.00007485679,0.02112112],"genre_scores_gemma":[0.020643974,0.8552785,0.0012243751,0.028321078,0.004704704,0.000079900485,0.00035801844,0.00019830914,0.089191176],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993032,0.0002159112,0.00007157201,0.00008160306,0.00023051305,0.00009716866],"domain_scores_gemma":[0.9979644,0.000971489,0.00012243078,0.00005352768,0.0005598277,0.0003283596],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011974245,0.0017054335,0.0008408412,0.003112239,0.006929963,0.0042989408,0.0022659427,0.0040765386,0.022927698],"category_scores_gemma":[0.0030219331,0.001215499,0.00045287906,0.0039340057,0.0038952297,0.008980152,0.0017221884,0.0051764213,0.007955045],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020989599,0.000020188967,0.00036803255,0.0003506378,0.000005491173,0.000116992574,0.0041686753,0.000029215975,0.00009311703,0.0043088035,0.9441256,0.04639221],"study_design_scores_gemma":[0.0000126351915,0.000009541291,0.0047213314,0.0015294716,0.00001927835,0.0003003228,0.020115955,0.000051542556,0.00016992175,0.0055752113,0.96746707,0.000027742137],"about_ca_topic_score_codex":0.19565411,"about_ca_topic_score_gemma":0.4898575,"teacher_disagreement_score":0.19565411,"about_ca_system_score_codex":0.0035468168,"about_ca_system_score_gemma":0.0066031986,"threshold_uncertainty_score":0.38903052},"labels":[],"label_agreement":null},{"id":"W2346113381","doi":"","title":"Fiddle Music and the Constitution of Musical Affect on (and away from) the Gaspé Coast: Interpreting Musical Affordance, Motion, and Emotion through Turino's Peircian Framework","year":2015,"lang":"en","type":"article","venue":"MUSICultures","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Memorial University of Newfoundland","funders":"","keywords":"Affordance; Musical; Indexicality; Affect (linguistics); Soundscape; Ethnography; Style (visual arts); Semiotics; Aesthetics; Sociology; Articulation (sociology); Constitution; Psychology; Linguistics; Cognitive psychology; Art; Communication; Visual arts; Anthropology; Sound (geography); Philosophy; Acoustics","score_opus":0.03688490313534667,"score_gpt":0.2303775199693795,"score_spread":0.19349261683403282,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2346113381","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.92270994,0.00053877704,0.0019187339,0.0008520005,0.000020850646,0.00001104011,0.00002070066,0.000011741324,0.0739162],"genre_scores_gemma":[0.9980471,0.0001017752,0.0002745031,0.00006081101,0.00000388744,0.000003388552,0.0000034314915,0.0000044479616,0.0015006848],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9997646,0.00009968625,0.000005055369,0.000040459134,0.000037624373,0.000052548297],"domain_scores_gemma":[0.9997242,0.0001453267,0.000031502503,0.000030132744,0.00003253081,0.00003633483],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00063589326,0.0002526789,0.00016133153,0.00083967956,0.0033630084,0.003883567,0.00045937422,0.00052937574,0.0017639969],"category_scores_gemma":[0.0010450498,0.00014917707,0.000121845565,0.0005082151,0.018594502,0.0014994129,0.0020014609,0.000705203,0.00008412405],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008194559,0.0000146961265,0.014657105,0.0000755895,0.000011592911,0.0010447686,0.91759855,0.00022404313,0.006323307,0.041239902,0.00056806597,0.01816048],"study_design_scores_gemma":[0.000012478039,0.0000466198,0.07445532,0.00014745475,0.000022778147,0.0005731089,0.88160515,0.00036504137,0.0010271107,0.008882574,0.032827754,0.00003451947],"about_ca_topic_score_codex":0.12120072,"about_ca_topic_score_gemma":0.24816,"teacher_disagreement_score":0.87879926,"about_ca_system_score_codex":0.0027455245,"about_ca_system_score_gemma":0.0013158125,"threshold_uncertainty_score":0.24099046},"labels":[],"label_agreement":null},{"id":"W2368080971","doi":"10.30535/mto.14.4.1","title":"Embodied Subjectivities in the Lyrical and Musical Expression of PJ Harvey and Björk","year":2008,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":15,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University; University of Ottawa","funders":"","keywords":"Embodied cognition; Lyrics; Musical; Subjectivity; Expression (computer science); Interpretation (philosophy); Musical expression; Meaning (existential); Aesthetics; Art; Psychology; Visual arts; Literature; Linguistics; Epistemology; Philosophy; Computer science","score_opus":0.04741302362145093,"score_gpt":0.21956214438227603,"score_spread":0.17214912076082511,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2368080971","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7488585,0.0017354047,0.009916921,0.004386278,0.00026478939,0.000070479946,0.00003916445,0.00006871949,0.23465972],"genre_scores_gemma":[0.97286224,0.0003498883,0.0011743464,0.00016872588,0.00003623489,0.000026029464,0.000010386224,0.000050709463,0.025321582],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9961553,0.0024269733,0.000076704586,0.00021867656,0.0007694002,0.00035291378],"domain_scores_gemma":[0.9980757,0.001393362,0.00014035312,0.0001312858,0.000086388674,0.0001728587],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0025417688,0.00039316888,0.00035753447,0.0012636851,0.00609318,0.0102789495,0.0008209453,0.0014533229,0.004187528],"category_scores_gemma":[0.00663233,0.00027727018,0.00018898945,0.00079770153,0.01787251,0.0029086582,0.0057662795,0.0019002741,0.00042994946],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006120598,0.000017332964,0.00048192116,0.000085953085,0.0000054586794,0.0010119904,0.8910602,0.00012810685,0.003538039,0.09111444,0.0011343606,0.011361014],"study_design_scores_gemma":[0.000020678597,0.00006131034,0.0025227622,0.0002615238,0.000011201811,0.0015746069,0.80957454,0.00037549256,0.0032620358,0.02007324,0.16221422,0.000048378697],"about_ca_topic_score_codex":0.0026519848,"about_ca_topic_score_gemma":0.0044928296,"teacher_disagreement_score":0.0102789495,"about_ca_system_score_codex":0.0017839448,"about_ca_system_score_gemma":0.0011819814,"threshold_uncertainty_score":0.014008641},"labels":[],"label_agreement":null},{"id":"W237228514","doi":"","title":"Quarter Notes Newsletter - Steinway & Sons","year":2015,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Quarter (Canadian coin); History; Library science; Computer science; Archaeology","score_opus":0.08944144897947967,"score_gpt":0.21367643279586698,"score_spread":0.12423498381638731,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W237228514","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00073239487,0.0009232698,0.00016945599,0.004023137,0.0043197,0.0000649389,0.0019210076,0.0007573895,0.98708874],"genre_scores_gemma":[0.0006372506,0.0002689982,0.00004737182,0.00034789997,0.00024684877,0.000010819826,0.00051156274,0.00012850254,0.99780077],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993748,0.000043986594,0.000026922131,0.00006400415,0.0003975937,0.00009275305],"domain_scores_gemma":[0.99843055,0.00016303352,0.00007478568,0.00011112227,0.00078300654,0.00043750694],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005299114,0.00072663394,0.00040612704,0.001140765,0.0019266971,0.00541248,0.0008270974,0.0018393918,0.7510919],"category_scores_gemma":[0.0022888102,0.00047000873,0.00027084872,0.0013814009,0.00027710764,0.0022532414,0.0013340642,0.0014531056,0.54330033],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013684059,0.000016010617,0.00004302147,0.00001696675,4.0310994e-7,0.000024532867,0.0000089320365,0.0000059894837,0.00006082914,0.0003741297,0.9865546,0.012880835],"study_design_scores_gemma":[0.0000046703617,0.000011177979,0.00034893485,0.000022486447,6.7767456e-7,0.000024481378,0.0000647305,0.000023962597,0.00008311504,0.00009868847,0.9993144,0.000002659681],"about_ca_topic_score_codex":0.010465718,"about_ca_topic_score_gemma":0.03263152,"teacher_disagreement_score":0.7510919,"about_ca_system_score_codex":0.0012417282,"about_ca_system_score_gemma":0.0021304737,"threshold_uncertainty_score":0.35503715},"labels":[],"label_agreement":null},{"id":"W2378985493","doi":"10.1093/oxfordhb/9780199897827.013.026","title":"Dancing “Between the Break Beats”","year":2014,"lang":"en","type":"book","venue":"Oxford University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Sudbury","funders":"","keywords":"Indigenous; Tribe; Appeal; Resistance (ecology); Native american; Colonialism; Sociology; Media studies; Aesthetics; Gender studies; Visual arts; Art; Communication; Anthropology; Political science; Law","score_opus":0.030019794894259287,"score_gpt":0.17239091497463432,"score_spread":0.14237112008037503,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2378985493","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.047496192,0.009424514,0.0032814092,0.0044746296,0.001916651,0.0000697927,0.00006326484,0.0002260238,0.9330476],"genre_scores_gemma":[0.32433075,0.012115167,0.0033784227,0.0024429525,0.0009900981,0.000082096885,0.0001400097,0.00028810705,0.65623236],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996916,0.00007519859,0.000008169611,0.000044337772,0.00010877678,0.000071891445],"domain_scores_gemma":[0.999881,0.0000383629,0.000007791756,0.00001239962,0.00001957568,0.00004094535],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00037272205,0.0004094794,0.00024074498,0.0009759993,0.0046690674,0.003998808,0.00053372484,0.00076767453,0.020314049],"category_scores_gemma":[0.00047501206,0.00016205183,0.00027330316,0.0006843735,0.0039261654,0.0029186863,0.0027561858,0.0019244839,0.003017711],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000079307145,0.00014262325,0.002049017,0.0007596236,0.00002311527,0.0009415474,0.18101908,0.00018068426,0.0035690635,0.34743947,0.14958595,0.3142105],"study_design_scores_gemma":[0.0000058187443,0.0000553196,0.0019664625,0.00038990652,0.0000075172356,0.0007504955,0.042138733,0.000112926806,0.00053885364,0.0056107733,0.9484106,0.0000126720415],"about_ca_topic_score_codex":0.004557585,"about_ca_topic_score_gemma":0.013946611,"teacher_disagreement_score":0.020314049,"about_ca_system_score_codex":0.00090442906,"about_ca_system_score_gemma":0.00086832145,"threshold_uncertainty_score":0.06795722},"labels":[],"label_agreement":null},{"id":"W2394930840","doi":"10.25071/1708-6701.40233","title":"Myth, Legend, Romance: Concertos of Elizabeth Raum (CD Review)","year":2015,"lang":"en","type":"article","venue":"CAML Review / Revue de l ACBM","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Legend; Concerto; Mythology; Romance; Art; Literature; Art history","score_opus":0.07023834028809443,"score_gpt":0.2693113547108457,"score_spread":0.19907301442275127,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2394930840","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00009372745,0.98060066,0.000030048597,0.008704462,0.0062141367,0.000009635382,0.000021061775,0.0000040405334,0.004322321],"genre_scores_gemma":[0.002657941,0.9589097,0.0001984125,0.021354537,0.0068490123,0.00005800736,0.000062748615,0.000014427048,0.009895278],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99930334,0.0003080167,0.0000797487,0.00008031924,0.00016711128,0.00006146649],"domain_scores_gemma":[0.9984372,0.00090449874,0.00018728123,0.000047076548,0.0002844429,0.00013953495],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001959799,0.0006133833,0.0009792625,0.0021029706,0.0010615481,0.002888224,0.0010932107,0.003207547,0.018405277],"category_scores_gemma":[0.005688161,0.00033970136,0.0004493936,0.0024707806,0.0017511894,0.0028541666,0.002714211,0.0028556336,0.0037018128],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012912133,0.000024960465,0.0001416539,0.023027707,0.00008087793,0.00020156825,0.0006569058,0.000033468266,0.00030846102,0.007216268,0.63850135,0.32967767],"study_design_scores_gemma":[0.000028628081,0.000022952952,0.0004728542,0.014513709,0.00005123785,0.00039301778,0.00048828684,0.0000037966233,0.00004392158,0.00044804154,0.9835234,0.0000100273355],"about_ca_topic_score_codex":0.0047040596,"about_ca_topic_score_gemma":0.017823989,"teacher_disagreement_score":0.018405277,"about_ca_system_score_codex":0.0014304209,"about_ca_system_score_gemma":0.0036925706,"threshold_uncertainty_score":0.061571836},"labels":[],"label_agreement":null},{"id":"W2397880357","doi":"10.14288/1.0069947","title":"BC Salsa : identity, musicianship and performance in Vancouver's Afro-Latin orchestras","year":2010,"lang":"en","type":"article","venue":"cIRcle (University of British Columbia)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"SALSA; Identity (music); Latin Americans; Psychology; Art; Political science; Aesthetics; Art history; Law; Performance art","score_opus":0.013973559375345123,"score_gpt":0.16107496334232474,"score_spread":0.14710140396697963,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2397880357","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9261007,0.00095904473,0.000088615554,0.0024507216,0.00011131556,0.00003264215,0.0001457365,0.000011328444,0.07009993],"genre_scores_gemma":[0.9619669,0.00088809576,0.00013772627,0.00043599837,0.00001896922,0.000016994494,0.00012238054,0.000019227813,0.036393885],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99883944,0.0001475803,0.000029947663,0.0001147997,0.00037038611,0.000497726],"domain_scores_gemma":[0.99888974,0.00007131433,0.0000650355,0.000024542747,0.00031634636,0.0006330509],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00061015424,0.00026400594,0.00028618728,0.0016691524,0.02720891,0.008362083,0.001092407,0.00092868076,0.0063528335],"category_scores_gemma":[0.0013753427,0.00024135588,0.00012677486,0.0025306286,0.004675838,0.0009085537,0.0040840437,0.0016717202,0.00069285993],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001481603,0.00015337451,0.08835726,0.00014165654,0.00002265184,0.0020570501,0.7951588,0.000088118926,0.0018224699,0.008955463,0.019650837,0.08344422],"study_design_scores_gemma":[0.0000050545755,0.00002378979,0.089245655,0.00009220081,0.0000055839187,0.0002774967,0.8557676,0.000062514715,0.00013533901,0.0002482902,0.05411838,0.00001805663],"about_ca_topic_score_codex":0.96069,"about_ca_topic_score_gemma":0.99050903,"teacher_disagreement_score":0.03930998,"about_ca_system_score_codex":0.024897339,"about_ca_system_score_gemma":0.022512363,"threshold_uncertainty_score":0.18064368},"labels":[],"label_agreement":null},{"id":"W2401337256","doi":"","title":"The Winding Stream: The Carters, the Cashes and the Course of Country Music by Beth Harrington (review)","year":2016,"lang":"en","type":"article","venue":"Journal of American Folklore","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Newspaper; Country; Tribute; Art history; State (computer science); Media studies; Hollywood; History; Film director; Sociology; Law; Visual arts; Movie theater; Art; Management; Political science","score_opus":0.008923308954169543,"score_gpt":0.20543287312877068,"score_spread":0.19650956417460114,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2401337256","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000047253732,0.98364645,0.000020749243,0.008874689,0.0061849966,0.000009033433,0.00006334294,0.000008892009,0.0011444897],"genre_scores_gemma":[0.00074576656,0.9703242,0.00006072851,0.01782356,0.006750721,0.000037207228,0.00015584944,0.000010348838,0.0040915194],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990951,0.00017186969,0.00010666737,0.00012894941,0.00039766726,0.00009972177],"domain_scores_gemma":[0.99753016,0.00069060083,0.0003902215,0.00004743369,0.0009124021,0.00042913074],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012958403,0.0009943618,0.0014881627,0.0018974798,0.0008478542,0.0040866723,0.0019565206,0.0027273821,0.019005088],"category_scores_gemma":[0.005846811,0.00056770083,0.0008362067,0.0028330807,0.0009911682,0.0036922705,0.0012537069,0.00463856,0.0055883164],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004678554,0.000014037335,0.00012576838,0.0075375508,0.000055853197,0.00004134913,0.000069709255,0.00002389772,0.00003837391,0.0005449995,0.88056755,0.11093417],"study_design_scores_gemma":[0.00005040471,0.000041618623,0.0012617797,0.020716665,0.00012753723,0.00026403257,0.00019266845,0.000018210496,0.000031329848,0.00038527054,0.9768918,0.000018680521],"about_ca_topic_score_codex":0.01029821,"about_ca_topic_score_gemma":0.016734539,"teacher_disagreement_score":0.019005088,"about_ca_system_score_codex":0.0022263676,"about_ca_system_score_gemma":0.0057935384,"threshold_uncertainty_score":0.06357837},"labels":[],"label_agreement":null},{"id":"W2403416132","doi":"10.1177/1029864915617821","title":"L’échantillonnage dans l’improvisation : Rencontre de deux instigateurs du free jazz avec un jeune artiste de la scène noise à New York","year":2015,"lang":"en","type":"article","venue":"Musicae Scientiae","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Improvisation; Jazz; Drummer; Musical; Art; Visual arts; Performance art; Studio; Aesthetics; Humanities; Sociology; Art history; History","score_opus":0.02594092626978746,"score_gpt":0.20012040354458172,"score_spread":0.17417947727479427,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2403416132","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9875494,0.00021331265,0.0012945071,0.0008725246,0.00012700084,0.00008662878,0.000026014226,0.000014519944,0.009816079],"genre_scores_gemma":[0.9720429,0.00030620175,0.0020836794,0.00036607555,0.00009885382,0.00019770209,0.000054084267,0.000083393046,0.024767136],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99393684,0.0031886883,0.00015633239,0.00091640867,0.0011682122,0.0006336893],"domain_scores_gemma":[0.9932407,0.004274311,0.00038946787,0.00048599308,0.0005931224,0.0010165196],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005475158,0.00084018015,0.00071335473,0.0013507542,0.014266221,0.008444105,0.0016356698,0.0027041605,0.009131348],"category_scores_gemma":[0.016260954,0.00083608355,0.0004993118,0.00072553376,0.0122270705,0.0036287713,0.006103078,0.004877285,0.000958805],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00033537555,0.0006371569,0.00743757,0.000104716535,0.000025219264,0.0016575232,0.96065825,0.0001488782,0.0062443884,0.005489267,0.0014501652,0.015811447],"study_design_scores_gemma":[0.000067579764,0.00053308666,0.023792807,0.00010585261,0.000029524628,0.00075630954,0.9039794,0.0006580011,0.0025377772,0.0009099921,0.06652561,0.000103987455],"about_ca_topic_score_codex":0.056339324,"about_ca_topic_score_gemma":0.10729612,"teacher_disagreement_score":0.056339324,"about_ca_system_score_codex":0.0045313737,"about_ca_system_score_gemma":0.0020490394,"threshold_uncertainty_score":0.11202276},"labels":[],"label_agreement":null},{"id":"W2408638357","doi":"10.21083/csieci.v10i2.3089","title":"Storytelling as a Tool of Authentication in Jazz Discourse","year":2016,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Jazz; Storytelling; Metaphor; Improvisation; Relation (database); Sociology; Aesthetics; Musical; Narrative; Literature; Pedagogy; Psychology; Art; Visual arts; Linguistics; Philosophy; Computer science","score_opus":0.07437353825623194,"score_gpt":0.3683040779497011,"score_spread":0.29393053969346916,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2408638357","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8967229,0.0022871848,0.013587933,0.003937414,0.00016843514,0.0001114224,0.00003790393,0.000078941404,0.08306784],"genre_scores_gemma":[0.99772924,0.00019522033,0.0005258202,0.0000743407,0.00001580978,0.000020672253,0.000009060611,0.000011220342,0.001418554],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9823391,0.015232069,0.00040695968,0.0005789687,0.0008109453,0.0006320089],"domain_scores_gemma":[0.9707736,0.024867162,0.0018164926,0.0010068722,0.00072703755,0.0008088764],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.008568998,0.0006786864,0.00039481136,0.0022873865,0.008978875,0.009754648,0.0012978369,0.002184018,0.0036053308],"category_scores_gemma":[0.021155484,0.0003503843,0.0002646279,0.0015163659,0.031694617,0.00951704,0.008415225,0.0025774254,0.00045791702],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000515075,0.00001839619,0.00095645554,0.000089990164,0.0000025441334,0.0002891709,0.9562227,0.00006153698,0.00096953026,0.035060823,0.00022549684,0.0060517453],"study_design_scores_gemma":[0.000014565049,0.00007546392,0.0016030603,0.00025989793,0.000007344581,0.00058349076,0.94294846,0.00028246405,0.0016127282,0.0071475073,0.04544528,0.000019752531],"about_ca_topic_score_codex":0.001906074,"about_ca_topic_score_gemma":0.0016880463,"teacher_disagreement_score":0.009754648,"about_ca_system_score_codex":0.0034268233,"about_ca_system_score_gemma":0.0015723822,"threshold_uncertainty_score":0.04531777},"labels":[],"label_agreement":null},{"id":"W2410772888","doi":"10.21083/csieci.v10i2.3212","title":"Social Virtuosity and the Improvising Voice; Phil Minton &amp; Maggie Nicols Interviewed by Chris Tonelli","year":2016,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Memorial University of Newfoundland","funders":"University of Guelph","keywords":"Improvisation; Jazz; Politics; Art; Visual arts; Sociology; Psychology; Political science","score_opus":0.10508618088275795,"score_gpt":0.36693274484766647,"score_spread":0.2618465639649085,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2410772888","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2352283,0.035979997,0.0039505237,0.35961485,0.0034576966,0.0001769473,0.000050524544,0.00009942589,0.3614417],"genre_scores_gemma":[0.9125678,0.0061293426,0.0009487822,0.015062366,0.0005941383,0.00015061143,0.000008355074,0.00008359015,0.06445496],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9957209,0.0029859857,0.00006308998,0.00026902926,0.0005954524,0.00036559408],"domain_scores_gemma":[0.99642664,0.002412372,0.00033097126,0.00008405376,0.00024562268,0.0005003435],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026728052,0.000478274,0.00026731836,0.0010727799,0.020843387,0.008276931,0.001004002,0.0030114169,0.0062600556],"category_scores_gemma":[0.0054433527,0.00037821278,0.00012838114,0.00081409665,0.024916572,0.0064581423,0.005290957,0.004909448,0.0005351918],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000377342,0.000037564583,0.00085657125,0.00018878836,0.0000050412505,0.0013337694,0.7929523,0.000074081116,0.0008786401,0.11721555,0.06391929,0.022500696],"study_design_scores_gemma":[0.0000040246614,0.000018868759,0.0007930643,0.0002441564,0.0000023046207,0.0005152638,0.5064716,0.00006180105,0.0003811887,0.00737644,0.48411688,0.0000144222995],"about_ca_topic_score_codex":0.011564406,"about_ca_topic_score_gemma":0.020371746,"teacher_disagreement_score":0.020843387,"about_ca_system_score_codex":0.005719479,"about_ca_system_score_gemma":0.003751876,"threshold_uncertainty_score":0.041497946},"labels":[],"label_agreement":null},{"id":"W2412998908","doi":"10.21083/csieci.v10i2.3584","title":"Improvised Music in Berlin 2012-13: A Brief Ethnographic Portrait","year":2016,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":17,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Ethnography; Portrait; Visual arts; Sociology; Ideology; Point (geometry); Key (lock); Popular music; Aesthetics; Media studies; Art; Politics; Anthropology; Computer science; Political science","score_opus":0.10589645300642217,"score_gpt":0.33804992579807464,"score_spread":0.23215347279165247,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2412998908","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.963365,0.0029483645,0.002217543,0.0018244389,0.00013880446,0.00012131358,0.00049585965,0.000031843017,0.028856792],"genre_scores_gemma":[0.985142,0.0024705848,0.0010907188,0.0002939262,0.000067645065,0.0001989117,0.00024677106,0.000040360024,0.010449074],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9986438,0.00067212916,0.00006807093,0.00016628994,0.00017191857,0.0002778066],"domain_scores_gemma":[0.9990736,0.0005903999,0.000105526,0.000045471166,0.000032215794,0.00015279373],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012363467,0.00044894728,0.00047005262,0.0035764633,0.0062535563,0.0050649294,0.00092040177,0.0014641483,0.0041097733],"category_scores_gemma":[0.002195721,0.0004775738,0.00026069224,0.0037626103,0.007689339,0.0027738288,0.005502921,0.0018642597,0.0004770665],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000085839085,0.000051449715,0.0050591747,0.00017816373,0.000010954884,0.0016699807,0.9628461,0.00015005108,0.0020599572,0.008157677,0.0019348115,0.017795894],"study_design_scores_gemma":[0.0000068138647,0.000039415943,0.0129320165,0.000308076,0.000007959973,0.0007148058,0.9127971,0.000088964065,0.00066805125,0.0007570734,0.07165792,0.00002182309],"about_ca_topic_score_codex":0.011163525,"about_ca_topic_score_gemma":0.031405605,"teacher_disagreement_score":0.011163525,"about_ca_system_score_codex":0.0033109856,"about_ca_system_score_gemma":0.0008611016,"threshold_uncertainty_score":0.024022937},"labels":[],"label_agreement":null},{"id":"W2413459324","doi":"10.1057/9780230206359_12","title":"The Psychedelic Public and Its Problems: Rock Music Festivals and Civil Society in the Sixties Counterculture","year":2007,"lang":"en","type":"book-chapter","venue":"Palgrave Macmillan UK eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Counterculture; Stadium; Rock music; Visual arts; Advertising; Art; Media studies; Engineering; Art history; Popular music; Sociology; Business","score_opus":0.0741323518107985,"score_gpt":0.233967321133363,"score_spread":0.1598349693225645,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2413459324","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.035291318,0.045948822,0.00022852879,0.047367647,0.0026869646,0.00002345432,0.000046241392,0.000052633,0.86835444],"genre_scores_gemma":[0.6306169,0.023178121,0.0002087395,0.0067299637,0.0014385611,0.00007135963,0.000054339136,0.00012964416,0.3375723],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985019,0.00077994115,0.000023768527,0.00006630555,0.00023946278,0.00038856192],"domain_scores_gemma":[0.9990157,0.00033469737,0.00008279918,0.000061063816,0.00008284065,0.0004229124],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001543891,0.00050292147,0.00039123607,0.0013922321,0.016926065,0.016062656,0.0009789594,0.0019929924,0.012421515],"category_scores_gemma":[0.0019700832,0.00027371175,0.00017417708,0.002217952,0.025028743,0.0055258675,0.00532038,0.00542078,0.0015760042],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000046238074,0.00007562096,0.0006972528,0.00013529604,0.000005403317,0.00033253114,0.22524574,0.000060018025,0.000078460915,0.5548411,0.17793061,0.040551756],"study_design_scores_gemma":[0.000007704335,0.000016241225,0.0016000016,0.00041437938,0.0000030838319,0.00013490573,0.18620925,0.000032180327,0.00006707929,0.012340794,0.79916286,0.000011500772],"about_ca_topic_score_codex":0.04710448,"about_ca_topic_score_gemma":0.10885382,"teacher_disagreement_score":0.04710448,"about_ca_system_score_codex":0.0106121525,"about_ca_system_score_gemma":0.006913529,"threshold_uncertainty_score":0.09366059},"labels":[],"label_agreement":null},{"id":"W2414870837","doi":"10.1177/0263276416648466","title":"The Rhythm of Echoes and Echoes of Violence","year":2016,"lang":"en","type":"article","venue":"Theory Culture & Society","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":19,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Lethbridge","funders":"","keywords":"Temporality; Ambivalence; Focus (optics); Context (archaeology); Sociology; Dynamics (music); Rhythm; Epistemology; Art; Aesthetics; History; Philosophy; Psychoanalysis; Psychology; Archaeology","score_opus":0.009010738381743027,"score_gpt":0.19144799603323173,"score_spread":0.18243725765148872,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2414870837","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4045148,0.0064674057,0.13316743,0.010303006,0.0014933551,0.00010075924,0.00020990358,0.00021340293,0.44352996],"genre_scores_gemma":[0.98555064,0.0009742511,0.0040831896,0.00028152936,0.00027192774,0.00003195369,0.00004168954,0.000095371906,0.008669466],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99747294,0.0013944422,0.00010800609,0.00030870383,0.00051903765,0.00019685744],"domain_scores_gemma":[0.9932371,0.00449676,0.00072803657,0.00079741684,0.00050075987,0.00023992511],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002369501,0.00034433955,0.00022951217,0.0023103894,0.00227569,0.0068522547,0.0008439742,0.0011173381,0.0037991302],"category_scores_gemma":[0.013757918,0.00023595756,0.00027685228,0.0012898719,0.013050361,0.008256645,0.0043654917,0.0017295947,0.0003925994],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008525464,0.000016165324,0.004606138,0.00020809162,0.000021133905,0.00050867035,0.1828003,0.00034572463,0.002767482,0.7574272,0.002373146,0.048840657],"study_design_scores_gemma":[0.000040677452,0.00021533173,0.016493902,0.0008593274,0.000060334027,0.0024247565,0.21662663,0.0022101558,0.0047314735,0.4597752,0.2964581,0.00010408016],"about_ca_topic_score_codex":0.0012010817,"about_ca_topic_score_gemma":0.001508639,"teacher_disagreement_score":0.0068522547,"about_ca_system_score_codex":0.0012372802,"about_ca_system_score_gemma":0.0007663337,"threshold_uncertainty_score":0.012709379},"labels":[],"label_agreement":null},{"id":"W2416358529","doi":"","title":"Chris McDonald. 2009. Rush, Rock Music and the Middle Class: Dreaming in Middletown","year":2011,"lang":"en","type":"article","venue":"Current Musicology","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drummer; Guitar; Lyrics; Gold rush; Art; Art history; Bass (fish); Visual arts; Meaning (existential); Painting; Rock music; Jazz; Singing; History; Literature; Popular music; Psychology; Archaeology","score_opus":0.13761757276642214,"score_gpt":0.21863773911200352,"score_spread":0.08102016634558137,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2416358529","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0035952595,0.23565812,0.00031952452,0.5477273,0.018584907,0.000071476476,0.0013095096,0.0002966348,0.19243738],"genre_scores_gemma":[0.041015975,0.11847363,0.001335055,0.0648786,0.0038899882,0.0001657618,0.000790414,0.00029982466,0.7691509],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996039,0.000045604338,0.000016780723,0.00007700706,0.00015227332,0.000104366176],"domain_scores_gemma":[0.9990294,0.00007827289,0.000054727876,0.000015906075,0.000210766,0.0006108152],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00051553344,0.0007309686,0.0002716206,0.001093446,0.006802594,0.0035732854,0.0011884029,0.0028664854,0.081067495],"category_scores_gemma":[0.0014603664,0.0005117874,0.00017762247,0.001081702,0.0014654854,0.0052971267,0.0033210814,0.0033300095,0.023293],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005393408,0.000006061451,0.00017430495,0.000043973458,6.110014e-7,0.000041903026,0.0010395404,0.0000023240316,0.000022638187,0.0011279988,0.9745925,0.022942737],"study_design_scores_gemma":[0.0000060792313,0.000007008633,0.0021802585,0.00039756307,0.0000024590372,0.00010847531,0.008262186,0.0000058859596,0.00003723576,0.0007011722,0.9882831,0.000008583808],"about_ca_topic_score_codex":0.13205767,"about_ca_topic_score_gemma":0.46073744,"teacher_disagreement_score":0.13205767,"about_ca_system_score_codex":0.0037234384,"about_ca_system_score_gemma":0.0059058457,"threshold_uncertainty_score":0.2711978},"labels":[],"label_agreement":null},{"id":"W2416902132","doi":"","title":"Spoken word : exploring the language and poetics of the hip hop popular","year":2001,"lang":"en","type":"book","venue":"Library and Archives Canada (Government of Canada)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Poetics; Linguistics; Spoken word; Word (group theory); Computer science; Poetry; Philosophy","score_opus":0.01055300368604176,"score_gpt":0.13174389625001534,"score_spread":0.12119089256397358,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2416902132","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.13915493,0.027712572,0.0016435424,0.022869721,0.00071784965,0.000038147,0.00019730147,0.000056814748,0.80760914],"genre_scores_gemma":[0.8792822,0.008557624,0.0005877161,0.001982815,0.00024349474,0.000032174255,0.0000874476,0.00010542633,0.10912105],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99937916,0.00026376348,0.0000117312575,0.00003510245,0.00017718799,0.00013310746],"domain_scores_gemma":[0.9991825,0.0004506245,0.000045688088,0.000028197452,0.00017412692,0.00011870563],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005625332,0.00034796278,0.0002863707,0.002087415,0.007140429,0.01172092,0.0008931265,0.0013081073,0.0056192745],"category_scores_gemma":[0.0020128454,0.00014190681,0.00012323548,0.0038722942,0.01908006,0.0042567085,0.0022159975,0.0027274108,0.0005918953],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000053151336,0.000028345703,0.0013247915,0.00019512945,0.000006022344,0.0004305556,0.44388884,0.00008846429,0.00047341632,0.48013756,0.030159144,0.04321459],"study_design_scores_gemma":[0.00001543507,0.00002544866,0.0055261143,0.00045128193,0.0000112307835,0.0003722109,0.6199642,0.00017809244,0.00035320665,0.04187984,0.3312025,0.00002036623],"about_ca_topic_score_codex":0.31342566,"about_ca_topic_score_gemma":0.4283324,"teacher_disagreement_score":0.68657434,"about_ca_system_score_codex":0.0116876,"about_ca_system_score_gemma":0.0167464,"threshold_uncertainty_score":0.6232027},"labels":[],"label_agreement":null},{"id":"W2417378200","doi":"10.21083/csieci.v10i2.3555","title":"Studio Improv as Compositional Process Through Case Studies of Ghanaian Hiplife and Afrobeats","year":2016,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Improvisation; Studio; Musical; Scholarship; Context (archaeology); Musical composition; Melody; Programming; Foregrounding; Visual arts; Music education; Computer science; Sociology; Art; History; Literature; Archaeology; Political science","score_opus":0.12835591309123726,"score_gpt":0.4135312432235122,"score_spread":0.2851753301322749,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2417378200","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.98158836,0.0009745487,0.0011813252,0.00095427706,0.000023502553,0.00017958623,0.000069683665,0.000010317053,0.015018307],"genre_scores_gemma":[0.99298096,0.0009436448,0.0016169637,0.0001554889,0.000017929453,0.00013143949,0.000037678947,0.000016841668,0.004099174],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99567574,0.0030467452,0.00012115827,0.00023742256,0.00030742292,0.000611533],"domain_scores_gemma":[0.99579346,0.0029254165,0.00046135957,0.00022982898,0.00020552365,0.00038442356],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004187977,0.0005088186,0.00051796914,0.0022740804,0.012905126,0.004872145,0.0018788672,0.0017575109,0.005620508],"category_scores_gemma":[0.0061996523,0.0005196267,0.00030777886,0.0032779174,0.008346116,0.00358365,0.005086517,0.0018188806,0.0006625854],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009164585,0.00016301034,0.006470952,0.00021934268,0.0000073075603,0.010185641,0.9605907,0.00013515011,0.0010085088,0.0072204974,0.0007719452,0.013135415],"study_design_scores_gemma":[0.000014403,0.000076166296,0.0044076545,0.00020047482,0.0000076104902,0.0013146269,0.9722357,0.00013534026,0.0004829299,0.0008364406,0.020280208,0.000008385275],"about_ca_topic_score_codex":0.015561161,"about_ca_topic_score_gemma":0.0571293,"teacher_disagreement_score":0.015561161,"about_ca_system_score_codex":0.0061333496,"about_ca_system_score_gemma":0.0023176991,"threshold_uncertainty_score":0.04450077},"labels":[],"label_agreement":null},{"id":"W2418340829","doi":"10.21083/csieci.v10i2.3201","title":"Le groove, un outil afro-futuriste? Funkentelechy et la figure de l’androïde dans la composition musicale de Parliament/Funkadelic","year":2016,"lang":"fr","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Philosophy; Art","score_opus":0.03747277264610742,"score_gpt":0.32294190960479807,"score_spread":0.28546913695869064,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2418340829","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18911746,0.0025442133,0.10082451,0.0072891787,0.0014472917,0.00005831537,0.00014508502,0.0010087915,0.69756514],"genre_scores_gemma":[0.84467614,0.00071772124,0.013765249,0.0004784416,0.00017816732,0.00003090623,0.000051689185,0.0004662658,0.13963544],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99947315,0.00012667038,0.000012714971,0.00009058517,0.00020313263,0.00009376231],"domain_scores_gemma":[0.99973303,0.000067189714,0.000018355198,0.00007036521,0.00005907352,0.000051983505],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00036887542,0.0004571128,0.00023792005,0.00044768868,0.0018650929,0.0037870707,0.00036158194,0.00086436194,0.012182628],"category_scores_gemma":[0.0013181085,0.00019897679,0.00025394373,0.00027194247,0.0062268227,0.002127941,0.00189656,0.0015226043,0.0026056105],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00028058604,0.000016489728,0.0017915743,0.00018422879,0.000015572607,0.001192087,0.039141506,0.00061461126,0.026119387,0.82947576,0.008527415,0.09264074],"study_design_scores_gemma":[0.000043990036,0.00018955448,0.0061990153,0.00025822688,0.00003645904,0.0025169493,0.028292421,0.001974575,0.010936269,0.07853649,0.870929,0.00008692245],"about_ca_topic_score_codex":0.003008339,"about_ca_topic_score_gemma":0.0050717653,"teacher_disagreement_score":0.012182628,"about_ca_system_score_codex":0.000856391,"about_ca_system_score_gemma":0.0006029512,"threshold_uncertainty_score":0.040754914},"labels":[],"label_agreement":null},{"id":"W2419547230","doi":"","title":"Remixing Relationality: 'Other/ed' Sonic Modernities of our Present","year":2010,"lang":"en","type":"dissertation","venue":"Library and Archives Canada (Government of Canada)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":11,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.007455346110471273,"score_gpt":0.15317105785374138,"score_spread":0.1457157117432701,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2419547230","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.12626524,0.0057976786,0.01460888,0.01084047,0.00052202895,0.000044458317,0.000059272414,0.00015456331,0.84170747],"genre_scores_gemma":[0.9615947,0.0016084331,0.0013120903,0.00053994113,0.00014341414,0.000021521426,0.000020158268,0.00008593691,0.034673788],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99789953,0.0009803164,0.00004337181,0.0002899203,0.00038956938,0.00039716053],"domain_scores_gemma":[0.99911946,0.00027918513,0.00009374084,0.00023738871,0.00011205581,0.00015812923],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0027576238,0.0005308654,0.00030798436,0.0012626264,0.009962929,0.012342033,0.0010569703,0.00119766,0.009744706],"category_scores_gemma":[0.0025488243,0.00022155323,0.00033386328,0.00094129035,0.039579667,0.009312542,0.007000185,0.0037282722,0.0006815237],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023499242,0.00001976973,0.00049771176,0.00005950269,0.0000071211216,0.00018569155,0.25791958,0.00006685405,0.0007529388,0.7225967,0.0019565998,0.015913865],"study_design_scores_gemma":[0.000011429468,0.000060899027,0.0020478712,0.0002800765,0.000019903637,0.00073629705,0.26313287,0.00025071058,0.0010350924,0.11499188,0.6173972,0.000035641533],"about_ca_topic_score_codex":0.009455881,"about_ca_topic_score_gemma":0.013490641,"teacher_disagreement_score":0.012342033,"about_ca_system_score_codex":0.0053440975,"about_ca_system_score_gemma":0.0024195737,"threshold_uncertainty_score":0.03877431},"labels":[],"label_agreement":null},{"id":"W242068926","doi":"","title":"A Place Called the South: Presented by Southern Cultures","year":2007,"lang":"en","type":"article","venue":"Southern cultures","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Faith; Nothing; Musical; Creed; History; Mysticism; Gospel; Art; Literature; Ancient history; Theology; Philosophy","score_opus":0.016218750486609673,"score_gpt":0.22651869161509236,"score_spread":0.2102999411284827,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W242068926","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.065168925,0.018446734,0.00062286283,0.07188268,0.018246183,0.00005179113,0.00024466185,0.00017325084,0.8251628],"genre_scores_gemma":[0.51290995,0.009906563,0.00052217813,0.023536518,0.0037972785,0.000115307244,0.00014755083,0.00031021936,0.4487545],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99959844,0.00018586115,0.0000070902784,0.000042428666,0.00004851503,0.00011768635],"domain_scores_gemma":[0.9997135,0.000040988416,0.00002286088,0.000018894478,0.000041360116,0.00016232984],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00044636344,0.0010011375,0.00038978775,0.00059748825,0.020097652,0.006000287,0.0008174341,0.002357696,0.04602264],"category_scores_gemma":[0.00087702525,0.00024935993,0.00033441372,0.0012660054,0.0044295406,0.002771577,0.007321149,0.0042299405,0.005084804],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008875706,0.000032721877,0.0011978229,0.00031436424,0.000011751006,0.0035415052,0.43683904,0.00005048334,0.0019122707,0.06450243,0.47143966,0.02006917],"study_design_scores_gemma":[0.000003816915,0.00001296166,0.000800283,0.00023522666,0.0000041536073,0.0007483788,0.238387,0.000015987573,0.00013051821,0.0012864957,0.7583655,0.000009572088],"about_ca_topic_score_codex":0.023026852,"about_ca_topic_score_gemma":0.07046918,"teacher_disagreement_score":0.04602264,"about_ca_system_score_codex":0.0028597114,"about_ca_system_score_gemma":0.0022986191,"threshold_uncertainty_score":0.153961},"labels":[],"label_agreement":null},{"id":"W2466361672","doi":"10.1017/s0021875815001139","title":"The Power Ballad and the Power of Sentimentality","year":2015,"lang":"en","type":"article","venue":"Journal of American Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":11,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Ballad; Sentimentality; Feeling; Popularity; Power (physics); Art; Literature; Aesthetics; Psychology; Social psychology; Poetry","score_opus":0.039582105758461356,"score_gpt":0.2726259273252432,"score_spread":0.23304382156678186,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2466361672","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.133351,0.004061735,0.005954249,0.015297786,0.00081867917,0.000021703165,0.00005565433,0.000059626444,0.8403796],"genre_scores_gemma":[0.9852754,0.0010805436,0.0005337717,0.00094928825,0.00033576164,0.000013522318,0.000011474294,0.000038365244,0.011761837],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9984773,0.0009147995,0.000034045257,0.00014237338,0.00024364822,0.00018781425],"domain_scores_gemma":[0.999146,0.00027774888,0.00014761968,0.00009122921,0.00015199598,0.00018550793],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013140904,0.00027543373,0.00018845267,0.0008497949,0.0029965534,0.0066612125,0.00037312115,0.00069235597,0.004167178],"category_scores_gemma":[0.0025213643,0.00017400426,0.00015734996,0.00060173526,0.019621596,0.004573938,0.0033935567,0.0017028408,0.00052409706],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011900792,0.000018608549,0.003077008,0.00011186073,0.000020322434,0.00032829604,0.06424887,0.000075692005,0.0018167867,0.88209575,0.010819573,0.03726823],"study_design_scores_gemma":[0.000056832265,0.00012919559,0.015854046,0.0003581648,0.000029687226,0.00091748923,0.07316752,0.00043224063,0.0010773669,0.3935755,0.5143499,0.000052082087],"about_ca_topic_score_codex":0.0017662278,"about_ca_topic_score_gemma":0.0019126821,"teacher_disagreement_score":0.0066612125,"about_ca_system_score_codex":0.0011373168,"about_ca_system_score_gemma":0.00061503914,"threshold_uncertainty_score":0.013940573},"labels":[],"label_agreement":null},{"id":"W2470362197","doi":"10.25071/1708-6701.40252","title":"Fancies and Interludes (CD Review)","year":2016,"lang":"en","type":"article","venue":"CAML Review / Revue de l ACBM","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Geology","score_opus":0.028898174040702586,"score_gpt":0.23065891503828526,"score_spread":0.20176074099758268,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2470362197","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000041575542,0.99618787,0.000021531294,0.0011521619,0.0011130482,0.0000061950536,0.00003693122,0.000003280149,0.0014374211],"genre_scores_gemma":[0.0015633053,0.9900566,0.00012594053,0.0038768928,0.0016361009,0.000025696118,0.00006648014,0.0000044301687,0.0026445286],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992681,0.00021422264,0.00009422493,0.0001256834,0.00023134732,0.00006644965],"domain_scores_gemma":[0.9983151,0.0010132183,0.0002684568,0.00004516357,0.00025696948,0.00010105876],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013563785,0.0008554469,0.0013403122,0.0035261097,0.0006422991,0.0025125088,0.001225355,0.0026483766,0.03099359],"category_scores_gemma":[0.005786325,0.0003978847,0.0010166004,0.0040198406,0.0016154181,0.0020308625,0.0015804545,0.001855974,0.003960701],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014994161,0.000042343298,0.00028258428,0.04010049,0.00023153608,0.00016249254,0.0001440181,0.000055755274,0.00014180409,0.0074640396,0.34924218,0.6019828],"study_design_scores_gemma":[0.0000870406,0.000048827587,0.0013287312,0.03477425,0.00033476483,0.00065721286,0.0001424904,0.000013318444,0.000056677793,0.0021073916,0.960431,0.00001826286],"about_ca_topic_score_codex":0.0052305707,"about_ca_topic_score_gemma":0.014342058,"teacher_disagreement_score":0.03099359,"about_ca_system_score_codex":0.0012121779,"about_ca_system_score_gemma":0.0032783914,"threshold_uncertainty_score":0.10368383},"labels":[],"label_agreement":null},{"id":"W2470846312","doi":"10.4000/etnografica.2956","title":"Final reflections: “the politics of folk culture” in the 21st century","year":2005,"lang":"en","type":"article","venue":"Etnografica","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Politics; Folk culture; History; Political science; Aesthetics; Anthropology; Sociology; Art; Law","score_opus":0.059667542887571576,"score_gpt":0.27173798311483616,"score_spread":0.21207044022726457,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2470846312","genre_codex":"commentary","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":"commentary","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.014710383,0.0108694695,0.0004495051,0.7748809,0.027670914,0.00006309404,0.00039405428,0.000043465585,0.17091824],"genre_scores_gemma":[0.21755295,0.009549251,0.0005551523,0.24459578,0.013275238,0.00014533717,0.0002595129,0.00017007152,0.5138967],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989397,0.0004654895,0.000025652465,0.00009884376,0.00014154597,0.00032873882],"domain_scores_gemma":[0.99880195,0.00041075403,0.00007034743,0.000078780875,0.00029186468,0.0003463109],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001871571,0.00047604056,0.00019946421,0.0004093719,0.008463659,0.007564479,0.00085775397,0.0055142427,0.021738248],"category_scores_gemma":[0.0031452614,0.00018070922,0.00034656486,0.00067270274,0.007495039,0.005416273,0.003826264,0.009021763,0.0028329622],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003472116,0.000025747959,0.00047621803,0.00007399485,0.000003402854,0.00023599157,0.03909245,0.000036656456,0.00022450369,0.06810153,0.885053,0.006641756],"study_design_scores_gemma":[0.000004667752,0.000006678593,0.00095600716,0.00014312917,0.0000018219712,0.00007346961,0.05041113,0.000010147728,0.00017235261,0.0036890348,0.9445227,0.000008988872],"about_ca_topic_score_codex":0.02227773,"about_ca_topic_score_gemma":0.04515315,"teacher_disagreement_score":0.02227773,"about_ca_system_score_codex":0.005168648,"about_ca_system_score_gemma":0.0031354825,"threshold_uncertainty_score":0.07272172},"labels":[],"label_agreement":null},{"id":"W2471238667","doi":"10.1093/oxfordhb/9780199351701.013.17","title":"The Study of Survivors’ Music","year":2015,"lang":"en","type":"book","venue":"Oxford University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":14,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Psychology","score_opus":0.057363714400599675,"score_gpt":0.19195841104428582,"score_spread":0.13459469664368615,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2471238667","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.019564979,0.27436918,0.0008917299,0.04974134,0.0020297137,0.00003369618,0.00013523936,0.000029550363,0.65320456],"genre_scores_gemma":[0.37836283,0.19389004,0.0008545801,0.0051630256,0.0032990212,0.00016259751,0.00015257967,0.0000688734,0.41804644],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991385,0.00051283586,0.000024435203,0.00005491989,0.00017437548,0.000095012045],"domain_scores_gemma":[0.99825054,0.0012048905,0.00010919517,0.00013032409,0.00011667679,0.000188371],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015221018,0.0004301741,0.0005053561,0.0017671973,0.0032683765,0.0053314012,0.00075217674,0.001766961,0.013493109],"category_scores_gemma":[0.0029108329,0.00027203996,0.00014486002,0.0026897949,0.014053958,0.005663538,0.0025415958,0.0026909655,0.0010878776],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000026813746,0.000055501063,0.0010810733,0.0003710596,0.000011804739,0.00020338169,0.08992944,0.000061033476,0.00015220967,0.6398439,0.14831045,0.11995336],"study_design_scores_gemma":[0.0000080675445,0.000025611012,0.0026520432,0.00084762496,0.000008643185,0.00015527192,0.0729182,0.000027285592,0.000068973546,0.09050285,0.832777,0.000008377262],"about_ca_topic_score_codex":0.010024808,"about_ca_topic_score_gemma":0.02582389,"teacher_disagreement_score":0.013493109,"about_ca_system_score_codex":0.002278487,"about_ca_system_score_gemma":0.0032211198,"threshold_uncertainty_score":0.045139015},"labels":[],"label_agreement":null},{"id":"W2475983836","doi":"10.3138/topia.35.27","title":"Remixing Return: A Tribe Called Red’s Decolonial Bounce","year":2016,"lang":"en","type":"article","venue":"TOPIA Canadian Journal of Cultural Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Tribe; Indigenous; Musical; Politics; Visual arts; Soundscape; Colonialism; Sound (geography); Drum; Popular music; History; Art; Media studies; Sociology; Anthropology; Archaeology; Political science; Acoustics; Law; Ecology","score_opus":0.0616116321135352,"score_gpt":0.25390197896479666,"score_spread":0.19229034685126145,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2475983836","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7832813,0.0011761908,0.00129547,0.010172756,0.0010271944,0.00006453192,0.00007196846,0.00014877283,0.2027617],"genre_scores_gemma":[0.87982464,0.00029596,0.0009590357,0.0018782051,0.000128986,0.000019404655,0.000029443516,0.000118516444,0.116745815],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99928683,0.00020580669,0.000010648184,0.000090586254,0.00012684862,0.000279352],"domain_scores_gemma":[0.99943465,0.00012333014,0.000036971283,0.00009903884,0.00008084864,0.00022514872],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001044461,0.00038154097,0.00026065548,0.0005869883,0.018178254,0.0036284504,0.0010070412,0.0013311133,0.007801422],"category_scores_gemma":[0.0014310546,0.00018389746,0.00018563842,0.00040827817,0.006446957,0.0013549041,0.0037307506,0.0033331255,0.0010995829],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022057875,0.00013208164,0.0032717984,0.00013414396,0.000016686074,0.0052885585,0.84027344,0.00010210927,0.0054224655,0.03376036,0.053311095,0.058066595],"study_design_scores_gemma":[0.00001280719,0.0001285497,0.0071104127,0.000099286626,0.000009676118,0.001920465,0.500464,0.00013127575,0.0011173603,0.0011755341,0.48779473,0.00003588866],"about_ca_topic_score_codex":0.03262781,"about_ca_topic_score_gemma":0.15544425,"teacher_disagreement_score":0.9673722,"about_ca_system_score_codex":0.0022337916,"about_ca_system_score_gemma":0.0014944111,"threshold_uncertainty_score":0.06487584},"labels":[],"label_agreement":null},{"id":"W2476323402","doi":"10.1093/acprof:oso/9780195307993.001.0001","title":"The Music of Joni Mitchell","year":2008,"lang":"en","type":"book","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":61,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Computer science; Art","score_opus":0.03938809811359349,"score_gpt":0.16556451439833048,"score_spread":0.12617641628473697,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2476323402","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.020917716,0.03273179,0.0012915554,0.022276575,0.007963805,0.000031979915,0.00010217239,0.00017329247,0.9145112],"genre_scores_gemma":[0.16593146,0.012957426,0.001082396,0.003197645,0.0027215881,0.000029115667,0.00005226869,0.00023418815,0.8137939],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99973387,0.00004505018,0.0000060380207,0.000046907186,0.00013281568,0.00003532268],"domain_scores_gemma":[0.9998072,0.000061970466,0.000017172018,0.000011129082,0.000055273013,0.00004729641],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00024259131,0.00036321662,0.00020297787,0.00060472987,0.0029413006,0.0030800367,0.00035972052,0.0005818412,0.008143903],"category_scores_gemma":[0.0008476541,0.00014175035,0.00011301993,0.0005008414,0.0019137567,0.0013713953,0.0011204238,0.0022256847,0.0022439566],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000089721296,0.000044609857,0.0009094233,0.00024884986,0.000009516464,0.0010735156,0.024614392,0.00021145128,0.0034177057,0.2418069,0.63033825,0.09723562],"study_design_scores_gemma":[0.000002018735,0.00001230909,0.0005865267,0.000119789765,0.0000021986089,0.00047700066,0.0026228498,0.00006245422,0.0002633688,0.0034416558,0.9924049,0.000004933189],"about_ca_topic_score_codex":0.0035519504,"about_ca_topic_score_gemma":0.009685119,"teacher_disagreement_score":0.008143903,"about_ca_system_score_codex":0.0015990996,"about_ca_system_score_gemma":0.0009732641,"threshold_uncertainty_score":0.027244091},"labels":[],"label_agreement":null},{"id":"W2476770794","doi":"10.4018/978-1-59904-774-4.ch009","title":"Musique Concrètization","year":2011,"lang":"en","type":"book-chapter","venue":"IGI Global eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Simon Fraser University","funders":"","keywords":"Scholarship; Reading (process); Popular music; Field (mathematics); Sociology; Epistemology; Aesthetics; Political science; Visual arts; Art; Law; Mathematics; Philosophy","score_opus":0.037288116191722086,"score_gpt":0.2022213013097335,"score_spread":0.16493318511801142,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2476770794","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0037845343,0.006583324,0.002821981,0.003954127,0.0012783405,0.000037497324,0.00004735136,0.00010167412,0.9813912],"genre_scores_gemma":[0.13787037,0.006902911,0.0024270248,0.0021709667,0.0010619101,0.00008130084,0.00011097014,0.00020834383,0.8491662],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993218,0.00022476804,0.00002409293,0.00014015505,0.00021350662,0.00007571513],"domain_scores_gemma":[0.99964094,0.00012568066,0.00003175584,0.00007605156,0.0000949291,0.00003065537],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00056612596,0.00055089535,0.00024293919,0.0013705806,0.0031810289,0.0039377557,0.0006861881,0.0013464412,0.025631849],"category_scores_gemma":[0.0016618733,0.00018561435,0.00032007633,0.0008294525,0.005113086,0.0040220045,0.0025624658,0.00251735,0.006340168],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022754692,0.000015589974,0.00014528011,0.00008928794,0.000002745516,0.00009479486,0.0042686746,0.00009660342,0.0002896921,0.8921756,0.048581693,0.05421719],"study_design_scores_gemma":[0.0000033959057,0.000014194371,0.00019555894,0.000090052345,0.000002322322,0.00018846615,0.00059646263,0.000112252514,0.0003768221,0.027180381,0.971235,0.000005027187],"about_ca_topic_score_codex":0.0044798725,"about_ca_topic_score_gemma":0.0061884574,"teacher_disagreement_score":0.025631849,"about_ca_system_score_codex":0.003976789,"about_ca_system_score_gemma":0.002048318,"threshold_uncertainty_score":0.08574706},"labels":[],"label_agreement":null},{"id":"W2477287356","doi":"10.1017/ccol9780521801928.010","title":"The guitar in country music","year":2003,"lang":"en","type":"book-chapter","venue":"Cambridge University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Calgary","funders":"","keywords":"Guitar; String (physics); Ideology; Folk music; Music education; Country; Musical composition; Acoustics; Literature; History; Art; Visual arts; Speech recognition; Musical; Computer science; Political science; Mathematics; Law; Politics; Physics","score_opus":0.029107819750283023,"score_gpt":0.16398008335974074,"score_spread":0.1348722636094577,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2477287356","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0036486671,0.025121635,0.0007719147,0.0013286037,0.0005264061,0.000008531721,0.000022135446,0.00004948758,0.9685227],"genre_scores_gemma":[0.15901577,0.025715047,0.0019633176,0.0027182281,0.0007583556,0.000039244656,0.00009473755,0.00015510568,0.80954015],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998085,0.000077122866,0.0000052630926,0.000029841005,0.000044639288,0.000034596236],"domain_scores_gemma":[0.9999131,0.00003180947,0.000004697933,0.000014391833,0.000015938527,0.000020115356],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00019203754,0.0003474021,0.00019509885,0.00088494224,0.0017177811,0.0035604124,0.0003893703,0.00082669983,0.014320442],"category_scores_gemma":[0.00042898435,0.0001467609,0.00015848214,0.0008393587,0.002907082,0.0017979479,0.0014599952,0.0017488435,0.0032875566],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000042162177,0.00003858098,0.0004205277,0.0001716378,0.0000058794944,0.00041714532,0.01019834,0.00014250039,0.0009839144,0.7209637,0.12755227,0.13906328],"study_design_scores_gemma":[0.0000052633054,0.000017494645,0.0010249249,0.00018311472,0.0000029474502,0.00041832076,0.0018603882,0.00006474109,0.00017922258,0.019141361,0.9770974,0.0000048807215],"about_ca_topic_score_codex":0.00506056,"about_ca_topic_score_gemma":0.012079621,"teacher_disagreement_score":0.014320442,"about_ca_system_score_codex":0.0011554038,"about_ca_system_score_gemma":0.0007871478,"threshold_uncertainty_score":0.047906637},"labels":[],"label_agreement":null},{"id":"W2477494452","doi":"10.1017/cbo9781316145074.015","title":"In the pocket","year":2016,"lang":"en","type":"book-chapter","venue":"Cambridge University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Computer science","score_opus":0.033415464484058556,"score_gpt":0.17424329117731252,"score_spread":0.14082782669325397,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2477494452","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00031896873,0.0027068963,0.0011272128,0.002425086,0.0019209236,0.00005198978,0.0015760008,0.0011155405,0.98875743],"genre_scores_gemma":[0.0010334665,0.0013143966,0.00037923097,0.00045937783,0.00022862342,0.000013399744,0.0004089545,0.0003622063,0.9958003],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99972147,0.000023462417,0.000009369303,0.000050202118,0.00014176176,0.000053566724],"domain_scores_gemma":[0.9995956,0.0000625074,0.000018523482,0.00007199266,0.00010750583,0.00014394186],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00029883522,0.0008241082,0.0006185501,0.0012215466,0.0021882567,0.0057849945,0.0008843467,0.0015646785,0.7670721],"category_scores_gemma":[0.0015921292,0.00041750018,0.00055760285,0.001442416,0.00063719036,0.006005924,0.003650998,0.0026482467,0.6211907],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019716023,0.000012855769,0.000046778976,0.000095519616,0.0000011571592,0.000063318636,0.0002124197,0.000023190774,0.00024641937,0.01198873,0.9151599,0.07213001],"study_design_scores_gemma":[0.0000010930946,0.0000018253974,0.00003412479,0.000034657784,4.1041469e-7,0.000032727105,0.00005826275,0.000005655996,0.000021640395,0.0005252739,0.999283,0.0000014396713],"about_ca_topic_score_codex":0.0032125912,"about_ca_topic_score_gemma":0.008159115,"teacher_disagreement_score":0.7670721,"about_ca_system_score_codex":0.00096698786,"about_ca_system_score_gemma":0.0012476203,"threshold_uncertainty_score":0.33224338},"labels":[],"label_agreement":null},{"id":"W2483092656","doi":"10.1123/shr.39.2.152","title":"I Stole This from a Tragically Hip Song: Stories of Bill Barilko","year":2008,"lang":"en","type":"article","venue":"Sport History Review","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"History; Art","score_opus":0.0882983451630483,"score_gpt":0.2170293808768822,"score_spread":0.1287310357138339,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2483092656","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0103095705,0.16377285,0.0003327935,0.7475736,0.03206412,0.00003091951,0.00011144975,0.000054977707,0.04574967],"genre_scores_gemma":[0.10777058,0.20692754,0.0008017701,0.5198363,0.027786141,0.00013885903,0.00021614446,0.00034350474,0.13617921],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987637,0.0004811488,0.00004812812,0.00010586304,0.0003694532,0.00023182869],"domain_scores_gemma":[0.9963714,0.0017767701,0.00030955242,0.00011477068,0.0005484839,0.00087900186],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026094685,0.00072551717,0.000597484,0.0013187639,0.010288592,0.0050923578,0.0012878464,0.008058198,0.009945171],"category_scores_gemma":[0.009091959,0.00042141762,0.00034800274,0.0013970794,0.00512283,0.0050134775,0.0041091936,0.012424815,0.0029697886],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000037486017,0.000025064597,0.00049647153,0.000292795,0.000015137734,0.00075562607,0.014195452,0.000015075684,0.00015778517,0.0027339912,0.94978267,0.03149245],"study_design_scores_gemma":[0.000008298114,0.000019344672,0.0015776637,0.00104113,0.000015109777,0.0010299061,0.030751614,0.0000087202925,0.00008477236,0.00065651943,0.9647898,0.000017051194],"about_ca_topic_score_codex":0.015391949,"about_ca_topic_score_gemma":0.0738059,"teacher_disagreement_score":0.98460805,"about_ca_system_score_codex":0.0016446954,"about_ca_system_score_gemma":0.0024943112,"threshold_uncertainty_score":0.03326994},"labels":[],"label_agreement":null},{"id":"W2485393689","doi":"10.1017/s0307883315000139","title":"Listening in Detail: Performances of Cuban Music","year":2015,"lang":"en","type":"article","venue":"Theatre Research International","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Active listening; History; Art; Psychology; Communication","score_opus":0.2776825629628249,"score_gpt":0.36369444524251743,"score_spread":0.08601188227969253,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2485393689","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.72243,0.0016390301,0.00084436126,0.0037704667,0.0007266621,0.00008322264,0.0009482827,0.00021681715,0.26934108],"genre_scores_gemma":[0.89705354,0.0005974897,0.0009717333,0.00046977223,0.00012409086,0.00004981401,0.0005307174,0.0002294913,0.09997338],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9994816,0.00018185971,0.000010445372,0.0000648549,0.00007986302,0.00018135054],"domain_scores_gemma":[0.99954295,0.000091139686,0.000028697745,0.00003886587,0.00007163064,0.00022675094],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006509899,0.0006973729,0.00048186505,0.0010292473,0.008607317,0.0032398491,0.00070532656,0.0011187653,0.016890105],"category_scores_gemma":[0.0016399838,0.00022516266,0.00022810222,0.00085213216,0.001953731,0.00053010817,0.0035698982,0.001522365,0.0025006486],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0025389472,0.00031856296,0.01623775,0.0008442253,0.00021824466,0.006543295,0.6085892,0.0008043169,0.026956106,0.011009163,0.15796012,0.16798015],"study_design_scores_gemma":[0.000028346576,0.00016385491,0.15544954,0.00076536526,0.00005686429,0.0012803675,0.47951534,0.00039945776,0.0015549554,0.0008874236,0.35980606,0.00009258787],"about_ca_topic_score_codex":0.09191822,"about_ca_topic_score_gemma":0.38269496,"teacher_disagreement_score":0.09191822,"about_ca_system_score_codex":0.0031331074,"about_ca_system_score_gemma":0.0011856614,"threshold_uncertainty_score":0.18276644},"labels":[],"label_agreement":null},{"id":"W2486572842","doi":"10.4018/978-1-4666-5206-4.ch021","title":"From Pride to Prejudice to Shame","year":2014,"lang":"en","type":"book-chapter","venue":"Advances in social networking and online communities book series","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":10,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Xenophobia; Racism; Prejudice (legal term); Pride; Ideology; Sociology; Media studies; Shame; Globe; Social psychology; Psychology; Gender studies; Politics; Political science; Law","score_opus":0.03269603812251479,"score_gpt":0.25491195835771746,"score_spread":0.22221592023520267,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2486572842","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.877374,0.0012681764,0.0028068025,0.012089892,0.00035839737,0.00006972668,0.000038619488,0.000035059842,0.10595927],"genre_scores_gemma":[0.9944977,0.00017559323,0.0002272016,0.000547281,0.000027848515,0.000019584646,0.0000058952232,0.00001733129,0.004481594],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.989007,0.007971186,0.00012847749,0.00044982985,0.0014659646,0.0009775577],"domain_scores_gemma":[0.9933275,0.0043209298,0.0005414376,0.0004158488,0.00055385963,0.00084047765],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004951612,0.00046180212,0.0006120005,0.0011288008,0.015870009,0.008075498,0.0014184201,0.002211644,0.0032297368],"category_scores_gemma":[0.011576687,0.00044572266,0.00033359128,0.0007358505,0.043159246,0.0054142335,0.008931356,0.0057588154,0.00034332],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017874216,0.000020299893,0.0012151818,0.000056748908,0.0000033060378,0.00036669947,0.969328,0.000029274974,0.00047238136,0.024717283,0.0008504904,0.0029226092],"study_design_scores_gemma":[0.0000026973373,0.00002573075,0.0014184923,0.00012964684,0.0000028097666,0.00030395284,0.9642571,0.000060481314,0.00025479132,0.0040038205,0.029524712,0.00001573836],"about_ca_topic_score_codex":0.0045948736,"about_ca_topic_score_gemma":0.005193998,"teacher_disagreement_score":0.015870009,"about_ca_system_score_codex":0.003081752,"about_ca_system_score_gemma":0.0032842236,"threshold_uncertainty_score":0.026186943},"labels":[],"label_agreement":null},{"id":"W2486860578","doi":"","title":"And We're All Brothers: Singing in Yiddish in Contemporary North America . 2013. Abigail Wood. Surrey/Burlington: Ashgate. 205 pp, transcriptions musicales d'extraits.","year":2015,"lang":"en","type":"article","venue":"MUSICultures","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Yiddish; Singing; History; Art; Art history; Archaeology; Management; Economics; Judaism","score_opus":0.097548288855251,"score_gpt":0.2423756886609987,"score_spread":0.14482739980574771,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2486860578","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.024864938,0.78340095,0.0002755615,0.07534516,0.0060866987,0.000016472703,0.00040213208,0.000082234634,0.10952584],"genre_scores_gemma":[0.25774732,0.37003574,0.0010421835,0.012908078,0.001956519,0.0000794809,0.0004608439,0.00015838536,0.35561144],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997814,0.000064083346,0.000010344056,0.000027758897,0.000052519325,0.00006385572],"domain_scores_gemma":[0.9998412,0.000039522594,0.000016251919,0.0000063072257,0.00004605288,0.000050660874],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00068626396,0.0005890662,0.00045180955,0.0007804132,0.0070027113,0.0033877012,0.0006790461,0.0012817571,0.019080734],"category_scores_gemma":[0.00063698296,0.00042369854,0.00016911524,0.0019577558,0.0039832327,0.0034024264,0.0026167398,0.0019605593,0.0029773049],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000082699706,0.000037332677,0.0043219156,0.0010335055,0.000011846973,0.00055388507,0.17448826,0.000033330416,0.0006846022,0.013477513,0.58469,0.22058512],"study_design_scores_gemma":[0.0000058749274,0.000013395185,0.015343653,0.0009303973,0.00000893209,0.00024281898,0.22173406,0.00001281534,0.00008480887,0.0011754737,0.76043653,0.000011233736],"about_ca_topic_score_codex":0.2313116,"about_ca_topic_score_gemma":0.65800077,"teacher_disagreement_score":0.2313116,"about_ca_system_score_codex":0.0032650894,"about_ca_system_score_gemma":0.004656082,"threshold_uncertainty_score":0.45993048},"labels":[],"label_agreement":null},{"id":"W2487886898","doi":"10.4018/978-1-4666-5206-4.ch023","title":"Postscript","year":2014,"lang":"en","type":"book-chapter","venue":"Advances in social networking and online communities book series","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Meaning (existential); Alienation; Context (archaeology); Sociology; Social media; Representation (politics); Identity (music); Perspective (graphical); Online community; Media studies; Aesthetics; Epistemology; Social psychology; World Wide Web; Computer science; Visual arts; Psychology; Political science; Art; History","score_opus":0.0325165799154002,"score_gpt":0.2399911040211325,"score_spread":0.2074745241057323,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2487886898","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005981937,0.0026194728,0.0020188866,0.00748132,0.041216385,0.00021218175,0.0029992464,0.0011166312,0.94173783],"genre_scores_gemma":[0.0016407112,0.00093029684,0.00047293372,0.0010594041,0.001912142,0.00004589876,0.000823652,0.00036178928,0.99275315],"study_design_codex":"not_applicable","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9992859,0.000072143106,0.000041875614,0.000116932104,0.0004105864,0.00007255115],"domain_scores_gemma":[0.9984592,0.00028547124,0.000060262897,0.0002477293,0.0007366976,0.00021073513],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00069523946,0.0006662948,0.00062263774,0.0016203453,0.0020917172,0.0046220794,0.001615256,0.001281344,0.6739607],"category_scores_gemma":[0.0041938657,0.00033560582,0.0006189216,0.0015662421,0.0007494575,0.0041888165,0.0019079689,0.0023301179,0.4834],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018291687,0.000016291273,0.000044010652,0.00015088226,0.0000016161218,0.00006375142,0.00014460224,0.000038671795,0.00022504685,0.017969718,0.9242215,0.05710575],"study_design_scores_gemma":[0.000001389602,0.000005261179,0.00005765601,0.00005028904,6.607186e-7,0.000038569604,0.000049386163,0.000013450275,0.00006563483,0.0009957938,0.99871993,0.0000019265133],"about_ca_topic_score_codex":0.0022470998,"about_ca_topic_score_gemma":0.0038366783,"teacher_disagreement_score":0.6739607,"about_ca_system_score_codex":0.0016024238,"about_ca_system_score_gemma":0.0016733466,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W2488059226","doi":"10.53956/jfde.2015.50","title":"The Boy Who Would Be a Hockey Player, Musician and So Much More: Composing a Life alongside my Son","year":2015,"lang":"en","type":"article","venue":"Journal of Family Diversity in Education","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Psychology","score_opus":0.08248190371509763,"score_gpt":0.2662310149690029,"score_spread":0.1837491112539053,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2488059226","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.021387668,0.34597635,0.0102003375,0.14541389,0.043380633,0.00010940036,0.00009017369,0.00027799647,0.43316355],"genre_scores_gemma":[0.11059463,0.19465846,0.008149655,0.028646098,0.0069338256,0.00010934247,0.00010257836,0.0005957987,0.65020967],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.9992223,0.00035899392,0.000020010912,0.000063709216,0.000246352,0.000088621025],"domain_scores_gemma":[0.99941325,0.0002362372,0.000045123565,0.000018015917,0.00008630002,0.00020104831],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010069904,0.00046417522,0.00040270074,0.00032993563,0.0038906774,0.0036491982,0.0007337354,0.001293679,0.011810343],"category_scores_gemma":[0.0027140148,0.0002784594,0.00025694005,0.00046468322,0.003510711,0.0045873444,0.0020065391,0.004822567,0.0050440067],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000061601924,0.000042097818,0.0005817613,0.00062980404,0.000019985147,0.0013351428,0.044878483,0.000046926347,0.001046276,0.03898114,0.7506739,0.16170286],"study_design_scores_gemma":[0.0000033913516,0.000030421123,0.0006659239,0.0006338218,0.000009114708,0.0022500881,0.027281912,0.00003867688,0.00030674532,0.0018663761,0.96690327,0.000010339473],"about_ca_topic_score_codex":0.0032600486,"about_ca_topic_score_gemma":0.012720354,"teacher_disagreement_score":0.011810343,"about_ca_system_score_codex":0.001100991,"about_ca_system_score_gemma":0.0014063489,"threshold_uncertainty_score":0.039509475},"labels":[],"label_agreement":null},{"id":"W2488631392","doi":"10.5840/cpsem201013","title":"From Rock n’ Roll to Emo-Core and Beyond","year":2010,"lang":"en","type":"book-chapter","venue":"Semiotics","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Core (optical fiber); Geology; Computer science; Telecommunications","score_opus":0.026756187212606204,"score_gpt":0.2038455421285772,"score_spread":0.177089354915971,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2488631392","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.004504628,0.0020506612,0.01178044,0.0015535721,0.00044943122,0.00001054072,0.00002679177,0.00015685831,0.97946703],"genre_scores_gemma":[0.300698,0.0031067224,0.0098042125,0.0014039004,0.0005626648,0.00010261957,0.00014750086,0.00091422664,0.68326014],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99964106,0.00014402627,0.000011793389,0.00004939104,0.00009938727,0.00005435736],"domain_scores_gemma":[0.99983025,0.000057123154,0.0000075036896,0.000038582555,0.0000304199,0.00003609759],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00037142404,0.00050277787,0.00027763363,0.00064780406,0.002072265,0.0051443777,0.00044560924,0.00079341605,0.021648102],"category_scores_gemma":[0.0007418102,0.00021189547,0.00019093293,0.00059101597,0.004240989,0.0042469963,0.0025744764,0.002303562,0.0052937306],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000026453456,0.00001230444,0.000066415756,0.000060890172,0.0000014364422,0.000054658845,0.0052606426,0.00007128252,0.0005363934,0.9207367,0.018260946,0.054911885],"study_design_scores_gemma":[0.000005350823,0.000017706003,0.00036482557,0.00021324474,0.0000032746223,0.00016486782,0.0045895316,0.00031963293,0.00062111707,0.20094152,0.7927491,0.0000097553175],"about_ca_topic_score_codex":0.0022926158,"about_ca_topic_score_gemma":0.0050230487,"teacher_disagreement_score":0.021648102,"about_ca_system_score_codex":0.0012598898,"about_ca_system_score_gemma":0.0010590819,"threshold_uncertainty_score":0.07242012},"labels":[],"label_agreement":null},{"id":"W2489134748","doi":"10.1007/978-1-137-05964-2_3","title":"Beat Streets in the Global Hood","year":2007,"lang":"en","type":"book-chapter","venue":"Palgrave Macmillan US eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":13,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Multinational corporation; Graffiti; Politics; Clothing; Political science; Media studies; Geography; History; Sociology; Law; Art; Visual arts","score_opus":0.04157138188440391,"score_gpt":0.23456120761530522,"score_spread":0.19298982573090132,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2489134748","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00995691,0.0050954153,0.00057946605,0.033493184,0.0038725024,0.00002154288,0.00035135774,0.00022936727,0.94640017],"genre_scores_gemma":[0.11848966,0.0038569286,0.0007053363,0.014558673,0.0011599207,0.000022737308,0.00044660302,0.00037104753,0.8603892],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.99936706,0.00013105886,0.000013171498,0.00010957564,0.00015269482,0.00022632092],"domain_scores_gemma":[0.9994838,0.000031274725,0.000026371776,0.000059320544,0.00009162929,0.00030756035],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005194172,0.0006033533,0.0002606679,0.0011202156,0.008742523,0.010428279,0.00053350336,0.0021715984,0.1107374],"category_scores_gemma":[0.0009840806,0.00022609481,0.00022817902,0.0013293889,0.0046328194,0.003934312,0.006298506,0.0027590706,0.017788736],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000307617,0.000020840924,0.0015386565,0.00006977451,0.000005616308,0.00032592216,0.010210593,0.00005122241,0.00017848192,0.16710046,0.76290184,0.05756575],"study_design_scores_gemma":[0.0000017353381,0.0000046420973,0.00049444544,0.000051387276,0.0000011024149,0.00005128295,0.004522301,0.0000087325,0.000022649909,0.0019211412,0.9929182,0.0000024353985],"about_ca_topic_score_codex":0.030961892,"about_ca_topic_score_gemma":0.12580301,"teacher_disagreement_score":0.1107374,"about_ca_system_score_codex":0.0034260286,"about_ca_system_score_gemma":0.0023767077,"threshold_uncertainty_score":0.37045348},"labels":[],"label_agreement":null},{"id":"W2489213030","doi":"10.1017/ccol9780521869652.013","title":"The Beatles as zeitgeist","year":2009,"lang":"en","type":"book-chapter","venue":"Cambridge University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Zeitgeist; Quarter (Canadian coin); Order (exchange); History; Art history; Visual arts; Art; Political science; Law; Archaeology","score_opus":0.025022124914345252,"score_gpt":0.171131437362667,"score_spread":0.14610931244832176,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2489213030","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0115838945,0.097239986,0.00071208,0.045377746,0.0063822553,0.000012696546,0.0000612832,0.00011342758,0.83851665],"genre_scores_gemma":[0.46265253,0.0338511,0.00065456214,0.009587921,0.0043725646,0.000043313306,0.000056761815,0.0001878538,0.48859337],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99855596,0.000654419,0.000037746442,0.00018029714,0.00026248244,0.0003090549],"domain_scores_gemma":[0.9994843,0.00018214922,0.00005627752,0.000058158344,0.000032806136,0.00018634058],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014062237,0.00049058796,0.00031061406,0.001281798,0.008103198,0.011443589,0.0005593352,0.0019832482,0.011704974],"category_scores_gemma":[0.0020099662,0.00029847448,0.00017879886,0.0013480893,0.014751771,0.0070523904,0.0042413133,0.004018495,0.0023394255],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025218531,0.000008348379,0.000223481,0.00007464262,0.0000025849768,0.000090912814,0.039859146,0.000034952278,0.00014857572,0.8482417,0.08864077,0.02264967],"study_design_scores_gemma":[0.000002341689,0.0000060250077,0.0002592518,0.000075254204,8.033298e-7,0.000058301037,0.0055891788,0.000008735256,0.000037391026,0.011587428,0.98237187,0.000003394848],"about_ca_topic_score_codex":0.007012048,"about_ca_topic_score_gemma":0.021560356,"teacher_disagreement_score":0.011704974,"about_ca_system_score_codex":0.0053571695,"about_ca_system_score_gemma":0.0019115892,"threshold_uncertainty_score":0.039157093},"labels":[],"label_agreement":null},{"id":"W2489665835","doi":"10.1007/978-94-6209-674-5","title":"See You at the Crossroads: Hip Hop Scholarship at the Intersections","year":2014,"lang":"en","type":"book","venue":"Constructing knowledge: curriculum studies in action","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Scholarship; Political science; Law","score_opus":0.09076238312738975,"score_gpt":0.3204997157917315,"score_spread":0.2297373326643417,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2489665835","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.019546598,0.052152093,0.0025905706,0.12197333,0.007770441,0.00005548863,0.000027976334,0.00012392215,0.7957596],"genre_scores_gemma":[0.37259075,0.03363265,0.0027440826,0.025098199,0.005478739,0.00014312146,0.000059790174,0.00017184767,0.5600807],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9982097,0.0007546599,0.00003636278,0.00009724895,0.0006120107,0.00029002977],"domain_scores_gemma":[0.99814916,0.0009923545,0.000074113625,0.00011507517,0.00023287472,0.00043642614],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021165784,0.00037276116,0.00046239878,0.0015912941,0.009525072,0.014011977,0.00082871935,0.002949947,0.00983708],"category_scores_gemma":[0.003788966,0.00023365278,0.00025260978,0.0018543431,0.018721808,0.010650043,0.009519334,0.006696704,0.0018985141],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017672068,0.000053264146,0.00035485887,0.00017979188,0.0000044872268,0.00021671782,0.049456596,0.000121715704,0.00013306104,0.7505944,0.13724382,0.06162365],"study_design_scores_gemma":[0.0000059377912,0.00002053527,0.000525,0.0007559505,0.0000057133793,0.00016079987,0.042624272,0.000079511046,0.00019212786,0.1408885,0.81473035,0.000011343746],"about_ca_topic_score_codex":0.0045467997,"about_ca_topic_score_gemma":0.009234086,"teacher_disagreement_score":0.014011977,"about_ca_system_score_codex":0.005911495,"about_ca_system_score_gemma":0.007470561,"threshold_uncertainty_score":0.042891145},"labels":[],"label_agreement":null},{"id":"W2491796927","doi":"10.1007/978-3-319-29877-1_19","title":"An Exploration of Socially Responsible Music Consumption","year":2016,"lang":"en","type":"book-chapter","venue":"Developments in marketing science: proceedings of the Academy of Marketing Science","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Brock University","funders":"","keywords":"Scrutiny; Variety (cybernetics); Consumption (sociology); Social responsibility; Advertising; Popular music; Public relations; Political science; Business; Aesthetics; Art; Visual arts; Law","score_opus":0.07116245763292348,"score_gpt":0.2826016967065681,"score_spread":0.21143923907364462,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2491796927","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14111091,0.0026341453,0.016697807,0.009691052,0.0001532711,0.000034687022,0.00004421762,0.000066881774,0.829567],"genre_scores_gemma":[0.98268557,0.0005352863,0.0013693506,0.0002318023,0.000058006477,0.000019075567,0.000014797048,0.000055505046,0.015030513],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99844885,0.00090340234,0.000026682857,0.00016447419,0.00029979652,0.00015676749],"domain_scores_gemma":[0.9984497,0.00091367867,0.00014232626,0.0002704445,0.0001099638,0.00011378752],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017113041,0.00043081125,0.00025661002,0.0012146744,0.0032988505,0.0069310754,0.0010090182,0.0017694437,0.0072905994],"category_scores_gemma":[0.0032914618,0.00025762,0.0003536246,0.0015344773,0.02017697,0.006192767,0.0034545953,0.001885148,0.00040075413],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014852616,0.000022825532,0.00061312056,0.000023527533,0.0000047481954,0.00007540465,0.019282341,0.0001595519,0.00017214431,0.9692202,0.00087491865,0.009536288],"study_design_scores_gemma":[0.000010037132,0.000021039783,0.002576666,0.000095735755,0.000009445581,0.00015830468,0.02351077,0.0015635963,0.00041027876,0.877501,0.09412736,0.000015827472],"about_ca_topic_score_codex":0.0034628077,"about_ca_topic_score_gemma":0.006121365,"teacher_disagreement_score":0.0072905994,"about_ca_system_score_codex":0.0041080853,"about_ca_system_score_gemma":0.0021805896,"threshold_uncertainty_score":0.029806376},"labels":[],"label_agreement":null},{"id":"W2492047151","doi":"10.1017/cbo9781316145074.009","title":"Taking center stage","year":2016,"lang":"en","type":"book-chapter","venue":"Cambridge University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Center (category theory); Stage (stratigraphy); Medicine; Geology; Chemistry","score_opus":0.0429878640790266,"score_gpt":0.18319674538599243,"score_spread":0.14020888130696582,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2492047151","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0011402414,0.005509915,0.0071959747,0.03233519,0.029398533,0.00024034505,0.00036113424,0.0010451773,0.92277336],"genre_scores_gemma":[0.0048907213,0.0028900711,0.0029504474,0.006845187,0.001959222,0.00006617547,0.00022851086,0.0006379744,0.97953165],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992217,0.000109693305,0.000022094646,0.00013551956,0.00036808892,0.00014302066],"domain_scores_gemma":[0.9988176,0.00010993343,0.000019103694,0.00016372038,0.00040039778,0.0004892057],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015092482,0.0007768054,0.00044156009,0.0007896097,0.0036845955,0.006917979,0.0015093151,0.002304543,0.24116616],"category_scores_gemma":[0.003614045,0.00031880062,0.0006594641,0.0006152053,0.0018897365,0.008224771,0.005137386,0.005989444,0.19006358],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017364915,0.000023220455,0.000056975012,0.00008851628,0.0000015712008,0.000066209635,0.00081341213,0.000027531773,0.0003160262,0.054917548,0.8679157,0.07575598],"study_design_scores_gemma":[0.0000012374792,0.000006474276,0.000043602806,0.00005838112,8.462294e-7,0.000031511587,0.0003029447,0.000008379246,0.00009488788,0.0038857732,0.99556386,0.000002108386],"about_ca_topic_score_codex":0.0031443408,"about_ca_topic_score_gemma":0.0082140155,"teacher_disagreement_score":0.24116616,"about_ca_system_score_codex":0.002122865,"about_ca_system_score_gemma":0.0035388009,"threshold_uncertainty_score":0.8067812},"labels":[],"label_agreement":null},{"id":"W2492865779","doi":"10.1057/9781137557896_7","title":"‘I Forgot to Remember to Forget’ or, ‘Rockabilly Rebel, What Ya Gonna Do’?","year":2016,"lang":"en","type":"book-chapter","venue":"Palgrave Macmillan UK eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Postmodernism; Reflexivity; Aesthetics; Set (abstract data type); Subject (documents); Vocabulary; Sociology; History; Literature; Media studies; Art; Social science; Linguistics; Philosophy; Computer science","score_opus":0.03810732306314463,"score_gpt":0.231105995550988,"score_spread":0.1929986724878434,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2492865779","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.029065503,0.0084859375,0.007300995,0.062984705,0.0064815194,0.00007597479,0.000118091164,0.00028248475,0.88520473],"genre_scores_gemma":[0.32986686,0.006704022,0.0035570108,0.015423864,0.0013405115,0.000092086906,0.00011652071,0.00041069306,0.6424885],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989504,0.00044072472,0.00003420563,0.0001335041,0.00024019626,0.0002010476],"domain_scores_gemma":[0.9993606,0.00025117,0.00008272167,0.00006588269,0.00012015335,0.00011948533],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016318338,0.0006373151,0.00029467914,0.0005447439,0.0038581335,0.0048884293,0.0007493715,0.0016189504,0.020033197],"category_scores_gemma":[0.004023059,0.00017736555,0.00026465865,0.0004074197,0.011483257,0.0053655426,0.0023870866,0.0041225194,0.01070321],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001047619,0.000054683172,0.0015587781,0.00036119268,0.000016218792,0.0007685742,0.18260784,0.000115244795,0.0012137096,0.43348235,0.24887158,0.13084505],"study_design_scores_gemma":[0.0000066488706,0.00004283507,0.00085801544,0.00041243833,0.0000057734,0.00067953335,0.0824979,0.00010020225,0.0003262989,0.021176545,0.8938698,0.000023893865],"about_ca_topic_score_codex":0.0044651823,"about_ca_topic_score_gemma":0.009933515,"teacher_disagreement_score":0.020033197,"about_ca_system_score_codex":0.0014370894,"about_ca_system_score_gemma":0.0013273446,"threshold_uncertainty_score":0.06701779},"labels":[],"label_agreement":null},{"id":"W2495442752","doi":"10.1093/acprof:osobl/9780199832583.003.0013","title":"“She’s a Sleeping Beast”","year":2013,"lang":"en","type":"book-chapter","venue":"Oxford University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History; Geography","score_opus":0.03551540855657138,"score_gpt":0.1656582353014632,"score_spread":0.13014282674489183,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2495442752","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008782133,0.009149286,0.002294446,0.008919125,0.0019436949,0.000032497737,0.0000780225,0.00013577551,0.968665],"genre_scores_gemma":[0.10421902,0.005295344,0.0010936813,0.0028344705,0.00042769668,0.000031328742,0.000068908084,0.0001699549,0.88585967],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996644,0.00010655293,0.0000057926377,0.000046488527,0.00011298657,0.000063756015],"domain_scores_gemma":[0.99984455,0.000043614986,0.000008541554,0.000013882702,0.000048155995,0.00004117877],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003554603,0.00045016,0.00021667562,0.0004328039,0.003943159,0.0030239453,0.0004379646,0.0009096248,0.037537508],"category_scores_gemma":[0.0006890909,0.00016117576,0.00014117449,0.00036738635,0.004006393,0.002211821,0.0013813298,0.002643249,0.009543399],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000052057243,0.000032180116,0.0005049212,0.0002727524,0.000008278294,0.0005861768,0.08911803,0.000093908166,0.0015347517,0.32278463,0.43289545,0.1521169],"study_design_scores_gemma":[0.0000011490699,0.000007913142,0.00025906277,0.00012291026,0.0000015668581,0.00022872306,0.007836511,0.000023480818,0.0001559805,0.002246245,0.98911333,0.0000031513641],"about_ca_topic_score_codex":0.009592594,"about_ca_topic_score_gemma":0.022385616,"teacher_disagreement_score":0.037537508,"about_ca_system_score_codex":0.0017730176,"about_ca_system_score_gemma":0.0009048493,"threshold_uncertainty_score":0.12557548},"labels":[],"label_agreement":null},{"id":"W2495914438","doi":"10.1017/cbo9781316145074.017","title":"Way beyond wood and skin","year":2016,"lang":"en","type":"book-chapter","venue":"Cambridge University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Art","score_opus":0.019495675153304522,"score_gpt":0.1597084551069834,"score_spread":0.14021277995367887,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2495914438","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0009747341,0.025790153,0.0021764114,0.011627021,0.0045204824,0.000014482126,0.000074917385,0.00017177372,0.95465],"genre_scores_gemma":[0.020067502,0.0124090435,0.0013440485,0.004342576,0.00095210003,0.000015551761,0.00006190912,0.00030162386,0.96050566],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997383,0.00006813058,0.000006036631,0.000053799187,0.00007736738,0.00005638875],"domain_scores_gemma":[0.99980134,0.000050027902,0.000006307901,0.00003907146,0.00004537684,0.000057836132],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00037751682,0.00053785666,0.0003880994,0.0007423126,0.0030036515,0.006703095,0.0005706947,0.0014670269,0.08539955],"category_scores_gemma":[0.00090740575,0.00021631994,0.00035834627,0.00057493,0.0035257717,0.007709693,0.002641737,0.0035717732,0.031832084],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003085025,0.000019670671,0.000089371904,0.00017112015,0.0000040976897,0.00011836941,0.003828367,0.00007482387,0.00042640205,0.43851823,0.42115775,0.13556106],"study_design_scores_gemma":[8.068261e-7,0.0000030555327,0.000031855692,0.00010782368,7.4582783e-7,0.00003752802,0.00047805993,0.000009613191,0.0000470873,0.013518485,0.9857633,0.0000016465044],"about_ca_topic_score_codex":0.0031880294,"about_ca_topic_score_gemma":0.009952377,"teacher_disagreement_score":0.08539955,"about_ca_system_score_codex":0.0013380578,"about_ca_system_score_gemma":0.0013735847,"threshold_uncertainty_score":0.28568995},"labels":[],"label_agreement":null},{"id":"W2497815259","doi":"10.1017/ccol9780521801928.008","title":"The turn to noise: rock guitar from the 1950s to the 1970s","year":2003,"lang":"en","type":"book-chapter","venue":"Cambridge University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":9,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Calgary","funders":"","keywords":"Guitar; Memphis; Rocket (weapon); History; Colossus computer; Sound (geography); Engineering; Art; Acoustics; Visual arts; Geology; Archaeology; Computer science; Physics","score_opus":0.02683785361673216,"score_gpt":0.17046917766722444,"score_spread":0.14363132405049228,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2497815259","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.32040873,0.043661144,0.0029004838,0.02761335,0.002962096,0.000041778778,0.0004085102,0.0002884394,0.6017155],"genre_scores_gemma":[0.87339854,0.012187968,0.00065375876,0.004819286,0.0014934876,0.000041071005,0.00017438665,0.00024986998,0.106981575],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99886835,0.00022401224,0.000031680254,0.00022838822,0.00035968187,0.00028787725],"domain_scores_gemma":[0.9990502,0.00043203248,0.00008308475,0.00006581979,0.00019472245,0.00017409355],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011447857,0.0005846825,0.00032172658,0.0017120569,0.0058312165,0.0049628853,0.00070522074,0.002021654,0.01135386],"category_scores_gemma":[0.003158681,0.00034011176,0.00021301892,0.0010273042,0.0064445594,0.0024309268,0.0030306245,0.003203333,0.0030743275],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0008702255,0.00022936649,0.012471345,0.00071572594,0.00005139707,0.0048935274,0.34927106,0.0005670458,0.0038513541,0.2787161,0.08430566,0.26405716],"study_design_scores_gemma":[0.000028162447,0.00015506789,0.016812615,0.00068914524,0.000023641927,0.00084510393,0.04095276,0.00018426553,0.0009705654,0.0055799503,0.93370473,0.000054000913],"about_ca_topic_score_codex":0.059927154,"about_ca_topic_score_gemma":0.12653403,"teacher_disagreement_score":0.059927154,"about_ca_system_score_codex":0.0055182683,"about_ca_system_score_gemma":0.0014869403,"threshold_uncertainty_score":0.11915672},"labels":[],"label_agreement":null},{"id":"W2498760789","doi":"10.1017/cbo9781316145074.004","title":"Marimba revolution","year":2016,"lang":"en","type":"book-chapter","venue":"Cambridge University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Art","score_opus":0.028659921776898457,"score_gpt":0.16424572479031802,"score_spread":0.13558580301341955,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2498760789","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0053415857,0.016325692,0.00027846135,0.0062768096,0.00069923507,0.000033372417,0.0002721112,0.000112724425,0.97066003],"genre_scores_gemma":[0.06595947,0.0090418365,0.00061308465,0.0015737136,0.00021550307,0.0000848663,0.00017873125,0.000147353,0.92218554],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.999798,0.00002638087,0.0000041769426,0.000034194352,0.000053750908,0.0000835685],"domain_scores_gemma":[0.99994826,0.000007496957,0.0000065191552,0.000012762001,0.000011096567,0.000013825409],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00020730533,0.00039491523,0.0002546772,0.0009215556,0.0032220082,0.0029522704,0.00039272368,0.0008986232,0.05687669],"category_scores_gemma":[0.00066405546,0.00023290634,0.00029624617,0.0010089077,0.0013950797,0.0012755843,0.002149666,0.0019160267,0.010890713],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000103512706,0.00002307811,0.00046398386,0.00047049433,0.000013152509,0.00054292876,0.0050157425,0.00011012892,0.0017900824,0.5353438,0.32392964,0.13219331],"study_design_scores_gemma":[0.0000022791678,0.0000023095465,0.0007837323,0.00010849317,0.0000018082617,0.000052599135,0.0001983761,0.000011989822,0.00008865094,0.001517724,0.99722964,0.0000023344073],"about_ca_topic_score_codex":0.043204393,"about_ca_topic_score_gemma":0.10633912,"teacher_disagreement_score":0.05687669,"about_ca_system_score_codex":0.005863651,"about_ca_system_score_gemma":0.0022521922,"threshold_uncertainty_score":0.1902715},"labels":[],"label_agreement":null},{"id":"W2501933268","doi":"10.1017/ccol9780521801928.009","title":"Contesting virtuosity: rock guitar since 1976","year":2003,"lang":"en","type":"book-chapter","venue":"Cambridge University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":11,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Calgary","funders":"","keywords":"Guitar; Punk; Chord (peer-to-peer); Foregrounding; Rock music; Art; Visual arts; Popular music; Literature; Art history; Computer science; Acoustics; Physics","score_opus":0.03928853147886536,"score_gpt":0.17238636172990168,"score_spread":0.13309783025103633,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2501933268","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.15615147,0.03255522,0.0012927899,0.019388082,0.0014544408,0.000017054448,0.000034380886,0.00007284844,0.78903365],"genre_scores_gemma":[0.84989506,0.006257052,0.00043075052,0.0019113019,0.00046474213,0.000017338969,0.000020030595,0.00006573594,0.14093795],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99862087,0.0004696634,0.000037807804,0.00022954358,0.0003042531,0.00033783482],"domain_scores_gemma":[0.99904674,0.00043048908,0.00007797356,0.00007029318,0.00011122616,0.0002631705],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015552938,0.00031047463,0.00029101525,0.0007498586,0.008599296,0.0069331108,0.000554832,0.0012782034,0.007081825],"category_scores_gemma":[0.0026182486,0.00023322324,0.00012888797,0.0008233324,0.012738805,0.0027008948,0.0026495077,0.0025684505,0.0010909666],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018258313,0.000044598306,0.0018537433,0.00013506637,0.000010190421,0.001184911,0.13361748,0.00015092565,0.00082370907,0.74525905,0.026809102,0.089928724],"study_design_scores_gemma":[0.000021964466,0.00009865246,0.004006509,0.00024910763,0.0000068862996,0.0006605258,0.025084969,0.000118006814,0.00078278675,0.022319386,0.9466168,0.000034384117],"about_ca_topic_score_codex":0.027827486,"about_ca_topic_score_gemma":0.05247392,"teacher_disagreement_score":0.027827486,"about_ca_system_score_codex":0.006319339,"about_ca_system_score_gemma":0.0017434309,"threshold_uncertainty_score":0.05533105},"labels":[],"label_agreement":null},{"id":"W2504231537","doi":"10.4018/978-1-4666-5206-4.ch022","title":"The Dark Ecology of Black Metal","year":2014,"lang":"en","type":"book-chapter","venue":"Advances in social networking and online communities book series","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Mores; Antipathy; Feeling; Aesthetics; Epistemology; Art; Philosophy; Politics; Political science; Law","score_opus":0.02775798723112088,"score_gpt":0.2439428454951975,"score_spread":0.21618485826407663,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2504231537","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.051012073,0.012950847,0.004591769,0.016539138,0.0011199983,0.000023649614,0.00003808068,0.00013949434,0.91358495],"genre_scores_gemma":[0.5636428,0.008375477,0.003051643,0.0052024657,0.0006209221,0.000041602914,0.00003558459,0.00027358872,0.41875592],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99945503,0.00018958237,0.00000944844,0.0001020093,0.00013962312,0.00010431332],"domain_scores_gemma":[0.99967265,0.00012491675,0.00003094889,0.000050099185,0.000053682492,0.00006775382],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00069436606,0.0005765911,0.00026704939,0.0012608982,0.0069938437,0.007638807,0.00071460666,0.0017552318,0.015253741],"category_scores_gemma":[0.0011616306,0.00025493786,0.00019616469,0.0009271381,0.014692481,0.004479413,0.004427556,0.0021973387,0.0023026776],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000087112836,0.0000222051,0.0004359902,0.00017243244,0.0000075995918,0.00028695265,0.043313973,0.000113364906,0.0012142312,0.8733862,0.028146792,0.052813224],"study_design_scores_gemma":[0.000009643648,0.000029565475,0.0006857054,0.00028216676,0.0000069217635,0.00027324868,0.01457858,0.0001837923,0.0008840702,0.10484195,0.87821215,0.000012160291],"about_ca_topic_score_codex":0.004205951,"about_ca_topic_score_gemma":0.009578791,"teacher_disagreement_score":0.015253741,"about_ca_system_score_codex":0.0022978724,"about_ca_system_score_gemma":0.0014289811,"threshold_uncertainty_score":0.051028907},"labels":[],"label_agreement":null},{"id":"W2504297718","doi":"10.1017/cbo9781316145074.020","title":"The gamelanbeleganjur as Balinese percussion ensemble","year":2016,"lang":"en","type":"book-chapter","venue":"Cambridge University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Percussion; Geography; Computer science; Physics; Acoustics","score_opus":0.022439786382203116,"score_gpt":0.18166163258922854,"score_spread":0.15922184620702542,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2504297718","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.01239841,0.004476081,0.0016132982,0.0011487522,0.0012574148,0.000040382198,0.00007687196,0.00010551052,0.9788832],"genre_scores_gemma":[0.07692787,0.0041107624,0.0018555474,0.0004296197,0.0003415347,0.000039043356,0.0001431497,0.00017077752,0.9159817],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998386,0.000034928336,0.000005430055,0.000031885276,0.000057232748,0.000031870866],"domain_scores_gemma":[0.99996066,0.000006375462,0.0000020372345,0.0000055293967,0.000009266887,0.000016066017],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00025569857,0.000601038,0.00024828903,0.0006225129,0.0035490773,0.0026023635,0.0005189946,0.00062861777,0.044112656],"category_scores_gemma":[0.00029728794,0.00014738356,0.00016403398,0.0005717875,0.001414554,0.0016461499,0.0023559704,0.0014147548,0.010193878],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00020176564,0.00009196289,0.0012668816,0.0005756894,0.000016121689,0.0008738903,0.028094262,0.0003269205,0.0026983537,0.28414708,0.21532114,0.4663859],"study_design_scores_gemma":[0.000004366203,0.000038063223,0.001167389,0.0002521577,0.000003996723,0.0002888062,0.0037133847,0.00008798395,0.0003391464,0.0035172126,0.9905813,0.0000061439364],"about_ca_topic_score_codex":0.0035681487,"about_ca_topic_score_gemma":0.028508201,"teacher_disagreement_score":0.044112656,"about_ca_system_score_codex":0.00087806163,"about_ca_system_score_gemma":0.0008582237,"threshold_uncertainty_score":0.1475715},"labels":[],"label_agreement":null},{"id":"W2505487763","doi":"10.1017/cco9781107284333.012","title":"Popular Genres and Lesbian (Sub)Cultures: From Pulp to Crime, and Beyond","year":2015,"lang":"en","type":"book-chapter","venue":"Cambridge University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Lesbian; Pulp (tooth); Sociology; Criminology; Art; Gender studies; Dentistry; Medicine","score_opus":0.040681379072101245,"score_gpt":0.194143006362783,"score_spread":0.15346162729068175,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2505487763","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.035267543,0.095337175,0.0003847433,0.0051601063,0.0012497465,0.000019301151,0.0001284732,0.000043031487,0.86240995],"genre_scores_gemma":[0.3005357,0.11280116,0.000595118,0.0030078886,0.0015782017,0.00006599721,0.00018933193,0.00019625694,0.58103037],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997038,0.00013875288,0.000011116125,0.000025093543,0.0000669223,0.000054289587],"domain_scores_gemma":[0.9997228,0.000115068244,0.00002637056,0.00001954958,0.000046787736,0.0000694579],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00041641112,0.00048772994,0.0004087673,0.0016233488,0.0030937924,0.006783369,0.00037178324,0.0005724186,0.03314767],"category_scores_gemma":[0.0008791571,0.00018224092,0.00015153039,0.0023673433,0.0025376834,0.0027552356,0.0018507747,0.0013383178,0.003402978],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014553404,0.00011858335,0.0037571902,0.0012524773,0.000027137568,0.0006277578,0.14590587,0.000070496506,0.0010004035,0.34669983,0.169889,0.3305057],"study_design_scores_gemma":[0.00000898963,0.00005246259,0.0089880545,0.0019546873,0.000015030927,0.0005621808,0.08091544,0.00005442141,0.00033136024,0.013945959,0.89315623,0.000015217013],"about_ca_topic_score_codex":0.0045965444,"about_ca_topic_score_gemma":0.013778844,"teacher_disagreement_score":0.03314767,"about_ca_system_score_codex":0.0011068064,"about_ca_system_score_gemma":0.0008078803,"threshold_uncertainty_score":0.11088997},"labels":[],"label_agreement":null},{"id":"W2505691639","doi":"10.1017/cbo9781316145074.006","title":"The percussion industry","year":2016,"lang":"en","type":"book-chapter","venue":"Cambridge University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Percussion; Computer science; Acoustics; Physics","score_opus":0.030603516900732878,"score_gpt":0.17379776898996915,"score_spread":0.14319425208923628,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2505691639","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00096144807,0.024170276,0.00053420634,0.0034928534,0.001767404,0.000029693287,0.00017441846,0.00010912841,0.96876067],"genre_scores_gemma":[0.0036160871,0.01610878,0.00025727187,0.00045263808,0.00036734855,0.000011997565,0.00013214053,0.000051274696,0.97900236],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99937016,0.00003863194,0.000021187665,0.000072685674,0.00040932102,0.00008797677],"domain_scores_gemma":[0.9997154,0.000039662147,0.000018063261,0.000029370583,0.00010789117,0.00008960876],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00045390232,0.00065146876,0.00028832263,0.0018671368,0.0020860496,0.004654498,0.00087670906,0.0014195883,0.24933186],"category_scores_gemma":[0.0010510815,0.00029762427,0.0003434239,0.0028941543,0.00089878635,0.002996126,0.0028995369,0.0014997042,0.10341727],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000031901458,0.000037460628,0.00022943763,0.000521527,0.0000036272666,0.00012937562,0.00084594486,0.000055617766,0.00060869096,0.04620272,0.56836134,0.3829724],"study_design_scores_gemma":[9.151785e-7,0.000004993654,0.00018574965,0.00011840332,5.6704386e-7,0.000056159326,0.00017533336,0.000007599447,0.00007659894,0.0009260375,0.9984463,0.0000013318944],"about_ca_topic_score_codex":0.006215938,"about_ca_topic_score_gemma":0.01715847,"teacher_disagreement_score":0.24933186,"about_ca_system_score_codex":0.0018661551,"about_ca_system_score_gemma":0.002590515,"threshold_uncertainty_score":0.83409816},"labels":[],"label_agreement":null},{"id":"W2506422090","doi":"10.2307/2586228","title":"Acting in Concert: Music, Community, and Political Action. By Mark Mattern. New Brunswick, NJ: Rutgers University Press, 1998. 240p. $50.00 cloth, $20.00 paper.","year":2000,"lang":"en","type":"article","venue":"American Political Science Review","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"University of Montana","keywords":"Action (physics); Politics; Political action; Media studies; Content (measure theory); Political science; Sociology; Art; Law; Mathematics","score_opus":0.04050179313464677,"score_gpt":0.27223105470299735,"score_spread":0.23172926156835058,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2506422090","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00015477368,0.97992504,0.00010788769,0.011371784,0.001394807,0.000006723774,0.000085628344,0.00001685116,0.0069365054],"genre_scores_gemma":[0.007301719,0.95218855,0.00037127684,0.0032413993,0.0024381406,0.000029915707,0.00017595859,0.000027008866,0.034225915],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995554,0.00014265017,0.00003794267,0.00005777164,0.00015135585,0.000054941862],"domain_scores_gemma":[0.9990388,0.00041589467,0.00017147446,0.000043699576,0.0001708382,0.00015928214],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012726857,0.002168413,0.0011356566,0.0037298647,0.0014499638,0.003134353,0.0013021816,0.0023634746,0.029058183],"category_scores_gemma":[0.002228287,0.0013891323,0.00046428738,0.006710039,0.0028295508,0.0056676287,0.0014748253,0.0027481136,0.010382408],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000051035207,0.00003074043,0.00052716787,0.0013636607,0.00003976074,0.000053688545,0.00056032,0.00015186382,0.00014282757,0.005943005,0.84176075,0.14937514],"study_design_scores_gemma":[0.000025038607,0.000036172903,0.008348114,0.0033476986,0.000051660656,0.00047147283,0.0014770513,0.00013541516,0.00011710837,0.009224975,0.97673756,0.00002781732],"about_ca_topic_score_codex":0.048096254,"about_ca_topic_score_gemma":0.13179086,"teacher_disagreement_score":0.048096254,"about_ca_system_score_codex":0.0032620078,"about_ca_system_score_gemma":0.0027541271,"threshold_uncertainty_score":0.097209334},"labels":[],"label_agreement":null},{"id":"W2507366438","doi":"","title":"Postdoctoral Pathways: From Powwow to Gregorian Chant","year":2009,"lang":"fr","type":"article","venue":"Canadian Folk Music / Musique folklorique canadienne","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Cape Breton University","funders":"","keywords":"Geology","score_opus":0.02772098537209733,"score_gpt":0.1893708318186304,"score_spread":0.16164984644653307,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2507366438","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0048548556,0.0038511725,0.0009897422,0.81433445,0.073859915,0.00025688086,0.00046899126,0.0003989573,0.100985005],"genre_scores_gemma":[0.021121396,0.0027881877,0.0011304697,0.18263955,0.006511927,0.00021827967,0.00025063386,0.00034508924,0.7849943],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9952514,0.00050555146,0.00008265287,0.0004888137,0.0013998403,0.0022716701],"domain_scores_gemma":[0.94017994,0.00053772033,0.00026994682,0.0003372133,0.003281074,0.055393998],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005113147,0.00066633325,0.0005165994,0.0011052176,0.023611829,0.008470978,0.0020821474,0.006815322,0.2118852],"category_scores_gemma":[0.010034561,0.0007661073,0.00060797104,0.0009798729,0.0043319114,0.0050119013,0.012453551,0.01190712,0.04801452],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000026698366,0.000043794524,0.00038283493,0.000014385186,0.000002073118,0.00013476162,0.00046275786,0.000013102858,0.0001138718,0.0021251747,0.9855274,0.011153076],"study_design_scores_gemma":[0.00002474588,0.000031793283,0.001207787,0.000073069015,0.0000028592895,0.00009384038,0.0043079224,0.000028255452,0.00004583409,0.0015909343,0.9925748,0.000018164155],"about_ca_topic_score_codex":0.18041235,"about_ca_topic_score_gemma":0.56694925,"teacher_disagreement_score":0.2118852,"about_ca_system_score_codex":0.011996697,"about_ca_system_score_gemma":0.093307495,"threshold_uncertainty_score":0.7088266},"labels":[],"label_agreement":null},{"id":"W2508520772","doi":"10.25071/1708-6701.34452","title":"Still Rollin’ - Mike Murley Septet (CD Review)","year":2011,"lang":"fr","type":"article","venue":"CAML Review / Revue de l ACBM","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Dermatology; Medicine","score_opus":0.059501046249349855,"score_gpt":0.24187855785354742,"score_spread":0.18237751160419757,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2508520772","genre_codex":"review","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00021452577,0.63263816,0.00046786387,0.16304845,0.18021846,0.000093128525,0.00038520995,0.00015916748,0.022775004],"genre_scores_gemma":[0.004519275,0.37638065,0.0012551028,0.23457305,0.13251497,0.00026538983,0.0006656018,0.00012268792,0.2497033],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991736,0.00019664301,0.00006990445,0.00011810813,0.0003250941,0.000116655334],"domain_scores_gemma":[0.9974642,0.0006248388,0.00027182492,0.00009462117,0.0010865885,0.00045791452],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018342816,0.0008902573,0.0010802937,0.0016819966,0.00073709444,0.0024968004,0.0014030595,0.003976143,0.06290413],"category_scores_gemma":[0.0068730903,0.00046856474,0.00076802395,0.0013959251,0.000749969,0.0031669391,0.002227492,0.003545169,0.034807935],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000029713785,0.000004615353,0.000021215305,0.00048304876,0.000008812173,0.000037022946,0.000008391131,0.000007448408,0.00006675841,0.00033539167,0.9541514,0.044846117],"study_design_scores_gemma":[0.000030212948,0.000019542435,0.00015664865,0.000689138,0.000018159148,0.0001642948,0.000019067138,0.0000075859025,0.000044804554,0.00032554238,0.9985191,0.000005862155],"about_ca_topic_score_codex":0.0023898135,"about_ca_topic_score_gemma":0.006855897,"teacher_disagreement_score":0.06290413,"about_ca_system_score_codex":0.0011820394,"about_ca_system_score_gemma":0.0024457066,"threshold_uncertainty_score":0.21043527},"labels":[],"label_agreement":null},{"id":"W2511020059","doi":"10.7202/1036373ar","title":"La comète Piu Piu","year":2016,"lang":"fr","type":"article","venue":"Anthropologie et Sociétés","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Political science","score_opus":0.2265430424396179,"score_gpt":0.5074053720000387,"score_spread":0.2808623295604208,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2511020059","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11288089,0.0027133857,0.007396125,0.012202984,0.0011634261,0.00014020567,0.000427962,0.00025848043,0.8628166],"genre_scores_gemma":[0.5840498,0.0022541725,0.0034618853,0.0024411927,0.0004200865,0.00018226358,0.0004511067,0.0003859146,0.40635353],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9981193,0.00041719546,0.000030073843,0.00028868922,0.0006459235,0.00049875455],"domain_scores_gemma":[0.9985915,0.00029297767,0.00012760136,0.00013019181,0.000416092,0.0004416778],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001238007,0.0005856725,0.00039254178,0.0015252815,0.01172555,0.009747434,0.0009403218,0.0017133403,0.035739433],"category_scores_gemma":[0.003044581,0.00029418257,0.00046087443,0.0019352362,0.0069291526,0.004254498,0.004881816,0.0027187944,0.005918378],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016466834,0.00007133224,0.014395134,0.00032691308,0.000035322624,0.002346536,0.22272982,0.00025615655,0.0016730527,0.5921343,0.06291834,0.102948315],"study_design_scores_gemma":[0.000007564921,0.00003337615,0.008724809,0.000183069,0.0000117485215,0.0005114012,0.050593995,0.00015457028,0.00040853376,0.0056596724,0.9336903,0.000020913965],"about_ca_topic_score_codex":0.07940821,"about_ca_topic_score_gemma":0.13523938,"teacher_disagreement_score":0.07940821,"about_ca_system_score_codex":0.008484526,"about_ca_system_score_gemma":0.007642326,"threshold_uncertainty_score":0.15789205},"labels":[],"label_agreement":null},{"id":"W2511067155","doi":"10.5325/studamerjewilite.35.2.0233","title":"The Sound of “New Jews”: David Rakoff and Jonathan Goldstein","year":2016,"lang":"en","type":"article","venue":"Studies in American Jewish Literature (1981-)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Rubric; Representation (politics); History; Sound (geography); Literature; Sociology; Art history; Art; Law; Political science","score_opus":0.03577691065758178,"score_gpt":0.2736336934987851,"score_spread":0.2378567828412033,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2511067155","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.51288,0.028377434,0.0012896642,0.10194949,0.0024766156,0.00004792746,0.00013233321,0.00009003324,0.35275653],"genre_scores_gemma":[0.95641804,0.0039143427,0.00052422896,0.004889836,0.00035588854,0.000012417726,0.00002447875,0.000026216947,0.033834554],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985273,0.0005898661,0.000017416422,0.00011855903,0.00043086478,0.00031597924],"domain_scores_gemma":[0.9984635,0.00057451974,0.0000851518,0.000057137247,0.0005520086,0.0002677539],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020745648,0.00029356952,0.00021522299,0.0017293114,0.01882592,0.0049190293,0.00083082094,0.0014715105,0.0033782255],"category_scores_gemma":[0.0026295346,0.00015477015,0.00007884269,0.0013033052,0.015088748,0.0012380547,0.0012528743,0.0017609549,0.0004084496],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001102955,0.000050897965,0.007595928,0.0001064326,0.0000133534395,0.00093452405,0.6235449,0.00010372298,0.001494701,0.18843564,0.12954481,0.048064895],"study_design_scores_gemma":[0.000011165757,0.000035761408,0.010176952,0.00027134304,0.00001562427,0.00044938328,0.4265741,0.00010402515,0.00072986505,0.004979545,0.5566118,0.000040497103],"about_ca_topic_score_codex":0.5627856,"about_ca_topic_score_gemma":0.744815,"teacher_disagreement_score":0.5627856,"about_ca_system_score_codex":0.01636088,"about_ca_system_score_gemma":0.00865597,"threshold_uncertainty_score":0.8795784},"labels":[],"label_agreement":null},{"id":"W2515667865","doi":"10.1386/mms.2.3.341_1","title":"Community at the extremes: The death metal underground as being-in-common","year":2016,"lang":"en","type":"article","venue":"Metal Music Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":48,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Presupposition; Materiality (auditing); Agency (philosophy); Politics; Sociology; Humanism; Aesthetics; Focus (optics); Environmental ethics; Epistemology; Social science; Law; Political science; Art; Philosophy","score_opus":0.15754408886892915,"score_gpt":0.2867453519378865,"score_spread":0.12920126306895732,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2515667865","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.62398434,0.0031857053,0.0071678264,0.017009951,0.00035909264,0.00002831747,0.00004620455,0.00005152273,0.34816703],"genre_scores_gemma":[0.9953361,0.00016505444,0.00021898132,0.00023987972,0.000028255428,0.000003512076,0.000005221851,0.000014696137,0.0039882986],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9967326,0.0019324835,0.00006170717,0.0003331271,0.0004939237,0.00044623227],"domain_scores_gemma":[0.9972983,0.0012954619,0.00028849742,0.0003905757,0.00023517164,0.0004919699],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003227891,0.00029412704,0.00038527625,0.0016435315,0.011377789,0.010453438,0.0010019557,0.0021526774,0.0059851],"category_scores_gemma":[0.004738017,0.00024658054,0.00019784171,0.0009547799,0.060339905,0.009891112,0.008905271,0.0032326952,0.00038936772],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006532278,0.000019615665,0.0015953531,0.000059102367,0.0000055071523,0.00041859903,0.550283,0.00009181564,0.0005863952,0.43198243,0.0033088417,0.01158399],"study_design_scores_gemma":[0.000015021277,0.00005717614,0.0028865414,0.00024174199,0.000009280041,0.0005961085,0.6675377,0.00028424565,0.000534445,0.1292871,0.19851753,0.0000331644],"about_ca_topic_score_codex":0.004127763,"about_ca_topic_score_gemma":0.0079083275,"teacher_disagreement_score":0.011377789,"about_ca_system_score_codex":0.0033759514,"about_ca_system_score_gemma":0.0012917792,"threshold_uncertainty_score":0.02449435},"labels":[],"label_agreement":null},{"id":"W2516599655","doi":"10.1558/jazz.v9i2.30279","title":"1939 Ferriday archtop","year":2016,"lang":"en","type":"article","venue":"Jazz Research Journal","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Jazz; Guitar; Visual arts; Art history; History; Performance art; Art; Management","score_opus":0.22038161520011718,"score_gpt":0.3536429775172232,"score_spread":0.133261362317106,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2516599655","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.015752884,0.0065110973,0.00042745675,0.0071438057,0.0064958464,0.000064932006,0.0036766587,0.00048828963,0.9594391],"genre_scores_gemma":[0.02368967,0.0009037075,0.00019775216,0.0005479136,0.00017027753,0.0000073094407,0.00041395525,0.00013383325,0.9739354],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99945897,0.000022573802,0.000010663923,0.00007484151,0.0002428575,0.00019011395],"domain_scores_gemma":[0.9996513,0.000016550533,0.000010562967,0.00002338674,0.0001539127,0.00014413781],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00041432405,0.00058563286,0.00034167545,0.0015936686,0.017522465,0.004828053,0.000902589,0.0012363265,0.1725476],"category_scores_gemma":[0.001229735,0.00027529776,0.00037229966,0.0013009538,0.0023246894,0.0012694873,0.0025706247,0.0020834387,0.03432417],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017647259,0.000019683494,0.0017074631,0.00012949323,0.000009584026,0.0014671905,0.008754755,0.000057393645,0.00086406944,0.034269717,0.8919195,0.060624618],"study_design_scores_gemma":[0.0000014520043,0.0000051059837,0.0015287941,0.000035136334,0.000001451625,0.000096059906,0.0012533838,0.000005808516,0.000114630464,0.00018342475,0.99676883,0.0000059570734],"about_ca_topic_score_codex":0.7658737,"about_ca_topic_score_gemma":0.951291,"teacher_disagreement_score":0.7658737,"about_ca_system_score_codex":0.017815525,"about_ca_system_score_gemma":0.00951513,"threshold_uncertainty_score":0.5772292},"labels":[],"label_agreement":null},{"id":"W2516960846","doi":"10.1386/punk.5.1.67_1","title":"Towards a field theory of punk","year":2016,"lang":"en","type":"article","venue":"Punk & Post Punk","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":13,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Trent University","funders":"","keywords":"Punk; Subculture (biology); Habitus; Field (mathematics); Sociology; Epistemology; Aesthetics; Social science; Art; Philosophy; Art history; Mathematics; Cultural capital","score_opus":0.0200858626407931,"score_gpt":0.20079553325031796,"score_spread":0.18070967060952486,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2516960846","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08081432,0.0042939098,0.16627528,0.021447403,0.00055072096,0.00015883635,0.00007019978,0.00014889026,0.7262405],"genre_scores_gemma":[0.97280955,0.0010294546,0.015736924,0.000620668,0.00015477638,0.00013230823,0.000025345516,0.000034747107,0.0094561],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99584407,0.0031962225,0.00008196433,0.00030888032,0.00030920128,0.0002596468],"domain_scores_gemma":[0.99330693,0.004594837,0.00039693314,0.0005968682,0.0006065266,0.0004979467],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00568173,0.00044261405,0.0005687895,0.0036246052,0.0048845434,0.008162338,0.0016009338,0.0022733558,0.0073304567],"category_scores_gemma":[0.00489048,0.00041127764,0.0005610984,0.002424574,0.038843457,0.01170398,0.003665371,0.004581808,0.0005751175],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000041288863,0.00001249959,0.00016478944,0.000019106405,8.110164e-7,0.000018827812,0.0035823472,0.0001259272,0.00001818508,0.9936035,0.00023476942,0.0022150136],"study_design_scores_gemma":[0.000010621481,0.00001484824,0.00031462533,0.000091500784,0.0000016050619,0.000054230622,0.0062820017,0.0008652243,0.000034098837,0.9763516,0.015974639,0.0000048675597],"about_ca_topic_score_codex":0.002268903,"about_ca_topic_score_gemma":0.0016636422,"teacher_disagreement_score":0.008162338,"about_ca_system_score_codex":0.005527312,"about_ca_system_score_gemma":0.0031687927,"threshold_uncertainty_score":0.040103674},"labels":[],"label_agreement":null},{"id":"W2520453120","doi":"10.25071/1708-6701.23412","title":"The Music of Joni Mitchell (Book Review)","year":2010,"lang":"fr","type":"article","venue":"CAML Review / Revue de l ACBM","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Art history; Visual arts; Computer science","score_opus":0.018223957961979006,"score_gpt":0.2295992820413025,"score_spread":0.2113753240793235,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2520453120","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00008271378,0.88581175,0.000131701,0.035755485,0.04247512,0.000021654194,0.00008391799,0.000039507246,0.03559819],"genre_scores_gemma":[0.0022601993,0.692619,0.00045541103,0.042651743,0.054595698,0.00007978048,0.00018792298,0.00008102788,0.20706931],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993332,0.00009690062,0.000042209387,0.000081113656,0.00038895183,0.000057625923],"domain_scores_gemma":[0.9989524,0.00030647655,0.00011308163,0.000042143118,0.00039480662,0.00019104313],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009851026,0.0007400457,0.00093442603,0.0028541759,0.0010005749,0.003691897,0.0014083894,0.00301366,0.037419967],"category_scores_gemma":[0.0039464715,0.0004544032,0.00038877595,0.0032577282,0.0012273011,0.0028449774,0.0017416717,0.003677691,0.026889749],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010422514,0.0000053411077,0.000018198783,0.00044490793,0.0000043568407,0.000028771887,0.000027178578,0.000009358947,0.000042253072,0.0013074949,0.9550863,0.04301539],"study_design_scores_gemma":[0.000004329813,0.0000035249573,0.00010967546,0.0003787979,0.0000040341515,0.000090475565,0.000020492935,0.0000021555811,0.000011493533,0.000245055,0.9991277,0.0000022482964],"about_ca_topic_score_codex":0.006245176,"about_ca_topic_score_gemma":0.019717233,"teacher_disagreement_score":0.037419967,"about_ca_system_score_codex":0.0021100903,"about_ca_system_score_gemma":0.0029503694,"threshold_uncertainty_score":0.12518227},"labels":[],"label_agreement":null},{"id":"W2520555092","doi":"10.1515/9780822394174","title":"Rock and Roll Always Forgets: A Quarter Century of Music Criticism","year":2011,"lang":"en","type":"book","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Criticism; Punk; Style (visual arts); Performance art; Art; Quarter (Canadian coin); Indie film; Rock music; History; Art history; Literature; Visual arts; Popular music; Archaeology","score_opus":0.030220485101341236,"score_gpt":0.18253116733530902,"score_spread":0.1523106822339678,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2520555092","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.015661856,0.34601685,0.001369606,0.22860542,0.020082198,0.000018766204,0.00006100504,0.00021616658,0.38796812],"genre_scores_gemma":[0.28515804,0.11822545,0.0009975111,0.043958265,0.023439199,0.00008509366,0.00010752241,0.0006373856,0.5273916],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982767,0.00073724287,0.00003498283,0.00014461284,0.0006925164,0.000113926544],"domain_scores_gemma":[0.99737096,0.0015808044,0.00016203754,0.0001891021,0.00046498262,0.00023209854],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018711534,0.00052390026,0.00040844493,0.0028092568,0.0076028397,0.010357755,0.0010718063,0.003183868,0.005508885],"category_scores_gemma":[0.0047970265,0.00026742366,0.00021798376,0.0027200526,0.014400679,0.0069446536,0.0024766335,0.0047152485,0.0013878015],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000050305534,0.000031316966,0.0005217857,0.00033188643,0.000012421794,0.00042303916,0.07441579,0.00011437956,0.00028796156,0.26064032,0.5979095,0.06526128],"study_design_scores_gemma":[0.0000043079053,0.000007696763,0.00040445224,0.00048532043,0.000003703323,0.0002081227,0.011681799,0.00004975267,0.000097606935,0.008282742,0.9787653,0.00000927636],"about_ca_topic_score_codex":0.006618684,"about_ca_topic_score_gemma":0.014079848,"teacher_disagreement_score":0.010357755,"about_ca_system_score_codex":0.0072395257,"about_ca_system_score_gemma":0.0034169592,"threshold_uncertainty_score":0.052526653},"labels":[],"label_agreement":null},{"id":"W2522135103","doi":"10.1162/lmj_a_00974","title":"The Cowboy Junkies Realism Test","year":2016,"lang":"en","type":"article","venue":"Leonardo Music Journal","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Realism; Active listening; Sound (geography); Test (biology); History; Aesthetics; Literature; Art; Acoustics; Psychology; Communication; Physics; Geology","score_opus":0.02527139752598364,"score_gpt":0.18918913650194855,"score_spread":0.1639177389759649,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2522135103","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8735346,0.00019363879,0.000739424,0.00070600456,0.000109876324,0.00019533365,0.00013459427,0.000016464364,0.12437012],"genre_scores_gemma":[0.9663639,0.00022335444,0.0010128964,0.00042773222,0.00006156715,0.00026657077,0.00019039113,0.000026952262,0.031426676],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.998892,0.00032631558,0.000041221738,0.00020741485,0.00044021884,0.00009285715],"domain_scores_gemma":[0.99660873,0.0021592593,0.00038175573,0.00035607652,0.00023835093,0.00025593914],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019777354,0.00041951254,0.00024048827,0.0002915087,0.0015929799,0.0012704923,0.0005810185,0.0010708852,0.017808184],"category_scores_gemma":[0.008183427,0.00023930462,0.00023230864,0.00021484739,0.0021948174,0.001292985,0.0021105362,0.0019261625,0.0014625089],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.026924323,0.01370105,0.06324195,0.0015729483,0.00031596096,0.00528152,0.16516331,0.003021841,0.1805813,0.2607176,0.028444234,0.251034],"study_design_scores_gemma":[0.0025219119,0.039476436,0.35978872,0.0008021772,0.00035487665,0.0020522287,0.12570319,0.003567941,0.034005243,0.046313915,0.38499594,0.00041744957],"about_ca_topic_score_codex":0.003740504,"about_ca_topic_score_gemma":0.0047098272,"teacher_disagreement_score":0.017808184,"about_ca_system_score_codex":0.0006986064,"about_ca_system_score_gemma":0.00042075908,"threshold_uncertainty_score":0.059574246},"labels":[],"label_agreement":null},{"id":"W2523450420","doi":"10.1386/qsmpc.1.3.297_1","title":"Androgyny, masculinities and the re-gendered aesthetics of the new wave: Duran Duran and the second British Invasion","year":2016,"lang":"en","type":"article","venue":"Queer Studies in Media & Popular Culture","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":20,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Champlain Regional College","funders":"","keywords":"Masculinity; Mainstream; Androgyny; Gender studies; Subject (documents); Heteronormativity; Musical; Sociology; Aesthetics; Irony; Art; Literature; Human sexuality; Philosophy; Theology","score_opus":0.04549515430856503,"score_gpt":0.23134053101321062,"score_spread":0.18584537670464557,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2523450420","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.45391425,0.007945541,0.00057675637,0.015606148,0.00049694686,0.000015453203,0.000046174133,0.000024037277,0.52137464],"genre_scores_gemma":[0.96152705,0.0009095045,0.00009642247,0.00040165993,0.000058345973,0.000007082275,0.000008006058,0.000020701005,0.03697126],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99873656,0.0006340885,0.000022275939,0.00009849643,0.0002631814,0.00024538388],"domain_scores_gemma":[0.9993241,0.00030513853,0.00010601147,0.000050700874,0.000096030926,0.000118094715],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012962426,0.00038185375,0.0002057993,0.0012961272,0.010628451,0.008440003,0.00064531516,0.0012544738,0.0055576256],"category_scores_gemma":[0.0012983271,0.00017204482,0.00008576667,0.0011349645,0.016200729,0.0024757443,0.0026790446,0.001873332,0.00045110847],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000106212785,0.000025705995,0.001928471,0.000073071766,0.0000049236614,0.0008707965,0.6804968,0.000048722402,0.0011219237,0.29217392,0.00705286,0.016096516],"study_design_scores_gemma":[0.000012381662,0.000037299455,0.007321359,0.00021850661,0.0000059952026,0.0005822671,0.5170459,0.00009412921,0.00051685184,0.008379387,0.46575552,0.000030289011],"about_ca_topic_score_codex":0.17651579,"about_ca_topic_score_gemma":0.37418026,"teacher_disagreement_score":0.17651579,"about_ca_system_score_codex":0.011915415,"about_ca_system_score_gemma":0.0025402666,"threshold_uncertainty_score":0.3509767},"labels":[],"label_agreement":null},{"id":"W2524152690","doi":"10.21083/csieci.v10i2.3472","title":"&lt;i&gt;Roll With It: Brass Bands in the Streets of New Orleans&lt;/i&gt;, Matt Sakakeeny; &lt;i&gt;New Orleans Suite: Music and Culture in Transition&lt;/i&gt;, Lewis Watts and Eric Porter","year":2016,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Guelph","funders":"","keywords":"Suite; Brass; Art history; Transition (genetics); Art; History; Engineering; Archaeology; Materials science; Chemistry; Metallurgy","score_opus":0.04768497667795423,"score_gpt":0.2817377721439668,"score_spread":0.23405279546601254,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2524152690","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.007183305,0.21502012,0.0002743349,0.17769842,0.013619568,0.000044442757,0.00021647663,0.00008601168,0.58585733],"genre_scores_gemma":[0.06352466,0.06862298,0.00037545487,0.01161907,0.0038274797,0.00007339249,0.00014486577,0.00013392707,0.8516782],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999406,0.00015715859,0.00002396109,0.0000761694,0.00021135318,0.0001254246],"domain_scores_gemma":[0.99859184,0.0004490929,0.00009910606,0.000049539492,0.0003756517,0.00043465127],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000676592,0.00037783888,0.00026438324,0.0007648745,0.0055843904,0.005122934,0.00074825436,0.0023258496,0.067422345],"category_scores_gemma":[0.002089316,0.0002508802,0.00020643724,0.0010479055,0.0032346684,0.003417989,0.002658532,0.0027320436,0.008023656],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003210645,0.000021219488,0.00043852394,0.0002998191,0.000003445201,0.00016466879,0.006453189,0.000051051775,0.00033241685,0.026843937,0.9245659,0.04079359],"study_design_scores_gemma":[0.0000025649156,0.0000059925005,0.0016555028,0.00033973198,0.0000018157282,0.000029309316,0.008934874,0.000008942621,0.00009675899,0.0010831719,0.987835,0.000006346756],"about_ca_topic_score_codex":0.11997953,"about_ca_topic_score_gemma":0.32151517,"teacher_disagreement_score":0.11997953,"about_ca_system_score_codex":0.006964326,"about_ca_system_score_gemma":0.00724839,"threshold_uncertainty_score":0.23856235},"labels":[],"label_agreement":null},{"id":"W2526527172","doi":"10.3138/uram.30.1.4","title":"Bob Dylan: Ultimate Reality and Meaning in Changing Times","year":2007,"lang":"en","type":"article","venue":"Ultimate Reality and Meaning","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Meaning (existential); Aesthetics; Art; Sociology; Philosophy; Epistemology","score_opus":0.0432697534613271,"score_gpt":0.260841498739799,"score_spread":0.2175717452784719,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2526527172","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0047682296,0.047386214,0.0069094305,0.5204795,0.009215653,0.000035764075,0.00022060322,0.00027262873,0.4107119],"genre_scores_gemma":[0.13496178,0.02188512,0.0029477568,0.05372399,0.003952567,0.00009305582,0.00012936561,0.00073955377,0.7815668],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992561,0.0004376445,0.000015998236,0.00006637918,0.0001344206,0.000089573914],"domain_scores_gemma":[0.998833,0.00064242573,0.000041313993,0.000047795074,0.00012032928,0.00031503866],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011281682,0.00050278194,0.00040548004,0.0008284509,0.00824996,0.007535011,0.00115407,0.0054826825,0.0375887],"category_scores_gemma":[0.0040037907,0.00041215974,0.00020743917,0.0012382553,0.0077635655,0.011929245,0.004162363,0.006135925,0.005563574],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016049224,0.0000076237325,0.000103469945,0.000055163553,0.0000039753186,0.00017894413,0.0069825035,0.00010411433,0.000089458284,0.30494353,0.678693,0.008822167],"study_design_scores_gemma":[0.000007464524,0.0000030280853,0.00017675437,0.00011835781,0.0000031607808,0.00009065146,0.009653601,0.00012985076,0.00020651637,0.07037888,0.9192164,0.0000152534685],"about_ca_topic_score_codex":0.03098406,"about_ca_topic_score_gemma":0.062994406,"teacher_disagreement_score":0.0375887,"about_ca_system_score_codex":0.0038005766,"about_ca_system_score_gemma":0.00222639,"threshold_uncertainty_score":0.12574667},"labels":[],"label_agreement":null},{"id":"W2528269316","doi":"","title":"The sound of ruins: Sigur Ros' Heima and the post-rock elegy for place","year":2012,"lang":"en","type":"other","venue":"Swinburne Research Bank (Swinburne University of Technology)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Elegy; Sound (geography); Art; Geology; Literature; Poetry; Geomorphology","score_opus":0.031336511800993706,"score_gpt":0.24754087282578047,"score_spread":0.21620436102478677,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2528269316","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.44092253,0.004328878,0.0009857744,0.011216029,0.0009555629,0.000024605317,0.00006521231,0.00006837262,0.54143304],"genre_scores_gemma":[0.95661896,0.0007488353,0.00022758392,0.000306627,0.000085883665,0.000006839205,0.000012949132,0.00003907246,0.04195323],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99943656,0.0001503586,0.000009311511,0.000060674112,0.00013828216,0.00020471988],"domain_scores_gemma":[0.999559,0.00017644413,0.000035113324,0.000046947665,0.00008878982,0.000093644805],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001011259,0.00038853008,0.00021420777,0.0005871072,0.009587458,0.005969557,0.0006304324,0.0008598087,0.0040652812],"category_scores_gemma":[0.001623086,0.0001285497,0.00012227843,0.00053474,0.013974063,0.00180713,0.0019629307,0.0021893482,0.0004216396],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00020539048,0.00004073472,0.003286489,0.00014481887,0.000012228844,0.0012689045,0.7045502,0.00018849775,0.0011020518,0.20816116,0.026528362,0.054511234],"study_design_scores_gemma":[0.000012062991,0.00007077849,0.010396197,0.00027278147,0.00001534662,0.0005185602,0.57622033,0.00015286011,0.00093602674,0.0050105513,0.40635845,0.00003601124],"about_ca_topic_score_codex":0.2688018,"about_ca_topic_score_gemma":0.5909676,"teacher_disagreement_score":0.2688018,"about_ca_system_score_codex":0.008745607,"about_ca_system_score_gemma":0.004628923,"threshold_uncertainty_score":0.5344744},"labels":[],"label_agreement":null},{"id":"W2529188857","doi":"","title":"\"What was once rebellion is now clearly just a social sect\": Identity, ideological conflict and the field of punk rock artistic production","year":2016,"lang":"en","type":"dissertation","venue":"University Library - University of Saskatchewan (University of Saskatchewan)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Punk; Ideology; Sect; Identity (music); Field (mathematics); Production (economics); Sociology; Political science; Aesthetics; Law; Art; Politics; Art history; Mathematics","score_opus":0.01387102782124754,"score_gpt":0.19288337014149748,"score_spread":0.17901234232024993,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2529188857","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7542613,0.0032981725,0.0020460451,0.014471907,0.00028235352,0.000030672472,0.000013254376,0.000020652058,0.22557561],"genre_scores_gemma":[0.99687886,0.00021879948,0.0001690445,0.00031044966,0.000039778653,0.000013712645,0.0000028545135,0.000009026542,0.002357413],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99108666,0.0062852036,0.0001437642,0.0006440902,0.00081664574,0.001023668],"domain_scores_gemma":[0.9924769,0.0047619008,0.0012717096,0.00042266733,0.0004103326,0.0006565538],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.009356987,0.0005182827,0.00056997983,0.002611794,0.026304176,0.02290429,0.0023038534,0.0030198768,0.0035074446],"category_scores_gemma":[0.01082389,0.00038075994,0.00029598194,0.0015427088,0.07542429,0.009394068,0.011103506,0.006129479,0.00033628868],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000043810713,0.000052302363,0.0027237479,0.000034483055,0.0000054238053,0.00048125396,0.7581258,0.00004023097,0.00013726926,0.2303623,0.0012018398,0.0067915414],"study_design_scores_gemma":[0.000018087068,0.000035419518,0.0053722574,0.0002656188,0.000009530461,0.00058663136,0.8831887,0.00026651655,0.00029582053,0.071237884,0.038692474,0.000031007534],"about_ca_topic_score_codex":0.00534114,"about_ca_topic_score_gemma":0.006939154,"teacher_disagreement_score":0.026304176,"about_ca_system_score_codex":0.0063671204,"about_ca_system_score_gemma":0.0030439007,"threshold_uncertainty_score":0.049485087},"labels":[],"label_agreement":null},{"id":"W2530283883","doi":"10.25071/1708-6701.30974","title":"Pinnacles: Music of Diana McIntosh (CD Review)","year":2010,"lang":"en","type":"article","venue":"CAML Review / Revue de l ACBM","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.027893956098196684,"score_gpt":0.23232680369216752,"score_spread":0.20443284759397085,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2530283883","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00026226733,0.87289125,0.00019221495,0.034415558,0.07840933,0.0000445146,0.00009441318,0.000060349623,0.013630082],"genre_scores_gemma":[0.004701477,0.70907444,0.0007166863,0.07799881,0.105302855,0.00015654665,0.00021935377,0.00006902088,0.101760775],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997876,0.000039180322,0.000019363491,0.000045097055,0.00007971191,0.000029049725],"domain_scores_gemma":[0.9993647,0.00015353056,0.000075538504,0.000025459074,0.0002130061,0.00016781388],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00058767264,0.001163423,0.0008754828,0.002366473,0.00078945403,0.0016421276,0.0011707792,0.0020809835,0.026385525],"category_scores_gemma":[0.0021939843,0.00031601332,0.00034294036,0.0020172785,0.00073541404,0.0020641466,0.0020847248,0.001953668,0.008832185],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000052209583,0.000008772547,0.000046180154,0.0015510189,0.000011666866,0.00010449941,0.000045914778,0.000017824796,0.00026208514,0.00064652326,0.8634546,0.13379867],"study_design_scores_gemma":[0.000020302827,0.000020986838,0.00039980008,0.00080478744,0.000019087915,0.00037401472,0.000070645,0.000008320487,0.00006158623,0.00029533214,0.9979184,0.000006659024],"about_ca_topic_score_codex":0.0038034117,"about_ca_topic_score_gemma":0.0144293215,"teacher_disagreement_score":0.026385525,"about_ca_system_score_codex":0.0007940555,"about_ca_system_score_gemma":0.001511666,"threshold_uncertainty_score":0.08826834},"labels":[],"label_agreement":null},{"id":"W2533485244","doi":"10.7413/22818138066","title":"The Global Imaginary of Arab Hip Hop: a case study","year":2016,"lang":"en","type":"article","venue":"DOAJ (DOAJ: Directory of Open Access Journals)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"The Imaginary; Politics; Musical; Mainstream; Globalization; Gender studies; Violin musical styles; Sociology; Media studies; Aesthetics; Political science; Visual arts; Art; Law; Psychology","score_opus":0.260550770160069,"score_gpt":0.5071084261946056,"score_spread":0.2465576560345366,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2533485244","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.90630466,0.0030983125,0.0020098886,0.0056424006,0.0003281095,0.00024112775,0.000115815565,0.00002862331,0.082231104],"genre_scores_gemma":[0.97932005,0.003096934,0.0014288843,0.0012926419,0.00012506616,0.00014844173,0.000049170743,0.000030923944,0.014507903],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99736136,0.0018292901,0.00006307134,0.000109041735,0.0001839703,0.0004533998],"domain_scores_gemma":[0.9979558,0.0012284731,0.00018243922,0.000101056496,0.00014428649,0.00038783866],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002948273,0.0012328482,0.00057997537,0.0021090785,0.015994499,0.005784391,0.0014724841,0.0047324235,0.0069282963],"category_scores_gemma":[0.0038306543,0.00053075684,0.0005158183,0.0024057077,0.009067128,0.0033625783,0.006994718,0.0039289696,0.0012927541],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012989047,0.00051813776,0.006934197,0.00063219917,0.000016763763,0.07064534,0.8515194,0.00033844876,0.0011176812,0.03890784,0.007491719,0.021748392],"study_design_scores_gemma":[0.000008166167,0.00006173727,0.0014812136,0.00033620262,0.000009163903,0.008186031,0.9481549,0.00016652541,0.00030742254,0.0017677243,0.039504293,0.000016624414],"about_ca_topic_score_codex":0.006916888,"about_ca_topic_score_gemma":0.015003652,"teacher_disagreement_score":0.015994499,"about_ca_system_score_codex":0.0032247214,"about_ca_system_score_gemma":0.0016877691,"threshold_uncertainty_score":0.023397088},"labels":[],"label_agreement":null},{"id":"W2543541176","doi":"","title":"Music in Canada","year":2007,"lang":"fr","type":"article","venue":"CAML Review / Revue de l'ACBM","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Political science","score_opus":0.02396060860443737,"score_gpt":0.21417555281827858,"score_spread":0.19021494421384122,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2543541176","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009470993,0.19254895,0.00021148173,0.16205873,0.011737806,0.0000842922,0.00284511,0.00011576734,0.6209269],"genre_scores_gemma":[0.16202407,0.1866503,0.000704388,0.043581583,0.0032807547,0.00008076772,0.0018373632,0.00010361824,0.60173714],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99703074,0.00015730433,0.00009996602,0.00021956491,0.0015937571,0.0008987312],"domain_scores_gemma":[0.99595535,0.00021298898,0.00011935606,0.00009165182,0.002657972,0.0009628135],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015244982,0.0004850927,0.00068137463,0.0040116953,0.008930152,0.008983612,0.0013441464,0.0031863174,0.057384696],"category_scores_gemma":[0.0040540104,0.0003099195,0.0005147323,0.006390712,0.0023901192,0.0014612421,0.0025359737,0.0027298033,0.0045028855],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008665485,0.000048154947,0.002599462,0.00078472897,0.000041044572,0.00027873518,0.00083194167,0.00023058208,0.0003110109,0.0763731,0.76244867,0.15596592],"study_design_scores_gemma":[0.00001029741,0.000007654174,0.004954957,0.00032755936,0.000013456533,0.000045517572,0.0008234198,0.000031383843,0.00007051097,0.0009961285,0.9927079,0.000011171956],"about_ca_topic_score_codex":0.9807694,"about_ca_topic_score_gemma":0.99122494,"teacher_disagreement_score":0.07175696,"about_ca_system_score_codex":0.07175696,"about_ca_system_score_gemma":0.20704132,"threshold_uncertainty_score":0.5206356},"labels":[],"label_agreement":null},{"id":"W2544199934","doi":"10.32873/uno.dc.jrf.20.03.17","title":"Gimme Danger; Leehom Wang's Open Fire Concert Film","year":2016,"lang":"en","type":"article","venue":"Journal of Religion & Film","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Superstar; Lyrics; Art; Art history; Soul; Punk; Media studies; Visual arts; Sociology; Aesthetics; Literature; Philosophy; Theology","score_opus":0.035048889554279525,"score_gpt":0.24269042663227083,"score_spread":0.20764153707799132,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2544199934","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.003140782,0.008877911,0.00035697286,0.04984247,0.02136251,0.00008194129,0.0005081035,0.00038545736,0.9154439],"genre_scores_gemma":[0.009804029,0.0019354157,0.00016375583,0.0038268513,0.0012453297,0.000016344931,0.0001470518,0.00008642982,0.9827747],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999902,0.00001167479,0.0000019336612,0.000016214126,0.00003833284,0.000029761373],"domain_scores_gemma":[0.99983966,0.000028642491,0.000006025107,0.0000066513117,0.000043637945,0.00007532976],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00021471876,0.0006013829,0.00014934273,0.0004082262,0.002775118,0.0019752241,0.00036192095,0.0015455972,0.22290546],"category_scores_gemma":[0.0006092277,0.00020067499,0.00021644087,0.00018898062,0.00031659988,0.0010689053,0.0014846369,0.0024398097,0.042541068],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017635235,0.000009572432,0.000069729555,0.000023339708,0.0000014991535,0.00012747126,0.00010726194,0.0000089713785,0.0002071041,0.00094959704,0.9898385,0.008639338],"study_design_scores_gemma":[0.0000052605624,0.000008123983,0.00044108258,0.000038597387,0.000001581049,0.00009272772,0.00038466847,0.000022901846,0.000076696335,0.00016410719,0.9987619,0.0000023277846],"about_ca_topic_score_codex":0.007576503,"about_ca_topic_score_gemma":0.03368712,"teacher_disagreement_score":0.22290546,"about_ca_system_score_codex":0.0005904166,"about_ca_system_score_gemma":0.00041900692,"threshold_uncertainty_score":0.745693},"labels":[],"label_agreement":null},{"id":"W2558288567","doi":"10.3138/topia.35.87","title":"Resoundingly Queer: Cover Song as Collective Return","year":2016,"lang":"en","type":"article","venue":"TOPIA Canadian Journal of Cultural Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Queer; Musical; Temporality; Context (archaeology); Aesthetics; Cover (algebra); Lament; Active listening; Politics; Anthem; Sociology; Visual arts; Art; History; Literature; Gender studies; Art history; Communication; Political science; Epistemology; Law; Philosophy; Engineering","score_opus":0.05144675434406768,"score_gpt":0.24929351403551686,"score_spread":0.1978467596914492,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2558288567","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.25515467,0.004839157,0.0061639524,0.021390423,0.0023083366,0.000054212214,0.00011640894,0.0002719251,0.7097009],"genre_scores_gemma":[0.9414628,0.0010461374,0.0007640734,0.0016677562,0.0005326043,0.000017464305,0.00004227896,0.00014193376,0.054324836],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9984434,0.00052279024,0.000016065245,0.00013467645,0.0005260039,0.00035713078],"domain_scores_gemma":[0.99887556,0.00034064098,0.00010293532,0.00010665573,0.00020004551,0.00037424584],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012837498,0.0004138144,0.00023539849,0.00087066233,0.012086462,0.0069691627,0.0006412297,0.0013222969,0.0104338555],"category_scores_gemma":[0.0034291446,0.00012752817,0.00018684045,0.0005791293,0.013910429,0.0032444426,0.0039639696,0.0026367605,0.0010039939],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019620467,0.000040524505,0.0032958859,0.00012485117,0.00002289032,0.0017220214,0.6208555,0.00019164497,0.0044088205,0.26611027,0.04779966,0.055231746],"study_design_scores_gemma":[0.0000143885145,0.00009455789,0.006652846,0.0002161129,0.000021502423,0.0011011063,0.35853973,0.00022397643,0.001125543,0.010694421,0.6212696,0.000046269677],"about_ca_topic_score_codex":0.07121854,"about_ca_topic_score_gemma":0.17938247,"teacher_disagreement_score":0.07121854,"about_ca_system_score_codex":0.0047986475,"about_ca_system_score_gemma":0.0023057284,"threshold_uncertainty_score":0.141608},"labels":[],"label_agreement":null},{"id":"W2560017017","doi":"10.20507/alternative.2016.12.5.3","title":"Think Global, Act Local: How underground hip-hop gets down down Under","year":2016,"lang":"en","type":"article","venue":"AlterNative An International Journal of Indigenous Peoples","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Mainstream; Politics; Identity (music); Political action; Sociology; Hop (telecommunications); Gender studies; Media studies; Aesthetics; Political science; Law; Engineering; Art; Telecommunications","score_opus":0.02963387687256678,"score_gpt":0.2659745160003985,"score_spread":0.23634063912783174,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2560017017","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.13246432,0.003646852,0.01604169,0.09209069,0.0029081604,0.0001344871,0.000095484305,0.00051984936,0.7520985],"genre_scores_gemma":[0.8521214,0.0017032082,0.0034728968,0.009163294,0.00030613982,0.00007648432,0.000056075824,0.00064496644,0.13245544],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99671555,0.00185732,0.000052425425,0.00023771403,0.0004137863,0.0007231749],"domain_scores_gemma":[0.9982628,0.0005908385,0.000096102274,0.00016320428,0.00024738902,0.0006395748],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0038032907,0.0005160853,0.00032768364,0.0016034562,0.020470772,0.011175838,0.0012498855,0.0029247566,0.018275425],"category_scores_gemma":[0.0057949116,0.00040372778,0.000483719,0.0009890312,0.030763987,0.009902551,0.009501438,0.005974329,0.003247465],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003519503,0.00004247708,0.0018667827,0.00015690185,0.000015346432,0.0006363568,0.7665333,0.00014689735,0.00045456513,0.15296943,0.042890955,0.03425175],"study_design_scores_gemma":[0.000011576624,0.000037083722,0.0015379083,0.00030262079,0.000018051753,0.00021539193,0.6043396,0.00021400047,0.0002446491,0.033211924,0.3598382,0.000029061139],"about_ca_topic_score_codex":0.043117855,"about_ca_topic_score_gemma":0.09062457,"teacher_disagreement_score":0.043117855,"about_ca_system_score_codex":0.0052925306,"about_ca_system_score_gemma":0.0068323403,"threshold_uncertainty_score":0.08573377},"labels":[],"label_agreement":null},{"id":"W2563647108","doi":"10.71781/4191","title":"Narrative in the music of Jay Chou : a case study of music, globalization and semantics","year":2009,"lang":"en","type":"dissertation","venue":"Open MIND","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Narrative; Globalization; Literature; Popular music; Linguistics; Narratology; Music; Music history; Art; Art history; Aesthetics; Visual arts; Music education; Philosophy; Political science","score_opus":0.06028572826320403,"score_gpt":0.29873267544712195,"score_spread":0.23844694718391793,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2563647108","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.97700423,0.0011267893,0.00091105053,0.0025020977,0.000059691796,0.00008729573,0.00005505174,0.0000151802,0.01823858],"genre_scores_gemma":[0.9889564,0.00095735205,0.0014249528,0.00032678954,0.000026135349,0.00006633437,0.000035964393,0.00003267775,0.008173335],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99703085,0.0019351321,0.00009062618,0.00021872019,0.00036201207,0.0003626219],"domain_scores_gemma":[0.9966037,0.0022709528,0.0002902408,0.00015966647,0.0001680692,0.0005073198],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0029061493,0.00088292005,0.00083656417,0.002368926,0.017855184,0.0062789824,0.002358727,0.0038829863,0.004641181],"category_scores_gemma":[0.00634835,0.00059420656,0.00047707924,0.0034608096,0.011837527,0.0042961068,0.0057586273,0.0035134829,0.00044325794],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000033111617,0.000045465218,0.001898009,0.00011223908,0.0000068011577,0.009718914,0.9772505,0.00006529376,0.00059430895,0.0051266113,0.000522188,0.004626561],"study_design_scores_gemma":[0.000005034099,0.00004269629,0.0026129954,0.000095639305,0.000007819848,0.002828874,0.97698045,0.00010174879,0.0002979262,0.0006936484,0.01631477,0.000018428727],"about_ca_topic_score_codex":0.028474234,"about_ca_topic_score_gemma":0.080547415,"teacher_disagreement_score":0.028474234,"about_ca_system_score_codex":0.0059241406,"about_ca_system_score_gemma":0.003103247,"threshold_uncertainty_score":0.05661702},"labels":[],"label_agreement":null},{"id":"W2572508351","doi":"","title":"Expectation, Christianity, and Ownership in Indigenous Hip-Hop: Religion in Rhyme with Emcee One, RedCloud, and Quese, Imc","year":2012,"lang":"en","type":"article","venue":"MUSICultures","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Christianity; Indigenous; Spiritualities; Rhyme; Sociology; Appropriation; Vernacular; Aesthetics; History; Anthropology; Gender studies; Literature; Spirituality; Religious studies; Philosophy; Art; Linguistics; Medicine","score_opus":0.023135465023009078,"score_gpt":0.20844252262892388,"score_spread":0.1853070576059148,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2572508351","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.86709046,0.002546211,0.0009855935,0.0064019123,0.00035746317,0.000023033721,0.000018854103,0.000020727097,0.12255577],"genre_scores_gemma":[0.9947909,0.00035852686,0.00012335654,0.0002699957,0.000050582483,0.000005607057,0.0000029229934,0.000008023134,0.0043900684],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.999305,0.00037426004,0.000017349126,0.00003883162,0.00013216272,0.00013243398],"domain_scores_gemma":[0.9992969,0.00037314594,0.00008718697,0.000045256817,0.000068532005,0.00012894766],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001096022,0.00022568755,0.00019506444,0.00058578944,0.0073636607,0.0038561127,0.00039402398,0.00074674847,0.0019392945],"category_scores_gemma":[0.0025039157,0.00013576706,0.000090239766,0.0005272138,0.013500683,0.001553946,0.0034698052,0.00231291,0.00014217132],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018982237,0.000018035462,0.0013693325,0.000040992993,0.0000027240724,0.00043673263,0.96662515,0.000025490512,0.0006496648,0.024364458,0.0012358824,0.0052125547],"study_design_scores_gemma":[0.000003965369,0.000028969112,0.006347042,0.00010839818,0.0000067900864,0.00051757,0.9285797,0.000077084354,0.00044945994,0.0030443526,0.060820267,0.000016437598],"about_ca_topic_score_codex":0.016055122,"about_ca_topic_score_gemma":0.03399384,"teacher_disagreement_score":0.016055122,"about_ca_system_score_codex":0.0018681919,"about_ca_system_score_gemma":0.0011940058,"threshold_uncertainty_score":0.031923294},"labels":[],"label_agreement":null},{"id":"W2585618085","doi":"","title":"Sweet Toronto. Il primo concerto di un ex Beatle","year":2007,"lang":"it","type":"article","venue":"DOAJ (DOAJ: Directory of Open Access Journals)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Concerto; Art; Humanities; Art history; Piano","score_opus":0.2388274660079784,"score_gpt":0.4957128113264226,"score_spread":0.2568853453184442,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2585618085","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0014841835,0.0239828,0.0004099328,0.022008166,0.0042663985,0.000041421412,0.007951496,0.0006248154,0.93923074],"genre_scores_gemma":[0.005403976,0.0052978517,0.00028001334,0.0012944588,0.00022044078,0.000009679018,0.0010669631,0.00022703351,0.9861996],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99936,0.000045774843,0.000025440027,0.00010135342,0.000355906,0.00011149196],"domain_scores_gemma":[0.9983854,0.00014182013,0.00008247608,0.00012388472,0.0006314136,0.00063498004],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0004984121,0.00071062974,0.00043287445,0.0019779059,0.0050214073,0.006483095,0.00073553115,0.0019918175,0.4936536],"category_scores_gemma":[0.0016802314,0.0005637323,0.00033745897,0.003369404,0.0012926925,0.0022218134,0.0020482712,0.0017064088,0.14803769],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000034142697,0.000007254725,0.0003936941,0.00011064271,0.000003343428,0.00013957394,0.00043682777,0.000019943864,0.00014023359,0.005521631,0.9443111,0.04888174],"study_design_scores_gemma":[0.0000026459381,0.0000020666396,0.0009477729,0.00005890069,0.0000012834859,0.000023353607,0.00035108425,0.000005920815,0.000046866706,0.00032742473,0.9982284,0.00000432512],"about_ca_topic_score_codex":0.36091697,"about_ca_topic_score_gemma":0.75604963,"teacher_disagreement_score":0.639083,"about_ca_system_score_codex":0.0073543224,"about_ca_system_score_gemma":0.007154861,"threshold_uncertainty_score":0.72224164},"labels":[],"label_agreement":null},{"id":"W2586199840","doi":"","title":"Active Listening: The Cultural Politics of Magnetic Recording Technologies in North America, 1945-1993.","year":2016,"lang":"en","type":"dissertation","venue":"Deep Blue (University of Michigan)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":11,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Active listening; Politics; Cultural politics; Political science; Sociology; Communication; Law","score_opus":0.010667790812727031,"score_gpt":0.1829496039945183,"score_spread":0.17228181318179125,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2586199840","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6309022,0.025649296,0.00093073235,0.049439877,0.001075415,0.00008215309,0.0007348442,0.00008170477,0.29110378],"genre_scores_gemma":[0.8906061,0.011749673,0.00045027284,0.0063468292,0.00034958898,0.000104275314,0.00024252787,0.00005815708,0.09009259],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9992453,0.00020726392,0.000027295548,0.00013801396,0.00017928527,0.00020287899],"domain_scores_gemma":[0.99826354,0.0007092373,0.00023151778,0.00006400045,0.0003817199,0.00035004047],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0012718339,0.00024745762,0.00021742747,0.0010708786,0.012940216,0.004624662,0.00089366955,0.0013795662,0.005717785],"category_scores_gemma":[0.0026430993,0.0002949588,0.00011650067,0.0021409488,0.005533257,0.0035349103,0.0029669122,0.0029208364,0.0006815841],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015421417,0.00009065395,0.009946997,0.00023086065,0.000011274477,0.0009084534,0.8275537,0.00005130175,0.0010257114,0.017754367,0.037528984,0.10474347],"study_design_scores_gemma":[0.000008076579,0.000040878134,0.066715494,0.00030941892,0.00001649932,0.00021828935,0.47445348,0.000064413136,0.00048150253,0.0011583143,0.45650333,0.000030229217],"about_ca_topic_score_codex":0.41484258,"about_ca_topic_score_gemma":0.7584828,"teacher_disagreement_score":0.9870598,"about_ca_system_score_codex":0.011788876,"about_ca_system_score_gemma":0.0066280616,"threshold_uncertainty_score":0.82485586},"labels":[],"label_agreement":null},{"id":"W2588324212","doi":"10.29173/cais1188","title":"Songs from Overseas: Music Downloading as a Marker of Migration","year":2020,"lang":"en","type":"article","venue":"Proceedings of the Annual Conference of CAIS / Actes du congrès annuel de l ACSI","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"McMaster University","funders":"","keywords":"Popularity; Upload; Famine; History; Media studies; Sociology; Psychology; World Wide Web; Computer science; Social psychology","score_opus":0.035466949815260954,"score_gpt":0.2116812458489993,"score_spread":0.17621429603373834,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2588324212","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9933723,0.00026287287,0.00004400997,0.000158847,0.000012111666,0.000011620437,0.00028189097,0.0000058179066,0.005850503],"genre_scores_gemma":[0.9971814,0.00026875868,0.000114131195,0.00006953366,0.00002254157,0.000014109895,0.00017456769,0.000008764677,0.002146084],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.99929905,0.00022175997,0.000059773552,0.0000898369,0.00016431184,0.0001652062],"domain_scores_gemma":[0.9890026,0.002726384,0.0042901086,0.0004879,0.001318199,0.0021748624],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009805051,0.00018271488,0.00020861298,0.004029583,0.0017479414,0.0026443428,0.000556446,0.00042839933,0.008198159],"category_scores_gemma":[0.007312937,0.00015408338,0.00013567957,0.0034822412,0.0011899547,0.0010646533,0.0024750954,0.0007251975,0.0006570115],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00023324425,0.00010252657,0.9387414,0.00011558635,0.00003239207,0.00047043586,0.034979258,0.000034601246,0.0016972796,0.00043641013,0.00090330007,0.022253612],"study_design_scores_gemma":[0.0000017776446,0.000049905484,0.96068937,0.000023047438,0.000008076181,0.00019328733,0.037899587,0.000024724806,0.00010947856,0.00003913874,0.00095434603,0.000007256771],"about_ca_topic_score_codex":0.03961034,"about_ca_topic_score_gemma":0.10668512,"teacher_disagreement_score":0.03961034,"about_ca_system_score_codex":0.00089391734,"about_ca_system_score_gemma":0.00076908036,"threshold_uncertainty_score":0.07875955},"labels":[],"label_agreement":null},{"id":"W2588676901","doi":"10.29173/cais676","title":"Querying 1.8 Million Music Downloads from 13 Countries","year":2013,"lang":"fr","type":"article","venue":"Proceedings of the Annual Conference of CAIS / Actes du congrès annuel de l ACSI","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"McMaster University","funders":"","keywords":"Download; Corporation; Musical; Humanities; Perspective (graphical); Diversity (politics); Art; Library science; Sociology; Computer science; Political science; World Wide Web; Visual arts; Anthropology","score_opus":0.023812667365143935,"score_gpt":0.20774409597154528,"score_spread":0.18393142860640135,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2588676901","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.84530574,0.0028983832,0.0023011328,0.0004315647,0.00005765533,0.0001510023,0.13632002,0.0011652125,0.011369309],"genre_scores_gemma":[0.7079034,0.0020667554,0.009840649,0.00014710276,0.000067703324,0.00017432374,0.27650854,0.0003047944,0.0029866423],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.99516416,0.0009837103,0.000835447,0.0012120556,0.0013683395,0.00043629942],"domain_scores_gemma":[0.98929137,0.0053636646,0.0015670769,0.0017875973,0.0014349906,0.00055527565],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0029191915,0.0009321159,0.0010234129,0.01262641,0.0010183307,0.0029471265,0.0007683533,0.0014242667,0.004278635],"category_scores_gemma":[0.017021365,0.00045494628,0.00091731385,0.023665374,0.00056456897,0.0026482719,0.0025516297,0.0006327267,0.0017447418],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0018690121,0.0004745365,0.6545836,0.004444334,0.001612928,0.0033099363,0.008890084,0.0103027895,0.011855095,0.002004578,0.04440182,0.25625128],"study_design_scores_gemma":[0.00013153219,0.0003505682,0.864121,0.00038326904,0.00039122702,0.0020081862,0.014925489,0.012297328,0.007052258,0.00080775266,0.09740099,0.00013032452],"about_ca_topic_score_codex":0.026912063,"about_ca_topic_score_gemma":0.027428329,"teacher_disagreement_score":0.026912063,"about_ca_system_score_codex":0.0009466513,"about_ca_system_score_gemma":0.0009890693,"threshold_uncertainty_score":0.053510845},"labels":[],"label_agreement":null},{"id":"W2591793181","doi":"10.1177/0094306117692573i","title":"Beyond the Beat: Musicians Building Community in Nashville","year":2017,"lang":"en","type":"article","venue":"Contemporary Sociology A Journal of Reviews","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Beat (acoustics); Visual arts; Art; Acoustics; Physics","score_opus":0.1530764522049257,"score_gpt":0.3157350141853587,"score_spread":0.16265856198043302,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2591793181","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.05513846,0.66675633,0.00057432527,0.1619516,0.009492753,0.000105776664,0.0001199485,0.000044874425,0.105815955],"genre_scores_gemma":[0.6150408,0.27666044,0.0015130735,0.03626724,0.0032894802,0.00031402538,0.00012335368,0.00012187413,0.06666978],"study_design_codex":"design_other","study_design_gemma":"qualitative","domain_scores_codex":[0.99534816,0.0032337154,0.00009298381,0.00025848526,0.00055190135,0.00051471224],"domain_scores_gemma":[0.99460065,0.0025279883,0.00037281553,0.00011493627,0.00091815693,0.0014654585],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0059423903,0.00050034205,0.0005785051,0.0019716206,0.007569514,0.010603905,0.0023632487,0.004952223,0.014253412],"category_scores_gemma":[0.0074585574,0.00023375954,0.00031444064,0.0025289177,0.005977856,0.007909562,0.005837392,0.0028951727,0.000936965],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00034836662,0.0005458106,0.004400996,0.008641469,0.00021508551,0.0006765627,0.12928644,0.00033153864,0.0011777675,0.119896,0.18062758,0.5538524],"study_design_scores_gemma":[0.000054257154,0.00011028682,0.011305375,0.0062246197,0.00011033521,0.00010410346,0.14770286,0.00010402944,0.00028090007,0.010841868,0.82311964,0.00004173507],"about_ca_topic_score_codex":0.11808786,"about_ca_topic_score_gemma":0.3680823,"teacher_disagreement_score":0.11808786,"about_ca_system_score_codex":0.012086029,"about_ca_system_score_gemma":0.028197614,"threshold_uncertainty_score":0.234801},"labels":[],"label_agreement":null},{"id":"W2592615412","doi":"10.5406/bulcouresmusedu.207-208.0123","title":"Ecstatic Abundance: Queer Temporalities in LGBTQ Studies and Music Education","year":2016,"lang":"en","type":"article","venue":"Bulletin of the Council for Research in Music Education","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":7,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Queer; Queer theory; Temporalities; Subject (documents); Heteronormativity; Gender studies; Human sexuality; Sociology; Performativity; Silence; Aesthetics; Art; Philosophy; Theology","score_opus":0.3854767601085542,"score_gpt":0.3750611030207201,"score_spread":0.010415657087834096,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2592615412","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7375281,0.003197484,0.0017892523,0.10707213,0.00028061922,0.00003784467,0.00013550965,0.000024661627,0.14993449],"genre_scores_gemma":[0.9919986,0.00047346365,0.00012203324,0.0025728913,0.00006782289,0.000018921863,0.000017438653,0.000009521418,0.0047193025],"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9969054,0.0018349047,0.00010533515,0.0002741258,0.00035938885,0.00052091526],"domain_scores_gemma":[0.992777,0.0033928948,0.0013591195,0.00037167597,0.00071124634,0.0013881122],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0049891584,0.000118415206,0.00020394435,0.0017779631,0.009105484,0.006226787,0.0007143823,0.0013747095,0.010655416],"category_scores_gemma":[0.007920046,0.00016796956,0.0001438659,0.002418447,0.022153063,0.007010006,0.0063154087,0.0035171811,0.00027898102],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000349839,0.000052192314,0.013639645,0.000042905293,0.0000055460096,0.0007255877,0.5741353,0.000027545206,0.00027290892,0.39690113,0.004246357,0.009915848],"study_design_scores_gemma":[0.000016578857,0.000030255738,0.024880836,0.00026237767,0.000008059964,0.0005700325,0.8194879,0.00011076613,0.00021635684,0.06707423,0.08731509,0.000027467338],"about_ca_topic_score_codex":0.051766776,"about_ca_topic_score_gemma":0.09857707,"teacher_disagreement_score":0.051766776,"about_ca_system_score_codex":0.008626796,"about_ca_system_score_gemma":0.005230161,"threshold_uncertainty_score":0.10293096},"labels":[],"label_agreement":null},{"id":"W2593106129","doi":"10.1558/prbt.v17i2.30075","title":"Turner, Katherine L. 2016. This is the Sound of Irony: Music, Politics and Popular Culture","year":2017,"lang":"en","type":"article","venue":"Perfect Beat","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Irony; Sound (geography); Politics; Media studies; History; Art history; Indie film; Popular music; Art; Sociology; Literature; Political science; Oceanography; Geology","score_opus":0.03408910285427937,"score_gpt":0.2366575050023506,"score_spread":0.20256840214807123,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2593106129","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.001287828,0.6570815,0.0024942744,0.060450703,0.013778332,0.000029466448,0.0014248901,0.00041977855,0.2630332],"genre_scores_gemma":[0.028375756,0.3844419,0.0025159875,0.0068752654,0.003734443,0.000060214723,0.00087549974,0.00059200026,0.57252896],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99949086,0.00007090742,0.000044704335,0.000057969562,0.00028846075,0.000047110047],"domain_scores_gemma":[0.99821067,0.0007513938,0.0001173862,0.00008256568,0.0006070778,0.00023096017],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00076165015,0.0006756493,0.0005077878,0.0016443954,0.0019453809,0.00407722,0.00076407497,0.0024263011,0.085275255],"category_scores_gemma":[0.002989514,0.0006796878,0.00024801932,0.002681655,0.0017619218,0.006047866,0.0016298548,0.0024439772,0.045705207],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001852092,0.0000047499384,0.00015993166,0.00025735254,0.0000033721637,0.00004824999,0.0010577114,0.00005196594,0.00018056315,0.0066579026,0.84757495,0.14398469],"study_design_scores_gemma":[0.000004307824,0.0000068112586,0.0010576664,0.0008970941,0.0000067236474,0.000102747785,0.0016133209,0.000022635468,0.00012792644,0.0050425106,0.9911096,0.000008672185],"about_ca_topic_score_codex":0.024787018,"about_ca_topic_score_gemma":0.09124291,"teacher_disagreement_score":0.085275255,"about_ca_system_score_codex":0.0019135079,"about_ca_system_score_gemma":0.0033370957,"threshold_uncertainty_score":0.28527415},"labels":[],"label_agreement":null},{"id":"W2593878185","doi":"","title":"Popular Music Matters: Essays in Honour of Simon Frith","year":2016,"lang":"en","type":"article","venue":"MUSICultures","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université du Québec à Montréal","funders":"","keywords":"Frith; Honour; Popular music; History; Classics; Art; Art history; Sociology; Literature; Philosophy; Linguistics; Archaeology","score_opus":0.02548413979191119,"score_gpt":0.1992349548824174,"score_spread":0.17375081509050622,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2593878185","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000995854,0.047120366,0.00014516075,0.85881734,0.07368663,0.000012255341,0.000068194495,0.000019137451,0.01913508],"genre_scores_gemma":[0.050964184,0.034669362,0.00045934925,0.6016951,0.18801148,0.00012517757,0.00011841632,0.00038823,0.12356875],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.993541,0.0025103942,0.0002833351,0.00091239536,0.001699466,0.0010533959],"domain_scores_gemma":[0.98146844,0.012135035,0.00081514457,0.00044013548,0.0027468333,0.002394364],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0059978077,0.0015826885,0.00166483,0.0032485283,0.017172989,0.013385782,0.002229657,0.018163528,0.008022559],"category_scores_gemma":[0.029409591,0.00060691906,0.0007806021,0.0028459572,0.010197598,0.011181294,0.008638381,0.01949778,0.0033502486],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014838443,0.000012536784,0.00006985538,0.000048820333,0.000008169144,0.000063855,0.001870835,0.000030891482,0.000051231433,0.008744974,0.9861435,0.0029405137],"study_design_scores_gemma":[0.00001332545,0.000009325811,0.00061259023,0.00042234597,0.00000844549,0.00006064629,0.005227583,0.00005208355,0.00008159193,0.007419521,0.986061,0.000031615797],"about_ca_topic_score_codex":0.020973187,"about_ca_topic_score_gemma":0.045100607,"teacher_disagreement_score":0.020973187,"about_ca_system_score_codex":0.0093540605,"about_ca_system_score_gemma":0.0054080104,"threshold_uncertainty_score":0.06786871},"labels":[],"label_agreement":null},{"id":"W2595432981","doi":"10.54432/scand/bzgk4846","title":"‘I Believe in Ketchup!’: Girlhood, Punk, and Moodysson’s We are the Best!","year":2014,"lang":"en","type":"article","venue":"Scandinavica","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Queen's University","funders":"","keywords":"Punk; Subculture (biology); Context (archaeology); Mainstream; Musical; Politics; Gender studies; Inclusion (mineral); Sociology; Youth culture; Aesthetics; Media studies; Art; History; Literature; Political science; Law; Art history","score_opus":0.02053676091951583,"score_gpt":0.2045318943722284,"score_spread":0.18399513345271257,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2595432981","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.53043205,0.023027267,0.001112851,0.08474075,0.0039869356,0.00003079123,0.00006922142,0.000050070506,0.3565501],"genre_scores_gemma":[0.9609709,0.0028306008,0.0002222194,0.003263865,0.00026151154,0.000019793417,0.000015360918,0.000048583745,0.03236721],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978867,0.0013601497,0.000033690285,0.00015770506,0.00019683057,0.00036486206],"domain_scores_gemma":[0.9988593,0.00049405894,0.00018150017,0.00004249311,0.00009504239,0.0003277326],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019292699,0.0004937953,0.00038738505,0.0007713509,0.019221265,0.008995612,0.00083561765,0.0021164948,0.0056045647],"category_scores_gemma":[0.0030266864,0.00034567295,0.00018642598,0.0005669076,0.016751457,0.004864439,0.0060189157,0.0058555733,0.00066569186],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006895948,0.000044833396,0.0021879913,0.000105314444,0.000010227045,0.0012115574,0.86382973,0.000022573702,0.00027927445,0.0881293,0.031062726,0.013047512],"study_design_scores_gemma":[0.000008364842,0.00003765908,0.0030237003,0.00024443716,0.0000067211795,0.00056774623,0.74481064,0.000018102173,0.0001885076,0.00367697,0.24740216,0.000014957163],"about_ca_topic_score_codex":0.011937869,"about_ca_topic_score_gemma":0.031154875,"teacher_disagreement_score":0.019221265,"about_ca_system_score_codex":0.0029134802,"about_ca_system_score_gemma":0.0017268839,"threshold_uncertainty_score":0.023736715},"labels":[],"label_agreement":null},{"id":"W2595730305","doi":"10.3138/jrpc.29.1.3810","title":"The Metal Scene and The Bible: Meaning, Accuracy, and Silence","year":2017,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Meaning (existential); Silence; Morality; Literature; Philosophy; Aesthetics; History; Epistemology; Art","score_opus":0.02221334263566259,"score_gpt":0.24769303095551642,"score_spread":0.22547968831985382,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2595730305","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.36538714,0.013193978,0.018577943,0.07599681,0.0019345981,0.00004022359,0.00014558039,0.00014471923,0.52457905],"genre_scores_gemma":[0.99314487,0.0005530412,0.00059791846,0.0011673291,0.00028529024,0.000011209346,0.000018498968,0.00004791819,0.0041737533],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.98890114,0.006110492,0.00044399843,0.00072562817,0.0032229372,0.000595885],"domain_scores_gemma":[0.9794576,0.014801705,0.0017807857,0.0017127462,0.0017980455,0.00044914108],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.008956284,0.00026071983,0.0006285506,0.0017617843,0.00755777,0.008891784,0.0014093502,0.002608687,0.0034702108],"category_scores_gemma":[0.043362666,0.00033463666,0.000216195,0.001425013,0.047890957,0.009035577,0.007144876,0.0040403735,0.00060537976],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008736247,0.000012763938,0.0017127962,0.00017105165,0.000011947326,0.00023979711,0.4357481,0.0001060246,0.000902155,0.53742504,0.0033879583,0.020195052],"study_design_scores_gemma":[0.00005957847,0.0001375136,0.008600279,0.0012281564,0.000045744437,0.00079221016,0.25916022,0.0009855704,0.0020783746,0.486392,0.24041975,0.00010052807],"about_ca_topic_score_codex":0.005608813,"about_ca_topic_score_gemma":0.0042584734,"teacher_disagreement_score":0.008956284,"about_ca_system_score_codex":0.0040515545,"about_ca_system_score_gemma":0.0020870056,"threshold_uncertainty_score":0.047365904},"labels":[],"label_agreement":null},{"id":"W2596113016","doi":"10.1093/oxfordhb/9780199737635.013.0005","title":"Venda Children’s Musical Culture in Limpopo, South Africa","year":2012,"lang":"en","type":"book-chapter","venue":"Oxford University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":12,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Musical; Perspective (graphical); Ethnomusicology; Sound (geography); Sociology; Aesthetics; History; Anthropology; Art; Literature; Visual arts; Acoustics","score_opus":0.033249550820119905,"score_gpt":0.17016316160248918,"score_spread":0.13691361078236927,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2596113016","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.96382326,0.0024774408,0.00008806191,0.00112079,0.000025962552,0.000021938538,0.000030169605,0.0000039218044,0.032408457],"genre_scores_gemma":[0.99598217,0.0014301889,0.000058803413,0.000088154324,0.0000045493193,0.00002006712,0.000009252456,0.0000030191861,0.0024037664],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997222,0.00009314595,0.000011411071,0.000027214408,0.000039449355,0.00010655654],"domain_scores_gemma":[0.9997013,0.00014514264,0.000054590262,0.000008238055,0.0000239103,0.00006676639],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000540475,0.00028778324,0.00031463258,0.0011565738,0.0052169547,0.0037353102,0.00040743055,0.0004925571,0.0055293012],"category_scores_gemma":[0.0011205577,0.0002394379,0.00008110852,0.0015347828,0.004435447,0.0013792556,0.002495041,0.0009234639,0.00024158196],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000042414555,0.00003156636,0.015170113,0.0002213725,0.000005726489,0.0032676028,0.9492238,0.00003552162,0.0036327078,0.009284127,0.00066852017,0.018416498],"study_design_scores_gemma":[0.0000069324396,0.000026130638,0.039468102,0.00033570154,0.000006350496,0.0009744636,0.932576,0.00002113445,0.0004006159,0.0006249573,0.025547046,0.000012620307],"about_ca_topic_score_codex":0.027812256,"about_ca_topic_score_gemma":0.0638753,"teacher_disagreement_score":0.027812256,"about_ca_system_score_codex":0.002225585,"about_ca_system_score_gemma":0.0012825857,"threshold_uncertainty_score":0.055300713},"labels":[],"label_agreement":null},{"id":"W2597519566","doi":"","title":"Folk Music in the Baltics at the Age of Digital Globalization","year":2013,"lang":"en","type":"article","venue":"Bern Open Repository and Information System (University of Bern)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"The Internet; Immediacy; Globalization; Outreach; Sociology; Advertising; Media studies; Public relations; Political science; Business; World Wide Web; Computer science","score_opus":0.01695574914141497,"score_gpt":0.1631062770979466,"score_spread":0.1461505279565316,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2597519566","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8726079,0.0030984094,0.00026435722,0.0036367653,0.00021786033,0.000023913464,0.000022002212,0.000017488073,0.12011142],"genre_scores_gemma":[0.9884532,0.00067847036,0.00011348589,0.0004042875,0.00006863759,0.0000110840665,0.000013359765,0.000011035905,0.010246556],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99902,0.00039986524,0.000020054369,0.00011598872,0.00012627397,0.00031794078],"domain_scores_gemma":[0.9995951,0.00012526434,0.00007196641,0.000032999313,0.000047069243,0.0001276048],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011018467,0.00038734445,0.00037270147,0.0016927505,0.0145807285,0.008253827,0.0008155859,0.0018658752,0.008976232],"category_scores_gemma":[0.001421625,0.0003051301,0.00017112045,0.0017199854,0.0145353265,0.0033548991,0.0059948517,0.0024976127,0.00090460584],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000130891,0.00009587969,0.014750475,0.000189222,0.0000100275465,0.0040373174,0.89975786,0.00007330397,0.0016009931,0.033215158,0.0028424286,0.043296404],"study_design_scores_gemma":[0.000011997191,0.00010362845,0.033823892,0.0003456541,0.000008160964,0.0009943323,0.85402024,0.000046044264,0.0002695827,0.0035178945,0.10684305,0.000015533797],"about_ca_topic_score_codex":0.009870023,"about_ca_topic_score_gemma":0.0376964,"teacher_disagreement_score":0.0145807285,"about_ca_system_score_codex":0.0034218272,"about_ca_system_score_gemma":0.0017772712,"threshold_uncertainty_score":0.030028462},"labels":[],"label_agreement":null},{"id":"W2598380504","doi":"10.3138/tjt.2016-0020","title":"“Am I Worth It?”: The Forgiveness, Death, and Resurrection of Kendrick Lamar","year":2017,"lang":"en","type":"article","venue":"Toronto Journal of Theology","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Forgiveness; Existentialism; Faith; Meaning (existential); Theology; Courage; Face (sociological concept); Christian faith; Philosophy; Sociology; Religious studies; Epistemology","score_opus":0.03228669814091255,"score_gpt":0.25309526797345505,"score_spread":0.2208085698325425,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2598380504","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5723608,0.032409973,0.0022152287,0.18854377,0.004595575,0.0000405316,0.000058494672,0.0000729571,0.19970271],"genre_scores_gemma":[0.95417297,0.0053161653,0.00041036736,0.010621984,0.00043171798,0.000016218668,0.000014855805,0.000062976455,0.028952887],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99866617,0.00079328375,0.000021861382,0.00009802919,0.000200442,0.00022008536],"domain_scores_gemma":[0.9988599,0.0006225308,0.00012543476,0.000039311344,0.00013006607,0.00022290941],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013538923,0.00046513372,0.00031202714,0.00054291176,0.009872119,0.0055007506,0.0006994582,0.0014499181,0.0013883831],"category_scores_gemma":[0.0041657696,0.0003296778,0.00013761237,0.00042731807,0.015166219,0.0027078732,0.0027091908,0.0054424177,0.00044223576],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009946888,0.000036234942,0.002011078,0.00012133964,0.000017394936,0.0027466048,0.82944053,0.00007987886,0.0010239522,0.07650335,0.06731882,0.020601373],"study_design_scores_gemma":[0.000010306137,0.00004614927,0.003170186,0.00032514133,0.000014629294,0.0036189193,0.7118856,0.00013696025,0.0007460648,0.009128559,0.27086982,0.000047831436],"about_ca_topic_score_codex":0.018752206,"about_ca_topic_score_gemma":0.040267363,"teacher_disagreement_score":0.018752206,"about_ca_system_score_codex":0.0026613239,"about_ca_system_score_gemma":0.001998967,"threshold_uncertainty_score":0.037286162},"labels":[],"label_agreement":null},{"id":"W2599601438","doi":"10.5040/9781501330575","title":"Hits and Misses","year":2011,"lang":"en","type":"book","venue":"The Continuum International Publishing Group Inc eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":54,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Craft; Lyrics; Studio; Musical; Context (archaeology); Visual arts; Art; Literature; Subject (documents); Criticism; Popular music; History; Aesthetics; Computer science; World Wide Web","score_opus":0.03704821526036062,"score_gpt":0.1913676944516354,"score_spread":0.15431947919127478,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2599601438","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.002102313,0.032376483,0.001575875,0.028257838,0.013194338,0.000031922136,0.00012599023,0.00023762832,0.92209774],"genre_scores_gemma":[0.011210291,0.009132112,0.00045957693,0.008743731,0.0022420036,0.00003334135,0.00009288119,0.00020701633,0.96787906],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.998304,0.00035591802,0.000046868154,0.00021151634,0.0009232303,0.00015838668],"domain_scores_gemma":[0.9988231,0.0004439139,0.00005392337,0.00010922196,0.00038521,0.00018459432],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00078156416,0.0007435757,0.00057839294,0.0016684938,0.0050488194,0.008953419,0.0008296358,0.0025738617,0.049643166],"category_scores_gemma":[0.0038782966,0.00043723086,0.00046156227,0.0016870702,0.004341401,0.010408736,0.0033773042,0.0047419444,0.019248404],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018439125,0.000014243813,0.000110512636,0.00010802038,0.0000033736947,0.00018503447,0.003700857,0.00005240529,0.00016535401,0.13662398,0.80766475,0.051353037],"study_design_scores_gemma":[0.0000013873936,0.000009507745,0.00011029392,0.00012554287,0.0000013275102,0.00020387473,0.0013849144,0.000022331536,0.00006264175,0.006142108,0.99193245,0.0000035682544],"about_ca_topic_score_codex":0.0041062385,"about_ca_topic_score_gemma":0.009813908,"teacher_disagreement_score":0.049643166,"about_ca_system_score_codex":0.0024604076,"about_ca_system_score_gemma":0.002127785,"threshold_uncertainty_score":0.1660729},"labels":[],"label_agreement":null},{"id":"W2599708536","doi":"10.7282/t39s1t8q","title":"Angel song","year":2016,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Suite; History; Visual arts; Psychology; Computer science; Art; Archaeology","score_opus":0.03054145756275462,"score_gpt":0.16858479498560597,"score_spread":0.13804333742285135,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2599708536","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0023430164,0.002915389,0.0010491816,0.003317925,0.010298915,0.000074062045,0.0014223865,0.0008406238,0.9777385],"genre_scores_gemma":[0.009743837,0.00091589877,0.00052913,0.0014578293,0.0011679201,0.000024768895,0.0007643963,0.00035798884,0.9850382],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994475,0.00006690259,0.00002648075,0.00013010572,0.00022856184,0.000100444566],"domain_scores_gemma":[0.9994442,0.00005706403,0.000032686778,0.000060622693,0.00013565294,0.0002697624],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00059234403,0.00078252476,0.00046719532,0.0013856376,0.0030995863,0.0050687776,0.000721582,0.0010103986,0.45616123],"category_scores_gemma":[0.0017993528,0.00023492026,0.00040082156,0.0008693914,0.0007823764,0.002538712,0.0033110927,0.0017944607,0.23958845],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000107949694,0.000035455017,0.000684303,0.00017515282,0.00000571281,0.00026269216,0.0010476987,0.000045733064,0.00073237583,0.02969052,0.8474921,0.11972041],"study_design_scores_gemma":[0.0000032071848,0.000011088403,0.00038043337,0.00005228361,9.919111e-7,0.00013427073,0.000267695,0.000016283078,0.00006558352,0.000498847,0.99856573,0.0000036099123],"about_ca_topic_score_codex":0.0021474182,"about_ca_topic_score_gemma":0.010925295,"teacher_disagreement_score":0.45616123,"about_ca_system_score_codex":0.0010975719,"about_ca_system_score_gemma":0.00092808466,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W2600610348","doi":"10.3138/tjt.2017-0003","title":"Tension and Ambiguity: Paul Tillich and Kendrick Lamar on Courage and Faith","year":2017,"lang":"en","type":"article","venue":"Toronto Journal of Theology","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Sociology; Courage; Faith; Reflexivity; Economic Justice; Ambiguity; Aesthetics; Psychoanalysis; Epistemology; Philosophy; Law; Theology; Psychology; Political science; Social science","score_opus":0.023922382714315994,"score_gpt":0.23534165551963127,"score_spread":0.21141927280531528,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2600610348","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10163838,0.082538776,0.008957478,0.4864308,0.0062767835,0.00005392776,0.000062726605,0.00017945236,0.3138617],"genre_scores_gemma":[0.9402059,0.009685526,0.0012996814,0.019424116,0.0016202385,0.000043371616,0.000015241081,0.00014315917,0.02756275],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99202794,0.005496608,0.00011787206,0.00055624556,0.0011846626,0.00061658415],"domain_scores_gemma":[0.99587774,0.002721994,0.00036400792,0.00016616465,0.00034079608,0.00052925904],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0033146918,0.0007210569,0.0006158694,0.0010042432,0.013387627,0.012658702,0.0015408532,0.0042729406,0.0023665],"category_scores_gemma":[0.009286184,0.00045650758,0.00029802579,0.00097320107,0.04493224,0.012012826,0.007561641,0.011738863,0.0006349673],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003374696,0.00002805705,0.00023838512,0.00007893869,0.000009779466,0.0007648618,0.26768973,0.00014300918,0.0001865597,0.681558,0.041579425,0.0076894984],"study_design_scores_gemma":[0.000023631785,0.000058883295,0.0004752867,0.0005845187,0.000014895684,0.0013888802,0.19428961,0.00045375014,0.0005125094,0.2520668,0.5500522,0.000078972174],"about_ca_topic_score_codex":0.012426827,"about_ca_topic_score_gemma":0.012830458,"teacher_disagreement_score":0.013387627,"about_ca_system_score_codex":0.007184949,"about_ca_system_score_gemma":0.0037959716,"threshold_uncertainty_score":0.0521307},"labels":[],"label_agreement":null},{"id":"W2601613074","doi":"10.3138/tjt.2017-0006","title":"If God Got Us: Kendrick Lamar, Paul Tillich, and the Advent of Existentialist Hip Hop","year":2017,"lang":"en","type":"article","venue":"Toronto Journal of Theology","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":32,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Existentialism; Hegemony; Power (physics); Sociology; Shadow (psychology); Aesthetics; Gender studies; Theology; Psychoanalysis; Religious studies; Law; Philosophy; Politics; Political science; Psychology","score_opus":0.021213052771428088,"score_gpt":0.23978019492275737,"score_spread":0.21856714215132927,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2601613074","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06284701,0.13880798,0.00066453934,0.6203621,0.0060090427,0.000022695393,0.000035899036,0.00006094833,0.17118979],"genre_scores_gemma":[0.8011886,0.055811483,0.0008727989,0.06925629,0.0035856233,0.000054801887,0.000025195728,0.000094629046,0.069110565],"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9980767,0.0012378396,0.000026359523,0.00010332165,0.0002867458,0.00026899204],"domain_scores_gemma":[0.99871004,0.00062292255,0.00011089449,0.000039342875,0.00013132613,0.00038550707],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019090581,0.0003793636,0.00034539442,0.00080935325,0.014362806,0.0077732513,0.00085858634,0.0019283153,0.0022583317],"category_scores_gemma":[0.0029691432,0.0002376192,0.00015452538,0.0007467342,0.020389915,0.0044453926,0.0046145986,0.0068800626,0.00044535619],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000056417968,0.00007055193,0.0013340679,0.0002142553,0.000013656301,0.0011161201,0.40115452,0.000092033646,0.00024209535,0.2334535,0.33197176,0.030281043],"study_design_scores_gemma":[0.000010318813,0.000026833153,0.0014929133,0.0006318518,0.000011634827,0.00090153614,0.24224198,0.00006821709,0.00021749486,0.021891782,0.7324736,0.000031927026],"about_ca_topic_score_codex":0.040853705,"about_ca_topic_score_gemma":0.07539841,"teacher_disagreement_score":0.040853705,"about_ca_system_score_codex":0.005963511,"about_ca_system_score_gemma":0.005865803,"threshold_uncertainty_score":0.08123183},"labels":[],"label_agreement":null},{"id":"W2603642938","doi":"","title":"Ian Skedd : Sign Singing: Love Will Tear Us Apart, Joy Division, 1979, Deaf Choir, 2009","year":2015,"lang":"en","type":"book","venue":"E-Artexte (Artexte)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Singing; Choir; Lyrics; Sign (mathematics); Meaning (existential); Musical; Mainstream; Visual arts; Sign language; American Sign Language; Psychology; Aesthetics; Art; Linguistics; Literature; Management; Philosophy","score_opus":0.0215139050892204,"score_gpt":0.21195376396785182,"score_spread":0.1904398588786314,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2603642938","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0032086542,0.06740503,0.0012088526,0.054535978,0.0096837925,0.000052612166,0.00021764793,0.0002571882,0.8634302],"genre_scores_gemma":[0.014314724,0.014658605,0.00041391273,0.0068864836,0.00067084975,0.000034691006,0.00009595097,0.00014265573,0.96278226],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999752,0.000054706805,0.000012261481,0.000031551666,0.0001112286,0.000038230166],"domain_scores_gemma":[0.99977726,0.000096429525,0.000010401743,0.000010196918,0.000041137693,0.0000645898],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00045710674,0.0006049336,0.00022284026,0.00061664206,0.0049846885,0.0041606594,0.0006336518,0.0022917544,0.026944803],"category_scores_gemma":[0.001015745,0.00027074877,0.00014760155,0.0005971834,0.0023241518,0.0046957685,0.0021037243,0.0042851795,0.013381633],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00000807387,0.000008838858,0.000092131035,0.00006755929,7.889657e-7,0.000112383445,0.0051777572,0.000012316279,0.00015132784,0.01825995,0.9398232,0.03628574],"study_design_scores_gemma":[0.0000020345537,0.000007450063,0.00041645733,0.00015674521,9.82181e-7,0.00020889787,0.004210609,0.000012493213,0.000069104215,0.0011418088,0.99376935,0.0000040291507],"about_ca_topic_score_codex":0.024420686,"about_ca_topic_score_gemma":0.10323046,"teacher_disagreement_score":0.026944803,"about_ca_system_score_codex":0.0014483443,"about_ca_system_score_gemma":0.0021739563,"threshold_uncertainty_score":0.09013939},"labels":[],"label_agreement":null},{"id":"W2604274849","doi":"10.1177/0021989417696123","title":"Music in Michael Ondaatje’s <i>Divisadero</i>","year":2017,"lang":"en","type":"article","venue":"The Journal of Commonwealth Literature","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Blues; Musical; Narrative; Jazz; Literature; Musical form; Art; Impulse (physics); History; Aesthetics; Visual arts; Art history","score_opus":0.04004230497745224,"score_gpt":0.25028293902497306,"score_spread":0.21024063404752083,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2604274849","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18403773,0.011793214,0.0013154009,0.02323163,0.0038984506,0.00003386501,0.0000977776,0.00007980688,0.7755122],"genre_scores_gemma":[0.6842243,0.0034448637,0.0008256142,0.0017973261,0.0005405847,0.000026020247,0.00005291491,0.00014089142,0.30894738],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996836,0.00010896217,0.0000070898136,0.00004156806,0.00009201798,0.00006685958],"domain_scores_gemma":[0.9998559,0.000049638114,0.000018080467,0.000008739608,0.000015757163,0.000051847004],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00030725086,0.00019519894,0.00019019993,0.00024304508,0.0054370165,0.0045064203,0.000360322,0.0008892369,0.006356751],"category_scores_gemma":[0.00072784576,0.00016744107,0.00009406388,0.00026895193,0.00347425,0.0011939388,0.0018179502,0.0021481335,0.00075120863],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002590996,0.00014110329,0.0032434678,0.00031452003,0.000026285308,0.0039176187,0.32207966,0.00046357192,0.0061171567,0.3402215,0.2570228,0.066193216],"study_design_scores_gemma":[0.000005129365,0.0000151723625,0.0015130013,0.00010553595,0.0000034410568,0.0005010415,0.02363517,0.000050841485,0.00044533305,0.002224547,0.97149134,0.000009652228],"about_ca_topic_score_codex":0.016283914,"about_ca_topic_score_gemma":0.05378632,"teacher_disagreement_score":0.016283914,"about_ca_system_score_codex":0.002026311,"about_ca_system_score_gemma":0.0008996761,"threshold_uncertainty_score":0.032378316},"labels":[],"label_agreement":null},{"id":"W2604297157","doi":"10.1558/pomh.33411","title":"No two houses of the holy","year":2017,"lang":"en","type":"article","venue":"Popular Music History","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Exhibition; Relation (database); Punk; Visual arts; Citizen journalism; Space (punctuation); Cultural heritage; Order (exchange); Inheritance (genetic algorithm); Aesthetics; Sociology; Art; History; Political science; Computer science; Archaeology; Art history; Law","score_opus":0.07149120249571506,"score_gpt":0.2202754756881429,"score_spread":0.14878427319242785,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2604297157","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.62255377,0.00089941494,0.0033619434,0.0062855515,0.0015533933,0.00019478313,0.00023337803,0.00017973893,0.3647381],"genre_scores_gemma":[0.7942678,0.00024770648,0.003375357,0.0014119257,0.00007722498,0.00007768028,0.00011097406,0.0001224378,0.20030887],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99923563,0.0002379533,0.00001774142,0.00018468572,0.00010231218,0.00022165877],"domain_scores_gemma":[0.9993888,0.00006566794,0.000044563567,0.00012877001,0.000054368782,0.00031781866],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006238031,0.00035317888,0.0003559693,0.00030625798,0.016513364,0.0039006616,0.0013110202,0.0014982304,0.038778707],"category_scores_gemma":[0.00116549,0.00040447147,0.00045085917,0.0005697667,0.0043755556,0.0033158343,0.004860242,0.0037004643,0.0027729562],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0017235355,0.0017036765,0.0346212,0.0008694528,0.00014853207,0.018325811,0.37970603,0.0008325124,0.008869273,0.2501664,0.09021299,0.21282062],"study_design_scores_gemma":[0.000044241377,0.00060043973,0.030942371,0.00027029566,0.00003855866,0.0032672267,0.23947911,0.00043402784,0.0014553281,0.0067252857,0.71664864,0.000094455354],"about_ca_topic_score_codex":0.0052383076,"about_ca_topic_score_gemma":0.027427278,"teacher_disagreement_score":0.038778707,"about_ca_system_score_codex":0.0013799138,"about_ca_system_score_gemma":0.0013429328,"threshold_uncertainty_score":0.12972766},"labels":[],"label_agreement":null},{"id":"W2605358558","doi":"10.4000/cadernosaa.1189","title":"I wanna be your punk: o universo de possíveis do punk, do D.I.Y. e das culturas underground","year":2017,"lang":"pt","type":"article","venue":"Cadernos de arte e antropologia","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":13,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Punk; Humanities; Art; Art history","score_opus":0.06512107063979347,"score_gpt":0.31094836735414255,"score_spread":0.24582729671434908,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2605358558","genre_codex":"editorial","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.002805959,0.05580289,0.0007475984,0.3238626,0.3689036,0.000027916336,0.00015905316,0.00020758278,0.24748285],"genre_scores_gemma":[0.049994636,0.048457976,0.0008116377,0.051934242,0.094972,0.000042345044,0.00017275961,0.00040418527,0.75321025],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.99900013,0.0002464107,0.000050381983,0.00019916998,0.00036993012,0.00013407624],"domain_scores_gemma":[0.99787295,0.00063957047,0.0001506286,0.000104789215,0.00075018784,0.00048200093],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000991531,0.00061160343,0.00041817976,0.0007572078,0.006208343,0.008571032,0.0007751135,0.0031159043,0.03932298],"category_scores_gemma":[0.00574869,0.00037766187,0.0002888429,0.00076575077,0.0026952405,0.004270953,0.0021009743,0.006645411,0.010372398],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016651113,0.000009244797,0.00020901683,0.000157585,0.0000029513224,0.00009787447,0.0014462137,0.000016203414,0.00018304569,0.013600038,0.96637404,0.017887214],"study_design_scores_gemma":[0.0000016449661,0.0000038412413,0.00037615985,0.00010181763,0.0000015442877,0.00004568965,0.0012834563,0.000010726353,0.00006115782,0.00048512765,0.9976247,0.000004166687],"about_ca_topic_score_codex":0.0077839126,"about_ca_topic_score_gemma":0.02852634,"teacher_disagreement_score":0.03932298,"about_ca_system_score_codex":0.0025322288,"about_ca_system_score_gemma":0.0025048722,"threshold_uncertainty_score":0.13154846},"labels":[],"label_agreement":null},{"id":"W2605664404","doi":"","title":"Forging a New Path: Transgender Singers in Popular Music","year":2017,"lang":"en","type":"article","venue":"Journal of Singing","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Transgender; Lyrics; nobody; Queer; Repertoire; Nothing; Musical; Popular music; Jazz; Visual arts; Violin; Psychology; Aesthetics; Art; Literature; Psychoanalysis; Art history","score_opus":0.08122635532260988,"score_gpt":0.24566701915549988,"score_spread":0.16444066383289,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2605664404","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1342791,0.03207701,0.012188375,0.3422466,0.02523936,0.00031617327,0.00023051882,0.0009505524,0.4524724],"genre_scores_gemma":[0.57646334,0.025808202,0.013009728,0.08873286,0.009968907,0.00046038927,0.00027985257,0.0019034476,0.2833733],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.994241,0.0027899467,0.00015737754,0.00046992503,0.0013746698,0.0009671291],"domain_scores_gemma":[0.9942403,0.0020695624,0.00031499643,0.0004100273,0.0006907129,0.0022743682],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0055115214,0.0006658492,0.0006723061,0.0030743876,0.027993679,0.024916437,0.0022626605,0.005733899,0.023546003],"category_scores_gemma":[0.009009315,0.00063236075,0.0007127227,0.0017852426,0.018848846,0.020917153,0.018530224,0.010819418,0.005908887],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000082818166,0.00014683868,0.0038162863,0.0004202117,0.000022960343,0.0015177989,0.59680945,0.000047846435,0.0018263836,0.06268365,0.2119397,0.12068601],"study_design_scores_gemma":[0.000015289263,0.000042404692,0.0015411928,0.0006562952,0.0000096908025,0.00097631814,0.42681217,0.00005437066,0.00033862697,0.0058789854,0.5636342,0.000040399216],"about_ca_topic_score_codex":0.006384974,"about_ca_topic_score_gemma":0.030257232,"teacher_disagreement_score":0.027993679,"about_ca_system_score_codex":0.004058445,"about_ca_system_score_gemma":0.0029976177,"threshold_uncertainty_score":0.07876927},"labels":[],"label_agreement":null},{"id":"W2606146288","doi":"10.31542/j.muse.158","title":"Twerking and Cultural Appropriation: Miley Cyrus' Display of Racial Ignorance","year":2016,"lang":"en","type":"article","venue":"MacEwan University Student eJournal","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"MacEwan University","funders":"","keywords":"Ignorance; Appropriation; Context (archaeology); White (mutation); Interpretation (philosophy); Politics; Sociology; Privilege (computing); Racism; Gender studies; Political science; Law; Epistemology; History; Linguistics; Philosophy","score_opus":0.015215553725933875,"score_gpt":0.2025987666569091,"score_spread":0.1873832129309752,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2606146288","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7945255,0.0021634132,0.0011099594,0.053795397,0.0004187795,0.0000168342,0.000019196843,0.000056862747,0.14789408],"genre_scores_gemma":[0.9815267,0.00062275754,0.00020297011,0.0031932383,0.0001385701,0.000008377745,0.0000046321397,0.000051643998,0.014251236],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9976941,0.0013073867,0.000051410392,0.00018571224,0.00033289846,0.00042851086],"domain_scores_gemma":[0.995465,0.0027541213,0.00071452645,0.00027676465,0.00042602266,0.000363605],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0028099166,0.00033921914,0.0003447771,0.0012799382,0.019219441,0.009078832,0.0005936818,0.001912927,0.0037739126],"category_scores_gemma":[0.008621113,0.00031588442,0.00016445966,0.0008586891,0.016516779,0.0038163862,0.005147641,0.005119693,0.00040440267],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000054366945,0.000014244629,0.0023318632,0.000037679354,0.0000065272407,0.0012219293,0.9253971,0.00003143437,0.0013465325,0.052041173,0.01009524,0.007421973],"study_design_scores_gemma":[0.000007100731,0.000043442695,0.0056396774,0.00019122864,0.000016932057,0.0008326473,0.75708145,0.00020134803,0.0020703136,0.006022058,0.22784607,0.000047673755],"about_ca_topic_score_codex":0.019948216,"about_ca_topic_score_gemma":0.022535728,"teacher_disagreement_score":0.019948216,"about_ca_system_score_codex":0.003748525,"about_ca_system_score_gemma":0.0020033934,"threshold_uncertainty_score":0.03966421},"labels":[],"label_agreement":null},{"id":"W2608250750","doi":"","title":"'The future of music in a New South Africa' (reprinted from Ars Nova 27, 1995)","year":2003,"lang":"en","type":"article","venue":"Ars Nova","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Nova (rocket); Nova scotia; Political science; Geography; Engineering; Archaeology; Aeronautics","score_opus":0.04924841775552587,"score_gpt":0.21220903038380043,"score_spread":0.16296061262827455,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2608250750","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0045611905,0.44027787,0.00046925133,0.16776715,0.07299844,0.00010132306,0.0007728616,0.00006312386,0.31298885],"genre_scores_gemma":[0.10225193,0.18409406,0.0012794881,0.033355862,0.020313693,0.00022702277,0.0004965395,0.00011455696,0.6578668],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994554,0.00012670859,0.00004848228,0.000058115686,0.00016882436,0.0001424172],"domain_scores_gemma":[0.99949646,0.00020735043,0.000059096106,0.00002966742,0.00012094506,0.00008650372],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010575862,0.0010816127,0.00043225574,0.0020646967,0.0049338937,0.0070158904,0.0009191428,0.0035378525,0.011768562],"category_scores_gemma":[0.0030636557,0.00039272048,0.0003437269,0.003265931,0.0035751807,0.0050280965,0.0025304805,0.0051171896,0.0021877903],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000060985956,0.00001625271,0.00030150602,0.0007210247,0.000014121057,0.0005263817,0.014154097,0.000108435495,0.0004231674,0.078907505,0.83338696,0.07137956],"study_design_scores_gemma":[0.0000066940747,0.000006670947,0.0030422856,0.00034330864,0.0000058000937,0.00011428983,0.0035835756,0.000011262696,0.00008609764,0.0019990925,0.9907928,0.000007991849],"about_ca_topic_score_codex":0.12176131,"about_ca_topic_score_gemma":0.34609297,"teacher_disagreement_score":0.12176131,"about_ca_system_score_codex":0.0055329422,"about_ca_system_score_gemma":0.005897023,"threshold_uncertainty_score":0.24210519},"labels":[],"label_agreement":null},{"id":"W2608479582","doi":"","title":"The Daddy of Rock 'n' Roll, Canada 2001, 59 minutes","year":2002,"lang":"fr","type":"article","venue":"Séquences : la revue de cinéma","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Geology; Forensic engineering; Engineering","score_opus":0.019903172159740152,"score_gpt":0.19392910418354703,"score_spread":0.17402593202380687,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2608479582","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0046229707,0.06849121,0.00068470783,0.07424128,0.10742524,0.00059565884,0.025563814,0.0012379222,0.71713716],"genre_scores_gemma":[0.0064933896,0.0054049403,0.00019097359,0.002729082,0.0033272621,0.0001490122,0.0020126011,0.00025888698,0.97943395],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99913967,0.000057459805,0.000027018927,0.00011891355,0.0003614041,0.0002954731],"domain_scores_gemma":[0.99844104,0.00015648367,0.000055065044,0.00004722989,0.00063084747,0.00066927547],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009591824,0.0016995554,0.00088868727,0.0020191676,0.016120153,0.0071206233,0.001322557,0.0049804733,0.2099686],"category_scores_gemma":[0.0033747053,0.00081862876,0.00053007307,0.0029651723,0.0013159115,0.0019352067,0.002917213,0.0044997423,0.058909904],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000033481003,0.0000051801007,0.00009997336,0.000055183787,0.0000018406283,0.00005851516,0.0002347337,0.000024736833,0.00007597669,0.0005634968,0.9935974,0.0052494137],"study_design_scores_gemma":[0.0000059248882,0.000003842932,0.0017415221,0.00011787729,0.0000027048643,0.000015187079,0.0006118759,0.00001058125,0.000031939326,0.000104985105,0.9973482,0.000005444803],"about_ca_topic_score_codex":0.751565,"about_ca_topic_score_gemma":0.954286,"teacher_disagreement_score":0.24843502,"about_ca_system_score_codex":0.019342752,"about_ca_system_score_gemma":0.019824088,"threshold_uncertainty_score":0.70241493},"labels":[],"label_agreement":null},{"id":"W2611359186","doi":"10.25071/1708-6701.39545","title":"Cobalt – Music of Jocelyn Morlock (CD Review)","year":2014,"lang":"en","type":"article","venue":"CAML Review / Revue de l ACBM","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Cobalt; Chemistry; Inorganic chemistry","score_opus":0.032347627182883865,"score_gpt":0.2256495616188523,"score_spread":0.19330193443596844,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2611359186","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00019594558,0.913819,0.00014289495,0.022560399,0.0524537,0.000028126977,0.00007134782,0.000044836073,0.010683701],"genre_scores_gemma":[0.004364489,0.81778055,0.00038817793,0.06072201,0.06639099,0.00009475514,0.00017048298,0.000070439346,0.050018147],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996039,0.000072023,0.000039231672,0.00006392097,0.00016381084,0.00005707647],"domain_scores_gemma":[0.99924797,0.00019403982,0.00010820654,0.000026326106,0.00022550051,0.0001979611],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00083175045,0.0007156044,0.0007657004,0.0017341617,0.00059351634,0.0017520165,0.001071249,0.0021727537,0.01806596],"category_scores_gemma":[0.0032015946,0.00022624467,0.0003415981,0.0013339384,0.00079140405,0.0013881187,0.0019292167,0.0021119497,0.007954537],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000085370746,0.0000131160095,0.000057143716,0.00334091,0.000032909396,0.00011327792,0.00003664292,0.000019946421,0.0003375654,0.0010768829,0.8393003,0.15558605],"study_design_scores_gemma":[0.000030018951,0.000026117008,0.00022392225,0.0012510844,0.000023796436,0.0002641944,0.000029822379,0.000004192956,0.00007439582,0.00023738488,0.99783033,0.000004735143],"about_ca_topic_score_codex":0.0030906277,"about_ca_topic_score_gemma":0.007937675,"teacher_disagreement_score":0.01806596,"about_ca_system_score_codex":0.0008926704,"about_ca_system_score_gemma":0.0020174475,"threshold_uncertainty_score":0.060436666},"labels":[],"label_agreement":null},{"id":"W2612671101","doi":"","title":"Creative Producers and Gender Relations: A Field Analysis of Two Grassroots Music Scenes","year":2016,"lang":"en","type":"dissertation","venue":"TSpace (University of Toronto)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Grassroots; Field (mathematics); Gender relations; Visual arts; Advertising; Political science; Sociology; Art; Gender studies; Mathematics; Business; Law; Politics","score_opus":0.03009877401054512,"score_gpt":0.24540279733763995,"score_spread":0.21530402332709483,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2612671101","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9845636,0.0005634013,0.0009641625,0.00041035117,0.000024458172,0.000297116,0.00031882882,0.000010655454,0.012847509],"genre_scores_gemma":[0.99131596,0.00055227336,0.0011612407,0.00011588661,0.000018239043,0.00016182607,0.00020689148,0.000021201815,0.006446559],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99652326,0.0017538522,0.00009103096,0.0004543486,0.00041826148,0.0007592656],"domain_scores_gemma":[0.99227494,0.0052408325,0.0007222812,0.00033917997,0.0007749168,0.0006479126],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004224298,0.00080428936,0.0007529814,0.006390028,0.01785011,0.0046768454,0.0020768326,0.0012964741,0.0067561995],"category_scores_gemma":[0.0063095912,0.00079365954,0.00036569164,0.0064083734,0.011850658,0.0027021025,0.004413483,0.0014172635,0.00042134407],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007424162,0.000045083787,0.0069172797,0.00012919697,0.000005284073,0.0016621265,0.9830205,0.000025177547,0.000959644,0.001464939,0.00039946652,0.005297169],"study_design_scores_gemma":[0.0000062376266,0.00004027593,0.013758259,0.00007061167,0.0000055245237,0.00017493164,0.9786815,0.000030578336,0.00036730716,0.00015528755,0.0067012478,0.000008310915],"about_ca_topic_score_codex":0.29234466,"about_ca_topic_score_gemma":0.5651884,"teacher_disagreement_score":0.29234466,"about_ca_system_score_codex":0.021101888,"about_ca_system_score_gemma":0.00714424,"threshold_uncertainty_score":0.5812861},"labels":[],"label_agreement":null},{"id":"W2616483979","doi":"","title":"True Loves, Dark Nights: Queer Performativity and Grieving Through Music in the Work of Rufus Wainwright","year":2016,"lang":"en","type":"article","venue":"OhioLink ETD Center (Ohio Library and Information Network)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Wainwright; Performativity; Queer; Work (physics); Art; Sociology; History; Gender studies; Archaeology; Engineering","score_opus":0.013773910188403104,"score_gpt":0.17692620578639567,"score_spread":0.16315229559799257,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2616483979","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8583394,0.0077026933,0.0016024079,0.015336038,0.00049388455,0.000071532704,0.00007307286,0.000070243055,0.1163106],"genre_scores_gemma":[0.9773906,0.0015457028,0.0003301979,0.0010680516,0.00007279624,0.000022825623,0.000015125009,0.000052814125,0.01950191],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99746895,0.0013377727,0.00003384692,0.0002321169,0.00035712248,0.00057023374],"domain_scores_gemma":[0.99863213,0.0006597857,0.00015053719,0.00006964597,0.00014965927,0.00033819754],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0027531337,0.0006521269,0.0004653213,0.0013207293,0.02798747,0.008266937,0.0011830656,0.001606329,0.0030080243],"category_scores_gemma":[0.002993374,0.00028812754,0.00024006696,0.00085814844,0.024219088,0.0037930734,0.004409862,0.0039502783,0.00046244002],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001805436,0.000020139807,0.0006638248,0.000033351935,0.0000033590843,0.0003839053,0.9797718,0.000025185325,0.0003379909,0.009342059,0.0031126598,0.006287718],"study_design_scores_gemma":[0.0000028914924,0.000026522277,0.0027246717,0.00011104999,0.0000054565508,0.00031188133,0.9266169,0.000036574707,0.00021264424,0.0010757623,0.068852395,0.00002317892],"about_ca_topic_score_codex":0.22286767,"about_ca_topic_score_gemma":0.44256756,"teacher_disagreement_score":0.22286767,"about_ca_system_score_codex":0.010319831,"about_ca_system_score_gemma":0.005840487,"threshold_uncertainty_score":0.44314086},"labels":[],"label_agreement":null},{"id":"W2616585023","doi":"10.3138/topia.37.5","title":"What is an Intervention?","year":2017,"lang":"en","type":"article","venue":"TOPIA Canadian Journal of Cultural Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Intervention (counseling); Environmental science; Psychology; Psychiatry","score_opus":0.11446621538840722,"score_gpt":0.3100942232019552,"score_spread":0.19562800781354794,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2616585023","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.070241705,0.07286275,0.011055409,0.66287786,0.046203807,0.00994018,0.0017688704,0.0007052357,0.124344125],"genre_scores_gemma":[0.6840192,0.06314133,0.038730726,0.13686019,0.016123742,0.026219532,0.0009169035,0.00021985514,0.033768404],"study_design_codex":"design_other","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9898497,0.005539518,0.001087361,0.0011646498,0.0013067604,0.0010520415],"domain_scores_gemma":[0.98315144,0.007974047,0.001358549,0.000714551,0.0016108202,0.0051905857],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.011920552,0.0010751053,0.0025617417,0.002477742,0.004171419,0.0035273535,0.0018102153,0.007982356,0.07128306],"category_scores_gemma":[0.039511453,0.0006014683,0.0021481693,0.0013373055,0.003367411,0.005257876,0.0026868198,0.0060253004,0.004873119],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.011786616,0.016494373,0.006235417,0.020800903,0.0011192831,0.00087846594,0.0023502265,0.00049630867,0.0005966864,0.054146864,0.08554936,0.7995455],"study_design_scores_gemma":[0.048454974,0.012116108,0.040136416,0.14604507,0.008018305,0.0026801687,0.023954362,0.002383604,0.0036162564,0.22047673,0.4915249,0.0005930728],"about_ca_topic_score_codex":0.005395184,"about_ca_topic_score_gemma":0.012407911,"teacher_disagreement_score":0.07128306,"about_ca_system_score_codex":0.005327006,"about_ca_system_score_gemma":0.024124095,"threshold_uncertainty_score":0.2384656},"labels":[],"label_agreement":null},{"id":"W2617457560","doi":"10.3138/topia.37.157","title":"The Sole Mbira: An Ecomusicological Critique of Singularity and North American Zimbabwean Music","year":2017,"lang":"en","type":"article","venue":"TOPIA Canadian Journal of Cultural Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Indigenous; Stewardship (theology); Narrative; Politics; Navajo; Ethnography; Agency (philosophy); Wilderness; History; Musical; Gender studies; Sociology; Ethnology; Anthropology; Political science; Social science; Visual arts; Law; Art; Literature","score_opus":0.10242792555263178,"score_gpt":0.287089440712081,"score_spread":0.1846615151594492,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2617457560","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.47930038,0.032101367,0.00439504,0.08419148,0.00043004868,0.000044976998,0.00005790901,0.000023338343,0.39945546],"genre_scores_gemma":[0.98953515,0.002488088,0.00026872221,0.0010862243,0.00006860678,0.00002194813,0.0000050797157,0.0000068206837,0.006519406],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99931,0.00035157325,0.000019510187,0.000071928036,0.00008833743,0.00015852346],"domain_scores_gemma":[0.9995541,0.0002564479,0.00006742409,0.000033434942,0.000049239734,0.000039309336],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009926831,0.00038461955,0.0002371093,0.0015078713,0.011306102,0.0045842775,0.00076949387,0.0012154191,0.0026664978],"category_scores_gemma":[0.0021588576,0.00020130069,0.000120804136,0.001295111,0.028544549,0.0037376373,0.0047220765,0.0020506566,0.00011050154],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000029035922,0.0000073659053,0.0012404803,0.00009203612,0.0000036766414,0.0005268953,0.23845349,0.00006176309,0.0008233767,0.74649304,0.0018944782,0.010374257],"study_design_scores_gemma":[0.000035393427,0.00004107499,0.020572478,0.0010242243,0.000029008826,0.0007963039,0.36289883,0.0005012522,0.00061990786,0.1723284,0.44112158,0.0000315865],"about_ca_topic_score_codex":0.08290697,"about_ca_topic_score_gemma":0.17304629,"teacher_disagreement_score":0.91709304,"about_ca_system_score_codex":0.0083851265,"about_ca_system_score_gemma":0.0023516337,"threshold_uncertainty_score":0.1648488},"labels":[],"label_agreement":null},{"id":"W2618538308","doi":"10.25071/1708-6701.32106","title":"From Berliner to RCA Victor: The Birth and Rise of the Recording Industry in Canada (CD Review)","year":2011,"lang":"en","type":"article","venue":"CAML Review / Revue de l ACBM","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art history; Art","score_opus":0.035318575697945095,"score_gpt":0.2067439462243106,"score_spread":0.17142537052636553,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2618538308","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006187305,0.9384787,0.000050236682,0.045601733,0.004976957,0.000019868263,0.00017026873,0.000018985278,0.010064441],"genre_scores_gemma":[0.011790252,0.9368485,0.0002397737,0.027542582,0.001956402,0.000020916117,0.00017334805,0.000026581374,0.021401707],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99691135,0.00024152243,0.00012885423,0.00020058539,0.001657875,0.00085994817],"domain_scores_gemma":[0.99119276,0.00090725505,0.000514416,0.00013964759,0.0056052264,0.0016406628],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0037213566,0.0007642483,0.0011343673,0.0034789597,0.0038410805,0.007589364,0.0023463916,0.005162466,0.0154353315],"category_scores_gemma":[0.00879539,0.00039032134,0.0006737919,0.0074413256,0.0046884464,0.0030221085,0.0026062042,0.0045478297,0.0021924556],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010252683,0.000027864353,0.0006179598,0.005779264,0.00006507419,0.0003410504,0.0009850971,0.00010049709,0.00029825387,0.011552891,0.7114321,0.2686976],"study_design_scores_gemma":[0.000016233509,0.000018056346,0.0026035865,0.004148892,0.00004905893,0.0001493441,0.001211773,0.0000082593115,0.000092791604,0.00055078726,0.9911294,0.000021758811],"about_ca_topic_score_codex":0.9164936,"about_ca_topic_score_gemma":0.97210646,"teacher_disagreement_score":0.083506405,"about_ca_system_score_codex":0.04228423,"about_ca_system_score_gemma":0.19511744,"threshold_uncertainty_score":0.30679506},"labels":[],"label_agreement":null},{"id":"W2620622441","doi":"","title":"Jim Verburg, A Certain Silence, Zalucky Contemporary, Toronto","year":2017,"lang":"en","type":"article","venue":"Érudit (Université de Montréal)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Silence; Sociology; Art; Aesthetics","score_opus":0.017222900518900897,"score_gpt":0.1713105131451668,"score_spread":0.15408761262626589,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2620622441","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.002313717,0.28027415,0.000563871,0.59020895,0.026975334,0.000018735978,0.00041139396,0.000104132014,0.09912965],"genre_scores_gemma":[0.0928803,0.14975104,0.0006770692,0.108519204,0.01801282,0.000068139074,0.00030240626,0.00043909057,0.62934995],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992599,0.00017267767,0.000026797497,0.00012531756,0.00023457123,0.00018073888],"domain_scores_gemma":[0.99882597,0.00037178912,0.00006736476,0.000050768183,0.00038228265,0.0003017119],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001209278,0.0005183077,0.0004526549,0.0008887935,0.011458265,0.0054581044,0.0010425508,0.003392594,0.017753072],"category_scores_gemma":[0.0033147975,0.00041282194,0.00017350625,0.0012610429,0.004976713,0.0031522124,0.0015171291,0.0068527027,0.0032451674],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012827644,0.0000037873272,0.00014066468,0.000070583614,0.0000023459688,0.00006437942,0.0042859414,0.000025637837,0.000078315956,0.034151755,0.952189,0.008974825],"study_design_scores_gemma":[0.000002563523,0.0000016664086,0.0005164096,0.0000899695,0.000002366148,0.000026469657,0.003536326,0.000012125005,0.000038427166,0.0012858268,0.99448144,0.0000064738388],"about_ca_topic_score_codex":0.5472412,"about_ca_topic_score_gemma":0.7917271,"teacher_disagreement_score":0.5472412,"about_ca_system_score_codex":0.016882055,"about_ca_system_score_gemma":0.010708912,"threshold_uncertainty_score":0.91085035},"labels":[],"label_agreement":null},{"id":"W2621401389","doi":"10.1177/0263775817711706","title":"Environmentalists abide: Listening to whale music – 1965–1985","year":2017,"lang":"en","type":"article","venue":"Environment and Planning D Society and Space","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":7,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Whale; Ideology; Environmentalism; Identity (music); Power (physics); Sociology; Popular music; Aesthetics; Active listening; History; Environmental ethics; Literature; Art; Ecology; Politics; Political science; Communication; Philosophy; Law","score_opus":0.028820198762279176,"score_gpt":0.21099026531753726,"score_spread":0.18217006655525808,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2621401389","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.57940257,0.0075155897,0.0012207024,0.014432877,0.001493401,0.000051582927,0.000117498355,0.0000379997,0.3957277],"genre_scores_gemma":[0.9331953,0.0020752023,0.0003152495,0.001948554,0.00035041687,0.000028629624,0.000052800096,0.00004791543,0.061986066],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989613,0.00037264623,0.00003281037,0.00014539526,0.00024453588,0.00024330207],"domain_scores_gemma":[0.9993043,0.00027550705,0.000059471877,0.00005912928,0.00013915478,0.0001625087],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017421816,0.0003086348,0.00017952095,0.0010124602,0.013166459,0.004530156,0.00039256646,0.0015098765,0.004943743],"category_scores_gemma":[0.0028328556,0.00029516165,0.000110402536,0.0007730773,0.0121360235,0.0027794812,0.0038705324,0.002719169,0.0008542329],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009672154,0.00003018383,0.0050758836,0.000071562856,0.000009439196,0.00085841405,0.919992,0.000028240927,0.0014074587,0.031477217,0.011197598,0.02975521],"study_design_scores_gemma":[0.00000825149,0.000051846742,0.028837258,0.00024420908,0.000011000365,0.00059558224,0.42973754,0.000045671237,0.0007960572,0.0039964668,0.5356483,0.0000278631],"about_ca_topic_score_codex":0.057837524,"about_ca_topic_score_gemma":0.16504289,"teacher_disagreement_score":0.057837524,"about_ca_system_score_codex":0.00340173,"about_ca_system_score_gemma":0.0017952987,"threshold_uncertainty_score":0.11500174},"labels":[],"label_agreement":null},{"id":"W2625401155","doi":"10.25071/1708-6701.40291","title":"Introduction to Post-Tonal Theory, 4th ed. – by Joseph N. Straus (Book Review)","year":2017,"lang":"en","type":"article","venue":"CAML Review / Revue de l ACBM","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Philosophy; Psychoanalysis; Mathematical economics; Psychology; Cognitive science; Epistemology; Mathematics","score_opus":0.014820890010955476,"score_gpt":0.2443962338680718,"score_spread":0.2295753438571163,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2625401155","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0002419191,0.8750141,0.00235329,0.017652482,0.017868554,0.000017865143,0.00017713296,0.00012206386,0.08655267],"genre_scores_gemma":[0.008800007,0.7303768,0.002144099,0.011319235,0.021181198,0.00006508432,0.0003325918,0.00022439973,0.22555664],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995608,0.00008169488,0.000028019884,0.00006365359,0.0002283339,0.000037518716],"domain_scores_gemma":[0.99904066,0.00039537583,0.000055917873,0.00005687,0.0003767173,0.00007438569],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00094266713,0.0007619431,0.0006338952,0.0023781396,0.0009854002,0.0030702369,0.0012269965,0.0014233867,0.053362243],"category_scores_gemma":[0.0030272664,0.00043175436,0.0005066137,0.0020669156,0.0026077104,0.0046541844,0.001356781,0.0033537752,0.02845957],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028603039,0.000013727579,0.00006736465,0.00077617104,0.000011075884,0.00005481525,0.00021371662,0.000101049875,0.00018464332,0.033935238,0.7575212,0.20709237],"study_design_scores_gemma":[0.0000023919492,0.000007219749,0.00022417013,0.00043521565,0.0000031882885,0.00015291317,0.00008152997,0.00002040517,0.00005009067,0.007063958,0.99195355,0.0000053706526],"about_ca_topic_score_codex":0.0052844314,"about_ca_topic_score_gemma":0.00848094,"teacher_disagreement_score":0.053362243,"about_ca_system_score_codex":0.002010594,"about_ca_system_score_gemma":0.0026567741,"threshold_uncertainty_score":0.17851454},"labels":[],"label_agreement":null},{"id":"W2644306260","doi":"10.21992/t9zd03","title":"Translating Chicana Rap: Snow Tha Product","year":2017,"lang":"en","type":"article","venue":"TranscUlturAl A Journal of Translation and Cultural Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Performative utterance; Lyrics; Human sexuality; Sociology; Gender studies; Feminism; Queer; Product (mathematics); Aesthetics; Art; Literature","score_opus":0.15393893378044063,"score_gpt":0.30650379780278414,"score_spread":0.1525648640223435,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2644306260","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6115742,0.0004536382,0.0038769904,0.0037540384,0.0007420749,0.00034428365,0.00030464338,0.00019782483,0.37875226],"genre_scores_gemma":[0.83890617,0.0010464103,0.011786264,0.0015335171,0.00020738861,0.00031853325,0.0005365441,0.00039641987,0.14526878],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994449,0.0002497639,0.000026917909,0.000054624943,0.00014006489,0.000083652034],"domain_scores_gemma":[0.9989699,0.00043842054,0.00006938587,0.00013899883,0.00023447743,0.00014873596],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016235249,0.0004322603,0.00012859654,0.00071258796,0.0048976843,0.0021077292,0.00033270894,0.00048633514,0.01874426],"category_scores_gemma":[0.0025899394,0.00015992824,0.0000968583,0.0006786929,0.0017041626,0.001092614,0.0019295434,0.00081734225,0.002284636],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00040224122,0.00030718325,0.010096518,0.0007577957,0.000010927523,0.0042680213,0.5046942,0.00016284797,0.022529082,0.026875949,0.08261702,0.34727818],"study_design_scores_gemma":[0.000027647198,0.0004941327,0.018664535,0.0006892106,0.000014277683,0.0014230527,0.42472813,0.00053632585,0.004862732,0.0021764007,0.54634184,0.00004171033],"about_ca_topic_score_codex":0.0054597794,"about_ca_topic_score_gemma":0.026719952,"teacher_disagreement_score":0.01874426,"about_ca_system_score_codex":0.0006999906,"about_ca_system_score_gemma":0.0018057706,"threshold_uncertainty_score":0.062705815},"labels":[],"label_agreement":null},{"id":"W2673954604","doi":"10.1017/s0040298217000353","title":"Juliet Fraser and Plus Minus, Café OTO, London, 7 February 2017","year":2017,"lang":"en","type":"article","venue":"Tempo","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Evening; Art; Humanities; Art history; Cartography; Meteorology; Geography; Physics; Astronomy","score_opus":0.04355535229875025,"score_gpt":0.23690327388529028,"score_spread":0.19334792158654002,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2673954604","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0061733355,0.016249875,0.0003747284,0.022299519,0.023373896,0.00018735052,0.004435454,0.00056009745,0.9263458],"genre_scores_gemma":[0.0055057174,0.0016386701,0.00011868199,0.000635312,0.0004527446,0.000015723866,0.00036154446,0.0001680376,0.99110353],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996201,0.000030548792,0.000011707393,0.000059434755,0.00013757653,0.00014064644],"domain_scores_gemma":[0.9995784,0.000026553409,0.000017306553,0.000021177373,0.0001226421,0.00023391917],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005769215,0.00080179016,0.0002754046,0.00074616336,0.0052144486,0.004314145,0.00061521964,0.001760588,0.4074641],"category_scores_gemma":[0.0012042152,0.00038052446,0.00033619153,0.00055759435,0.0010059634,0.0015215541,0.0023399577,0.001608647,0.13013576],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008072303,0.000007906924,0.00024849107,0.00007958993,0.0000025606453,0.00022048538,0.0006495201,0.000013901177,0.00035552157,0.0012899812,0.98477304,0.012278205],"study_design_scores_gemma":[0.0000031679706,0.0000051793113,0.0005655077,0.00006674171,7.414222e-7,0.000030332962,0.00066561863,0.0000032952364,0.000050964445,0.000045657664,0.99856,0.0000026636487],"about_ca_topic_score_codex":0.07109594,"about_ca_topic_score_gemma":0.39351046,"teacher_disagreement_score":0.4074641,"about_ca_system_score_codex":0.0027270736,"about_ca_system_score_gemma":0.0020029615,"threshold_uncertainty_score":0.8451806},"labels":[],"label_agreement":null},{"id":"W2674303106","doi":"","title":"Sketches Of Kitsault","year":2016,"lang":"en","type":"article","venue":"BearWorks (Missouri State University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.01441435673460031,"score_gpt":0.14817691867168142,"score_spread":0.1337625619370811,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2674303106","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.027817182,0.0032741737,0.026546784,0.0023461215,0.0016652001,0.00041395018,0.0024059683,0.0015638594,0.9339667],"genre_scores_gemma":[0.3017776,0.003585695,0.036259085,0.00039625142,0.0001737369,0.0003116319,0.0016036282,0.0008275287,0.6550648],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99976295,0.00004486704,0.00000900007,0.000041562,0.00011013722,0.00003148324],"domain_scores_gemma":[0.9998348,0.00003475986,0.000009232292,0.00003104959,0.000043060703,0.00004713471],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00018555294,0.0010961514,0.00019437248,0.00095695007,0.0029378512,0.002001736,0.00067513215,0.00073592446,0.09620945],"category_scores_gemma":[0.0012000735,0.0003471897,0.0002886733,0.0007901965,0.0019584526,0.0011635631,0.001527138,0.0010021443,0.013147707],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003977524,0.000061639264,0.002346183,0.0007892122,0.000031298747,0.0072369296,0.028697556,0.009321214,0.015787065,0.31627324,0.3966318,0.22242613],"study_design_scores_gemma":[0.0000067560763,0.000017902445,0.0009528031,0.00014534868,0.0000038897206,0.0008488392,0.003190759,0.0004945329,0.0005345272,0.0033324515,0.990455,0.000017252145],"about_ca_topic_score_codex":0.047089737,"about_ca_topic_score_gemma":0.11824656,"teacher_disagreement_score":0.09620945,"about_ca_system_score_codex":0.002039546,"about_ca_system_score_gemma":0.0013846832,"threshold_uncertainty_score":0.32185268},"labels":[],"label_agreement":null},{"id":"W268308188","doi":"","title":"Pass It Along - Scott Cook","year":2014,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History; Art; Folk song; Art history; Geography; Literature","score_opus":0.02437611814787678,"score_gpt":0.19188427594787943,"score_spread":0.16750815780000267,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W268308188","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009233835,0.0059332284,0.00055529067,0.10926583,0.023913978,0.0000980501,0.00038343162,0.00037597917,0.8502404],"genre_scores_gemma":[0.021988293,0.0012204008,0.00025870936,0.014329754,0.00057110057,0.0000140563625,0.00010541398,0.00015514088,0.96135724],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99885905,0.000106591324,0.0000170418,0.00015396798,0.0004672768,0.0003961357],"domain_scores_gemma":[0.99822515,0.00005137251,0.00002964902,0.000050611703,0.0007652287,0.0008779819],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00087245984,0.0006350357,0.0003282314,0.0007989046,0.019192947,0.0052000848,0.00070712226,0.0022055453,0.13624734],"category_scores_gemma":[0.0026591404,0.00032054022,0.00035123163,0.0005811473,0.002042791,0.0024457218,0.0034623458,0.0042460184,0.038077485],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013556155,0.00001308794,0.00038426145,0.000014533969,0.0000017304103,0.00015529282,0.0011333027,0.000008072848,0.00013773699,0.0026933243,0.9829175,0.012527661],"study_design_scores_gemma":[0.0000018867547,0.000007690449,0.00088489015,0.000028089824,0.0000015517965,0.000118805416,0.0030541741,0.0000067754354,0.00006147905,0.00023007124,0.99559563,0.000008872892],"about_ca_topic_score_codex":0.34909427,"about_ca_topic_score_gemma":0.6657709,"teacher_disagreement_score":0.34909427,"about_ca_system_score_codex":0.00512281,"about_ca_system_score_gemma":0.008922791,"threshold_uncertainty_score":0.69412464},"labels":[],"label_agreement":null},{"id":"W2692918730","doi":"10.15353/whr.v7.28","title":"The African American Legacy on Rock and Roll","year":2015,"lang":"en","type":"article","venue":"Waterloo Historical Review","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Waterloo","funders":"","keywords":"Null (SQL); Geology; African american; Mining engineering; History; Computer science; Ethnology; Data mining","score_opus":0.05448664745368435,"score_gpt":0.2352887341108687,"score_spread":0.18080208665718434,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2692918730","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.012471122,0.6193615,0.0002320534,0.09694501,0.0049447306,0.000013054579,0.00015129957,0.000012083915,0.26586908],"genre_scores_gemma":[0.19865623,0.68124884,0.0002645171,0.04240184,0.0055270656,0.00003592792,0.00010792183,0.000056401175,0.07170127],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991277,0.00027197797,0.000035309815,0.00007072683,0.00023987533,0.00025453998],"domain_scores_gemma":[0.9990969,0.0004192625,0.00008372097,0.000045112767,0.00023139395,0.000123587],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020650043,0.00028883407,0.0003543414,0.0019959726,0.0047119358,0.0042334967,0.0006624341,0.0014767522,0.015470096],"category_scores_gemma":[0.0032715253,0.00015673647,0.00015032582,0.0029760299,0.006673835,0.0031733615,0.0020776421,0.0030706848,0.0012790693],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011302974,0.000042287997,0.0016228504,0.0010771573,0.00002892925,0.00064279715,0.017097894,0.000055591187,0.0003375159,0.2997862,0.23130919,0.4478865],"study_design_scores_gemma":[0.0000042587344,0.000006964951,0.0014393779,0.0017124108,0.000012316384,0.00011142572,0.0048062014,0.000005122055,0.000079129626,0.002863626,0.9889536,0.000005537158],"about_ca_topic_score_codex":0.1178478,"about_ca_topic_score_gemma":0.23006454,"teacher_disagreement_score":0.1178478,"about_ca_system_score_codex":0.004221501,"about_ca_system_score_gemma":0.01117292,"threshold_uncertainty_score":0.23432368},"labels":[],"label_agreement":null},{"id":"W270491769","doi":"","title":"Musically creolizing subjects: musically creolizing subjects","year":2010,"lang":"en","type":"article","venue":"Dialnet (Universidad de la Rioja)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Creolization; Creole language; Identity (music); Perspective (graphical); Sociology; Aesthetics; Media studies; Visual arts; Art; Anthropology; Linguistics; Philosophy","score_opus":0.013135143428541322,"score_gpt":0.21373576872898253,"score_spread":0.2006006253004412,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W270491769","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4738472,0.0036556004,0.042859875,0.016280793,0.0013577916,0.00027510757,0.00006569875,0.00022318783,0.46143478],"genre_scores_gemma":[0.93867046,0.001225692,0.00952014,0.0018003538,0.00025419475,0.00016851859,0.00006458594,0.0001912285,0.04810474],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99527246,0.0030970753,0.00007499438,0.00043240553,0.00035431611,0.00076880853],"domain_scores_gemma":[0.997619,0.0007665479,0.00023403889,0.00033418735,0.00016401964,0.00088224415],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0043738936,0.0007510476,0.00044423997,0.0012779667,0.013091906,0.014030859,0.0016210459,0.00281536,0.013450554],"category_scores_gemma":[0.004621288,0.00038383313,0.00060603383,0.000990196,0.03798119,0.016494632,0.015582988,0.0046961876,0.0017753061],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000051553594,0.00008128204,0.002460186,0.00009832249,0.0000048924767,0.0006134028,0.647633,0.000055097295,0.0016643641,0.32378265,0.0028540464,0.020701123],"study_design_scores_gemma":[0.000035726654,0.00016255332,0.0022553902,0.00036557222,0.000015808464,0.0009074844,0.5715707,0.00019934947,0.0013859064,0.08314336,0.33992007,0.00003811179],"about_ca_topic_score_codex":0.00296908,"about_ca_topic_score_gemma":0.0050633843,"teacher_disagreement_score":0.014030859,"about_ca_system_score_codex":0.0023669403,"about_ca_system_score_gemma":0.0028602907,"threshold_uncertainty_score":0.04499662},"labels":[],"label_agreement":null},{"id":"W2725602353","doi":"10.1386/jivs.2.2.97_2","title":"Voicing belonging: Traditional singing in a globalized world","year":2017,"lang":"en","type":"article","venue":"Journal of Interdisciplinary Voice Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Voice; Singing; Linguistics; History; Economics; Management; Philosophy","score_opus":0.11515327916290743,"score_gpt":0.34712543136825125,"score_spread":0.2319721522053438,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2725602353","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.95624447,0.00080382737,0.0003098864,0.0017917,0.00010069666,0.000010343504,0.00003106775,0.000010147565,0.0406979],"genre_scores_gemma":[0.9980102,0.0002513394,0.00005264442,0.00015096515,0.000040651987,0.0000029046666,0.000011540714,0.0000071338127,0.001472689],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989619,0.00040916554,0.000025383517,0.0001606745,0.0001127718,0.00033008945],"domain_scores_gemma":[0.99889565,0.0002520549,0.00018805965,0.00011977329,0.000116265524,0.00042822535],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011318679,0.0003158197,0.00039132166,0.0017074717,0.0077271685,0.0070149307,0.0006645451,0.0011279978,0.007534575],"category_scores_gemma":[0.0016032798,0.00015769979,0.00015929177,0.0024148477,0.011390604,0.004813285,0.007471728,0.0022314282,0.00031784832],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001256886,0.000082753344,0.035463195,0.0001117838,0.00002105156,0.00091697986,0.8997926,0.00006806086,0.0014167465,0.020252805,0.0019659018,0.03978248],"study_design_scores_gemma":[0.0000040167533,0.000056635607,0.044571508,0.00007501947,0.000009276297,0.00030832872,0.9369659,0.00004549228,0.000095077456,0.0026550614,0.01520148,0.000012264193],"about_ca_topic_score_codex":0.009230357,"about_ca_topic_score_gemma":0.025976487,"teacher_disagreement_score":0.009230357,"about_ca_system_score_codex":0.0011805355,"about_ca_system_score_gemma":0.00093100726,"threshold_uncertainty_score":0.025205612},"labels":[],"label_agreement":null},{"id":"W2727484134","doi":"10.4000/monderusse.10018","title":"Anna Fishzon, Fandom, Authenticity, and Opera - Mad Acts and Letter Scenes in Fin‑de‑Siècle Russia","year":2016,"lang":"en","type":"article","venue":"Cahiers du monde russe","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"University of Toronto","keywords":"Opera; Fin de siecle; Fandom; Context (archaeology); Subject (documents); Perspective (graphical); Musical; Sociology; Art; Popular culture; History; Media studies; Humanities; Art history; Aesthetics; Literature; Visual arts","score_opus":0.010340997807593547,"score_gpt":0.18392929166287997,"score_spread":0.17358829385528643,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2727484134","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3606541,0.027065054,0.0011743407,0.015156404,0.0011653841,0.000019678584,0.00006679763,0.000056704735,0.5946416],"genre_scores_gemma":[0.96007925,0.0026267685,0.00013699092,0.00029292866,0.00012692626,0.0000060726506,0.000012898488,0.000028887674,0.03668928],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9994493,0.00031752192,0.0000098548435,0.00004806058,0.00009577259,0.000079392135],"domain_scores_gemma":[0.9997745,0.00013448406,0.00003591394,0.000009062281,0.000015051341,0.00003101374],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005634293,0.00020918067,0.00022399223,0.000619683,0.0056111114,0.003544088,0.0003366306,0.0008509053,0.0029683416],"category_scores_gemma":[0.000992008,0.0002001178,0.000095929645,0.0005688502,0.0058830623,0.0014442921,0.0017423491,0.0014192833,0.00033912197],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015106877,0.00006002251,0.00714802,0.00017746216,0.000013378777,0.0010940026,0.5051777,0.00022058022,0.0008982108,0.3926204,0.03564258,0.056796644],"study_design_scores_gemma":[0.000014848548,0.00006526604,0.030256234,0.00039654685,0.000013337345,0.00076699496,0.21500067,0.00023957371,0.0005843873,0.01942499,0.7332128,0.000024413319],"about_ca_topic_score_codex":0.015341955,"about_ca_topic_score_gemma":0.04051818,"teacher_disagreement_score":0.015341955,"about_ca_system_score_codex":0.002463239,"about_ca_system_score_gemma":0.00071045564,"threshold_uncertainty_score":0.03050536},"labels":[],"label_agreement":null},{"id":"W2728449473","doi":"10.30535/mto.23.2.5","title":"Finding Love in Hopeless Places","year":2017,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":10,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Lyrics; Musical; Popular music; Variety (cybernetics); Counterpoint; Interpretation (philosophy); Scholarship; Aesthetics; Modernity; Key (lock); Sociology; Psychology; Art; Visual arts; Literature; Epistemology; Linguistics; Computer science; Philosophy","score_opus":0.06681834796715068,"score_gpt":0.26354782200364546,"score_spread":0.19672947403649477,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2728449473","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.61662036,0.0046769,0.013184755,0.023916865,0.0009720176,0.00006453459,0.00022336522,0.00013451165,0.3402068],"genre_scores_gemma":[0.9885232,0.00064462936,0.00069303095,0.0004286694,0.000078476216,0.000014438893,0.00003883262,0.00003218803,0.009546467],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978836,0.0012783448,0.000039338895,0.0002034308,0.00029767244,0.00029761705],"domain_scores_gemma":[0.9976708,0.0009817677,0.000340968,0.00023379718,0.00024055387,0.0005319994],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023107622,0.00033500374,0.0003639058,0.0017965647,0.009626716,0.009039848,0.0012649894,0.0013099294,0.009224367],"category_scores_gemma":[0.006795008,0.0002983294,0.00023891202,0.00113657,0.0158263,0.011734289,0.007132304,0.0028696912,0.0008106267],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008185182,0.000030069186,0.0046965415,0.00011121522,0.000015021674,0.0008350067,0.7829896,0.000073703915,0.0006169206,0.17392567,0.008027873,0.028596517],"study_design_scores_gemma":[0.000007279729,0.000025400464,0.0035048479,0.00016848164,0.000008954005,0.0005081333,0.8384198,0.00019657696,0.0003317412,0.029511318,0.12729736,0.00002003613],"about_ca_topic_score_codex":0.003925392,"about_ca_topic_score_gemma":0.008924579,"teacher_disagreement_score":0.009626716,"about_ca_system_score_codex":0.002466637,"about_ca_system_score_gemma":0.0011271327,"threshold_uncertainty_score":0.030858517},"labels":[],"label_agreement":null},{"id":"W2729654291","doi":"","title":"Kylie, a museum and music journalism","year":2007,"lang":"en","type":"other","venue":"London School of Economics and Political Science Research Online (London School of Economics and Political Science)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Mainstream; Queen (butterfly); Quarter (Canadian coin); Journalism; Media studies; Art; Art history; Visual arts; Closing (real estate); Popular music; Sociology; History; Advertising; Political science; Law; Archaeology","score_opus":0.07301995353998965,"score_gpt":0.3352241648819392,"score_spread":0.26220421134194954,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2729654291","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0065759392,0.012857996,0.00032287254,0.079037994,0.0022236602,0.000027288681,0.00025571167,0.00020786375,0.89849067],"genre_scores_gemma":[0.07947387,0.0067235376,0.00052425417,0.009615787,0.0016465536,0.000036456117,0.00014341233,0.00020676127,0.90162945],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99886596,0.0003551304,0.000043086482,0.00018206396,0.00035116173,0.00020263533],"domain_scores_gemma":[0.9964881,0.0007559226,0.00028206868,0.0002995387,0.0005382238,0.0016360894],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001938979,0.000376009,0.00025853337,0.0019955824,0.009388824,0.012990786,0.00072660035,0.0025034966,0.11617657],"category_scores_gemma":[0.0055560498,0.00025638356,0.00021457858,0.0018578795,0.004942798,0.011832056,0.0049421717,0.0024779637,0.013032918],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000057559217,0.000050587085,0.0014391474,0.00018571716,0.000009508178,0.0003833775,0.005722838,0.000044566677,0.0003176342,0.1764176,0.7481588,0.06721279],"study_design_scores_gemma":[0.0000106785,0.0000073759015,0.0015704503,0.00009454516,0.0000025185486,0.000163609,0.0029101444,0.000019613813,0.00007447465,0.0076884693,0.98745173,0.000006413834],"about_ca_topic_score_codex":0.015822088,"about_ca_topic_score_gemma":0.06946078,"teacher_disagreement_score":0.11617657,"about_ca_system_score_codex":0.0041927923,"about_ca_system_score_gemma":0.005292373,"threshold_uncertainty_score":0.38864934},"labels":[],"label_agreement":null},{"id":"W2730230669","doi":"10.1093/oxfordhb/9780190248178.013.14","title":"Country Music as Cultural Practice","year":2017,"lang":"en","type":"book","venue":"Oxford University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Popular music; Vernacular; Music history; Music Geography; Ethnography; Country; Music education; Narrative; Argument (complex analysis); Storytelling; Folk music; Literature; History; Sociology; Art; Visual arts; Anthropology; Musical","score_opus":0.0422681444512981,"score_gpt":0.21602267891029509,"score_spread":0.173754534458997,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2730230669","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00976089,0.014685273,0.000685763,0.0050219153,0.00034463394,0.000011444942,0.000010475881,0.00002121881,0.9694584],"genre_scores_gemma":[0.6641482,0.026605481,0.0016856458,0.004330005,0.0008896658,0.00009873004,0.000049194863,0.00007509839,0.30211794],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990695,0.00042691376,0.000020607407,0.00009541399,0.00020348036,0.00018406987],"domain_scores_gemma":[0.99962425,0.00013703876,0.0000361503,0.000051991436,0.00004472915,0.000105845276],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00071756355,0.00032851475,0.00025182776,0.0011800802,0.0066584363,0.008963922,0.0007570703,0.0015891084,0.01097497],"category_scores_gemma":[0.0011942942,0.00015185626,0.00020393054,0.0018965272,0.01832232,0.004602244,0.0055796606,0.0032855696,0.0016518845],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000059182175,0.000012895989,0.00021977787,0.000056855566,0.0000014677897,0.000097330165,0.027213665,0.00006813376,0.00009616633,0.93142754,0.010743569,0.030056618],"study_design_scores_gemma":[0.000006466034,0.000016212567,0.0008740739,0.00049341936,0.000003500427,0.00025315632,0.025647203,0.00009001302,0.00009839006,0.08504224,0.8874666,0.000008705947],"about_ca_topic_score_codex":0.0125869755,"about_ca_topic_score_gemma":0.020953968,"teacher_disagreement_score":0.0125869755,"about_ca_system_score_codex":0.004940915,"about_ca_system_score_gemma":0.004668117,"threshold_uncertainty_score":0.03671497},"labels":[],"label_agreement":null},{"id":"W2730533809","doi":"10.1093/oxfordhb/9780190248178.013.7","title":"Country Music and Film","year":2017,"lang":"en","type":"book","venue":"Oxford University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"World Federation of Science Journalists","funders":"","keywords":"Hollywood; Movie theater; Agency (philosophy); Country; Narrative; Boom; Visual arts; Representation (politics); Film studies; Music history; Popular music; Art; History; Literature; Media studies; Music education; Sociology; Political science; Engineering; Social science; Art history; Acoustics; Law; Politics","score_opus":0.03316580745694401,"score_gpt":0.17507474016723557,"score_spread":0.14190893271029156,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2730533809","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0047743563,0.031162046,0.00041989278,0.0029920286,0.0012127097,0.000015757727,0.0000772354,0.00006233258,0.9592836],"genre_scores_gemma":[0.18731657,0.06486795,0.0013913268,0.00327281,0.00217182,0.00007243122,0.00033328054,0.00029100367,0.74028283],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99946755,0.00020580269,0.000021208492,0.00007466871,0.00014316791,0.000087531895],"domain_scores_gemma":[0.99975735,0.00009239798,0.000017279846,0.000039634244,0.000030311521,0.000063037296],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00039280177,0.00037778605,0.0002684396,0.0020587945,0.0036785475,0.007832643,0.0005673952,0.00093947875,0.054757055],"category_scores_gemma":[0.0013148937,0.00017771006,0.00021492975,0.002237622,0.0030100658,0.0040483465,0.0034629842,0.0017641918,0.005057476],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006140572,0.000036944075,0.00061487796,0.00048367976,0.0000105617155,0.00039623192,0.019142717,0.0001291497,0.00064453343,0.5931453,0.18436314,0.20097148],"study_design_scores_gemma":[0.0000028347456,0.000010619418,0.00064031023,0.00032288372,0.0000029483608,0.00021661478,0.0043362696,0.000023590022,0.00010341817,0.0048803515,0.98945624,0.000003828628],"about_ca_topic_score_codex":0.0040592737,"about_ca_topic_score_gemma":0.008081505,"teacher_disagreement_score":0.054757055,"about_ca_system_score_codex":0.0019004035,"about_ca_system_score_gemma":0.0010231116,"threshold_uncertainty_score":0.18318063},"labels":[],"label_agreement":null},{"id":"W2732132874","doi":"10.30535/mto.23.2.11","title":"Conference Report: “A Summit of Creativity: A Celebration of the Fiftieth Anniversary of the Beatles’ <i>Sgt. Pepper’s Lonely Hearts Club Band</i>”","year":2017,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Summit; Club; Art; Pepper; Creativity; Art history; Political science; Cartography; Geography; Law; Horticulture; Medicine; Anatomy; Biology","score_opus":0.05484997581212205,"score_gpt":0.2438733931535124,"score_spread":0.18902341734139033,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2732132874","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008043548,0.005245562,0.0012624618,0.22812337,0.3165464,0.00060683204,0.009559102,0.0012694097,0.42934328],"genre_scores_gemma":[0.02849742,0.0022850197,0.0008065845,0.03125347,0.04372419,0.00042419,0.0053655226,0.0008801123,0.8867635],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99863607,0.000138711,0.000040912077,0.00017898092,0.0006238636,0.00038148707],"domain_scores_gemma":[0.9951325,0.00053693604,0.00014272664,0.00014804426,0.0014133604,0.0026263967],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0027375643,0.0010220775,0.00045233307,0.000994038,0.0055267117,0.007079941,0.0012961074,0.0039128903,0.16571683],"category_scores_gemma":[0.0053844526,0.00024599867,0.00062414573,0.00073239446,0.00087954797,0.0032135046,0.004495658,0.006998554,0.050809994],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025356521,0.000016085094,0.000082278624,0.000035166027,0.0000019180586,0.000049522332,0.00006992425,0.000009688944,0.00010488458,0.00035151542,0.99594575,0.0033078883],"study_design_scores_gemma":[0.000013308343,0.000029319834,0.0012773464,0.000050062714,0.0000034319917,0.000033549608,0.0006188102,0.00005167508,0.0002557569,0.0002635682,0.99739045,0.000012668476],"about_ca_topic_score_codex":0.0060560605,"about_ca_topic_score_gemma":0.01836637,"teacher_disagreement_score":0.16571683,"about_ca_system_score_codex":0.0014563162,"about_ca_system_score_gemma":0.0039067934,"threshold_uncertainty_score":0.55437803},"labels":[],"label_agreement":null},{"id":"W2734226881","doi":"","title":"Red Room : La pop religiosité des années à venir selon Arseniy Zhilyaev / Red Room: The Future’s Pop Religiosity According to Arseniy Zhilyaev","year":2015,"lang":"fr","type":"article","venue":"Esse/Esse arts + opinions","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Religiosity; Humanities; Philosophy; Theology","score_opus":0.04677218920759507,"score_gpt":0.26193120077044263,"score_spread":0.21515901156284756,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2734226881","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.43326965,0.03500861,0.0009578432,0.120549574,0.0038950182,0.000031501735,0.00037288477,0.000069145215,0.40584585],"genre_scores_gemma":[0.896636,0.00433313,0.00021335074,0.0028385764,0.000594602,0.000015804359,0.00009474391,0.000056815312,0.095217064],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99978167,0.00009038502,0.000004479047,0.000021663525,0.000050824707,0.00005094491],"domain_scores_gemma":[0.999846,0.00004183955,0.000022095906,0.000010684607,0.000026136444,0.0000533308],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006080959,0.0002787561,0.0002008737,0.0003524084,0.0037266538,0.0024433518,0.00022063329,0.0006378739,0.003920097],"category_scores_gemma":[0.00057758094,0.00014373605,0.00012496243,0.00049175514,0.0032958463,0.00113463,0.0024578213,0.0024520867,0.00046374174],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017797438,0.00006504406,0.01077956,0.00021329377,0.000031913976,0.0010953809,0.21856116,0.00023388212,0.0017466501,0.61354345,0.114131324,0.039420344],"study_design_scores_gemma":[0.000014811531,0.000040465166,0.0362886,0.00018567665,0.000010205547,0.0004311923,0.09612493,0.00017293406,0.00067150505,0.01248439,0.8535391,0.00003620224],"about_ca_topic_score_codex":0.010456749,"about_ca_topic_score_gemma":0.013033065,"teacher_disagreement_score":0.010456749,"about_ca_system_score_codex":0.0017017308,"about_ca_system_score_gemma":0.00082810986,"threshold_uncertainty_score":0.020791769},"labels":[],"label_agreement":null},{"id":"W2734576710","doi":"10.21659/rupkatha.v9n1.s00","title":"“The Strange Case of Dr. Dylan and Mr. Cohen”: A Study in Hyphenation","year":2017,"lang":"en","type":"article","venue":"Rupkatha Journal on Interdisciplinary Studies in Humanities","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Studio; Musical; Lyrics; Punk; Legend; Guitar; Art; Literature; Art history; Visual arts; Management","score_opus":0.15514587471635113,"score_gpt":0.3785120591256859,"score_spread":0.22336618440933478,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2734576710","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.02158961,0.015788341,0.0008665727,0.92056245,0.008805463,0.00003868177,0.000055028868,0.00007158456,0.03222234],"genre_scores_gemma":[0.31811902,0.009726395,0.0010698617,0.61355525,0.0061919936,0.0002158842,0.000050900104,0.0004987533,0.050572034],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.9865976,0.007971211,0.00027455657,0.0015939496,0.001930814,0.001631949],"domain_scores_gemma":[0.98356134,0.0061609177,0.0012010555,0.000684161,0.0027534864,0.005638908],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.007741309,0.0005979887,0.000707195,0.0019343935,0.028909717,0.010852522,0.0023474153,0.007875466,0.007216286],"category_scores_gemma":[0.03552677,0.00073090935,0.00041455476,0.0014747841,0.024902444,0.01450022,0.00872908,0.022522215,0.002141177],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007559388,0.00005540591,0.0025865487,0.000121384626,0.000019525856,0.0027401655,0.2718699,0.000025608355,0.00031541486,0.050440166,0.6495629,0.022187367],"study_design_scores_gemma":[0.000019154797,0.000042229687,0.0018968722,0.00034810818,0.000006480908,0.0022248463,0.2552852,0.00004880999,0.00012676866,0.0049143466,0.7350423,0.00004495126],"about_ca_topic_score_codex":0.041462284,"about_ca_topic_score_gemma":0.07403048,"teacher_disagreement_score":0.041462284,"about_ca_system_score_codex":0.009201072,"about_ca_system_score_gemma":0.008937647,"threshold_uncertainty_score":0.08244187},"labels":[],"label_agreement":null},{"id":"W2734638036","doi":"","title":"It Doesn’t Suck: Showgirls, d’Adam Nayman, ECW Press / Éditions Pop Classics, Toronto, 2014, 128 pages","year":2016,"lang":"fr","type":"article","venue":"Érudit (Université de Montréal)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Art history; History","score_opus":0.010286118346718885,"score_gpt":0.16032272153588245,"score_spread":0.15003660318916356,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2734638036","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0020614278,0.34134904,0.0007548613,0.33377424,0.028078008,0.000025491745,0.00055415864,0.00023765737,0.2931652],"genre_scores_gemma":[0.0288321,0.08851792,0.0009247224,0.032922465,0.007245401,0.000035730547,0.00025869944,0.0005223929,0.8407406],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999265,0.00018636047,0.000029309014,0.00008217643,0.00031982877,0.00011735351],"domain_scores_gemma":[0.99936575,0.00018718762,0.00003280328,0.000043941418,0.00023712112,0.00013327358],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012284747,0.00096567813,0.00042869776,0.0012760547,0.008224977,0.010021444,0.0010814365,0.0036943706,0.029698996],"category_scores_gemma":[0.0031875037,0.000580708,0.00023712964,0.0022906133,0.004027812,0.0072751064,0.0025062426,0.004194563,0.00932045],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000063457346,0.0000042224406,0.000046697638,0.000057209356,0.0000015858059,0.000020581016,0.0014545826,0.000016569087,0.00002401987,0.010801435,0.97426546,0.013301359],"study_design_scores_gemma":[0.0000019959293,0.000001024701,0.0001878693,0.00009446599,0.0000015204416,0.00001974279,0.0018251236,0.000008191509,0.00003571066,0.0011502071,0.996671,0.000003247109],"about_ca_topic_score_codex":0.18990335,"about_ca_topic_score_gemma":0.48710543,"teacher_disagreement_score":0.18990335,"about_ca_system_score_codex":0.008931157,"about_ca_system_score_gemma":0.008405594,"threshold_uncertainty_score":0.37759596},"labels":[],"label_agreement":null},{"id":"W2734948041","doi":"10.1093/oxfordhb/9780190248178.013.2","title":"Geography and Country Music","year":2017,"lang":"en","type":"book","venue":"Oxford University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Ottawa","funders":"","keywords":"Music Geography; Sociocultural evolution; Persona; Construct (python library); Identity (music); Geography; Cultural geography; Negotiation; Musicology; Product (mathematics); Social geography; Sociology; Visual arts; Aesthetics; Anthropology; Art; Human geography; Social science; Humanities","score_opus":0.026529496380954212,"score_gpt":0.17031878856836444,"score_spread":0.1437892921874102,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2734948041","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.010655855,0.02633204,0.00082904863,0.0056344904,0.0004906594,0.00001475929,0.000038430757,0.000050817598,0.95595396],"genre_scores_gemma":[0.54067534,0.035779335,0.0014683291,0.0028412922,0.0008048903,0.000046743684,0.00013320317,0.0001382581,0.41811258],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996816,0.00013280468,0.000008442485,0.000037094505,0.00007493711,0.00006508817],"domain_scores_gemma":[0.9997867,0.00006358048,0.000020609988,0.000030299578,0.000026490037,0.00007235805],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00028973265,0.00027742144,0.00020513908,0.00121529,0.0032126964,0.006105763,0.0005893284,0.0007982437,0.011646664],"category_scores_gemma":[0.00080574414,0.00014180983,0.00017282317,0.0014805469,0.009559729,0.002793481,0.0030657246,0.0014089369,0.0019079827],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021727901,0.000012043311,0.0012271993,0.00012939422,0.0000050502003,0.00031007576,0.018062126,0.00014826309,0.00028552333,0.8818815,0.028166737,0.06975036],"study_design_scores_gemma":[0.000008209431,0.000015974032,0.0035896944,0.00029815017,0.0000056330164,0.00050035154,0.014211205,0.000054363347,0.00009372215,0.055422544,0.9257905,0.000009641263],"about_ca_topic_score_codex":0.017680883,"about_ca_topic_score_gemma":0.038356423,"teacher_disagreement_score":0.017680883,"about_ca_system_score_codex":0.0033584803,"about_ca_system_score_gemma":0.0019556736,"threshold_uncertainty_score":0.038961947},"labels":[],"label_agreement":null},{"id":"W2735061289","doi":"10.1093/oxfordhb/9780190248178.013.20","title":"What’s International About International Country Music?","year":2017,"lang":"en","type":"book","venue":"Oxford University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Country; International relations; Identity (music); Assertion; Representation (politics); Political science; Music industry; Politics; Music education; Visual arts; Law; Art; Aesthetics; Management","score_opus":0.03544817134851085,"score_gpt":0.20345148714338313,"score_spread":0.16800331579487227,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2735061289","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.006095166,0.012752662,0.0008822756,0.017449317,0.0027940937,0.000009253568,0.000027853403,0.000048265912,0.959941],"genre_scores_gemma":[0.41586125,0.05105108,0.0019540668,0.01704591,0.004608079,0.00007865624,0.00018258428,0.000426759,0.5087916],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99938786,0.0001874515,0.000016267635,0.000085967935,0.0001504854,0.00017194383],"domain_scores_gemma":[0.9996511,0.000107325664,0.000023599221,0.000035812922,0.00006481871,0.00011731927],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008373066,0.00042437942,0.0002792908,0.0014581257,0.0061528548,0.012533986,0.0004521751,0.0011146708,0.01631947],"category_scores_gemma":[0.0015521122,0.00014958158,0.00023278913,0.0022673437,0.005893859,0.0075889323,0.0022538546,0.0029847242,0.0024178617],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016441227,0.000022298971,0.00082075753,0.00012114478,0.0000053986882,0.00017391077,0.035114076,0.000047444413,0.00018562913,0.7860701,0.084285006,0.093137756],"study_design_scores_gemma":[0.0000024780277,0.000009209237,0.0010493884,0.00033477772,0.00000509706,0.00021070296,0.026664285,0.00003722503,0.00009236702,0.021538068,0.9500489,0.000007492614],"about_ca_topic_score_codex":0.01021925,"about_ca_topic_score_gemma":0.022187937,"teacher_disagreement_score":0.01631947,"about_ca_system_score_codex":0.002883836,"about_ca_system_score_gemma":0.0023129322,"threshold_uncertainty_score":0.0545941},"labels":[],"label_agreement":null},{"id":"W2736348811","doi":"","title":"Renoff, Greg. Van Halen Rising: How a Southern California Backyard Party Band Saved Heavy Metal. Toronto: ECW Press, 2015. 272 Pp.","year":2017,"lang":"en","type":"article","venue":"DOAJ (DOAJ: Directory of Open Access Journals)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Geography","score_opus":0.2627752963820077,"score_gpt":0.4642939514154173,"score_spread":0.2015186550334096,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2736348811","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0012539302,0.7504142,0.00064387376,0.06791139,0.009051277,0.000027758835,0.0008655655,0.0002582075,0.16957383],"genre_scores_gemma":[0.021320371,0.41031566,0.0013105421,0.013313249,0.0037053176,0.000068442554,0.0006142085,0.0005292916,0.54882294],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996039,0.00007909801,0.000023906781,0.000047216537,0.00018709712,0.000058734426],"domain_scores_gemma":[0.99940693,0.00019599368,0.000042570042,0.00002061582,0.00022319726,0.00011076348],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006581857,0.0012010776,0.00052812765,0.0018692021,0.004335798,0.0039676013,0.0014976569,0.0022726613,0.060932744],"category_scores_gemma":[0.0015582547,0.0009123128,0.00036862583,0.0025271634,0.0020328765,0.0050909105,0.0015086419,0.0029265815,0.024826296],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013662562,0.000005542715,0.0001273579,0.00014830608,0.0000026272828,0.000051664698,0.0015809421,0.000031198368,0.00004551092,0.0023183513,0.95943654,0.036238194],"study_design_scores_gemma":[0.0000026417636,0.0000029504777,0.00091232633,0.00048196176,0.000005422346,0.000046942274,0.003097604,0.000012496905,0.000055286673,0.0006630461,0.9947135,0.00000581262],"about_ca_topic_score_codex":0.22296484,"about_ca_topic_score_gemma":0.540507,"teacher_disagreement_score":0.22296484,"about_ca_system_score_codex":0.0031156584,"about_ca_system_score_gemma":0.0036263447,"threshold_uncertainty_score":0.44333404},"labels":[],"label_agreement":null},{"id":"W2738243126","doi":"10.21083/csieci.v11i1-2.3737","title":"Global Sounds and Local Sentiments: A Survey of Improvised Music in Contemporary China","year":2017,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Improvisation; China; Relation (database); Context (archaeology); Aesthetics; Sociology; Visual arts; History; Art; Computer science; Archaeology","score_opus":0.1633799630155275,"score_gpt":0.37951532466366916,"score_spread":0.21613536164814165,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2738243126","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.99268794,0.0009999017,0.000071660834,0.00028187523,0.0000090667245,0.000008492678,0.000050524624,0.0000049436967,0.005885498],"genre_scores_gemma":[0.9981437,0.00080767204,0.000035121702,0.000058011025,0.000012258554,0.0000071453073,0.000049051014,0.0000038009362,0.0008833928],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9994425,0.00012213408,0.00005042006,0.00008616323,0.00013858624,0.00016026244],"domain_scores_gemma":[0.9990928,0.0002439247,0.00027020663,0.000048067825,0.0001390732,0.00020584975],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009876225,0.0003041197,0.00043043852,0.003296927,0.0026393598,0.0023621023,0.0004134513,0.0004808898,0.0029540227],"category_scores_gemma":[0.0013319788,0.00017659017,0.0001948698,0.006657541,0.003369396,0.0014257262,0.0017311367,0.00057878613,0.0001549837],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010931429,0.00005625762,0.38211545,0.00062006706,0.00006399163,0.0010230277,0.544911,0.00016042757,0.003470337,0.0042849896,0.0013783367,0.061806746],"study_design_scores_gemma":[0.000003026686,0.000059311114,0.6684849,0.00009003685,0.000020656818,0.00014914696,0.32091665,0.000119810036,0.00019922186,0.000329845,0.00960673,0.000020695228],"about_ca_topic_score_codex":0.03123428,"about_ca_topic_score_gemma":0.05599095,"teacher_disagreement_score":0.03123428,"about_ca_system_score_codex":0.0023263122,"about_ca_system_score_gemma":0.0012591771,"threshold_uncertainty_score":0.06210494},"labels":[],"label_agreement":null},{"id":"W2738344359","doi":"10.21083/csieci.v11i1-2.3686","title":"Keep That Lane Open!: Race, Space, and Mardi Gras in Kansas City","year":2017,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Parade; Jazz; Appropriation; White (mutation); Dance; Narrative; Media studies; Visual arts; Performing arts; History; Sociology; Art; Art history; Literature","score_opus":0.20248254414263472,"score_gpt":0.4033846651581139,"score_spread":0.20090212101547916,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2738344359","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9159905,0.001509364,0.000497883,0.010229248,0.00022850445,0.000021641947,0.00006237546,0.000033109573,0.07142736],"genre_scores_gemma":[0.98759115,0.00034591532,0.00010109801,0.0004261202,0.000019532243,0.000010875581,0.000014769211,0.000017050059,0.011473542],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987161,0.0004690269,0.000024444264,0.00011110191,0.00018340838,0.00049594895],"domain_scores_gemma":[0.9987361,0.00040134392,0.00017415837,0.000058926824,0.00016343684,0.0004659611],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012599534,0.00035339582,0.00024668072,0.0010205596,0.032057904,0.008361557,0.0010573444,0.002074018,0.0061341315],"category_scores_gemma":[0.0019801757,0.00032045651,0.00015098002,0.0011913906,0.018523838,0.0037844293,0.0080661485,0.0033267082,0.00036903773],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000063147025,0.00002885677,0.0039902194,0.00005490255,0.0000054169764,0.0006868839,0.9644047,0.000071733826,0.0005437357,0.017392118,0.006135392,0.0066228844],"study_design_scores_gemma":[0.00000274257,0.000016703705,0.0048588077,0.00007315442,0.000004068464,0.00006180574,0.937183,0.000032842912,0.00012499554,0.0006352058,0.05699165,0.0000149697635],"about_ca_topic_score_codex":0.22007057,"about_ca_topic_score_gemma":0.56248975,"teacher_disagreement_score":0.22007057,"about_ca_system_score_codex":0.016067473,"about_ca_system_score_gemma":0.006238509,"threshold_uncertainty_score":0.4375792},"labels":[],"label_agreement":null},{"id":"W2738623363","doi":"10.21083/csieci.v11i1-2.3750","title":"The Other Side of Here and Now: Cross-Cultural Reflections on the Politics of Improvisation Studies","year":2017,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Improvisation; Politics; Aesthetics; Scholarship; Sociology; Action (physics); Ethnography; Hegemony; Ideology; Jazz; Meaning (existential); Epistemology; Anthropology; Art; Visual arts; Political science; Philosophy; Law","score_opus":0.21063166176544815,"score_gpt":0.4536949965728091,"score_spread":0.24306333480736095,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2738623363","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.32809615,0.040678367,0.010502498,0.15626775,0.0034142742,0.00006894642,0.00004336081,0.000100191595,0.46082845],"genre_scores_gemma":[0.98178124,0.0035664733,0.0005244099,0.0038841988,0.0004251627,0.000041157848,0.000010497078,0.00009468359,0.009672202],"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9896119,0.007747543,0.00014594247,0.0005403692,0.0007160033,0.0012382759],"domain_scores_gemma":[0.9871286,0.011073484,0.0003458621,0.00054212235,0.0004273777,0.00048254023],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.010198705,0.0007858381,0.0007414557,0.0027637873,0.021947773,0.018712098,0.0017641027,0.004516582,0.0046846275],"category_scores_gemma":[0.011018615,0.0002763797,0.0005311476,0.003066809,0.074034765,0.014464734,0.009444708,0.012063676,0.00032544206],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023884646,0.00002351121,0.00034959763,0.00009103523,0.000007819365,0.00044582578,0.7166745,0.00006430578,0.00028373336,0.27333033,0.002337723,0.0063676233],"study_design_scores_gemma":[0.000008936493,0.000028688723,0.0010055953,0.000524982,0.000012352287,0.0003317735,0.7977935,0.00010551601,0.00061453367,0.050453275,0.14910255,0.000018296474],"about_ca_topic_score_codex":0.008664244,"about_ca_topic_score_gemma":0.0103858635,"teacher_disagreement_score":0.021947773,"about_ca_system_score_codex":0.00807745,"about_ca_system_score_gemma":0.0032838804,"threshold_uncertainty_score":0.058606327},"labels":[],"label_agreement":null},{"id":"W2738697627","doi":"10.25071/1708-6701.36178","title":"Songs of the Bubble Ring: Songs by John Greer and Clifford Crawley (CD Review)","year":2012,"lang":"en","type":"article","venue":"CAML Review / Revue de l ACBM","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Bubble; Ring (chemistry); Psychology; Art; Chemistry; Physics; Mechanics; Organic chemistry","score_opus":0.025487658542996783,"score_gpt":0.22633290033171446,"score_spread":0.20084524178871768,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2738697627","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00008070555,0.91173077,0.00006835792,0.032608956,0.05065292,0.000025809662,0.0000674598,0.000020579962,0.004744494],"genre_scores_gemma":[0.001571345,0.83398384,0.0002948411,0.06503309,0.060652025,0.00010398235,0.00018090227,0.000048369937,0.038131613],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992799,0.00015958853,0.00006415756,0.000085672866,0.00031982988,0.00009082923],"domain_scores_gemma":[0.99749243,0.00077921245,0.00030111606,0.000071712086,0.00089204335,0.00046346773],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019305171,0.0012149273,0.001412807,0.002547343,0.0010290801,0.0030628443,0.0017236244,0.0040140986,0.022506457],"category_scores_gemma":[0.0065179616,0.00048346847,0.0006628569,0.002526269,0.0015059422,0.0035158459,0.002821652,0.0040454366,0.011051061],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003179759,0.0000062032964,0.000019134066,0.0012779934,0.00001346052,0.000028701703,0.000033929675,0.000009060438,0.00007084093,0.0004692297,0.9464715,0.05156804],"study_design_scores_gemma":[0.00003242254,0.00001821656,0.00023517676,0.0019269298,0.000022819919,0.00015629677,0.000075230266,0.0000049330974,0.00003100834,0.00025495907,0.9972344,0.0000075941907],"about_ca_topic_score_codex":0.007273381,"about_ca_topic_score_gemma":0.021052744,"teacher_disagreement_score":0.022506457,"about_ca_system_score_codex":0.0019395219,"about_ca_system_score_gemma":0.0033258484,"threshold_uncertainty_score":0.075291574},"labels":[],"label_agreement":null},{"id":"W2741008299","doi":"10.22215/sjcs.v5i1.288","title":"\"Other/ed\" Kinds of Blackness: An Afrodiasporic Versioning of Black Canada","year":2012,"lang":"en","type":"article","venue":"Southern Journal of Canadian Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Guelph","funders":"","keywords":"Diaspora; Geopolitics; Gender studies; Identity (music); Politics; Conceptual framework; Black african; Sociology; Political science; Ethnology; Aesthetics; Social science; Law; Art","score_opus":0.05136337224642424,"score_gpt":0.22084504297864926,"score_spread":0.16948167073222503,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2741008299","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.68027353,0.0016998986,0.0027558142,0.02476051,0.0006217843,0.000040430557,0.00011110015,0.00007721825,0.28965968],"genre_scores_gemma":[0.9728674,0.00050778146,0.00081821077,0.0012275468,0.000020500507,0.000008013283,0.000018016153,0.000051274666,0.024481246],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99855655,0.00036098572,0.000019958292,0.00012022728,0.00037754024,0.000564668],"domain_scores_gemma":[0.99889624,0.00017159083,0.000080660415,0.00008844869,0.0003684638,0.00039463348],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014087564,0.00040310362,0.00027888024,0.0010829134,0.0307106,0.007905949,0.0012356773,0.001150008,0.005041708],"category_scores_gemma":[0.0021486548,0.00017192904,0.00024220328,0.0013647473,0.024162658,0.0022159847,0.0052453266,0.0029063136,0.00022405676],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000091890324,0.000018905923,0.006488926,0.00005012111,0.000014379933,0.0012238008,0.6907328,0.00021965007,0.0013276594,0.25963533,0.013666095,0.026530528],"study_design_scores_gemma":[0.000010516813,0.00002483199,0.008131691,0.00019071742,0.00003164028,0.00062970706,0.70802546,0.0005670642,0.00088371936,0.013075674,0.26834524,0.00008367828],"about_ca_topic_score_codex":0.89573085,"about_ca_topic_score_gemma":0.95315015,"teacher_disagreement_score":0.10426915,"about_ca_system_score_codex":0.03758474,"about_ca_system_score_gemma":0.032203194,"threshold_uncertainty_score":0.27269763},"labels":[],"label_agreement":null},{"id":"W2742250845","doi":"10.22230/cjc.2017v42n3a3212","title":"Roger Waters and Pink Floyd: The Concept Albums","year":2017,"lang":"en","type":"article","venue":"Canadian Journal of Communication","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Art; Art history","score_opus":0.035806664803358285,"score_gpt":0.2126524069231952,"score_spread":0.17684574211983692,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2742250845","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.016258039,0.022950027,0.007453058,0.4925316,0.010052071,0.000112780835,0.000099229626,0.00016812103,0.45037508],"genre_scores_gemma":[0.5217147,0.01214462,0.009375087,0.033460587,0.004616303,0.00022381463,0.000073567586,0.00077922846,0.4176121],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99736446,0.0016311799,0.000064267064,0.000179033,0.0004639911,0.00029695994],"domain_scores_gemma":[0.99548596,0.002354181,0.00017186809,0.00023643248,0.0009290055,0.0008225691],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005688026,0.00064941467,0.00037923665,0.0022524302,0.017246697,0.012707509,0.0016597038,0.0054837535,0.021119306],"category_scores_gemma":[0.0129263485,0.00050333847,0.0003180781,0.001748077,0.034168214,0.01735698,0.0063019334,0.008259645,0.0021361408],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016102713,0.000012960951,0.0001643804,0.000035260055,0.0000016317321,0.0001931407,0.054846376,0.00005238703,0.0000876626,0.72265095,0.20904514,0.012894026],"study_design_scores_gemma":[0.000010782446,0.0000064794363,0.000270553,0.00022135192,0.0000033882975,0.0001285821,0.06865555,0.00016482722,0.000107323154,0.090600654,0.8398048,0.000025649848],"about_ca_topic_score_codex":0.13088334,"about_ca_topic_score_gemma":0.22947712,"teacher_disagreement_score":0.86911666,"about_ca_system_score_codex":0.013277622,"about_ca_system_score_gemma":0.009176722,"threshold_uncertainty_score":0.260243},"labels":[],"label_agreement":null},{"id":"W2743248056","doi":"10.22501/koncon.81918","title":"How Do You Swing a Quarter Note? An Analysis of the Great Walking Bassists of the 1950s and 60s.","year":2014,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Swing; Quarter (Canadian coin); History; Art; Visual arts; Archaeology","score_opus":0.014169906787976489,"score_gpt":0.19025160504001476,"score_spread":0.17608169825203826,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2743248056","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9405795,0.007991036,0.0004274125,0.0033874179,0.0001509566,0.00003343341,0.0006213477,0.000012541666,0.04679651],"genre_scores_gemma":[0.9660963,0.006553603,0.0004478944,0.00051450514,0.00011951318,0.0000355972,0.00072936306,0.00003540773,0.025467787],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99959105,0.000116141055,0.000023854025,0.00005187085,0.000114599716,0.00010253312],"domain_scores_gemma":[0.99892837,0.0004861094,0.00019704204,0.000021382053,0.00018097293,0.00018603652],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00080043025,0.0003093498,0.00030136647,0.0038298354,0.0030990236,0.0017922523,0.00044971588,0.00064352766,0.005967998],"category_scores_gemma":[0.002138313,0.00025152278,0.00020470569,0.0038543877,0.001490336,0.0011416542,0.0012282014,0.0011689378,0.00089134916],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00026917696,0.0000729963,0.052048273,0.00036665157,0.000029215886,0.0020456433,0.80748945,0.00007436805,0.0015400691,0.016123233,0.021193165,0.09874775],"study_design_scores_gemma":[0.000007688237,0.00007812338,0.38216227,0.0005090659,0.000016030297,0.0006049624,0.49248695,0.00009080673,0.00026673655,0.0009590929,0.12279601,0.000022186903],"about_ca_topic_score_codex":0.047696818,"about_ca_topic_score_gemma":0.155836,"teacher_disagreement_score":0.047696818,"about_ca_system_score_codex":0.0023085426,"about_ca_system_score_gemma":0.0008816872,"threshold_uncertainty_score":0.09483838},"labels":[],"label_agreement":null},{"id":"W2745085160","doi":"10.25071/1708-6701.39680","title":"The Ashgate Research Companion to Minimalist and Postminimalist Music (Book Review)","year":2014,"lang":"en","type":"article","venue":"CAML Review / Revue de l ACBM","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Visual arts; Media studies; Sociology","score_opus":0.07139364587488643,"score_gpt":0.30556160655006115,"score_spread":0.2341679606751747,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2745085160","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00020000823,0.6965144,0.00051887543,0.0897174,0.06919835,0.000065678534,0.00058101787,0.00015767968,0.14304654],"genre_scores_gemma":[0.0038802184,0.37983906,0.00067408505,0.04524836,0.032472488,0.00012131338,0.0004922713,0.00021995674,0.5370523],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9979455,0.000295379,0.00011385834,0.00017019534,0.0012871289,0.00018798599],"domain_scores_gemma":[0.9962549,0.0011235852,0.00024518205,0.0002358091,0.0016239499,0.00051656953],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0028372325,0.00060774107,0.0012398461,0.003921974,0.001508203,0.0071449736,0.0017076074,0.004749584,0.113763876],"category_scores_gemma":[0.0076727727,0.00050406175,0.0005398034,0.0059578004,0.002165391,0.0045035505,0.0026414606,0.00510007,0.050771303],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000079205365,0.000004128698,0.000008935065,0.0002999899,0.0000024218855,0.000007773009,0.000015180459,0.000006185203,0.000033360353,0.0027924024,0.9605085,0.036313113],"study_design_scores_gemma":[0.000003106311,0.0000027491324,0.00006794737,0.00025841824,0.0000023538491,0.0000165585,0.000019038354,0.0000026003502,0.000021559625,0.0006871239,0.99891615,0.0000023613636],"about_ca_topic_score_codex":0.009841944,"about_ca_topic_score_gemma":0.03289032,"teacher_disagreement_score":0.113763876,"about_ca_system_score_codex":0.0051658605,"about_ca_system_score_gemma":0.007582941,"threshold_uncertainty_score":0.38057804},"labels":[],"label_agreement":null},{"id":"W274776314","doi":"","title":"Special Journal Issues","year":2005,"lang":"en","type":"article","venue":"Notes","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Hollywood; Choir; Art; Art history; Library science; Humanities; Visual arts; Computer science","score_opus":0.03976111282677408,"score_gpt":0.23679381664789456,"score_spread":0.19703270382112048,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W274776314","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005942486,0.015521651,0.0010259761,0.056408197,0.41622004,0.00062527444,0.0043817647,0.0016418985,0.5035809],"genre_scores_gemma":[0.0018671887,0.011311504,0.0008611619,0.017390536,0.13760759,0.00028250687,0.004531567,0.0007587408,0.82538927],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99756926,0.00021808391,0.00024565967,0.00038041637,0.0012771934,0.00030936644],"domain_scores_gemma":[0.98801535,0.0011482221,0.0005839848,0.0008348173,0.0058071865,0.0036104817],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0027899235,0.0014503131,0.0014649476,0.004793681,0.0024655003,0.010880983,0.0025420238,0.005527781,0.5931727],"category_scores_gemma":[0.012884412,0.0006533191,0.0014034436,0.0030495438,0.00073523994,0.005504976,0.0030904952,0.0038606008,0.51668644],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015323527,0.000021916092,0.000045287117,0.00011434494,0.0000020441244,0.000028349146,0.000012977328,0.0000057176017,0.000063136555,0.0006986281,0.9733305,0.02566181],"study_design_scores_gemma":[0.000007437261,0.000012089229,0.00018921902,0.000108831286,0.0000022831136,0.000054305918,0.000032697528,0.000008840511,0.000027096243,0.00046003712,0.99909425,0.000002892251],"about_ca_topic_score_codex":0.0008575121,"about_ca_topic_score_gemma":0.0017689335,"teacher_disagreement_score":0.5931727,"about_ca_system_score_codex":0.0017948439,"about_ca_system_score_gemma":0.0039366656,"threshold_uncertainty_score":0.5802897},"labels":[],"label_agreement":null},{"id":"W2748036462","doi":"10.7202/1040828ar","title":"Du gangsta rap au hip-hop conscient : subversions et alternatives critiques en réponse aux mythes américains","year":2017,"lang":"fr","type":"article","venue":"Cahiers d histoire","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Art; Humanities; Art history","score_opus":0.02568038625581424,"score_gpt":0.2649132663315265,"score_spread":0.23923288007571228,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2748036462","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18285817,0.018610556,0.0038057333,0.10370492,0.001272923,0.000027369768,0.000046769146,0.000035321526,0.68963826],"genre_scores_gemma":[0.96673244,0.0032437125,0.00043295388,0.0041794945,0.0003914986,0.00003128318,0.0000129008795,0.000033915563,0.024941754],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9963812,0.0023912622,0.000058954407,0.00028415537,0.0004857143,0.0003988406],"domain_scores_gemma":[0.9974269,0.0017134193,0.000244157,0.00017553664,0.00022941809,0.0002106488],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026213238,0.00047289208,0.00028213626,0.001587098,0.008639492,0.008611508,0.0009244344,0.0031178584,0.0037079433],"category_scores_gemma":[0.004589335,0.00015600258,0.00018831455,0.0019224077,0.052057985,0.0050551128,0.004109578,0.0059965313,0.00032031658],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016552318,0.000010362188,0.00050176797,0.000041814135,0.000002548002,0.00012911217,0.11781775,0.00005700856,0.00009426556,0.87288564,0.004376033,0.0040670154],"study_design_scores_gemma":[0.000025964495,0.00003449276,0.004549028,0.00068497227,0.000013403619,0.00031581448,0.29348427,0.00038471882,0.00042104747,0.22519566,0.4748617,0.00002894091],"about_ca_topic_score_codex":0.022275992,"about_ca_topic_score_gemma":0.03202307,"teacher_disagreement_score":0.022275992,"about_ca_system_score_codex":0.00781742,"about_ca_system_score_gemma":0.0039756633,"threshold_uncertainty_score":0.0567196},"labels":[],"label_agreement":null},{"id":"W2748528751","doi":"10.3138/md.60.3.392","title":"Deborah R. Geis, ed., <i>Beat Drama: Playwrights and Performances of the “Howl” Generation</i>","year":2017,"lang":"en","type":"article","venue":"Modern Drama","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; History; Performance art; Literature; Art; Art history","score_opus":0.028047418873486378,"score_gpt":0.21076437703680853,"score_spread":0.18271695816332215,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2748528751","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0015786354,0.66793144,0.002184443,0.052501973,0.018865872,0.000028607948,0.0002620509,0.00023772563,0.25640935],"genre_scores_gemma":[0.017850328,0.5984571,0.0023173902,0.010780607,0.0076560387,0.00006742578,0.00026833106,0.0002733587,0.36232942],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99947757,0.00012068007,0.000024280724,0.00005562802,0.00027046874,0.000051417195],"domain_scores_gemma":[0.9995586,0.00022680036,0.000039317354,0.000016550579,0.00007015663,0.00008847248],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00062264845,0.0009471325,0.00045454814,0.0011741789,0.0018160017,0.005069853,0.0009563244,0.0017064989,0.012025884],"category_scores_gemma":[0.0014373029,0.0004770226,0.00024501787,0.0019394727,0.0016928093,0.005170639,0.0013848704,0.002848804,0.0102282055],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001427784,0.000010424494,0.00016512486,0.00027529013,0.0000040063264,0.000082270555,0.0027692746,0.00007638832,0.00026812588,0.014683498,0.8915971,0.0900542],"study_design_scores_gemma":[0.0000014740804,0.0000030263157,0.00035293208,0.00024055637,0.0000019034784,0.00013074109,0.0011891756,0.000020847117,0.000083765866,0.0015019017,0.99646974,0.0000038790977],"about_ca_topic_score_codex":0.008971376,"about_ca_topic_score_gemma":0.028885515,"teacher_disagreement_score":0.012025884,"about_ca_system_score_codex":0.0014672645,"about_ca_system_score_gemma":0.0019934229,"threshold_uncertainty_score":0.04023063},"labels":[],"label_agreement":null},{"id":"W2749497138","doi":"10.1525/mp.2017.35.1.122","title":"David R. Keane (1943-2017)","year":2017,"lang":"en","type":"article","venue":"Music Perception An Interdisciplinary Journal","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Queen's University","funders":"","keywords":"Icon; Citation; Download; Information retrieval; Search engine optimization; Computer science; World Wide Web; Library science; Art history; Art; Search engine","score_opus":0.09375253008329426,"score_gpt":0.33141176227348185,"score_spread":0.23765923219018759,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2749497138","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000705079,0.08022186,0.0014995335,0.09247835,0.099782825,0.000101058016,0.0017745685,0.0011992694,0.7222375],"genre_scores_gemma":[0.0020817404,0.011105031,0.0002647762,0.004302292,0.0030310834,0.000024204084,0.00019796999,0.00016663066,0.97882617],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992969,0.000077055614,0.000035771605,0.000132738,0.00037390256,0.00008362409],"domain_scores_gemma":[0.9986532,0.00013885592,0.00007087125,0.0000789641,0.00064061553,0.00041753208],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0008147936,0.0005952933,0.00052473537,0.001450684,0.0020755858,0.00350262,0.0007789358,0.0021752694,0.45923686],"category_scores_gemma":[0.0037498053,0.0003152469,0.00031475018,0.00093309424,0.0008211147,0.0024024027,0.0025773775,0.002248734,0.36705458],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000052715027,0.0000028105085,0.00003426804,0.000031301635,6.909598e-7,0.00001706705,0.000028923232,0.000006341671,0.000030121704,0.0010305748,0.97593033,0.022882245],"study_design_scores_gemma":[7.5688786e-7,0.0000025212303,0.000071117414,0.00004419134,4.591812e-7,0.000043631037,0.000034194796,0.0000031054394,0.000030900585,0.00017600135,0.9995907,0.0000023376815],"about_ca_topic_score_codex":0.0047455328,"about_ca_topic_score_gemma":0.012732851,"teacher_disagreement_score":0.45923686,"about_ca_system_score_codex":0.0021894847,"about_ca_system_score_gemma":0.0020410963,"threshold_uncertainty_score":0.771333},"labels":[],"label_agreement":null},{"id":"W2751312015","doi":"10.25071/1708-6701.37290","title":"On Course - Richard Whiteman Quartet (CD Review)","year":2013,"lang":"en","type":"article","venue":"CAML Review / Revue de l ACBM","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Course (navigation); Philosophy; Physics; Astronomy","score_opus":0.023565852945353214,"score_gpt":0.23717676277886893,"score_spread":0.21361090983351572,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2751312015","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00011619397,0.37707204,0.00036983498,0.26219398,0.34118387,0.00018512826,0.00040940577,0.00014459899,0.018324936],"genre_scores_gemma":[0.0014445429,0.23915005,0.0005149777,0.4613637,0.183796,0.00037917437,0.00045093108,0.0001141075,0.11278653],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978782,0.00048292,0.00018794194,0.0002381825,0.0009834727,0.00022921346],"domain_scores_gemma":[0.99337375,0.0018239234,0.0006927881,0.0002314591,0.0028506538,0.0010274085],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0032469954,0.0015391184,0.0020781513,0.003927322,0.0013227162,0.0040617287,0.0025610025,0.01008711,0.050655812],"category_scores_gemma":[0.0154865105,0.00072846963,0.001380473,0.0033301406,0.0014497574,0.0048316633,0.003743896,0.0067366697,0.03771023],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001099868,0.0000034443985,0.000010171728,0.0002729524,0.000004983109,0.000015270885,0.0000034455716,0.000004285144,0.000015237396,0.00015838833,0.9874254,0.012075611],"study_design_scores_gemma":[0.000052902484,0.000023855708,0.00017617704,0.0019400798,0.000029786412,0.00011934784,0.000019205232,0.000011825277,0.000025260744,0.000723854,0.9968683,0.000009333676],"about_ca_topic_score_codex":0.0053533698,"about_ca_topic_score_gemma":0.017827902,"teacher_disagreement_score":0.050655812,"about_ca_system_score_codex":0.0028294942,"about_ca_system_score_gemma":0.0051736548,"threshold_uncertainty_score":0.1694606},"labels":[],"label_agreement":null},{"id":"W2751808991","doi":"10.1108/aam-12-2016-0025","title":"Second wave true Norwegian black metal: an ideologically evil music scene?","year":2017,"lang":"en","type":"article","venue":"Arts and the Market","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":10,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University; University of Alberta","funders":"","keywords":"Ideology; Good and evil; Aesthetics; Sociology; Rhetoric; Literature; Philosophy; Art; Politics; Law; Political science","score_opus":0.05686934708439439,"score_gpt":0.2174093928910948,"score_spread":0.1605400458067004,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2751808991","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7983829,0.0017270339,0.0024978411,0.0043058717,0.00043742068,0.000048249465,0.00016131958,0.00003272902,0.19240662],"genre_scores_gemma":[0.97003686,0.00046116876,0.00084825756,0.00034259877,0.000054851986,0.000020697282,0.00005249775,0.000051854524,0.028131343],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9992193,0.00033943247,0.000014410445,0.00009219752,0.00017219261,0.00016235563],"domain_scores_gemma":[0.9996106,0.00017040715,0.00006429139,0.00004877058,0.000048065038,0.00005791561],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001169494,0.0004615225,0.00029657737,0.0010449432,0.005811804,0.0055985143,0.0006803939,0.00084750314,0.008057855],"category_scores_gemma":[0.0014051273,0.00020179071,0.00018021332,0.00074299553,0.016409218,0.002726039,0.003718923,0.0013888968,0.00046849326],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00030295347,0.000044123775,0.0068342136,0.00038712766,0.000012847096,0.0031082532,0.80252796,0.000242086,0.0034556359,0.1527734,0.008075669,0.02223577],"study_design_scores_gemma":[0.000008786009,0.000070232156,0.010235153,0.00030920855,0.00000913144,0.0005804197,0.82069176,0.00014268685,0.0008798935,0.004358561,0.16269043,0.000023803355],"about_ca_topic_score_codex":0.017576924,"about_ca_topic_score_gemma":0.061819073,"teacher_disagreement_score":0.017576924,"about_ca_system_score_codex":0.0040330277,"about_ca_system_score_gemma":0.0016472584,"threshold_uncertainty_score":0.034949243},"labels":[],"label_agreement":null},{"id":"W2752044672","doi":"10.1386/mms.3.3.369_1","title":"The entrepreneurial imperative: Recording artists in extreme metal music proto-markets","year":2017,"lang":"en","type":"article","venue":"Metal Music Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":51,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Music industry; Revenue; Subjectivity; Popular music; Visual arts; Sociology; Art; Public relations; Aesthetics; Political science; Business; Music education","score_opus":0.19782214391487046,"score_gpt":0.29019017436431854,"score_spread":0.09236803044944808,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2752044672","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8826513,0.0001901395,0.001777691,0.0037326377,0.00006314999,0.000035365843,0.000009339014,0.000014119844,0.11152617],"genre_scores_gemma":[0.9947903,0.00005747293,0.00019699757,0.00014616095,0.000014751178,0.0000069330113,0.0000021451388,0.0000059540666,0.0047793956],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99712616,0.001456515,0.00004866328,0.00024835143,0.00045319024,0.00066717266],"domain_scores_gemma":[0.99646026,0.0017140998,0.00054006645,0.00023883006,0.00016624267,0.0008805634],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004133073,0.00020926785,0.00024522986,0.0009106945,0.011488877,0.011821017,0.0010488289,0.002013475,0.006874168],"category_scores_gemma":[0.0043310556,0.00033835034,0.0001777775,0.0007598219,0.023069374,0.0047116876,0.008994107,0.0029717514,0.00035566487],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016231062,0.0001832609,0.009655946,0.00009355419,0.000006666308,0.004779092,0.6831732,0.00018896718,0.0022339977,0.27612633,0.0024723948,0.020924313],"study_design_scores_gemma":[0.00002224082,0.00008571939,0.019215047,0.00016010246,0.000007996279,0.0011899137,0.8659645,0.0009406953,0.00085311016,0.031339873,0.0801826,0.000038286904],"about_ca_topic_score_codex":0.0048761694,"about_ca_topic_score_gemma":0.013513569,"teacher_disagreement_score":0.011821017,"about_ca_system_score_codex":0.0024875116,"about_ca_system_score_gemma":0.00238971,"threshold_uncertainty_score":0.022996426},"labels":[],"label_agreement":null},{"id":"W2753926950","doi":"10.25071/1708-6701.39682","title":"Looking Back – Mike Murley Trio (CD Review)","year":2014,"lang":"en","type":"article","venue":"CAML Review / Revue de l ACBM","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Medicine","score_opus":0.026751536741220668,"score_gpt":0.22890574596237087,"score_spread":0.2021542092211502,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2753926950","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000090812595,0.4269054,0.0002724309,0.25817877,0.3040755,0.000109109154,0.00046438415,0.00014433938,0.009759255],"genre_scores_gemma":[0.0012771647,0.23810343,0.00052226917,0.48327565,0.20455948,0.00026729857,0.0004793942,0.00011263455,0.07140272],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980647,0.00044278623,0.00023361508,0.00022405453,0.0008046621,0.00023012066],"domain_scores_gemma":[0.9910692,0.0018666621,0.0010658538,0.00024086318,0.004129356,0.0016280229],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0034644096,0.0014308556,0.002117221,0.0041032797,0.0012028109,0.0049240007,0.0023664099,0.008098762,0.0643773],"category_scores_gemma":[0.018756902,0.0007095591,0.0016318914,0.0025583364,0.0012361694,0.00539394,0.003926035,0.005859803,0.043412566],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016881071,0.0000031762033,0.000017261582,0.00054511975,0.000010939164,0.000025025576,0.0000055543624,0.000004689636,0.000027161379,0.0001058639,0.983023,0.016215485],"study_design_scores_gemma":[0.0000613997,0.000028813187,0.0001961224,0.0029339518,0.000053664815,0.00020895647,0.000039431325,0.000010029517,0.000038360853,0.00056655565,0.99584806,0.0000147491155],"about_ca_topic_score_codex":0.003583926,"about_ca_topic_score_gemma":0.012132296,"teacher_disagreement_score":0.0643773,"about_ca_system_score_codex":0.0023793492,"about_ca_system_score_gemma":0.005201836,"threshold_uncertainty_score":0.21536356},"labels":[],"label_agreement":null},{"id":"W2756198602","doi":"10.22501/koncon.216258","title":"Double Bass Home Recordings","year":2017,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Bass (fish); Fishery; Computer science; Biology","score_opus":0.0679287606417278,"score_gpt":0.2334859667599045,"score_spread":0.1655572061181767,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2756198602","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.027916737,0.0067374194,0.06979607,0.010202197,0.00967521,0.0014774692,0.0064838133,0.011884334,0.8558268],"genre_scores_gemma":[0.124158055,0.0059245285,0.045622226,0.0032422445,0.0032017983,0.0009142577,0.0044747163,0.0042963377,0.80816585],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983376,0.00033502295,0.000074036056,0.00037619253,0.00075166713,0.0001254219],"domain_scores_gemma":[0.99550724,0.0011026727,0.0002124277,0.0006407925,0.0017704056,0.00076644047],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001707204,0.00069364876,0.0005409567,0.0011151838,0.0015939706,0.0028219512,0.0010926812,0.0011217833,0.28618702],"category_scores_gemma":[0.00659177,0.00034854212,0.00040739946,0.0008127422,0.0007817723,0.0022092673,0.0033072443,0.0017005283,0.13010813],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00060020835,0.00017343076,0.0019867953,0.0009897565,0.000019709394,0.0011432559,0.004478175,0.0001559676,0.015681831,0.006126611,0.5065136,0.46213067],"study_design_scores_gemma":[0.00004478295,0.00017674455,0.0042354525,0.00054781063,0.000012763164,0.0010384041,0.003401158,0.00025711962,0.0027858284,0.001230423,0.9862324,0.00003701998],"about_ca_topic_score_codex":0.0017087677,"about_ca_topic_score_gemma":0.004399123,"teacher_disagreement_score":0.28618702,"about_ca_system_score_codex":0.0005081141,"about_ca_system_score_gemma":0.0011215744,"threshold_uncertainty_score":0.95739096},"labels":[],"label_agreement":null},{"id":"W2762987576","doi":"10.21810/strm.v9i2.240","title":"PHD Defence: Inventing Havana in Thin Air: Sound, Space, and the Making of Sonic Citizenship by Vincent Andrisani","year":2017,"lang":"en","type":"article","venue":"Stream Interdisciplinary Journal of Communication","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Simon Fraser University","funders":"","keywords":"Citizenship; Sound (geography); Space (punctuation); Sociology; Art; Art history; Media studies; Political science; Acoustics; Philosophy; Politics; Law; Physics; Linguistics","score_opus":0.03896195188641377,"score_gpt":0.2926551854876042,"score_spread":0.25369323360119045,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2762987576","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.035174888,0.14665246,0.005104289,0.43660071,0.05391535,0.00008882536,0.00013441975,0.00013605368,0.322193],"genre_scores_gemma":[0.4355165,0.0549342,0.002571341,0.02550268,0.015536069,0.00006186347,0.00007718317,0.00031518238,0.46548504],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987207,0.00062412856,0.000021735845,0.00015806567,0.00031500627,0.0001602573],"domain_scores_gemma":[0.99849963,0.00061861955,0.00006816829,0.000049474675,0.0003287316,0.00043530218],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020876653,0.0004927797,0.0003819582,0.00053699734,0.0044961534,0.0064453934,0.0004865236,0.00164526,0.009738729],"category_scores_gemma":[0.0034359072,0.00023815288,0.00029231107,0.0003705104,0.0056145047,0.0030260563,0.0026932315,0.00522427,0.0027673363],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016004006,0.000052450072,0.0013586783,0.00039515932,0.000022638882,0.00027345063,0.04659521,0.0002625827,0.0019610322,0.20596798,0.6581199,0.084830895],"study_design_scores_gemma":[0.0000084997455,0.000060797196,0.0008924613,0.00043543504,0.0000057443744,0.00028856116,0.024558818,0.0001113788,0.00063016434,0.013374593,0.95961,0.000023671775],"about_ca_topic_score_codex":0.007500948,"about_ca_topic_score_gemma":0.010484445,"teacher_disagreement_score":0.009738729,"about_ca_system_score_codex":0.0029512823,"about_ca_system_score_gemma":0.0021020973,"threshold_uncertainty_score":0.032579362},"labels":[],"label_agreement":null},{"id":"W2766719181","doi":"10.7202/1041493ar","title":"Le studio d’enregistrement comme terrain en ethnomusicologie","year":2017,"lang":"fr","type":"article","venue":"Ethnologies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Ottawa","funders":"","keywords":"Humanities; Studio; Art; Visual arts","score_opus":0.13957754261108446,"score_gpt":0.312653834231023,"score_spread":0.17307629161993854,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2766719181","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6948374,0.0062747793,0.05192066,0.010685074,0.000516724,0.0003188932,0.00025357597,0.00011168122,0.23508117],"genre_scores_gemma":[0.9595023,0.0017997839,0.008051864,0.00037044685,0.00005829606,0.00017801343,0.000060895796,0.000067953864,0.029910402],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9964399,0.0024586702,0.00006452657,0.00044064168,0.00035886266,0.00023749965],"domain_scores_gemma":[0.9969531,0.0018701026,0.00027434554,0.0004259168,0.0002743895,0.00020207146],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004251863,0.00042614774,0.00028500718,0.0013889663,0.0055557913,0.004570225,0.0010486845,0.000793221,0.01051398],"category_scores_gemma":[0.0044489773,0.0003117726,0.00031411974,0.0020082444,0.016361088,0.004867353,0.004241575,0.0016124224,0.00060682715],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010641979,0.000043888373,0.008929748,0.00029647278,0.000014689021,0.00044228314,0.7757868,0.00023857907,0.0029761712,0.16431583,0.0017792635,0.045069825],"study_design_scores_gemma":[0.000033066393,0.00015304948,0.0231074,0.000602104,0.00003803959,0.0005627168,0.6931587,0.0004348075,0.0020131082,0.033967104,0.2458807,0.000049229893],"about_ca_topic_score_codex":0.032876305,"about_ca_topic_score_gemma":0.07856248,"teacher_disagreement_score":0.032876305,"about_ca_system_score_codex":0.005945402,"about_ca_system_score_gemma":0.0058569005,"threshold_uncertainty_score":0.065369904},"labels":[],"label_agreement":null},{"id":"W2767255978","doi":"","title":"Crossing the bar lines : : locating 20th and 21st century strategies of musical resistance","year":2013,"lang":"en","type":"article","venue":"eScholarship (California Digital Library)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"York University; Yale University","keywords":"Musical; Resistance (ecology); Relation (database); Sociology; Hegemony; Musical analysis; Race (biology); Musicology; Gender studies; Pessimism; Aesthetics; Human sexuality; Visual arts; Art; Epistemology; Politics; Philosophy; Political science","score_opus":0.016514320947652813,"score_gpt":0.19427554044353268,"score_spread":0.17776121949587986,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2767255978","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.729232,0.0042208266,0.0056265937,0.008824885,0.00027594602,0.00008638446,0.000037144426,0.00008419037,0.25161213],"genre_scores_gemma":[0.99040437,0.0005455978,0.0009117807,0.00035740662,0.000041482104,0.00004312008,0.000013857168,0.00003728043,0.007645161],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.995204,0.0025902411,0.00010916903,0.00052201975,0.0004922138,0.0010824456],"domain_scores_gemma":[0.9973857,0.0013685054,0.00043139432,0.00021664529,0.0002160972,0.00038165075],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0055248905,0.00047646728,0.0004743008,0.0062345196,0.017149167,0.016107166,0.0019682166,0.003123392,0.00720332],"category_scores_gemma":[0.0084522655,0.00038840345,0.00034460885,0.0029018468,0.034936912,0.011761049,0.011157978,0.0037483305,0.00061182026],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000038861806,0.000017233611,0.0015308519,0.000037672475,0.0000035669948,0.00025869787,0.87638444,0.000023000192,0.0004918427,0.10889002,0.0008246608,0.011499114],"study_design_scores_gemma":[0.0000088030165,0.000035812485,0.0032401653,0.0002118458,0.0000052871846,0.00030904447,0.9110256,0.00015103784,0.00047325908,0.017189985,0.06733209,0.00001711678],"about_ca_topic_score_codex":0.009750182,"about_ca_topic_score_gemma":0.014237776,"teacher_disagreement_score":0.017149167,"about_ca_system_score_codex":0.007209409,"about_ca_system_score_gemma":0.004064951,"threshold_uncertainty_score":0.052308142},"labels":[],"label_agreement":null},{"id":"W2767977313","doi":"10.25071/1708-6701.40308","title":"The Mariposa Folk Festival: A History – by Michael Hill (Book Review)","year":2017,"lang":"en","type":"article","venue":"CAML Review / Revue de l ACBM","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Art history; History; Visual arts","score_opus":0.02883528986729701,"score_gpt":0.23494326989888853,"score_spread":0.20610798003159153,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2767977313","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00008672431,0.9141257,0.000057849018,0.043192126,0.026445039,0.00001869992,0.00007606213,0.00001942951,0.015978372],"genre_scores_gemma":[0.0025016312,0.8365798,0.0002038224,0.04706149,0.025498854,0.0000674924,0.00017692108,0.000066309665,0.0878437],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99935645,0.00013198813,0.000047713937,0.00008055994,0.00029542026,0.000087731496],"domain_scores_gemma":[0.99872667,0.00032645953,0.00012212963,0.000044596003,0.00051087246,0.00026929047],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016976141,0.0007471293,0.00079246325,0.0029091837,0.001527677,0.004740709,0.0016093779,0.0035157222,0.028810905],"category_scores_gemma":[0.004130648,0.0004927764,0.00046462117,0.003604343,0.001965884,0.0046517705,0.0027633498,0.004954173,0.013413235],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001430346,0.0000071806558,0.00002132781,0.0008048176,0.0000069521748,0.000021397385,0.00006228339,0.000009835078,0.000034833614,0.0015200478,0.9514182,0.04607875],"study_design_scores_gemma":[0.000004890868,0.0000046242126,0.00015234675,0.0011080011,0.0000066422676,0.00004651731,0.00010138778,0.0000018225242,0.000013701285,0.00024317906,0.99831355,0.0000034203433],"about_ca_topic_score_codex":0.018764775,"about_ca_topic_score_gemma":0.054145727,"teacher_disagreement_score":0.028810905,"about_ca_system_score_codex":0.003944813,"about_ca_system_score_gemma":0.0061886073,"threshold_uncertainty_score":0.09638214},"labels":[],"label_agreement":null},{"id":"W2770412209","doi":"10.1558/prbt.v17i1.30247","title":"Gardner, Abigail. 2015. PJ Harvey and Music Video Performance","year":2016,"lang":"en","type":"article","venue":"Perfect Beat","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université Laval","funders":"","keywords":"History; Media studies; Art history; Art; Sociology","score_opus":0.02531413689112149,"score_gpt":0.19264916331836446,"score_spread":0.16733502642724296,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2770412209","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0014356901,0.5786119,0.0012021206,0.075174674,0.008967585,0.000030096411,0.00061803585,0.00022801975,0.3337319],"genre_scores_gemma":[0.0658169,0.29048657,0.0013816016,0.010885559,0.002653025,0.00008239701,0.00034576884,0.0005491686,0.627799],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994566,0.000111121204,0.000037221653,0.00008134842,0.00024274853,0.00007104938],"domain_scores_gemma":[0.9984994,0.0005920605,0.00011833679,0.00005154933,0.00052232295,0.00021643138],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000723398,0.0010708985,0.00043646002,0.0028067278,0.0035205185,0.0055664973,0.0009509664,0.0035509716,0.07237802],"category_scores_gemma":[0.0043227216,0.00053570524,0.00019529408,0.0024592467,0.0024732924,0.006078254,0.0019609744,0.002989888,0.035177764],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000043215536,0.000009312481,0.00020204428,0.00033537854,0.0000028342424,0.00017095824,0.0037509406,0.000046411235,0.00018481433,0.022689808,0.8239446,0.14861973],"study_design_scores_gemma":[0.000004838146,0.0000067959886,0.0006656685,0.0010880007,0.000003795839,0.00012988159,0.00343554,0.000015876369,0.00009064558,0.0056388592,0.98891115,0.0000088520155],"about_ca_topic_score_codex":0.049062267,"about_ca_topic_score_gemma":0.119933344,"teacher_disagreement_score":0.07237802,"about_ca_system_score_codex":0.0031997825,"about_ca_system_score_gemma":0.0033177228,"threshold_uncertainty_score":0.24212855},"labels":[],"label_agreement":null},{"id":"W2770569076","doi":"10.1080/14927713.2017.1399565","title":"<b>Heavy metal studies and popular culture</b>, edited by Brenda Gardenour Walter, Gabby Riches, Dave Snell and Bryan Bardine, Basingstoke, Palgrave, 2016, xiv+214 pp., £68.00 (hbk), ISBN 978-1-137-456670","year":2017,"lang":"en","type":"article","venue":"Leisure/Loisir","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Media studies; Sociology; Art history; Art","score_opus":0.033008179052615515,"score_gpt":0.24846222044591948,"score_spread":0.21545404139330396,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2770569076","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.003132623,0.67663014,0.0005727356,0.034573644,0.0061349217,0.000024255824,0.000809727,0.00014637693,0.27797556],"genre_scores_gemma":[0.03047848,0.3920928,0.0007456447,0.0041600997,0.0022407048,0.00005465561,0.0007108771,0.00024492282,0.56927186],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99945503,0.0001840963,0.000027366239,0.00006679962,0.00018697043,0.000079787664],"domain_scores_gemma":[0.99945337,0.00022597575,0.000069399386,0.000048923608,0.00011614443,0.00008623519],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006272568,0.000954323,0.0005827109,0.0015145577,0.001355039,0.0055655343,0.00079481746,0.001369497,0.058891904],"category_scores_gemma":[0.0014187727,0.0005567967,0.00033009326,0.0048016887,0.0022805345,0.004643124,0.0023801723,0.0016831318,0.026132535],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003177009,0.000015998408,0.00040555492,0.00097619864,0.000010239069,0.00007672756,0.0042784926,0.000050862767,0.0003271389,0.013952017,0.8569145,0.122960374],"study_design_scores_gemma":[0.000002327022,0.00000489323,0.0014640078,0.00054592045,0.0000027943393,0.00006722333,0.0025759547,0.000013327959,0.00006027125,0.0018876018,0.99337065,0.0000049676623],"about_ca_topic_score_codex":0.040773306,"about_ca_topic_score_gemma":0.11353939,"teacher_disagreement_score":0.058891904,"about_ca_system_score_codex":0.0034115175,"about_ca_system_score_gemma":0.004274077,"threshold_uncertainty_score":0.19701308},"labels":[],"label_agreement":null},{"id":"W2770799356","doi":"10.3167/cont.2017.050202","title":"Never Mind the Ballots","year":2017,"lang":"en","type":"article","venue":"Contention","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Ballot; Citizenship; Scholarship; Politics; Democracy; Voting; Political science; State (computer science); Law; Action (physics); Law and economics; Sociology; Public administration","score_opus":0.09947052296726286,"score_gpt":0.23661086843628493,"score_spread":0.13714034546902207,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2770799356","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0840435,0.0030319504,0.0043788035,0.120473586,0.0034540256,0.00006543147,0.00030666983,0.0002595183,0.7839866],"genre_scores_gemma":[0.6620206,0.001116123,0.0011160863,0.020107733,0.00023886516,0.000025248071,0.00013500298,0.00021437868,0.31502584],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99467766,0.0009833423,0.00007489211,0.0006975159,0.0015345988,0.0020319992],"domain_scores_gemma":[0.99727696,0.00041615064,0.00014781038,0.00017487901,0.0011667818,0.00081756536],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0028605666,0.00054579164,0.00044038854,0.0009112812,0.034914996,0.010288539,0.001412719,0.0028211356,0.019404743],"category_scores_gemma":[0.008954583,0.00038059123,0.00031283585,0.00095002464,0.024836853,0.0049667344,0.0040196367,0.006379767,0.003855594],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011628615,0.000043505454,0.005046847,0.00012683269,0.000028834576,0.00041018653,0.13782993,0.000168281,0.001198527,0.5729953,0.23220564,0.049829833],"study_design_scores_gemma":[0.000008737353,0.000020488858,0.002454911,0.0001344336,0.000009594155,0.000090245936,0.048813816,0.000099181874,0.0003949016,0.012707459,0.9352245,0.00004175488],"about_ca_topic_score_codex":0.76536185,"about_ca_topic_score_gemma":0.90014446,"teacher_disagreement_score":0.76536185,"about_ca_system_score_codex":0.025569893,"about_ca_system_score_gemma":0.030319553,"threshold_uncertainty_score":0.47203994},"labels":[],"label_agreement":null},{"id":"W2772044131","doi":"10.1017/s0261143017000575","title":"Wrecking rap's conventions: the cultural production of three daring Detroit emcees","year":2017,"lang":"en","type":"article","venue":"Popular Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"University of Calgary","keywords":"Scholarship; Popular culture; Popular music; Gender studies; Sociology; Context (archaeology); Narrative; Music industry; Hegemony; Musical; Ethnography; Aesthetics; Media studies; Visual arts; Art; History; Political science; Literature; Anthropology; Law","score_opus":0.12364485110855918,"score_gpt":0.2596687059211526,"score_spread":0.13602385481259344,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2772044131","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9677513,0.00030254963,0.00039521256,0.0031355603,0.00007782286,0.000050186496,0.000029255187,0.00001529478,0.028242705],"genre_scores_gemma":[0.98430413,0.00030246525,0.0007000469,0.0005345235,0.000040183426,0.000045187327,0.000024747273,0.000032608226,0.014016161],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9979988,0.0011686801,0.000043334192,0.00017516255,0.00028272325,0.00033141978],"domain_scores_gemma":[0.9982632,0.0008448834,0.00015758621,0.00013271887,0.00016295815,0.00043873084],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0040800674,0.0005792409,0.0004244729,0.0016706843,0.015844982,0.0049661263,0.0011744704,0.0014177617,0.0048660315],"category_scores_gemma":[0.0042565223,0.00036754188,0.00015527125,0.0011201677,0.012112898,0.0017147273,0.005624267,0.002514239,0.0003430595],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000042276493,0.00003059797,0.002756737,0.000052983483,0.000005992006,0.001272303,0.97254455,0.00002739676,0.0014626314,0.0070319017,0.0020698698,0.012702795],"study_design_scores_gemma":[0.000004107125,0.000041791514,0.0051505608,0.00008524054,0.00000400393,0.0006732974,0.93075407,0.000097140946,0.0005368376,0.00035720912,0.062281072,0.0000147978735],"about_ca_topic_score_codex":0.017106319,"about_ca_topic_score_gemma":0.07102374,"teacher_disagreement_score":0.017106319,"about_ca_system_score_codex":0.0035077427,"about_ca_system_score_gemma":0.0021404272,"threshold_uncertainty_score":0.03401351},"labels":[],"label_agreement":null},{"id":"W2773321739","doi":"","title":"Soundsinging and Social (In)Justice","year":2017,"lang":"en","type":"article","venue":"Data Archiving and Networked Services (DANS)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Economic Justice; Sociology; Political science; Law","score_opus":0.05269908646100231,"score_gpt":0.2544571478389591,"score_spread":0.20175806137795682,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2773321739","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.035070922,0.005079228,0.0052504223,0.078298874,0.0021102915,0.00004097279,0.000032204076,0.00012647329,0.8739905],"genre_scores_gemma":[0.92357224,0.0012133117,0.000937285,0.013571093,0.00078110886,0.00006166472,0.000019733812,0.00009377852,0.059749868],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99152935,0.0044561,0.00028809457,0.0010986921,0.0011185212,0.0015093249],"domain_scores_gemma":[0.99652654,0.000987685,0.00035144863,0.0005384664,0.00043771372,0.0011581855],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0057779886,0.00051529956,0.00043382525,0.0010474869,0.027376465,0.013726135,0.0014096864,0.003989179,0.009529275],"category_scores_gemma":[0.0068816165,0.000174843,0.00036690687,0.0006831836,0.094968654,0.0064751175,0.017257473,0.005851553,0.00093340274],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010541055,0.00002557753,0.0005913804,0.000028521552,0.0000070383103,0.00018895416,0.08052908,0.000054403543,0.00013173827,0.8871371,0.015608327,0.015687237],"study_design_scores_gemma":[0.000013218796,0.000047665406,0.0013897449,0.0001937404,0.000008264022,0.000298782,0.1099954,0.00011617524,0.00023037716,0.3221015,0.5655735,0.00003152261],"about_ca_topic_score_codex":0.015633188,"about_ca_topic_score_gemma":0.023614213,"teacher_disagreement_score":0.027376465,"about_ca_system_score_codex":0.0061046695,"about_ca_system_score_gemma":0.0056543592,"threshold_uncertainty_score":0.04429263},"labels":[],"label_agreement":null},{"id":"W2773906090","doi":"10.1177/2057047317741902","title":"To soothe or remove? Affect, revanchism and the weaponized use of classical music","year":2017,"lang":"en","type":"article","venue":"Communication and the Public","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":13,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Musical; Aesthetics; Classical music; Affect (linguistics); Public space; Sociology; Visual arts; Art; Engineering; Communication; Architectural engineering","score_opus":0.1325717821919557,"score_gpt":0.2688588298545744,"score_spread":0.13628704766261868,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2773906090","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.38707915,0.011551622,0.007602941,0.016578011,0.0005228271,0.000025213005,0.000018409286,0.00006457417,0.5765572],"genre_scores_gemma":[0.9867071,0.0011661287,0.0004335141,0.0008262935,0.00010787978,0.000005897464,0.0000028100753,0.000014744651,0.010735704],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990515,0.0005163441,0.000017073473,0.00008718295,0.00020163674,0.0001262783],"domain_scores_gemma":[0.99944943,0.0002591032,0.00009139478,0.00007386997,0.00005268154,0.00007356283],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00089651,0.00025952223,0.00012598337,0.0005192363,0.0028859673,0.0043792273,0.00037493336,0.0009780304,0.0028643503],"category_scores_gemma":[0.0017141904,0.00011152667,0.00011600383,0.00027725063,0.027525395,0.0023113328,0.0025370969,0.0013407316,0.00035944337],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000087424574,0.00003800737,0.0022956226,0.00012590663,0.000016860073,0.00031186527,0.11563291,0.0001985245,0.0025623739,0.82339317,0.0033365632,0.05200083],"study_design_scores_gemma":[0.000057235025,0.0003321498,0.023612628,0.00053583336,0.00006148714,0.00156188,0.16652744,0.00097012083,0.0046089482,0.31169933,0.48992622,0.00010667773],"about_ca_topic_score_codex":0.0033167389,"about_ca_topic_score_gemma":0.0053345626,"teacher_disagreement_score":0.0043792273,"about_ca_system_score_codex":0.0015568851,"about_ca_system_score_gemma":0.00057005946,"threshold_uncertainty_score":0.011296093},"labels":[],"label_agreement":null},{"id":"W2775451902","doi":"10.4000/volume.5437","title":"Du charivari au big data. Les musiques populaires au prisme des sound studies","year":2017,"lang":"fr","type":"article","venue":"Volume !","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"McGill University","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.2783541589249349,"score_gpt":0.31274664809301395,"score_spread":0.03439248916807902,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2775451902","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.016236357,0.090421,0.06569866,0.641356,0.016491575,0.00044898308,0.012278952,0.0014024066,0.15566608],"genre_scores_gemma":[0.37007236,0.101353556,0.15293905,0.19473477,0.033932585,0.0023632282,0.012662684,0.002863055,0.1290787],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9707701,0.016003901,0.0013345861,0.003640497,0.0073410743,0.00090979575],"domain_scores_gemma":[0.89261127,0.059459105,0.0058396985,0.021350464,0.015166177,0.0055734087],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.03291462,0.0008449584,0.0010016155,0.007998597,0.0047528264,0.015421821,0.001902638,0.00333016,0.019386075],"category_scores_gemma":[0.09406482,0.00081840873,0.0010662392,0.013729884,0.011266588,0.025873905,0.008934285,0.0077971783,0.0046753054],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017904738,0.00004326955,0.010095283,0.0012746643,0.00016973689,0.00025129184,0.008283514,0.0005068306,0.00087279914,0.56902695,0.24524523,0.16405132],"study_design_scores_gemma":[0.000021634702,0.000029347586,0.0070098583,0.001734767,0.000031774005,0.00022835367,0.0057767476,0.00078560575,0.00047154308,0.16996898,0.81388485,0.00005651158],"about_ca_topic_score_codex":0.012684283,"about_ca_topic_score_gemma":0.014548672,"teacher_disagreement_score":0.03291462,"about_ca_system_score_codex":0.006432404,"about_ca_system_score_gemma":0.010498582,"threshold_uncertainty_score":0.17407125},"labels":[],"label_agreement":null},{"id":"W2776768176","doi":"10.1558/pomh.35327","title":"Michael Brocken, The Twenty-First-Century Legacy of The Beatles: Liverpool and Popular Music Heritage Tourism","year":2017,"lang":"en","type":"article","venue":"Popular Music History","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Brock University","funders":"","keywords":"Tourism; History; Popular music; Art history; Media studies; Art; Sociology; Visual arts; Archaeology","score_opus":0.032250678493773256,"score_gpt":0.1995374496594224,"score_spread":0.16728677116564916,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2776768176","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0007294388,0.8713734,0.0003382935,0.042227082,0.004468333,0.000031708892,0.0003476596,0.0001371846,0.08034686],"genre_scores_gemma":[0.019500483,0.55210906,0.0007240941,0.010455135,0.0033076236,0.00007657981,0.00043558507,0.00016129011,0.4132301],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99941397,0.00017084532,0.000035867175,0.00006613809,0.00019921336,0.00011403153],"domain_scores_gemma":[0.9994979,0.00015259921,0.00007163758,0.00001616497,0.00010764829,0.00015413128],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00063399976,0.0015186613,0.00045296567,0.0019284869,0.0031691797,0.005605817,0.0021545189,0.0046627717,0.093171895],"category_scores_gemma":[0.0012059831,0.0006861862,0.00032167413,0.003558089,0.0020423848,0.008481177,0.0032867314,0.0025002097,0.030357184],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000038325812,0.000008173682,0.000115902156,0.0005424609,0.000004321324,0.000090503534,0.0015466352,0.00003628532,0.00006931785,0.004211741,0.94964486,0.043691512],"study_design_scores_gemma":[0.000009035341,0.000008407699,0.0013919062,0.001036414,0.0000066809357,0.00015846624,0.004097053,0.000025227248,0.0000870754,0.0017011327,0.991459,0.000019514455],"about_ca_topic_score_codex":0.12708588,"about_ca_topic_score_gemma":0.2618165,"teacher_disagreement_score":0.12708588,"about_ca_system_score_codex":0.00453771,"about_ca_system_score_gemma":0.0030549862,"threshold_uncertainty_score":0.31169105},"labels":[],"label_agreement":null},{"id":"W2778078960","doi":"10.1386/jpme.1.3.253_1","title":"Play like Jay: Pedagogies of drum kit performance after J Dilla","year":2017,"lang":"en","type":"article","venue":"Journal of Popular Music Education","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":16,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Drum; Soul; Ethnography; Musical; Rhythm; Visual arts; Psychology; Aesthetics; Sociology; Art; Epistemology; History; Anthropology","score_opus":0.03989471205942782,"score_gpt":0.26447972341272513,"score_spread":0.2245850113532973,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2778078960","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.66347474,0.0017368983,0.007620904,0.009887332,0.0017953828,0.00016076534,0.000056568322,0.00040088172,0.31486648],"genre_scores_gemma":[0.9195575,0.00071305083,0.002642288,0.0010778077,0.00023540016,0.00006041478,0.000026947442,0.00016739446,0.07551926],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984143,0.0007498979,0.00003164925,0.00020703429,0.00024607463,0.00035101836],"domain_scores_gemma":[0.9977685,0.00092500914,0.00013394556,0.00015939715,0.00020939037,0.0008037665],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022336491,0.0005011375,0.00028644907,0.0008594741,0.007000954,0.00396012,0.001237767,0.0011185948,0.013120913],"category_scores_gemma":[0.0040849764,0.00028096887,0.00019423,0.00045442054,0.0059558693,0.002223683,0.006141016,0.0025913834,0.0014716464],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00028100974,0.0006759433,0.0051036286,0.00058868557,0.000014845707,0.004451252,0.7379644,0.0002802975,0.0092460215,0.056920867,0.03985544,0.14461754],"study_design_scores_gemma":[0.000029381064,0.0006854966,0.009287674,0.0005244564,0.000014429293,0.0021470673,0.48985898,0.00038186848,0.003895489,0.0048735593,0.48824197,0.000059707625],"about_ca_topic_score_codex":0.0019023481,"about_ca_topic_score_gemma":0.008016664,"teacher_disagreement_score":0.013120913,"about_ca_system_score_codex":0.0020411673,"about_ca_system_score_gemma":0.0018575002,"threshold_uncertainty_score":0.043893874},"labels":[],"label_agreement":null},{"id":"W2781788401","doi":"10.4000/rfcb.1695","title":"UK Popular Music and Society in the 1970s","year":2017,"lang":"fr","type":"article","venue":"Revue française de civilisation britannique","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Musée de la Civilisation","funders":"","keywords":"Popular music; Entertainment; Musical; Politics; History of music; Music history; Sociology; History; Aesthetics; Media studies; Art; Literature; Political science; Law; Visual arts","score_opus":0.032325944461063315,"score_gpt":0.22983566875550804,"score_spread":0.19750972429444472,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2781788401","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.19873606,0.10836038,0.00013586205,0.1543878,0.004367144,0.000052120973,0.00088877615,0.00006739375,0.53300446],"genre_scores_gemma":[0.7863561,0.02774852,0.00010782132,0.016518489,0.0018055062,0.00006363236,0.00022139538,0.00006561045,0.16711286],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99639004,0.0007189938,0.00018048708,0.00028279857,0.0011715193,0.0012560312],"domain_scores_gemma":[0.9972904,0.0006456865,0.0004725622,0.00016672505,0.00071480835,0.00070983777],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016552969,0.00044472385,0.00054934144,0.0048414106,0.009346098,0.011741042,0.0006476868,0.004248827,0.021098807],"category_scores_gemma":[0.0060850964,0.00052293466,0.00023760945,0.006663598,0.010202138,0.0046456875,0.0046582506,0.0030817855,0.0032472026],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00044625314,0.00011126949,0.011018607,0.0012042798,0.000051839757,0.0030819403,0.27052185,0.00018627824,0.0010689183,0.36366853,0.23842025,0.110220015],"study_design_scores_gemma":[0.000021295542,0.000028364784,0.02013254,0.0007282516,0.000008690155,0.00018969217,0.028635714,0.000023741062,0.00009894864,0.0020021992,0.94810164,0.000028802893],"about_ca_topic_score_codex":0.36058494,"about_ca_topic_score_gemma":0.5863106,"teacher_disagreement_score":0.36058494,"about_ca_system_score_codex":0.045321047,"about_ca_system_score_gemma":0.008182618,"threshold_uncertainty_score":0.71697223},"labels":[],"label_agreement":null},{"id":"W2782711938","doi":"","title":"\"Spring Sing!\", University Singers, Women's Choir, Men's Glee Club, Vancouver Orpheus Male Voice Choir, June 4, 2009","year":2009,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Choir; Spring (device); Club; Singing; Art; Visual arts; Medicine; Engineering; Acoustics; Physics","score_opus":0.009798955571196352,"score_gpt":0.16863933707041576,"score_spread":0.15884038149921942,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2782711938","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0464239,0.020177454,0.0005537394,0.097600885,0.03311344,0.0007286461,0.0049637943,0.0013037638,0.79513437],"genre_scores_gemma":[0.021127775,0.0023410313,0.00016917466,0.0028621529,0.0009981478,0.000053286705,0.00047381953,0.00011349598,0.97186106],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999665,0.00002958675,0.000009469859,0.000043665626,0.00010933728,0.00014309531],"domain_scores_gemma":[0.9993849,0.00003829059,0.000015123112,0.000012883591,0.00016747433,0.0003813289],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005470458,0.0009338435,0.00036841136,0.0007854271,0.020797022,0.0035454486,0.0010695277,0.0034403985,0.102917776],"category_scores_gemma":[0.00093588675,0.0006197155,0.00025936638,0.0005050176,0.0007412459,0.0010368377,0.0017554616,0.0041056126,0.022268092],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000079998696,0.000047154423,0.0013032997,0.000056733687,0.0000044445055,0.00028268193,0.0015258514,0.00003119765,0.00032269803,0.0005307935,0.98030406,0.015511022],"study_design_scores_gemma":[0.00002583388,0.000057577112,0.013811407,0.00017792123,0.000007852986,0.00012793792,0.01198717,0.000061995255,0.00025428526,0.0001216644,0.9733488,0.000017531012],"about_ca_topic_score_codex":0.30058935,"about_ca_topic_score_gemma":0.8808659,"teacher_disagreement_score":0.6994107,"about_ca_system_score_codex":0.0028430694,"about_ca_system_score_gemma":0.003891304,"threshold_uncertainty_score":0.5976795},"labels":[],"label_agreement":null},{"id":"W2789453780","doi":"","title":"Situating Generational Frictions in Musical Ethnography of South Asia","year":2017,"lang":"en","type":"article","venue":"MUSICultures","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Queen's University","funders":"","keywords":"Ethnography; Musical; History; Sociology; Art; Archaeology; Visual arts","score_opus":0.062026964274299705,"score_gpt":0.2538197968001594,"score_spread":0.1917928325258597,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2789453780","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9883314,0.0002220109,0.00060481654,0.00027280502,0.00001345362,0.000020233272,0.00002885703,0.0000037489983,0.010502766],"genre_scores_gemma":[0.99849534,0.00015394071,0.00022482558,0.000049672788,0.0000064360643,0.000019155774,0.000020608766,0.000010526811,0.0010195194],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9982205,0.0011387706,0.000074668904,0.00015349303,0.00009921699,0.00031337675],"domain_scores_gemma":[0.9953762,0.0035754086,0.000332802,0.000302924,0.00019202703,0.00022062018],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0034784325,0.00038278202,0.00031058502,0.0022655213,0.0057234103,0.004877139,0.00080839015,0.00060713774,0.003838461],"category_scores_gemma":[0.005675976,0.00042053993,0.00017605703,0.0028403075,0.006938221,0.003254562,0.007778221,0.0013544783,0.00022221415],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019243198,0.000007197155,0.005382461,0.00003014022,0.0000031037346,0.00035517872,0.98963976,0.000012354654,0.00062911346,0.0015483188,0.00006870734,0.002304478],"study_design_scores_gemma":[0.0000016575012,0.000010013681,0.008709648,0.000049361417,0.0000052387168,0.0001690997,0.987005,0.000040526145,0.0002478806,0.00049954973,0.0032581862,0.0000039242836],"about_ca_topic_score_codex":0.010179786,"about_ca_topic_score_gemma":0.02747015,"teacher_disagreement_score":0.010179786,"about_ca_system_score_codex":0.0018343761,"about_ca_system_score_gemma":0.0019646802,"threshold_uncertainty_score":0.020241082},"labels":[],"label_agreement":null},{"id":"W2789465398","doi":"10.1386/punk.7.1.75_1","title":"Trying to have fun in ‘No Fun City’: Legal and illegal strategies for creating punk spaces in Vancouver, British Columbia","year":2018,"lang":"en","type":"article","venue":"Punk & Post Punk","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":7,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Trent University","funders":"","keywords":"Punk; Space (punctuation); Sociology; Socialization; Identity (music); Representation (politics); Media studies; Public relations; Law; Aesthetics; Political science; History; Art; Computer science; Social science; Politics; Art history","score_opus":0.016736985237182363,"score_gpt":0.22227818660621051,"score_spread":0.20554120136902815,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2789465398","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9515022,0.00034901305,0.00035358622,0.0018506648,0.000039540173,0.00009284213,0.000025404559,0.000014498927,0.045772225],"genre_scores_gemma":[0.99023354,0.00025972497,0.00038875165,0.00020657197,0.0000031808358,0.000030783904,0.000019384675,0.000012380945,0.008845652],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99770075,0.0009923595,0.00005014486,0.00016980474,0.0003685008,0.00071840634],"domain_scores_gemma":[0.99734455,0.0007147466,0.00018074563,0.00012535261,0.0005395018,0.0010951398],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015167082,0.00036434928,0.00030725583,0.0012244893,0.03512111,0.0076818555,0.0021908279,0.0013685869,0.0054964665],"category_scores_gemma":[0.003884008,0.00041690026,0.00011664563,0.0015931254,0.01214729,0.0014603281,0.005591831,0.002423384,0.00029343186],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006876312,0.00023759516,0.029408487,0.000188781,0.000014673025,0.004120703,0.89579064,0.00023464127,0.0012878051,0.011538924,0.007835434,0.04927351],"study_design_scores_gemma":[0.0000040734367,0.000023364371,0.010517929,0.00006880517,0.0000031717184,0.00017537038,0.96337855,0.00009174229,0.00011660014,0.00029629603,0.025307454,0.00001670904],"about_ca_topic_score_codex":0.86041194,"about_ca_topic_score_gemma":0.9764162,"teacher_disagreement_score":0.13958806,"about_ca_system_score_codex":0.027230931,"about_ca_system_score_gemma":0.03491792,"threshold_uncertainty_score":0.2808202},"labels":[],"label_agreement":null},{"id":"W2790389554","doi":"","title":"Two Generations in the Fault Lines of India's Musical Modernities","year":2017,"lang":"en","type":"article","venue":"MUSICultures","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Musical; Dichotomy; Medal; Identity (music); Politics; Livelihood; Daughter; Instrumentalism; Modernity; Aesthetics; Sociology; History; Literature; Art; Art history; Philosophy; Political science; Epistemology; Law","score_opus":0.05850295843983817,"score_gpt":0.2643786620192305,"score_spread":0.20587570357939233,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2790389554","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.89238805,0.0018164781,0.00062655465,0.015787166,0.00052102614,0.00003390477,0.00004856101,0.000043682638,0.08873462],"genre_scores_gemma":[0.9916021,0.00022667492,0.00016711315,0.00072240544,0.000029209314,0.000009331256,0.0000069665816,0.000009725056,0.0072264145],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99867576,0.0004894817,0.000026722973,0.00012493342,0.00014660343,0.0005366099],"domain_scores_gemma":[0.99861,0.0003312748,0.00015311819,0.0001750602,0.00016238882,0.00056813157],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014905034,0.00030658982,0.0002662709,0.0010760193,0.014395434,0.008764942,0.0007894954,0.0014974809,0.0073990244],"category_scores_gemma":[0.0024841642,0.00034280386,0.00021336979,0.00077597087,0.009141816,0.0037356385,0.008216824,0.0036873482,0.0005381623],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015252613,0.00009155519,0.010207147,0.000040705167,0.000010187293,0.0022449642,0.8425818,0.000034136454,0.0007217001,0.11289072,0.0050413115,0.025983272],"study_design_scores_gemma":[0.000028332199,0.00009632952,0.019390522,0.00014247118,0.000020850508,0.001435094,0.8205469,0.0001173072,0.00045467034,0.012820501,0.14489801,0.000048999937],"about_ca_topic_score_codex":0.014042591,"about_ca_topic_score_gemma":0.025340877,"teacher_disagreement_score":0.014395434,"about_ca_system_score_codex":0.004426333,"about_ca_system_score_gemma":0.0031542743,"threshold_uncertainty_score":0.0321154},"labels":[],"label_agreement":null},{"id":"W2791410702","doi":"10.7202/1043223ar","title":"L’incorporation d’éléments du jazz dans le tango d’Astor Piazzolla","year":2018,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Jazz; Art history","score_opus":0.015347770654639218,"score_gpt":0.18430214086017457,"score_spread":0.16895437020553536,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2791410702","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5609257,0.0046618837,0.01175704,0.00192064,0.00039521995,0.0001074747,0.00010887202,0.00010371812,0.42001948],"genre_scores_gemma":[0.91475034,0.0011690726,0.0060766023,0.00013131238,0.000102012535,0.00005335904,0.00006164885,0.00006345989,0.077592336],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996828,0.000111433765,0.0000100831285,0.00006667532,0.00007181872,0.000057103676],"domain_scores_gemma":[0.9997155,0.00009706489,0.000036959387,0.00004131415,0.000045384368,0.000063753374],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006757881,0.000508667,0.00019261445,0.0008562237,0.003396186,0.0023894112,0.0003009955,0.00047256105,0.009467979],"category_scores_gemma":[0.0009356051,0.00013868492,0.00018577653,0.0009680225,0.0030583735,0.0015383975,0.0017413897,0.0009531261,0.00088968955],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00090326805,0.00009299551,0.02529156,0.00070091704,0.00003966155,0.0022852756,0.31297764,0.00038055613,0.01805026,0.29733923,0.00632513,0.33561346],"study_design_scores_gemma":[0.000040221246,0.0003609581,0.12034841,0.00056291965,0.00006193236,0.0021179914,0.07193565,0.0005392414,0.0021350672,0.011731946,0.7901043,0.00006134944],"about_ca_topic_score_codex":0.012201245,"about_ca_topic_score_gemma":0.047726993,"teacher_disagreement_score":0.012201245,"about_ca_system_score_codex":0.001709233,"about_ca_system_score_gemma":0.0009083192,"threshold_uncertainty_score":0.03167355},"labels":[],"label_agreement":null},{"id":"W2792314082","doi":"10.1093/obo/9780190280024-0007","title":"Fisk Jubilee Singers","year":2016,"lang":"en","type":"dataset","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Trinity College","funders":"","keywords":"Art","score_opus":0.026902472201368308,"score_gpt":0.20058675185857364,"score_spread":0.17368427965720534,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2792314082","genre_codex":"dataset","genre_gemma":"dataset","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"dataset","genre_consensus":"dataset","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.002557124,0.0004737755,0.00022995184,0.00021545643,0.00021822477,0.000049305323,0.9915559,0.0014791747,0.0032211095],"genre_scores_gemma":[0.001517184,0.00011588925,0.0004739857,0.000051441093,0.000028331902,0.00005398811,0.99493486,0.00009096486,0.002733397],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990563,0.0001249007,0.00007560051,0.00026055536,0.0002659453,0.00021664651],"domain_scores_gemma":[0.99874735,0.00015291553,0.00008253274,0.00035028742,0.00039657103,0.0002702928],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00068818853,0.0032935368,0.0015219396,0.0045374064,0.0015542286,0.0022053574,0.00256363,0.0027179362,0.0473048],"category_scores_gemma":[0.0034442048,0.0005946468,0.001998168,0.004276714,0.00060565217,0.0015309404,0.0025469542,0.0016608546,0.07582023],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013913977,0.000045654357,0.0014314926,0.00026471706,0.000029517596,0.0000482024,0.000034560355,0.000337433,0.0002072777,0.00022948888,0.99015725,0.007075237],"study_design_scores_gemma":[0.00030321092,0.00005963816,0.013200087,0.0003837173,0.00008598041,0.00027575647,0.00042465798,0.002817747,0.0011674927,0.0012154189,0.979988,0.00007825731],"about_ca_topic_score_codex":0.06869838,"about_ca_topic_score_gemma":0.1947887,"teacher_disagreement_score":0.06869838,"about_ca_system_score_codex":0.001381543,"about_ca_system_score_gemma":0.002320208,"threshold_uncertainty_score":0.15825033},"labels":[],"label_agreement":null},{"id":"W2792405850","doi":"10.25071/2369-7326.40269","title":"The Bondage and Subsequent Agency of Violet in Toni Morrison’s Jazz","year":2017,"lang":"en","type":"article","venue":"Pivot A Journal of Interdisciplinary Studies and Thought","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Jazz; Identity (music); Ultra violet; Art; Art history; History; Aesthetics; Physics","score_opus":0.04631317077583124,"score_gpt":0.31940370591098,"score_spread":0.27309053513514875,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2792405850","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.304236,0.0032032155,0.002352005,0.066091835,0.0033097633,0.00010705342,0.00009433459,0.00022620338,0.62037957],"genre_scores_gemma":[0.7002389,0.0009915986,0.00089810585,0.0063244533,0.00030245396,0.000039570245,0.000043723805,0.0002614922,0.2908998],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99795073,0.000712737,0.00002660426,0.00024466688,0.00049611455,0.00056917954],"domain_scores_gemma":[0.9983639,0.0001221838,0.00013758839,0.00005133904,0.00027929342,0.0010456013],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011381843,0.0005097951,0.00035472502,0.0007156811,0.026696071,0.0104927495,0.001115765,0.001780838,0.011842709],"category_scores_gemma":[0.0030969558,0.00043463815,0.00024784106,0.00046369294,0.010562089,0.0026157808,0.0069702915,0.0066936123,0.0019833434],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017488023,0.00015153442,0.0054663974,0.000080546575,0.000020249554,0.0054291873,0.6145113,0.0001249498,0.0021840746,0.15431766,0.19448756,0.023051633],"study_design_scores_gemma":[0.000008102632,0.00004702182,0.003093714,0.00009120991,0.000006359167,0.0015335345,0.19897547,0.00009656314,0.0002455946,0.0026877935,0.79317,0.000044734803],"about_ca_topic_score_codex":0.07529543,"about_ca_topic_score_gemma":0.19984749,"teacher_disagreement_score":0.07529543,"about_ca_system_score_codex":0.008831054,"about_ca_system_score_gemma":0.0033248288,"threshold_uncertainty_score":0.14971435},"labels":[],"label_agreement":null},{"id":"W2792541644","doi":"","title":"Histoire du style musical d ’ Haïti. 2014. Claude Dauphin. Montréal: Mémoire d ’ Encrier. 372 pp., illustrations, exemples musicaux, lexique, index, bibliographie.","year":2017,"lang":"fr","type":"article","venue":"MUSICultures","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.020970153134701044,"score_gpt":0.22772663720097777,"score_spread":0.20675648406627672,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2792541644","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.011019501,0.3782386,0.0019858137,0.03322621,0.014963941,0.00008886314,0.00155959,0.00027788038,0.55863965],"genre_scores_gemma":[0.1911334,0.12671936,0.0024553365,0.0039106407,0.0032461823,0.0001523928,0.0007452606,0.00032684178,0.67131066],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996164,0.00006703148,0.000017114957,0.00004743562,0.00016495617,0.0000870094],"domain_scores_gemma":[0.99968576,0.00007737498,0.00003153598,0.000029267545,0.00012570103,0.000050299474],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00065394613,0.00091656914,0.00027868303,0.0023037987,0.0043771635,0.0027570939,0.0007056624,0.0010319282,0.036056116],"category_scores_gemma":[0.0016102699,0.00047915606,0.00031045952,0.00212099,0.0035085713,0.0017203342,0.0010137714,0.0020587398,0.0063705817],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012437325,0.000030110043,0.0020693168,0.000684096,0.000028533183,0.00053743395,0.014583586,0.00021818613,0.0013873947,0.09604419,0.6988056,0.18548727],"study_design_scores_gemma":[0.0000046449986,0.00000540964,0.004063205,0.00017819137,0.0000036797633,0.00012821933,0.001816332,0.000026601087,0.00016867586,0.00078131806,0.99281514,0.00000845961],"about_ca_topic_score_codex":0.4594917,"about_ca_topic_score_gemma":0.6018208,"teacher_disagreement_score":0.4594917,"about_ca_system_score_codex":0.008750747,"about_ca_system_score_gemma":0.0067146583,"threshold_uncertainty_score":0.9136343},"labels":[],"label_agreement":null},{"id":"W2792541933","doi":"10.7551/mitpress/9780262036214.003.0004","title":"They Came from the Basement: Tactics of Secrecy in New Brunswick’s Underground Punk Community","year":2017,"lang":"en","type":"book-chapter","venue":"The MIT Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Punk; Secrecy; Basement; Focus (optics); Sociology; Order (exchange); Set (abstract data type); Media studies; Visual arts; Aesthetics; Political science; Engineering; Art; Law; Civil engineering; Art history; Computer science; Business","score_opus":0.11543680405873974,"score_gpt":0.24169581320105613,"score_spread":0.1262590091423164,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2792541933","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4859687,0.0042478535,0.001629415,0.020645633,0.0004156512,0.00008328561,0.000056551387,0.000036210185,0.48691672],"genre_scores_gemma":[0.94175774,0.0016219256,0.00040272382,0.0015486194,0.000030086432,0.000034360175,0.000022211354,0.000044862096,0.05453747],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99770206,0.0008190917,0.000047488127,0.00013922481,0.00037341798,0.0009187172],"domain_scores_gemma":[0.9983493,0.00072593876,0.00016578953,0.00011649998,0.00018059948,0.0004618986],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021869077,0.00030643525,0.00023756096,0.0008381906,0.032260906,0.0099843005,0.0014350407,0.00165685,0.006259652],"category_scores_gemma":[0.0029811389,0.0005098996,0.00016238858,0.0021134748,0.024649017,0.0045746285,0.008937938,0.0061298534,0.00057513226],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028552371,0.000020226998,0.0021696957,0.000045074612,0.0000059884537,0.0019611777,0.8327482,0.000115907504,0.00061263336,0.13176492,0.011444064,0.019083621],"study_design_scores_gemma":[0.000010638292,0.000015904674,0.0035796254,0.00028273262,0.000008781685,0.00050417875,0.7591475,0.00008669131,0.00042086444,0.0060070143,0.22990091,0.0000352207],"about_ca_topic_score_codex":0.50106907,"about_ca_topic_score_gemma":0.82720196,"teacher_disagreement_score":0.49893093,"about_ca_system_score_codex":0.022461947,"about_ca_system_score_gemma":0.024351213,"threshold_uncertainty_score":0.99630505},"labels":[],"label_agreement":null},{"id":"W2792762472","doi":"10.1093/obo/9780199757824-0148","title":"American Country Music","year":2015,"lang":"en","type":"reference-entry","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Musicology; Country; Amateur; Popular music; Music history; Ethnomusicology; Scholarship; Folklore; Musical; History; Music education; Folk music; Music; Music industry; Philosophy of music; Media studies; Sociology; Literature; Political science; Anthropology; Visual arts; Art; Law","score_opus":0.06390812191399795,"score_gpt":0.23207971802979588,"score_spread":0.16817159611579793,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2792762472","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0041951905,0.0019706767,0.00026270412,0.002437358,0.0022967116,0.000034493776,0.000767241,0.00014304608,0.98789257],"genre_scores_gemma":[0.032974254,0.00364693,0.0009682171,0.0030064543,0.00078238855,0.000059859543,0.0015538388,0.0001805152,0.9568276],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995541,0.000052249827,0.000018810208,0.000093152674,0.00017096692,0.000110629866],"domain_scores_gemma":[0.99952507,0.000036810812,0.000021154685,0.000049676666,0.00021957286,0.00014769188],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000489616,0.0006287756,0.00025223603,0.0018167548,0.0057244576,0.0044547888,0.00055941514,0.00095692876,0.2083478],"category_scores_gemma":[0.0010875998,0.00015352973,0.00020360743,0.0024076598,0.0007580544,0.0018883881,0.0021211072,0.0017523416,0.067288354],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006920777,0.0000534661,0.0012694426,0.00013442298,0.0000040219293,0.00019892858,0.0018028226,0.000021580985,0.00072772405,0.036094286,0.77109426,0.18852991],"study_design_scores_gemma":[0.0000013481738,0.000003880055,0.0010960588,0.000027216945,9.1302155e-7,0.00005777189,0.0006028788,0.000008096777,0.000045879762,0.00030063913,0.99785304,0.0000022737777],"about_ca_topic_score_codex":0.016134037,"about_ca_topic_score_gemma":0.061065987,"teacher_disagreement_score":0.2083478,"about_ca_system_score_codex":0.0017935263,"about_ca_system_score_gemma":0.001907054,"threshold_uncertainty_score":0.6969928},"labels":[],"label_agreement":null},{"id":"W2793632271","doi":"","title":"Generations of Audio Work through the Digital Turn in Contemporary Pakistan","year":2017,"lang":"en","type":"article","venue":"MUSICultures","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Studio; The arts; Digital audio; High fidelity; Visual arts; Reflexivity; Fidelity; Work (physics); Digital media; Sociology; Media studies; Art; Engineering; Social science; Political science; Telecommunications; Electrical engineering; Law; Mechanical engineering","score_opus":0.07968893421999533,"score_gpt":0.2684708289204778,"score_spread":0.18878189470048246,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2793632271","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9768315,0.00065505126,0.0002009871,0.0027688013,0.00011068643,0.000021627755,0.000018288909,0.0000070281294,0.019385913],"genre_scores_gemma":[0.9952905,0.00032817607,0.0000848803,0.0003632772,0.000026470485,0.000009023289,0.0000063870693,0.000005371726,0.0038859833],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99846375,0.0004955683,0.000035261324,0.00013893197,0.00021056492,0.00065602944],"domain_scores_gemma":[0.9981468,0.00055092725,0.0002572785,0.00010197346,0.00019408364,0.0007489706],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0025433407,0.00039668824,0.00030610006,0.001320511,0.02574357,0.009081527,0.0010135961,0.0014728479,0.009389312],"category_scores_gemma":[0.0022324242,0.0004002204,0.00020642404,0.0009979283,0.012178434,0.0036572877,0.009699033,0.003059822,0.00080664916],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003681772,0.00005111654,0.005230334,0.00002063952,0.0000023500897,0.00078090694,0.9826773,0.00001218251,0.00025970707,0.0035551805,0.0008267615,0.00654684],"study_design_scores_gemma":[0.000004382153,0.000029613222,0.0030984548,0.000043378353,0.00000257014,0.0002579835,0.9795417,0.00001464097,0.00007366975,0.00034633616,0.016580202,0.0000071518507],"about_ca_topic_score_codex":0.01594187,"about_ca_topic_score_gemma":0.033604037,"teacher_disagreement_score":0.02574357,"about_ca_system_score_codex":0.0043977364,"about_ca_system_score_gemma":0.0036700896,"threshold_uncertainty_score":0.031907976},"labels":[],"label_agreement":null},{"id":"W2793693671","doi":"10.1080/14743892.2018.1438010","title":"“A Mandolin Orchestra Could Attract a Lot of Attention”: Interracial Fun with Radical Immigrants, 1920–1955","year":2018,"lang":"en","type":"article","venue":"American Communist History","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"St. Francis Xavier University","funders":"","keywords":"Immigration; Advertising; Visual arts; History; Art; Business; Archaeology","score_opus":0.03541347706716363,"score_gpt":0.23028167334207722,"score_spread":0.19486819627491359,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2793693671","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.96036106,0.0005324618,0.000046948287,0.007957151,0.0003304723,0.00001150941,0.000029191417,0.000005081457,0.030726127],"genre_scores_gemma":[0.9740226,0.00024837168,0.000049633043,0.0015052154,0.00009658086,0.0000149260095,0.000022848963,0.000010574753,0.024029257],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99964476,0.000086184606,0.0000061335413,0.000028484896,0.00003213084,0.00020226737],"domain_scores_gemma":[0.9994578,0.000081989914,0.000053521602,0.000018963177,0.000068786634,0.000319045],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00073432265,0.0002444371,0.00014695358,0.0004908113,0.019647231,0.002529792,0.0006087431,0.0014603762,0.0058280216],"category_scores_gemma":[0.0013719035,0.00019800533,0.00012763328,0.0005174663,0.0047005136,0.0022042529,0.0037760898,0.003201386,0.00061975094],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022270464,0.00014514933,0.038305905,0.000063190884,0.000011609305,0.0008884536,0.87502587,0.000028881246,0.0013287965,0.012661503,0.0306101,0.0407078],"study_design_scores_gemma":[0.0000058950795,0.00007209174,0.051686052,0.000046198544,0.0000054032766,0.00016425388,0.8712186,0.000022512086,0.00021790904,0.0003755978,0.07616945,0.000016043572],"about_ca_topic_score_codex":0.068153866,"about_ca_topic_score_gemma":0.29105777,"teacher_disagreement_score":0.068153866,"about_ca_system_score_codex":0.0024013345,"about_ca_system_score_gemma":0.0020781206,"threshold_uncertainty_score":0.13551432},"labels":[],"label_agreement":null},{"id":"W2794193563","doi":"10.22215/etd/2018-12644","title":"Rob \"Fresh I.E.\" Wilson: A Socio-analysis of Musical Self-Transformation","year":2018,"lang":"en","type":"dissertation","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Musical; Worship; Renunciation; Art; Aesthetics; Mediation; Sociology; Visual arts; Theology; Philosophy; Social science","score_opus":0.017112488957416176,"score_gpt":0.23159895494027105,"score_spread":0.21448646598285487,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2794193563","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.30993932,0.009886924,0.010677767,0.0662953,0.0007152792,0.00007406034,0.000115487215,0.0001473859,0.60214835],"genre_scores_gemma":[0.94323623,0.0023344583,0.0016583105,0.0010133319,0.00010556995,0.00004122179,0.000029346345,0.00013267781,0.05144886],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99865913,0.0010013144,0.000017961715,0.000086694025,0.00014556115,0.00008927214],"domain_scores_gemma":[0.9988549,0.00066723104,0.000115091534,0.00007650207,0.00014514288,0.00014112087],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015090283,0.00028651132,0.000192115,0.0016988711,0.0077460967,0.0064553376,0.0005502659,0.0012943544,0.008015216],"category_scores_gemma":[0.0039970665,0.00013300667,0.00014422974,0.0015090541,0.012769198,0.0057714432,0.0026985982,0.0017827775,0.00068205193],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025009273,0.000031967647,0.0014728956,0.000091280635,0.0000067756646,0.00026923887,0.37594086,0.00012477809,0.00019743374,0.57092077,0.025680996,0.025237946],"study_design_scores_gemma":[0.00001300643,0.000025409267,0.004260208,0.0004144659,0.000013738616,0.00021965984,0.45640877,0.0005081975,0.00035809394,0.15220623,0.38554922,0.000022998549],"about_ca_topic_score_codex":0.015844246,"about_ca_topic_score_gemma":0.027185068,"teacher_disagreement_score":0.015844246,"about_ca_system_score_codex":0.0031978972,"about_ca_system_score_gemma":0.0021607648,"threshold_uncertainty_score":0.031504035},"labels":[],"label_agreement":null},{"id":"W2794284089","doi":"10.1386/mms.4.1.41_1","title":"‘If you got a tape on, you’re committed’: The revival of cassette tapes in Toronto’s New Wave of Traditional Heavy Metal scene","year":2018,"lang":"en","type":"article","venue":"Metal Music Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Toronto","funders":"","keywords":"Digitization; Context (archaeology); Appeal; Symbol (formal); Subculture (biology); Media studies; Visual arts; Sociology; Advertising; Computer science; History; Law; Art; Telecommunications; Political science; Business","score_opus":0.15780051243973847,"score_gpt":0.27814851704966775,"score_spread":0.12034800460992928,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2794284089","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.90966266,0.0015530629,0.00083418144,0.00721526,0.00023045704,0.000062198385,0.0004385288,0.000047339436,0.079956226],"genre_scores_gemma":[0.9760383,0.0006648667,0.0003496674,0.0005097095,0.000038423175,0.00001613335,0.00009526983,0.000052095937,0.022235561],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.998111,0.00055027293,0.00004240996,0.00022934742,0.00053166895,0.00053534703],"domain_scores_gemma":[0.9979912,0.00047962173,0.00018339555,0.00022915594,0.0004810888,0.0006354137],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011917708,0.0005097052,0.0003577532,0.0013749812,0.024705846,0.007503266,0.0016792143,0.0014468982,0.008216903],"category_scores_gemma":[0.0028036428,0.00040327408,0.0002854295,0.0026319732,0.018183528,0.0018347243,0.005313412,0.0026835238,0.0004767826],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009985372,0.000014600279,0.005324973,0.00015324526,0.000013117107,0.0035114689,0.9482758,0.00011907229,0.002153821,0.015943322,0.012181402,0.012209449],"study_design_scores_gemma":[0.00000678864,0.000032535507,0.018323777,0.00015231143,0.000016863238,0.00062140246,0.79151267,0.00011905762,0.00088468514,0.00045757202,0.18783528,0.000037046604],"about_ca_topic_score_codex":0.9281708,"about_ca_topic_score_gemma":0.98072225,"teacher_disagreement_score":0.0718292,"about_ca_system_score_codex":0.067506716,"about_ca_system_score_gemma":0.023844266,"threshold_uncertainty_score":0.48979777},"labels":[],"label_agreement":null},{"id":"W2794544052","doi":"10.21083/csieci.v12i1.4282","title":"The Blooming of Forgetting: Deep Play as a Focus for Improvisation in Community Music","year":2018,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Improvisation; Forgetting; Active listening; Ideal (ethics); Focus (optics); Aesthetics; Reflection (computer programming); Common ground; Sociology; Psychology; Visual arts; Epistemology; Cognitive psychology; Art; Computer science; Communication; Philosophy","score_opus":0.09849799457770869,"score_gpt":0.3690298419871591,"score_spread":0.2705318474094504,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2794544052","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8591107,0.0028547922,0.02771861,0.015199284,0.0003300904,0.00018456786,0.000051215997,0.00018388318,0.09436681],"genre_scores_gemma":[0.9927811,0.00032872043,0.0017460268,0.0003852397,0.000045744964,0.000044350396,0.000013507647,0.000074740194,0.0045805513],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.98918086,0.006623294,0.0003249913,0.000792112,0.0019062775,0.001172421],"domain_scores_gemma":[0.9722004,0.020027122,0.002157733,0.0019813024,0.0015656734,0.0020678344],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.009784753,0.00067178824,0.00057664333,0.0031397077,0.0133306915,0.014227936,0.0025023571,0.0032164718,0.0034053773],"category_scores_gemma":[0.029434882,0.00055795745,0.00046599066,0.001570232,0.039346207,0.011495793,0.016837012,0.0060955915,0.0003785554],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000059126993,0.000026050895,0.002507156,0.00011699901,0.0000065871004,0.00057675474,0.9423236,0.00006277862,0.0012661249,0.03697158,0.00067924976,0.015403986],"study_design_scores_gemma":[0.00001000543,0.00009286943,0.0048690666,0.00042773606,0.000016881146,0.0009259682,0.92846686,0.00034672287,0.0015458978,0.023014665,0.040247828,0.000035502995],"about_ca_topic_score_codex":0.0061361548,"about_ca_topic_score_gemma":0.0113529125,"teacher_disagreement_score":0.014227936,"about_ca_system_score_codex":0.005504767,"about_ca_system_score_gemma":0.00382015,"threshold_uncertainty_score":0.05174738},"labels":[],"label_agreement":null},{"id":"W2794955595","doi":"10.21083/csieci.v12i1.4085","title":"Spirits Rejoice! Jazz and American Religion","year":2018,"lang":"fr","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Jazz; Philosophy; Literature; Art; History; Art history","score_opus":0.06696784132104398,"score_gpt":0.38032140427448374,"score_spread":0.31335356295343975,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2794955595","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.24867843,0.0077946424,0.0012061311,0.061323896,0.0009781573,0.0000200883,0.00002467698,0.000030993782,0.6799429],"genre_scores_gemma":[0.97984916,0.00054856436,0.000085882595,0.002111499,0.00024220244,0.000006567384,0.0000048800275,0.000017364246,0.017133845],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981184,0.0011587498,0.000031629734,0.0001567298,0.00016103196,0.00037353818],"domain_scores_gemma":[0.99749136,0.0015936261,0.00020397216,0.0002187774,0.00022223641,0.0002701257],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026187482,0.0002667712,0.00024422116,0.0011401719,0.014241893,0.008318968,0.0008222927,0.0030355426,0.007244425],"category_scores_gemma":[0.0037302312,0.00020154844,0.00015128755,0.0011338904,0.036207814,0.005586099,0.0035288336,0.006973457,0.00039859305],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000041654537,0.000049882776,0.00076644646,0.000034261375,0.0000059752592,0.00010104794,0.19707887,0.000030272346,0.00021967478,0.7861987,0.006774089,0.008699155],"study_design_scores_gemma":[0.00004308179,0.00004610454,0.0057700602,0.0002318484,0.00001458284,0.00014474236,0.40874827,0.00015854747,0.00048216726,0.16563444,0.41869757,0.000028549091],"about_ca_topic_score_codex":0.013195021,"about_ca_topic_score_gemma":0.02513201,"teacher_disagreement_score":0.014241893,"about_ca_system_score_codex":0.0041096346,"about_ca_system_score_gemma":0.0020589612,"threshold_uncertainty_score":0.02981764},"labels":[],"label_agreement":null},{"id":"W2796775331","doi":"10.1017/s0261143018000089","title":"What is Popular Music Studies Today? A review of the 19th biennial conference of the International Association for the Study of Popular Music","year":2018,"lang":"en","type":"review","venue":"Popular Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Association (psychology); Popular music; History; Content (measure theory); Media studies; Library science; Visual arts; Art; Psychology; Computer science; Sociology","score_opus":0.22021138643103919,"score_gpt":0.33294469490544004,"score_spread":0.11273330847440086,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2796775331","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000047494952,0.9986223,0.000015539132,0.00082056253,0.00024374288,0.0000023638092,0.000012485925,0.0000011224115,0.0002344249],"genre_scores_gemma":[0.000440263,0.9988331,0.00003806227,0.00035808558,0.00021454207,0.0000052156724,0.000020979547,8.1624427e-7,0.00008891601],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.998565,0.00048631622,0.00029516325,0.00016668836,0.0004018088,0.00008503985],"domain_scores_gemma":[0.98952335,0.0074516432,0.0008127693,0.00015061858,0.0016233728,0.0004382998],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004132967,0.0008162137,0.0019081098,0.0074436506,0.00085769675,0.0028788424,0.00095017615,0.0017750224,0.006101054],"category_scores_gemma":[0.011558672,0.00054266996,0.0008029619,0.010550748,0.0013724399,0.0038516494,0.0015549599,0.0024556757,0.001211149],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008769433,0.00005644347,0.00091420644,0.09746944,0.0002865523,0.00012283392,0.0009368506,0.000064070555,0.00030650216,0.004190547,0.06955858,0.82600623],"study_design_scores_gemma":[0.00002026235,0.00006229409,0.005157428,0.09877747,0.0005830681,0.00059587567,0.0011100264,0.000028511642,0.0001200354,0.0019024898,0.891604,0.000038529957],"about_ca_topic_score_codex":0.0037701211,"about_ca_topic_score_gemma":0.014300124,"teacher_disagreement_score":0.0074436506,"about_ca_system_score_codex":0.0018195264,"about_ca_system_score_gemma":0.0071248314,"threshold_uncertainty_score":0.0218575},"labels":[],"label_agreement":null},{"id":"W2799925360","doi":"10.7202/1044337ar","title":"A Mile of Make-Believe: A History of the Eaton’s Santa Claus Parade by Steve Penfold","year":2018,"lang":"en","type":"article","venue":"Ontario History","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Vancouver Island University","funders":"","keywords":"Parade; Mile; History; Art history; Art; Geography","score_opus":0.029481974594803024,"score_gpt":0.1751764045586264,"score_spread":0.14569442996382337,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2799925360","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.02855222,0.036377113,0.0005349004,0.23209935,0.013602663,0.00004334274,0.00038208565,0.00013885942,0.6882694],"genre_scores_gemma":[0.1868663,0.011032513,0.00029116933,0.015679859,0.0017469628,0.000020171508,0.000114479655,0.00024705235,0.78400147],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989874,0.00015743366,0.000011899156,0.000080174475,0.00035276066,0.00041031267],"domain_scores_gemma":[0.99864537,0.00015234725,0.000045417444,0.00005298102,0.00025685623,0.0008468774],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00086934713,0.00033567913,0.00024132687,0.0007755676,0.025366604,0.008210769,0.0009449526,0.002896639,0.038387727],"category_scores_gemma":[0.0022337863,0.00031851718,0.00019139443,0.0012479168,0.010229655,0.0028562015,0.0043102675,0.0052975263,0.0038145937],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000057253026,0.000028776221,0.00088110554,0.00009601355,0.000007470034,0.0004049359,0.04299452,0.000044064524,0.0002064606,0.07493728,0.8572875,0.02305448],"study_design_scores_gemma":[0.0000014694292,0.0000033008348,0.0007878167,0.00005879537,0.000001084552,0.000024075393,0.011019181,0.0000051634506,0.000029044593,0.0007089259,0.98735577,0.0000054915504],"about_ca_topic_score_codex":0.7008901,"about_ca_topic_score_gemma":0.95115393,"teacher_disagreement_score":0.29910988,"about_ca_system_score_codex":0.025423974,"about_ca_system_score_gemma":0.02015369,"threshold_uncertainty_score":0.60174274},"labels":[],"label_agreement":null},{"id":"W2800511353","doi":"10.17077/etd.71giwicr","title":"\"We are the pride!\"","year":2015,"lang":"en","type":"dissertation","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Pride; Computer science; Political science","score_opus":0.04908343190801892,"score_gpt":0.23815987190811105,"score_spread":0.18907644000009213,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2800511353","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0051595867,0.006669905,0.001340708,0.26113087,0.033105623,0.00006615971,0.0003601144,0.00041482883,0.6917522],"genre_scores_gemma":[0.029829826,0.0017738048,0.00057782163,0.058276054,0.0012797511,0.00004125366,0.00012621646,0.0003245333,0.90777075],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.99710494,0.0008006673,0.00006998008,0.00049989065,0.00080206734,0.000722425],"domain_scores_gemma":[0.9971553,0.00018380271,0.00012870078,0.00022927338,0.0011846304,0.0011182459],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019058762,0.0009970664,0.0004923607,0.00074259844,0.017987566,0.010855257,0.0009362417,0.0026487012,0.10410695],"category_scores_gemma":[0.0050522718,0.0005838177,0.0003746479,0.0005016474,0.008888675,0.0068450193,0.0072007966,0.010227149,0.07209225],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012678308,0.0000140577995,0.00048192163,0.00002925851,0.0000046263012,0.00009784465,0.0055686017,0.000007758,0.00013826827,0.025140524,0.95494646,0.013557893],"study_design_scores_gemma":[0.0000011263759,0.0000031711031,0.00031779756,0.000042935906,0.0000011909797,0.00005475605,0.0039669084,0.000005960256,0.000042562995,0.00061206863,0.9949463,0.0000053090284],"about_ca_topic_score_codex":0.039734054,"about_ca_topic_score_gemma":0.08588772,"teacher_disagreement_score":0.10410695,"about_ca_system_score_codex":0.005140628,"about_ca_system_score_gemma":0.0055859373,"threshold_uncertainty_score":0.34827244},"labels":[],"label_agreement":null},{"id":"W2801176616","doi":"10.3138/jrpc.2017.0032.r1","title":"Popular Music Divine Services in the Evangelical Lutheran Church of Finland: Concept, Rationale, and Participants","year":2018,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Realm; Protestantism; Popular music; Popular culture; Sociology; Character (mathematics); Service (business); Religious studies; Aesthetics; Media studies; Art; Political science; Literature; Philosophy; Law","score_opus":0.03631386853622125,"score_gpt":0.2603618532613841,"score_spread":0.22404798472516285,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2801176616","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9830011,0.0003220862,0.0010629407,0.0021018467,0.000053705506,0.0016470256,0.00010371989,0.000005102161,0.01170249],"genre_scores_gemma":[0.990802,0.00039997936,0.0021462278,0.0008856589,0.000040507646,0.0029097688,0.00006364456,0.0000073545743,0.0027448002],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9932927,0.004082623,0.00023716805,0.00037675377,0.0007220436,0.0012887456],"domain_scores_gemma":[0.99310595,0.0033878714,0.00072580675,0.00017646578,0.00062930735,0.0019745766],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.010735968,0.0003006929,0.00021919112,0.0017020492,0.012164439,0.0057695527,0.0016097358,0.0022321874,0.0035586501],"category_scores_gemma":[0.008752236,0.0005040872,0.00022303518,0.0015248815,0.01173163,0.002616556,0.0074070306,0.0025554493,0.00026841502],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00020518941,0.0011301051,0.05694026,0.0004453815,0.00001012008,0.0014472534,0.8640986,0.000076258606,0.0018664215,0.05079508,0.001521189,0.021464135],"study_design_scores_gemma":[0.000037842703,0.00020827625,0.017504266,0.00034576238,0.000009922166,0.0003269273,0.9655313,0.00011239776,0.00056020584,0.0012051256,0.014131079,0.000026967591],"about_ca_topic_score_codex":0.0074889446,"about_ca_topic_score_gemma":0.018978924,"teacher_disagreement_score":0.012164439,"about_ca_system_score_codex":0.0074808644,"about_ca_system_score_gemma":0.012321183,"threshold_uncertainty_score":0.056777954},"labels":[],"label_agreement":null},{"id":"W2801302761","doi":"10.3138/cjfs.18.2.87","title":"“Which Way You Goin’ Billy?”: Masculinity, Genre, and Self-Reflexivity in Hard Core Logo","year":2009,"lang":"fr","type":"article","venue":"Canadian Journal of Film Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Relation (database); Hard core; Art history","score_opus":0.0771905272272815,"score_gpt":0.27801997420151947,"score_spread":0.200829446974238,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2801302761","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.57053185,0.0027332662,0.0018927646,0.013938862,0.0003470626,0.00003666435,0.00004151934,0.000024819677,0.41045314],"genre_scores_gemma":[0.97706085,0.00042978578,0.00022590824,0.00069002574,0.000060989783,0.000018643972,0.0000136863355,0.000034248114,0.021465788],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9982255,0.0010319392,0.0000360608,0.00016072165,0.00032252897,0.00022327255],"domain_scores_gemma":[0.99800617,0.0010998059,0.0003221074,0.00010200821,0.00018286423,0.00028708807],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019339969,0.00032156098,0.00022463086,0.0012061324,0.0073738135,0.0070926133,0.0007008574,0.0013162763,0.005711705],"category_scores_gemma":[0.0035469702,0.00018496718,0.00015498784,0.00092142395,0.020380095,0.004072514,0.0034350404,0.0022320228,0.0005202437],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000042462623,0.000035116544,0.00552283,0.00006591502,0.0000055641444,0.00058648735,0.8405581,0.000021336098,0.00067945704,0.13937387,0.0039653606,0.009143526],"study_design_scores_gemma":[0.000011473982,0.000048507394,0.021031063,0.0002823259,0.000012053356,0.0005697079,0.75246114,0.00013065286,0.0005875987,0.019390963,0.20543264,0.000041936873],"about_ca_topic_score_codex":0.016424596,"about_ca_topic_score_gemma":0.035238992,"teacher_disagreement_score":0.016424596,"about_ca_system_score_codex":0.003028677,"about_ca_system_score_gemma":0.0014358356,"threshold_uncertainty_score":0.03265798},"labels":[],"label_agreement":null},{"id":"W2801734375","doi":"","title":"Ilan Sandler: Double Storey","year":2003,"lang":"en","type":"article","venue":"Espace Sculpture","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Mathematics","score_opus":0.02428431572864603,"score_gpt":0.2025087543801063,"score_spread":0.17822443865146026,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2801734375","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0014943305,0.008677229,0.0041519115,0.02383109,0.010795085,0.000055793294,0.0006805846,0.002798753,0.9475152],"genre_scores_gemma":[0.0023470884,0.0008500656,0.00048119164,0.00092233415,0.00048189887,0.000010653815,0.00010491319,0.0003613349,0.9944405],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995623,0.000046352303,0.000015526297,0.00006978601,0.00024264322,0.00006343486],"domain_scores_gemma":[0.99918324,0.000138575,0.000035761055,0.0001069507,0.0003281927,0.00020730344],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00058796845,0.0008383736,0.00046748822,0.0017307263,0.0036996873,0.00457335,0.00114035,0.0017481445,0.5185174],"category_scores_gemma":[0.0019995084,0.0004147091,0.00029027762,0.0012618852,0.00080536725,0.004247095,0.0033718452,0.0021415225,0.20810838],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000030434554,0.000012283989,0.00008460148,0.00004330947,0.000001881369,0.000089954636,0.00018254326,0.000025475312,0.0001654653,0.007011409,0.9045308,0.08782184],"study_design_scores_gemma":[0.0000029647367,0.0000033192996,0.00009071701,0.000029580335,0.0000013224936,0.00007178448,0.00020645096,0.000038845516,0.00013809926,0.0011392588,0.99827373,0.000003967123],"about_ca_topic_score_codex":0.0065673133,"about_ca_topic_score_gemma":0.021230228,"teacher_disagreement_score":0.5185174,"about_ca_system_score_codex":0.0009850388,"about_ca_system_score_gemma":0.0013045918,"threshold_uncertainty_score":0.6867765},"labels":[],"label_agreement":null},{"id":"W2802286235","doi":"10.4000/transposition.1701","title":"Le virage numérique, un tournant pour l’étude des musiques populaires ?","year":2018,"lang":"fr","type":"article","venue":"Transposition","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Musée de la Civilisation","funders":"","keywords":"Humanities; Art; Political science","score_opus":0.016784973272153714,"score_gpt":0.21371299900557972,"score_spread":0.196928025733426,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2802286235","genre_codex":"other","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.44449773,0.0171494,0.0345044,0.048166998,0.00064135453,0.00006858562,0.00015472896,0.00010348607,0.45471328],"genre_scores_gemma":[0.97983265,0.0032927685,0.0037564312,0.001418613,0.00016374652,0.000057475496,0.00002646591,0.000056894856,0.01139493],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9958954,0.0025378272,0.00008976457,0.00053456536,0.00074714085,0.0001954215],"domain_scores_gemma":[0.98886526,0.008237862,0.0010300869,0.0011028111,0.00046369832,0.00030026966],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0057119946,0.0003580485,0.00040255353,0.0010683114,0.002791054,0.007422679,0.0009442713,0.0016289351,0.008399284],"category_scores_gemma":[0.020736426,0.00022980932,0.00035416108,0.0016751775,0.014376301,0.0069010863,0.0038681652,0.0024038944,0.00063148024],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016892879,0.000043705044,0.009902879,0.00021603414,0.00004764573,0.000095297146,0.02581605,0.0006284401,0.0012733737,0.8816212,0.0011675956,0.079018824],"study_design_scores_gemma":[0.00008395768,0.00046208926,0.045210514,0.0011597807,0.000105409206,0.00038309206,0.043854013,0.0025313438,0.003601895,0.68453145,0.21797118,0.00010521145],"about_ca_topic_score_codex":0.005213034,"about_ca_topic_score_gemma":0.006347779,"teacher_disagreement_score":0.008399284,"about_ca_system_score_codex":0.0031250862,"about_ca_system_score_gemma":0.001979958,"threshold_uncertainty_score":0.03020823},"labels":[],"label_agreement":null},{"id":"W2802323642","doi":"10.7939/r3bw7k","title":"Musical taste, performance, and identity among West African Canadians","year":2010,"lang":"en","type":"article","venue":"University of Alberta Library","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Taste; Musical; Identity (music); Communication; Aesthetics; Gender studies; Art; Sociology; Psychology; Visual arts","score_opus":0.0054153935737010364,"score_gpt":0.13686035914333192,"score_spread":0.13144496556963087,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2802323642","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9759655,0.00083524204,0.00011317002,0.0017248387,0.000053939264,0.000021785496,0.000078726516,0.0000036413812,0.021203179],"genre_scores_gemma":[0.99233377,0.0007296014,0.00011847491,0.00036438194,0.00000896836,0.000009290919,0.000031993397,0.0000060381217,0.0063975663],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9983103,0.00021028354,0.0000306195,0.0001291956,0.0004504633,0.0008692232],"domain_scores_gemma":[0.998845,0.00016131817,0.00010360986,0.000032439,0.00045794097,0.00039965316],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017755707,0.00037080527,0.0004738182,0.002159704,0.030734232,0.0052226298,0.0007802526,0.0008420592,0.005040416],"category_scores_gemma":[0.0026270722,0.00025985995,0.0002052561,0.0031435504,0.007622339,0.0012588666,0.0028931925,0.0015970652,0.00028351415],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008776048,0.000055346674,0.04227706,0.0000643987,0.000010365153,0.00059250277,0.9272981,0.0000366741,0.0009604593,0.0062405434,0.0028455802,0.019531129],"study_design_scores_gemma":[0.0000038741728,0.000020221,0.026841937,0.00007735712,0.000008035094,0.00014623997,0.9544574,0.00003626005,0.00012978724,0.00026461194,0.017987344,0.000026896476],"about_ca_topic_score_codex":0.9757751,"about_ca_topic_score_gemma":0.98744327,"teacher_disagreement_score":0.030734232,"about_ca_system_score_codex":0.019883553,"about_ca_system_score_gemma":0.026868701,"threshold_uncertainty_score":0.14426595},"labels":[],"label_agreement":null},{"id":"W2803030149","doi":"10.22215/etd/2010-09770","title":"Imagining drumbytes and logging in powwows : a history of community imagination in Canadian-based aboriginal new media art","year":2010,"lang":"en","type":"dissertation","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Library and Archives Canada","funders":"","keywords":"Logging; Art history; Art; Visual arts; Sociology; Humanities; Geography; Forestry","score_opus":0.018897584117837537,"score_gpt":0.23841494032569122,"score_spread":0.21951735620785368,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2803030149","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7809074,0.00667105,0.0018024964,0.010338841,0.00028799253,0.0000975612,0.00012117396,0.000040164894,0.19973333],"genre_scores_gemma":[0.9813892,0.0013247741,0.0005053774,0.00037591867,0.000016766675,0.000016234613,0.000027275953,0.000030632687,0.016313775],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9977464,0.0008341436,0.000042360276,0.00019263341,0.00037139488,0.0008130544],"domain_scores_gemma":[0.9966898,0.0013309271,0.00018630577,0.00013064618,0.00076281483,0.0008994818],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0037043465,0.00067966926,0.00032444793,0.003132195,0.030631442,0.010348263,0.002257814,0.0022758543,0.008377744],"category_scores_gemma":[0.004577965,0.0004639235,0.00028933986,0.0025012838,0.033895183,0.0047905887,0.005762992,0.0038618224,0.0005094849],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001978888,0.00001033712,0.0007790061,0.000026305537,0.0000014413868,0.00019672884,0.986006,0.00001366194,0.00021381429,0.0062679667,0.0011192875,0.005345564],"study_design_scores_gemma":[0.0000018738054,0.0000071219197,0.001615618,0.000069075206,0.0000022055483,0.00006906585,0.9753642,0.000024276045,0.00011818282,0.00056859094,0.022151131,0.000008625886],"about_ca_topic_score_codex":0.86893255,"about_ca_topic_score_gemma":0.9572072,"teacher_disagreement_score":0.13106745,"about_ca_system_score_codex":0.031239234,"about_ca_system_score_gemma":0.038700774,"threshold_uncertainty_score":0.2636786},"labels":[],"label_agreement":null},{"id":"W2803112876","doi":"10.1386/mms.4.2.365_1","title":"‘I’m sorry, but it’s true, you’re bringin’ on the heartache’: The antiquated methodology of Deena Weinstein","year":2018,"lang":"en","type":"article","venue":"Metal Music Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":62,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Saskatchewan","funders":"","keywords":"Field (mathematics); Representation (politics); Sociology; Visibility; Aesthetics; Gender studies; Epistemology; Psychology; Political science; Art; Law; Philosophy; Geography","score_opus":0.40142213388478554,"score_gpt":0.33160895511438454,"score_spread":0.069813178770401,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2803112876","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":"methods","model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":"methods","domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.110851474,0.020477857,0.12000099,0.58857006,0.0138813155,0.00031227845,0.00016189975,0.00018982735,0.14555429],"genre_scores_gemma":[0.8992358,0.005836396,0.023058768,0.037407976,0.0017103669,0.0005065956,0.000031579144,0.0002483428,0.031964216],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9356612,0.055678364,0.0009408674,0.002480267,0.0042147054,0.0010245446],"domain_scores_gemma":[0.9251337,0.05735089,0.004222807,0.004449363,0.0071534207,0.0016899316],"candidate_categories":["metaresearch"],"consensus_categories":[],"category_scores_codex":[0.05999268,0.0007091887,0.0007349219,0.0022005895,0.011141502,0.012334479,0.0027768523,0.0028406384,0.0033580365],"category_scores_gemma":[0.077734135,0.0004794334,0.00027351375,0.0017119102,0.0644846,0.010662255,0.007595184,0.0075602704,0.00094866374],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000069385715,0.000048094727,0.0012247851,0.00017248254,0.000011139161,0.00024088977,0.19698037,0.00014710265,0.00045593118,0.74425685,0.03444554,0.021947458],"study_design_scores_gemma":[0.000018667137,0.0000684589,0.0008798856,0.001455413,0.000022368586,0.00044097932,0.12559558,0.0008386392,0.0020733147,0.36757612,0.50096744,0.00006313668],"about_ca_topic_score_codex":0.0037450346,"about_ca_topic_score_gemma":0.005119764,"teacher_disagreement_score":0.9400073,"about_ca_system_score_codex":0.007251448,"about_ca_system_score_gemma":0.006656024,"threshold_uncertainty_score":0.31727546},"labels":[],"label_agreement":null},{"id":"W2803131693","doi":"10.22230/cjc.2018v43n2a3110","title":"Popular Music and Canadian National Identity","year":2018,"lang":"en","type":"article","venue":"Canadian Journal of Communication","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Northern British Columbia","funders":"","keywords":"National identity; Identity (music); Mnemonic; Nationalism; Popular music; Instrumental music; Government (linguistics); Sociology; Political science; Psychology; Aesthetics; Linguistics; Literature; Art; Law; Politics; Musical; Cognitive psychology","score_opus":0.05269938371331335,"score_gpt":0.23123220965869185,"score_spread":0.1785328259453785,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2803131693","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.526746,0.0034577618,0.00030126132,0.014486581,0.00023853015,0.000059013786,0.0006229405,0.000034184533,0.45405373],"genre_scores_gemma":[0.9827155,0.0013488581,0.00018937203,0.0008063877,0.000036887723,0.000014381783,0.00014364191,0.000011712663,0.014733211],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9976808,0.00027667294,0.00004528902,0.00017067774,0.0010447764,0.00078168383],"domain_scores_gemma":[0.9965468,0.00047458976,0.00039048836,0.00009671931,0.0017383903,0.0007530077],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001515629,0.00024813827,0.00027236278,0.002277906,0.015215849,0.004189523,0.0007091309,0.00068238284,0.021010237],"category_scores_gemma":[0.00522153,0.00011833281,0.00019444068,0.00383562,0.0059445365,0.00092147145,0.003007477,0.0010376347,0.00048367685],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00047242257,0.00013675529,0.18043385,0.0009002308,0.00005678234,0.0012624707,0.37602568,0.0003532383,0.0027431673,0.19697653,0.06880663,0.17183216],"study_design_scores_gemma":[0.000021937809,0.000065793436,0.3062176,0.0005068433,0.000046958565,0.0002990562,0.3705123,0.0002021795,0.0004889122,0.0033378939,0.31820026,0.00010031297],"about_ca_topic_score_codex":0.9788986,"about_ca_topic_score_gemma":0.98863155,"teacher_disagreement_score":0.052677102,"about_ca_system_score_codex":0.052677102,"about_ca_system_score_gemma":0.05535597,"threshold_uncertainty_score":0.3822009},"labels":[],"label_agreement":null},{"id":"W2803718486","doi":"","title":"NEVER BETTER: members of LA LUNA, COMA REGALIA and WHAT OF US premiere debut EP","year":2017,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History; Art","score_opus":0.02092861174244576,"score_gpt":0.22146551806466525,"score_spread":0.2005369063222195,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2803718486","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.002976174,0.029122287,0.00017903776,0.82277894,0.05694864,0.000014198396,0.0001630714,0.00013643733,0.087681174],"genre_scores_gemma":[0.058524244,0.020388111,0.00033570177,0.23990029,0.02131863,0.000037138376,0.00013740473,0.00042717627,0.65893143],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99832016,0.00040297653,0.000045179866,0.0001910725,0.00048421696,0.00055625057],"domain_scores_gemma":[0.99598503,0.0004629046,0.00015249492,0.0001257838,0.0011220346,0.0021518432],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0017315312,0.00053686963,0.00042244524,0.00056866725,0.01576834,0.00777285,0.00078191835,0.003350476,0.060103543],"category_scores_gemma":[0.008388168,0.00037388635,0.00024919925,0.00059876207,0.004408458,0.0041781473,0.0036551722,0.009375183,0.014146454],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000007673324,0.0000033111316,0.00018408005,0.000014888168,0.0000010675236,0.00008845297,0.0013707563,0.000003668498,0.000024011048,0.0017711511,0.9914384,0.005092448],"study_design_scores_gemma":[0.0000018815589,0.0000038538883,0.00076272176,0.00012520065,0.0000015220626,0.00016024664,0.009533422,0.000005387141,0.000032964916,0.0003586639,0.9890048,0.0000094438765],"about_ca_topic_score_codex":0.1615509,"about_ca_topic_score_gemma":0.32688817,"teacher_disagreement_score":0.93989646,"about_ca_system_score_codex":0.0072213295,"about_ca_system_score_gemma":0.0087201055,"threshold_uncertainty_score":0.3212211},"labels":[],"label_agreement":null},{"id":"W2804348993","doi":"","title":"“Barn Burner” – groovy melodic metalcore / post hardcore act THIS GUN FOR HIRE premiere new video","year":2017,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Melody; Art; Barn; Visual arts; Geography; Archaeology; Musical","score_opus":0.06362301262799326,"score_gpt":0.25389562450658254,"score_spread":0.1902726118785893,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2804348993","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0050721113,0.00032563627,0.0011449659,0.005633664,0.004554366,0.00009494504,0.0007049707,0.00079641363,0.981673],"genre_scores_gemma":[0.012812304,0.00017311882,0.0007078751,0.0010705703,0.00028592162,0.000016393322,0.0004080416,0.00037082614,0.98415494],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99958616,0.000020982034,0.000006313524,0.00005147582,0.00021095284,0.00012410412],"domain_scores_gemma":[0.999119,0.000026315052,0.000019016976,0.00003910188,0.0003406134,0.00045591497],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0003892705,0.00047002846,0.00023194015,0.00066834304,0.00674277,0.0030613043,0.0005526609,0.0010090908,0.53807795],"category_scores_gemma":[0.0013729883,0.00025737841,0.00023708037,0.00036032134,0.0007822832,0.0011852827,0.0021761432,0.0020143401,0.19520901],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006282879,0.000020546153,0.00039699816,0.00003600636,0.0000021040764,0.00010292631,0.0005928835,0.000024388039,0.0020076684,0.003133775,0.9542926,0.03932724],"study_design_scores_gemma":[0.0000039097786,0.000021579262,0.001862045,0.0000343244,0.0000011052496,0.000115521165,0.0011493677,0.000029316994,0.00041488765,0.00019802367,0.99616265,0.000007236438],"about_ca_topic_score_codex":0.059319805,"about_ca_topic_score_gemma":0.25795764,"teacher_disagreement_score":0.46192205,"about_ca_system_score_codex":0.0018788413,"about_ca_system_score_gemma":0.0021868506,"threshold_uncertainty_score":0.6588757},"labels":[],"label_agreement":null},{"id":"W2804484523","doi":"","title":"Queerness in Heavy Metal Music: Metal Bent . 2015. Amber R. Clifford-Napoleone. New York: Routledge. 166pp, 7 figures.","year":2017,"lang":"en","type":"article","venue":"MUSICultures","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Bent molecular geometry; Metal; Chemistry; Art history; Art; Materials science; Metallurgy; Organic chemistry","score_opus":0.06941504585985739,"score_gpt":0.26168377107561547,"score_spread":0.19226872521575808,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2804484523","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006923603,0.858842,0.00046902333,0.05453579,0.005508781,0.000009948293,0.00023163333,0.00010098912,0.07960951],"genre_scores_gemma":[0.03920829,0.4880619,0.0009199097,0.009364029,0.0045965095,0.000034719873,0.00036355335,0.0002468898,0.45720416],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996253,0.0000871443,0.000022035354,0.000059229442,0.00014139614,0.00006482168],"domain_scores_gemma":[0.9992704,0.0002482033,0.00006903442,0.00004768622,0.00023398004,0.00013073348],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008065527,0.0011793071,0.0006314691,0.0020618415,0.00386854,0.0047841254,0.001087086,0.002403156,0.06515226],"category_scores_gemma":[0.0021235663,0.00068184076,0.00032975795,0.0034592636,0.0041773515,0.007079448,0.0026032126,0.0026292459,0.013091463],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003156889,0.000011190942,0.00024468818,0.00035336247,0.0000047183908,0.00008138684,0.0022304603,0.00004095417,0.00010021394,0.023633583,0.855281,0.11798684],"study_design_scores_gemma":[0.000004027271,0.0000059756094,0.0009893486,0.0007602252,0.000004246318,0.00012825162,0.0034529371,0.000023470477,0.00008084679,0.007725491,0.9868182,0.0000069489174],"about_ca_topic_score_codex":0.069248475,"about_ca_topic_score_gemma":0.20136279,"teacher_disagreement_score":0.069248475,"about_ca_system_score_codex":0.0031273747,"about_ca_system_score_gemma":0.0035373953,"threshold_uncertainty_score":0.217956},"labels":[],"label_agreement":null},{"id":"W2804845903","doi":"10.1525/california/9780520295049.003.0007","title":"The Commercial Imperative","year":2017,"lang":"en","type":"book-chapter","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Advertising; Art; Comedy; Pleasure; Product (mathematics); Visual arts; History; Psychology; Business","score_opus":0.0543212716090614,"score_gpt":0.2225009243019478,"score_spread":0.16817965269288637,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2804845903","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.001497502,0.009486463,0.0005491645,0.018163081,0.0013928255,0.0000053816375,0.000019920026,0.000039668485,0.968846],"genre_scores_gemma":[0.080560245,0.0062974873,0.0003753565,0.00951,0.0015017646,0.000026454547,0.00003574807,0.00015443616,0.90153855],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.999054,0.000282408,0.000016828015,0.000133755,0.00032039982,0.00019270825],"domain_scores_gemma":[0.9992011,0.00026872323,0.00004158149,0.00008133136,0.0002288457,0.00017842709],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00088456797,0.0004423572,0.00020543799,0.00076337415,0.005548099,0.012793806,0.00074977364,0.0029617841,0.033609375],"category_scores_gemma":[0.0024453632,0.0002638421,0.0001661693,0.0008356487,0.006901544,0.010254457,0.003432583,0.0055295844,0.0081068715],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000097375105,0.000007675711,0.00006664498,0.000027665401,7.910815e-7,0.000054150725,0.0026510933,0.0000141758455,0.00008434015,0.8380443,0.14512524,0.013914211],"study_design_scores_gemma":[0.0000015175603,0.0000026626926,0.000067473695,0.00007494929,6.154005e-7,0.00007741351,0.0016077999,0.000028150353,0.00004995285,0.021573557,0.9765132,0.000002696681],"about_ca_topic_score_codex":0.007806561,"about_ca_topic_score_gemma":0.012843969,"teacher_disagreement_score":0.033609375,"about_ca_system_score_codex":0.0042780074,"about_ca_system_score_gemma":0.0032085166,"threshold_uncertainty_score":0.11243451},"labels":[],"label_agreement":null},{"id":"W2805024752","doi":"","title":"“Enjoying the happiness” – an interview with Amanda Zelina of THE COPPERTONE","year":2014,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Happiness; Interview; Psychology; Social psychology; Sociology; Anthropology","score_opus":0.03280040010164689,"score_gpt":0.1869177320033558,"score_spread":0.1541173319017089,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2805024752","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.19831623,0.017675346,0.0010892341,0.6786835,0.008471206,0.00012314193,0.00015247965,0.00008041154,0.09540842],"genre_scores_gemma":[0.7476489,0.01149529,0.0006541872,0.15647049,0.001545467,0.0002406143,0.00006998456,0.0001543204,0.081720814],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9977665,0.0013799305,0.000033533237,0.00011883396,0.000291613,0.00040961706],"domain_scores_gemma":[0.99717677,0.00075206405,0.0001667275,0.00005815725,0.00057254924,0.0012737351],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0024688786,0.0004128599,0.00056599756,0.00050723006,0.01746283,0.0038184063,0.0007391871,0.0028690472,0.004841576],"category_scores_gemma":[0.0062055164,0.0005012228,0.00023685941,0.0006761679,0.007093214,0.004582439,0.003478464,0.008646822,0.00094206916],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005390718,0.000039492897,0.0026299627,0.00013164963,0.00001137786,0.0012726648,0.6557837,0.000030475716,0.00094270735,0.006320247,0.32313144,0.009652375],"study_design_scores_gemma":[0.0000058898904,0.000025785843,0.004057913,0.00024863894,0.000004750825,0.000503777,0.6003789,0.000033384,0.00010950108,0.0005801436,0.39401734,0.000033891425],"about_ca_topic_score_codex":0.0934298,"about_ca_topic_score_gemma":0.16068423,"teacher_disagreement_score":0.0934298,"about_ca_system_score_codex":0.004742309,"about_ca_system_score_gemma":0.003650835,"threshold_uncertainty_score":0.18577194},"labels":[],"label_agreement":null},{"id":"W2805205607","doi":"","title":"Introducing: Toronto jarring noisy punks LIFE IN VACUUM","year":2018,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History; Geography","score_opus":0.02340673868975874,"score_gpt":0.21452535407530718,"score_spread":0.19111861538554845,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2805205607","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.007853353,0.012603601,0.0019658247,0.25624213,0.08953958,0.0002808955,0.00222545,0.0034045666,0.62588465],"genre_scores_gemma":[0.018622369,0.002722963,0.0006435739,0.025749946,0.006202567,0.00004992053,0.00029517044,0.00075231935,0.94496137],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99938595,0.00010248149,0.00001526452,0.00007183849,0.00026429427,0.00016022066],"domain_scores_gemma":[0.9978764,0.0001220835,0.0000492984,0.000052933414,0.0005858209,0.0013135056],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0006937284,0.00078619836,0.00039637487,0.00053362164,0.010523126,0.0047347127,0.00067590724,0.0029276684,0.3062928],"category_scores_gemma":[0.0026955057,0.00046419667,0.00034569274,0.0005062126,0.0021271938,0.0022386783,0.002650773,0.004789027,0.06705153],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00000568984,0.0000032544876,0.00006809181,0.00001449837,4.6198437e-7,0.00006588635,0.0007392174,0.000005045444,0.000053862484,0.00041327154,0.9956897,0.0029409323],"study_design_scores_gemma":[0.0000033400042,0.0000067122164,0.00036538736,0.000030000729,0.0000011531996,0.000068106754,0.0023093806,0.000008540476,0.000033337496,0.00008534504,0.9970829,0.000005814376],"about_ca_topic_score_codex":0.16702703,"about_ca_topic_score_gemma":0.6003885,"teacher_disagreement_score":0.3062928,"about_ca_system_score_codex":0.0062658777,"about_ca_system_score_gemma":0.006624778,"threshold_uncertainty_score":0.98948914},"labels":[],"label_agreement":null},{"id":"W2805455513","doi":"","title":"RESPIRE channel familiar moods into genre-trouncing exercise with their rewarding new track “Shiver”","year":2018,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Neuroscience; Channel (broadcasting); Track (disk drive); Psychology; Communication; Cognitive science; Computer science; Cognitive psychology; Telecommunications","score_opus":0.031353844884361555,"score_gpt":0.20559057122510754,"score_spread":0.174236726340746,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2805455513","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.04852343,0.00052105385,0.018390289,0.0236923,0.010596264,0.00022411444,0.0005997487,0.00591146,0.8915414],"genre_scores_gemma":[0.13964811,0.0002947637,0.010723557,0.00520279,0.0013692728,0.00009596061,0.00033133576,0.0030439429,0.8392903],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991456,0.00016675204,0.00002235488,0.000113825576,0.00037148927,0.00017993743],"domain_scores_gemma":[0.9972996,0.00025117767,0.00008848798,0.00036127973,0.0006145792,0.0013849717],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018265992,0.00046577348,0.0002901921,0.00067775534,0.0037730148,0.0047065224,0.000651624,0.00097200664,0.12662621],"category_scores_gemma":[0.005579846,0.00031359284,0.0003217339,0.00033633868,0.0016314074,0.0018823543,0.0044895075,0.0027721345,0.05337569],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00031486,0.00018262731,0.0026036568,0.00014486494,0.000016838196,0.00032343165,0.016938236,0.00014267425,0.013232584,0.020419406,0.8188986,0.1267823],"study_design_scores_gemma":[0.000025000432,0.0001293065,0.003791978,0.00006131866,0.000008215174,0.00011999921,0.00436984,0.00022342075,0.0012500164,0.0015692249,0.9884235,0.00002815435],"about_ca_topic_score_codex":0.0032313277,"about_ca_topic_score_gemma":0.04080907,"teacher_disagreement_score":0.12662621,"about_ca_system_score_codex":0.0012751197,"about_ca_system_score_gemma":0.0010225562,"threshold_uncertainty_score":0.42360687},"labels":[],"label_agreement":null},{"id":"W2805556098","doi":"","title":"Rock on! Toronto garage rock’n’rollers CRAZY BONES streaming new EP","year":2017,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Geology; Archaeology; History","score_opus":0.03852332486374713,"score_gpt":0.23458915467860633,"score_spread":0.1960658298148592,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2805556098","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005536456,0.0007824583,0.0007641792,0.00619108,0.0021455036,0.000044432232,0.001656514,0.0008377905,0.9820416],"genre_scores_gemma":[0.02042642,0.000640833,0.0006231636,0.0006902689,0.00029495853,0.000016770518,0.00076025876,0.00040632332,0.976141],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99966466,0.000024043527,0.0000060769876,0.000041224994,0.00016089444,0.00010312762],"domain_scores_gemma":[0.9995128,0.000030011499,0.000013400471,0.000038362927,0.00013021352,0.0002752693],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0003297397,0.0006682847,0.0002510606,0.0008959173,0.0057888767,0.0052548344,0.000544018,0.0009906678,0.524754],"category_scores_gemma":[0.0010246895,0.000362527,0.00023228097,0.00090790685,0.0013833275,0.002006732,0.0032561757,0.0016438563,0.116450906],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000043645065,0.0000049292503,0.00047619114,0.000045896286,0.000002932426,0.00017975841,0.0017582816,0.000025963867,0.0004365081,0.006611464,0.96956134,0.020853002],"study_design_scores_gemma":[0.000003280797,0.0000053964654,0.0012836807,0.000039081835,0.000001595125,0.000062122024,0.0015507545,0.000020391408,0.00009372376,0.00015454204,0.99678,0.0000054456723],"about_ca_topic_score_codex":0.27048883,"about_ca_topic_score_gemma":0.717628,"teacher_disagreement_score":0.524754,"about_ca_system_score_codex":0.0038883416,"about_ca_system_score_gemma":0.0028198052,"threshold_uncertainty_score":0.67788076},"labels":[],"label_agreement":null},{"id":"W2805998512","doi":"","title":"Unquantifiable – introducing dreamy indie rockers SLOW DOWN MOLASSES","year":2016,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Indie film; Advertising; Art; Computer science; Business; Visual arts","score_opus":0.019463051307588596,"score_gpt":0.1926071953283214,"score_spread":0.1731441440207328,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2805998512","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.040663112,0.0028593529,0.0150177,0.07165116,0.013347851,0.00016558585,0.0003603689,0.0026348415,0.8533001],"genre_scores_gemma":[0.15977347,0.0018941227,0.013775297,0.011715861,0.0009991429,0.00007638192,0.00028622497,0.0022410934,0.8092384],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989593,0.00022231083,0.000028750766,0.00014062802,0.0003831522,0.0002659657],"domain_scores_gemma":[0.9984963,0.00022936924,0.000056852186,0.00018892137,0.000514285,0.0005142379],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002099848,0.0005688106,0.00017215378,0.00060662907,0.006203235,0.006251373,0.0012078276,0.0016689658,0.088980734],"category_scores_gemma":[0.004917146,0.00033494306,0.00023979659,0.00032788987,0.0032222255,0.005623912,0.0050051645,0.003863268,0.019195007],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00034000972,0.00018419094,0.0025119043,0.00030229343,0.000016192278,0.00082160905,0.03403371,0.0003449545,0.006357573,0.137689,0.6165925,0.20080613],"study_design_scores_gemma":[0.0000073088668,0.00002553126,0.00035845878,0.00007244582,0.0000032695316,0.000058563823,0.00767454,0.00007640122,0.0006694009,0.002151674,0.98888844,0.00001402614],"about_ca_topic_score_codex":0.024961349,"about_ca_topic_score_gemma":0.1337059,"teacher_disagreement_score":0.088980734,"about_ca_system_score_codex":0.002925932,"about_ca_system_score_gemma":0.004284262,"threshold_uncertainty_score":0.2976702},"labels":[],"label_agreement":null},{"id":"W2808092952","doi":"","title":"Pouzza Fest 2012 videos (feat. THE LAWRENCE ARMS, THE FLATLINERS, HOT WATER MUSIC, LAGWAGON and more)","year":2012,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; History; Visual arts","score_opus":0.03582107665802432,"score_gpt":0.20574022420399682,"score_spread":0.16991914754597248,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2808092952","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008130854,0.0010616127,0.001137841,0.007769307,0.011803068,0.00042369709,0.020289997,0.0028542648,0.94652927],"genre_scores_gemma":[0.033001415,0.0007342372,0.0013866351,0.0013986054,0.0016694906,0.00019049087,0.008881311,0.0012788019,0.9514591],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998049,0.000020832482,0.0000026376508,0.000019625144,0.00006792906,0.00008413357],"domain_scores_gemma":[0.9991899,0.00003439389,0.000016192447,0.000030973115,0.00018220082,0.00054624217],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0004578042,0.00094981375,0.0003632213,0.0011261222,0.004904321,0.0026945139,0.00068530353,0.0009369004,0.47079024],"category_scores_gemma":[0.0011539668,0.0003273052,0.0003976738,0.00084783474,0.00068648934,0.0013264213,0.0021602293,0.0016982711,0.14942391],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000045170833,0.000020997531,0.0002569123,0.000035599423,0.0000015940791,0.000054977692,0.00025755182,0.000019322244,0.00017865971,0.00043756026,0.99056363,0.008128044],"study_design_scores_gemma":[0.000014365214,0.000020065825,0.0038137482,0.00004188743,0.0000019524498,0.00004717365,0.00071071513,0.000037436377,0.00009184636,0.0001451036,0.99506617,0.000009547846],"about_ca_topic_score_codex":0.07357032,"about_ca_topic_score_gemma":0.41174853,"teacher_disagreement_score":0.52920973,"about_ca_system_score_codex":0.0019338579,"about_ca_system_score_gemma":0.00146867,"threshold_uncertainty_score":0.7548535},"labels":[],"label_agreement":null},{"id":"W2808196325","doi":"","title":"Back from Exile: Nueva Canción and Canción Protesta as Cultural Heritage in Early 1980s Argentina","year":2017,"lang":"es","type":"article","venue":"MUSICultures","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Persona; Dictatorship; Context (archaeology); Cultural heritage; History; Embodied cognition; Literature; Art; Humanities; Art history; Politics; Archaeology; Philosophy; Law; Political science","score_opus":0.028964025681473996,"score_gpt":0.24790244584727206,"score_spread":0.21893842016579806,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2808196325","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.822055,0.0036861678,0.0005260591,0.0035205302,0.00028451928,0.000030927647,0.00004930812,0.000020921745,0.1698267],"genre_scores_gemma":[0.9883549,0.00081320584,0.000109713714,0.00013081178,0.00006377142,0.000015275817,0.000032861702,0.000017820788,0.01046167],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9990602,0.00032663674,0.00001794088,0.00012121355,0.00015170765,0.00032222967],"domain_scores_gemma":[0.9996238,0.000094695635,0.00009063797,0.000031542506,0.00005838999,0.00010083125],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009769952,0.00040584625,0.0004292455,0.0010305896,0.00803981,0.0046670535,0.0005642497,0.0011628446,0.0040607583],"category_scores_gemma":[0.001518908,0.00022894764,0.00013499998,0.00096882804,0.0094698975,0.0019562421,0.0040188828,0.0025751488,0.00024316352],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00047517451,0.00016690195,0.018504657,0.00018246805,0.000026424828,0.003759035,0.80017394,0.00029889806,0.0032318926,0.10865703,0.007713661,0.05680996],"study_design_scores_gemma":[0.000041668183,0.00017002896,0.109028555,0.00046673874,0.000020008309,0.00093475,0.5535775,0.0002817404,0.0008862434,0.006569109,0.3279798,0.000043879863],"about_ca_topic_score_codex":0.06774887,"about_ca_topic_score_gemma":0.14775956,"teacher_disagreement_score":0.06774887,"about_ca_system_score_codex":0.0072594164,"about_ca_system_score_gemma":0.0016470122,"threshold_uncertainty_score":0.13470906},"labels":[],"label_agreement":null},{"id":"W2809453161","doi":"","title":"Canadian metal/hardcore acts IN THE NAME OF HAVOC / LOOSE TEETH premiere new split record!","year":2017,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Archaeology; Geography","score_opus":0.05599713356103423,"score_gpt":0.23149639214806528,"score_spread":0.17549925858703105,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2809453161","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005537718,0.0028657648,0.0006371595,0.029103063,0.01070069,0.00004736984,0.0037979342,0.00081045966,0.94649976],"genre_scores_gemma":[0.023762355,0.00088376243,0.0004456269,0.002485108,0.00043827566,0.000011172954,0.00068261323,0.00038678205,0.9709043],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988165,0.000051286548,0.000013741107,0.00007973265,0.00071577996,0.00032297548],"domain_scores_gemma":[0.99865484,0.00006024942,0.000027648506,0.00005517041,0.00077172,0.00043047126],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006387907,0.00062470365,0.0003563377,0.0010410046,0.01587806,0.0062905964,0.00074886315,0.0014443892,0.29302862],"category_scores_gemma":[0.0020230869,0.00038417467,0.0002537472,0.0012769976,0.0022823482,0.0015399364,0.0022803426,0.0028332032,0.064825475],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017447255,0.0000024607566,0.00019929525,0.000014958893,7.187345e-7,0.000046542784,0.0008507595,0.000005447413,0.00010494732,0.0041375333,0.9872016,0.007418461],"study_design_scores_gemma":[0.0000019799631,0.0000022212423,0.0007882253,0.000021874068,8.93209e-7,0.00004135732,0.0015681698,0.0000065024337,0.000098280834,0.00010507666,0.9973568,0.000008555779],"about_ca_topic_score_codex":0.8900882,"about_ca_topic_score_gemma":0.97505206,"teacher_disagreement_score":0.29302862,"about_ca_system_score_codex":0.016495453,"about_ca_system_score_gemma":0.015861921,"threshold_uncertainty_score":0.9802784},"labels":[],"label_agreement":null},{"id":"W2809566443","doi":"10.3366/cult.2018.0159","title":"Rock ’n’ Roll, Tango, and Italian Boogie-Woogie: Transnational Music and Immigrant Life in Buenos Aires","year":2018,"lang":"en","type":"article","venue":"Cultural History","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Immigration; Musical; Negotiation; Country; World War II; Boom; Identity (music); Popular music; History; Humanities; Art; Geography; Economic history; Political science; Visual arts; Archaeology; Law; Oceanography","score_opus":0.045185725739634856,"score_gpt":0.20708468059562068,"score_spread":0.16189895485598582,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2809566443","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.97360796,0.0019824905,0.00005025051,0.0018095644,0.000076882585,0.0000079011015,0.000014986765,0.0000030013002,0.022447051],"genre_scores_gemma":[0.99442816,0.001184227,0.00003937495,0.00019379793,0.000042727494,0.000013004359,0.000013775903,0.000004176365,0.004080922],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99965453,0.00013736154,0.000007439402,0.00003343135,0.00003781122,0.00012946657],"domain_scores_gemma":[0.99980503,0.000055810466,0.000050574177,0.000008598672,0.00001883191,0.000061241],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006909895,0.00031527007,0.00030987815,0.00064742815,0.005761262,0.0032642903,0.0003522193,0.0007318834,0.0033406012],"category_scores_gemma":[0.00085495674,0.00013953465,0.000107494816,0.0007300176,0.004176227,0.0012056499,0.002655569,0.0010413874,0.00017351056],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00025253434,0.00009912822,0.032218255,0.00013132746,0.000014132057,0.0022242242,0.92297727,0.000042892014,0.0012382825,0.007902483,0.00297304,0.029926412],"study_design_scores_gemma":[0.000021405469,0.000079819176,0.09252516,0.00018719988,0.00001085151,0.00066225545,0.85725826,0.00003932854,0.000095611336,0.00035114645,0.048755508,0.000013455389],"about_ca_topic_score_codex":0.06255839,"about_ca_topic_score_gemma":0.15475237,"teacher_disagreement_score":0.06255839,"about_ca_system_score_codex":0.0025584458,"about_ca_system_score_gemma":0.00094101334,"threshold_uncertainty_score":0.124388516},"labels":[],"label_agreement":null},{"id":"W2810533803","doi":"10.1007/978-3-319-91304-9_5","title":"MCing, or the Romantic Stage of Art","year":2018,"lang":"en","type":"book-chapter","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Poetry; Romanticism; Subjectivity; Romance; Literature; Art; Aesthetics; EPIC; Philosophy; Epistemology","score_opus":0.057083670654199156,"score_gpt":0.21080296472817064,"score_spread":0.1537192940739715,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2810533803","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00044551367,0.005862663,0.00046585448,0.0014432442,0.0006701143,0.000013271173,0.000023645478,0.000027288861,0.99104846],"genre_scores_gemma":[0.031398017,0.004844957,0.00096944754,0.0019432377,0.00090299296,0.00006246829,0.000061325685,0.00012833756,0.9596892],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996748,0.00008629272,0.000009767941,0.00006466466,0.00010742068,0.000057168007],"domain_scores_gemma":[0.9997898,0.00007943077,0.000012697437,0.000044710112,0.00004065587,0.000032727152],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004298085,0.00078054,0.00033067595,0.0011033083,0.0041225255,0.006143243,0.0009502559,0.0017293124,0.052053705],"category_scores_gemma":[0.0014076038,0.00019957816,0.00021795217,0.0011013431,0.006451326,0.00450811,0.0016539722,0.0034695545,0.008762191],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010054921,0.0000096334215,0.00004245259,0.000049783615,0.0000010018009,0.000040883922,0.0021534765,0.000021072896,0.000069485766,0.86425996,0.10821215,0.025130061],"study_design_scores_gemma":[0.000002213512,0.000004166758,0.00011003946,0.0001114765,0.0000012420835,0.000078858175,0.0007587019,0.000042160333,0.000074814016,0.041081563,0.9577306,0.000004111468],"about_ca_topic_score_codex":0.013403111,"about_ca_topic_score_gemma":0.040170792,"teacher_disagreement_score":0.052053705,"about_ca_system_score_codex":0.0031397673,"about_ca_system_score_gemma":0.002384929,"threshold_uncertainty_score":0.174137},"labels":[],"label_agreement":null},{"id":"W2810814122","doi":"10.3138/ctr.175.004","title":"Apocalypse Masque: Post-Electric Theatricality in <i>Mr. Burns</i>","year":2018,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Embodied cognition; Narrative; Art; Aesthetics; Literature; Visual arts; Philosophy; Epistemology","score_opus":0.02339236414235016,"score_gpt":0.2254208721711934,"score_spread":0.20202850802884323,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2810814122","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.063540846,0.1590236,0.0011001738,0.08532004,0.006368502,0.000050806233,0.00008232419,0.00007573263,0.684438],"genre_scores_gemma":[0.7619255,0.071815185,0.00065836817,0.01076215,0.0021540194,0.000052511594,0.00006948414,0.00010284105,0.15245996],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987882,0.00040147838,0.000023377159,0.000083549334,0.0004451082,0.00025838905],"domain_scores_gemma":[0.9991109,0.00032793806,0.00006746062,0.00006316751,0.0002983479,0.00013224936],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017374759,0.0002844233,0.00019590207,0.00072928995,0.0059073265,0.0045665647,0.0011635404,0.0014096233,0.0065409844],"category_scores_gemma":[0.002679293,0.00008849908,0.00011490992,0.0011431534,0.011757752,0.0023733387,0.0021040777,0.0025569643,0.0005648758],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010167253,0.00004730828,0.00059160346,0.00079105544,0.000013298736,0.0007685716,0.1314327,0.000085274434,0.0007192476,0.54328054,0.18715009,0.13501868],"study_design_scores_gemma":[0.000005353536,0.000016649796,0.0014776661,0.00031154943,0.000003979427,0.00029519422,0.027848814,0.00001918812,0.00032889788,0.0038511546,0.9658333,0.000008182809],"about_ca_topic_score_codex":0.19375268,"about_ca_topic_score_gemma":0.3161634,"teacher_disagreement_score":0.19375268,"about_ca_system_score_codex":0.012016438,"about_ca_system_score_gemma":0.009684877,"threshold_uncertainty_score":0.3852498},"labels":[],"label_agreement":null},{"id":"W2810913798","doi":"10.1007/978-3-319-91304-9_2","title":"The South Bronx, or the “State of Nature”","year":2018,"lang":"en","type":"book-chapter","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Abandonment (legal); Stateless protocol; State (computer science); Politics; Humanity; Anger; Power (physics); Political science; Sociology; Political economy; Law; Gender studies; Psychology; Social psychology","score_opus":0.02711169778001259,"score_gpt":0.19594365747410203,"score_spread":0.16883195969408943,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2810913798","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0007564736,0.01133138,0.00033730787,0.0021963269,0.0017134236,0.000013508304,0.00013614571,0.000034366112,0.9834811],"genre_scores_gemma":[0.00888169,0.0072471783,0.00023247779,0.0008402947,0.00032677964,0.000036399608,0.00011307632,0.000108674445,0.9822135],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99983776,0.000029260442,0.000006521208,0.00003960501,0.000048455524,0.00003824508],"domain_scores_gemma":[0.9999347,0.000017730094,0.000007644667,0.000010522721,0.000012469897,0.000016984113],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002476384,0.0008706121,0.00036518785,0.0009778282,0.002291387,0.004442557,0.0006512943,0.0015315659,0.10303714],"category_scores_gemma":[0.00046965448,0.0002642744,0.00018084746,0.0018440228,0.0029947816,0.004311084,0.0019642024,0.0029762024,0.02323897],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003192816,0.000032961787,0.00024748372,0.00023582182,0.0000035738124,0.00011704839,0.0028161344,0.00008336544,0.00048947416,0.51155835,0.37718365,0.107200146],"study_design_scores_gemma":[0.000002069072,0.0000031910822,0.00017218688,0.00013129014,8.355064e-7,0.00002345495,0.0005865382,0.000010981357,0.00004012721,0.008091645,0.99093574,0.0000019211323],"about_ca_topic_score_codex":0.031963266,"about_ca_topic_score_gemma":0.112442754,"teacher_disagreement_score":0.10303714,"about_ca_system_score_codex":0.0030640897,"about_ca_system_score_gemma":0.0027368653,"threshold_uncertainty_score":0.3446936},"labels":[],"label_agreement":null},{"id":"W2810919346","doi":"","title":"PROPAGANDHI working on a new album","year":2011,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Visual arts; Art","score_opus":0.157485222310607,"score_gpt":0.19144605631116218,"score_spread":0.03396083400055519,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2810919346","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.006493514,0.0009614773,0.0008326708,0.017116077,0.016031051,0.00021117965,0.00066425436,0.0009428686,0.9567468],"genre_scores_gemma":[0.007533322,0.00024063596,0.00062573375,0.0010166242,0.00065700285,0.00002595938,0.00030480218,0.00026123627,0.98933476],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984034,0.00008933222,0.000017699598,0.00011401665,0.0008554993,0.0005200627],"domain_scores_gemma":[0.9973568,0.00010613465,0.000043646225,0.00019083824,0.0009865444,0.0013160275],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0014890387,0.00069690443,0.00031139978,0.0014174848,0.012472908,0.005856073,0.00093551766,0.0014813181,0.31826434],"category_scores_gemma":[0.0021717895,0.00033880514,0.00035062357,0.0008950876,0.0016248192,0.0017664606,0.00315436,0.0039776275,0.06755353],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000029624578,0.00003517603,0.00027095553,0.000029306595,0.0000016741311,0.00014251145,0.000747218,0.00001708016,0.0011490657,0.0045123463,0.95868206,0.034383006],"study_design_scores_gemma":[0.0000038907815,0.000010857853,0.00081839407,0.00001654733,0.0000012668435,0.000046018755,0.00048468527,0.000016082178,0.00017416425,0.00009649556,0.998326,0.000005430348],"about_ca_topic_score_codex":0.18363291,"about_ca_topic_score_gemma":0.4960434,"teacher_disagreement_score":0.68173563,"about_ca_system_score_codex":0.0049465,"about_ca_system_score_gemma":0.0089895865,"threshold_uncertainty_score":0.9724132},"labels":[],"label_agreement":null},{"id":"W2811015238","doi":"","title":"ION DISSONANCE – “To Lift The Dead Hand Of The Past” video","year":2016,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Cognitive dissonance; Lift (data mining); Computer science; Psychology; Social psychology","score_opus":0.018994596041192743,"score_gpt":0.1899802224784399,"score_spread":0.17098562643724716,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2811015238","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0037858079,0.001454397,0.001032305,0.029547298,0.015146705,0.00009436539,0.001703382,0.0010675372,0.9461683],"genre_scores_gemma":[0.03561193,0.00073210004,0.0008248802,0.008572335,0.0036753812,0.000043198623,0.001039898,0.00058527914,0.948915],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995534,0.000066613175,0.000004793794,0.00002937501,0.00020408821,0.00014176835],"domain_scores_gemma":[0.99933237,0.00009923537,0.000018444738,0.00003139259,0.00024987722,0.00026861092],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006074833,0.0004108597,0.00013380196,0.000581162,0.0034815196,0.0027762873,0.0007388379,0.0012585286,0.2136308],"category_scores_gemma":[0.0024799472,0.0001454491,0.00018956317,0.00043000682,0.0012319696,0.0012592059,0.0019431,0.0023442518,0.03851683],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014174303,0.000004048091,0.000063860054,0.000011344493,6.7950407e-7,0.00005204298,0.00028198207,0.000013992904,0.0001817551,0.0033678822,0.98999095,0.0060173296],"study_design_scores_gemma":[0.000004023585,0.0000038128085,0.0004111349,0.000021818589,6.6796656e-7,0.000028146684,0.00048471143,0.000026497934,0.00011133939,0.00026659895,0.99863607,0.000005080611],"about_ca_topic_score_codex":0.14843708,"about_ca_topic_score_gemma":0.39345792,"teacher_disagreement_score":0.2136308,"about_ca_system_score_codex":0.003221501,"about_ca_system_score_gemma":0.0022373633,"threshold_uncertainty_score":0.71466625},"labels":[],"label_agreement":null},{"id":"W283766849","doi":"","title":"\"No Hay Banda, and Yet We Hear a Band\": David Lynch's Reversal of Coherence in Mulholland Drive","year":2004,"lang":"en","type":"article","venue":"Journal of Film and Video","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":11,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Realm; Aesthetics; Doctrine; Character (mathematics); Perception; Art; Literature; History; Psychology; Philosophy; Epistemology","score_opus":0.015593311593169517,"score_gpt":0.21166141894411852,"score_spread":0.196068107350949,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W283766849","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.51412857,0.0076803598,0.0034891604,0.14443031,0.0020735625,0.00007803003,0.00008693049,0.00016051713,0.3278725],"genre_scores_gemma":[0.9496794,0.0012748041,0.00068455655,0.0054675266,0.00029520938,0.000030886484,0.000021147087,0.00009041668,0.042456005],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988782,0.0007431758,0.000015991742,0.00009114406,0.00014010245,0.00013142343],"domain_scores_gemma":[0.9992036,0.00046335382,0.00008429492,0.000039391645,0.00009161077,0.00011766377],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00089995563,0.00036728408,0.00015659888,0.00056385587,0.009209744,0.0042055296,0.00074768264,0.0018525912,0.0033792309],"category_scores_gemma":[0.0034086816,0.00026170432,0.00016071062,0.00025177805,0.009390025,0.0036491961,0.0033475636,0.0042499714,0.00038214997],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000090635076,0.000042050055,0.0011967545,0.000102627695,0.000013422929,0.0022944107,0.7382888,0.00008182279,0.0016332077,0.18216665,0.061885778,0.012203845],"study_design_scores_gemma":[0.00003799482,0.00011341213,0.0027048541,0.00026486127,0.000022232021,0.0014623717,0.42204002,0.00031073543,0.0014661219,0.013570775,0.5579651,0.00004148663],"about_ca_topic_score_codex":0.020854823,"about_ca_topic_score_gemma":0.049656767,"teacher_disagreement_score":0.020854823,"about_ca_system_score_codex":0.0039501223,"about_ca_system_score_gemma":0.00063104945,"threshold_uncertainty_score":0.04146689},"labels":[],"label_agreement":null},{"id":"W2883104782","doi":"","title":"Montréal’s d-beat hardcore punks ARGUMENT release debut EP","year":2017,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Beat (acoustics); Art; Argument (complex analysis); History; Physics; Acoustics; Medicine","score_opus":0.033504349571024224,"score_gpt":0.20763209850522002,"score_spread":0.1741277489341958,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2883104782","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0012787083,0.0007008351,0.0008360317,0.07457358,0.0069257333,0.00013470097,0.0010516773,0.0003545265,0.9141442],"genre_scores_gemma":[0.024643937,0.0003241342,0.00042497492,0.036728516,0.0012945704,0.00014310428,0.0002971318,0.00051131326,0.9356323],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99582785,0.00056098355,0.00010626421,0.00045299655,0.0019601402,0.0010917118],"domain_scores_gemma":[0.99451065,0.002358939,0.00009997129,0.00043427866,0.001984979,0.00061123056],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0034662653,0.00085439894,0.0006937248,0.0017843515,0.01001271,0.014471234,0.0024949766,0.015666736,0.32488537],"category_scores_gemma":[0.027870836,0.00072662847,0.0011319439,0.0012164789,0.003026173,0.0050514233,0.0044893795,0.010698572,0.078373425],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028561793,0.000016252181,0.00010261806,0.000028344308,0.000003515931,0.00017476443,0.0004035689,0.000030077837,0.00012309823,0.069607735,0.92545795,0.004023455],"study_design_scores_gemma":[0.000017602084,0.0000068537984,0.0004044856,0.00010538814,0.0000075387825,0.000029137074,0.00051076425,0.00006576199,0.00018817415,0.004371681,0.99427104,0.000021494456],"about_ca_topic_score_codex":0.2281856,"about_ca_topic_score_gemma":0.30147898,"teacher_disagreement_score":0.7718144,"about_ca_system_score_codex":0.016206909,"about_ca_system_score_gemma":0.010917487,"threshold_uncertainty_score":0.96296906},"labels":[],"label_agreement":null},{"id":"W2883268072","doi":"","title":"SINGLE MOTHERS - “Patricide” / “Feel Shame” video","year":2015,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Shame; Psychology; Social psychology; Internet privacy; Computer science","score_opus":0.08180936521480534,"score_gpt":0.21164317382467268,"score_spread":0.12983380860986735,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2883268072","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06558376,0.00085713144,0.0028314244,0.027412968,0.006800894,0.00051445345,0.0065860725,0.0032405297,0.8861728],"genre_scores_gemma":[0.23977879,0.0013838345,0.008349679,0.011123534,0.0014253277,0.00066985394,0.004599961,0.0011254944,0.73154366],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998209,0.00003917326,0.0000030608226,0.000012781164,0.000044384633,0.00007975387],"domain_scores_gemma":[0.9992543,0.00010731621,0.00002712013,0.000033093995,0.00016154275,0.0004165489],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003497594,0.00033349774,0.0001517629,0.0002042972,0.0016278652,0.000792652,0.00038497613,0.0008632158,0.21450284],"category_scores_gemma":[0.0020806508,0.000106327534,0.00015215065,0.00012850044,0.00032599416,0.00068468467,0.0012918487,0.0009961558,0.03923022],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001416472,0.00007040261,0.0006786922,0.00006457266,0.0000033980496,0.00033924318,0.0022986885,0.00002328148,0.0010923836,0.00074565166,0.9599552,0.034586813],"study_design_scores_gemma":[0.000057050085,0.00010482185,0.006737598,0.00018107808,0.000008476569,0.00054287637,0.011855798,0.000105953826,0.0010397295,0.00044394884,0.9788986,0.00002419946],"about_ca_topic_score_codex":0.022200566,"about_ca_topic_score_gemma":0.091548406,"teacher_disagreement_score":0.21450284,"about_ca_system_score_codex":0.00073965505,"about_ca_system_score_gemma":0.0007241605,"threshold_uncertainty_score":0.7175835},"labels":[],"label_agreement":null},{"id":"W2883654859","doi":"10.1386/smt.12.2.141_1","title":"‘Is it like a beat without a melody?’: Rap and revolution in Hamilton","year":2018,"lang":"en","type":"article","venue":"Studies in Musical Theatre","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":11,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Lyrics; Musical; Jazz; Art; Rhyme; Literature; Passions; Politics; Performance art; Art history; Poetry; Law","score_opus":0.09491733161674074,"score_gpt":0.3150100000983091,"score_spread":0.22009266848156836,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2883654859","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.45080552,0.0033447577,0.0012651208,0.0641174,0.0007422866,0.00005262529,0.000060890114,0.000091543676,0.47951996],"genre_scores_gemma":[0.97217786,0.00032872416,0.00009187169,0.0014673623,0.000040864197,0.0000053880763,0.000003924607,0.000018208342,0.025865734],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9986526,0.0007081567,0.0000121698,0.00008204582,0.0001620135,0.00038302634],"domain_scores_gemma":[0.9992557,0.0003328283,0.000072160205,0.000039084414,0.00007244553,0.00022768395],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007457464,0.00013987541,0.00012920582,0.0004237856,0.012360443,0.004204066,0.0005637901,0.0014281172,0.0048449314],"category_scores_gemma":[0.00196478,0.00016340284,0.00007881143,0.00047411182,0.016264226,0.0013808938,0.0030500076,0.002068549,0.00040226371],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000079037105,0.000038329716,0.002762187,0.00006899191,0.000007867594,0.0013236774,0.6039977,0.00013432078,0.000938754,0.30128726,0.06502617,0.024335649],"study_design_scores_gemma":[0.000009106594,0.000040729403,0.005440758,0.00009707339,0.0000071595546,0.0004566955,0.36970544,0.00020199499,0.0007388409,0.010620378,0.61265016,0.000031643835],"about_ca_topic_score_codex":0.11239983,"about_ca_topic_score_gemma":0.27820113,"teacher_disagreement_score":0.11239983,"about_ca_system_score_codex":0.00748414,"about_ca_system_score_gemma":0.0028046682,"threshold_uncertainty_score":0.22349113},"labels":[],"label_agreement":null},{"id":"W2884076077","doi":"","title":"Playback room sessions","year":2017,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Exhibition; Visual arts; Active listening; Studio; Art; The arts; Conversation; Contemplation; Art history; Sociology; Communication","score_opus":0.06927807619792446,"score_gpt":0.248981816573627,"score_spread":0.17970374037570253,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2884076077","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005486053,0.0011781515,0.017136335,0.002553206,0.011078697,0.0040851217,0.011273727,0.012704612,0.9345041],"genre_scores_gemma":[0.014311705,0.0006260665,0.00998099,0.0015198952,0.0019601884,0.0040953225,0.0060551683,0.0031970022,0.95825374],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980665,0.0004303145,0.000100920726,0.00040656666,0.00059660984,0.000399213],"domain_scores_gemma":[0.9968078,0.00054906256,0.00010831012,0.00045706064,0.0009066603,0.0011711385],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.002155738,0.0019000247,0.0012159507,0.0013135675,0.0036063825,0.004298778,0.0024694463,0.0022095502,0.82400376],"category_scores_gemma":[0.006441104,0.00069562613,0.0009808616,0.00093643094,0.00057026977,0.0023610878,0.00609912,0.0031804678,0.570617],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00059387437,0.00041918652,0.00012281106,0.0003164836,0.0000069196385,0.00017498039,0.0011472846,0.000072019,0.0022861229,0.0028583133,0.89558625,0.096415825],"study_design_scores_gemma":[0.000059160557,0.00011184788,0.00044877714,0.00008313486,0.000003807903,0.00006425984,0.00039874334,0.00006240656,0.00042965254,0.00070223917,0.9976223,0.000013594995],"about_ca_topic_score_codex":0.0009238573,"about_ca_topic_score_gemma":0.0025042933,"teacher_disagreement_score":0.82400376,"about_ca_system_score_codex":0.0010317542,"about_ca_system_score_gemma":0.0014652313,"threshold_uncertainty_score":0.2510373},"labels":[],"label_agreement":null},{"id":"W2884078862","doi":"10.1503/cmaj.180356","title":"Woody’s last dance","year":2018,"lang":"en","type":"article","venue":"Canadian Medical Association Journal","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Legend; Dance; Singing; Art; Art history; Visual arts; Physics; Acoustics","score_opus":0.010502170354362048,"score_gpt":0.19090444529222114,"score_spread":0.1804022749378591,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2884078862","genre_codex":"other","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"editorial","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0032268902,0.004363969,0.0005791913,0.020230189,0.016814897,0.000026019288,0.000434039,0.00029403646,0.9540308],"genre_scores_gemma":[0.0114335,0.0013641915,0.0003086194,0.00251789,0.0010389264,0.0000109154,0.00018431986,0.00019959002,0.982942],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995431,0.000078034165,0.000012456743,0.00009636053,0.00015401012,0.000115935734],"domain_scores_gemma":[0.99953353,0.00004343032,0.000017375065,0.00003656512,0.00012115503,0.00024793553],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00037188712,0.0007562803,0.00026727965,0.0008814487,0.005269921,0.0032286197,0.00047395893,0.00096491206,0.19606061],"category_scores_gemma":[0.0014288212,0.00023121461,0.00030262407,0.0005427861,0.0009327777,0.0016884659,0.0022900694,0.0023358448,0.056243595],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002035554,0.000011602462,0.00016671393,0.000041423213,0.000002640771,0.00013956371,0.0011359154,0.000020458101,0.00021610834,0.0105409715,0.9457928,0.04191141],"study_design_scores_gemma":[8.80986e-7,0.000003917086,0.00019392314,0.000028791466,4.6590222e-7,0.00005286771,0.00046114344,0.0000059950426,0.000030521034,0.0002760044,0.9989434,0.0000021258395],"about_ca_topic_score_codex":0.011801688,"about_ca_topic_score_gemma":0.059160374,"teacher_disagreement_score":0.19606061,"about_ca_system_score_codex":0.0010919943,"about_ca_system_score_gemma":0.0010462033,"threshold_uncertainty_score":0.6558881},"labels":[],"label_agreement":null},{"id":"W2885621668","doi":"10.1386/mms.4.3.531_1","title":"‘Negeri Seribu Bangsa’: Musical hybridization in contemporary Indonesian death metal","year":2018,"lang":"en","type":"article","venue":"Metal Music Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":9,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Indonesian; Musical; Hybridity; Negotiation; Subject (documents); Phenomenon; History; Sociology; Aesthetics; Gender studies; Literature; Linguistics; Anthropology; Art; Social science; Philosophy; Epistemology; Computer science","score_opus":0.16835728461391025,"score_gpt":0.2856270405952884,"score_spread":0.11726975598137812,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2885621668","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9498162,0.000699355,0.0003939443,0.0004860883,0.00006138465,0.000014646104,0.000009758588,0.000009019323,0.048509534],"genre_scores_gemma":[0.9945911,0.00026956745,0.00024805145,0.000084092455,0.000011199866,0.000008359379,0.0000085334605,0.000010283447,0.004768915],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99933976,0.00024435174,0.00003034536,0.000111693604,0.00013314384,0.00014056853],"domain_scores_gemma":[0.9996499,0.00013985213,0.000061180195,0.000042022188,0.000035693745,0.00007141599],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001032987,0.00036839134,0.0004087069,0.0009821755,0.008650535,0.0038241914,0.0007829253,0.00077891053,0.0034956662],"category_scores_gemma":[0.0011131867,0.00033003849,0.00020526157,0.0013489833,0.008714543,0.0021979022,0.004529795,0.00157004,0.0003984128],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019473863,0.00008769852,0.014089041,0.00023931001,0.000019567698,0.0036000363,0.91930777,0.0000866973,0.005640116,0.01862874,0.0010222729,0.03708395],"study_design_scores_gemma":[0.000007838403,0.0000980805,0.029157037,0.00015318021,0.00002003713,0.002609701,0.9219701,0.00015503478,0.0008969196,0.0012329911,0.04367313,0.000025983145],"about_ca_topic_score_codex":0.003566528,"about_ca_topic_score_gemma":0.015782598,"teacher_disagreement_score":0.008650535,"about_ca_system_score_codex":0.0017409455,"about_ca_system_score_gemma":0.000743048,"threshold_uncertainty_score":0.0126315355},"labels":[],"label_agreement":null},{"id":"W2885833284","doi":"10.3138/jrpc.2017-0003","title":"Makes Me Feel Glad That I'm Not Dead: Jim Pepper and Music of the Native American Church","year":2018,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Native american; Jazz; Dance; Art; Context (archaeology); Modernity; Electronic dance music; History; Visual arts; Art history; Aesthetics; Literature; Anthropology; Sociology; Archaeology; Law; Political science","score_opus":0.02665065440063356,"score_gpt":0.2375048895430427,"score_spread":0.21085423514240914,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2885833284","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4294498,0.04214999,0.0015197614,0.26718166,0.013046088,0.000055130495,0.000058372916,0.00016086627,0.2463783],"genre_scores_gemma":[0.9036675,0.010912837,0.0006451063,0.023228565,0.002836966,0.000031074323,0.000013194286,0.00007543765,0.058589347],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99952865,0.0002460598,0.0000066454645,0.000041320298,0.00009123439,0.00008609771],"domain_scores_gemma":[0.9993869,0.00017751918,0.00003366254,0.000017983584,0.00010559231,0.0002782486],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010147396,0.00025471652,0.00015528932,0.0005787845,0.012052819,0.004135476,0.0004265977,0.0009929044,0.0035857433],"category_scores_gemma":[0.0020616495,0.00015866752,0.00008889967,0.00028274485,0.0049830666,0.0026069493,0.0020370793,0.0031612585,0.00048770115],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000120065364,0.00018131558,0.0066772643,0.0002422294,0.000027114218,0.0027020688,0.6424174,0.00007223773,0.0022834477,0.03401085,0.21969585,0.09157008],"study_design_scores_gemma":[0.000012520128,0.00006526151,0.007263856,0.0002615377,0.000013414817,0.001800706,0.6039447,0.000103294806,0.00036507825,0.003695702,0.3824461,0.000027807731],"about_ca_topic_score_codex":0.013137657,"about_ca_topic_score_gemma":0.039834518,"teacher_disagreement_score":0.013137657,"about_ca_system_score_codex":0.0010257302,"about_ca_system_score_gemma":0.0011886859,"threshold_uncertainty_score":0.026122391},"labels":[],"label_agreement":null},{"id":"W2886167844","doi":"","title":"The music industry in an age of digital distribution","year":2014,"lang":"en","type":"book-chapter","venue":"QUT ePrints (Queensland University of Technology)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":12,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Music industry; Download; Hacker; The Internet; Quarter (Canadian coin); Distribution (mathematics); Period (music); Advertising; Engineering; Business; Economic history; Commerce; History; Visual arts; Art; World Wide Web; Computer science; Computer security; Music education","score_opus":0.020207992431070708,"score_gpt":0.17751756321253973,"score_spread":0.157309570781469,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2886167844","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0046351016,0.01615389,0.0010554177,0.010736602,0.0008970673,0.000010229038,0.000015493688,0.000045662684,0.96645063],"genre_scores_gemma":[0.11459807,0.026204297,0.0009233922,0.006339398,0.0015508112,0.00002978916,0.00002798478,0.000070582086,0.85025567],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9997366,0.000059111488,0.0000062157474,0.000032719112,0.000109191504,0.000056187302],"domain_scores_gemma":[0.9998512,0.000053238295,0.000010640978,0.000015099913,0.00002509028,0.00004469291],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00029539474,0.00036395472,0.00016325877,0.0007890392,0.004467642,0.007000507,0.0004959251,0.0018145769,0.017705739],"category_scores_gemma":[0.00055296597,0.00014189087,0.00012505768,0.0010445387,0.005983429,0.006307815,0.002484612,0.0028016183,0.0032355187],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013520043,0.000022641683,0.00018342117,0.000065179476,0.0000013560092,0.00018357745,0.00973887,0.00007500337,0.0002316833,0.8649352,0.06375485,0.06079466],"study_design_scores_gemma":[0.000002463115,0.000008454762,0.00020763595,0.00012148049,9.611252e-7,0.00015209337,0.0036449032,0.000043728553,0.00008270616,0.029798714,0.96593416,0.0000026507473],"about_ca_topic_score_codex":0.0054524518,"about_ca_topic_score_gemma":0.012662016,"teacher_disagreement_score":0.017705739,"about_ca_system_score_codex":0.0034341686,"about_ca_system_score_gemma":0.002558975,"threshold_uncertainty_score":0.05923158},"labels":[],"label_agreement":null},{"id":"W2888257831","doi":"10.1386/jpme.2.1-2.115_1","title":"Strength in numbers: B-girls, gender identities and hip-hop education","year":2018,"lang":"en","type":"article","venue":"Journal of Popular Music Education","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":17,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Toronto Metropolitan University; Western University; York University","funders":"","keywords":"Dance; Mentorship; Gender studies; Sociology; Performing arts; Ethnography; Performativity; Girl; The arts; Pedagogy; Psychology; Visual arts; Art; Developmental psychology","score_opus":0.03621701346502788,"score_gpt":0.2642721758723265,"score_spread":0.22805516240729862,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2888257831","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.95860726,0.00080182473,0.0001447278,0.0030123233,0.00009523361,0.00001539134,0.000047417394,0.000005991048,0.037269954],"genre_scores_gemma":[0.9942058,0.0002691884,0.000052948442,0.00029107652,0.000015658472,0.000009783583,0.000013440629,0.0000069896314,0.0051351143],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99874204,0.0005827585,0.000032771208,0.00011639718,0.00021272687,0.00031328583],"domain_scores_gemma":[0.99853694,0.00047072023,0.00025191225,0.000044578777,0.00009153577,0.0006043372],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001671346,0.00024447372,0.00040767723,0.00064875436,0.0063404413,0.005704858,0.00057651335,0.00082684244,0.01277847],"category_scores_gemma":[0.0028278574,0.00020625781,0.00014172115,0.0005308322,0.0060695023,0.0017904814,0.0056414567,0.0019949367,0.00062025944],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010710564,0.00023836507,0.08178384,0.00012777965,0.000014123166,0.0010191448,0.8691052,0.00003155414,0.0009774271,0.017330851,0.0040298346,0.025234818],"study_design_scores_gemma":[0.00000656926,0.00004825691,0.029495433,0.0001488084,0.000004631874,0.00034962254,0.9467647,0.000020352027,0.00016627123,0.00093009154,0.022055984,0.0000093604],"about_ca_topic_score_codex":0.013027049,"about_ca_topic_score_gemma":0.02670888,"teacher_disagreement_score":0.013027049,"about_ca_system_score_codex":0.0017487097,"about_ca_system_score_gemma":0.0013713966,"threshold_uncertainty_score":0.042748213},"labels":[],"label_agreement":null},{"id":"W2889017942","doi":"10.26443/boss.v3i0.42","title":"Bruce Springsteen as Post-Christian Pastor","year":2018,"lang":"en","type":"article","venue":"The Biannual Online-Journal of Springsteen Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McMaster Divinity College","funders":"","keywords":"Sensibility; Religious studies; Literature; Aesthetics; Sociology; History; Art; Philosophy","score_opus":0.05394617339760662,"score_gpt":0.29676702834372926,"score_spread":0.24282085494612263,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2889017942","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3546266,0.011331625,0.00080308726,0.069293134,0.0028141066,0.000022517319,0.000085944295,0.000083766645,0.56093925],"genre_scores_gemma":[0.70140475,0.004364259,0.00043225786,0.004171554,0.0003073366,0.000015442869,0.00003327872,0.00005271737,0.28921834],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995369,0.00016398131,0.00001045469,0.000052429215,0.00010479401,0.00013153192],"domain_scores_gemma":[0.99947435,0.000086207394,0.000053626256,0.000021741731,0.00005315893,0.00031091203],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000588657,0.00016631417,0.000117547366,0.00043235507,0.010785772,0.0028394756,0.00030809446,0.0007381211,0.017657684],"category_scores_gemma":[0.0010895629,0.00012736859,0.000043937787,0.0005396051,0.0039264825,0.0024999268,0.0026529673,0.0017057606,0.0019252214],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012536127,0.000087483146,0.007438806,0.00013696503,0.000007530878,0.002695947,0.49032348,0.00007034283,0.0022465389,0.2185285,0.20024487,0.07809417],"study_design_scores_gemma":[0.0000027142019,0.000030372481,0.0026832293,0.00014089301,0.000002026166,0.0008917112,0.09277823,0.0000286354,0.00024940836,0.0031014592,0.90008134,0.000009905459],"about_ca_topic_score_codex":0.012393095,"about_ca_topic_score_gemma":0.04775429,"teacher_disagreement_score":0.017657684,"about_ca_system_score_codex":0.0017720179,"about_ca_system_score_gemma":0.0018743898,"threshold_uncertainty_score":0.059070885},"labels":[],"label_agreement":null},{"id":"W2891118173","doi":"10.1093/oso/9780199832538.001.0001","title":"Broadway to Main Street","year":2018,"lang":"en","type":"book","venue":"Oxford University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":16,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Expansive; Popular music; Musical; Art; Chorus; Punk; Visual arts; Art history; Music industry; Media studies; Performance art; History; Literature; Sociology; Music education","score_opus":0.028328912516607622,"score_gpt":0.1807156206710857,"score_spread":0.15238670815447808,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2891118173","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0015500806,0.0012941519,0.00015323613,0.003505154,0.0023676157,0.000030168345,0.0008436927,0.00047362992,0.98978233],"genre_scores_gemma":[0.0025498131,0.00043152468,0.00006260121,0.0006734403,0.0001515547,0.000009611246,0.00024505626,0.000095608324,0.9957807],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996302,0.000027847229,0.000009965093,0.00012684152,0.000115361385,0.000089774076],"domain_scores_gemma":[0.99957186,0.000026557767,0.000015093549,0.000043740405,0.00012245245,0.00022015706],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00016775157,0.0005871749,0.0002837954,0.0006186002,0.0035997834,0.0048630103,0.00054985506,0.0017238084,0.780535],"category_scores_gemma":[0.0007336047,0.0002499712,0.00026370707,0.0006280626,0.00057686324,0.0024876487,0.0033919106,0.0019843415,0.46883857],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000047193214,0.000045023535,0.00050799025,0.000096222844,0.0000028092704,0.00037300237,0.00032451435,0.000028839968,0.0005879273,0.009133902,0.9108165,0.07803601],"study_design_scores_gemma":[0.0000028652837,0.0000074301097,0.00048782784,0.000037191956,6.7292956e-7,0.00004993892,0.00015860738,0.000009887826,0.00006464098,0.00029641396,0.998882,0.0000024339902],"about_ca_topic_score_codex":0.011633482,"about_ca_topic_score_gemma":0.04623407,"teacher_disagreement_score":0.780535,"about_ca_system_score_codex":0.001829333,"about_ca_system_score_gemma":0.0024366968,"threshold_uncertainty_score":0.3130402},"labels":[],"label_agreement":null},{"id":"W2895858394","doi":"10.7202/1051599ar","title":"“Listening Out” to Experimental Music in Canada: Publics, Subjects, Places","year":2018,"lang":"en","type":"article","venue":"Intersections Canadian Journal of Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Active listening; Craft; Visual arts; John Cage; Media studies; Aesthetics; History; Sociology; Art; Performance art; Art history; Communication","score_opus":0.039345944360155136,"score_gpt":0.2114926470379701,"score_spread":0.17214670267781496,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2895858394","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.747626,0.0054158536,0.0027167203,0.037362292,0.0010975758,0.00024988307,0.0016695157,0.00020416288,0.20365806],"genre_scores_gemma":[0.9641645,0.0012792283,0.0006560996,0.0031971561,0.00009702873,0.000054493,0.0003516664,0.00010491767,0.030095],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9960758,0.0006367158,0.00005805444,0.0004777505,0.0010819591,0.0016696366],"domain_scores_gemma":[0.9956958,0.0010349908,0.00020607322,0.00023263,0.0012600854,0.0015703987],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003660744,0.0006627817,0.0006161128,0.0024207537,0.04813323,0.015025012,0.0025874577,0.0025969492,0.013490228],"category_scores_gemma":[0.0054986123,0.0005138717,0.00047695579,0.004570494,0.028835092,0.0036312842,0.006110235,0.005134333,0.0007473365],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00037968977,0.0002131494,0.021246413,0.0002685311,0.000042443196,0.0013878942,0.8016113,0.0003478978,0.0018894736,0.05419641,0.050574634,0.06784225],"study_design_scores_gemma":[0.000024717481,0.00005730841,0.027531363,0.00022376013,0.000022762777,0.00014650804,0.79819924,0.00019322269,0.0006790369,0.001746893,0.17106616,0.00010906591],"about_ca_topic_score_codex":0.9932597,"about_ca_topic_score_gemma":0.9983121,"teacher_disagreement_score":0.14390302,"about_ca_system_score_codex":0.14390302,"about_ca_system_score_gemma":0.15611193,"threshold_uncertainty_score":0.99295115},"labels":[],"label_agreement":null},{"id":"W2896516397","doi":"","title":"Rhythmic Adult Contemporary","year":2010,"lang":"en","type":"book","venue":"Betascript Publishing eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Rhythm; Dance; Visual arts; Adult male; Contemporary classical music; Art; Geography; Musical; Aesthetics; Biology","score_opus":0.04365165555707385,"score_gpt":0.19314744523664937,"score_spread":0.14949578967957552,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2896516397","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0007791988,0.0017393664,0.0008793006,0.00029427768,0.00081960374,0.000030125955,0.00047286449,0.00035385022,0.9946314],"genre_scores_gemma":[0.007297819,0.0023053472,0.0010679074,0.00039755262,0.00046222913,0.000030995965,0.00093195104,0.00037241456,0.9871338],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998342,0.00001636528,0.0000056038202,0.000029077964,0.00008350946,0.00003113974],"domain_scores_gemma":[0.9997371,0.000025950683,0.000011137475,0.000033788023,0.000105240084,0.00008681277],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001921051,0.0005334897,0.0002424928,0.0013253228,0.0015039573,0.0027616157,0.0008133849,0.0005738343,0.26914975],"category_scores_gemma":[0.0005971797,0.00021344445,0.00025168972,0.0016461061,0.0005142701,0.0020525164,0.0013849575,0.0010787977,0.08156414],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000031164458,0.00003509071,0.00022861468,0.00018791779,0.0000015176723,0.00009899794,0.0009026662,0.000046363177,0.00078348647,0.04228348,0.7597506,0.19565001],"study_design_scores_gemma":[0.0000015458501,0.0000093663975,0.00020660841,0.000029211336,7.3379044e-7,0.00010628931,0.00010747322,0.000013086289,0.00005933192,0.0004565421,0.99900836,0.0000016024798],"about_ca_topic_score_codex":0.008155978,"about_ca_topic_score_gemma":0.027615288,"teacher_disagreement_score":0.26914975,"about_ca_system_score_codex":0.0012149127,"about_ca_system_score_gemma":0.0011937704,"threshold_uncertainty_score":0.90039563},"labels":[],"label_agreement":null},{"id":"W2897067706","doi":"10.25071/1708-6701.40327","title":"Canadian Music and American Culture: Get Away From Me – edited by Tristanne Connolly and Tomoyuki Iino (Book Review)","year":2018,"lang":"en","type":"article","venue":"CAML Review / Revue de l ACBM","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art history; Art","score_opus":0.012149145880861861,"score_gpt":0.21132044378436624,"score_spread":0.19917129790350438,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2897067706","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00020735996,0.8757746,0.0001207146,0.026906319,0.022762345,0.000026395968,0.00025270614,0.000039806768,0.07390974],"genre_scores_gemma":[0.006417492,0.82792705,0.0005111342,0.015129617,0.008895804,0.00004582007,0.00035758034,0.00007847772,0.14063716],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988256,0.00008431512,0.000036508536,0.00008146269,0.00078249833,0.00018947905],"domain_scores_gemma":[0.9980413,0.00015967368,0.000059350277,0.000037765,0.0013998467,0.00030207116],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013284208,0.0013569013,0.00096345774,0.005919568,0.004775188,0.0064234687,0.0018649359,0.0020467853,0.029156322],"category_scores_gemma":[0.0029478145,0.0004893995,0.00042974128,0.01097334,0.00450445,0.0028936823,0.0023598268,0.0033602922,0.006415163],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008782867,0.000005102605,0.000060061284,0.00044892562,0.000006912052,0.000020713655,0.00026690125,0.00001910983,0.000054095664,0.0066219224,0.9270885,0.06539908],"study_design_scores_gemma":[0.000001863692,0.0000014324337,0.00035943155,0.00035399664,0.0000054259167,0.000021915212,0.00029543525,0.0000026495704,0.000012446821,0.0004156796,0.998524,0.0000056831777],"about_ca_topic_score_codex":0.8710348,"about_ca_topic_score_gemma":0.9616466,"teacher_disagreement_score":0.1289652,"about_ca_system_score_codex":0.028219339,"about_ca_system_score_gemma":0.07256932,"threshold_uncertainty_score":0.25944936},"labels":[],"label_agreement":null},{"id":"W2897607472","doi":"10.25071/1708-6701.40330","title":"Music and the Road: Essays on the Interplay of Music and the Popular Culture of the American Road – edited by Gordon E. Slethaug (Book Review)","year":2018,"lang":"en","type":"article","venue":"CAML Review / Revue de l ACBM","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Sociology; Media studies; Art; Art history; Aesthetics; History","score_opus":0.014763937563958732,"score_gpt":0.23074865794793206,"score_spread":0.21598472038397332,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2897607472","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006836063,0.8474197,0.00017798734,0.051207367,0.014229838,0.000007260903,0.00004868809,0.000019598363,0.08620596],"genre_scores_gemma":[0.02595564,0.804294,0.0003533032,0.02179183,0.022270074,0.000045480887,0.000097795535,0.00008597107,0.1251059],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99938846,0.00018931643,0.000019796767,0.00006741054,0.00025826663,0.00007669243],"domain_scores_gemma":[0.9989532,0.00054710713,0.00008527647,0.00004061612,0.00025681686,0.00011691937],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009959503,0.00061349093,0.00058522023,0.002356515,0.0029558614,0.006108637,0.0011113728,0.0030409808,0.015236618],"category_scores_gemma":[0.0029471645,0.0003378486,0.00027902413,0.0044069886,0.0059519294,0.0066524404,0.0025574712,0.003820745,0.0048716413],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017248429,0.0000130527305,0.000097937875,0.0006436886,0.000009535903,0.000057482204,0.002817902,0.000034107037,0.0001065749,0.0567587,0.8670084,0.072435394],"study_design_scores_gemma":[0.0000040224836,0.000004463976,0.000594887,0.0010910231,0.0000039677534,0.00006899053,0.0023033333,0.000008038344,0.000037195598,0.005576257,0.99030054,0.0000073237024],"about_ca_topic_score_codex":0.010341858,"about_ca_topic_score_gemma":0.028152082,"teacher_disagreement_score":0.015236618,"about_ca_system_score_codex":0.002517515,"about_ca_system_score_gemma":0.004078936,"threshold_uncertainty_score":0.050971568},"labels":[],"label_agreement":null},{"id":"W2897672439","doi":"10.1080/00085006.2018.1522190","title":"The affective work of sound: the case of Pussy Riot’s noise","year":2018,"lang":"en","type":"article","venue":"Canadian Slavonic Papers","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Silence; Power (physics); Feeling; Musical; Politics; Sociology; Aesthetics; Affect (linguistics); Social psychology; Psychology; Art; Political science; Visual arts; Law","score_opus":0.014219382434913394,"score_gpt":0.19557042983040862,"score_spread":0.18135104739549524,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2897672439","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.62902933,0.00267679,0.0034593854,0.029236466,0.00124852,0.000049064867,0.000041497937,0.0000839427,0.33417505],"genre_scores_gemma":[0.9900356,0.0003290084,0.00020528001,0.00097052904,0.00016190694,0.00001658455,0.0000058525643,0.000031084528,0.008244121],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9955272,0.0026689325,0.000052785585,0.00034051583,0.0006022356,0.00080824277],"domain_scores_gemma":[0.9981324,0.001095532,0.00015406948,0.00013503234,0.0001278936,0.00035505006],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002413572,0.0006425146,0.0006271364,0.0013360815,0.030258084,0.008467734,0.0012440764,0.004410398,0.004123489],"category_scores_gemma":[0.004364352,0.00035000904,0.000497533,0.0009265411,0.05056119,0.0037387826,0.0081022065,0.005962578,0.00043876568],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000045143322,0.000023147064,0.0007365739,0.00005512444,0.000009113789,0.003294258,0.88864225,0.00009735811,0.00065603736,0.099815294,0.00312327,0.0035024234],"study_design_scores_gemma":[0.000020121606,0.000052057756,0.0019925418,0.0001286908,0.000011895616,0.0015689131,0.8557962,0.00018681343,0.00036560078,0.014830497,0.12500992,0.00003677701],"about_ca_topic_score_codex":0.01914404,"about_ca_topic_score_gemma":0.031432815,"teacher_disagreement_score":0.030258084,"about_ca_system_score_codex":0.006039871,"about_ca_system_score_gemma":0.0021799454,"threshold_uncertainty_score":0.043822527},"labels":[],"label_agreement":null},{"id":"W2897932284","doi":"10.21091/mppa.2014.1010","title":"Music—Movement—Mood. The PAMA Regional Meeting, Toronto, February 2014","year":2014,"lang":"en","type":"article","venue":"Medical Problems of Performing Artists","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Mood; Movement (music); Psychology; History; Art; Psychiatry; Aesthetics","score_opus":0.01884114115689498,"score_gpt":0.21152204877734238,"score_spread":0.1926809076204474,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2897932284","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005527942,0.20260419,0.0007515029,0.093774706,0.044383954,0.00016181194,0.010899566,0.0007768207,0.6411196],"genre_scores_gemma":[0.012397706,0.020843318,0.0002959059,0.0013207614,0.0023665158,0.00003027462,0.0014775901,0.000097816446,0.9611701],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997794,0.000022173064,0.000014236305,0.0000307765,0.000092672715,0.00006076877],"domain_scores_gemma":[0.9996244,0.000027533613,0.000021582442,0.000011631367,0.00013513169,0.00017970531],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004271692,0.00069048285,0.00038602404,0.00092146604,0.002465016,0.0027871286,0.00068498,0.0013027486,0.18004292],"category_scores_gemma":[0.0008161137,0.00041458593,0.00021702048,0.0017978684,0.00065510167,0.001016005,0.0015151498,0.0011768007,0.040990677],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003902711,0.000005165163,0.0003681311,0.00010205137,0.0000029531907,0.000054384745,0.00016658595,0.00004755951,0.00027264823,0.00076434005,0.972647,0.025529973],"study_design_scores_gemma":[0.000003663391,0.000010159417,0.005410704,0.00013774501,0.0000031762384,0.000050725295,0.00057333993,0.0000273397,0.000057143647,0.00012438578,0.9935967,0.0000048616403],"about_ca_topic_score_codex":0.2794367,"about_ca_topic_score_gemma":0.72152257,"teacher_disagreement_score":0.2794367,"about_ca_system_score_codex":0.004431097,"about_ca_system_score_gemma":0.00460444,"threshold_uncertainty_score":0.60230356},"labels":[],"label_agreement":null},{"id":"W2898269524","doi":"10.7939/r39883301","title":"\"A Different Starting Place\": DIY festival cycles as queer feminist music scenes","year":2018,"lang":"en","type":"article","venue":"University of Alberta Library","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Queer; Popular music; Music festival; Visual arts; Art; Aesthetics; Sociology; Gender studies","score_opus":0.017452183780897593,"score_gpt":0.17293747807643772,"score_spread":0.15548529429554014,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2898269524","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7155205,0.00330337,0.0028556213,0.012248339,0.00035357344,0.000119244345,0.0002784944,0.000081951766,0.26523888],"genre_scores_gemma":[0.97964317,0.000935763,0.0004813816,0.0005051422,0.00005695643,0.000048329628,0.000069814174,0.000059851256,0.018199466],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99857855,0.0008812898,0.00001909506,0.000118252996,0.00012909557,0.00027383486],"domain_scores_gemma":[0.9991591,0.00035695403,0.0001230788,0.00005850406,0.000057131376,0.00024527404],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015403698,0.00034229754,0.00023176374,0.001445223,0.0136372205,0.010778317,0.000938024,0.0015128772,0.0075561716],"category_scores_gemma":[0.002333246,0.00034424977,0.0002507073,0.001055088,0.018024318,0.006621616,0.0059821303,0.0025832793,0.00040811315],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006363693,0.000022212307,0.00339662,0.00004814974,0.0000039839283,0.00070975337,0.88449955,0.000052648356,0.0004412218,0.09580119,0.004156,0.010804982],"study_design_scores_gemma":[0.0000045255247,0.000019070296,0.0047275997,0.00013680251,0.0000053557483,0.00022691861,0.8763959,0.000056466786,0.00028596865,0.0028775411,0.11525058,0.000013310114],"about_ca_topic_score_codex":0.033708595,"about_ca_topic_score_gemma":0.115181565,"teacher_disagreement_score":0.9662914,"about_ca_system_score_codex":0.0080982605,"about_ca_system_score_gemma":0.0023181867,"threshold_uncertainty_score":0.06702477},"labels":[],"label_agreement":null},{"id":"W2898626805","doi":"10.29173/cjfy29385","title":"A Compilation of Song Lyrics Relating to the Family","year":2018,"lang":"en","type":"article","venue":"Canadian Journal of Family and Youth / Le Journal Canadien de Famille et de la Jeunesse","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Lyrics; Guitar; Art; Literature; Performing arts; Visual arts; Jazz; History; Musical; Psychology; Art history","score_opus":0.030525044536758743,"score_gpt":0.23048318211476584,"score_spread":0.1999581375780071,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2898626805","genre_codex":"other","genre_gemma":"dataset","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"dataset","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.029245911,0.026904223,0.01717217,0.0038437436,0.026985228,0.0008625528,0.03278088,0.005087662,0.85711765],"genre_scores_gemma":[0.09742183,0.022567857,0.021736128,0.003512766,0.0104862265,0.0007637711,0.05455594,0.0071722944,0.7817833],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99938667,0.00013485047,0.000041648393,0.00007639971,0.0003073786,0.000053030974],"domain_scores_gemma":[0.99831367,0.0004252094,0.00009948349,0.00014330391,0.0007637932,0.00025460293],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00047733466,0.001204506,0.0005077324,0.0041801077,0.0025086293,0.0023896531,0.0006346566,0.00051451946,0.10257172],"category_scores_gemma":[0.0034723715,0.00026062017,0.00035902933,0.0030698222,0.0006941047,0.0012282581,0.0012425339,0.001389763,0.049357366],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016632862,0.000054010747,0.0007957314,0.0010608836,0.000020316165,0.0006069713,0.004350164,0.00015882484,0.0049106153,0.0030642801,0.7828239,0.20198795],"study_design_scores_gemma":[0.000004941645,0.000023237319,0.0036856686,0.00021352425,0.000004618568,0.00059414335,0.0008979155,0.000069551555,0.00028705082,0.00025295716,0.99395037,0.000016064261],"about_ca_topic_score_codex":0.005348748,"about_ca_topic_score_gemma":0.01676376,"teacher_disagreement_score":0.10257172,"about_ca_system_score_codex":0.00058354705,"about_ca_system_score_gemma":0.00089606806,"threshold_uncertainty_score":0.3431366},"labels":[],"label_agreement":null},{"id":"W2899951212","doi":"10.21810/strm.v8i2.199","title":"Musical Artists Capitalizing on Hybrid Identities","year":2016,"lang":"en","type":"article","venue":"Stream Interdisciplinary Journal of Communication","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Wilfrid Laurier University","funders":"","keywords":"Hybridity; Musical; Lyrics; Popular music; Sociology; Visual arts; Aesthetics; Identity (music); Politics; Performing arts; Media studies; Art; Literature; Political science; Anthropology","score_opus":0.024907291392364795,"score_gpt":0.2675236930757739,"score_spread":0.2426164016834091,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2899951212","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7398869,0.0005409022,0.0051145335,0.002669431,0.00016417688,0.000050616716,0.000017109678,0.0000480116,0.2515084],"genre_scores_gemma":[0.9890559,0.00014337839,0.0007126687,0.00019504239,0.00003304909,0.000014930628,0.0000077544655,0.000018518733,0.009818911],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99577075,0.0022184441,0.00008221303,0.00044487452,0.00084167597,0.0006420174],"domain_scores_gemma":[0.9963309,0.0016757775,0.00051157695,0.0005507939,0.00024313049,0.0006878912],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0038069692,0.0006514858,0.00036787594,0.002048786,0.013819422,0.0127481455,0.0011120496,0.0015277112,0.007397956],"category_scores_gemma":[0.006907236,0.00032930146,0.00030947634,0.0008984537,0.020281563,0.0073567387,0.016109359,0.0030691335,0.0007487187],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000065553264,0.0000720683,0.004714003,0.000058406342,0.000012777519,0.0017323168,0.8489181,0.00010878274,0.0030888235,0.11271359,0.0018703279,0.026645297],"study_design_scores_gemma":[0.000017580263,0.00009098016,0.005411295,0.00018526759,0.000027607934,0.0013605246,0.79579026,0.0005923572,0.0018599085,0.030579796,0.16402951,0.00005501191],"about_ca_topic_score_codex":0.0031749185,"about_ca_topic_score_gemma":0.0067545166,"teacher_disagreement_score":0.013819422,"about_ca_system_score_codex":0.0022798316,"about_ca_system_score_gemma":0.0014037879,"threshold_uncertainty_score":0.024748623},"labels":[],"label_agreement":null},{"id":"W2900138198","doi":"10.1093/oxfordhb/9780190639082.013.17","title":"Why Are Breaking Battles Judged?","year":2018,"lang":"en","type":"book-chapter","venue":"Oxford University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":22,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Dance; Competition (biology); Aesthetics; Context (archaeology); Taste; Sociology; Psychology; Advertising; Visual arts; Art; History; Business","score_opus":0.04016609726137084,"score_gpt":0.17888100995051676,"score_spread":0.13871491268914593,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2900138198","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14958107,0.0062551303,0.0031254466,0.013537773,0.0022005767,0.00003555636,0.000081733895,0.000072866096,0.8251098],"genre_scores_gemma":[0.9222371,0.0021539421,0.0010352384,0.0014867055,0.00047251477,0.000016181246,0.000091963106,0.000105186045,0.072401084],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9965836,0.0011782506,0.00009092324,0.00036044084,0.0013632812,0.00042359944],"domain_scores_gemma":[0.99736917,0.0009717934,0.0002825869,0.000116743555,0.0007920012,0.00046774707],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022509936,0.0004196061,0.0003464618,0.0010644591,0.0038310874,0.009032192,0.00062275084,0.0010932747,0.015259172],"category_scores_gemma":[0.008530442,0.00020363306,0.00021525912,0.0009952949,0.007482617,0.003295937,0.0015589716,0.003146531,0.002180439],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002588336,0.000121239376,0.016869012,0.0005131681,0.000049493403,0.0015153693,0.20586133,0.00044267357,0.0038012168,0.36393538,0.13809249,0.26853976],"study_design_scores_gemma":[0.000020848982,0.00016437026,0.038117215,0.0011275072,0.000021504933,0.0011590156,0.32132143,0.00082352874,0.0013688949,0.061229795,0.5745357,0.00011020931],"about_ca_topic_score_codex":0.006687499,"about_ca_topic_score_gemma":0.012023494,"teacher_disagreement_score":0.015259172,"about_ca_system_score_codex":0.002195021,"about_ca_system_score_gemma":0.001099785,"threshold_uncertainty_score":0.051047027},"labels":[],"label_agreement":null},{"id":"W2900534781","doi":"10.5206/notabene.v11i1.6618","title":"Discriminating Ears: Critical Receptions of Blackness in the Music of George Gershwin and William Grant Still","year":2018,"lang":"en","type":"article","venue":"Nota bene","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Musical; George (robot); Blues; White (mutation); Opera; Art; Rhetoric; Jazz; Context (archaeology); Performance art; Art history; Literature; History; Philosophy; Archaeology","score_opus":0.06251426256940018,"score_gpt":0.26263877470538616,"score_spread":0.20012451213598598,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2900534781","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5754297,0.009814452,0.0017640239,0.13058643,0.003710938,0.000061015,0.000023436718,0.00006107729,0.27854893],"genre_scores_gemma":[0.97355753,0.0011637048,0.00025175067,0.006087894,0.00064917165,0.0000196921,0.0000039756283,0.00006973045,0.018196506],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9972772,0.0016032403,0.00004295703,0.00018888823,0.00048286672,0.00040489182],"domain_scores_gemma":[0.99628615,0.0026093747,0.00021774753,0.00013227703,0.00035825427,0.00039629158],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0042407834,0.00061333244,0.00036535203,0.0016029014,0.016764648,0.0075756954,0.00077860896,0.0027180444,0.0023837641],"category_scores_gemma":[0.00857562,0.00033087714,0.00015409956,0.00068001944,0.03451879,0.003378423,0.005056543,0.006267517,0.00023636084],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008614979,0.000021146694,0.00091488595,0.00006127747,0.000010421754,0.00095621083,0.7797444,0.00006352996,0.0014101454,0.18426275,0.021379348,0.011089707],"study_design_scores_gemma":[0.00002712362,0.000060836504,0.0033992445,0.00037321186,0.000022223661,0.00046094967,0.6762847,0.00017510081,0.0012626889,0.02924548,0.28863358,0.00005490075],"about_ca_topic_score_codex":0.029182425,"about_ca_topic_score_gemma":0.05829619,"teacher_disagreement_score":0.029182425,"about_ca_system_score_codex":0.0055878554,"about_ca_system_score_gemma":0.002567653,"threshold_uncertainty_score":0.05802512},"labels":[],"label_agreement":null},{"id":"W2903266882","doi":"10.2218/forum.26.2778","title":"The Real Deal: Hip-hop Mixtape Artwork and Black Masculinity","year":2018,"lang":"en","type":"article","venue":"FORUM University of Edinburgh Postgraduate Journal of Culture & the Arts","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Oppression; Masculinity; Aesthetics; Popularity; Expression (computer science); Sociology; Art; Visual arts; Gender studies; Politics; Psychology; Political science; Social psychology; Law; Computer science","score_opus":0.02031508710399057,"score_gpt":0.2067631765194435,"score_spread":0.18644808941545293,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2903266882","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.51411027,0.0033533722,0.0015320079,0.008689235,0.0008509642,0.00004051361,0.000046334142,0.000048327416,0.47132897],"genre_scores_gemma":[0.9370916,0.0011349772,0.0007925802,0.0007805242,0.00022363417,0.000022303173,0.000018119075,0.000058917252,0.059877396],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9995863,0.00019234148,0.0000053064605,0.000028378001,0.000108692744,0.00007897165],"domain_scores_gemma":[0.9996531,0.00017499638,0.000032211614,0.00003421934,0.000028247696,0.00007726583],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00079603103,0.00036909248,0.00015555904,0.000815065,0.0067148358,0.0051674047,0.0003399837,0.00087389664,0.011101301],"category_scores_gemma":[0.0012357645,0.00013738437,0.00013289586,0.00039939163,0.009114864,0.0014344478,0.003423467,0.0017100443,0.0006826229],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00027257428,0.00010210585,0.0033745791,0.00035784277,0.000020559757,0.0012933358,0.63841647,0.00013695507,0.0045540337,0.25172257,0.034812983,0.06493596],"study_design_scores_gemma":[0.000018451816,0.00013965464,0.008341133,0.0006080691,0.00002343487,0.0014991045,0.6191042,0.00024397162,0.0025388421,0.015681917,0.3517762,0.000025040417],"about_ca_topic_score_codex":0.0029074247,"about_ca_topic_score_gemma":0.010983208,"teacher_disagreement_score":0.011101301,"about_ca_system_score_codex":0.0010773158,"about_ca_system_score_gemma":0.00058703724,"threshold_uncertainty_score":0.037137568},"labels":[],"label_agreement":null},{"id":"W2904324501","doi":"10.1525/california/9780520295049.003.0002","title":"Becoming Benny","year":2017,"lang":"en","type":"book-chapter","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Character (mathematics); Comedy; Art; Literature; Mathematics; Geometry","score_opus":0.08569444508365291,"score_gpt":0.2205305808416341,"score_spread":0.1348361357579812,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2904324501","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.013624863,0.0067123305,0.0018821623,0.01709119,0.005783513,0.000050620354,0.000055546396,0.00020876924,0.95459116],"genre_scores_gemma":[0.026703462,0.001966442,0.0007229049,0.0032581626,0.00027388195,0.000027184997,0.00004931316,0.00021489839,0.9667839],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99923253,0.00017174994,0.000014338472,0.00013672587,0.00023033413,0.0002142849],"domain_scores_gemma":[0.99929297,0.000051246163,0.00002370818,0.000027874336,0.00014217164,0.00046200835],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008872464,0.0006432076,0.0003934908,0.001152711,0.009786241,0.0072725173,0.0006516295,0.0014472047,0.08442288],"category_scores_gemma":[0.0012322934,0.00041174408,0.00019463952,0.00065004104,0.0028574688,0.007982427,0.006325118,0.0043711537,0.021655682],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007010342,0.00009444527,0.0014501966,0.00017722731,0.0000041090234,0.00058739376,0.04919938,0.000047085232,0.0015501919,0.17109558,0.63660234,0.139122],"study_design_scores_gemma":[0.0000010563933,0.000008076682,0.000272232,0.00005777401,7.2006935e-7,0.00025217282,0.0064078057,0.000013895944,0.0000792257,0.0010511426,0.9918516,0.0000042965194],"about_ca_topic_score_codex":0.006943585,"about_ca_topic_score_gemma":0.034696206,"teacher_disagreement_score":0.08442288,"about_ca_system_score_codex":0.0029978584,"about_ca_system_score_gemma":0.0026002813,"threshold_uncertainty_score":0.28242266},"labels":[],"label_agreement":null},{"id":"W2904840038","doi":"10.4324/9781351218429-8","title":"Music as a City Quarter: Brands, Noises and Regeneration","year":2017,"lang":"en","type":"book-chapter","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Regeneration (biology); Quarter (Canadian coin); Business; History; Biology; Cell biology; Archaeology","score_opus":0.051636938167853946,"score_gpt":0.20713839225147254,"score_spread":0.1555014540836186,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2904840038","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005110696,0.028750746,0.00042017995,0.0040028505,0.0012313864,0.000010383998,0.000030639163,0.000031945765,0.9604112],"genre_scores_gemma":[0.10547253,0.016975312,0.00043739233,0.0020111252,0.00101878,0.000024303548,0.00005963397,0.00010587733,0.87389517],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.999742,0.00007335986,0.0000056474446,0.00003050081,0.00009348026,0.000055092743],"domain_scores_gemma":[0.9999025,0.000031930464,0.000007685678,0.000010282827,0.00001609672,0.000031595566],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00030339803,0.00060919434,0.00022102345,0.00094715826,0.0049789515,0.011597357,0.0006931416,0.0020952646,0.029538222],"category_scores_gemma":[0.00053795637,0.00020943173,0.00016167879,0.0019575078,0.005688776,0.0036096568,0.0024817786,0.0026480325,0.004503086],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003522882,0.000048389073,0.00036011887,0.00015689322,0.0000055123382,0.00010001351,0.019601183,0.00012372679,0.00024094213,0.7037576,0.16051513,0.11505529],"study_design_scores_gemma":[0.000004480435,0.000009448851,0.00071550877,0.00021718434,0.0000033918002,0.000078345416,0.01244734,0.0000594188,0.000091720154,0.02520467,0.9611615,0.0000069930934],"about_ca_topic_score_codex":0.014681288,"about_ca_topic_score_gemma":0.06395808,"teacher_disagreement_score":0.029538222,"about_ca_system_score_codex":0.0031285582,"about_ca_system_score_gemma":0.0033575597,"threshold_uncertainty_score":0.09881514},"labels":[],"label_agreement":null},{"id":"W2905791390","doi":"10.3828/cfc.2018.28","title":"2Fik’s deal with the devil: a queer and <i>transfilial</i> remix of “La chasse-galerie” at Montreal’s Festival TransAmérique","year":2018,"lang":"en","type":"article","venue":"Contemporary French Civilization","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Queer; Art; Art history; Sociology; Gender studies","score_opus":0.020754275029920236,"score_gpt":0.19233591564165173,"score_spread":0.17158164061173148,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2905791390","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.047587197,0.010038422,0.0009614445,0.09070599,0.0071686315,0.00009571707,0.0005134002,0.0001857048,0.8427435],"genre_scores_gemma":[0.33638036,0.0011973584,0.00032022974,0.008517176,0.0008100975,0.000043080465,0.000113913884,0.00022969281,0.65238816],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.99868387,0.00025376948,0.000012091017,0.00015038456,0.00023490173,0.0006649417],"domain_scores_gemma":[0.99942076,0.00008290736,0.000031680942,0.000031236123,0.00012659549,0.0003068247],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007593315,0.0010358173,0.00028438045,0.00090736896,0.031397022,0.009294394,0.0013397537,0.0039165122,0.03964857],"category_scores_gemma":[0.0017337028,0.00025319573,0.0003168242,0.0009188867,0.010672706,0.002408663,0.0045429557,0.006074159,0.0037737836],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000841189,0.000038425565,0.0017407598,0.00010417923,0.000013233161,0.0011863708,0.16119981,0.00009551248,0.0006682204,0.37594378,0.43797255,0.020953104],"study_design_scores_gemma":[0.000004394055,0.000006809541,0.0016058744,0.000051170817,0.000002465909,0.00009992557,0.019529581,0.000017714934,0.00011941655,0.0014350014,0.97711504,0.000012568095],"about_ca_topic_score_codex":0.6636794,"about_ca_topic_score_gemma":0.893959,"teacher_disagreement_score":0.33632058,"about_ca_system_score_codex":0.022829734,"about_ca_system_score_gemma":0.01261805,"threshold_uncertainty_score":0.6766025},"labels":[],"label_agreement":null},{"id":"W2906951387","doi":"10.4018/978-1-5225-1986-7.ch007","title":"“In Toronto, Iranians and Israelis Make Music, Not War”","year":2017,"lang":"en","type":"book-chapter","venue":"Advances in media, entertainment and the arts (AMEA) book series","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Toronto","funders":"","keywords":"Interpretation (philosophy); Narrative; Politics; Musical; Action (physics); Public sphere; Media studies; Sociology; Political science; Aesthetics; Visual arts; Art; Law; Literature; Linguistics","score_opus":0.013222344119736388,"score_gpt":0.21796497041934776,"score_spread":0.20474262629961137,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2906951387","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2364513,0.002585845,0.0017871365,0.01934027,0.0007986417,0.00009856573,0.00035692198,0.00013558049,0.7384458],"genre_scores_gemma":[0.8564998,0.0011936348,0.0009832387,0.0015573307,0.00014411898,0.00004906648,0.00016761918,0.000050096394,0.139355],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992093,0.00019268197,0.000010752481,0.00008624941,0.00018898453,0.0003119491],"domain_scores_gemma":[0.9996711,0.000060620732,0.000041583593,0.00002785182,0.000045939334,0.00015295306],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007286116,0.00061478565,0.00017756168,0.0007375087,0.0177598,0.005353606,0.0007760374,0.0012937998,0.015844187],"category_scores_gemma":[0.0010002933,0.00019532221,0.00024056969,0.0013215371,0.015350826,0.0016452655,0.0032594178,0.0017837179,0.0010049413],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014277681,0.000034380642,0.009994528,0.0001671551,0.000018706643,0.0014079665,0.57794935,0.00021547,0.001571217,0.23388882,0.11584886,0.058760684],"study_design_scores_gemma":[0.000014725795,0.000032602566,0.01305787,0.00011279471,0.00001404478,0.00024345821,0.34920442,0.00006732943,0.0004704242,0.0020905419,0.6346738,0.000017988456],"about_ca_topic_score_codex":0.59464455,"about_ca_topic_score_gemma":0.881901,"teacher_disagreement_score":0.40535545,"about_ca_system_score_codex":0.025063755,"about_ca_system_score_gemma":0.013314414,"threshold_uncertainty_score":0.81548536},"labels":[],"label_agreement":null},{"id":"W2907311350","doi":"","title":"Loretta Lynn's Lyrics: Songwriting for Women and the Working Class","year":2018,"lang":"en","type":"article","venue":"The Graduate History Review","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Lyrics; Gender studies; Working class; Feminism; Mainstream; Sociology; Scholarship; Poverty; Women of color; Psychology; Literature; Art; Politics; Political science","score_opus":0.16844763772768975,"score_gpt":0.24899384919756487,"score_spread":0.08054621146987512,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2907311350","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.010444823,0.9220862,0.0002039591,0.013042359,0.0024873991,0.0000137220495,0.000023406126,0.000015547563,0.051682577],"genre_scores_gemma":[0.21229301,0.7300574,0.00045906045,0.0065239766,0.0043861857,0.000051696432,0.00008351426,0.00004496671,0.04610016],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.999166,0.00045603036,0.000036631904,0.00006761506,0.00019574791,0.00007800168],"domain_scores_gemma":[0.99899167,0.00057528133,0.00013507978,0.00003303366,0.00015458051,0.00011035935],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012973753,0.00028645288,0.00029701256,0.0017354904,0.0022645376,0.002788075,0.00046714273,0.0011126444,0.0038896275],"category_scores_gemma":[0.002823774,0.0001049493,0.00013356766,0.0014058857,0.0029008866,0.0016259521,0.0014420672,0.0012609402,0.00066004536],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000102319565,0.00005753517,0.0024851258,0.006044194,0.000029672543,0.0006624885,0.053579982,0.00011574672,0.0012046865,0.040918738,0.12925017,0.7655494],"study_design_scores_gemma":[0.000007975609,0.000048988706,0.0061755525,0.003873375,0.000012601165,0.0004520419,0.016795427,0.000018316725,0.0002159577,0.0010189094,0.9713707,0.000010091349],"about_ca_topic_score_codex":0.01283474,"about_ca_topic_score_gemma":0.023659991,"teacher_disagreement_score":0.01283474,"about_ca_system_score_codex":0.0017536668,"about_ca_system_score_gemma":0.0022726723,"threshold_uncertainty_score":0.025520027},"labels":[],"label_agreement":null},{"id":"W2907334881","doi":"10.4324/9780203786628-14","title":"Punky in the Middle","year":2017,"lang":"en","type":"book-chapter","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History","score_opus":0.13891832789500255,"score_gpt":0.2090360373436476,"score_spread":0.07011770944864504,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2907334881","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0042036274,0.0052375537,0.00036075464,0.0028255396,0.0024842408,0.00002922953,0.00005113389,0.00008269297,0.98472506],"genre_scores_gemma":[0.15405668,0.0054544853,0.00057830504,0.005087117,0.00067451736,0.00007940608,0.000111448164,0.00021071211,0.8337472],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991627,0.0001517251,0.000021135806,0.00015747074,0.00021266247,0.00029447197],"domain_scores_gemma":[0.99967825,0.0000423514,0.000015572767,0.000032801367,0.00006456549,0.00016643728],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005322691,0.000916815,0.0004479382,0.0014598749,0.016891284,0.010320957,0.0012939335,0.001817925,0.07051187],"category_scores_gemma":[0.0012732975,0.00048971426,0.00037298404,0.0014187119,0.007674669,0.006072619,0.00693829,0.0080076475,0.011999242],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009972164,0.00012372789,0.00089623925,0.00024997513,0.000008231344,0.0007483533,0.037994694,0.00010120503,0.00034565112,0.6120054,0.2613058,0.08612093],"study_design_scores_gemma":[0.0000063501498,0.00002309315,0.00059275265,0.00013565518,0.0000021994033,0.0002510502,0.0060142633,0.000025640134,0.00008314869,0.007665411,0.9851918,0.000008514889],"about_ca_topic_score_codex":0.022500414,"about_ca_topic_score_gemma":0.06958708,"teacher_disagreement_score":0.07051187,"about_ca_system_score_codex":0.0050543365,"about_ca_system_score_gemma":0.004413225,"threshold_uncertainty_score":0.23588574},"labels":[],"label_agreement":null},{"id":"W2907482178","doi":"10.1558/jwpm.37844","title":"Archival Activism","year":2018,"lang":"en","type":"article","venue":"Journal of World Popular Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Queen's University; Toronto Metropolitan University","funders":"","keywords":"Institution; Subculture (biology); Political science; State (computer science); Cultural institution; Law; Media studies; Sociology; Public relations; Computer science","score_opus":0.046532444320921656,"score_gpt":0.23606635121978903,"score_spread":0.18953390689886737,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2907482178","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.05252793,0.0046963166,0.0032024449,0.027378669,0.000890334,0.0000696803,0.00014159064,0.00010365141,0.9109894],"genre_scores_gemma":[0.78122693,0.0027229749,0.0017973855,0.0057934225,0.00095097185,0.000107338405,0.00010614099,0.00011852363,0.20717627],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99532926,0.0020079343,0.00014590775,0.0006514744,0.0010235689,0.0008418148],"domain_scores_gemma":[0.99438804,0.0022659786,0.0004568033,0.0012558636,0.0006930215,0.00094030687],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005005777,0.0003569269,0.0002565391,0.0017779396,0.015611932,0.014209903,0.0011834663,0.0025713707,0.016623918],"category_scores_gemma":[0.007184031,0.0002677801,0.00023419989,0.0020929857,0.023977777,0.004728712,0.012478471,0.004226435,0.0013774235],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000039506453,0.00003992829,0.0017616156,0.00017368424,0.000009218931,0.0002529806,0.15370123,0.00009735187,0.00050982664,0.74079776,0.057169516,0.045447364],"study_design_scores_gemma":[0.000005784923,0.000012833873,0.0011542107,0.00021829562,0.000006766395,0.00018668252,0.04202529,0.00007898216,0.0004743401,0.01780678,0.9380215,0.000008543033],"about_ca_topic_score_codex":0.014720174,"about_ca_topic_score_gemma":0.0319212,"teacher_disagreement_score":0.016623918,"about_ca_system_score_codex":0.009694797,"about_ca_system_score_gemma":0.0063296505,"threshold_uncertainty_score":0.07034105},"labels":[],"label_agreement":null},{"id":"W2907941366","doi":"10.25071/1708-6701.40333","title":"Gary Karr: Life on the G String – by Mary Rannie (Book Review)","year":2018,"lang":"en","type":"article","venue":"CAML Review / Revue de l ACBM","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"String (physics); Philosophy; Physics; Theoretical physics","score_opus":0.029265530111923715,"score_gpt":0.22626049314263846,"score_spread":0.19699496303071476,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2907941366","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000113428265,0.73853904,0.00019237396,0.16605844,0.05935745,0.000020342173,0.000089253,0.00007212119,0.035557523],"genre_scores_gemma":[0.0033680801,0.49797016,0.00051031436,0.20804521,0.051350124,0.00008641444,0.00019825542,0.00023018097,0.23824129],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988979,0.0003013457,0.000060842016,0.00012299736,0.00047867364,0.00013812857],"domain_scores_gemma":[0.9982497,0.0006866435,0.00012965185,0.00008028047,0.0005233332,0.00033020572],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002092955,0.0007846042,0.00090333103,0.0021543517,0.0016672853,0.005092186,0.0018298746,0.005780918,0.041988775],"category_scores_gemma":[0.007856138,0.00043855555,0.0005325419,0.0020925037,0.00270958,0.006530495,0.0034098704,0.007800031,0.028291585],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000076670785,0.0000026944692,0.0000096274525,0.00019033285,0.0000028806328,0.000025998612,0.000050446077,0.000005576945,0.000023351948,0.0020078728,0.9710977,0.026575802],"study_design_scores_gemma":[0.000003275466,0.0000028846073,0.00006475543,0.00048789647,0.0000032307823,0.00008005271,0.00008091197,0.0000020398086,0.000014335848,0.0006814761,0.9985752,0.000003856388],"about_ca_topic_score_codex":0.00831848,"about_ca_topic_score_gemma":0.022879738,"teacher_disagreement_score":0.041988775,"about_ca_system_score_codex":0.0024642106,"about_ca_system_score_gemma":0.003941756,"threshold_uncertainty_score":0.14046639},"labels":[],"label_agreement":null},{"id":"W2909006509","doi":"10.21083/csieci.v12i2.4845","title":"The Jazz Bubble: Neoclassical Jazz in Neoliberal Culture, Dale Chapman","year":2018,"lang":"fr","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Jazz; Bubble; Art; Art history; Keynesian economics; Economics; Mechanics; Physics","score_opus":0.0749618382601678,"score_gpt":0.38064620508956015,"score_spread":0.3056843668293924,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2909006509","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.020532832,0.092347234,0.0014432084,0.53793293,0.002650917,0.000027228993,0.00005458108,0.000048383004,0.3449627],"genre_scores_gemma":[0.7351646,0.037757758,0.0009586034,0.04333433,0.0029176483,0.000107026506,0.000026783944,0.00022850248,0.17950478],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9983382,0.0010248884,0.00004028737,0.00018348207,0.00023280691,0.00018023598],"domain_scores_gemma":[0.99605787,0.0031238962,0.000125637,0.00015602443,0.00029783676,0.00023879898],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002365873,0.00061683694,0.0004681435,0.001106632,0.015998656,0.012787936,0.0011803888,0.0063286847,0.0062516103],"category_scores_gemma":[0.007112062,0.00043078148,0.00016461356,0.0015553916,0.028061807,0.013329555,0.0034978113,0.009510629,0.00086487434],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023197776,0.000021233865,0.00010028385,0.00007091766,0.0000024922315,0.00008139734,0.032935537,0.00007803457,0.00005892196,0.8803923,0.0811104,0.005125235],"study_design_scores_gemma":[0.000023471392,0.000011733654,0.0005208566,0.0003910612,0.0000043496084,0.00012178047,0.050940875,0.00021818042,0.0002476579,0.2558978,0.69159126,0.00003092317],"about_ca_topic_score_codex":0.033642303,"about_ca_topic_score_gemma":0.057898276,"teacher_disagreement_score":0.033642303,"about_ca_system_score_codex":0.0083878385,"about_ca_system_score_gemma":0.0053627873,"threshold_uncertainty_score":0.06689292},"labels":[],"label_agreement":null},{"id":"W2909342189","doi":"","title":"Acoustic folk punk rock act OLD TOWNS release new single","year":2016,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Punk; History; Art; Art history","score_opus":0.03331115562432226,"score_gpt":0.19548863400520583,"score_spread":0.16217747838088356,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2909342189","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009521707,0.0004972769,0.0016157735,0.005896073,0.010409072,0.00030447627,0.0024768142,0.0013361205,0.9679427],"genre_scores_gemma":[0.0120038325,0.000084309584,0.00047618363,0.0007698191,0.00023770556,0.00004528641,0.0005955782,0.0003918719,0.9853953],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99810576,0.00009822454,0.000021852657,0.00016649511,0.001063841,0.00054373627],"domain_scores_gemma":[0.9978314,0.00011401471,0.00003269147,0.00013325005,0.0009845291,0.00090401847],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0019198613,0.000722375,0.00045457174,0.0010015965,0.008770938,0.006195746,0.0011606573,0.0016716779,0.34011343],"category_scores_gemma":[0.0029701542,0.00054153963,0.00040493367,0.00052674586,0.0016736614,0.001386363,0.0055324384,0.0050651287,0.10729108],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017659795,0.00006387884,0.0011221691,0.00006719774,0.000005548923,0.00047802107,0.0016462916,0.000064295906,0.0013020046,0.008104667,0.9479458,0.039023653],"study_design_scores_gemma":[0.000009815592,0.000029404222,0.0022433666,0.000024052024,0.0000013870026,0.00006188807,0.001304448,0.000026806061,0.00018236658,0.00014934462,0.9959567,0.000010380955],"about_ca_topic_score_codex":0.14008899,"about_ca_topic_score_gemma":0.4089048,"teacher_disagreement_score":0.34011343,"about_ca_system_score_codex":0.0032943333,"about_ca_system_score_gemma":0.0052975463,"threshold_uncertainty_score":0.9412481},"labels":[],"label_agreement":null},{"id":"W2909619910","doi":"","title":"Jocelyn LACHANCE, Yann LEROUX et Sophie LIMARE (2017), Selfies d’ados. préface de Joan FONTCUBERTA, Québec, Presses de l’Université Laval","year":2018,"lang":"fr","type":"article","venue":"Communication. Information médias théories pratiques","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Selfie; Art; Humanities; Political science; Visual arts","score_opus":0.019524308244021727,"score_gpt":0.2431586725677881,"score_spread":0.22363436432376635,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2909619910","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0026497506,0.481128,0.0007795447,0.40811983,0.033117794,0.00006687372,0.0009945828,0.000117493015,0.073026106],"genre_scores_gemma":[0.074829005,0.28174567,0.0012002976,0.090681106,0.011585196,0.00019864069,0.00081741,0.00045634428,0.53848636],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989054,0.00034347636,0.00003700199,0.00015968017,0.0003820335,0.00017232708],"domain_scores_gemma":[0.9962878,0.00087747176,0.00019827834,0.0001080085,0.001923031,0.00060539774],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001766939,0.0010489133,0.00073901354,0.0018040678,0.010681612,0.0068793944,0.0015006406,0.0033155445,0.0365368],"category_scores_gemma":[0.004093301,0.00040473932,0.00029139785,0.0025242956,0.004114964,0.0055508493,0.0021478084,0.005118603,0.009830714],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015398578,0.000015182097,0.00057644205,0.00021458625,0.000004098437,0.00007479856,0.008919968,0.000016628695,0.00007601191,0.010101188,0.96013147,0.019854395],"study_design_scores_gemma":[0.0000044444364,0.000004105182,0.0024674379,0.00050500553,0.0000029124594,0.00008555515,0.009490258,0.000018303681,0.00005793115,0.0012343456,0.98611534,0.000014403874],"about_ca_topic_score_codex":0.6795767,"about_ca_topic_score_gemma":0.8206463,"teacher_disagreement_score":0.3204233,"about_ca_system_score_codex":0.02027211,"about_ca_system_score_gemma":0.019023178,"threshold_uncertainty_score":0.64462066},"labels":[],"label_agreement":null},{"id":"W2909701019","doi":"10.1525/jpms.2018.300412","title":"Southern Sounds, Northern Voices","year":2018,"lang":"en","type":"article","venue":"Journal of Popular Music Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":10,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Western University","funders":"","keywords":"Indigenous; Country; Studio; White (mutation); History; Colonialism; Folk music; Visual arts; Ethnology; Archaeology; Art","score_opus":0.08059652433200439,"score_gpt":0.268089558356724,"score_spread":0.18749303402471962,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2909701019","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.04314053,0.028696662,0.0007944552,0.041880332,0.0037495014,0.000012264601,0.0000925843,0.0000984588,0.88153523],"genre_scores_gemma":[0.6290505,0.019501043,0.0011302456,0.015534652,0.0024071196,0.000043109085,0.000113304784,0.00025283705,0.33196715],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9991922,0.0002683935,0.000013403239,0.00018281948,0.00017766326,0.00016544346],"domain_scores_gemma":[0.9995043,0.00016958544,0.00003613314,0.00004366839,0.00007579109,0.00017051584],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009606969,0.00036015012,0.00020443145,0.00084701437,0.01280423,0.008580904,0.00043326168,0.0011818688,0.017706186],"category_scores_gemma":[0.0015471986,0.00017720142,0.000116643394,0.00067670515,0.013068479,0.004934926,0.0044512944,0.0023302776,0.0024559433],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005907094,0.000035631285,0.0040087663,0.00020954355,0.000008185525,0.0005166033,0.3227573,0.000053810254,0.0009984624,0.35794124,0.19358566,0.119825654],"study_design_scores_gemma":[0.0000033960891,0.000012403473,0.0035665345,0.00029315683,0.000003860249,0.000253198,0.119929574,0.000018977595,0.00010862973,0.014195755,0.86160517,0.000009289639],"about_ca_topic_score_codex":0.049824025,"about_ca_topic_score_gemma":0.17462243,"teacher_disagreement_score":0.049824025,"about_ca_system_score_codex":0.003727555,"about_ca_system_score_gemma":0.0030123119,"threshold_uncertainty_score":0.099068046},"labels":[],"label_agreement":null},{"id":"W2909927499","doi":"","title":"DOA to release “To Hell And Back” DVD","year":2014,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History; Art; Computer science","score_opus":0.018291717371956145,"score_gpt":0.18350448442933423,"score_spread":0.16521276705737808,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2909927499","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00074178615,0.00043565044,0.0006829459,0.0017520634,0.0039303293,0.0001546644,0.0055884207,0.003123266,0.9835909],"genre_scores_gemma":[0.0029064287,0.00030009143,0.00049160694,0.00059785973,0.00050789444,0.000030651827,0.0027947412,0.0012562233,0.9911145],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997862,0.000012667312,0.0000034303384,0.00002269419,0.00011990179,0.000055116572],"domain_scores_gemma":[0.9990509,0.000057963058,0.000015200434,0.00007240444,0.00041456363,0.0003888959],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00028560995,0.0005056341,0.0003570091,0.0007997539,0.002025501,0.0032194054,0.0007100046,0.000796878,0.7958838],"category_scores_gemma":[0.001317676,0.000309929,0.00032936677,0.00062165345,0.00032328605,0.0010559482,0.0013877942,0.0014727595,0.5257612],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000030292837,0.000008620293,0.00004355505,0.000024182391,0.0000010876395,0.000027993485,0.000032620195,0.000008495864,0.00031104378,0.00045656814,0.98583335,0.013222008],"study_design_scores_gemma":[0.000010369436,0.0000072448133,0.0003397858,0.000012753152,0.0000011402698,0.000024681756,0.000048227343,0.000017734406,0.00009414482,0.00008520003,0.999355,0.0000036518672],"about_ca_topic_score_codex":0.029215703,"about_ca_topic_score_gemma":0.07602998,"teacher_disagreement_score":0.7958838,"about_ca_system_score_codex":0.0010019114,"about_ca_system_score_gemma":0.0008995531,"threshold_uncertainty_score":0.291147},"labels":[],"label_agreement":null},{"id":"W2910107388","doi":"","title":"KATAKLYSM interviewed in Mexico","year":2011,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Geography","score_opus":0.12266516973898951,"score_gpt":0.2006942433086408,"score_spread":0.07802907356965129,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2910107388","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8751866,0.0039332965,0.00018168715,0.028038137,0.00034111255,0.00007037588,0.0005044661,0.0000276783,0.091716506],"genre_scores_gemma":[0.85416955,0.004464681,0.00026347657,0.008236855,0.00007668124,0.00017448884,0.00042344962,0.000030422554,0.13216038],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99968934,0.00005407596,0.0000049357427,0.00003006986,0.00004105162,0.00018064023],"domain_scores_gemma":[0.9996743,0.00004941794,0.00005176684,0.000008719873,0.00010369787,0.00011218841],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00045879046,0.00018278077,0.0002409397,0.00070209114,0.015068962,0.001379264,0.0004363217,0.0013163302,0.014957691],"category_scores_gemma":[0.0011561849,0.00027969264,0.00008439965,0.0008075748,0.001481194,0.00081353396,0.0019970005,0.0018711623,0.0006674474],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00039606038,0.00017227283,0.12251399,0.00044223433,0.000042023057,0.006991904,0.58596575,0.00017391334,0.0051790355,0.0220765,0.1945496,0.061496794],"study_design_scores_gemma":[0.00001183195,0.000041818097,0.10719431,0.000306163,0.000014782254,0.00025905357,0.57398266,0.000052454496,0.00029317645,0.000307966,0.31750852,0.000027237362],"about_ca_topic_score_codex":0.53044444,"about_ca_topic_score_gemma":0.79854864,"teacher_disagreement_score":0.53044444,"about_ca_system_score_codex":0.009623167,"about_ca_system_score_gemma":0.0048212903,"threshold_uncertainty_score":0.9446417},"labels":[],"label_agreement":null},{"id":"W2911456985","doi":"","title":"Overtone Singing: History, Development, and Influence in Contemporary Music","year":2018,"lang":"en","type":"article","venue":"Digital Commons - CSUMB (California State University, Monterey Bay)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Singing; Overtone; History; Acoustics","score_opus":0.04853249212273786,"score_gpt":0.19339137887714997,"score_spread":0.1448588867544121,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2911456985","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.512488,0.14894366,0.0007187722,0.01962627,0.0012958231,0.00003429618,0.00012256987,0.000046151697,0.3167244],"genre_scores_gemma":[0.9536228,0.03364533,0.00022653645,0.0008471966,0.00080438633,0.0000141244345,0.000025255908,0.000027812303,0.010786486],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991966,0.00029631707,0.000035705878,0.00016229204,0.0001607,0.00014839236],"domain_scores_gemma":[0.99858725,0.0007466197,0.00017388468,0.0000677456,0.00013069843,0.0002937716],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015000462,0.00024695793,0.00030463655,0.0019523993,0.0059268596,0.0074059367,0.0005937684,0.0011190035,0.00466944],"category_scores_gemma":[0.0025183726,0.00019706831,0.00009371846,0.0039174147,0.013843975,0.0037718944,0.0025514318,0.0021881838,0.000342806],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010729154,0.00006987048,0.009386504,0.00045419027,0.000018631266,0.00090929406,0.7057407,0.000084048246,0.0009269192,0.13286065,0.007982942,0.141459],"study_design_scores_gemma":[0.0000149494945,0.00015436397,0.05796505,0.0011094678,0.000024608844,0.0015914323,0.3849897,0.00014347158,0.00046081445,0.014698324,0.5387928,0.00005503791],"about_ca_topic_score_codex":0.010302392,"about_ca_topic_score_gemma":0.020937778,"teacher_disagreement_score":0.010302392,"about_ca_system_score_codex":0.00316885,"about_ca_system_score_gemma":0.0016570574,"threshold_uncertainty_score":0.022991717},"labels":[],"label_agreement":null},{"id":"W2911677651","doi":"10.1080/19392397.2018.1559048","title":"Constellating stardom, Berlin-style: Bowie, Christiane F, Hedi Slimane","year":2019,"lang":"en","type":"article","venue":"Celebrity Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Context (archaeology); Art; Style (visual arts); Modernity; Bourgeoisie; Art history; Poetry; Order (exchange); German; Kitsch; Face (sociological concept); Romance; Politics; Literature; Aesthetics; Sociology; History; Philosophy; Law","score_opus":0.042558967187603935,"score_gpt":0.24425954993617988,"score_spread":0.20170058274857594,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2911677651","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.52614814,0.029507851,0.0034078236,0.056542866,0.00371725,0.000036642814,0.000133603,0.00010548688,0.3804003],"genre_scores_gemma":[0.9625423,0.0026064827,0.00038642553,0.0015891877,0.00014902046,0.000010776131,0.000015236774,0.000036864367,0.032663602],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99941266,0.00023825707,0.000014449705,0.00007488816,0.0001195677,0.0001401805],"domain_scores_gemma":[0.9996189,0.0001349083,0.00006588628,0.000021859754,0.00003896818,0.00011946083],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012722397,0.00041206274,0.00020443067,0.0011080918,0.007885734,0.0069029196,0.00035280758,0.0008636576,0.003061572],"category_scores_gemma":[0.0019205166,0.00023866752,0.000096699754,0.0008247006,0.0113691995,0.0032249296,0.0040824395,0.0018756614,0.00050024886],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010767335,0.000051578798,0.0032835437,0.00014743247,0.000019893421,0.0009071547,0.48866585,0.0002019225,0.0010217458,0.39481866,0.07210842,0.038666137],"study_design_scores_gemma":[0.000010198435,0.00003383588,0.003560013,0.00017710093,0.000007880334,0.0004740244,0.22459619,0.00011778298,0.00041154824,0.013176829,0.7574012,0.0000333819],"about_ca_topic_score_codex":0.011162705,"about_ca_topic_score_gemma":0.02395516,"teacher_disagreement_score":0.011162705,"about_ca_system_score_codex":0.0030696676,"about_ca_system_score_gemma":0.0010593886,"threshold_uncertainty_score":0.02227211},"labels":[],"label_agreement":null},{"id":"W2914471551","doi":"10.1371/journal.pone.0210066","title":"Who remembers the Beatles? The collective memory for popular music","year":2019,"lang":"en","type":"article","venue":"PLoS ONE","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":18,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"York University","keywords":"Popularity; Popular music; Collective memory; Rock music; History; Psychology; Literature; Art; Social psychology; Theology; Philosophy","score_opus":0.0825469233514899,"score_gpt":0.1948248694021137,"score_spread":0.11227794605062379,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2914471551","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.99793434,0.00020678206,0.00016848774,0.00020417389,0.000009005628,0.000002887329,0.000041368367,0.000003582,0.0014293711],"genre_scores_gemma":[0.99928975,0.000085080384,0.000078499645,0.000043971693,0.000012137263,0.0000030095857,0.000030741954,0.0000019759173,0.0004548374],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.99977046,0.000057165737,0.000016198208,0.000062647014,0.000047027916,0.000046407782],"domain_scores_gemma":[0.9956899,0.0014482669,0.0013572959,0.0006367205,0.00034827154,0.000519576],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001232955,0.00010345114,0.00025858465,0.00067417545,0.0004639348,0.0012183825,0.00028265995,0.00043769143,0.002974034],"category_scores_gemma":[0.009084092,0.00013561075,0.00014832207,0.00048141746,0.00069115707,0.0017216621,0.0006630585,0.00047850452,0.00031263134],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00040141452,0.00010245548,0.88547176,0.00011828032,0.00014416964,0.00023699205,0.03467739,0.0001346007,0.007164428,0.00056051277,0.00078343845,0.07020452],"study_design_scores_gemma":[0.0000061811284,0.00021335632,0.97702074,0.00003292007,0.000035383855,0.00020809597,0.01949387,0.00022488761,0.0006272461,0.0005955205,0.0015222942,0.000019554765],"about_ca_topic_score_codex":0.0025806306,"about_ca_topic_score_gemma":0.0039265202,"teacher_disagreement_score":0.002974034,"about_ca_system_score_codex":0.00021376768,"about_ca_system_score_gemma":0.00016819105,"threshold_uncertainty_score":0.009949148},"labels":[],"label_agreement":null},{"id":"W2917388416","doi":"","title":"Musical Tributes: Apt for Viols as Voyces","year":2016,"lang":"en","type":"article","venue":"Huddersfield Research Portal (University of Huddersfield)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Trinity College","funders":"","keywords":"Musical; History; Linguistics; Art; Visual arts; Philosophy","score_opus":0.12803146408355415,"score_gpt":0.29424678490488476,"score_spread":0.16621532082133061,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2917388416","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03619569,0.0038149178,0.001195341,0.01949916,0.0029099064,0.00003474804,0.000055833767,0.00013654711,0.9361578],"genre_scores_gemma":[0.51173437,0.0014141286,0.0007353897,0.0034099908,0.00054033473,0.0000293662,0.000040961542,0.00023337171,0.4818622],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987587,0.00053322036,0.000034912446,0.00009774121,0.0003490141,0.00022649698],"domain_scores_gemma":[0.9987563,0.00039958893,0.000073570576,0.00017118973,0.00015968907,0.00043974028],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012269989,0.00029350852,0.00017808493,0.00085879705,0.010407681,0.008618297,0.0006317484,0.0016923477,0.023345936],"category_scores_gemma":[0.006003635,0.00023458696,0.00010396549,0.000803428,0.007323985,0.003959802,0.005239786,0.0031486917,0.0031767918],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011018854,0.000049875518,0.0016832924,0.000111231035,0.0000045876827,0.0008667405,0.22368567,0.000051566913,0.0014191226,0.42587915,0.2559949,0.09014373],"study_design_scores_gemma":[0.000007351792,0.000018684046,0.0021736326,0.0001359906,0.0000016609292,0.00024307072,0.08500889,0.00003435886,0.00023736482,0.00542681,0.9067045,0.000007801024],"about_ca_topic_score_codex":0.013968355,"about_ca_topic_score_gemma":0.06097929,"teacher_disagreement_score":0.023345936,"about_ca_system_score_codex":0.0020935256,"about_ca_system_score_gemma":0.001532215,"threshold_uncertainty_score":0.078099966},"labels":[],"label_agreement":null},{"id":"W2922749114","doi":"10.3138/jrpc.2017-0014","title":"Star Wars Soundtracks: The Worship Music of John Williams","year":2019,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Worship; Musical; Music history; Embodied cognition; Musical expression; Music; Popular music; Star (game theory); Aesthetics; Art; Literature; History; Visual arts; Philosophy; Music education; Epistemology; Theology","score_opus":0.02039024657340581,"score_gpt":0.2137498733322188,"score_spread":0.19335962675881296,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2922749114","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.66172504,0.013799416,0.0044146604,0.03740756,0.0040143225,0.00009426487,0.00009245907,0.0001841195,0.27826813],"genre_scores_gemma":[0.8814038,0.0056729587,0.0020353403,0.0034913772,0.0009261477,0.000020342914,0.000022229167,0.000121410834,0.106306426],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99972147,0.00010054562,0.000008424403,0.0000360419,0.00008865253,0.000044820186],"domain_scores_gemma":[0.999691,0.00013044992,0.00004562284,0.000015156221,0.000040587547,0.00007711585],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00041062362,0.00028177176,0.00010645902,0.0005781785,0.0036468445,0.0021457174,0.00028147828,0.00043518643,0.00264663],"category_scores_gemma":[0.0016021278,0.00015822018,0.00006184126,0.00040662367,0.0046909195,0.0018006568,0.0016957993,0.0012833115,0.00047051057],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00030458067,0.00009586817,0.007833275,0.0004176671,0.00003592424,0.0062918877,0.47968003,0.0003036436,0.010512744,0.20124984,0.11217982,0.18109463],"study_design_scores_gemma":[0.000009382123,0.0001337157,0.009756623,0.00023232595,0.000017203849,0.003194627,0.13769612,0.0002571008,0.0025833219,0.011396618,0.8346724,0.00005055865],"about_ca_topic_score_codex":0.005375859,"about_ca_topic_score_gemma":0.016855428,"teacher_disagreement_score":0.005375859,"about_ca_system_score_codex":0.00069555914,"about_ca_system_score_gemma":0.0005784266,"threshold_uncertainty_score":0.010689139},"labels":[],"label_agreement":null},{"id":"W2923160418","doi":"","title":"What Moves You? Raving at the Confluence of Musical Space, Headspace, Temporal Space, and Cultural Space","year":2017,"lang":"en","type":"dissertation","venue":"YorkSpace (York University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"York University","keywords":"Musical; Interactivity; Space (punctuation); Interpretation (philosophy); Subculture (biology); Ethnography; Construct (python library); Confluence; Identity (music); Participant observation; Event (particle physics); Sociology; Social psychology; Psychology; Epistemology; Aesthetics; Visual arts; Social science; Computer science; Multimedia; Art; Anthropology","score_opus":0.022549674065904003,"score_gpt":0.2165445178856211,"score_spread":0.1939948438197171,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2923160418","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.88658845,0.0016073626,0.008910961,0.0061583314,0.00034206314,0.000051455863,0.000060967865,0.00014048917,0.09614001],"genre_scores_gemma":[0.98575354,0.0004451012,0.0017006678,0.00028763968,0.00004728181,0.000011873553,0.000016235106,0.000041733572,0.011695901],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9982785,0.0010814636,0.00003437065,0.00021121101,0.00015232585,0.00024210726],"domain_scores_gemma":[0.99881303,0.00054697605,0.00013608164,0.0001377049,0.0000921682,0.00027399554],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019596294,0.00026726333,0.00025832737,0.0008284746,0.005547149,0.005520794,0.0005492697,0.0008002094,0.004768273],"category_scores_gemma":[0.0037886237,0.00023891339,0.00024651378,0.00059448334,0.0102099655,0.0063751163,0.0034219509,0.0021747136,0.0005795352],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005652313,0.000025917643,0.0046316404,0.00008525724,0.000012184366,0.0007746336,0.92921835,0.00006256039,0.0020757085,0.032194477,0.0025272346,0.028335582],"study_design_scores_gemma":[0.0000055684873,0.00006342263,0.0061916825,0.00012787554,0.00000890604,0.0007864293,0.91421145,0.00010071412,0.00071041996,0.006346202,0.07141583,0.000031486372],"about_ca_topic_score_codex":0.0053764554,"about_ca_topic_score_gemma":0.011154806,"teacher_disagreement_score":0.005547149,"about_ca_system_score_codex":0.000824778,"about_ca_system_score_gemma":0.0007436118,"threshold_uncertainty_score":0.015951514},"labels":[],"label_agreement":null},{"id":"W2924684997","doi":"10.1177/0021934719833396","title":"Hip-Hop, Gangs, and the Criminalization of African American Culture: A Critical Appraisal of <i>Yes Yes Y’all</i>","year":2019,"lang":"en","type":"article","venue":"Journal of Black Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":17,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Narrative; Criminalization; Criminology; Sociology; Gender studies; History; Literature; Art","score_opus":0.03686178094577506,"score_gpt":0.29668373183535307,"score_spread":0.259821950889578,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2924684997","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.56092954,0.086501196,0.0016461934,0.21922855,0.004058015,0.00032090768,0.00010986372,0.000035755325,0.12716997],"genre_scores_gemma":[0.94983786,0.031044174,0.0004838777,0.009917458,0.0009944284,0.00025332047,0.000029969198,0.000036366975,0.007402566],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.992027,0.006163013,0.00015106318,0.00020534132,0.0005827753,0.00087086525],"domain_scores_gemma":[0.9829464,0.014323568,0.0007973851,0.00023840817,0.0009314574,0.00076281733],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.010745792,0.00085276697,0.00074220006,0.0047015417,0.030964073,0.015423661,0.0022560575,0.004137069,0.0018758203],"category_scores_gemma":[0.0148624405,0.00049985654,0.00028545343,0.0037128262,0.054061428,0.008240263,0.0075504775,0.009841335,0.0001740914],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008731433,0.000016171218,0.0012543299,0.00017049363,0.0000042978663,0.00044412573,0.94992346,0.000017368835,0.000060821767,0.038652353,0.005333386,0.004114474],"study_design_scores_gemma":[0.0000010755513,0.00000737552,0.0009765499,0.0004229972,0.0000025163608,0.0000879741,0.9787976,0.000013325112,0.000040093753,0.0014377015,0.018208154,0.0000046683567],"about_ca_topic_score_codex":0.035670355,"about_ca_topic_score_gemma":0.07181711,"teacher_disagreement_score":0.035670355,"about_ca_system_score_codex":0.011979014,"about_ca_system_score_gemma":0.014203005,"threshold_uncertainty_score":0.08691424},"labels":[],"label_agreement":null},{"id":"W2925119666","doi":"10.1162/daed_a_01747","title":"Why Jazz? South Africa 2019","year":2019,"lang":"en","type":"article","venue":"Daedalus","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Centre for Interdisciplinary Research in Music Media and Technology","funders":"","keywords":"Jazz; Improvisation; Studio; State (computer science); Aesthetics; Art; Visual arts; Sociology; History","score_opus":0.02239864154126423,"score_gpt":0.17967224395334644,"score_spread":0.15727360241208221,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2925119666","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10044897,0.048336912,0.00061632204,0.45044392,0.0055493186,0.00006020659,0.00011519941,0.000051999566,0.3943772],"genre_scores_gemma":[0.7239427,0.04026264,0.0007574595,0.036367778,0.0013858717,0.00005384627,0.00005486197,0.0000800337,0.19709471],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995461,0.00013131656,0.000017545413,0.00004242495,0.00006143377,0.00020114274],"domain_scores_gemma":[0.99968755,0.00008205938,0.00005866533,0.000013590023,0.00005189961,0.00010619293],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00090780744,0.000342917,0.00016213483,0.0005620008,0.008790972,0.0055633653,0.00033497534,0.0019805206,0.022012921],"category_scores_gemma":[0.0016320973,0.0001655806,0.00014262213,0.00099043,0.004363047,0.00357603,0.0032516227,0.00300375,0.003046476],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001423118,0.000065567416,0.006476282,0.0010469967,0.000015390457,0.006303712,0.27383122,0.000086412576,0.0077914065,0.34470874,0.21406253,0.14546943],"study_design_scores_gemma":[0.0000064131186,0.000014669349,0.004351648,0.0004801063,0.000002769944,0.00067892345,0.120923154,0.000025566067,0.00027613697,0.0052763117,0.86795455,0.000009696883],"about_ca_topic_score_codex":0.015859995,"about_ca_topic_score_gemma":0.029033793,"teacher_disagreement_score":0.022012921,"about_ca_system_score_codex":0.0028908963,"about_ca_system_score_gemma":0.002373078,"threshold_uncertainty_score":0.073640525},"labels":[],"label_agreement":null},{"id":"W2927170199","doi":"10.1080/02690403.2019.1575593","title":"Remediating Modernism: On the Digital Ends of Montreal's Electroacoustic Tradition","year":2019,"lang":"en","type":"article","venue":"Journal of the Royal Musical Association","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"Social Sciences and Humanities Research Council of Canada; European Commission; University of Oxford; FP7 Ideas: European Research Council; Australian Government","keywords":"Mediation; Electroacoustic music; Agency (philosophy); Sociology; Modernism (music); Ideology; Musical; Power (physics); Media studies; Aesthetics; Ethnography; Visual arts; Art; Political science; Social science; Law; Anthropology; Politics","score_opus":0.011878531029454416,"score_gpt":0.1699384179976329,"score_spread":0.1580598869681785,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2927170199","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3355251,0.008275023,0.00539947,0.055045214,0.00039651603,0.000053740972,0.00017378878,0.00019212757,0.594939],"genre_scores_gemma":[0.9787498,0.0006877028,0.00046056326,0.0008115091,0.00006466709,0.000010183808,0.000014568278,0.000023771689,0.019177377],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99778783,0.0007459901,0.000035138255,0.00026175377,0.00061241986,0.0005568727],"domain_scores_gemma":[0.9980362,0.00066258735,0.00023312143,0.00027559444,0.0004628279,0.00032973263],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023369596,0.00030636808,0.00020351952,0.001775771,0.0121467635,0.008786852,0.0014369341,0.0010942406,0.0101983445],"category_scores_gemma":[0.0044989497,0.0001859488,0.00017222406,0.0022634808,0.034029525,0.0035772128,0.0052758157,0.0019291322,0.0002856233],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000512633,0.00001935464,0.0031721378,0.00006354439,0.000009016129,0.00050232647,0.1358751,0.00032082506,0.00073950493,0.8113962,0.010071394,0.037779428],"study_design_scores_gemma":[0.000025189258,0.0000512297,0.0161479,0.00021781583,0.00001615634,0.00020870991,0.08203842,0.0005734093,0.0005924449,0.05039264,0.8496668,0.00006932879],"about_ca_topic_score_codex":0.81155396,"about_ca_topic_score_gemma":0.87541515,"teacher_disagreement_score":0.18844604,"about_ca_system_score_codex":0.04822541,"about_ca_system_score_gemma":0.02553492,"threshold_uncertainty_score":0.37911165},"labels":[],"label_agreement":null},{"id":"W2929218660","doi":"10.1093/oxfordhb/9780199314201.013.8","title":"A Proposition for Reenactment","year":2017,"lang":"en","type":"book","venue":"Oxford University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Dance; Art; Proposition; MAGIC (telescope); Visual arts; Aesthetics; Literature; Philosophy; Linguistics","score_opus":0.04529688702422788,"score_gpt":0.20078981960300799,"score_spread":0.1554929325787801,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2929218660","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005399063,0.0045489348,0.018212315,0.059595015,0.015432762,0.00017827046,0.000053354597,0.00034401062,0.8962363],"genre_scores_gemma":[0.1931541,0.003022663,0.018481392,0.0310606,0.0045047593,0.0004165322,0.00018618764,0.0005889667,0.74858487],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99528044,0.0022177515,0.00018277483,0.0007680957,0.0011118406,0.00043915625],"domain_scores_gemma":[0.9980818,0.00047392145,0.00012255546,0.0003822721,0.00066397036,0.0002755915],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004966468,0.00074226735,0.00037290706,0.00113211,0.007550131,0.012164376,0.0022179498,0.0050797546,0.021821862],"category_scores_gemma":[0.00859991,0.00046349474,0.00035587142,0.0007249895,0.021710388,0.018424688,0.0067565,0.011085064,0.009524325],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009978051,0.000011512025,0.00004323637,0.000043347758,0.0000014198537,0.000098555836,0.01647383,0.000020661164,0.00016539078,0.9402786,0.02576319,0.017090274],"study_design_scores_gemma":[0.000005886553,0.000015344214,0.000047196256,0.0001798339,0.0000025362867,0.00012347125,0.0057916665,0.000051959825,0.00013302031,0.068315774,0.92532533,0.000007960595],"about_ca_topic_score_codex":0.0025944964,"about_ca_topic_score_gemma":0.0030424686,"teacher_disagreement_score":0.021821862,"about_ca_system_score_codex":0.004277794,"about_ca_system_score_gemma":0.004158001,"threshold_uncertainty_score":0.073001385},"labels":[],"label_agreement":null},{"id":"W2936278488","doi":"","title":"\"Memories of the Rockin' Fifties #5\"","year":2013,"lang":"en","type":"article","venue":"Dalhousie review","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"History","score_opus":0.02006457025824719,"score_gpt":0.19521226854521462,"score_spread":0.1751476982869674,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2936278488","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008139785,0.5523817,0.0002289761,0.25835207,0.031159123,0.000016466198,0.00054581265,0.000092953895,0.14908312],"genre_scores_gemma":[0.1367081,0.4803431,0.00044595829,0.121463954,0.0099388305,0.000044664823,0.0005037186,0.00008614117,0.25046554],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99935085,0.00013232011,0.000034120145,0.0000716932,0.00018372248,0.00022738207],"domain_scores_gemma":[0.99916697,0.00018222965,0.00011091127,0.00005065308,0.00026965077,0.00021960978],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016317788,0.00057597813,0.0005042146,0.0015941724,0.005547028,0.0072509497,0.0013776945,0.0033507834,0.023491058],"category_scores_gemma":[0.0033025602,0.00025538378,0.00029717517,0.0016302841,0.0054185363,0.0034625104,0.0047773463,0.005614371,0.0025554467],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000142818,0.000019758763,0.00062887406,0.001151095,0.000031829706,0.0005636282,0.0065535023,0.000072973795,0.00020030614,0.04836114,0.81532174,0.12695237],"study_design_scores_gemma":[0.0000042669008,0.0000071872746,0.0013534972,0.00075751374,0.0000069581843,0.00011656296,0.0036551007,0.000005267623,0.0000796275,0.00066620787,0.99333644,0.000011453698],"about_ca_topic_score_codex":0.21093129,"about_ca_topic_score_gemma":0.39458087,"teacher_disagreement_score":0.21093129,"about_ca_system_score_codex":0.0088443905,"about_ca_system_score_gemma":0.013064488,"threshold_uncertainty_score":0.41940707},"labels":[],"label_agreement":null},{"id":"W2937130630","doi":"10.1080/00083968.2019.1586352","title":"Tuning the Kingdom: Kawuugulu Musical Performance, Politics, and Storytelling in Buganda","year":2019,"lang":"en","type":"article","venue":"Canadian Journal of African Studies / Revue canadienne des études africaines","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":24,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Kingdom; Musical; Storytelling; Politics; Sociology; Gender studies; History; Visual arts; Political science; Media studies; Art; Narrative; Literature; Law; Geology","score_opus":0.043891743479593,"score_gpt":0.21267009510207224,"score_spread":0.16877835162247923,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2937130630","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9599358,0.0007925748,0.000193887,0.0017968292,0.00005687094,0.000014967464,0.00002398217,0.0000074523564,0.037177693],"genre_scores_gemma":[0.996992,0.0001306073,0.000048818903,0.000057423134,0.0000061268806,0.000007240929,0.000006171114,0.000004454604,0.0027471613],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9994374,0.0002717353,0.000011622273,0.000038398535,0.000029980542,0.00021072461],"domain_scores_gemma":[0.9991955,0.00045592076,0.000088246234,0.000025924583,0.000041283056,0.0001930501],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000900771,0.00027669157,0.00023862427,0.000845386,0.0102512,0.004124115,0.000507334,0.0009860576,0.0068751182],"category_scores_gemma":[0.0025863403,0.00022018922,0.00011462035,0.00089915167,0.004879021,0.0021706366,0.002579288,0.001789614,0.0003276327],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009720799,0.000059090333,0.012720054,0.00007102616,0.00000527612,0.00088573695,0.9584196,0.000026124904,0.001241076,0.012593069,0.0015026476,0.012378952],"study_design_scores_gemma":[0.000006345864,0.000041373685,0.03301754,0.00008963765,0.000008828174,0.00019079616,0.94363815,0.000053319614,0.0001846662,0.0010553972,0.021702673,0.000011222206],"about_ca_topic_score_codex":0.019838162,"about_ca_topic_score_gemma":0.07032108,"teacher_disagreement_score":0.019838162,"about_ca_system_score_codex":0.0023974013,"about_ca_system_score_gemma":0.001431719,"threshold_uncertainty_score":0.03944534},"labels":[],"label_agreement":null},{"id":"W2938109190","doi":"10.33137/incite.1.28876","title":"reflections on the negation of Blackness//affirmations of our clairvoyance through creative healing praxes","year":2018,"lang":"en","type":"article","venue":"in cite journal","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Negation; Aesthetics; Conversation; Politics; Creativity; Spirituality; Space (punctuation); Sociology; Psychology; Visual arts; Epistemology; Art; Social psychology; Linguistics; Communication; Philosophy","score_opus":0.13992014931728594,"score_gpt":0.3582757884747362,"score_spread":0.21835563915745024,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2938109190","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.76921546,0.0030388362,0.0054945927,0.036445305,0.0016944774,0.000095589174,0.000045749817,0.00014649774,0.18382338],"genre_scores_gemma":[0.9754667,0.00062639813,0.0010386669,0.0016412421,0.00017342783,0.00003754326,0.0000096913745,0.00011257443,0.020893821],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99495655,0.003445699,0.000058379344,0.00026252234,0.0006399044,0.00063704175],"domain_scores_gemma":[0.9970913,0.0018005732,0.00021774898,0.0001934527,0.00024991296,0.00044687823],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0069753528,0.00083050743,0.00061266497,0.0012236311,0.020204812,0.009195527,0.0013475734,0.002460974,0.004588686],"category_scores_gemma":[0.0074665705,0.0003504775,0.00040456458,0.00063881016,0.042650852,0.0059661795,0.009919991,0.0081395395,0.0005687152],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003098813,0.000027767941,0.00023042515,0.000040983407,0.000004647211,0.00035666456,0.9301403,0.000029869165,0.00083883555,0.060743652,0.0030244743,0.0045312783],"study_design_scores_gemma":[0.000012502066,0.00003953034,0.00048763806,0.00022877063,0.000009105114,0.00039770018,0.8672265,0.00015853824,0.0011002059,0.013755932,0.11656437,0.00001923511],"about_ca_topic_score_codex":0.0045378245,"about_ca_topic_score_gemma":0.0076971296,"teacher_disagreement_score":0.020204812,"about_ca_system_score_codex":0.004104168,"about_ca_system_score_gemma":0.0020999198,"threshold_uncertainty_score":0.036889613},"labels":[],"label_agreement":null},{"id":"W2938924590","doi":"10.22215/etd/2016-11684","title":"Riot Dyke: Music, Identity, and Community in Lesbian Film","year":2016,"lang":"en","type":"dissertation","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Lesbian; Queer; Narrative; Adventure; Identity (music); Art; Visual arts; Gender studies; Aesthetics; Popular music; History; Literature; Art history; Sociology","score_opus":0.056849573448077236,"score_gpt":0.26010246159984524,"score_spread":0.203252888151768,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2938924590","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9013154,0.0036765381,0.0010179405,0.0035528513,0.00018616382,0.000040280374,0.000047072277,0.000026895743,0.09013688],"genre_scores_gemma":[0.9871831,0.001906116,0.00043168923,0.0004544533,0.000089702655,0.00003806056,0.000033956167,0.000024809055,0.0098381685],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99901557,0.00063659326,0.000019129742,0.00007507382,0.00013556644,0.00011809395],"domain_scores_gemma":[0.9993968,0.00021247164,0.00012613415,0.000026450378,0.000056333647,0.00018178308],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010714777,0.0004062163,0.00030255486,0.0013106277,0.00996689,0.007009987,0.00051016913,0.0009064763,0.0036539705],"category_scores_gemma":[0.0016840661,0.000198984,0.0001828578,0.0009225876,0.0053820144,0.0024054903,0.004302028,0.001904361,0.00027691326],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006519455,0.000059072252,0.004650948,0.000118693875,0.000010645318,0.0008541583,0.96798575,0.000025443296,0.0019407728,0.01141733,0.0019202587,0.010951771],"study_design_scores_gemma":[0.000009419543,0.000077102806,0.015021664,0.00023085678,0.000011985243,0.0006962169,0.9236232,0.000061287035,0.000514745,0.0009472699,0.058789715,0.000016607426],"about_ca_topic_score_codex":0.009291958,"about_ca_topic_score_gemma":0.030040389,"teacher_disagreement_score":0.00996689,"about_ca_system_score_codex":0.001954236,"about_ca_system_score_gemma":0.00092090387,"threshold_uncertainty_score":0.018475711},"labels":[],"label_agreement":null},{"id":"W2942329089","doi":"10.1386/jpme.3.1.29_1","title":"Bubble Tea pop: Christine makes Mandopop","year":2019,"lang":"en","type":"article","venue":"Journal of Popular Music Education","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Calgary","funders":"","keywords":"Portrait; Visual arts; Style (visual arts); Context (archaeology); Musical; Art; History; Archaeology","score_opus":0.01743747046052188,"score_gpt":0.21710943015386547,"score_spread":0.1996719596933436,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2942329089","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8464617,0.0013114512,0.0049177026,0.016026057,0.0005686601,0.00026053784,0.0000979055,0.00019197763,0.13016397],"genre_scores_gemma":[0.9056712,0.00090158574,0.0058055995,0.0017337584,0.00006260764,0.00011471848,0.000039299135,0.000121149176,0.08555018],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987184,0.0004775071,0.000030251185,0.00022310624,0.00028345102,0.00026729735],"domain_scores_gemma":[0.9986903,0.00047043167,0.00010704167,0.00007451805,0.000100608435,0.00055708573],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001001532,0.0006095254,0.00041681583,0.0009117133,0.018269045,0.004074551,0.0014584812,0.0023153971,0.011009593],"category_scores_gemma":[0.0043083075,0.00042528252,0.00026968992,0.0006309162,0.010134932,0.0039150654,0.006017199,0.0043706307,0.0012043696],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006941846,0.00012461464,0.0051408825,0.00026178444,0.000010032267,0.022961358,0.88458043,0.00023813367,0.0035658106,0.033317477,0.016066981,0.033663034],"study_design_scores_gemma":[0.0000057382153,0.0000712598,0.002009173,0.00030160308,0.000010160346,0.0070217066,0.740407,0.00030086952,0.0021896176,0.0015911086,0.24604386,0.000047915255],"about_ca_topic_score_codex":0.013836659,"about_ca_topic_score_gemma":0.062945336,"teacher_disagreement_score":0.018269045,"about_ca_system_score_codex":0.0036319776,"about_ca_system_score_gemma":0.003625301,"threshold_uncertainty_score":0.036830783},"labels":[],"label_agreement":null},{"id":"W2942831845","doi":"10.14321/jwestafrihist.5.1.0001","title":"Performing Trauma: The Ghosts of Slavery in Yoruba Music and Ritual Dance","year":2019,"lang":"en","type":"article","venue":"Journal of West African History","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Brock University","funders":"","keywords":"Dance; Yoruba; Art; Visual arts; Communication; History; Linguistics; Sociology; Philosophy","score_opus":0.02184770802818184,"score_gpt":0.17189612515983785,"score_spread":0.150048417131656,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2942831845","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9587563,0.0026276521,0.0012780392,0.0043817493,0.00044233399,0.00004055481,0.000034080425,0.000044765882,0.032394566],"genre_scores_gemma":[0.99078804,0.0009040846,0.00046204423,0.00035987748,0.00010370393,0.00002298337,0.0000137429615,0.00002530402,0.0073203207],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9994356,0.00035002458,0.00001275856,0.000039894367,0.00005093267,0.00011081748],"domain_scores_gemma":[0.99950755,0.0002347256,0.00008755434,0.000052750467,0.000031555777,0.00008578641],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007938902,0.00042894037,0.00048362682,0.0008214583,0.008906054,0.003193448,0.0004437907,0.0012467935,0.00486705],"category_scores_gemma":[0.0023533672,0.00031690003,0.00019696685,0.0005904326,0.011353437,0.0017550505,0.0047243047,0.0022112632,0.00037422776],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011061835,0.00005189841,0.004204738,0.00018719268,0.000016331822,0.0028168445,0.9625633,0.00006802226,0.0038565532,0.012197821,0.0030244894,0.010902184],"study_design_scores_gemma":[0.000020099815,0.00015322276,0.015671723,0.00045875364,0.000019751562,0.0034176512,0.9209431,0.00018659422,0.00061984657,0.001843086,0.05663823,0.000027951639],"about_ca_topic_score_codex":0.0045721363,"about_ca_topic_score_gemma":0.013911521,"teacher_disagreement_score":0.008906054,"about_ca_system_score_codex":0.0009526073,"about_ca_system_score_gemma":0.00082224025,"threshold_uncertainty_score":0.016281903},"labels":[],"label_agreement":null},{"id":"W2944166395","doi":"","title":"DIY Lessons (2006)","year":2006,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Ballroom; Exhibition; Chorus; Visual arts; Pavilion; Art history; The arts; Art; Media studies; History; Performance art; Sociology; Archaeology; Literature","score_opus":0.025997298944444185,"score_gpt":0.19681987191259914,"score_spread":0.17082257296815495,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2944166395","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00893122,0.0016374628,0.0005988008,0.0039659874,0.002030318,0.00019642264,0.0018439095,0.00039176497,0.9804042],"genre_scores_gemma":[0.021918429,0.0006323018,0.00064108905,0.0009518779,0.00016654763,0.000053257212,0.00075466855,0.00016530577,0.9747166],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993861,0.000060075425,0.00002448624,0.00011389641,0.00020976664,0.0002055817],"domain_scores_gemma":[0.99925226,0.0000427034,0.000033694585,0.000040592415,0.00015616918,0.00047457067],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006694726,0.0005929603,0.00022581819,0.0010906169,0.004005531,0.0032696258,0.0007095808,0.0011264832,0.23580508],"category_scores_gemma":[0.0015442931,0.00025631418,0.00025584368,0.00081830035,0.0009968679,0.0014115236,0.0031285137,0.0020502168,0.052662008],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015847816,0.00009960608,0.0013336871,0.0002583267,0.0000047369904,0.0003443709,0.007457672,0.000054273587,0.0012140992,0.022583531,0.82639694,0.14009428],"study_design_scores_gemma":[0.0000032440275,0.000012128608,0.0010140919,0.000034092653,4.0554735e-7,0.00004292508,0.0005756456,0.0000034201503,0.00010897327,0.0001911328,0.9980116,0.0000022540282],"about_ca_topic_score_codex":0.015914882,"about_ca_topic_score_gemma":0.09267821,"teacher_disagreement_score":0.23580508,"about_ca_system_score_codex":0.0037800362,"about_ca_system_score_gemma":0.0029965164,"threshold_uncertainty_score":0.7888466},"labels":[],"label_agreement":null},{"id":"W2946283228","doi":"","title":"Global Metal Music and Culture: Current Directions in Metal Studies. Andy R. Brown, Karl Spracklen, Keith Kahn-Harris, Niall Scott, dir. 2016. New York, Londres : Routledge. 370 pp., illustrations.","year":2018,"lang":"en","type":"article","venue":"MUSICultures","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université Laval","funders":"","keywords":"Art history; Art","score_opus":0.06766349051737351,"score_gpt":0.2757931113069543,"score_spread":0.20812962078958075,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2946283228","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006515971,0.953682,0.00014133618,0.033701036,0.0015876071,0.0000037655013,0.000040245868,0.000022927357,0.010169415],"genre_scores_gemma":[0.019871982,0.94824505,0.00048569398,0.004570538,0.0026127854,0.000023330535,0.000077942044,0.000037394042,0.024075307],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994604,0.0001855656,0.00003715218,0.00007971865,0.00015444818,0.00008270445],"domain_scores_gemma":[0.99813735,0.0010210227,0.00016037401,0.00007289029,0.00035475648,0.00025356965],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019441341,0.0014247986,0.001156344,0.0026534167,0.0017847652,0.0069722026,0.0015038685,0.002569285,0.029054128],"category_scores_gemma":[0.0034102062,0.0007344794,0.0004081429,0.0077399574,0.00729024,0.010680454,0.0041692266,0.002171217,0.0053230072],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008253518,0.00004345003,0.0014231082,0.004165608,0.000024777632,0.00014516326,0.0063635376,0.00009714537,0.00021288407,0.032523315,0.5928855,0.36203307],"study_design_scores_gemma":[0.000020924315,0.000049395236,0.0059690746,0.004938019,0.000033127242,0.00036326802,0.022867126,0.00008245987,0.00015524108,0.03641323,0.92908376,0.000024433602],"about_ca_topic_score_codex":0.016605943,"about_ca_topic_score_gemma":0.042225853,"teacher_disagreement_score":0.029054128,"about_ca_system_score_codex":0.0024508317,"about_ca_system_score_gemma":0.0036830588,"threshold_uncertainty_score":0.097195745},"labels":[],"label_agreement":null},{"id":"W2947395163","doi":"10.22215/etd/2018-12921","title":"Free Improvised Music as a Deleuzian \"Body Without Organs\": An Interview-Based Engagement with Free Improvised Musical Practices","year":2018,"lang":"en","type":"dissertation","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Musical; Improvisation; Subjectivity; Active listening; Identity (music); Scholarship; Visual arts; TRACE (psycholinguistics); Aesthetics; Set (abstract data type); Psychology; Art; Communication; Epistemology; Computer science; Linguistics; Philosophy; Political science","score_opus":0.05005909621583353,"score_gpt":0.27530100476653196,"score_spread":0.22524190855069842,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2947395163","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.973809,0.00030333,0.0036488033,0.002621917,0.000055038356,0.000129536,0.000052005955,0.00003538059,0.019344987],"genre_scores_gemma":[0.9920439,0.00017416787,0.00079903495,0.000295025,0.000016240634,0.00008945264,0.000023051973,0.000029716302,0.006529583],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.98862296,0.007983155,0.00013880419,0.00075705047,0.0010548458,0.0014430867],"domain_scores_gemma":[0.99091035,0.0069040745,0.00054465665,0.0003795067,0.00043615288,0.0008252613],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0077603194,0.0010639674,0.0009509121,0.002626404,0.020021575,0.010668086,0.0030353304,0.0027842026,0.0045858924],"category_scores_gemma":[0.014458802,0.0005698188,0.00042081726,0.0019286658,0.049138207,0.005390324,0.014454474,0.0051616137,0.00040891912],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013434642,0.000008974229,0.00033837574,0.000012971278,0.0000013554009,0.0001992603,0.99454886,0.000027548936,0.00039880385,0.0032526553,0.00012932686,0.0010684332],"study_design_scores_gemma":[0.0000039662705,0.000016528365,0.00059380464,0.00003304685,0.0000027941112,0.000087009495,0.98871243,0.000083583145,0.00029310028,0.00094077457,0.00922056,0.000012405386],"about_ca_topic_score_codex":0.08961465,"about_ca_topic_score_gemma":0.12790664,"teacher_disagreement_score":0.08961465,"about_ca_system_score_codex":0.014747793,"about_ca_system_score_gemma":0.008629729,"threshold_uncertainty_score":0.17818606},"labels":[],"label_agreement":null},{"id":"W2947658822","doi":"10.1177/1354856519846790","title":"‘An Extremely Useful Invention’: Edison’s electric pen and the unravelling of old and new media","year":2019,"lang":"en","type":"article","venue":"Convergence The International Journal of Research into New Media Technologies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"Social Sciences and Humanities Research Council of Canada; York University","keywords":"Obsolescence; Narrative; Agency (philosophy); Electric light; Sociology; Aesthetics; Business; Marketing; Engineering; Social science; Literature; Art","score_opus":0.10779366845797482,"score_gpt":0.3165537558376847,"score_spread":0.20876008737970986,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2947658822","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.25813144,0.011712751,0.011413733,0.05087594,0.0016815489,0.000056417215,0.000057559308,0.00014199609,0.6659287],"genre_scores_gemma":[0.91237026,0.003020237,0.0032639063,0.002844203,0.0002817723,0.00004188336,0.000016969725,0.00009673859,0.07806394],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9970872,0.0020990027,0.00003975044,0.00015103813,0.0003499789,0.00027321212],"domain_scores_gemma":[0.9969472,0.002251847,0.00019318971,0.00019337772,0.0001786561,0.00023563384],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0032210432,0.00060729,0.00024808175,0.0017424711,0.009050225,0.012874172,0.000992295,0.0028805782,0.0063039195],"category_scores_gemma":[0.0049605174,0.00028350012,0.00021134621,0.0014274373,0.017820515,0.013506991,0.004742523,0.0035204198,0.0006943412],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006653362,0.000031471085,0.0005955302,0.00011621665,0.0000055527094,0.0025883769,0.32695508,0.00011740806,0.00052239397,0.6212579,0.0163575,0.03138609],"study_design_scores_gemma":[0.000009520152,0.00007730552,0.0005466468,0.00029142515,0.000010404525,0.0025047064,0.29695004,0.00023690936,0.0021807875,0.03187914,0.6652762,0.000036852292],"about_ca_topic_score_codex":0.002577516,"about_ca_topic_score_gemma":0.0059651984,"teacher_disagreement_score":0.99094975,"about_ca_system_score_codex":0.0033280095,"about_ca_system_score_gemma":0.0014136416,"threshold_uncertainty_score":0.024146497},"labels":[],"label_agreement":null},{"id":"W2948180711","doi":"10.7202/1059889ar","title":"Commissioning Brian Cherney’s String Trio","year":2019,"lang":"en","type":"article","venue":"Intersections Canadian Journal of Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Cello; Violin; German; String (physics); Reputation; Performance art; Art history; Art; Viola; Commission; Visual arts; History; Law; Political science; Mathematics; Piano","score_opus":0.030562487967958192,"score_gpt":0.19146703331421955,"score_spread":0.16090454534626136,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2948180711","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.02239969,0.0074513806,0.0070621627,0.085293576,0.046046752,0.00041518232,0.0005173379,0.0010064417,0.8298075],"genre_scores_gemma":[0.07958904,0.0036047443,0.0049083396,0.009963897,0.0048983814,0.00013863984,0.00038161734,0.00094249327,0.8955728],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9958306,0.00037131013,0.00010722079,0.0004682935,0.0024941387,0.00072840985],"domain_scores_gemma":[0.996256,0.0003513234,0.00013663615,0.00018889987,0.0015259964,0.0015412319],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023439897,0.0005619681,0.00032946662,0.0017202637,0.012101867,0.0062588183,0.0008431262,0.0025569045,0.06316142],"category_scores_gemma":[0.0055160914,0.0005363996,0.0002861357,0.0011997375,0.0024023114,0.0021573717,0.0038459895,0.0052704355,0.017893497],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007846703,0.000030337016,0.00053685444,0.00008023433,0.0000043952023,0.00066540774,0.002356312,0.00006391534,0.0024044835,0.021588454,0.93422073,0.037970267],"study_design_scores_gemma":[0.0000032263833,0.00001649601,0.00047795652,0.000034655277,0.000001152169,0.00014382048,0.00085461105,0.000020262458,0.00040856024,0.00032242027,0.9977054,0.000011456645],"about_ca_topic_score_codex":0.053920228,"about_ca_topic_score_gemma":0.16237469,"teacher_disagreement_score":0.06316142,"about_ca_system_score_codex":0.0050253873,"about_ca_system_score_gemma":0.006894622,"threshold_uncertainty_score":0.21129602},"labels":[],"label_agreement":null},{"id":"W2948346889","doi":"10.22215/etd/2014-10370","title":"Facing the Future with a Foot in the Past Americana, Nostalgia, and the Humanization of Musical Experience","year":2014,"lang":"en","type":"dissertation","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Musical; Aesthetics; Popularity; Psychic; Mainstream; Pace; Value (mathematics); Sociology; Art; Visual arts; Psychology; Social psychology; Political science; Law; Geography","score_opus":0.008238013741216868,"score_gpt":0.19718604194395684,"score_spread":0.18894802820273998,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2948346889","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.31087095,0.0278402,0.0028723178,0.08950112,0.0037526628,0.00003440016,0.000049095972,0.000117257565,0.56496197],"genre_scores_gemma":[0.958187,0.0047729295,0.0005106259,0.0030779915,0.00064794323,0.000018035571,0.000015028051,0.000037084916,0.032733303],"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9984623,0.0008853886,0.000017467617,0.0001276664,0.00025832668,0.0002488375],"domain_scores_gemma":[0.99898094,0.00037648322,0.00012314842,0.000079504985,0.0001170622,0.0003228383],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015623003,0.00025701354,0.00023938129,0.0006797127,0.013712612,0.011629377,0.0005657673,0.0013235757,0.0057558655],"category_scores_gemma":[0.0022738404,0.00015489594,0.00020115869,0.0006283092,0.022357017,0.005317012,0.0048634117,0.004359949,0.00048462127],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007040236,0.00008726233,0.0034408693,0.00017192356,0.000021410204,0.0008522575,0.6448359,0.00016512958,0.0015899339,0.21384853,0.06533507,0.06958126],"study_design_scores_gemma":[0.0000097123675,0.00004759138,0.008097427,0.00029385227,0.000013043857,0.0006071745,0.44288653,0.00012567054,0.00020839063,0.032029208,0.51563394,0.000047503498],"about_ca_topic_score_codex":0.019736169,"about_ca_topic_score_gemma":0.044724397,"teacher_disagreement_score":0.019736169,"about_ca_system_score_codex":0.003341765,"about_ca_system_score_gemma":0.0029266067,"threshold_uncertainty_score":0.039242566},"labels":[],"label_agreement":null},{"id":"W2948375483","doi":"10.4324/9780203892787-6","title":"Track 1 Hip Hop as Dusty Foot Philosophy","year":2008,"lang":"en","type":"book-chapter","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Foot (prosody); Track (disk drive); Physical medicine and rehabilitation; Hop (telecommunications); Computer science; Medicine; Art; Computer network; Literature","score_opus":0.0698920187585778,"score_gpt":0.20329078440917145,"score_spread":0.13339876565059366,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2948375483","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0062947064,0.0022320515,0.001120423,0.07418788,0.007252892,0.00007547091,0.0002424371,0.00007355766,0.9085205],"genre_scores_gemma":[0.0888649,0.0015740424,0.0007384047,0.034806274,0.0018505673,0.00010884751,0.00019626963,0.00012318215,0.8717374],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99778384,0.00059358944,0.00003610223,0.0004240993,0.00061903865,0.00054339244],"domain_scores_gemma":[0.9992995,0.00010914866,0.00004623272,0.00005458055,0.00017341925,0.00031708763],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014787349,0.00047157766,0.00024874063,0.0005871713,0.017554797,0.0115722455,0.0008794328,0.005879661,0.07236809],"category_scores_gemma":[0.0024061003,0.00025704099,0.0002873668,0.0009777881,0.006683082,0.006143892,0.0064872424,0.007503937,0.014294035],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024927163,0.00004034557,0.00053388445,0.00006136232,0.0000022031095,0.00013425917,0.025710654,0.000016600638,0.00010825419,0.41675776,0.5373706,0.01923928],"study_design_scores_gemma":[0.0000037030152,0.000011353336,0.00039845466,0.000086798165,8.6545396e-7,0.000058374648,0.010722192,0.000017032975,0.000042628828,0.010871243,0.9777828,0.000004563635],"about_ca_topic_score_codex":0.038126655,"about_ca_topic_score_gemma":0.08230779,"teacher_disagreement_score":0.07236809,"about_ca_system_score_codex":0.00683953,"about_ca_system_score_gemma":0.007662031,"threshold_uncertainty_score":0.24209535},"labels":[],"label_agreement":null},{"id":"W2948594496","doi":"","title":"\"It’s kind of in the middle\" : The ‘Mid-Fi’ Aesthetic: Toward a New Designation of Black MetalAesthetic of Recording. The Case of the Québec Black Metal Scene of recording","year":2019,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.06985526769816962,"score_gpt":0.23106878619953833,"score_spread":0.16121351850136872,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2948594496","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07393338,0.0031662008,0.018504623,0.028277304,0.000912467,0.00006507721,0.00019592467,0.0003818772,0.87456316],"genre_scores_gemma":[0.8584192,0.0006579599,0.0051401067,0.0024808745,0.00010407941,0.00004382703,0.00006985689,0.00032244466,0.1327617],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9988268,0.0004681792,0.000013637759,0.0001230578,0.00028100333,0.00028731348],"domain_scores_gemma":[0.99929106,0.00012868327,0.000035695637,0.00008003641,0.0002723503,0.00019214189],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013882595,0.0006870981,0.00018477312,0.0009841884,0.0116748,0.0074706143,0.0011181707,0.0016572098,0.013371375],"category_scores_gemma":[0.0019054599,0.0001657664,0.00020796398,0.0007259632,0.022158168,0.0023567374,0.0023539416,0.0027177471,0.0011556923],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001524379,0.000026933587,0.001966367,0.00010899338,0.000009863286,0.00059937243,0.25692433,0.0003544299,0.004148969,0.6000903,0.07894023,0.0566777],"study_design_scores_gemma":[0.000016796517,0.00004027523,0.0068955286,0.0002927816,0.000013305612,0.0006493928,0.11898578,0.0007931745,0.0013245962,0.019982478,0.8509388,0.000067062196],"about_ca_topic_score_codex":0.744711,"about_ca_topic_score_gemma":0.88508874,"teacher_disagreement_score":0.25528902,"about_ca_system_score_codex":0.01922795,"about_ca_system_score_gemma":0.010424333,"threshold_uncertainty_score":0.5135849},"labels":[],"label_agreement":null},{"id":"W2949059414","doi":"10.1093/oxfordhb/9780190695583.013.29","title":"Subcultures and Consumption","year":2019,"lang":"en","type":"reference-entry","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Memorial University of Newfoundland","funders":"","keywords":"Subculture (biology); Consumption (sociology); Ethnography; Sociology; Relevance (law); Construct (python library); Customer base; Marketing; Business; Social science; Political science; Anthropology; Computer science; Law","score_opus":0.05637072797666839,"score_gpt":0.2294761815952385,"score_spread":0.1731054536185701,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2949059414","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.39882538,0.005568922,0.005693218,0.0037702797,0.00017341474,0.00007525867,0.000096336094,0.000054063516,0.58574307],"genre_scores_gemma":[0.9769926,0.0015023428,0.0012886729,0.00032768137,0.000032368203,0.00003560611,0.00004124595,0.000033185286,0.019746182],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99691784,0.001868236,0.00010353163,0.0002712592,0.0004921384,0.00034701233],"domain_scores_gemma":[0.99846894,0.00069314276,0.00017345283,0.00023017348,0.00023618579,0.0001981519],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001618434,0.000393515,0.00036249813,0.0023720756,0.0066406983,0.007275802,0.0006946053,0.0006474359,0.0062121125],"category_scores_gemma":[0.0027669247,0.00015477429,0.0001990489,0.003427056,0.014445498,0.005884563,0.0067996085,0.0011736455,0.00042691498],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000045648958,0.000032592987,0.0062187733,0.00016046167,0.000007597631,0.00047612324,0.44980583,0.00009712001,0.00044968782,0.48642683,0.0034904073,0.05278897],"study_design_scores_gemma":[0.0000065187296,0.00003565773,0.010847762,0.0003840333,0.000008115437,0.00074115203,0.5252061,0.00027315115,0.00044075344,0.12912762,0.33289522,0.00003394091],"about_ca_topic_score_codex":0.008813158,"about_ca_topic_score_gemma":0.013152657,"teacher_disagreement_score":0.008813158,"about_ca_system_score_codex":0.003098318,"about_ca_system_score_gemma":0.0017134553,"threshold_uncertainty_score":0.022480011},"labels":[],"label_agreement":null},{"id":"W2949866511","doi":"","title":"\"Bye-Bye Spaceboy: Recent Books on David Bowie\"","year":2017,"lang":"en","type":"article","venue":"Dalhousie review","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Art history; History","score_opus":0.08994574701411387,"score_gpt":0.2894027363778861,"score_spread":0.19945698936377224,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2949866511","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00024570816,0.8064006,0.00029706495,0.109756306,0.05125752,0.00001671322,0.00016414994,0.000082966806,0.03177899],"genre_scores_gemma":[0.005117496,0.642688,0.0009525979,0.09123714,0.01766561,0.00010332485,0.00023884283,0.00016199383,0.24183509],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989195,0.00018273978,0.00007786397,0.00015456772,0.00044040248,0.0002249788],"domain_scores_gemma":[0.9987,0.0002757467,0.00008421718,0.00006032326,0.00051262014,0.00036701502],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015009986,0.0016149437,0.0016582476,0.0048372126,0.003905304,0.008761032,0.0025470583,0.005206191,0.036824714],"category_scores_gemma":[0.005435041,0.00065569696,0.00057822536,0.007856662,0.0053084097,0.008978188,0.007230617,0.0068385615,0.014396699],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012430776,0.0000042789025,0.000033029857,0.0002848774,0.0000032652476,0.000016259906,0.0001637065,0.000011623745,0.000017811208,0.0044519,0.9630275,0.03197332],"study_design_scores_gemma":[0.0000029194466,0.0000025058616,0.00014987506,0.0003780869,0.0000029182443,0.00002102587,0.00041125616,0.0000035698788,0.0000114451705,0.0006686984,0.99834144,0.0000062126574],"about_ca_topic_score_codex":0.06891546,"about_ca_topic_score_gemma":0.1833022,"teacher_disagreement_score":0.06891546,"about_ca_system_score_codex":0.0069444855,"about_ca_system_score_gemma":0.013846012,"threshold_uncertainty_score":0.13702863},"labels":[],"label_agreement":null},{"id":"W2950328976","doi":"10.18192/jpp.v27i2.4081","title":"Idol Hands (front cover) / A Path Well-Trodden (back cover)","year":2018,"lang":"en","type":"paratext","venue":"Journal of Prisoners on Prisons","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Front cover; Cover (algebra); Front (military); Path (computing); Computer science; Engineering; Mechanical engineering; Operating system","score_opus":0.024709130461650835,"score_gpt":0.2422591951732287,"score_spread":0.21755006471157787,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2950328976","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0004900583,0.0008463145,0.0001772523,0.002846906,0.005395293,0.00009020603,0.0017097563,0.0006794834,0.9877648],"genre_scores_gemma":[0.0011139575,0.00021363582,0.000045909375,0.00038977986,0.00054055866,0.000033249682,0.00026516305,0.00022807637,0.9971697],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995956,0.000048237023,0.000016683087,0.000047843336,0.00018331622,0.000108353044],"domain_scores_gemma":[0.9989737,0.00027244692,0.000045699715,0.00007985732,0.00031772605,0.0003105498],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0004017523,0.0008400172,0.00061865826,0.001697282,0.0033960347,0.0049103634,0.00083724235,0.0028386535,0.8328474],"category_scores_gemma":[0.0021367802,0.00038211117,0.00036563934,0.0009435729,0.0007744557,0.0029509512,0.002959702,0.0023535038,0.69741976],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021647551,0.000016630187,0.00004452804,0.000064498534,5.391475e-7,0.00003948771,0.000044911438,0.000015971787,0.00013357347,0.0013706193,0.9816226,0.016624916],"study_design_scores_gemma":[0.000010385102,0.000015787151,0.0005400302,0.00012897902,7.3622465e-7,0.000043255288,0.00016435958,0.00003183355,0.00014929987,0.00047707182,0.99843377,0.000004464366],"about_ca_topic_score_codex":0.004062981,"about_ca_topic_score_gemma":0.015234236,"teacher_disagreement_score":0.8328474,"about_ca_system_score_codex":0.001503225,"about_ca_system_score_gemma":0.0010396363,"threshold_uncertainty_score":0.23842287},"labels":[],"label_agreement":null},{"id":"W2951019676","doi":"10.82308/31240","title":"Remediating lost pop: the recirculation of North American B-Music","year":2014,"lang":"en","type":"article","venue":"eScholarship@McGill (McGill)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Scholarship; Politics; Ethnography; Humanities; Popular culture; Cultural studies; Media studies; Art; Sociology; Political science; History; Anthropology; Law","score_opus":0.0264094419847365,"score_gpt":0.19687522961306056,"score_spread":0.17046578762832407,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2951019676","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.77420586,0.0031332958,0.0023304038,0.013005741,0.00043166635,0.000031624153,0.000058360634,0.00007592022,0.20672707],"genre_scores_gemma":[0.96400994,0.0014482096,0.00093465287,0.0016399242,0.000118090196,0.000019444533,0.000033947756,0.00008563171,0.031710006],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99880624,0.00054228323,0.000023015235,0.00016463209,0.00027002452,0.00019378893],"domain_scores_gemma":[0.9988312,0.0004082329,0.00013708397,0.00025177485,0.00021610683,0.00015562594],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002249011,0.00036057012,0.00026996777,0.0015907488,0.016777141,0.007372673,0.0011640342,0.0011567054,0.0066082487],"category_scores_gemma":[0.0031572327,0.000260083,0.000133361,0.0014435903,0.014989459,0.005393761,0.006229508,0.00253372,0.0006645097],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000117381955,0.00004673114,0.004999585,0.00016110524,0.000012323897,0.0012834799,0.8082462,0.00008013201,0.0022182625,0.075391054,0.013983679,0.09346008],"study_design_scores_gemma":[0.0000066870107,0.000061416526,0.01124312,0.00035122118,0.000015623971,0.0007156921,0.5644699,0.00022452703,0.0015300881,0.0068800314,0.41447031,0.000031476822],"about_ca_topic_score_codex":0.035287373,"about_ca_topic_score_gemma":0.12246452,"teacher_disagreement_score":0.9647126,"about_ca_system_score_codex":0.003621589,"about_ca_system_score_gemma":0.0025860735,"threshold_uncertainty_score":0.070163965},"labels":[],"label_agreement":null},{"id":"W2952515858","doi":"","title":"Andy R. Brown, Karl Spraklen, Keith Kahn-Harris & Niall W. R. Scott, Global Metal Music and Culture. Current Directions in Metal Studies","year":2019,"lang":"en","type":"article","venue":"Volume !","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Art history; Humanities","score_opus":0.04190981893238263,"score_gpt":0.25738530030318035,"score_spread":0.21547548137079772,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2952515858","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0023030052,0.5873212,0.0011885249,0.31518516,0.008464945,0.000024829355,0.00032185242,0.000070574984,0.08511992],"genre_scores_gemma":[0.05140713,0.5820313,0.002252527,0.03005739,0.0071322597,0.000114623224,0.00035194829,0.00016882314,0.3264839],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987533,0.00036454215,0.00006164563,0.00016115837,0.00051613786,0.00014316467],"domain_scores_gemma":[0.9969741,0.0014325823,0.00029412107,0.00015857535,0.0007846183,0.00035597206],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018683572,0.0009960035,0.00058600196,0.0026119805,0.0058432864,0.0072121844,0.0017782374,0.0037391414,0.028524742],"category_scores_gemma":[0.0034165028,0.0005354436,0.00040873027,0.0033798618,0.0050118035,0.009765502,0.0028867126,0.004017755,0.008108033],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000054884633,0.000030170386,0.00092643884,0.00050417474,0.000012191578,0.00010392195,0.005880066,0.000044178243,0.0002190034,0.05385727,0.86637163,0.071995996],"study_design_scores_gemma":[0.000010400877,0.00001643632,0.0047335112,0.00074530713,0.00001325867,0.00014321537,0.009714336,0.0000353911,0.00028808773,0.016008629,0.96826595,0.00002533341],"about_ca_topic_score_codex":0.043137815,"about_ca_topic_score_gemma":0.16350836,"teacher_disagreement_score":0.043137815,"about_ca_system_score_codex":0.004495029,"about_ca_system_score_gemma":0.0045130863,"threshold_uncertainty_score":0.09542471},"labels":[],"label_agreement":null},{"id":"W2953262901","doi":"10.22215/etd/2012-09531","title":"Imperfect sound forever : loudness, listening, formations, and the historiography of sound reproduction","year":2012,"lang":"en","type":"dissertation","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Sound (geography); Loudness; Imperfect; Directional sound; Art; Acoustics; Linguistics; Philosophy; Physics","score_opus":0.01688446767050899,"score_gpt":0.2169929107662633,"score_spread":0.20010844309575432,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2953262901","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.25310206,0.04237012,0.008349514,0.01848828,0.0006712849,0.000021501428,0.00009766322,0.00007232688,0.6768272],"genre_scores_gemma":[0.9570563,0.005023296,0.00081179576,0.00045509895,0.00039704377,0.0000075819876,0.00001776749,0.000044096494,0.036187034],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99934906,0.00033337722,0.000029120703,0.00007906163,0.00015575979,0.000053772343],"domain_scores_gemma":[0.99721175,0.0019604862,0.00025930014,0.00022085632,0.00018992543,0.0001576495],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018060498,0.000213335,0.0001277749,0.0013219531,0.0015761445,0.007010753,0.0005266665,0.00095403247,0.008485877],"category_scores_gemma":[0.009309832,0.00015804061,0.00012879386,0.0012601598,0.012049232,0.004747718,0.0016809521,0.0016394093,0.00044077705],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012207468,0.000046611272,0.0059957244,0.00016040844,0.000010899246,0.00023871654,0.18080345,0.00055077893,0.0010030863,0.66832626,0.0058573494,0.13688464],"study_design_scores_gemma":[0.00005012899,0.00024988435,0.05531326,0.0015030813,0.000050190465,0.0008079935,0.1790277,0.0015596354,0.0021911804,0.24549113,0.51367235,0.00008342487],"about_ca_topic_score_codex":0.005764645,"about_ca_topic_score_gemma":0.011728943,"teacher_disagreement_score":0.008485877,"about_ca_system_score_codex":0.0018033723,"about_ca_system_score_gemma":0.0011745833,"threshold_uncertainty_score":0.028388083},"labels":[],"label_agreement":null},{"id":"W2953322779","doi":"10.1177/1474474019856409","title":"<i>Considering Matthew Shepard</i> : normative and anti-normative queer spatial narratives and the politics of performance in choral music","year":2019,"lang":"en","type":"article","venue":"Cultural Geographies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Waterloo","funders":"University of Waterloo","keywords":"Queer; Musical; Choir; Queer theory; Normative; Sociology; Politics; Transgender; Performative utterance; Aesthetics; Narrative; Gender studies; Visual arts; Art; Literature; Epistemology; Philosophy","score_opus":0.014289787242000113,"score_gpt":0.1928322686030947,"score_spread":0.17854248136109457,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2953322779","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.53520983,0.0076416964,0.0038807737,0.103147484,0.0010894282,0.000031946274,0.000092140464,0.0000913827,0.34881544],"genre_scores_gemma":[0.9796862,0.0010886174,0.00033829367,0.0019534808,0.00018916531,0.000015134444,0.000010730699,0.000029065515,0.016689228],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9988555,0.00060166715,0.00002662165,0.00013287603,0.00018281645,0.0002005666],"domain_scores_gemma":[0.999047,0.00044350213,0.00019481787,0.000053921674,0.00008873258,0.00017204836],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010530805,0.00027220885,0.00017365174,0.00067800435,0.014852279,0.00553178,0.00073259237,0.001611734,0.004506189],"category_scores_gemma":[0.0028815686,0.00016218942,0.00015794464,0.00072205876,0.022676723,0.0032513735,0.0035269393,0.0028252488,0.00037486656],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003218491,0.000008041701,0.0015942886,0.000052546013,0.0000052654386,0.001058473,0.75382274,0.00012322297,0.00068885577,0.22026008,0.013306288,0.009048062],"study_design_scores_gemma":[0.000003771195,0.000016790953,0.0025664456,0.00013653898,0.0000056299477,0.00063784386,0.7113784,0.000086943204,0.0004340429,0.008754134,0.27595788,0.000021605167],"about_ca_topic_score_codex":0.057997685,"about_ca_topic_score_gemma":0.09973291,"teacher_disagreement_score":0.057997685,"about_ca_system_score_codex":0.00490765,"about_ca_system_score_gemma":0.0017098752,"threshold_uncertainty_score":0.115320206},"labels":[],"label_agreement":null},{"id":"W2958485846","doi":"10.15760/honors.690","title":"The Life, Composing and Impact of Kenny Wheeler","year":2019,"lang":"en","type":"dissertation","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Jazz; Blues; Funk; Jazz dance; Performance art; Art; Art history; Popularity; Swing; Popular music; Visual arts; History; Dance; Political science; Law","score_opus":0.01784758607306894,"score_gpt":0.2390640233656735,"score_spread":0.22121643729260457,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2958485846","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.038043216,0.11866911,0.009883146,0.47954363,0.027013173,0.000075342046,0.00040502622,0.0008220674,0.32554528],"genre_scores_gemma":[0.1683927,0.037918966,0.007473747,0.0626974,0.005105718,0.000060687464,0.0001602622,0.0012682059,0.71692234],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99651057,0.0006924723,0.000086445325,0.00060859916,0.0018788038,0.00022307079],"domain_scores_gemma":[0.9975165,0.00048489188,0.00019023387,0.00010283058,0.0007448564,0.0009606108],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026179512,0.0004802281,0.00058332685,0.0012990291,0.00610309,0.0053302785,0.00079654885,0.0008547996,0.0100392895],"category_scores_gemma":[0.0059857066,0.00031210957,0.0001825928,0.0005873568,0.0060529704,0.0041532093,0.0031466447,0.0046918034,0.005886996],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000064344065,0.00007384552,0.0013066557,0.0000997459,0.000012532905,0.0006493892,0.020087969,0.000098080425,0.0014361101,0.060486086,0.8435202,0.07216505],"study_design_scores_gemma":[0.000002656758,0.000015123789,0.0008324795,0.00012975385,0.0000023620682,0.0005528519,0.0033877867,0.00006933906,0.00023821226,0.0028632784,0.9918847,0.000021577971],"about_ca_topic_score_codex":0.027899107,"about_ca_topic_score_gemma":0.057481043,"teacher_disagreement_score":0.027899107,"about_ca_system_score_codex":0.0036373343,"about_ca_system_score_gemma":0.0037741296,"threshold_uncertainty_score":0.055473447},"labels":[],"label_agreement":null},{"id":"W2961303047","doi":"10.35937/19170701","title":"Because we play: Riffing on rhizomes, attribution and voice in duoethnographic assemblage","year":2014,"lang":"en","type":"article","venue":"The Journal of Machinic Arts-Based Research","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Assemblage (archaeology); Lyrics; Meaning (existential); Narrative; Attribution; History; Sociology; Linguistics; Literature; Psychology; Art; Epistemology; Philosophy; Archaeology; Social psychology","score_opus":0.23238815096688661,"score_gpt":0.38333390758740554,"score_spread":0.15094575662051893,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2961303047","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5890433,0.00834633,0.016714018,0.02344476,0.00058734743,0.00006655036,0.0001125063,0.00009188128,0.36159334],"genre_scores_gemma":[0.9927061,0.00056337006,0.0008418071,0.00026724575,0.00005352275,0.000017957702,0.000014074811,0.00004871634,0.0054872646],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9947661,0.0037933583,0.00014124162,0.0003860112,0.0004416704,0.00047166826],"domain_scores_gemma":[0.9946174,0.0038016308,0.00045957946,0.00044125665,0.00034527254,0.00033485965],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0047872183,0.00048767694,0.00046400665,0.003492092,0.011934348,0.012618062,0.0010822244,0.002235978,0.0045011695],"category_scores_gemma":[0.014486767,0.00040982052,0.00021457594,0.0027497958,0.053633325,0.012253216,0.009457507,0.0023462777,0.00031953913],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018378234,0.000004125395,0.0017317282,0.000047025667,0.000004066231,0.0002012318,0.82657564,0.000036570855,0.00024119738,0.16305251,0.00084476895,0.0072426535],"study_design_scores_gemma":[0.0000055420655,0.000012717057,0.002828376,0.00039663416,0.000008477626,0.00030653662,0.8622722,0.0001641331,0.00031819215,0.04022141,0.093444474,0.000021260657],"about_ca_topic_score_codex":0.01542532,"about_ca_topic_score_gemma":0.023068747,"teacher_disagreement_score":0.01542532,"about_ca_system_score_codex":0.0043815174,"about_ca_system_score_gemma":0.0021743278,"threshold_uncertainty_score":0.031790316},"labels":[],"label_agreement":null},{"id":"W2964661175","doi":"10.7202/1062064ar","title":"Tracing the Trajectory of Cursing God in Extreme Metal","year":2019,"lang":"en","type":"article","venue":"Théologiques","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Conversation; Sensationalism; Trajectory; Literature; Key (lock); Philosophy; Tracing; Art; Sociology; Media studies; Computer science; Physics; Linguistics; Astronomy","score_opus":0.07960665047274806,"score_gpt":0.21859991206449297,"score_spread":0.1389932615917449,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2964661175","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.46836808,0.0017660527,0.0039725048,0.009574841,0.00038204677,0.000026641128,0.000051020907,0.00008121997,0.5157775],"genre_scores_gemma":[0.9870883,0.00028414247,0.00044492356,0.00022437297,0.000029574712,0.0000041270196,0.000010441544,0.00005006218,0.0118640615],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99840933,0.0007711838,0.000030218414,0.00016233623,0.0003292173,0.0002977574],"domain_scores_gemma":[0.99921846,0.00033831305,0.00010065348,0.00008628747,0.00013876872,0.00011751457],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013301242,0.0003268166,0.0002021944,0.0015638986,0.013204517,0.0070735347,0.00060315494,0.0015316148,0.0066934214],"category_scores_gemma":[0.0033620428,0.00028834736,0.00018403954,0.0012071893,0.021348575,0.006216636,0.0063338447,0.003296716,0.0006551076],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009222907,0.00002063695,0.0017679044,0.000076923265,0.000006477956,0.000608801,0.44270027,0.00013192181,0.0011030646,0.5365933,0.00455661,0.012341938],"study_design_scores_gemma":[0.000013030689,0.000059439884,0.0061295517,0.00024853242,0.000009127684,0.0006195864,0.50434345,0.0003477192,0.0022659702,0.07963859,0.40628195,0.000043069955],"about_ca_topic_score_codex":0.012651034,"about_ca_topic_score_gemma":0.028514978,"teacher_disagreement_score":0.013204517,"about_ca_system_score_codex":0.004865371,"about_ca_system_score_gemma":0.0018874994,"threshold_uncertainty_score":0.03530097},"labels":[],"label_agreement":null},{"id":"W2966082329","doi":"10.7202/1062069ar","title":"Decolonial Reflections in Latin American Metal Music","year":2019,"lang":"en","type":"article","venue":"Théologiques","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Colonialism; Latin Americans; Cognitive reframing; Resistance (ecology); Indigenous; Christianity; Politics; History of religions; The arts; Sociology; History; Political science; Gender studies; Aesthetics; Art; Law; Archaeology; Ecology","score_opus":0.04472033298061801,"score_gpt":0.26147566570067665,"score_spread":0.21675533272005865,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2966082329","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5018352,0.005897272,0.0015604608,0.029165432,0.0008523865,0.000034407927,0.000063345535,0.000055157663,0.46053633],"genre_scores_gemma":[0.95380336,0.0018774022,0.00034040326,0.0023023647,0.00020923153,0.000021558573,0.000019556282,0.00007589442,0.041350204],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99901867,0.0005836275,0.000023594772,0.00008287037,0.000114489536,0.00017677527],"domain_scores_gemma":[0.99911875,0.00055101054,0.000085552594,0.000052645428,0.00009727719,0.000094731324],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018372139,0.00050039,0.0002783986,0.0011438008,0.011921401,0.0057947524,0.00065989,0.001470441,0.005482435],"category_scores_gemma":[0.0028111367,0.00019380951,0.00015811145,0.0013111121,0.018065674,0.0022540768,0.005820001,0.0030026368,0.00035703921],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000053982087,0.000022584929,0.0010573872,0.00009794676,0.000004253489,0.0010616928,0.91068083,0.000048175898,0.0012291657,0.072692156,0.0051243575,0.007927436],"study_design_scores_gemma":[0.000008851705,0.000020187075,0.002387389,0.00021513093,0.000004560176,0.00031444413,0.7159433,0.00006183398,0.00038550163,0.0037672005,0.27687964,0.0000119621],"about_ca_topic_score_codex":0.022833528,"about_ca_topic_score_gemma":0.056572344,"teacher_disagreement_score":0.022833528,"about_ca_system_score_codex":0.006109112,"about_ca_system_score_gemma":0.0015574648,"threshold_uncertainty_score":0.045401216},"labels":[],"label_agreement":null},{"id":"W2967959587","doi":"10.4000/volume.6656","title":"Le heavy metal comme cas limite","year":2019,"lang":"fr","type":"article","venue":"Volume !","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Réseau Technoscience","funders":"","keywords":"Geology","score_opus":0.03459603964576587,"score_gpt":0.20962057520461455,"score_spread":0.17502453555884867,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2967959587","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.022359502,0.04038347,0.008066996,0.3664114,0.0133781545,0.000059279275,0.0007847004,0.0003524527,0.54820406],"genre_scores_gemma":[0.26226723,0.033987846,0.0068969317,0.090546474,0.010410848,0.00017058855,0.0006233378,0.0007866416,0.5943101],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99390197,0.0012886643,0.00032065064,0.0018115813,0.0019489098,0.0007283086],"domain_scores_gemma":[0.9923326,0.0024117865,0.00066004845,0.0015399012,0.0023397824,0.00071588426],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004139081,0.00069290807,0.0009836316,0.0023617607,0.0051168986,0.013649176,0.002545955,0.0065855156,0.060980555],"category_scores_gemma":[0.012467477,0.00042796278,0.00075638853,0.001974055,0.0135166515,0.011869267,0.008549175,0.0052063023,0.016757654],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002076895,0.000048569305,0.002015568,0.0006355551,0.00006164494,0.00042266678,0.004378946,0.0001810571,0.0014514346,0.78160083,0.13282186,0.07617424],"study_design_scores_gemma":[0.000013999155,0.000029624114,0.00052624603,0.00038946982,0.000011543054,0.0003026297,0.002359028,0.000046839563,0.00038047353,0.062852286,0.9330703,0.000017611063],"about_ca_topic_score_codex":0.022547953,"about_ca_topic_score_gemma":0.026833178,"teacher_disagreement_score":0.060980555,"about_ca_system_score_codex":0.006574537,"about_ca_system_score_gemma":0.0050726314,"threshold_uncertainty_score":0.2040003},"labels":[],"label_agreement":null},{"id":"W2970363282","doi":"10.15353/kinema.vi.1102","title":"Jim Jarmusch’s Aesthetics of Sampling","year":2005,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Charisma; Persona; Power (physics); Aesthetics; Art history; Visual arts; Humanities; Philosophy; Theology","score_opus":0.05904679582264905,"score_gpt":0.28530056522701525,"score_spread":0.2262537694043662,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970363282","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.016415952,0.0075075603,0.023627182,0.059889257,0.0027422796,0.000116090225,0.00014066181,0.0002772289,0.8892837],"genre_scores_gemma":[0.6210952,0.002956254,0.014372533,0.023160042,0.0014329619,0.00033307896,0.000076889366,0.00040018104,0.3361729],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9954971,0.0026536966,0.00007488565,0.00037584998,0.0010352107,0.00036328263],"domain_scores_gemma":[0.99851054,0.000733605,0.000096463154,0.00018502293,0.00025398738,0.00022032847],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0032255368,0.00044017722,0.0002501147,0.0013388022,0.011703198,0.008489549,0.0008681944,0.0020030139,0.011512456],"category_scores_gemma":[0.006596918,0.00028366962,0.00023841459,0.0013805255,0.01609369,0.005852429,0.0036851503,0.0036062715,0.0014742989],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000041775947,0.000012623325,0.00032012365,0.00005985789,0.0000036815095,0.0001450529,0.041340627,0.00011320749,0.0002421964,0.84228384,0.09920334,0.01623366],"study_design_scores_gemma":[0.000007554727,0.000015569874,0.0005779382,0.00009817788,0.000004188186,0.000269987,0.014866623,0.00026194428,0.00022998793,0.08597364,0.89767975,0.000014643124],"about_ca_topic_score_codex":0.011728993,"about_ca_topic_score_gemma":0.022777028,"teacher_disagreement_score":0.011728993,"about_ca_system_score_codex":0.0032966624,"about_ca_system_score_gemma":0.0015393726,"threshold_uncertainty_score":0.038513005},"labels":[],"label_agreement":null},{"id":"W2970487696","doi":"","title":"From Kitchen to Carnegie Hall: Ethel Stark and the Montreal Women's Symphony Orchestra","year":2015,"lang":"en","type":"book","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Symphony; Art; Performance art; Art history; Humanities","score_opus":0.026278130796555606,"score_gpt":0.195996442507424,"score_spread":0.1697183117108684,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970487696","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005545592,0.081599236,0.0009368697,0.05066898,0.005003149,0.00007434067,0.00032478463,0.00016888141,0.85567814],"genre_scores_gemma":[0.0340645,0.008199849,0.0002828635,0.0031493097,0.0004732661,0.000033283737,0.000049282025,0.00012093245,0.95362675],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995528,0.00007838772,0.0000062057916,0.00006437761,0.00013460933,0.00016354099],"domain_scores_gemma":[0.99975425,0.000034825345,0.000010351747,0.000010928703,0.00006226142,0.00012746919],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005573255,0.0010868593,0.00032758212,0.0013776106,0.016038567,0.0076250127,0.001511851,0.0023802163,0.05917618],"category_scores_gemma":[0.0010908913,0.00057188503,0.0002448913,0.0018446082,0.0073821847,0.002881381,0.0036550176,0.0034057912,0.00656531],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000033867065,0.00001932774,0.00031501192,0.0000911302,0.0000063227276,0.00021787423,0.015704917,0.00010743344,0.00033392396,0.12531097,0.8005613,0.057297815],"study_design_scores_gemma":[0.000002848127,0.0000045838506,0.0006738887,0.00007702932,0.000002059238,0.000030755844,0.0062641175,0.000012313904,0.000046593337,0.0016842344,0.9911923,0.000009281346],"about_ca_topic_score_codex":0.8785209,"about_ca_topic_score_gemma":0.97759515,"teacher_disagreement_score":0.121479094,"about_ca_system_score_codex":0.034712315,"about_ca_system_score_gemma":0.024069129,"threshold_uncertainty_score":0.25185663},"labels":[],"label_agreement":null},{"id":"W2971217674","doi":"10.7202/1062558ar","title":"LA MUSIQUE, TREMPLIN DU CORPS DANSANT","year":2019,"lang":"fr","type":"article","venue":"Écosystème","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.011208516184310766,"score_gpt":0.1889245213138783,"score_spread":0.17771600512956753,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2971217674","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.13231419,0.021504544,0.006754966,0.03324819,0.003113536,0.00003997051,0.0002753487,0.00020443354,0.8025449],"genre_scores_gemma":[0.6615147,0.00662339,0.0036941827,0.0016188688,0.0014955256,0.00004695894,0.000093850955,0.00015602398,0.32475653],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99844223,0.0006281701,0.00004488201,0.00023780405,0.00043784326,0.00020910377],"domain_scores_gemma":[0.9988673,0.00042558598,0.00015007761,0.000108724314,0.00019764087,0.00025070694],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015751753,0.00075339084,0.00036084952,0.0013498578,0.008151066,0.008761127,0.00052784506,0.0022608032,0.021945434],"category_scores_gemma":[0.0045237504,0.00030776593,0.0003426201,0.0013274938,0.009745694,0.0044961893,0.0023729526,0.005369985,0.001972901],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00021490248,0.00004612867,0.0049491953,0.00020957142,0.000038556685,0.0014962261,0.0377919,0.00031629344,0.0037269187,0.8468712,0.019556247,0.08478281],"study_design_scores_gemma":[0.000026374742,0.000060060218,0.011824286,0.00023543807,0.0000082270135,0.0015437822,0.01781641,0.0001686655,0.00074622995,0.014327998,0.9532103,0.000032263768],"about_ca_topic_score_codex":0.06312957,"about_ca_topic_score_gemma":0.12582107,"teacher_disagreement_score":0.06312957,"about_ca_system_score_codex":0.0070379926,"about_ca_system_score_gemma":0.004388247,"threshold_uncertainty_score":0.12552422},"labels":[],"label_agreement":null},{"id":"W2971352141","doi":"","title":"“Dance and Shake the Frame”: Culture Industry and Absurdity in Childish Gambino’s “This Is America”","year":2019,"lang":"en","type":"article","venue":"˜The œalbatross","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Absurdity; Marxist philosophy; Ideology; Culture industry; Mainstream; Aesthetics; Racism; Absurdism; Sociology; Literature; Popular culture; Art; Gender studies; Politics; Law; Political science; Social science","score_opus":0.011005202861103597,"score_gpt":0.20361750421498104,"score_spread":0.19261230135387744,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2971352141","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18118481,0.012350388,0.003926613,0.07468499,0.000792194,0.00003794397,0.000031522843,0.00006523983,0.7269263],"genre_scores_gemma":[0.94569063,0.0023303197,0.00093213725,0.0059821033,0.0001242212,0.000040600316,0.000008302024,0.00006891352,0.04482264],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988072,0.0006256986,0.000010997564,0.00010591096,0.0002343496,0.00021597081],"domain_scores_gemma":[0.9993001,0.00038584907,0.000062106556,0.00004977217,0.000089676156,0.00011242505],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001324198,0.00043220792,0.0002704454,0.0009986402,0.013510195,0.0053523234,0.0008149007,0.0022392992,0.002873707],"category_scores_gemma":[0.002109469,0.00020718202,0.00012370537,0.000729971,0.033151697,0.0031024371,0.0048422487,0.004382963,0.00029968863],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019689009,0.00001967249,0.000439625,0.00003532552,0.0000021637873,0.00031108747,0.20060031,0.000056026645,0.00023942586,0.776793,0.0124616865,0.009022026],"study_design_scores_gemma":[0.000020407133,0.00002742808,0.0022195699,0.00032017386,0.000007326159,0.00045190458,0.18813233,0.00016645598,0.0004699983,0.14775737,0.66040224,0.000024780957],"about_ca_topic_score_codex":0.07095707,"about_ca_topic_score_gemma":0.1436064,"teacher_disagreement_score":0.07095707,"about_ca_system_score_codex":0.007968946,"about_ca_system_score_gemma":0.0030887066,"threshold_uncertainty_score":0.14108807},"labels":[],"label_agreement":null},{"id":"W2971592783","doi":"","title":"Images and lyrics: Representations of African American women in blues lyrics written by black women","year":2007,"lang":"en","type":"article","venue":"CSUSB ScholarWorks (California State University, San Bernardino)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Lyrics; Blues; Black women; Gender studies; Art; Psychology; Sociology; Literature; Art history","score_opus":0.008635462357332025,"score_gpt":0.20258240103850828,"score_spread":0.19394693868117624,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2971592783","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.95571744,0.0009045038,0.00055795023,0.0028919687,0.00016290061,0.000020199557,0.000069514725,0.000023314224,0.03965218],"genre_scores_gemma":[0.9885887,0.00047708346,0.0002530277,0.00032671448,0.00007511996,0.000018470419,0.00003743152,0.00003060291,0.010192905],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99924576,0.0004908502,0.000013032712,0.000033773027,0.0001274187,0.000089242494],"domain_scores_gemma":[0.99900776,0.0005072089,0.0002112065,0.000037124693,0.00012217868,0.00011460081],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000962965,0.00042784345,0.00017871977,0.001336278,0.004576373,0.0024020234,0.00027438064,0.0006855364,0.0032119695],"category_scores_gemma":[0.0031093927,0.00017425067,0.00013714485,0.0006165443,0.0036266702,0.0012949284,0.0018524023,0.0012237,0.00034694566],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008028452,0.000011683172,0.0028498496,0.00005531267,0.0000047766316,0.0005625447,0.97853935,0.000025024323,0.0035600723,0.004255502,0.0026256873,0.0074300067],"study_design_scores_gemma":[0.0000056664726,0.00003620773,0.0105966935,0.00013330468,0.0000058949645,0.00042929422,0.92566097,0.00012160099,0.0008660192,0.00044846334,0.061680272,0.000015638381],"about_ca_topic_score_codex":0.012771001,"about_ca_topic_score_gemma":0.028932996,"teacher_disagreement_score":0.012771001,"about_ca_system_score_codex":0.0015060604,"about_ca_system_score_gemma":0.00056880113,"threshold_uncertainty_score":0.025393367},"labels":[],"label_agreement":null},{"id":"W2972223202","doi":"10.1525/jpms.2019.313007","title":"Response to Feminizing Rock Culture: A Revisit of Norma Coates’s “Teenyboppers, Groupies, and Other Grotesques”","year":2019,"lang":"en","type":"article","venue":"Journal of Popular Music Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Icon; Citation; Download; Popular culture; Set (abstract data type); Art; World Wide Web; History; Computer science; Art history; Literature","score_opus":0.05755911480680675,"score_gpt":0.2656377283933758,"score_spread":0.20807861358656904,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2972223202","genre_codex":"commentary","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":"commentary","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.001034174,0.011147266,0.0002692394,0.94463456,0.034232147,0.000042493062,0.00007067735,0.000048009082,0.008521536],"genre_scores_gemma":[0.037614778,0.04395631,0.0020391874,0.8193409,0.037607867,0.00059038284,0.00021822679,0.00047145848,0.05816084],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.98271114,0.0074596903,0.0017313107,0.0012707071,0.0055133607,0.001313726],"domain_scores_gemma":[0.9664158,0.015850734,0.0018683703,0.0013893212,0.010491053,0.003984686],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.014495942,0.0011883327,0.001314863,0.002025766,0.013193277,0.007963408,0.0040771794,0.015452478,0.011879461],"category_scores_gemma":[0.046616547,0.00080039434,0.0008170884,0.0019247769,0.016385064,0.011134281,0.010666023,0.029449005,0.0056057046],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012172102,0.000024249308,0.0002806435,0.0004219701,0.00000613899,0.00037070707,0.030120846,0.000015544945,0.00019119798,0.0067278976,0.94318384,0.018644786],"study_design_scores_gemma":[0.0000069793136,0.000011719325,0.0007371603,0.0010484592,0.000004208966,0.00042101307,0.02933213,0.000019342844,0.00010120978,0.0016699632,0.9666187,0.000029222705],"about_ca_topic_score_codex":0.051585022,"about_ca_topic_score_gemma":0.093507916,"teacher_disagreement_score":0.051585022,"about_ca_system_score_codex":0.014175291,"about_ca_system_score_gemma":0.020887483,"threshold_uncertainty_score":0.102849424},"labels":[],"label_agreement":null},{"id":"W2972374309","doi":"","title":"Chelsea Sunrise, April 11 – 21, 2019","year":2019,"lang":"en","type":"article","venue":"SOURCE Sheridan's Institutional Repository (Sheridan College)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sunrise; Meteorology; Geography; History","score_opus":0.008742883763048959,"score_gpt":0.18025553024092725,"score_spread":0.17151264647787828,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2972374309","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0011329688,0.008953441,0.00023705729,0.011826338,0.02097295,0.000062439634,0.007519167,0.0006659767,0.9486297],"genre_scores_gemma":[0.001293464,0.0012384761,0.0000462357,0.00048539304,0.00056329696,0.0000097050515,0.0010068289,0.000115734794,0.9952409],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99964046,0.000024040904,0.00001384024,0.00005392238,0.00018434288,0.00008338745],"domain_scores_gemma":[0.9994246,0.000031368963,0.000026485039,0.000051142764,0.0002526378,0.00021385158],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005649528,0.0005403825,0.0002970845,0.0011679016,0.0024280169,0.0051827314,0.0006524585,0.0010695319,0.5375132],"category_scores_gemma":[0.0017882668,0.00025470488,0.00023398943,0.001105355,0.0005847839,0.0018644398,0.0028568709,0.0016645328,0.28984156],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018217277,0.0000038260796,0.00009536099,0.00003938863,0.0000010071801,0.000043683725,0.000056931953,0.000010098756,0.000059837454,0.0013094792,0.9849052,0.013457037],"study_design_scores_gemma":[9.754444e-7,0.0000021598235,0.0003066726,0.000037354203,2.679478e-7,0.000008920115,0.000047358546,0.0000027250464,0.000018008564,0.00007844116,0.9994961,0.0000010365604],"about_ca_topic_score_codex":0.016006662,"about_ca_topic_score_gemma":0.102887176,"teacher_disagreement_score":0.5375132,"about_ca_system_score_codex":0.0019733526,"about_ca_system_score_gemma":0.0015840137,"threshold_uncertainty_score":0.6596813},"labels":[],"label_agreement":null},{"id":"W2972877586","doi":"10.4000/books.ms.1019","title":"Introduction. Musiques populaires et logiques industrielles","year":2012,"lang":"fr","type":"book-chapter","venue":"Éditions Mélanie Seteun eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Musée de la Civilisation","funders":"","keywords":"Art","score_opus":0.04291663530145737,"score_gpt":0.2283945603928556,"score_spread":0.18547792509139824,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2972877586","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.002130421,0.08014092,0.0014775295,0.009182689,0.002818582,0.00003099787,0.0007095612,0.0001613663,0.9033479],"genre_scores_gemma":[0.032749005,0.04208377,0.0020161602,0.0034080911,0.0024081885,0.00009940027,0.0007752594,0.00024389615,0.9162163],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997749,0.000056225315,0.000009477693,0.000045789086,0.00008171581,0.000031843192],"domain_scores_gemma":[0.99979204,0.00008813083,0.0000165131,0.000018613568,0.00005884029,0.000025811516],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00024905792,0.00081388024,0.0003045053,0.0013179152,0.0020710889,0.003305577,0.0005533395,0.0010333522,0.058148056],"category_scores_gemma":[0.000621296,0.00028739226,0.00031127277,0.0018649804,0.0016350214,0.0021982787,0.0010713291,0.0020320457,0.0149053065],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003018454,0.000032446223,0.00049754436,0.00035679076,0.0000051052602,0.00012684496,0.004852935,0.00017634207,0.0003905455,0.39639395,0.46270815,0.13442917],"study_design_scores_gemma":[8.7838384e-7,0.000003633623,0.00037259396,0.0001036282,6.1016914e-7,0.000049201633,0.00025453267,0.000015795604,0.000024156801,0.0073536467,0.9918194,0.0000019667857],"about_ca_topic_score_codex":0.008833884,"about_ca_topic_score_gemma":0.016080445,"teacher_disagreement_score":0.058148056,"about_ca_system_score_codex":0.0019416847,"about_ca_system_score_gemma":0.0014622338,"threshold_uncertainty_score":0.19452465},"labels":[],"label_agreement":null},{"id":"W2972911767","doi":"10.1558/jfm.31885","title":"Ron Rodman, Tuning In: American Narrative Television Music","year":2019,"lang":"en","type":"article","venue":"Journal of Film Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Narrative; Index (typography); Art; Incidental music; Media studies; Literature; Art history; Music education; History; Visual arts; Music history; Sociology; Computer science","score_opus":0.024144034851517032,"score_gpt":0.21836437347344365,"score_spread":0.1942203386219266,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2972911767","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006983809,0.77558535,0.001075066,0.07786023,0.013965781,0.000028027995,0.0002070564,0.0002600226,0.13032013],"genre_scores_gemma":[0.019775873,0.5609712,0.0022047847,0.030245682,0.013316959,0.00008086339,0.00025481306,0.00032826563,0.37282157],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994312,0.00014897884,0.00003746301,0.00006543474,0.00026048266,0.000056493544],"domain_scores_gemma":[0.99962604,0.00013630169,0.00003518517,0.000012161373,0.00010184817,0.000088484274],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008673895,0.00089976523,0.00040199957,0.0024819036,0.0022567166,0.0037182095,0.0012922678,0.0031327475,0.05902181],"category_scores_gemma":[0.0019594193,0.00055387063,0.00023018915,0.002542597,0.0015617462,0.008171994,0.0016933525,0.0024122521,0.019704299],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022863367,0.0000063919592,0.00006469511,0.00022731756,0.0000027138426,0.00005630025,0.0006872908,0.000017149889,0.00012468643,0.0042853467,0.9328864,0.061618846],"study_design_scores_gemma":[0.0000056580334,0.000004508952,0.0003369674,0.00036660457,0.0000035847265,0.0001750208,0.0009508387,0.000015087542,0.00006549337,0.0011820713,0.99688786,0.000006241276],"about_ca_topic_score_codex":0.021345483,"about_ca_topic_score_gemma":0.05285539,"teacher_disagreement_score":0.05902181,"about_ca_system_score_codex":0.0010833591,"about_ca_system_score_gemma":0.0012489283,"threshold_uncertainty_score":0.1974476},"labels":[],"label_agreement":null},{"id":"W2973236212","doi":"10.1177/0306312719876995","title":"Signs, things and packaging: Recovering the material agency of the cigarette packet","year":2019,"lang":"en","type":"article","venue":"Social Studies of Science","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":10,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Institute of Population and Public Health; Canadian Cancer Society Research Institute","keywords":"Premise; Materiality (auditing); Tobacco industry; Agency (philosophy); Scholarship; Advertising; Legislature; Public relations; Network packet; Sociology; Epistemology; Aesthetics; Business; Law; Political science; Social science; Computer science; Computer security; Art","score_opus":0.039166304425902264,"score_gpt":0.24235089746452404,"score_spread":0.20318459303862177,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2973236212","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3514502,0.007828121,0.032307453,0.01823425,0.0008751241,0.00008626846,0.00015437322,0.0002271766,0.5888371],"genre_scores_gemma":[0.96620655,0.0028721532,0.0037349768,0.00062146253,0.00021699107,0.000025364508,0.000048944738,0.00015728852,0.026116269],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9983375,0.0009691714,0.000053808104,0.00015503791,0.0003124534,0.00017202573],"domain_scores_gemma":[0.9966857,0.0017365536,0.00032814255,0.00083011074,0.0002683575,0.00015105451],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0026845718,0.00039656306,0.00026792157,0.001970435,0.0049555935,0.013620394,0.00086512946,0.001733433,0.0057228343],"category_scores_gemma":[0.00692642,0.00038746244,0.0003486734,0.0020949515,0.035356093,0.011462052,0.006421111,0.003051687,0.00089632464],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000058762118,0.000017516637,0.0018542043,0.00010229918,0.0000064124088,0.00031232653,0.09793107,0.0001515445,0.000727046,0.867779,0.0024287852,0.028631011],"study_design_scores_gemma":[0.000027498534,0.000116799856,0.0051711183,0.00057817536,0.00005730252,0.0007380557,0.15030578,0.00078429066,0.004872199,0.30820027,0.5290776,0.00007092963],"about_ca_topic_score_codex":0.004133791,"about_ca_topic_score_gemma":0.005107365,"teacher_disagreement_score":0.9950444,"about_ca_system_score_codex":0.0033100902,"about_ca_system_score_gemma":0.0028751614,"threshold_uncertainty_score":0.02401644},"labels":[{"model":"gemma","categories":["sts"],"domain":null,"study_design":"qualitative","genre":"empirical","about_ca_system":false,"about_ca_topic":false,"confidence":"low"},{"model":"gpt","categories":[],"domain":null,"study_design":"qualitative","genre":"empirical","about_ca_system":false,"about_ca_topic":false,"confidence":"low"}],"label_agreement":"split"},{"id":"W2979477994","doi":"10.1017/s0261143019000229","title":"Corvus Corax: medieval rock, the minstrel, and cosmopolitanism as anti-nationalism","year":2019,"lang":"en","type":"article","venue":"Popular Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Wilfrid Laurier University","funders":"","keywords":"Middle Ages; Nationalism; German; Cosmopolitanism; Context (archaeology); Literature; Politics; Art; History; Sociology; Archaeology; Law; Political science","score_opus":0.024405518838448405,"score_gpt":0.20946779447890929,"score_spread":0.18506227564046088,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2979477994","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.38986453,0.010533178,0.0006050184,0.0082324445,0.00024237054,0.000010390515,0.00002499401,0.000023290357,0.5904638],"genre_scores_gemma":[0.99246925,0.00041144722,0.00004481231,0.00015533144,0.000023081438,0.0000022540726,0.0000037870452,0.0000068460054,0.0068832426],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992879,0.00034559448,0.000014477776,0.000108835564,0.00009126001,0.00015194032],"domain_scores_gemma":[0.99960274,0.000181909,0.00006002825,0.000055444623,0.000033836423,0.000066001936],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011260315,0.0002826241,0.00018791492,0.0007670745,0.004048214,0.0057506613,0.00041980456,0.0009536839,0.0037412988],"category_scores_gemma":[0.0008836737,0.00010765208,0.000059628466,0.0007816252,0.017367003,0.001858403,0.0021208671,0.0013229242,0.00021617541],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000090239155,0.000022236438,0.0015596516,0.00006442493,0.000007564211,0.00026554728,0.0789472,0.00013154221,0.0006925335,0.90058887,0.003682623,0.01394762],"study_design_scores_gemma":[0.00005402535,0.00013088612,0.02390394,0.0006338676,0.000015868616,0.000621619,0.14680374,0.0004488863,0.0014762761,0.089841485,0.7360248,0.000044537668],"about_ca_topic_score_codex":0.016065,"about_ca_topic_score_gemma":0.03179064,"teacher_disagreement_score":0.016065,"about_ca_system_score_codex":0.004526216,"about_ca_system_score_gemma":0.0010857524,"threshold_uncertainty_score":0.032840133},"labels":[],"label_agreement":null},{"id":"W2979520337","doi":"10.1017/s026114301900028x","title":"Good things come in threes: triplet flow in recent hip-hop music","year":2019,"lang":"en","type":"article","venue":"Popular Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":28,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Popularity; Salient; Blueprint; Rhetorical question; Style (visual arts); Aesthetics; Sociology; Literature; Art; Psychology; Visual arts; Political science; Law; Social psychology","score_opus":0.040729299645516484,"score_gpt":0.2111356992745541,"score_spread":0.17040639962903764,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2979520337","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.96673244,0.0015902478,0.0019228655,0.0006518075,0.00013254314,0.000035607634,0.00054898043,0.000055986467,0.02832945],"genre_scores_gemma":[0.995195,0.00057005143,0.0007130718,0.00009999267,0.000103320584,0.000018456312,0.00031341618,0.000036518617,0.0029502017],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9996352,0.00013471457,0.000023688339,0.0000569318,0.000099452394,0.0000499318],"domain_scores_gemma":[0.9983767,0.0010352106,0.00020082715,0.00009958452,0.00013474439,0.00015294584],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007222074,0.0001505687,0.00016290393,0.002991459,0.0021088186,0.0018795863,0.00028360635,0.00038614072,0.003487968],"category_scores_gemma":[0.0028106663,0.00012158386,0.00011198469,0.0030012925,0.0020387308,0.0011510431,0.0012069558,0.0006659562,0.00022635191],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0009528719,0.00012736802,0.068194635,0.0013094363,0.0000637698,0.0035850748,0.54349196,0.00062586105,0.014617515,0.06059908,0.018758614,0.2876738],"study_design_scores_gemma":[0.00004624448,0.00026802326,0.59096014,0.0005839891,0.000046638303,0.004707762,0.21810903,0.0017244347,0.0024967545,0.00605938,0.17490292,0.000094736606],"about_ca_topic_score_codex":0.0054161446,"about_ca_topic_score_gemma":0.021030499,"teacher_disagreement_score":0.0054161446,"about_ca_system_score_codex":0.000820426,"about_ca_system_score_gemma":0.0002952711,"threshold_uncertainty_score":0.011668444},"labels":[],"label_agreement":null},{"id":"W2981027909","doi":"","title":"Stompin' Grounds: Performing Country Music in Canada","year":2019,"lang":"en","type":"dissertation","venue":"The Atrium (University of Guelph)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Country; Political science; Geography; Economics; Management","score_opus":0.015858805245963125,"score_gpt":0.17241552717487818,"score_spread":0.15655672192891507,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2981027909","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.83551884,0.0016270498,0.00045649562,0.0042218785,0.00015074201,0.000051474814,0.00031556527,0.00004274727,0.15761538],"genre_scores_gemma":[0.95233524,0.0014394415,0.00041863,0.0006749793,0.00001319865,0.000009411802,0.000105533676,0.000038758746,0.04496488],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99930453,0.00008308688,0.000008637669,0.00008237223,0.00022157303,0.000299768],"domain_scores_gemma":[0.9991978,0.00008619604,0.00004696258,0.000025986796,0.00029854663,0.00034467172],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00060968945,0.00027585897,0.00017630045,0.0013189148,0.02304304,0.0043921573,0.00078646216,0.00071633374,0.0068559228],"category_scores_gemma":[0.0013259711,0.00019084755,0.00015878014,0.0020122507,0.0049676728,0.0007800199,0.001649052,0.0014758502,0.00044024416],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000125844,0.000088883084,0.041282866,0.00017207317,0.00002185619,0.0026167794,0.7696536,0.00036065176,0.004617998,0.02755142,0.051896177,0.10161187],"study_design_scores_gemma":[0.0000045951947,0.00004437495,0.06499378,0.00014660481,0.0000150324595,0.0005375915,0.6662258,0.00017958079,0.0010276271,0.00040799085,0.26637283,0.00004424838],"about_ca_topic_score_codex":0.9882514,"about_ca_topic_score_gemma":0.998092,"teacher_disagreement_score":0.046402756,"about_ca_system_score_codex":0.046402756,"about_ca_system_score_gemma":0.054275777,"threshold_uncertainty_score":0.33667713},"labels":[],"label_agreement":null},{"id":"W2983197441","doi":"10.22215/etd/2016-11657","title":"The Riot and The REDBLACKS: Football's Pluralities, Football's Auralities, Power, Position, and Place","year":2016,"lang":"en","type":"dissertation","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Carleton University","funders":"","keywords":"Grassroots; Football; Club; Media studies; Power (physics); Football club; Identity (music); Sociology; Ethnography; Gender studies; Political science; Politics; Art; Law; Aesthetics; Anthropology","score_opus":0.007014760577569395,"score_gpt":0.1927459272119646,"score_spread":0.1857311666343952,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2983197441","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9554266,0.0009566952,0.0004927764,0.0017299325,0.000061958875,0.000026070877,0.000053865522,0.000017226885,0.04123488],"genre_scores_gemma":[0.9940579,0.0003204197,0.00015133333,0.00012157133,0.000012474194,0.000008002616,0.000015675118,0.000013840395,0.0052989195],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9977188,0.00078548264,0.00005419517,0.00036993195,0.00041131547,0.0006602336],"domain_scores_gemma":[0.99808466,0.000826488,0.00023321215,0.0001373884,0.0001692351,0.00054905016],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017880958,0.00045504558,0.00048955507,0.0016517964,0.024169276,0.011175365,0.0013742677,0.001056796,0.0034976783],"category_scores_gemma":[0.0027721834,0.00046445048,0.0002300814,0.0020644874,0.036765832,0.0029761274,0.005322157,0.0020025517,0.0002113148],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000026494796,0.000010434324,0.0052062725,0.000027740105,0.0000034726409,0.00037594137,0.98340386,0.0000187079,0.0005366082,0.004588899,0.00067665026,0.005124963],"study_design_scores_gemma":[0.000003840426,0.000019145264,0.011458777,0.00006660149,0.0000070524443,0.00021648905,0.95576555,0.000023755649,0.00020149018,0.0003757575,0.0318464,0.000015112859],"about_ca_topic_score_codex":0.66683435,"about_ca_topic_score_gemma":0.8817977,"teacher_disagreement_score":0.66683435,"about_ca_system_score_codex":0.019436799,"about_ca_system_score_gemma":0.0100423135,"threshold_uncertainty_score":0.6702554},"labels":[],"label_agreement":null},{"id":"W2985334158","doi":"10.4000/lisa.10872","title":"L’héritage d’OK Computer : Influence de l’esthétique de Radiohead dans les productions de Leprous","year":2019,"lang":"fr","type":"article","venue":"Revue LISA / LISA e-journal","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Musée de la Civilisation","funders":"","keywords":"Humanities; Art","score_opus":0.011927049847837328,"score_gpt":0.20799270489937274,"score_spread":0.19606565505153542,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2985334158","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6068949,0.002000948,0.0016744082,0.0058985,0.00028054463,0.000033257944,0.00012412491,0.00006910495,0.38302416],"genre_scores_gemma":[0.90336436,0.0007487467,0.0005204526,0.00034895484,0.00007857506,0.000022806538,0.000050186274,0.00009689668,0.094768964],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986816,0.0004467323,0.000031700714,0.00017453328,0.00041597048,0.00024949983],"domain_scores_gemma":[0.9979777,0.00093804474,0.00021411887,0.00013473153,0.00026821456,0.0004671856],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018010092,0.00041879728,0.00016770758,0.0011302588,0.006463646,0.00614506,0.00044769744,0.0007360405,0.019232064],"category_scores_gemma":[0.0030816977,0.00020982468,0.00011717247,0.0012003267,0.006558857,0.0014937004,0.0032740717,0.001281546,0.0022082615],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0006454309,0.000075460135,0.033411782,0.00048081917,0.0000176792,0.0021924283,0.70045274,0.0002081666,0.016787857,0.08706525,0.018776739,0.1398856],"study_design_scores_gemma":[0.000039671515,0.00029640607,0.09472052,0.00040744335,0.000028470331,0.0007869301,0.24444552,0.00022825364,0.0031641757,0.0020893542,0.65372676,0.000066464985],"about_ca_topic_score_codex":0.04030142,"about_ca_topic_score_gemma":0.117045894,"teacher_disagreement_score":0.04030142,"about_ca_system_score_codex":0.004307422,"about_ca_system_score_gemma":0.0025918742,"threshold_uncertainty_score":0.08013368},"labels":[],"label_agreement":null},{"id":"W2986436453","doi":"10.3138/md.s1019r","title":"“Kno’ You’re Wally”: Reinventing Slavery, Family, and Nation in Pauline Hopkins’s <i>Peculiar Sam, or The Underground Railroad</i>","year":2019,"lang":"en","type":"article","venue":"Modern Drama","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Performative utterance; Drama; Archetype; Narrative; Politics; Musical; Literature; Value (mathematics); History; Aesthetics; Art; Gender studies; Sociology; Art history; Law; Political science","score_opus":0.039582430433913365,"score_gpt":0.21560868158251273,"score_spread":0.17602625114859938,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2986436453","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6851011,0.003494588,0.0018050203,0.026048383,0.0010581983,0.000027279828,0.00003293153,0.00007542862,0.282357],"genre_scores_gemma":[0.9654165,0.00054890773,0.00029737566,0.00090303237,0.00010570675,0.0000075590715,0.0000069135776,0.00002705552,0.032686964],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995408,0.00025360627,0.0000045454767,0.00003156023,0.0000514127,0.00011811345],"domain_scores_gemma":[0.99978215,0.00007377634,0.00001860144,0.000016825943,0.000011296297,0.000097383374],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00082231587,0.00025679384,0.00010762888,0.00036368004,0.009819919,0.0031848745,0.00048638243,0.00083277107,0.0035656963],"category_scores_gemma":[0.00094965904,0.00010622356,0.00009602593,0.00022246514,0.011238249,0.0021251764,0.0032556092,0.0018950676,0.0003008265],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000048117825,0.000030644704,0.0013307752,0.000044404125,0.000005209686,0.0008195479,0.8226957,0.00011927302,0.0011063053,0.11722052,0.036290288,0.02028928],"study_design_scores_gemma":[0.0000080112,0.000056356243,0.002846461,0.00009866598,0.0000056163813,0.00059384323,0.39872196,0.00014232419,0.0010761123,0.0050507807,0.59138066,0.000019179934],"about_ca_topic_score_codex":0.012227572,"about_ca_topic_score_gemma":0.03653777,"teacher_disagreement_score":0.012227572,"about_ca_system_score_codex":0.0025775675,"about_ca_system_score_gemma":0.0011441484,"threshold_uncertainty_score":0.024312794},"labels":[],"label_agreement":null},{"id":"W2986501203","doi":"10.1080/03007766.2019.1687677","title":"Pop Art at Woodstock: Sha Na Na","year":2019,"lang":"en","type":"article","venue":"Popular Music & Society","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Art; Inclusion (mineral); Visual arts; Art history; Media studies; Sociology; Social science","score_opus":0.02753996859167857,"score_gpt":0.2047524738130041,"score_spread":0.17721250522132553,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2986501203","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.086607955,0.003832799,0.0007621741,0.018582843,0.0059913113,0.000035279678,0.00016866488,0.00015970362,0.88385934],"genre_scores_gemma":[0.34246925,0.0018046425,0.00074967707,0.0018484701,0.00037558997,0.000026396083,0.0000775969,0.00013274018,0.65251553],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996593,0.00006384835,0.0000068920453,0.00004180183,0.00013068909,0.000097378375],"domain_scores_gemma":[0.9997757,0.00001613648,0.000009470266,0.00002170169,0.00006361472,0.00011335587],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004962566,0.00023515533,0.00016672224,0.00043050273,0.011979088,0.004201328,0.00031218963,0.00058281363,0.030377788],"category_scores_gemma":[0.0005980825,0.00020143739,0.00012922603,0.00047369424,0.0020432868,0.0015813367,0.0028712049,0.0017257507,0.0031549134],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014912346,0.00006955411,0.0064950655,0.00016254287,0.000013205818,0.0010626039,0.047418386,0.000110335845,0.0034720073,0.11541639,0.6933795,0.13225128],"study_design_scores_gemma":[0.0000019789895,0.000011392286,0.003528417,0.00005862773,0.000002579224,0.00018647907,0.020869046,0.000041380532,0.0004839519,0.0006928637,0.9741131,0.000010156657],"about_ca_topic_score_codex":0.052060906,"about_ca_topic_score_gemma":0.281494,"teacher_disagreement_score":0.052060906,"about_ca_system_score_codex":0.0024527397,"about_ca_system_score_gemma":0.0029287448,"threshold_uncertainty_score":0.103515744},"labels":[],"label_agreement":null},{"id":"W2986557980","doi":"10.22215/etd/2011-09091","title":"From kapahaka to hip hop : Maori popular music in Aotearoa/New Zealand","year":2011,"lang":"en","type":"dissertation","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Library and Archives Canada","funders":"","keywords":"Aotearoa; Humanities; Art; Sociology; Gender studies","score_opus":0.038939711240150054,"score_gpt":0.22355995682566446,"score_spread":0.1846202455855144,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2986557980","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9499579,0.003115613,0.0000725247,0.004015387,0.00013117395,0.00006977713,0.0002212597,0.000008202054,0.042408254],"genre_scores_gemma":[0.95554876,0.0038501963,0.00013269566,0.00047416476,0.000044297296,0.000042994518,0.00011287582,0.000018509356,0.039775472],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99961287,0.000045177494,0.000016835262,0.000052526197,0.00007453434,0.00019814032],"domain_scores_gemma":[0.99947685,0.000059395927,0.00007776602,0.000017943776,0.00007372533,0.00029424447],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005684209,0.00024881228,0.00035818064,0.0012764119,0.008035335,0.0036377076,0.0006391741,0.0008492914,0.015944974],"category_scores_gemma":[0.0012303202,0.0003745988,0.00021214694,0.0027842794,0.0036889727,0.0016845281,0.003546657,0.001972993,0.0009098614],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002345738,0.00007453144,0.020707613,0.0005374192,0.000014528776,0.0028350253,0.9278191,0.000016466682,0.0032117954,0.0031683536,0.0061388663,0.035241734],"study_design_scores_gemma":[0.00001663884,0.000049789036,0.18579035,0.00034069602,0.0000141726705,0.00041165407,0.77401984,0.000013965817,0.00016058171,0.00019531976,0.03897343,0.000013616992],"about_ca_topic_score_codex":0.54905516,"about_ca_topic_score_gemma":0.87337035,"teacher_disagreement_score":0.54905516,"about_ca_system_score_codex":0.006256292,"about_ca_system_score_gemma":0.010476988,"threshold_uncertainty_score":0.9072011},"labels":[],"label_agreement":null},{"id":"W2986588299","doi":"10.1108/978-1-83867-945-320191011","title":"Bienvenue au Canada: The Nonlanguage of Music and Dreams","year":2019,"lang":"en","type":"book-chapter","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Vitality; Rumination; History; Art; Literature; Psychology; Theology; Philosophy; Psychiatry; Cognition","score_opus":0.01830154417287006,"score_gpt":0.1601661606990268,"score_spread":0.14186461652615676,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2986588299","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.017971877,0.024932515,0.00049168366,0.012125788,0.001033681,0.000019428893,0.00014283192,0.00005741793,0.9432247],"genre_scores_gemma":[0.36657366,0.024754198,0.00075123995,0.0023284638,0.00035615283,0.000031123258,0.00012322431,0.00014639334,0.6049356],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994148,0.000100186415,0.000008022764,0.000052694388,0.00024453047,0.0001798785],"domain_scores_gemma":[0.99957556,0.00012524016,0.000018957458,0.000026351217,0.000115906994,0.00013801969],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004539958,0.0004068288,0.00023435178,0.0011680285,0.011608382,0.007384963,0.0005976209,0.0010341139,0.014367155],"category_scores_gemma":[0.0009424934,0.00018340819,0.00010906486,0.001495105,0.011093844,0.0016418985,0.0019857066,0.0019793937,0.0014177064],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000048505128,0.000020449046,0.0013221615,0.00021452799,0.0000056810195,0.00076283346,0.17606206,0.00021094589,0.0008486413,0.5650689,0.17056699,0.08486825],"study_design_scores_gemma":[0.0000026999132,0.000004669665,0.0015423233,0.00025758307,0.0000024542558,0.00021578635,0.04223683,0.000057502897,0.00017084306,0.0042599468,0.9512388,0.000010562898],"about_ca_topic_score_codex":0.9277104,"about_ca_topic_score_gemma":0.9745593,"teacher_disagreement_score":0.072289586,"about_ca_system_score_codex":0.03072283,"about_ca_system_score_gemma":0.04236786,"threshold_uncertainty_score":0.22291076},"labels":[],"label_agreement":null},{"id":"W2987590309","doi":"10.1386/jivs_00004_1","title":"Ballad of the dork-o-phone: Towards a crip vocal technoscience","year":2019,"lang":"en","type":"article","venue":"Journal of Interdisciplinary Voice Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":17,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Technoscience; Phone; Phenomenology (philosophy); Audiology; Psychology; Communication; Sociology; Linguistics; Medicine; Philosophy","score_opus":0.03342251140167035,"score_gpt":0.2942106819047585,"score_spread":0.26078817050308817,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2987590309","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2009982,0.0043529007,0.022383485,0.030638117,0.0012117543,0.00007163884,0.000022350596,0.00013285065,0.7401887],"genre_scores_gemma":[0.9475633,0.0011813759,0.003045719,0.0011561938,0.00015405922,0.000021948026,0.000006552279,0.000058801535,0.046812076],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9982681,0.0009813886,0.00004718849,0.00015561712,0.00036878526,0.00017875791],"domain_scores_gemma":[0.99901664,0.00049828645,0.000090113164,0.00010579082,0.000118149495,0.00017101305],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0028583668,0.00029391036,0.00019153228,0.0008248707,0.00553459,0.009023993,0.00061871606,0.0018564874,0.006524474],"category_scores_gemma":[0.0024240285,0.00014376057,0.00015940178,0.00033870584,0.0177282,0.005410615,0.0051317806,0.0027926364,0.0010031249],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007034027,0.000034026467,0.0010119117,0.00014276401,0.0000042860765,0.00083190965,0.1936726,0.00020681786,0.0027972385,0.7510942,0.0073175314,0.042816333],"study_design_scores_gemma":[0.000008441203,0.000115742965,0.0015761742,0.00044502702,0.000006990112,0.001780557,0.3349899,0.00081624126,0.001985853,0.0655315,0.5927097,0.000033770255],"about_ca_topic_score_codex":0.0015273846,"about_ca_topic_score_gemma":0.0031334949,"teacher_disagreement_score":0.9944654,"about_ca_system_score_codex":0.0024260033,"about_ca_system_score_gemma":0.0015892772,"threshold_uncertainty_score":0.021826565},"labels":[],"label_agreement":null},{"id":"W2990537533","doi":"10.18061/emr.v14i1-2.6986","title":"Second-Position Syncopation in European and American Vocal Music","year":2019,"lang":"en","type":"article","venue":"Empirical Musicology Review","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":7,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Stress (linguistics); Quarter (Canadian coin); History; Musical; Vocal music; Linguistics; Psychology; Art; Visual arts; Music; Music education","score_opus":0.04164495515718032,"score_gpt":0.26747584193399315,"score_spread":0.22583088677681284,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2990537533","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8594512,0.07477594,0.002958443,0.0013633252,0.0004410954,0.000052214113,0.0004142396,0.00005041074,0.06049321],"genre_scores_gemma":[0.97477573,0.018676696,0.0013069651,0.00044747084,0.00023860365,0.000033294524,0.00045517462,0.00003983552,0.0040262714],"study_design_codex":"design_other","study_design_gemma":"observational","domain_scores_codex":[0.9990613,0.00026406813,0.000106432904,0.00020281495,0.00027730138,0.00008810639],"domain_scores_gemma":[0.99720013,0.0014352293,0.00061056024,0.00019069911,0.00044023962,0.00012317744],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012043718,0.0002345049,0.00028305178,0.0044649197,0.0012355449,0.0021018593,0.0003650229,0.00062359485,0.0030475175],"category_scores_gemma":[0.0039531086,0.00012606701,0.00022113051,0.005142831,0.0016849226,0.0015295334,0.0013021587,0.0005990672,0.00034832655],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0011407961,0.00021393118,0.1042656,0.005581264,0.00025391512,0.0063654413,0.14601189,0.0003663065,0.03643733,0.03937465,0.0091395425,0.6508494],"study_design_scores_gemma":[0.000029338957,0.00022164789,0.7201244,0.0021050677,0.0001580399,0.009750778,0.071034014,0.0004786161,0.004061604,0.0050168373,0.18693982,0.000079783276],"about_ca_topic_score_codex":0.0043319752,"about_ca_topic_score_gemma":0.011972594,"teacher_disagreement_score":0.0044649197,"about_ca_system_score_codex":0.0006983435,"about_ca_system_score_gemma":0.00068094034,"threshold_uncertainty_score":0.010195017},"labels":[],"label_agreement":null},{"id":"W2991027588","doi":"10.29173/axismundi79","title":"Durkheim and the Social Functions of Sacred Music","year":2017,"lang":"en","type":"article","venue":"Axis Mundi","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Worship; Sacred music; Sociology; Discipline; Aesthetics; Epistemology; Social science; Art; Visual arts; Philosophy; Theology; Musical","score_opus":0.049896629611095165,"score_gpt":0.23145838227958024,"score_spread":0.18156175266848507,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2991027588","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.20008577,0.018717282,0.0062711835,0.024570137,0.0004810723,0.000019826886,0.000033120705,0.000032465752,0.7497891],"genre_scores_gemma":[0.98868877,0.0010755786,0.00060925103,0.00041367163,0.00008261591,0.000009319816,0.0000039419815,0.0000068027593,0.00911006],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986111,0.0008825717,0.000029945615,0.00012213961,0.00016299987,0.00019121112],"domain_scores_gemma":[0.99940884,0.00030281645,0.00009156372,0.00008135105,0.000046972993,0.00006845985],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013276367,0.00025398415,0.00023540971,0.0007862947,0.0062324456,0.0043204254,0.00061290327,0.0013284442,0.0023999035],"category_scores_gemma":[0.001568026,0.00010024297,0.000147273,0.0005280189,0.032418713,0.002836298,0.0032903233,0.0017554564,0.00026330308],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013442802,0.0000053901026,0.0001914079,0.000016145754,0.0000014208947,0.000053545846,0.013792961,0.000044360677,0.00012863564,0.97960025,0.00063050893,0.0055219084],"study_design_scores_gemma":[0.000023661798,0.00004658914,0.00216693,0.00013807474,0.000005827078,0.00034192763,0.030876616,0.0004170729,0.0006194782,0.7292687,0.23607616,0.00001898094],"about_ca_topic_score_codex":0.00535615,"about_ca_topic_score_gemma":0.009072678,"teacher_disagreement_score":0.0062324456,"about_ca_system_score_codex":0.0039023666,"about_ca_system_score_gemma":0.0013147703,"threshold_uncertainty_score":0.028313756},"labels":[],"label_agreement":null},{"id":"W2991371035","doi":"10.22215/etd/2018-12895","title":"Critical Counternarratives to Canadianness: The Tragically Hip and Canada as a Work in Progress","year":2018,"lang":"en","type":"dissertation","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Carleton University","funders":"","keywords":"Hegemony; Narrative; Identity (music); Lyrics; National identity; Gender studies; Sociology; Media studies; Aesthetics; Political science; Law; Politics; Art; Literature","score_opus":0.012648163065565259,"score_gpt":0.2359355730844181,"score_spread":0.22328741001885283,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2991371035","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.40375066,0.007997223,0.004632861,0.099444345,0.001657652,0.00006511035,0.00018705973,0.00013416797,0.48213086],"genre_scores_gemma":[0.975182,0.0013241221,0.0007082089,0.0031903018,0.00009138298,0.000017761853,0.000029696526,0.00006105222,0.01939549],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9938002,0.0019173268,0.000075082666,0.0004427217,0.0019998336,0.0017648535],"domain_scores_gemma":[0.99552757,0.0014242338,0.00032052855,0.00022661111,0.0015205785,0.0009804647],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00488297,0.00076884404,0.0004708374,0.0025750347,0.044960547,0.017175678,0.0018601462,0.002750528,0.0049032737],"category_scores_gemma":[0.008648772,0.00032927105,0.00034651533,0.0035564122,0.055053018,0.0055100475,0.007112372,0.006114827,0.00029075012],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000051192153,0.000014324131,0.0017337276,0.0000764831,0.000011030073,0.00055720494,0.6346517,0.00015450144,0.0004526587,0.32922736,0.019510418,0.013559392],"study_design_scores_gemma":[0.000008043547,0.000016505135,0.002567629,0.00022809465,0.000023769164,0.00021638696,0.7302243,0.00018656852,0.0004332292,0.015438425,0.25059038,0.00006664662],"about_ca_topic_score_codex":0.9289055,"about_ca_topic_score_gemma":0.958318,"teacher_disagreement_score":0.09349473,"about_ca_system_score_codex":0.09349473,"about_ca_system_score_gemma":0.09180889,"threshold_uncertainty_score":0.6783549},"labels":[],"label_agreement":null},{"id":"W2991626940","doi":"10.1177/2056305119880006","title":"“First Week Is Editorial, Second Week Is Algorithmic”: Platform Gatekeepers and the Platformization of Music Curation","year":2019,"lang":"en","type":"article","venue":"Social Media + Society","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":178,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"University of Toronto","keywords":"Gatekeeping; Computer science; Crowdsourcing; Data curation; Power (physics); Intermediary; Set (abstract data type); World Wide Web; Data science; Sociology; Business; Advertising","score_opus":0.024636460202914497,"score_gpt":0.19882695865174504,"score_spread":0.17419049844883056,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2991626940","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5081832,0.0023724106,0.073042676,0.038568664,0.00279014,0.0003446607,0.00017223078,0.0011572737,0.37336877],"genre_scores_gemma":[0.98207563,0.00024685723,0.0034181958,0.0018503817,0.0006026318,0.00009568322,0.000034494347,0.00033134018,0.0113447],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.96775925,0.018779753,0.001119881,0.004002532,0.0058456534,0.0024928744],"domain_scores_gemma":[0.8720088,0.08702898,0.01416199,0.011068636,0.0074063926,0.008325201],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.025660465,0.00056480657,0.00039014613,0.0036191775,0.015011779,0.021954777,0.001729258,0.0026215045,0.0069302977],"category_scores_gemma":[0.08014819,0.0008054575,0.0004644182,0.002731798,0.028999744,0.015784813,0.008354309,0.0038302469,0.0014443961],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00028018173,0.00013136852,0.014633882,0.00036949266,0.000058388403,0.0019009961,0.55593497,0.00047320416,0.0045426884,0.3314859,0.019177048,0.071011975],"study_design_scores_gemma":[0.00012349535,0.00023359369,0.017364226,0.00063556957,0.00007161862,0.0014291726,0.2468708,0.0022327087,0.0047365036,0.16344942,0.5626222,0.00023062159],"about_ca_topic_score_codex":0.002707734,"about_ca_topic_score_gemma":0.0030405673,"teacher_disagreement_score":0.025660465,"about_ca_system_score_codex":0.0056660655,"about_ca_system_score_gemma":0.008154247,"threshold_uncertainty_score":0.13570714},"labels":[],"label_agreement":null},{"id":"W2991951999","doi":"","title":"Original Song Lyrics: \"Just a Little\"","year":2018,"lang":"en","type":"article","venue":"Intersections Canadian Journal of Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Lyrics; History; Art; Literature","score_opus":0.048498577892354684,"score_gpt":0.22452567619717725,"score_spread":0.17602709830482258,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2991951999","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.014552015,0.012931271,0.009277353,0.07308439,0.1471993,0.00023991785,0.0035319242,0.0021065779,0.7370773],"genre_scores_gemma":[0.08372271,0.005205379,0.0054791146,0.015465713,0.033671897,0.00012919068,0.0019292624,0.0022523198,0.8521445],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991788,0.00021971294,0.00003645902,0.00008690275,0.00040025197,0.00007787045],"domain_scores_gemma":[0.99757993,0.0002986924,0.000061454004,0.00020832174,0.0014854711,0.0003660518],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006289737,0.00079756096,0.00041759457,0.0016455239,0.0036252595,0.0050646574,0.0006301249,0.0011703694,0.09378747],"category_scores_gemma":[0.0064942474,0.00021905343,0.0002716973,0.0013718087,0.0017615168,0.0024379233,0.0024359364,0.0031210927,0.03363343],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011319107,0.000015649095,0.00027365936,0.00019703784,0.000008521168,0.00012757425,0.002421164,0.00003970869,0.0014202278,0.010427304,0.9144963,0.07045968],"study_design_scores_gemma":[0.00000761493,0.000012339322,0.00076934224,0.0001241345,0.000005862092,0.00015105995,0.0016229079,0.000058784753,0.00023572052,0.0009175484,0.9960821,0.000012659051],"about_ca_topic_score_codex":0.011380901,"about_ca_topic_score_gemma":0.034963932,"teacher_disagreement_score":0.09378747,"about_ca_system_score_codex":0.0012972029,"about_ca_system_score_gemma":0.0012206162,"threshold_uncertainty_score":0.31375033},"labels":[],"label_agreement":null},{"id":"W2993615877","doi":"10.22215/etd/2014-10317","title":"The Interplay of Authority, Masculinity, and Signification in the \"Grunge Killed Glam Metal\" Narrative","year":2014,"lang":"en","type":"dissertation","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Idealization; Mainstream; Narrative; Commercialism; Aesthetics; Subculture (biology); Gender studies; Literature; Sociology; Art; Political science; Law","score_opus":0.018393869311763525,"score_gpt":0.26262794609942997,"score_spread":0.24423407678766645,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2993615877","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5498333,0.001930457,0.0039519053,0.007007048,0.00013285987,0.000026455256,0.000018755507,0.000027187065,0.43707207],"genre_scores_gemma":[0.9934655,0.0002050905,0.00021294698,0.00009395415,0.000023268281,0.0000072618723,0.000003078447,0.000010879551,0.0059781354],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99637526,0.002406507,0.00006594706,0.00021019221,0.00062813563,0.00031402323],"domain_scores_gemma":[0.99822515,0.0011248091,0.00021119408,0.000117457996,0.00012385161,0.00019752003],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0032984617,0.00039363958,0.00029035896,0.0013823287,0.011794383,0.009390256,0.0007660643,0.0012870419,0.0023858664],"category_scores_gemma":[0.003929761,0.00024312873,0.0001535873,0.00085602177,0.0461298,0.004519235,0.005277428,0.0019674571,0.00026815385],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000030444577,0.000011156184,0.0008974712,0.00003493528,0.0000028284371,0.00036035862,0.5105972,0.00009436018,0.0003684565,0.48197386,0.00069845386,0.0049304343],"study_design_scores_gemma":[0.00002814109,0.0000786908,0.0046749697,0.00041554688,0.000019237208,0.0009403727,0.6369733,0.0005908512,0.0014615468,0.13809554,0.21667367,0.000048171765],"about_ca_topic_score_codex":0.005393551,"about_ca_topic_score_gemma":0.009600733,"teacher_disagreement_score":0.011794383,"about_ca_system_score_codex":0.0038384101,"about_ca_system_score_gemma":0.001815764,"threshold_uncertainty_score":0.027849734},"labels":[],"label_agreement":null},{"id":"W2994804363","doi":"10.25071/1708-6701.40362","title":"The Pop Palimpsest: Intertextuality in Recorded Popular Music – edited by Lori Burns and Serge Lacasse (Book review)","year":2019,"lang":"en","type":"article","venue":"CAML Review / Revue de l ACBM","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Palimpsest; Intertextuality; Art; Art history; Visual arts; Literature","score_opus":0.02021717595284323,"score_gpt":0.23423584078330148,"score_spread":0.21401866483045826,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2994804363","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00035766867,0.94498914,0.00020875694,0.007684535,0.0048168497,0.000012397224,0.000046783112,0.000023378276,0.041860465],"genre_scores_gemma":[0.01100097,0.92199343,0.0004602775,0.0041278056,0.0074992445,0.000056873912,0.00014524505,0.000083505125,0.05463263],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993893,0.00018059221,0.000034923498,0.0000605933,0.00028067213,0.000053924825],"domain_scores_gemma":[0.99893814,0.00058325304,0.00007300069,0.00006664968,0.00024317857,0.000095742595],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013592279,0.0007556313,0.0008814491,0.0047386084,0.0015378702,0.007831042,0.0013961908,0.001839883,0.02291342],"category_scores_gemma":[0.0027194861,0.00046423802,0.00031112085,0.0059648473,0.005870835,0.0059576593,0.00355083,0.0033044163,0.005303208],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004382572,0.000038532005,0.00011633683,0.0036516665,0.00003542747,0.00009441093,0.0029987541,0.000049615035,0.00033071576,0.055244643,0.38549048,0.5519056],"study_design_scores_gemma":[0.0000070043056,0.0000096918975,0.00055649836,0.002373192,0.0000101549385,0.00014883163,0.0012561898,0.000007999396,0.00007880708,0.0032632186,0.9922801,0.000008192893],"about_ca_topic_score_codex":0.01024659,"about_ca_topic_score_gemma":0.0231615,"teacher_disagreement_score":0.02291342,"about_ca_system_score_codex":0.00260716,"about_ca_system_score_gemma":0.0043962146,"threshold_uncertainty_score":0.07665306},"labels":[],"label_agreement":null},{"id":"W2995512948","doi":"10.7202/1065250ar","title":"REVOLUTIONS PER MINUTE OR THE PET SHOP BOYS FOREVER","year":2019,"lang":"en","type":"article","venue":"Surfaces","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":12,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Art","score_opus":0.03225392988680458,"score_gpt":0.21664713949597766,"score_spread":0.18439320960917308,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2995512948","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03261724,0.00878336,0.0006826636,0.03757122,0.0076453234,0.00002419057,0.0006852315,0.00024094204,0.9117499],"genre_scores_gemma":[0.33866027,0.0029495312,0.00044688754,0.00990191,0.0027529434,0.00004021965,0.00026434695,0.00019508647,0.64478886],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99950933,0.00012306524,0.000019901123,0.00008132712,0.00013244843,0.00013383802],"domain_scores_gemma":[0.99945503,0.00013648662,0.00010756814,0.00008074696,0.00006432639,0.0001557561],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00045536886,0.0002993628,0.00014568395,0.00052912557,0.00202855,0.0026724862,0.0002750952,0.0011794177,0.05528371],"category_scores_gemma":[0.0019803888,0.00015440371,0.000169429,0.00056234346,0.0014115088,0.0025257885,0.0012975576,0.0019355705,0.011376099],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003597635,0.00007233186,0.0027969945,0.00018176825,0.000015559513,0.00022342605,0.01167156,0.000057951474,0.001520071,0.28940922,0.58737135,0.10631997],"study_design_scores_gemma":[0.0000070318397,0.000034634482,0.00483464,0.000042218373,0.0000026937848,0.00013665856,0.0028475672,0.000020733527,0.00023200052,0.0028846317,0.98894995,0.000007218628],"about_ca_topic_score_codex":0.0029349476,"about_ca_topic_score_gemma":0.0100035975,"teacher_disagreement_score":0.05528371,"about_ca_system_score_codex":0.00076819083,"about_ca_system_score_gemma":0.00033449664,"threshold_uncertainty_score":0.18494242},"labels":[],"label_agreement":null},{"id":"W2995743653","doi":"10.25071/1708-6701.40364","title":"They Shot, He Scored: The Life and Music of Eldon Rathburn – by James K. Wright (Book review)","year":2019,"lang":"en","type":"article","venue":"CAML Review / Revue de l ACBM","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Wright; Shot (pellet); Art; Art history; Chemistry","score_opus":0.021705942438179353,"score_gpt":0.21554213936039474,"score_spread":0.19383619692221538,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2995743653","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00018243576,0.91253704,0.0001570617,0.03555307,0.024963917,0.000013333868,0.00004032463,0.00002783648,0.026524922],"genre_scores_gemma":[0.0046578855,0.71265453,0.00043879473,0.03233599,0.016309155,0.000037245016,0.0000991165,0.00007995521,0.23338738],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995714,0.00010022505,0.00002556269,0.000051326973,0.00020855911,0.000042855117],"domain_scores_gemma":[0.9993131,0.00025713586,0.00006192207,0.000023494831,0.00025085566,0.00009343767],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012189687,0.0005810994,0.0004684205,0.0015028435,0.0011237785,0.0025111157,0.0007739722,0.0017539138,0.019572243],"category_scores_gemma":[0.0026842784,0.00031110633,0.00022141723,0.0013072422,0.0016426475,0.0027305903,0.0012043278,0.0036710647,0.011749063],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014979085,0.000004344044,0.000033318396,0.00036840417,0.0000062439804,0.000028716255,0.00014942753,0.000013798525,0.000105343555,0.0038556987,0.9073047,0.08811502],"study_design_scores_gemma":[0.000002581537,0.000005379508,0.00027257213,0.00053597114,0.000003595503,0.00010693936,0.00012187297,0.0000033341687,0.000035078065,0.00046601516,0.998442,0.0000046127384],"about_ca_topic_score_codex":0.013201908,"about_ca_topic_score_gemma":0.042482965,"teacher_disagreement_score":0.019572243,"about_ca_system_score_codex":0.0016170408,"about_ca_system_score_gemma":0.0019553904,"threshold_uncertainty_score":0.06547564},"labels":[],"label_agreement":null},{"id":"W2996797135","doi":"10.1558/jwpm.40174","title":"Currents and Contradictions in the Ethnomusicology of Popular Music","year":2019,"lang":"en","type":"article","venue":"Journal of World Popular Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Memorial University of Newfoundland","funders":"","keywords":"Ethnomusicology; Musicology; Popular music; Music history; Sociology; Aesthetics; Politics; Folk music; Social science; Musical; Music education; Media studies; Art; Literature; Law; Political science; Pedagogy","score_opus":0.04730295397076035,"score_gpt":0.23678956103663482,"score_spread":0.18948660706587447,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2996797135","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.42991897,0.098533876,0.011654876,0.2439938,0.002092005,0.00011484496,0.000071648945,0.00007304844,0.21354698],"genre_scores_gemma":[0.97855556,0.012025664,0.0017059548,0.0044508963,0.0008496118,0.00008940805,0.000015706612,0.00006198226,0.0022452641],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9542857,0.0357057,0.0011319907,0.0031353934,0.0040917094,0.0016495534],"domain_scores_gemma":[0.9365197,0.05570405,0.0021649457,0.0026762094,0.0019315836,0.0010035383],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.049918752,0.00048800735,0.00095572695,0.010095075,0.02039691,0.029857485,0.0023847122,0.005095371,0.0024532322],"category_scores_gemma":[0.037676696,0.0009433949,0.00046682006,0.008987718,0.15022257,0.027228845,0.01397426,0.0075063948,0.00024467005],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002432285,0.000029120496,0.001558992,0.00022590856,0.0000112711505,0.0002568269,0.6367616,0.00006089792,0.0001823953,0.34445515,0.0010588692,0.015374708],"study_design_scores_gemma":[0.00001664963,0.00003715749,0.0059804725,0.0016381425,0.000020390706,0.0003925637,0.7149254,0.00028031753,0.00026313827,0.17969261,0.09670469,0.000048459915],"about_ca_topic_score_codex":0.014088747,"about_ca_topic_score_gemma":0.023270931,"teacher_disagreement_score":0.049918752,"about_ca_system_score_codex":0.01920316,"about_ca_system_score_gemma":0.008924284,"threshold_uncertainty_score":0.26399875},"labels":[],"label_agreement":null},{"id":"W2997095508","doi":"10.1007/978-3-030-28876-1_6","title":"Feel the Noise: The Promotional Allure of Punk Fanzines","year":2019,"lang":"en","type":"book-chapter","venue":"Palgrave studies in the history of subcultures and popular music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Punk; Social media; Media studies; Slang; Sociology; Reading (process); Promotion (chess); Advertising; Visual arts; Art; Political science; Business; Art history; Law","score_opus":0.10408752845786629,"score_gpt":0.24469116534915272,"score_spread":0.14060363689128644,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2997095508","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.062215954,0.0058158627,0.000584874,0.028350836,0.001726641,0.00002432823,0.000039658218,0.00008731988,0.90115446],"genre_scores_gemma":[0.6913081,0.0015768451,0.00031482373,0.005047225,0.00036773452,0.000030691674,0.000021125827,0.00013665111,0.30119684],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9979773,0.0009310481,0.000025785263,0.00017668551,0.00034412992,0.0005450119],"domain_scores_gemma":[0.99910647,0.0002958194,0.000070990085,0.00008482378,0.0001447971,0.00029699336],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019914242,0.0003998276,0.00040398497,0.0008594491,0.02390069,0.01090781,0.0009261333,0.0021938079,0.012270298],"category_scores_gemma":[0.0036641646,0.00038991243,0.0001602725,0.0011205877,0.016820071,0.006248018,0.0064740865,0.0066483207,0.0016520458],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013842797,0.0001192001,0.001852918,0.0001368604,0.00000792581,0.00043637355,0.28681403,0.000064073094,0.00035238455,0.556757,0.10419141,0.049129408],"study_design_scores_gemma":[0.000018185508,0.000041842126,0.0028303296,0.00027959884,0.000007610736,0.0002708647,0.11951699,0.000083999716,0.00019813256,0.017383525,0.85934436,0.000024561525],"about_ca_topic_score_codex":0.017234264,"about_ca_topic_score_gemma":0.05475409,"teacher_disagreement_score":0.02390069,"about_ca_system_score_codex":0.0046730447,"about_ca_system_score_gemma":0.0034344494,"threshold_uncertainty_score":0.04104823},"labels":[],"label_agreement":null},{"id":"W2998055788","doi":"10.3138/jrpc.2017-0056","title":"O My God: Religion in Sting’s Early Lyrics","year":2019,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Lyrics; Sting; Parallels; Art; History; Literature; Visual arts; Engineering","score_opus":0.0149639783056887,"score_gpt":0.21694958265496883,"score_spread":0.20198560434928015,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2998055788","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.44487038,0.010621182,0.003325315,0.011611489,0.00259605,0.00006261592,0.00026878764,0.00022223199,0.5264219],"genre_scores_gemma":[0.94479585,0.0014617513,0.00076815777,0.0006649868,0.0004008401,0.000015202518,0.00011895549,0.00014767726,0.05162657],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99962497,0.00017187886,0.000011366442,0.000023937333,0.000094239884,0.00007361357],"domain_scores_gemma":[0.99934524,0.00026699365,0.00007736766,0.000026703985,0.00013234916,0.00015134928],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00061366515,0.00028096698,0.00014918232,0.0013130264,0.004613602,0.002138475,0.00027734233,0.0006067693,0.00562865],"category_scores_gemma":[0.0024875149,0.00014009139,0.00009756159,0.0008779424,0.0032438089,0.0011850327,0.0010603276,0.0022051686,0.0008441512],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00020122666,0.000066108834,0.0072215283,0.00027527648,0.000011192812,0.0019440595,0.71856827,0.00024977888,0.0029169878,0.12720174,0.07695639,0.0643875],"study_design_scores_gemma":[0.000009279068,0.00009494927,0.017521936,0.0004376593,0.000006886548,0.0014646656,0.13759576,0.00029778815,0.00084420195,0.0036765565,0.83802116,0.000029189769],"about_ca_topic_score_codex":0.007040006,"about_ca_topic_score_gemma":0.02352379,"teacher_disagreement_score":0.007040006,"about_ca_system_score_codex":0.0014019555,"about_ca_system_score_gemma":0.0006131016,"threshold_uncertainty_score":0.018829703},"labels":[],"label_agreement":null},{"id":"W2998851895","doi":"10.1017/9781108296939.017","title":"Pop Goes the Internet","year":2020,"lang":"en","type":"book-chapter","venue":"Cambridge University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Spare part; Conviction; The Internet; Quarter (Canadian coin); Spare time; Active listening; History; Media studies; Art; Telecommunications; Art history; Engineering; Computer science; Humanities; Sociology; World Wide Web; Political science; Law; Communication; Archaeology; Operations management","score_opus":0.03761209796996341,"score_gpt":0.16433424883514708,"score_spread":0.12672215086518368,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2998851895","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00046398587,0.0023038883,0.0002445992,0.0027843427,0.00084670045,0.000009950287,0.00010240685,0.0001581844,0.993086],"genre_scores_gemma":[0.00625224,0.0022704108,0.00020596564,0.0024637263,0.0003572767,0.00001920971,0.00010889146,0.00018809483,0.9881342],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997782,0.000040333325,0.0000050589247,0.00003195242,0.00009805714,0.00004641872],"domain_scores_gemma":[0.99971586,0.000060004993,0.000009573507,0.00005189138,0.00007665334,0.00008601271],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000250622,0.00070370716,0.00023298674,0.0015326454,0.0042659612,0.008339114,0.0005899376,0.0016026961,0.22868907],"category_scores_gemma":[0.0010827009,0.0002743508,0.0003050376,0.0013443942,0.0017038056,0.007988573,0.00361816,0.002250168,0.12231525],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013232022,0.000023458448,0.0001650161,0.000100624995,0.0000032936985,0.00018864633,0.0019127338,0.000035208217,0.00020228261,0.10203607,0.8089304,0.08638913],"study_design_scores_gemma":[6.2873653e-7,0.0000011993177,0.000056009903,0.0000311559,5.179338e-7,0.000030029676,0.0002940326,0.0000067174433,0.000024401454,0.0016128877,0.9979412,0.0000011100151],"about_ca_topic_score_codex":0.0046820138,"about_ca_topic_score_gemma":0.010583328,"teacher_disagreement_score":0.22868907,"about_ca_system_score_codex":0.0011539009,"about_ca_system_score_gemma":0.0011153878,"threshold_uncertainty_score":0.7650412},"labels":[],"label_agreement":null},{"id":"W2998972200","doi":"","title":"A Life in Music from the Soviet Union to Canada: Memoirs of a Madrigal Ensemble Singer","year":2019,"lang":"en","type":"book","venue":"University of North Texas Digital Library (University of North Texas)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Memoir; Soviet union; Art; Art history; Political science; Law; Politics","score_opus":0.01374568898719268,"score_gpt":0.13736012847174595,"score_spread":0.12361443948455327,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2998972200","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10929821,0.072201185,0.0007074137,0.07234898,0.008550333,0.000053100244,0.00038400307,0.0001201552,0.7363366],"genre_scores_gemma":[0.6163246,0.038294945,0.00052737846,0.009992869,0.001126322,0.000038719445,0.00020162686,0.00019006412,0.33330348],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99922526,0.00009497899,0.000011315983,0.00007683751,0.00029864113,0.00029299897],"domain_scores_gemma":[0.9994784,0.000099184675,0.00002119093,0.000013999753,0.00019329472,0.00019394302],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005680713,0.00060377066,0.00039468866,0.0015601997,0.040042583,0.008713423,0.0010172423,0.0015755481,0.005805812],"category_scores_gemma":[0.0014313543,0.00019908402,0.00020698634,0.002627742,0.010674846,0.0018278646,0.0027845693,0.0037675197,0.00061080826],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000896708,0.00004155161,0.0024270867,0.00020479238,0.000018626306,0.0015861935,0.39016643,0.00026535892,0.0007418981,0.18813384,0.3565697,0.059754916],"study_design_scores_gemma":[0.0000037441405,0.000009963125,0.0029092443,0.0002460702,0.000008133682,0.0002613819,0.12946318,0.00006320028,0.00014324582,0.0015519601,0.86532307,0.00001671137],"about_ca_topic_score_codex":0.9524999,"about_ca_topic_score_gemma":0.9817691,"teacher_disagreement_score":0.05253525,"about_ca_system_score_codex":0.05253525,"about_ca_system_score_gemma":0.04871397,"threshold_uncertainty_score":0.3811717},"labels":[],"label_agreement":null},{"id":"W3001273882","doi":"10.1177/0008429819891965","title":"The Rebirth of Improvisation as a Site for Religious Studies Research","year":2020,"lang":"en","type":"article","venue":"Studies in Religion/Sciences Religieuses","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Improvisation; Reductionism; Spirituality; Sacred music; Islam; Art; Aesthetics; Visual arts; Sociology; Literature; Philosophy; Epistemology; Theology; Musical","score_opus":0.40769567335880524,"score_gpt":0.4584903673323043,"score_spread":0.05079469397349906,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3001273882","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.055713486,0.064928874,0.040005434,0.6270208,0.008575287,0.00013542832,0.00009764942,0.00016690693,0.2033562],"genre_scores_gemma":[0.93268704,0.011934436,0.013104389,0.021346785,0.0051699304,0.00034847693,0.0000547596,0.00016258917,0.015191611],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.95643836,0.035051573,0.0009837933,0.0028826664,0.0034856887,0.001157839],"domain_scores_gemma":[0.9185684,0.058497816,0.002823202,0.01126039,0.004081657,0.004768533],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.05478974,0.0004988508,0.0013887594,0.0034194898,0.010388638,0.022382632,0.004044169,0.00735513,0.00434757],"category_scores_gemma":[0.03438659,0.00045626698,0.00055554876,0.0026990538,0.15325911,0.02683879,0.017155584,0.020156901,0.00078974327],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013270412,0.000014350679,0.00015107788,0.000069860864,0.000003101055,0.000036462166,0.02440208,0.000026206373,0.000075935146,0.96697605,0.001625721,0.006606008],"study_design_scores_gemma":[0.000032496613,0.00008522305,0.0006114615,0.0010656164,0.000009974265,0.00023070276,0.06436183,0.00040016693,0.00029374415,0.7215027,0.21136782,0.000038256785],"about_ca_topic_score_codex":0.004038866,"about_ca_topic_score_gemma":0.0039560106,"teacher_disagreement_score":0.05478974,"about_ca_system_score_codex":0.0091379,"about_ca_system_score_gemma":0.009453318,"threshold_uncertainty_score":0.28975928},"labels":[],"label_agreement":null},{"id":"W3004160254","doi":"10.23740/tid120195","title":"Music Geographies and Iconic Music Legends: Mapping Céline Dion’s Outstanding Contribution to Music and Global Popular Music Culture","year":2019,"lang":"en","type":"article","venue":"Territorial Identity and Development","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"Getty Images","keywords":"Lyrics; Music Geography; Popular music; Musicology; Music; Music history; Representation (politics); Identity (music); Visual arts; Music industry; Music education; Sociology; Literature; Art; Aesthetics; Political science","score_opus":0.03255388263470895,"score_gpt":0.22755571344349615,"score_spread":0.1950018308087872,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3004160254","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9292918,0.001985398,0.00082322396,0.0011035647,0.000071371636,0.000039832983,0.00042048606,0.000025769345,0.06623855],"genre_scores_gemma":[0.9910913,0.000753647,0.000945506,0.00007974965,0.000016589574,0.000019085815,0.00021526862,0.000017589906,0.006861298],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997125,0.000054972777,0.000009338533,0.0000667632,0.00007462122,0.00008182058],"domain_scores_gemma":[0.9994566,0.00018833132,0.000106368236,0.00003728169,0.000118342075,0.000093146606],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00044816133,0.00024534375,0.00018721263,0.0048001236,0.0028270734,0.0032259782,0.00051495933,0.0005275802,0.0037868172],"category_scores_gemma":[0.0010902253,0.00014241529,0.00015681046,0.0066938302,0.0025770955,0.0013702674,0.0022158963,0.00055593305,0.00027926365],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003138929,0.000063636464,0.28775284,0.00062259956,0.00003655077,0.0033699197,0.45404616,0.00039975284,0.0075311675,0.039343968,0.009152274,0.19736731],"study_design_scores_gemma":[0.000005415228,0.00003825291,0.42133102,0.000259938,0.000021666614,0.0010400417,0.47546726,0.0005858198,0.0007150249,0.001447842,0.09904561,0.000042205684],"about_ca_topic_score_codex":0.14558657,"about_ca_topic_score_gemma":0.4515137,"teacher_disagreement_score":0.85441345,"about_ca_system_score_codex":0.0047042985,"about_ca_system_score_gemma":0.0023057393,"threshold_uncertainty_score":0.2894783},"labels":[],"label_agreement":null},{"id":"W3004312060","doi":"","title":"Hip Hop and Ya Don't Stop: Using Hip Hop to Engage Marginalized Youth in Contemporary Urban Classrooms in Canada","year":2014,"lang":"en","type":"dissertation","venue":"YorkSpace (York University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Qualitative research; Pedagogy; Psychology; Sociology; Social science","score_opus":0.0477405069934519,"score_gpt":0.1946547050954274,"score_spread":0.1469141981019755,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3004312060","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.98967755,0.0007861351,0.00032770468,0.0019307787,0.00003718262,0.000057743884,0.00006374554,0.000012183535,0.007106865],"genre_scores_gemma":[0.99469936,0.000975914,0.00044583873,0.00033432725,0.000005688166,0.000024322695,0.00003390011,0.000010407942,0.003470153],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.997755,0.0005580532,0.00005525554,0.00018303034,0.00045830954,0.0009903372],"domain_scores_gemma":[0.99808466,0.00028334899,0.00015066042,0.000045311328,0.00038564944,0.0010504205],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002002482,0.0004491129,0.0005265644,0.0012268429,0.022516409,0.004820922,0.0018167564,0.00082480704,0.0020032313],"category_scores_gemma":[0.002396252,0.00035460855,0.0002977912,0.0016024122,0.009721702,0.0011690948,0.004815014,0.0017343466,0.00015914057],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000048087986,0.00011904467,0.031239176,0.00017935465,0.000010590582,0.00092206534,0.9373995,0.00008461286,0.00079023896,0.0021298954,0.0024494356,0.024628025],"study_design_scores_gemma":[0.0000024613923,0.000036377456,0.014026424,0.00011807615,0.000008088032,0.000084128085,0.97532254,0.000044077802,0.00016833955,0.000101316364,0.010075169,0.000012977995],"about_ca_topic_score_codex":0.93900996,"about_ca_topic_score_gemma":0.9879121,"teacher_disagreement_score":0.060990036,"about_ca_system_score_codex":0.039086934,"about_ca_system_score_gemma":0.084232576,"threshold_uncertainty_score":0.28359693},"labels":[],"label_agreement":null},{"id":"W3006026305","doi":"10.22215/etd/2014-10570","title":"Jazz À La Creole: The Music of the French Creoles of Louisiana and Their Contribution to the Development of Early Jazz at the Turn of the Twentieth Century","year":2014,"lang":"en","type":"dissertation","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"Tulane University","keywords":"Jazz; Creole language; Creolization; Jazz dance; Art; Colonialism; Dance; History; Transculturation; Musical; Visual arts; Art history; Literature; Anthropology; Linguistics; Sociology; Concert dance; Archaeology; Philosophy","score_opus":0.011367147195551824,"score_gpt":0.193430710771419,"score_spread":0.18206356357586717,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3006026305","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.83501697,0.016600499,0.0005397136,0.006321959,0.00010201415,0.00002633794,0.00011905959,0.000049742677,0.14122371],"genre_scores_gemma":[0.96307856,0.0031313247,0.00024384374,0.00033902138,0.00005084988,0.000008572215,0.000029557295,0.000014703401,0.033103548],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9997204,0.00011938093,0.0000063510606,0.000036541976,0.00004630599,0.00007097743],"domain_scores_gemma":[0.9996517,0.00008314666,0.000047432866,0.000009756283,0.00013253729,0.00007552518],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005307867,0.0003459817,0.000109227,0.0013421049,0.0040426753,0.002678116,0.00029576107,0.0006208532,0.004241891],"category_scores_gemma":[0.0008262852,0.00008540822,0.0001121929,0.00054613303,0.0025339962,0.0007268005,0.0010101344,0.00088035833,0.00043005848],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003130798,0.0001292716,0.053759802,0.00036423458,0.000056328223,0.0030261306,0.55447066,0.00038010365,0.0150224,0.087688476,0.012562882,0.27222666],"study_design_scores_gemma":[0.0000101683745,0.00012160746,0.1773044,0.0005224616,0.000017190228,0.000939754,0.14308685,0.00022195258,0.0016507892,0.001174366,0.6748958,0.000054679953],"about_ca_topic_score_codex":0.22068204,"about_ca_topic_score_gemma":0.45229712,"teacher_disagreement_score":0.22068204,"about_ca_system_score_codex":0.007846232,"about_ca_system_score_gemma":0.0023685936,"threshold_uncertainty_score":0.43879503},"labels":[],"label_agreement":null},{"id":"W3006035227","doi":"10.32992/erlacs.10605","title":"Review of Tropical Riffs: Latin America and the Politics of Jazz","year":2020,"lang":"en","type":"article","venue":"European Review of Latin American and Caribbean Studies | Revista Europea de Estudios Latinoamericanos y del Caribe","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Jazz; Latin Americans; Politics; History; Geography; Humanities; Political science; Art history; Art; Law","score_opus":0.035410057593203426,"score_gpt":0.2516692935579859,"score_spread":0.21625923596478247,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3006035227","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00005109405,0.99475163,0.0000064828023,0.0037985232,0.00059188093,6.963703e-7,0.000017170225,0.0000012954567,0.00078129955],"genre_scores_gemma":[0.0013451073,0.9952957,0.00001678533,0.0014440642,0.0013050365,0.0000037008006,0.000027445984,0.0000023998691,0.0005598289],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991334,0.00033121015,0.00010742734,0.00008447732,0.00022496539,0.00011852639],"domain_scores_gemma":[0.9966434,0.0017566844,0.0005237256,0.000071298244,0.000753728,0.0002511889],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022076964,0.0010358449,0.0016085412,0.00413218,0.001098841,0.0040632007,0.00096218457,0.0018346424,0.009208639],"category_scores_gemma":[0.0060308836,0.00044136253,0.000494768,0.0108417375,0.0024836478,0.0034192607,0.0018652927,0.00236937,0.001500122],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013903686,0.000021973057,0.0010944714,0.023385882,0.00017634654,0.00018573119,0.0012013352,0.00020433664,0.00018221632,0.014993999,0.6439607,0.31445405],"study_design_scores_gemma":[0.000016074948,0.000014879167,0.0043746554,0.016881617,0.000073082934,0.00017820901,0.0010661494,0.000013614377,0.000024773473,0.0016403409,0.9757026,0.000014024055],"about_ca_topic_score_codex":0.019083511,"about_ca_topic_score_gemma":0.036296677,"teacher_disagreement_score":0.019083511,"about_ca_system_score_codex":0.0031161949,"about_ca_system_score_gemma":0.007122679,"threshold_uncertainty_score":0.037944853},"labels":[],"label_agreement":null},{"id":"W3007282764","doi":"10.25071/1913-9632.39487","title":"Contested Images: Debates on Nudity, Sexism, and Porn in The Body Politic, 1971–1987","year":2019,"lang":"en","type":"article","venue":"Left History An Interdisciplinary Journal of Historical Inquiry and Debate","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Pornography; Objectification; Ambivalence; Body politic; Lesbian; Sociology; Gender studies; Politics; Newspaper; Aesthetics; Media studies; Political science; Social psychology; Law; Art; Psychology","score_opus":0.05552387084653618,"score_gpt":0.28700236409686175,"score_spread":0.23147849325032557,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3007282764","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.46730354,0.026710542,0.0008646311,0.049891703,0.0015887523,0.00007200437,0.00017798066,0.00003754935,0.4533533],"genre_scores_gemma":[0.96668,0.0044717942,0.00011390619,0.0020989112,0.00026051342,0.00001645381,0.000034382734,0.00004181943,0.026282195],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9976476,0.0007353487,0.000048576025,0.00022380418,0.00070721767,0.00063747336],"domain_scores_gemma":[0.9977574,0.0012089218,0.00021734447,0.00008605914,0.0004039595,0.00032640592],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0027500626,0.00043846128,0.00044392186,0.0021416263,0.028272247,0.009196287,0.00083266204,0.0024985324,0.004780995],"category_scores_gemma":[0.0059363768,0.00044734785,0.00013377237,0.0031843083,0.04659564,0.003310687,0.004249104,0.00523711,0.00035097005],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000093581155,0.00003327339,0.0016238759,0.000116861935,0.0000041573994,0.0004546895,0.8159999,0.00003925723,0.00051353266,0.15111807,0.010832305,0.019170396],"study_design_scores_gemma":[0.000011240882,0.000025443525,0.010909493,0.00036013106,0.000009235868,0.00021269174,0.52437264,0.000054769866,0.00091424416,0.004254774,0.4588531,0.000022215912],"about_ca_topic_score_codex":0.6108358,"about_ca_topic_score_gemma":0.71285856,"teacher_disagreement_score":0.6108358,"about_ca_system_score_codex":0.053321097,"about_ca_system_score_gemma":0.019592777,"threshold_uncertainty_score":0.78291214},"labels":[],"label_agreement":null},{"id":"W3007350735","doi":"10.1525/jpms.2020.32.1.57","title":"Refusing the Interrogation","year":2020,"lang":"en","type":"article","venue":"Journal of Popular Music Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Terrorism; CONTEST; Narrative; Geopolitics; Politics; Political dissent; Interrogation; Dissent; Ethnic group; Sociology; Political science; State (computer science); Gender studies; Criminology; Media studies; Law; Art; Literature","score_opus":0.24034332838381417,"score_gpt":0.2845728079284028,"score_spread":0.04422947954458861,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3007350735","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.049133874,0.0051069753,0.037155073,0.40245706,0.021748371,0.00028991277,0.00037006926,0.0004155495,0.4833231],"genre_scores_gemma":[0.7177244,0.0017234961,0.010889263,0.14134215,0.0072737327,0.0006387125,0.00021428004,0.00066798815,0.119525954],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.972935,0.018809332,0.0009110285,0.0024428212,0.0031007212,0.0018011187],"domain_scores_gemma":[0.97614145,0.014747779,0.0010276652,0.0028555256,0.004496036,0.0007316565],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.021062413,0.0008648409,0.0008273366,0.001326208,0.01013308,0.007963845,0.003254195,0.009381726,0.011479631],"category_scores_gemma":[0.051416002,0.00052882126,0.00082090584,0.0009880917,0.022048213,0.011378389,0.009349996,0.014268173,0.004712696],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009361075,0.000030749292,0.0004471916,0.0001608797,0.000018149818,0.00081692525,0.17475772,0.00007288181,0.0007669657,0.72953874,0.07888933,0.014406834],"study_design_scores_gemma":[0.000016277347,0.000026993488,0.00019473735,0.00039522396,0.000016279257,0.00048629512,0.05991875,0.0003465337,0.0008420046,0.079261824,0.858462,0.000033163382],"about_ca_topic_score_codex":0.0035469031,"about_ca_topic_score_gemma":0.0029242283,"teacher_disagreement_score":0.021062413,"about_ca_system_score_codex":0.004227346,"about_ca_system_score_gemma":0.0033429672,"threshold_uncertainty_score":0.111390054},"labels":[],"label_agreement":null},{"id":"W3008128207","doi":"10.1080/03007766.2019.1687679","title":"Introduction to “Woodstock University”: The Idea of Woodstock","year":2020,"lang":"en","type":"article","venue":"Popular Music & Society","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"The arts; Visual arts; Popular music; Event (particle physics); History; Media studies; Art; Sociology","score_opus":0.03237680168163842,"score_gpt":0.18984387669880484,"score_spread":0.15746707501716642,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3008128207","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0025661066,0.06579531,0.0022602226,0.20345804,0.30108562,0.000081869875,0.00028886573,0.0003231424,0.42414078],"genre_scores_gemma":[0.048130795,0.060738284,0.0020702323,0.0860379,0.16364053,0.0001887039,0.0003563929,0.0007791835,0.63805795],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987919,0.00039932012,0.00005951813,0.00018399749,0.00030732513,0.00025794757],"domain_scores_gemma":[0.9988066,0.00030700042,0.00008029064,0.00006367907,0.00020931617,0.0005331783],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012812115,0.0009652458,0.00044640386,0.0012845614,0.007057835,0.009289114,0.0010758943,0.0036946938,0.04196624],"category_scores_gemma":[0.0022511317,0.00041043633,0.00037995767,0.001786636,0.0041803913,0.007951569,0.004440976,0.008345974,0.010172697],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011431687,0.000012798389,0.00010265124,0.00007751191,0.0000012823356,0.00005647388,0.001467568,0.000021743612,0.0000988462,0.056947958,0.92504674,0.016154954],"study_design_scores_gemma":[6.170119e-7,0.0000043830605,0.0001680222,0.000055518234,4.790958e-7,0.000027770911,0.0006155268,0.0000062128474,0.000015748177,0.00094268686,0.9981597,0.0000033075044],"about_ca_topic_score_codex":0.009647483,"about_ca_topic_score_gemma":0.028465841,"teacher_disagreement_score":0.04196624,"about_ca_system_score_codex":0.0030691992,"about_ca_system_score_gemma":0.0028752978,"threshold_uncertainty_score":0.14039105},"labels":[],"label_agreement":null},{"id":"W3010264268","doi":"","title":"The Festival for Musicologists and the Meanings of its Success: 2000 Toronto Music Intersection","year":2001,"lang":"en","type":"article","venue":"Music and Culture","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Musicology; Intersection (aeronautics); Music festival; Visual arts; Sociology; Art; Aesthetics; Geography; Cartography","score_opus":0.029709686699913685,"score_gpt":0.21817447399782303,"score_spread":0.18846478729790933,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3010264268","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.52837545,0.008621099,0.00046273172,0.0726898,0.0012064991,0.00008285269,0.0011121524,0.00009563062,0.38735375],"genre_scores_gemma":[0.93482614,0.0014330813,0.00017841815,0.001111591,0.00013696606,0.00004342761,0.00013685117,0.00006480324,0.06206874],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9972255,0.00071682816,0.00006713378,0.00024985053,0.0005428217,0.0011978139],"domain_scores_gemma":[0.99262744,0.0010191904,0.00044876253,0.0002218397,0.000864309,0.004818504],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022195599,0.0005076496,0.00053694745,0.0020573873,0.042515576,0.01691577,0.0017873786,0.0032606607,0.02018265],"category_scores_gemma":[0.0059839594,0.0006083171,0.00029926692,0.0038567372,0.020235755,0.004219806,0.0127914995,0.006431231,0.00096142944],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003659194,0.00007567814,0.021117648,0.00020900245,0.000040913026,0.0012047006,0.64079887,0.0002462449,0.00067756843,0.18609841,0.120697334,0.028467737],"study_design_scores_gemma":[0.000021519412,0.000036820376,0.056661196,0.00022979314,0.000017890377,0.00006187046,0.63485366,0.000095060444,0.00017867232,0.0032440796,0.30455872,0.000040729243],"about_ca_topic_score_codex":0.91268474,"about_ca_topic_score_gemma":0.9833903,"teacher_disagreement_score":0.10538353,"about_ca_system_score_codex":0.10538353,"about_ca_system_score_gemma":0.061975595,"threshold_uncertainty_score":0.7646146},"labels":[],"label_agreement":null},{"id":"W3012081766","doi":"10.3138/md.63.1.br8","title":"Shane Vogel, <i>Stolen Time: Black Fad Performance and the Calypso Craze</i>","year":2020,"lang":"en","type":"article","venue":"Modern Drama","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Appropriation; Dance; Art; Politics; Visual arts; Counterfeit; Performance art; Art history; History; Political science; Law; Archaeology","score_opus":0.01744598254006636,"score_gpt":0.17472470597293568,"score_spread":0.15727872343286933,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3012081766","genre_codex":"commentary","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.049444903,0.06469684,0.0014789279,0.50575745,0.008301004,0.00006372942,0.0002181633,0.00011173348,0.36992726],"genre_scores_gemma":[0.5262651,0.034015715,0.0016629114,0.09601119,0.0027086453,0.00012877966,0.00010890267,0.00034164454,0.3387571],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994653,0.00023567992,0.000011507244,0.00005742533,0.00011597359,0.00011411332],"domain_scores_gemma":[0.99953234,0.0001962594,0.000044222277,0.000015821623,0.00008472296,0.0001266351],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006327601,0.00058933714,0.00015161681,0.00070908054,0.0080186175,0.0051302304,0.000741331,0.0022660927,0.0072300793],"category_scores_gemma":[0.001559803,0.00023531256,0.00014282872,0.0005330866,0.005905347,0.0034940238,0.0019898403,0.004176233,0.0010365912],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006932376,0.00004307958,0.002632457,0.00020659415,0.000016867714,0.0005031696,0.13681354,0.00009917753,0.0008933805,0.14814225,0.67095757,0.039622657],"study_design_scores_gemma":[0.000008770645,0.000018047343,0.003107279,0.00033759992,0.000009173675,0.00020401903,0.09595335,0.00007892452,0.00055756315,0.00807509,0.89162487,0.000025236379],"about_ca_topic_score_codex":0.064007826,"about_ca_topic_score_gemma":0.19636513,"teacher_disagreement_score":0.064007826,"about_ca_system_score_codex":0.0023449499,"about_ca_system_score_gemma":0.0022783873,"threshold_uncertainty_score":0.12727052},"labels":[],"label_agreement":null},{"id":"W3013848836","doi":"10.7551/mitpress/12392.001.0001","title":"Art and Tradition in a Time of Uprisings","year":2020,"lang":"en","type":"book","venue":"The MIT Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Indigenous; Subversion; Queer; Aesthetics; Politics; Dance; Aotearoa; Appropriation; Sociology; Art; Media studies; Gender studies; Visual arts; Political science; Law","score_opus":0.04015596076308021,"score_gpt":0.18504131862551157,"score_spread":0.14488535786243137,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3013848836","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16270822,0.033958506,0.0017812537,0.06890828,0.005647736,0.000024147086,0.00003700197,0.00009068903,0.72684413],"genre_scores_gemma":[0.9134449,0.004216254,0.0005711428,0.0050857347,0.0014684593,0.000026466141,0.000016668475,0.000093247756,0.07507721],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982339,0.000785427,0.000038761224,0.00019814608,0.00036168267,0.00038209796],"domain_scores_gemma":[0.9982742,0.00085047766,0.00017811132,0.00018585549,0.0001699411,0.0003413737],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016663055,0.00032187015,0.00028057455,0.0014740609,0.015672592,0.012462123,0.0007777665,0.0026051162,0.0046564755],"category_scores_gemma":[0.0029668657,0.00022084334,0.00021047187,0.001340404,0.03534117,0.00959104,0.006781946,0.006000364,0.00045909797],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000031500193,0.00002712572,0.0008432281,0.000047682228,0.0000051953984,0.0005677356,0.4578385,0.000041968924,0.00026013472,0.5021927,0.022529755,0.015614613],"study_design_scores_gemma":[0.0000075630333,0.000029133616,0.0013516275,0.00023957701,0.0000060247517,0.0004523719,0.23585601,0.00005175147,0.0002055086,0.043746017,0.7180413,0.000013130135],"about_ca_topic_score_codex":0.007839553,"about_ca_topic_score_gemma":0.026232222,"teacher_disagreement_score":0.015672592,"about_ca_system_score_codex":0.0071191504,"about_ca_system_score_gemma":0.0026481296,"threshold_uncertainty_score":0.051653266},"labels":[],"label_agreement":null},{"id":"W3014707524","doi":"10.4324/9780429198380","title":"The Tragic Odes of Jerry Garcia and the Grateful Dead","year":2020,"lang":"en","type":"book","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":9,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Garcia; Ode; Art history; Philosophy; Art; Humanities; Literature","score_opus":0.02213693827604479,"score_gpt":0.166697333851701,"score_spread":0.1445603955756562,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3014707524","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.21578155,0.036438923,0.0020583654,0.035445195,0.005376036,0.0000499925,0.000084334075,0.000176282,0.7045893],"genre_scores_gemma":[0.8391999,0.01112692,0.00081799633,0.004115871,0.0011090206,0.000020266494,0.000044744513,0.00011223909,0.14345294],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992066,0.0002819812,0.000010996487,0.0000804895,0.00027201633,0.00014788567],"domain_scores_gemma":[0.9995221,0.00017739156,0.000077176686,0.000051396342,0.000052650514,0.00011923143],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006912602,0.00050518947,0.00026353088,0.0007313214,0.0064174677,0.005374153,0.00058092637,0.0011753282,0.002826919],"category_scores_gemma":[0.0021146284,0.00016829101,0.00020648389,0.0005391188,0.011291294,0.0025424361,0.0029743537,0.0025759267,0.00041546684],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015431942,0.00006535287,0.0023733727,0.0002992897,0.000034685843,0.0017897816,0.31649512,0.0003087217,0.0017660055,0.4310019,0.17013861,0.07557284],"study_design_scores_gemma":[0.000010704229,0.000070885944,0.00447578,0.0002578236,0.000015685566,0.0010804493,0.17711209,0.00007183276,0.0004068144,0.010315103,0.8061547,0.000028115684],"about_ca_topic_score_codex":0.008715552,"about_ca_topic_score_gemma":0.02941233,"teacher_disagreement_score":0.008715552,"about_ca_system_score_codex":0.0020524657,"about_ca_system_score_gemma":0.0014707723,"threshold_uncertainty_score":0.017329633},"labels":[],"label_agreement":null},{"id":"W3019519523","doi":"10.1093/oso/9780190847579.003.0009","title":"Young Lions and Historical Fictions 1990–2000","year":2020,"lang":"en","type":"book-chapter","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Jazz; Blues; Art history; Art; Biography; History; Genealogy","score_opus":0.05404804178224279,"score_gpt":0.18028338856242054,"score_spread":0.12623534678017775,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3019519523","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.04547399,0.06408118,0.00021865187,0.020934528,0.0027496715,0.00002707789,0.00012311841,0.000059373957,0.86633235],"genre_scores_gemma":[0.3976713,0.038468268,0.0001916898,0.005365221,0.001764952,0.000050501727,0.0002207521,0.00007755819,0.5561897],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99981695,0.00007107038,0.000005504475,0.000022428432,0.000043457963,0.00004052814],"domain_scores_gemma":[0.99963796,0.00014510727,0.000056980298,0.00001543121,0.000053185577,0.00009141534],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004256833,0.00046187945,0.00014097958,0.0018876825,0.005385587,0.0035757276,0.0005168385,0.0012406021,0.014604425],"category_scores_gemma":[0.00080368796,0.00016888126,0.0000734005,0.0020264322,0.0035989627,0.0025758396,0.0014852167,0.0017374852,0.0021329212],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009276136,0.00007715222,0.0010759269,0.00033643696,0.0000055955115,0.001121986,0.17912346,0.000092163515,0.00053033023,0.26787135,0.48391727,0.06575565],"study_design_scores_gemma":[0.0000020211014,0.000009340651,0.0009097678,0.00021629292,0.0000011241231,0.00016588309,0.012307086,0.000017750135,0.000079588535,0.0010611274,0.98522735,0.000002771739],"about_ca_topic_score_codex":0.027369043,"about_ca_topic_score_gemma":0.08081053,"teacher_disagreement_score":0.027369043,"about_ca_system_score_codex":0.0077680196,"about_ca_system_score_gemma":0.0015545238,"threshold_uncertainty_score":0.0563612},"labels":[],"label_agreement":null},{"id":"W3021156250","doi":"10.1386/cc_00015_1","title":"Learning punk through its products: Combining fashion merchandising practices and pedagogy to develop a subculture of resistance","year":2019,"lang":"en","type":"article","venue":"Clothing Cultures","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Punk; Ethos; Subculture (biology); Sociology; Clothing; Perspective (graphical); Consumption (sociology); Resistance (ecology); Aesthetics; Media studies; Advertising; Visual arts; Art; Social science; Political science; Law","score_opus":0.048867099638483895,"score_gpt":0.30459351010157554,"score_spread":0.25572641046309164,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3021156250","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8600833,0.0003021784,0.019070718,0.0016565869,0.00008340052,0.0002502599,0.000013622853,0.00014070826,0.118399255],"genre_scores_gemma":[0.9774374,0.00026319324,0.011635793,0.00022729908,0.000011738113,0.000096172924,0.000015589869,0.00008708027,0.010225704],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99554694,0.0029267278,0.00008929966,0.00047896357,0.00048965344,0.00046840438],"domain_scores_gemma":[0.9974208,0.0012999447,0.00015525299,0.00043162084,0.00019581658,0.0004965425],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0048739603,0.00056995463,0.00047090295,0.0013107855,0.006589085,0.008007178,0.0017697394,0.00085621467,0.0026781491],"category_scores_gemma":[0.0049759625,0.00031712095,0.00042756295,0.00084222294,0.013545287,0.003987882,0.007408177,0.0023823404,0.00044311924],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000053418244,0.00063899346,0.005729376,0.00026392163,0.00001447654,0.0007533385,0.8805821,0.00037616075,0.0040174606,0.029187696,0.0014554365,0.076927684],"study_design_scores_gemma":[0.000033276905,0.0007234794,0.014256328,0.00051952864,0.000035636007,0.0012783166,0.79744685,0.0018510466,0.0044590198,0.020401713,0.15892692,0.00006788669],"about_ca_topic_score_codex":0.0050344174,"about_ca_topic_score_gemma":0.014548761,"teacher_disagreement_score":0.008007178,"about_ca_system_score_codex":0.0033049155,"about_ca_system_score_gemma":0.0043100505,"threshold_uncertainty_score":0.025776267},"labels":[],"label_agreement":null},{"id":"W3024947208","doi":"10.1525/jpms.2018.200015","title":"Promoting Social Change Through Audio Repetition1","year":2018,"lang":"en","type":"article","venue":"Journal of Popular Music Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Mainstream; Dominance (genetics); Repetition (rhetorical device); Popular music; White (mutation); Visual arts; Quarter (Canadian coin); Period (music); Social change; History; Aesthetics; Art; Sociology; Media studies; Political science; Linguistics; Law","score_opus":0.24659080030514166,"score_gpt":0.32154118641730833,"score_spread":0.07495038611216667,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3024947208","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.50661314,0.005902089,0.026614854,0.023112686,0.00093844923,0.00078279397,0.00024131741,0.0014947474,0.43429992],"genre_scores_gemma":[0.9455298,0.002328533,0.023086892,0.0017754576,0.0008399772,0.0005214609,0.000089975256,0.00013242406,0.025695482],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9971909,0.0014813057,0.00007082209,0.00022125035,0.0007126441,0.0003230799],"domain_scores_gemma":[0.99389714,0.0039533777,0.0007226435,0.00056174595,0.00034516398,0.00052002777],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0031983152,0.00039030478,0.00016397925,0.001854817,0.0029465044,0.002595792,0.0013599104,0.00097240956,0.011937908],"category_scores_gemma":[0.008281058,0.00018584298,0.0002946266,0.00089645485,0.003307595,0.002204899,0.005702205,0.0009359688,0.0016963984],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00029130216,0.0012176745,0.008234503,0.00092544034,0.000040347335,0.00092607643,0.09169872,0.00037982294,0.016106907,0.03050421,0.01825109,0.83142394],"study_design_scores_gemma":[0.00033324154,0.0025071155,0.08382179,0.0015188756,0.000129822,0.0020781686,0.104899585,0.0014537419,0.013146541,0.04665336,0.7432789,0.00017893939],"about_ca_topic_score_codex":0.0017252908,"about_ca_topic_score_gemma":0.007139554,"teacher_disagreement_score":0.011937908,"about_ca_system_score_codex":0.00092521386,"about_ca_system_score_gemma":0.0015846412,"threshold_uncertainty_score":0.039936304},"labels":[],"label_agreement":null},{"id":"W3028914230","doi":"10.7202/1069080ar","title":"Is The Honeymoon Over? The Tumultuous Love Affair Between the Museum and the Arts of Sound","year":2020,"lang":"en","type":"article","venue":"Circuit Musiques contemporaines","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Sound (geography); The arts; Agency (philosophy); Visual arts; Honeymoon; Project commissioning; Sound art; Art; Sociology; History; Publishing; Media studies; Performance art; Art history; Political science; Social science; Literature; Law; Acoustics","score_opus":0.07686366421210822,"score_gpt":0.23759818991992915,"score_spread":0.16073452570782093,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3028914230","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.13361923,0.028443718,0.0045355274,0.106105514,0.004289254,0.000031485262,0.00005097371,0.00014762892,0.7227768],"genre_scores_gemma":[0.9052856,0.004570544,0.0006978815,0.004912484,0.0010430007,0.000022355858,0.0000122169595,0.00009589737,0.083359964],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9971762,0.0015309737,0.000051508912,0.0002544271,0.0005994993,0.00038748022],"domain_scores_gemma":[0.99829656,0.00085986004,0.00015124094,0.0002131434,0.00014053352,0.00033863264],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021741942,0.00028213626,0.00043091123,0.001020336,0.014086549,0.01559529,0.00089951715,0.0024461136,0.010985906],"category_scores_gemma":[0.0045628534,0.00028907406,0.00026274563,0.0010468508,0.03553655,0.008562519,0.008365942,0.0046305466,0.0010008814],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000078530706,0.00002350923,0.0015440811,0.00012380398,0.0000128864185,0.00054086646,0.22049646,0.00006279444,0.0004737295,0.7167331,0.024373561,0.035536766],"study_design_scores_gemma":[0.000012276493,0.000060806822,0.0020586138,0.00035671346,0.000008215626,0.0005968212,0.21306501,0.00007195424,0.0003118716,0.046349566,0.73707396,0.000034145465],"about_ca_topic_score_codex":0.012551644,"about_ca_topic_score_gemma":0.024316903,"teacher_disagreement_score":0.01559529,"about_ca_system_score_codex":0.0049221227,"about_ca_system_score_gemma":0.0030099314,"threshold_uncertainty_score":0.03675151},"labels":[],"label_agreement":null},{"id":"W3033158139","doi":"10.1386/punk.8.1.151_5","title":"Book Reviews","year":2019,"lang":"en","type":"article","venue":"Punk & Post Punk","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Brock University","funders":"","keywords":"Punk; Lyrics; Poetry; Art; Rhyme; Art history; Politics; Literature; Media studies; Sociology; Political science; Law","score_opus":0.016998086144379178,"score_gpt":0.19877840653266232,"score_spread":0.18178032038828315,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3033158139","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00040356215,0.111332655,0.0017758809,0.013871379,0.032773487,0.00018261757,0.004309962,0.0011934151,0.834157],"genre_scores_gemma":[0.0019691042,0.04704379,0.0011587762,0.0058107087,0.006769961,0.0000968935,0.003418944,0.0005908163,0.9331409],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988054,0.00012207055,0.000078585304,0.00022118523,0.0006696082,0.00010314545],"domain_scores_gemma":[0.9981142,0.0003427915,0.00011308517,0.00020382895,0.0009025903,0.0003235617],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0006330901,0.0010711884,0.0012341923,0.003658101,0.0013313752,0.00776702,0.0022509377,0.0022451999,0.5812251],"category_scores_gemma":[0.004327794,0.00044906794,0.00084034784,0.004433885,0.00074123737,0.0041072895,0.0024480715,0.0025000242,0.5358712],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000113342985,0.000016392896,0.000035508176,0.00040261925,0.0000034558952,0.00004877474,0.00005184217,0.000041415038,0.00010724474,0.003506616,0.89573544,0.10003921],"study_design_scores_gemma":[0.0000018743724,0.0000032166722,0.00004587013,0.00018756582,0.0000014424779,0.0000634396,0.000026158104,0.0000066857956,0.000016352535,0.0005619282,0.99908316,0.0000022977908],"about_ca_topic_score_codex":0.003307604,"about_ca_topic_score_gemma":0.0050058695,"teacher_disagreement_score":0.5812251,"about_ca_system_score_codex":0.0020750267,"about_ca_system_score_gemma":0.0035163136,"threshold_uncertainty_score":0.5973315},"labels":[],"label_agreement":null},{"id":"W3036361513","doi":"10.5206/notabene.v13i1.8559","title":"\"Up Close and Intimate\": Catharsis, the Dark Side of Sexuality, and The Dresden Dolls","year":2020,"lang":"en","type":"article","venue":"Nota bene","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Wilfrid Laurier University","funders":"","keywords":"Catharsis; Punk; Lyrics; Psychoanalysis; Art; The arts; Aesthetics; Psychology; Visual arts; Literature; Art history","score_opus":0.03525518321415404,"score_gpt":0.22905609705799013,"score_spread":0.19380091384383608,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3036361513","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.47506782,0.04139218,0.0021761276,0.059514407,0.0019406347,0.000035887806,0.000031184536,0.000064551554,0.41977715],"genre_scores_gemma":[0.9626091,0.0072647473,0.0004676455,0.002942645,0.0003416516,0.000015598414,0.000008316433,0.000023422292,0.026326807],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99761164,0.0017060433,0.000031868676,0.00011455355,0.00031000748,0.00022590227],"domain_scores_gemma":[0.99911267,0.00043797685,0.00012278119,0.000065240565,0.000053873508,0.00020748757],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015296006,0.00036140965,0.00024202093,0.00076329266,0.00956382,0.0049664876,0.000621421,0.0014549916,0.0032132952],"category_scores_gemma":[0.0031315486,0.00018353204,0.00013982953,0.00047943727,0.024134595,0.0033533368,0.0054352344,0.0030735077,0.00034523953],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000102109094,0.00006987076,0.0019348676,0.00021169544,0.000015558266,0.0012336627,0.67796034,0.00006247521,0.0018555155,0.25454223,0.01842366,0.043588012],"study_design_scores_gemma":[0.000018484761,0.00012673491,0.0050757914,0.00040562422,0.000013447732,0.0027322848,0.56640625,0.00006044665,0.0007753539,0.013774323,0.4105773,0.000033943863],"about_ca_topic_score_codex":0.007000052,"about_ca_topic_score_gemma":0.015736897,"teacher_disagreement_score":0.00956382,"about_ca_system_score_codex":0.002176287,"about_ca_system_score_gemma":0.0013460508,"threshold_uncertainty_score":0.015790105},"labels":[],"label_agreement":null},{"id":"W3036894573","doi":"10.5206/notabene.v13i1.8579","title":"Voices That Matter: Authenticity, Identity, and Voice in the Musical Career of Lana Del Rey","year":2020,"lang":"en","type":"article","venue":"Nota bene","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Subjectification; Singing; Musical; Materialism; Identity (music); Sociology; Aesthetics; Linguistics; Art; Literature; Philosophy; Acoustics; Epistemology","score_opus":0.09129715338533896,"score_gpt":0.24438005117816738,"score_spread":0.1530828977928284,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3036894573","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5065325,0.0116746025,0.0022619432,0.06689776,0.000828196,0.000052229658,0.0000432701,0.00006031466,0.41164917],"genre_scores_gemma":[0.9639776,0.0015285028,0.00035610184,0.0017371305,0.00016362192,0.000022008822,0.000010084612,0.00004072957,0.032164127],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9959265,0.0028562313,0.00004332566,0.00028598728,0.00037453327,0.0005134102],"domain_scores_gemma":[0.99814343,0.0009533123,0.00026035402,0.000085116866,0.00016587347,0.00039190068],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0029611094,0.00034057623,0.00028954126,0.0007781338,0.013212081,0.010965001,0.00082681957,0.0020423003,0.0045360993],"category_scores_gemma":[0.004758866,0.00019927489,0.0001672008,0.00036111864,0.02066809,0.005197365,0.007759931,0.003711999,0.0007868295],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000056262335,0.000031872456,0.0013538201,0.000083876694,0.000003638753,0.0010796817,0.8697312,0.000035025918,0.00058412063,0.10193732,0.0064243833,0.01867882],"study_design_scores_gemma":[0.0000054072593,0.000038785667,0.0019067294,0.0002713918,0.0000045315574,0.0009829567,0.80201477,0.00007115532,0.0003312817,0.0048873425,0.1894623,0.00002328251],"about_ca_topic_score_codex":0.013692376,"about_ca_topic_score_gemma":0.027125137,"teacher_disagreement_score":0.013692376,"about_ca_system_score_codex":0.00506928,"about_ca_system_score_gemma":0.002008423,"threshold_uncertainty_score":0.036780417},"labels":[],"label_agreement":null},{"id":"W3037061928","doi":"10.1386/mms_00012_1","title":"‘No satisfaction, no fun, no future’: Futures thinking in black metal","year":2020,"lang":"en","type":"article","venue":"Metal Music Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Futures contract; Normative; Epistemology; Sociology; Environmental ethics; Philosophy; Economics","score_opus":0.06304967843510113,"score_gpt":0.2415868278539968,"score_spread":0.17853714941889565,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3037061928","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.20907605,0.005134534,0.036857437,0.05883398,0.00071768794,0.000044930162,0.000027286214,0.00006757023,0.68924046],"genre_scores_gemma":[0.97653234,0.00073200674,0.0041923216,0.0017089042,0.00006623345,0.00001869815,0.0000074092213,0.000029041297,0.016712958],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99760795,0.0016162094,0.000031272495,0.00022363613,0.00027545437,0.00024554128],"domain_scores_gemma":[0.9985868,0.0007936989,0.00015713117,0.0001278401,0.00016247413,0.00017211038],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004245718,0.00049715163,0.00023991139,0.0010684838,0.007869258,0.007791038,0.0010573238,0.0025708387,0.006089274],"category_scores_gemma":[0.0029849967,0.0002206316,0.00032903536,0.00070408016,0.040108062,0.009893106,0.0046568844,0.0028669734,0.0005069519],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020323461,0.0000110647225,0.00031070472,0.000031602332,0.0000024729004,0.00011022117,0.06074716,0.00014348445,0.00013310816,0.9319117,0.0013118767,0.0052662045],"study_design_scores_gemma":[0.000012653457,0.000038771384,0.00053608726,0.00015912935,0.000006271829,0.00026349496,0.09753657,0.00070778705,0.00037240534,0.7790907,0.121255465,0.000020815818],"about_ca_topic_score_codex":0.0037367034,"about_ca_topic_score_gemma":0.0058953175,"teacher_disagreement_score":0.007869258,"about_ca_system_score_codex":0.0036581326,"about_ca_system_score_gemma":0.0021811894,"threshold_uncertainty_score":0.02654171},"labels":[],"label_agreement":null},{"id":"W3037763834","doi":"10.22215/etd/2020-14011","title":"The Global Charango","year":2020,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Social Sciences and Humanities Research Council of Canada; Mitacs","keywords":"Ethnography; Meaning (existential); Narrative; Snapshot (computer storage); Vernacular; Sociology; Aesthetics; Epistemology; Anthropology; Art; Computer science; Literature; Philosophy","score_opus":0.04215923385932178,"score_gpt":0.18464880314784418,"score_spread":0.1424895692885224,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3037763834","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16077371,0.007434766,0.0016531071,0.015228563,0.0010009175,0.000039080463,0.00032336614,0.00010598966,0.81344044],"genre_scores_gemma":[0.8923474,0.0044897157,0.0010107612,0.0038896957,0.00032612064,0.000041906595,0.00027245452,0.00009560477,0.09752631],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996307,0.00008259533,0.0000067257743,0.00009380366,0.00005883899,0.00012736715],"domain_scores_gemma":[0.99964774,0.00004261312,0.00004569428,0.000048113605,0.000095586554,0.00012028075],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006506283,0.00035346166,0.00017798546,0.00071063783,0.0041428683,0.004205857,0.00028194507,0.00064887275,0.016505303],"category_scores_gemma":[0.00076898845,0.00010059421,0.00014212172,0.001555821,0.0042780987,0.0023296436,0.00406105,0.0017147264,0.0011622853],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00038205704,0.00007763278,0.021177525,0.0008548973,0.00005175938,0.0017527549,0.07405755,0.00030154162,0.0041453,0.5734654,0.0869731,0.23676047],"study_design_scores_gemma":[0.000013203898,0.000042904267,0.017087294,0.00024667082,0.000016110318,0.00056094036,0.0346909,0.00008656079,0.0004774953,0.013937174,0.9328213,0.000019483672],"about_ca_topic_score_codex":0.012961501,"about_ca_topic_score_gemma":0.030075658,"teacher_disagreement_score":0.016505303,"about_ca_system_score_codex":0.0024398933,"about_ca_system_score_gemma":0.0034181904,"threshold_uncertainty_score":0.055215716},"labels":[],"label_agreement":null},{"id":"W3039720786","doi":"","title":"Rock 'n' Radio: When DJs and Rock Music Ruled the Airwaves","year":2017,"lang":"en","type":"book","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Rock music; Art; Geology; Mining engineering; Visual arts; Popular music","score_opus":0.03642292802728862,"score_gpt":0.19445929637826612,"score_spread":0.1580363683509775,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3039720786","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.032695714,0.003928481,0.0015008674,0.13792783,0.010828554,0.000059104645,0.00025251275,0.00039684825,0.8124101],"genre_scores_gemma":[0.27753222,0.0017430903,0.00065261836,0.043026675,0.0020760603,0.000051464973,0.00012897074,0.0006816946,0.67410713],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99605334,0.0008643282,0.00005316003,0.00046910453,0.0009805271,0.0015794735],"domain_scores_gemma":[0.9974806,0.00038962255,0.00008000973,0.000103603306,0.0005145042,0.0014316291],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0027561267,0.00046869315,0.00024476665,0.00074014725,0.020245954,0.018088242,0.001129386,0.004587791,0.046033494],"category_scores_gemma":[0.006943881,0.00042342153,0.00030074533,0.0006690571,0.007525838,0.0057928185,0.004404897,0.009885949,0.007997969],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009616285,0.0000333644,0.0012572376,0.00005010381,0.0000058237865,0.0007521369,0.037959766,0.00004305388,0.0005228406,0.13202277,0.78988796,0.037368696],"study_design_scores_gemma":[0.000009650248,0.00000868768,0.0010241144,0.00006622454,0.0000024661756,0.000091088266,0.020469341,0.000028080893,0.0001087734,0.0016174949,0.9765537,0.000020445734],"about_ca_topic_score_codex":0.26840228,"about_ca_topic_score_gemma":0.47900906,"teacher_disagreement_score":0.26840228,"about_ca_system_score_codex":0.010669284,"about_ca_system_score_gemma":0.009461644,"threshold_uncertainty_score":0.53367996},"labels":[],"label_agreement":null},{"id":"W3044444555","doi":"10.1386/ghhs_00006_1","title":"The impossibility of being Drake: Or, what it means to be a successful (Black) Canadian rapper","year":2020,"lang":"en","type":"article","venue":"Global Hip Hop Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":15,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Wilfrid Laurier University","funders":"","keywords":"Ideology; Impossibility; Gender studies; Criticism; Sociology; Aesthetics; Media studies; Art; Political science; Literature; Politics; Law","score_opus":0.07485763797637096,"score_gpt":0.2817016851063197,"score_spread":0.20684404712994875,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3044444555","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2984818,0.005573831,0.0037163638,0.10726832,0.0014322544,0.000052219217,0.00019485256,0.00013530214,0.58314514],"genre_scores_gemma":[0.948464,0.0014216128,0.0008151833,0.0044158343,0.000066299064,0.000017296974,0.000030514162,0.00006481112,0.04470452],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99455124,0.0010706165,0.00007262426,0.0006509562,0.0018079779,0.0018464455],"domain_scores_gemma":[0.9963904,0.00068093376,0.00028726555,0.00020625138,0.0010565778,0.0013786281],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0033420015,0.0006967929,0.00041433706,0.0012007905,0.03898843,0.014717573,0.0015459587,0.0030240475,0.008789655],"category_scores_gemma":[0.0076116915,0.0003371779,0.0002665615,0.0011701817,0.05010047,0.0039610057,0.0052432744,0.0045347214,0.0011035117],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000085141386,0.000020983885,0.0053591994,0.0001395893,0.000025794181,0.0005668384,0.55816865,0.00015729752,0.0011859457,0.33813876,0.053725075,0.042426754],"study_design_scores_gemma":[0.0000060487605,0.000018309487,0.004868511,0.0003376646,0.000032667966,0.00035424967,0.6116781,0.00015117995,0.00054993876,0.012088671,0.369825,0.000089677145],"about_ca_topic_score_codex":0.90403193,"about_ca_topic_score_gemma":0.9392211,"teacher_disagreement_score":0.09596807,"about_ca_system_score_codex":0.037359327,"about_ca_system_score_gemma":0.05412136,"threshold_uncertainty_score":0.27106214},"labels":[],"label_agreement":null},{"id":"W3047341743","doi":"10.1525/jpms.2020.32.2.42","title":"Me, Hank Williams, and My Dad","year":2020,"lang":"en","type":"article","venue":"Journal of Popular Music Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Calgary","funders":"","keywords":"History; Art","score_opus":0.12498302762659728,"score_gpt":0.25954372697611516,"score_spread":0.13456069934951786,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3047341743","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0069428645,0.013285245,0.0008267934,0.8618036,0.053743213,0.000057197973,0.00022966701,0.00026932193,0.0628421],"genre_scores_gemma":[0.042181876,0.010305676,0.0014718999,0.31590432,0.010553439,0.00015401066,0.0001337495,0.00048343182,0.6188117],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983152,0.0004897434,0.00004969761,0.0002905624,0.00056445,0.00029032666],"domain_scores_gemma":[0.990155,0.0007124119,0.0003584477,0.00026407227,0.0029297126,0.0055803265],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0025062524,0.00077330315,0.0007545419,0.0011853605,0.012860908,0.0076877093,0.00091170945,0.0028254234,0.047810435],"category_scores_gemma":[0.014574399,0.0005597427,0.0004433226,0.0006399363,0.003644908,0.005029509,0.003280439,0.014303607,0.030820543],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002665552,0.00005461612,0.0010184055,0.00003152185,0.0000074891655,0.00033272136,0.0032671394,0.000012970325,0.00024741367,0.0031544731,0.975599,0.016247543],"study_design_scores_gemma":[0.000009314367,0.000027034393,0.00096793345,0.0001397044,0.00000956851,0.000862671,0.019497976,0.00003065204,0.0001417155,0.0020687997,0.9762116,0.00003305384],"about_ca_topic_score_codex":0.009640142,"about_ca_topic_score_gemma":0.022528628,"teacher_disagreement_score":0.047810435,"about_ca_system_score_codex":0.002046726,"about_ca_system_score_gemma":0.004165475,"threshold_uncertainty_score":0.15994185},"labels":[],"label_agreement":null},{"id":"W3047935345","doi":"10.1093/oxfordhb/9780190859565.013.28","title":"Queer Punk, Trans Forms: Transgender Rock and Rage in a Necropolitical Age","year":2020,"lang":"en","type":"book-chapter","venue":"Oxford University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Queer; Punk; Gender studies; Transgender; Bourgeoisie; Lesbian; Sociology; Politics; Art; Aesthetics; Political science; Art history; Law","score_opus":0.04134044878532041,"score_gpt":0.18536771049062858,"score_spread":0.14402726170530816,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3047935345","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.34804058,0.014223813,0.004467864,0.0506411,0.0012758572,0.00010026775,0.00020357162,0.00010930572,0.5809377],"genre_scores_gemma":[0.9433987,0.003872287,0.00037384045,0.0016060449,0.00015087302,0.000027670372,0.00003573491,0.00005840152,0.050476376],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9987425,0.00069113466,0.000023086326,0.00012642634,0.00012854251,0.0002882071],"domain_scores_gemma":[0.9987262,0.0006121317,0.00012998989,0.00010955791,0.00013392257,0.00028818316],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018061685,0.0003517723,0.00031875077,0.000844784,0.022762995,0.009002884,0.0006373953,0.0017981449,0.009501052],"category_scores_gemma":[0.0022334792,0.00025523678,0.00014848566,0.00090103113,0.04727524,0.0059907218,0.0046656895,0.004469874,0.0005571067],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000134910515,0.0000129886175,0.00073441805,0.00003850041,0.000001982161,0.00061178044,0.66681737,0.000042752232,0.00020979106,0.32168773,0.005646304,0.004182864],"study_design_scores_gemma":[0.0000024469532,0.000022312346,0.0018695241,0.00026749994,0.000003318013,0.00047093176,0.60936743,0.000047740967,0.00023448469,0.015363085,0.3723367,0.000014555924],"about_ca_topic_score_codex":0.08808374,"about_ca_topic_score_gemma":0.21755831,"teacher_disagreement_score":0.08808374,"about_ca_system_score_codex":0.0138824945,"about_ca_system_score_gemma":0.0050708605,"threshold_uncertainty_score":0.17514205},"labels":[],"label_agreement":null},{"id":"W304867564","doi":"","title":"Out of Sight: The Rise of African American Popular Music, 1889-1895","year":2004,"lang":"en","type":"article","venue":"Western Folklore","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Musical; Newspaper; Index (typography); History; Art history; Sight; Spanish Civil War; Art; Media studies; Visual arts; Sociology; Archaeology; Computer science","score_opus":0.03393562013223754,"score_gpt":0.22389099588238692,"score_spread":0.18995537575014937,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W304867564","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.28049934,0.14157456,0.00050945976,0.049452566,0.0040222127,0.00007403881,0.0013151118,0.000053771688,0.52249897],"genre_scores_gemma":[0.7826031,0.047370225,0.00065887097,0.0046312585,0.0024689704,0.00006766931,0.00027541528,0.000059654943,0.16186488],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994424,0.00010655324,0.000014762115,0.000059256796,0.00016003485,0.00021704422],"domain_scores_gemma":[0.99963784,0.00007700314,0.00007785795,0.000011857464,0.0000910823,0.000104416315],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006489708,0.00044313504,0.00023015754,0.0031123455,0.008254502,0.0027825453,0.00038341092,0.0010127217,0.022346972],"category_scores_gemma":[0.0014745131,0.00026571422,0.00012811553,0.0035436822,0.0036532192,0.0028720293,0.0026424772,0.0018904543,0.001979099],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003610201,0.00008474366,0.013189558,0.0006895754,0.000020699052,0.001361843,0.31590873,0.000066282846,0.002381884,0.11062407,0.17156965,0.38374197],"study_design_scores_gemma":[0.00000789084,0.000034011027,0.044487998,0.00059588894,0.000006961583,0.00026833997,0.04965917,0.000016493985,0.00022799881,0.0013683649,0.9033122,0.000014622229],"about_ca_topic_score_codex":0.053783614,"about_ca_topic_score_gemma":0.1672197,"teacher_disagreement_score":0.053783614,"about_ca_system_score_codex":0.0040215156,"about_ca_system_score_gemma":0.002147319,"threshold_uncertainty_score":0.10694116},"labels":[],"label_agreement":null},{"id":"W3049260356","doi":"10.20361/dr29483","title":"Mr. Mergler, Beethoven, and Me by D. Gutnick","year":2020,"lang":"en","type":"article","venue":"The Deakin Review of Children s Literature","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Kindness; Girl; Affection; Musical; Biography; Plot (graphics); Art; Generosity; Literature; Watson; Art history; Honor; History; Visual arts; Psychoanalysis; Psychology; Philosophy","score_opus":0.012595055665420803,"score_gpt":0.21572498884883679,"score_spread":0.203129933183416,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3049260356","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0025442329,0.13547826,0.0012239601,0.095896795,0.025488151,0.000076063894,0.0007184206,0.00059399934,0.73798025],"genre_scores_gemma":[0.009388084,0.01715033,0.0006245369,0.006502293,0.0011234195,0.000027340635,0.00020586656,0.0001762614,0.9648019],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997435,0.00003429088,0.0000065966765,0.000057103985,0.00011400986,0.000044507677],"domain_scores_gemma":[0.99975294,0.000029239496,0.000014306374,0.000010575774,0.00010382616,0.00008908511],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00018960891,0.00058676256,0.0003020502,0.00064244145,0.0028725676,0.0033610032,0.00050313293,0.0012726779,0.1043987],"category_scores_gemma":[0.00096934044,0.00033145523,0.00017704976,0.00080132805,0.0008332045,0.002519185,0.001591266,0.0024147732,0.03699195],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000040772834,0.000003152688,0.000058960693,0.000031758984,4.948301e-7,0.000039703733,0.0002819289,0.000012637466,0.00006049006,0.003046703,0.9752362,0.021223953],"study_design_scores_gemma":[5.6800457e-7,0.0000016574146,0.00011406332,0.00003602969,4.3825068e-7,0.000070676295,0.00035487374,0.0000063964417,0.000022347715,0.00020006597,0.9991912,0.0000016371913],"about_ca_topic_score_codex":0.051536698,"about_ca_topic_score_gemma":0.11849719,"teacher_disagreement_score":0.1043987,"about_ca_system_score_codex":0.00298744,"about_ca_system_score_gemma":0.0017334562,"threshold_uncertainty_score":0.3492484},"labels":[],"label_agreement":null},{"id":"W3049601169","doi":"10.1037/aca0000347","title":"Songs as a way of listening to cultures across generations? A comparison of Canada and the United States through their famous songs from 1975 to 2017.","year":2020,"lang":"en","type":"article","venue":"Psychology of Aesthetics Creativity and the Arts","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Active listening; History; Communication; Genealogy; Psychology","score_opus":0.05318252234399744,"score_gpt":0.3060832795015614,"score_spread":0.25290075715756394,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3049601169","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.95031583,0.004354934,0.0001224781,0.004842309,0.00024350663,0.000018805638,0.00032561304,0.0000108696995,0.03976572],"genre_scores_gemma":[0.99320424,0.0016508912,0.00007478795,0.00059013825,0.000018125646,0.000005122735,0.00009313521,0.000013546203,0.004350089],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99864894,0.00020620775,0.000029132847,0.00008998752,0.00043413177,0.0005915148],"domain_scores_gemma":[0.997259,0.00030399437,0.0002508955,0.000071347655,0.0011539276,0.00096087035],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012108046,0.00018489842,0.00021578744,0.0013881543,0.008260594,0.0069929333,0.0008097428,0.000629575,0.0038208666],"category_scores_gemma":[0.004223939,0.00017655868,0.00020001995,0.0025559731,0.005642141,0.001897928,0.002346672,0.0015924945,0.00022376151],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00038256013,0.0000991602,0.16602099,0.0001363709,0.00008604161,0.0006792465,0.65551096,0.00013028212,0.0008403011,0.011299579,0.013935828,0.15087865],"study_design_scores_gemma":[0.000012137121,0.00003811846,0.35840407,0.00022571106,0.000044461758,0.00016747511,0.5875069,0.000049828916,0.00017196937,0.0005537476,0.05277881,0.000046726087],"about_ca_topic_score_codex":0.9683266,"about_ca_topic_score_gemma":0.99027646,"teacher_disagreement_score":0.03167337,"about_ca_system_score_codex":0.019030001,"about_ca_system_score_gemma":0.031307902,"threshold_uncertainty_score":0.13807297},"labels":[],"label_agreement":null},{"id":"W3049761503","doi":"10.12835/ve2019.1-0138","title":"Unspittable: Long-Form Ethnographic Music Video as Cine-Ethnomusicology Research-Creation","year":2020,"lang":"en","type":"article","venue":"Visual Ethnography","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"MacEwan University","funders":"","keywords":"Ethnomusicology; Filmmaking; Ethnography; Movie theater; Visual arts; Art; Popular music; Sociology; Aesthetics; Musical; Anthropology","score_opus":0.15196913903389458,"score_gpt":0.35511242994166164,"score_spread":0.20314329090776706,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3049761503","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.22340384,0.012920212,0.21404178,0.039355513,0.0030511173,0.0017530812,0.0011815886,0.00080483884,0.503488],"genre_scores_gemma":[0.88643634,0.005560667,0.07203198,0.0028974307,0.00059417094,0.0014539764,0.00040941784,0.00039647074,0.030219475],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.98703265,0.011451498,0.00018566115,0.0003656005,0.0006748083,0.00028973556],"domain_scores_gemma":[0.9813234,0.013962548,0.0005507305,0.0027310695,0.0006077398,0.0008244965],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.012216593,0.0005214832,0.00030069117,0.0023622403,0.006180152,0.009571339,0.0015481499,0.0015359261,0.00973456],"category_scores_gemma":[0.014582839,0.00034590258,0.00029122506,0.002668379,0.013434062,0.010879336,0.008571421,0.0020144025,0.00064674456],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006224797,0.000094341325,0.0025963185,0.00043279506,0.000015712312,0.00077821396,0.593873,0.00024543455,0.0019816305,0.26696083,0.017519118,0.11544029],"study_design_scores_gemma":[0.000024111981,0.000114201765,0.003582493,0.0013428053,0.00002118609,0.0009496202,0.40945855,0.0008274318,0.0021051513,0.06486144,0.51667076,0.00004226114],"about_ca_topic_score_codex":0.003907482,"about_ca_topic_score_gemma":0.015265328,"teacher_disagreement_score":0.012216593,"about_ca_system_score_codex":0.0026733875,"about_ca_system_score_gemma":0.0025946083,"threshold_uncertainty_score":0.064608335},"labels":[],"label_agreement":null},{"id":"W3080413317","doi":"10.1177/0759106320939889","title":"Mapping as a Complementary Perspective on the Dynamics of Participation in a City’s Musical Life","year":2020,"lang":"en","type":"article","venue":"Bulletin of Sociological Methodology/Bulletin de Méthodologie Sociologique","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Institut National de la Recherche Scientifique","funders":"","keywords":"Legibility; Musical; Perspective (graphical); Attendance; Sociology; Dynamics (music); Immigration; Ethnography; Aesthetics; Visual arts; Geography; Pedagogy; Political science; Art; Anthropology","score_opus":0.3685793337266164,"score_gpt":0.3741436886101964,"score_spread":0.005564354883580036,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3080413317","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.642607,0.0020295135,0.065062806,0.009609691,0.00025660565,0.00042009362,0.0011530963,0.00021900001,0.27864227],"genre_scores_gemma":[0.9784026,0.00071979413,0.01254228,0.000150445,0.00004487363,0.00023039793,0.00011133149,0.000058363436,0.0077398526],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99660206,0.002574023,0.00006298113,0.0002542212,0.00023961515,0.00026703152],"domain_scores_gemma":[0.9943498,0.004210867,0.00037788812,0.00045371556,0.00033272678,0.00027508862],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0037109496,0.000605759,0.0004260657,0.0046132887,0.006183404,0.00826621,0.00096787635,0.000937336,0.0077472185],"category_scores_gemma":[0.005401387,0.00036067946,0.00036857065,0.007653305,0.014354034,0.007801916,0.005452237,0.0015358449,0.0003059568],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003653554,0.000022791517,0.0051522935,0.00018535921,0.000013139568,0.00035953833,0.887056,0.0003837259,0.0010370322,0.081296206,0.0015618914,0.022895517],"study_design_scores_gemma":[0.000008069809,0.000038367612,0.01292627,0.0002617224,0.00002018762,0.00022003133,0.87474877,0.00070325204,0.0004964708,0.022581682,0.087960124,0.00003498949],"about_ca_topic_score_codex":0.03522554,"about_ca_topic_score_gemma":0.05761155,"teacher_disagreement_score":0.03522554,"about_ca_system_score_codex":0.0036927445,"about_ca_system_score_gemma":0.003389205,"threshold_uncertainty_score":0.070041},"labels":[],"label_agreement":null},{"id":"W3080752733","doi":"10.38055/fs010202","title":"Status, Votive Luxury, and Labour: The Female Rapper’s Delight","year":2019,"lang":"en","type":"article","venue":"Fashion Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Brock University","funders":"","keywords":"Habitus; Fashion design; Value (mathematics); Taste; Human sexuality; Commodity; Sociology; Aesthetics; Clothing; Art; Gender studies; Psychology; Cultural capital; History; Business; Social science","score_opus":0.04636728053149232,"score_gpt":0.257589395189999,"score_spread":0.2112221146585067,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3080752733","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.77781963,0.0021722913,0.0005242369,0.012163309,0.00019669198,0.00000831829,0.000027771539,0.000012203877,0.20707557],"genre_scores_gemma":[0.9826529,0.00049225974,0.00011132599,0.00041897537,0.000051549396,0.000004270419,0.000005371237,0.000009575576,0.016253792],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9996123,0.00021988057,0.0000043243876,0.000033593602,0.000045523244,0.00008444505],"domain_scores_gemma":[0.9996649,0.00012942274,0.00005268968,0.000017467955,0.000033449527,0.00010205778],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000659548,0.00021397526,0.00011545007,0.00051651517,0.0058446163,0.003957715,0.00033401896,0.00072798005,0.005377343],"category_scores_gemma":[0.0012938201,0.0001459963,0.00008036174,0.00036499713,0.0070831897,0.0019816218,0.0017974732,0.0014089288,0.00042514515],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011982309,0.00005557304,0.011648371,0.000041588675,0.0000070546266,0.0014423173,0.8703071,0.000030219466,0.0012816257,0.07827607,0.009076091,0.02771419],"study_design_scores_gemma":[0.000006315998,0.000060568123,0.017603867,0.00009023539,0.000006231125,0.0013611794,0.8639557,0.00009122656,0.0004050284,0.004449621,0.11195074,0.00001929938],"about_ca_topic_score_codex":0.008661775,"about_ca_topic_score_gemma":0.020735338,"teacher_disagreement_score":0.008661775,"about_ca_system_score_codex":0.0011287357,"about_ca_system_score_gemma":0.0005738031,"threshold_uncertainty_score":0.01798904},"labels":[],"label_agreement":null},{"id":"W3082998960","doi":"10.1386/eme_00045_1","title":"Interviewing the musical sample","year":2020,"lang":"en","type":"article","venue":"Explorations in Media Ecology","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Musical; Sample (material); Interview; Digital audio; Music technology; Improvisation; Active listening; Creativity; Heuristics; Embodied cognition; Psychology; Visual arts; Sociology; Aesthetics; Computer science; Art; Communication; Social psychology; Music education","score_opus":0.1433546476632116,"score_gpt":0.2517416705367093,"score_spread":0.10838702287349772,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3082998960","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.93235326,0.0004790396,0.01506732,0.00489936,0.00029473339,0.0022391502,0.0007280762,0.00007533753,0.043863688],"genre_scores_gemma":[0.9635385,0.00076075754,0.011101725,0.0016326729,0.000101777885,0.0021887054,0.00027678,0.00005310072,0.020345831],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.996274,0.002407107,0.0001936988,0.00033253588,0.00037616485,0.0004165592],"domain_scores_gemma":[0.99601907,0.0023363838,0.00022238612,0.000301876,0.00055464165,0.00056570984],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004329689,0.00048515073,0.0005176851,0.0019966005,0.0059571653,0.003856686,0.0011196582,0.0014618149,0.009192157],"category_scores_gemma":[0.010915489,0.00044434372,0.00024523173,0.0015683941,0.0050321417,0.0024215288,0.004641608,0.0026844125,0.0017375139],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000914415,0.000119670636,0.0039911503,0.000108981105,0.000005475309,0.0013821516,0.9606853,0.00011617719,0.0071436227,0.0060363854,0.0036175766,0.016701983],"study_design_scores_gemma":[0.0000146797265,0.00011383737,0.0017819776,0.00008787473,0.0000046155214,0.00042216168,0.92475927,0.00039932888,0.0011057198,0.001781388,0.0695101,0.000019102074],"about_ca_topic_score_codex":0.0054323743,"about_ca_topic_score_gemma":0.0072834766,"teacher_disagreement_score":0.009192157,"about_ca_system_score_codex":0.0024774866,"about_ca_system_score_gemma":0.0022798087,"threshold_uncertainty_score":0.03075087},"labels":[],"label_agreement":null},{"id":"W3084007758","doi":"10.7202/1071125ar","title":"TAGS de Joane Hétu et TanGRAM de Danielle Palardy Roger : signatures plurielles et figure continue","year":2020,"lang":"fr","type":"article","venue":"Circuit Musiques contemporaines","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Physics","score_opus":0.04502322732486917,"score_gpt":0.24967885255221794,"score_spread":0.20465562522734876,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3084007758","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.15770176,0.0031541863,0.19195615,0.004279074,0.0034059673,0.00017670119,0.001969028,0.0069986857,0.63035834],"genre_scores_gemma":[0.50988275,0.0009460506,0.06067798,0.0007843442,0.0003912048,0.00009899097,0.0013613615,0.0028923608,0.42296502],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99969876,0.000058410747,0.000009531892,0.00008803969,0.00009366871,0.000051657094],"domain_scores_gemma":[0.99934417,0.00021416172,0.000051397587,0.00015731006,0.00016496521,0.00006798387],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00026575985,0.00047144506,0.0002501629,0.001299909,0.0013178926,0.002461961,0.00045329717,0.0009853622,0.028637158],"category_scores_gemma":[0.0014444112,0.00026067585,0.0002289127,0.00095991837,0.0018947138,0.0027177653,0.0012434077,0.0010929331,0.008605726],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00071738946,0.000024771412,0.0034714136,0.00036612304,0.000027619779,0.0021852877,0.026827788,0.00094849686,0.049876787,0.5194464,0.07046628,0.32564166],"study_design_scores_gemma":[0.000020101379,0.000077695644,0.0073638675,0.00018463373,0.00002273865,0.0024665983,0.0053912285,0.0027655866,0.014509361,0.030740203,0.9363827,0.00007538007],"about_ca_topic_score_codex":0.0071594734,"about_ca_topic_score_gemma":0.010757767,"teacher_disagreement_score":0.028637158,"about_ca_system_score_codex":0.0011502337,"about_ca_system_score_gemma":0.00058060087,"threshold_uncertainty_score":0.09580088},"labels":[],"label_agreement":null},{"id":"W3086379795","doi":"10.1525/jpms.2020.32.3.153","title":"Review: Spotify Teardown: Inside the Black Box of Streaming Music, by Maria Eriksson, Rasmus Fleischer, Anna Johansson, Pelle Snickars, and Patrick Vonderau","year":2020,"lang":"en","type":"article","venue":"Journal of Popular Music Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Carleton University","funders":"","keywords":"Fleischer; Art; Punk; Art history; Performance art; Headline; Media studies; Visual arts; History; Advertising; Sociology; German","score_opus":0.07281523895125983,"score_gpt":0.2572554067366496,"score_spread":0.18444016778538977,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3086379795","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000047218673,0.97202593,0.00008655061,0.01228499,0.012827229,0.000048759288,0.00010406497,0.000027251921,0.0025480413],"genre_scores_gemma":[0.0007863964,0.96334046,0.00012189846,0.018890198,0.009635737,0.00014121494,0.00021062607,0.000030387959,0.006843074],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9972453,0.0006639288,0.000352127,0.00036767402,0.0011589387,0.00021201302],"domain_scores_gemma":[0.99138665,0.0030743135,0.0009597514,0.00022019047,0.0036385802,0.000720467],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0025357602,0.0016859929,0.0033354089,0.00368497,0.0011573485,0.0055369237,0.0023167764,0.004028089,0.026002401],"category_scores_gemma":[0.016062483,0.0008485075,0.0015114285,0.0049290154,0.0015219499,0.006289717,0.0022130779,0.0051327865,0.014547366],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000036353726,0.000010221351,0.00003915604,0.0128135495,0.000059988863,0.00006668153,0.000078572964,0.000030010553,0.00009023009,0.0005333121,0.90902156,0.07722037],"study_design_scores_gemma":[0.00004408074,0.000044007782,0.00040279442,0.01954807,0.00011548279,0.00037016557,0.00014922908,0.00001992879,0.00005417899,0.00076215016,0.9784612,0.000028907258],"about_ca_topic_score_codex":0.0032011394,"about_ca_topic_score_gemma":0.0054285675,"teacher_disagreement_score":0.026002401,"about_ca_system_score_codex":0.0031162808,"about_ca_system_score_gemma":0.0072245854,"threshold_uncertainty_score":0.08698672},"labels":[],"label_agreement":null},{"id":"W3087264428","doi":"10.1525/jpms.2020.32.3.73","title":"Hip Hop and the University","year":2020,"lang":"en","type":"article","venue":"Journal of Popular Music Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"MacEwan University","funders":"","keywords":"Scholarship; Poetry; Embodied cognition; Sociology; Hop (telecommunications); Poetics; Space (punctuation); Aesthetics; Media studies; Epistemology; Art; Computer science; Literature; Linguistics; Political science; Telecommunications; Philosophy; Law","score_opus":0.09517030129911115,"score_gpt":0.21790104271328814,"score_spread":0.12273074141417699,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3087264428","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08719179,0.019286532,0.0018842508,0.07892451,0.0010897758,0.000022467357,0.000031628442,0.0000455845,0.8115235],"genre_scores_gemma":[0.9635868,0.0045344457,0.000380188,0.004541606,0.00061916193,0.000014816633,0.000011241509,0.000021274895,0.026290415],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9963159,0.0023169168,0.000072835166,0.0002465275,0.0005789163,0.00046902618],"domain_scores_gemma":[0.99752504,0.0012886187,0.00024864514,0.00021118205,0.00020956161,0.0005169524],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020076383,0.0001989303,0.00026748842,0.0016656829,0.011325943,0.0124462005,0.00068214035,0.0032496913,0.0071118125],"category_scores_gemma":[0.0050085774,0.00013394852,0.00016419547,0.001646973,0.046089288,0.0068952716,0.0067155454,0.0041647214,0.00052620564],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009109249,0.000012160437,0.0004429661,0.000033363493,0.0000017957749,0.00010480808,0.044661794,0.00005164458,0.000031390828,0.93454224,0.0075748856,0.0125338165],"study_design_scores_gemma":[0.000010109254,0.000043797663,0.0027082218,0.00068387116,0.000008212803,0.00039343484,0.16012603,0.00016517451,0.0002500787,0.26035017,0.57522994,0.000030974377],"about_ca_topic_score_codex":0.0078024585,"about_ca_topic_score_gemma":0.009362681,"teacher_disagreement_score":0.0124462005,"about_ca_system_score_codex":0.0070524835,"about_ca_system_score_gemma":0.006239813,"threshold_uncertainty_score":0.051169574},"labels":[],"label_agreement":null},{"id":"W3088056156","doi":"","title":"Research Guides: Music: Canadian Music","year":2011,"lang":"en","type":"libguides","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.26598627650130147,"score_gpt":0.29102352786225383,"score_spread":0.02503725136095236,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3088056156","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0014327158,0.0077636284,0.0006507024,0.0071556685,0.0018810787,0.00040843984,0.080311134,0.0009182327,0.8994784],"genre_scores_gemma":[0.0048174793,0.0041244533,0.000883965,0.00049927476,0.00016735385,0.00023841669,0.01487228,0.00034865137,0.97404814],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983943,0.00008805438,0.000078602796,0.00019871349,0.000995062,0.00024518423],"domain_scores_gemma":[0.987986,0.0008233541,0.00022497703,0.00030313345,0.00954142,0.0011210961],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0019372497,0.0013136406,0.00089456874,0.008991851,0.008283341,0.0073362086,0.0020629505,0.0018189038,0.46371248],"category_scores_gemma":[0.0079358015,0.00067428855,0.00038493043,0.018553546,0.0018578043,0.0029387302,0.0016339087,0.0022384482,0.115903094],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019951827,0.00001106349,0.00029933435,0.00023017834,0.0000013150272,0.000014896672,0.00030143303,0.000034401743,0.00003981138,0.0043585654,0.95868117,0.036007877],"study_design_scores_gemma":[0.0000057100383,0.0000053415365,0.0043074535,0.00025330653,0.0000040538916,0.000015081942,0.0011115426,0.00003468065,0.00007945182,0.0006815696,0.9934918,0.000010109279],"about_ca_topic_score_codex":0.9484268,"about_ca_topic_score_gemma":0.98318255,"teacher_disagreement_score":0.46371248,"about_ca_system_score_codex":0.03381518,"about_ca_system_score_gemma":0.09146098,"threshold_uncertainty_score":0.7649491},"labels":[],"label_agreement":null},{"id":"W3089064224","doi":"10.15353/jirr.v2.1578","title":"A White, Jewish, Rap-Infused Desire for Blackness: David Burd's Lil Dicky","year":2019,"lang":"en","type":"article","venue":"Journal of integrative research & reflection","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"White (mutation); Judaism; Art; Art history; Visual arts; Gloom; Aesthetics; Literature; Philosophy; Theology; Psychology","score_opus":0.10083298971036865,"score_gpt":0.36845917328707295,"score_spread":0.2676261835767043,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3089064224","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.52224874,0.01700945,0.0036230937,0.1346408,0.008114242,0.000080093894,0.0001238209,0.00026000265,0.31389973],"genre_scores_gemma":[0.8851501,0.0027042946,0.0015816528,0.011744854,0.00070947764,0.000044683013,0.00003326766,0.00016260242,0.09786896],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987332,0.0007579589,0.000011489828,0.000089677866,0.00022464551,0.00018287428],"domain_scores_gemma":[0.9990747,0.0002826795,0.000054962493,0.000031415035,0.00013202873,0.00042415355],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013609818,0.0004269093,0.00026016386,0.00064262457,0.012125097,0.003932743,0.000660142,0.0012030917,0.0048534865],"category_scores_gemma":[0.0027361768,0.00021562577,0.00014840243,0.00022925192,0.007183987,0.0018982169,0.0028824965,0.003698566,0.0010760064],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016224518,0.00009159399,0.0026134937,0.00014093067,0.00001708278,0.0014228513,0.6903719,0.000066120316,0.0028014227,0.042255867,0.2230976,0.036958948],"study_design_scores_gemma":[0.000022842136,0.00008175101,0.0032046519,0.00022620942,0.000009472061,0.0009704141,0.41373354,0.00013208514,0.00080584455,0.0023982571,0.57837677,0.000038227558],"about_ca_topic_score_codex":0.014307418,"about_ca_topic_score_gemma":0.06051846,"teacher_disagreement_score":0.014307418,"about_ca_system_score_codex":0.002505853,"about_ca_system_score_gemma":0.0010448572,"threshold_uncertainty_score":0.028448284},"labels":[],"label_agreement":null},{"id":"W3092514229","doi":"10.1093/oxfordhb/9780190660772.013.34","title":"Can The Disabled Musician Sing?","year":2020,"lang":"en","type":"reference-entry","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Calgary","funders":"","keywords":"Pornography; Psychology; Content (measure theory); Disabled people; Social media; Disability studies; Visual arts; Sociology; Applied psychology; Art; Computer science; Gender studies; Psychoanalysis; World Wide Web","score_opus":0.049552740028993084,"score_gpt":0.2099549540968875,"score_spread":0.1604022140678944,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3092514229","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.19917202,0.025325347,0.0012626805,0.06170436,0.0028858315,0.000072367715,0.00026909928,0.00016678729,0.70914155],"genre_scores_gemma":[0.73790985,0.03742148,0.0016575835,0.008971052,0.0017075527,0.00007389759,0.00025253976,0.000098388475,0.21190768],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994017,0.00015490314,0.000024440335,0.00007076484,0.00019997763,0.00014813857],"domain_scores_gemma":[0.99950147,0.00022424359,0.00005547571,0.000029821715,0.00007931477,0.0001095934],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006659618,0.00040989812,0.00029830093,0.0016435784,0.0047887475,0.007431503,0.0006696306,0.0018737512,0.021707846],"category_scores_gemma":[0.0035203376,0.00012922812,0.00018191732,0.0011435475,0.004284156,0.006996825,0.0032832313,0.001398296,0.005425662],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000094800154,0.00010834718,0.010885292,0.00067905633,0.000009728368,0.00418399,0.4064834,0.000047002126,0.0013291639,0.10692153,0.08804862,0.38120905],"study_design_scores_gemma":[0.000004616382,0.000042455027,0.0044729565,0.0005734485,0.000006360221,0.0037209375,0.38543102,0.000043630636,0.00029480396,0.007993349,0.5973956,0.000020841002],"about_ca_topic_score_codex":0.009292459,"about_ca_topic_score_gemma":0.01953678,"teacher_disagreement_score":0.021707846,"about_ca_system_score_codex":0.0015518597,"about_ca_system_score_gemma":0.0014733921,"threshold_uncertainty_score":0.072619915},"labels":[],"label_agreement":null},{"id":"W3093396700","doi":"10.5204/mcj.2140","title":"“War is Over! If You Want It”","year":2003,"lang":"en","type":"article","venue":"M/C Journal","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Spanish Civil War; Anthem; Musical; Heaven; Law; History; Religious studies; Literature; Art; Media studies; Political science; Art history; Sociology; Philosophy","score_opus":0.029574333013588628,"score_gpt":0.21107308933017785,"score_spread":0.1814987563165892,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3093396700","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0055901716,0.007614159,0.0014888264,0.26050973,0.04851326,0.00010326891,0.00051981653,0.00058988144,0.6750708],"genre_scores_gemma":[0.04172418,0.004015981,0.00070241664,0.17748937,0.0060504973,0.00011455597,0.00036518107,0.00038501024,0.7691527],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978005,0.0006391073,0.000057722486,0.00028625992,0.0005821167,0.00063421234],"domain_scores_gemma":[0.9984249,0.00016835127,0.00009614731,0.000076261575,0.0003104964,0.0009238504],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012727876,0.0008443628,0.00034833897,0.0005231256,0.007884774,0.006690769,0.0005823724,0.0022988436,0.092741124],"category_scores_gemma":[0.0047864253,0.0003373279,0.0003324296,0.00040924354,0.0043359273,0.006621293,0.0051203,0.00839312,0.06249194],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012957115,0.000020424024,0.00031299636,0.000036383863,0.0000032024166,0.000065181215,0.0027339188,0.000006741374,0.0001194732,0.007459485,0.9675643,0.021664908],"study_design_scores_gemma":[0.0000021191156,0.000010724975,0.00034491872,0.00005394037,0.0000011484682,0.0000876746,0.0030461245,0.000007884004,0.000046694677,0.0010457735,0.9953461,0.0000068405043],"about_ca_topic_score_codex":0.0054529198,"about_ca_topic_score_gemma":0.015120101,"teacher_disagreement_score":0.092741124,"about_ca_system_score_codex":0.0016334148,"about_ca_system_score_gemma":0.002000204,"threshold_uncertainty_score":0.31024998},"labels":[],"label_agreement":null},{"id":"W3093704567","doi":"10.1093/oso/9780190936464.003.0005","title":"A Listener’s Guide to Música Típica","year":2020,"lang":"en","type":"book-chapter","venue":"Oxford University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Musical; Appeal; Feeling; Visual arts; Musical instrument; Quarter (Canadian coin); Pica (typography); Art; Psychology; Aesthetics; History; Acoustics; Political science; Law; Social psychology; Archaeology","score_opus":0.03925323097619663,"score_gpt":0.18979323976092685,"score_spread":0.15054000878473023,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3093704567","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0016002249,0.042512443,0.008911372,0.011169161,0.006973486,0.00014974942,0.0007116636,0.0013945656,0.9265775],"genre_scores_gemma":[0.006309112,0.015526618,0.0037770309,0.0054964153,0.0021911946,0.00016100261,0.00039493863,0.0006681409,0.9654757],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99975103,0.000060056514,0.000014009849,0.000039705497,0.000106021565,0.00002901787],"domain_scores_gemma":[0.99965024,0.00017347482,0.00001710061,0.0000311721,0.0000783116,0.000049646038],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00045635834,0.0010638153,0.0004885319,0.0018708647,0.003022021,0.003175231,0.0010427446,0.0014569202,0.1387109],"category_scores_gemma":[0.0014903587,0.00042027183,0.00027113885,0.0016292328,0.0013247177,0.0034525292,0.0022324391,0.0039862646,0.0803285],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017621,0.00005332201,0.00011185716,0.00020379377,0.0000017298325,0.00030433023,0.0031940057,0.00008530233,0.0007248782,0.03196106,0.8656472,0.09769479],"study_design_scores_gemma":[8.7683776e-7,0.000004497459,0.000080521735,0.00007161301,3.0559048e-7,0.00019391725,0.00033758994,0.000020666228,0.00003844389,0.0016121574,0.9976373,0.0000021699213],"about_ca_topic_score_codex":0.0023710455,"about_ca_topic_score_gemma":0.0072173215,"teacher_disagreement_score":0.1387109,"about_ca_system_score_codex":0.0009355244,"about_ca_system_score_gemma":0.000885294,"threshold_uncertainty_score":0.4640342},"labels":[],"label_agreement":null},{"id":"W3094116051","doi":"10.4324/9781003033592-7","title":"The Canadian Alouette women","year":2020,"lang":"en","type":"book-chapter","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History","score_opus":0.02851105559171194,"score_gpt":0.15671939269902482,"score_spread":0.1282083371073129,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3094116051","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.007964112,0.007997548,0.00016287074,0.01980843,0.0012026901,0.000036476307,0.00018758471,0.000032328302,0.9626079],"genre_scores_gemma":[0.03699272,0.0034813008,0.00018778845,0.0024476857,0.000095085285,0.000018720135,0.00004453392,0.000040550378,0.9566916],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99916553,0.0000981803,0.000008336131,0.000062231695,0.00020587671,0.00045989666],"domain_scores_gemma":[0.9995258,0.000067634515,0.000015048499,0.0000140057045,0.00016350366,0.00021405933],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00067279063,0.0006606602,0.00030480852,0.0015296792,0.038301297,0.007359479,0.0011251303,0.0026548933,0.052778967],"category_scores_gemma":[0.0012012561,0.0003860912,0.00026627418,0.0027158468,0.0063256454,0.0018693659,0.0021628086,0.0038408688,0.004392691],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003899808,0.0000235757,0.00095908745,0.00008428431,0.0000031546315,0.00044926364,0.043745834,0.000073252275,0.0001841842,0.37087947,0.525929,0.05762989],"study_design_scores_gemma":[0.0000018801546,0.0000027100702,0.00068156805,0.00005401657,0.000001309515,0.00004131968,0.014950519,0.000012312489,0.0000334468,0.0015098761,0.9827057,0.0000052785635],"about_ca_topic_score_codex":0.98001546,"about_ca_topic_score_gemma":0.99601173,"teacher_disagreement_score":0.05918705,"about_ca_system_score_codex":0.05918705,"about_ca_system_score_gemma":0.0650637,"threshold_uncertainty_score":0.42943412},"labels":[],"label_agreement":null},{"id":"W3096104122","doi":"10.3138/ctr.184.010","title":"<i>RADAR</i>: Challenging Colonial Soundscapes and Violence through Creation and Performance","year":2020,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Soundscape; Indigenous; Colonialism; Sociology; Aesthetics; Space (punctuation); Visual arts; Gender studies; History; Art; Media studies; Sound (geography); Acoustics; Archaeology; Linguistics","score_opus":0.02605519720374426,"score_gpt":0.20798980734836636,"score_spread":0.1819346101446221,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3096104122","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008866802,0.86577535,0.00068646664,0.01590033,0.0026565443,0.000026617356,0.000057606438,0.000024517058,0.10600577],"genre_scores_gemma":[0.16378216,0.80624604,0.0012102337,0.004897741,0.001518511,0.00003094014,0.000103996514,0.00004811936,0.022162257],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99729985,0.0007594951,0.000105978696,0.0001922503,0.0011841392,0.00045835547],"domain_scores_gemma":[0.9972345,0.0011879151,0.00021992667,0.00013242567,0.00094307045,0.0002821898],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0032431567,0.00062342244,0.0005574825,0.0034629235,0.006002577,0.00830218,0.0016601898,0.0017720921,0.0054299533],"category_scores_gemma":[0.0043495996,0.00019834582,0.00028059352,0.004689884,0.012862162,0.0028437276,0.0026087414,0.0022285944,0.0005713546],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016390704,0.00006757789,0.001567362,0.00991314,0.00007005329,0.0005185927,0.049847778,0.00037491194,0.0013604271,0.25200683,0.111722425,0.5723869],"study_design_scores_gemma":[0.0000067750802,0.000039399947,0.004119516,0.0038396625,0.000030566363,0.0003228638,0.023096755,0.000040818148,0.00044988905,0.0028570453,0.9651679,0.000028840961],"about_ca_topic_score_codex":0.6708753,"about_ca_topic_score_gemma":0.8090193,"teacher_disagreement_score":0.6708753,"about_ca_system_score_codex":0.022196744,"about_ca_system_score_gemma":0.039646193,"threshold_uncertainty_score":0.66212595},"labels":[],"label_agreement":null},{"id":"W3096217342","doi":"10.7202/1072651ar","title":"“Enough of that Dance-Hall Razzmatazz”","year":2020,"lang":"en","type":"article","venue":"Newfoundland and Labrador Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dance; Visual arts; Art","score_opus":0.12234675821799182,"score_gpt":0.25761391315792076,"score_spread":0.13526715493992894,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3096217342","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.082587905,0.01583907,0.00066375727,0.43464646,0.0040973257,0.00001873627,0.000240388,0.00007020004,0.4618361],"genre_scores_gemma":[0.6867417,0.0037954673,0.00040559995,0.04489749,0.0007038809,0.000024095953,0.0000973229,0.00015360989,0.2631808],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989127,0.00045624442,0.000021579483,0.000100826706,0.00017284813,0.00033574304],"domain_scores_gemma":[0.9993476,0.00013831127,0.00009653371,0.00005212249,0.000143548,0.0002218543],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001106632,0.00030404172,0.00018621884,0.00044230977,0.013968499,0.0054458543,0.00052949385,0.0017622019,0.012264676],"category_scores_gemma":[0.002400439,0.00025242753,0.0001656024,0.0006474464,0.01148572,0.005625219,0.0028215297,0.0040282975,0.0016831212],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001343571,0.000053914424,0.004990278,0.00011143186,0.000012587873,0.00040890096,0.1298937,0.000045117868,0.000663532,0.09969948,0.7234295,0.04055717],"study_design_scores_gemma":[0.000014322727,0.000027268869,0.01780612,0.00025928247,0.000012279583,0.00022297766,0.14805715,0.00002553105,0.00040307135,0.0036764978,0.8294679,0.000027562479],"about_ca_topic_score_codex":0.27789974,"about_ca_topic_score_gemma":0.66091645,"teacher_disagreement_score":0.72210026,"about_ca_system_score_codex":0.0077939066,"about_ca_system_score_gemma":0.0045022955,"threshold_uncertainty_score":0.5525644},"labels":[],"label_agreement":null},{"id":"W3097624222","doi":"10.1080/19376529.2020.1791123","title":"1970s: How CKLW Radio Dominated American Music – From Canada","year":2020,"lang":"en","type":"article","venue":"Journal of Radio & Audio Media","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Music industry; Advertising; Business; Marketing; Visual arts; Art; Music education","score_opus":0.020865437181434885,"score_gpt":0.1723545109728026,"score_spread":0.15148907379136772,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3097624222","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.46925497,0.0036489784,0.001003772,0.045686383,0.0010162517,0.000120459066,0.000800083,0.000113990725,0.47835508],"genre_scores_gemma":[0.82337904,0.002698651,0.00047169742,0.008310976,0.00012273715,0.000027272124,0.00020076276,0.00017853639,0.16461039],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9979487,0.00017863238,0.000027120004,0.00021874373,0.00067169365,0.0009551683],"domain_scores_gemma":[0.998257,0.0001390486,0.00007283037,0.00004693805,0.0007496536,0.0007344504],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013076981,0.00041724637,0.0002708562,0.0018934979,0.033248685,0.01061388,0.0012590153,0.0016646001,0.011441479],"category_scores_gemma":[0.002785067,0.00045466315,0.00025253295,0.0029697826,0.0077515417,0.0022816805,0.00346124,0.0042149476,0.0012610261],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00027991552,0.00009915607,0.028512139,0.0001997496,0.000033731394,0.003141425,0.56237584,0.00034604614,0.0041664313,0.11602082,0.1358197,0.14900506],"study_design_scores_gemma":[0.000010200718,0.000023426046,0.026577044,0.00014670534,0.000020593974,0.00026980528,0.20009759,0.00014703913,0.0006247187,0.0012128664,0.7707905,0.000079515776],"about_ca_topic_score_codex":0.99557495,"about_ca_topic_score_gemma":0.9985341,"teacher_disagreement_score":0.11529216,"about_ca_system_score_codex":0.11529216,"about_ca_system_score_gemma":0.1238232,"threshold_uncertainty_score":0.8365071},"labels":[],"label_agreement":null},{"id":"W3106724463","doi":"10.1093/oso/9780197535066.003.0002","title":"Music in urban poverty","year":2020,"lang":"en","type":"book-chapter","venue":"Oxford University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Downtown; Poverty; The arts; Urban poverty; Ethnography; Sociology; Human rights; Political science; Geography; Law; Anthropology","score_opus":0.040905828930638,"score_gpt":0.16512117984607905,"score_spread":0.12421535091544104,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3106724463","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08997557,0.048358265,0.00057183334,0.023593169,0.000685558,0.000057335255,0.00008554782,0.000057196474,0.8366157],"genre_scores_gemma":[0.7225578,0.0373829,0.000673714,0.0049955593,0.0005173341,0.00013006186,0.000061761326,0.00006257803,0.23361833],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992404,0.00022489467,0.000016359632,0.00004374317,0.00016566491,0.00030892805],"domain_scores_gemma":[0.9997538,0.000078246616,0.00003131631,0.000012721718,0.00003809786,0.00008581171],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00051314855,0.0003873607,0.00034059345,0.002049368,0.0136242565,0.006537955,0.0005646637,0.0013964024,0.012051962],"category_scores_gemma":[0.000911646,0.00019115825,0.000171064,0.0023002264,0.011546084,0.0033134366,0.009710893,0.001531183,0.0010615466],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000046382385,0.0000778552,0.004411134,0.00046112307,0.000012540721,0.0011191542,0.16262011,0.0003117655,0.0004515121,0.6192177,0.06746154,0.14380914],"study_design_scores_gemma":[0.000009866795,0.000038285787,0.0049923793,0.00074177503,0.000007043449,0.0004706783,0.097003564,0.000067971574,0.00014409769,0.03520743,0.86130553,0.000011399647],"about_ca_topic_score_codex":0.021900192,"about_ca_topic_score_gemma":0.061978966,"teacher_disagreement_score":0.021900192,"about_ca_system_score_codex":0.004743099,"about_ca_system_score_gemma":0.004363658,"threshold_uncertainty_score":0.043545425},"labels":[],"label_agreement":null},{"id":"W3107538419","doi":"10.22215/etd/2019-13560","title":"The Punk Effect: Art School Bands, Artist Collectives, and the Makings of an Alternative Culture in Downtown Toronto 1976-1978","year":2019,"lang":"en","type":"dissertation","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Carleton University","funders":"","keywords":"Punk; The arts; Downtown; Visual arts; Art; Queen (butterfly); Sociology; Aesthetics; Art history; History","score_opus":0.005482937812681442,"score_gpt":0.22377841026787024,"score_spread":0.2182954724551888,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3107538419","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9129613,0.0017116871,0.00018959925,0.002376261,0.00009918514,0.00003096575,0.00025017365,0.000012156236,0.08236871],"genre_scores_gemma":[0.98358756,0.000509445,0.00007260165,0.00006263526,0.0000106983725,0.000011920757,0.00005312983,0.000008933277,0.015683185],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9992003,0.00019215449,0.000021673031,0.00010634462,0.00016484693,0.00031468],"domain_scores_gemma":[0.99889576,0.0003287783,0.00016246985,0.00006475739,0.00018014087,0.00036806925],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006953497,0.0002480543,0.00029665063,0.0010594972,0.012377336,0.003864755,0.00068465626,0.0003535508,0.010589087],"category_scores_gemma":[0.0024312066,0.000275218,0.0001476114,0.0023266298,0.0086011905,0.0010914328,0.0024218746,0.0012435503,0.00031226344],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003658439,0.00007687997,0.0763945,0.00024509605,0.000025022478,0.0012662733,0.81166303,0.0002939466,0.0010012072,0.060647063,0.011138069,0.036883056],"study_design_scores_gemma":[0.000023641902,0.000053900472,0.3084745,0.00015276308,0.000036416524,0.00014455746,0.5915713,0.00009404139,0.00047120263,0.0008744473,0.09808434,0.000018885348],"about_ca_topic_score_codex":0.93648446,"about_ca_topic_score_gemma":0.9862942,"teacher_disagreement_score":0.063515544,"about_ca_system_score_codex":0.06173342,"about_ca_system_score_gemma":0.01770796,"threshold_uncertainty_score":0.4479094},"labels":[],"label_agreement":null},{"id":"W3107711957","doi":"10.4000/volume.6769","title":"Florian Heesch &amp; Niall Scott, Heavy metal, gender and sexuality. Interdisciplinary approaches","year":2019,"lang":"en","type":"article","venue":"Volume !","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Réseau Technoscience","funders":"","keywords":"Philosophy; History","score_opus":0.08975302836987774,"score_gpt":0.24701756071631115,"score_spread":0.1572645323464334,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3107711957","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005132273,0.6726373,0.0010773474,0.2524869,0.0037627516,0.00002196788,0.00016735273,0.000022753078,0.06469135],"genre_scores_gemma":[0.17471194,0.6427994,0.0023809152,0.039369754,0.006453508,0.000114025686,0.00014244065,0.00006579939,0.13396217],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99940145,0.0002807861,0.000020323634,0.00008629916,0.00015605924,0.000055070617],"domain_scores_gemma":[0.9979716,0.0015495642,0.000115246774,0.000038469352,0.00019740792,0.00012768948],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013812213,0.0006215409,0.00039006912,0.0019290944,0.00428486,0.0035705823,0.001383885,0.0026092527,0.009838506],"category_scores_gemma":[0.002081748,0.0003859407,0.00019715664,0.0017126038,0.005262602,0.006442423,0.0010671793,0.002141877,0.0013121357],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010434543,0.00009425601,0.002132902,0.0008111545,0.000018330795,0.00045398352,0.026541052,0.00011086209,0.00026460984,0.2241569,0.5895299,0.15578173],"study_design_scores_gemma":[0.000017723616,0.000027988503,0.007036926,0.0009974352,0.000012560005,0.0003540294,0.022986056,0.00007184064,0.00023952863,0.06407927,0.90415156,0.000025059868],"about_ca_topic_score_codex":0.041760933,"about_ca_topic_score_gemma":0.10016094,"teacher_disagreement_score":0.041760933,"about_ca_system_score_codex":0.0033806781,"about_ca_system_score_gemma":0.0022721642,"threshold_uncertainty_score":0.08303571},"labels":[],"label_agreement":null},{"id":"W3109750584","doi":"10.1093/hgs/dcaa024","title":"Jazz Fiction and the Holocaust: Reading History for Clues in the Novels of John A. Williams and Esi Edugyan","year":2020,"lang":"en","type":"article","venue":"Holocaust and Genocide Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Blues; Jazz; The Holocaust; Nazism; Literature; Narrative; History; Art; Art history; Philosophy; Theology","score_opus":0.10676786252389245,"score_gpt":0.25522611510554266,"score_spread":0.1484582525816502,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3109750584","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5323167,0.02555026,0.0035949058,0.06439832,0.0049085673,0.000056869227,0.00011387005,0.00017379543,0.3688867],"genre_scores_gemma":[0.9639349,0.0025813987,0.00065010233,0.0016187538,0.00070513255,0.000015162065,0.000023692175,0.00007586328,0.030394955],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99929297,0.0004651925,0.000012164093,0.000052863415,0.000092025366,0.00008470791],"domain_scores_gemma":[0.9977106,0.0017411093,0.00016011354,0.000106042775,0.00011612471,0.00016610365],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013280995,0.00051991554,0.00025025904,0.0014468699,0.00861356,0.0058982247,0.00062416383,0.00136318,0.0051825144],"category_scores_gemma":[0.004037907,0.00016496773,0.0001532837,0.00062916736,0.013068767,0.004264181,0.0030177129,0.0022396436,0.00037416123],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001534855,0.000050200346,0.0009525111,0.00022668764,0.000013894209,0.002663505,0.6761951,0.00019076964,0.0017601874,0.23535544,0.053815026,0.028623177],"study_design_scores_gemma":[0.000011535167,0.000056987803,0.0017810091,0.00041587377,0.000009987615,0.0010001505,0.26912653,0.000183928,0.0014462533,0.016936036,0.7090084,0.000023278135],"about_ca_topic_score_codex":0.0034399095,"about_ca_topic_score_gemma":0.010360507,"teacher_disagreement_score":0.00861356,"about_ca_system_score_codex":0.0028610332,"about_ca_system_score_gemma":0.00071257603,"threshold_uncertainty_score":0.02075839},"labels":[],"label_agreement":null},{"id":"W3109956387","doi":"","title":"De la tristesse à la trépidation chez les rockers et leurs successeurs","year":2004,"lang":"fr","type":"preprint","venue":"INRIA a CCSD electronic archive server","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.02891059512058941,"score_gpt":0.2590580747793539,"score_spread":0.23014747965876448,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3109956387","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.47424495,0.09808131,0.0016992345,0.19062886,0.0043754363,0.000043559514,0.00031869992,0.00006663478,0.23054127],"genre_scores_gemma":[0.866242,0.01948291,0.0003395953,0.008891354,0.0010035341,0.000043121578,0.00008334587,0.00005880181,0.10385526],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99838364,0.00078480574,0.000030911848,0.00016655163,0.00030951184,0.0003244807],"domain_scores_gemma":[0.99871695,0.00037875285,0.00033941038,0.00005228549,0.0002482611,0.00026438426],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014488394,0.00050183275,0.0003787601,0.0006448212,0.007167195,0.004496561,0.0005514614,0.0017044249,0.009415578],"category_scores_gemma":[0.00305599,0.00026653887,0.00024663558,0.0007245488,0.00918173,0.0039296094,0.003019844,0.0041753664,0.0014367589],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010914546,0.000032999,0.008514127,0.0002475572,0.000020160136,0.001195301,0.7984843,0.000042270818,0.000775243,0.064590216,0.08908553,0.03690313],"study_design_scores_gemma":[0.000010474853,0.00006550824,0.025220584,0.0004723238,0.000014367188,0.0011562711,0.45717332,0.000074623655,0.00031400326,0.0051202076,0.5103307,0.000047598307],"about_ca_topic_score_codex":0.048143312,"about_ca_topic_score_gemma":0.09146104,"teacher_disagreement_score":0.048143312,"about_ca_system_score_codex":0.0024218892,"about_ca_system_score_gemma":0.00283241,"threshold_uncertainty_score":0.09572619},"labels":[],"label_agreement":null},{"id":"W3112026564","doi":"10.22215/etd/2015-11164","title":"\"Jamaican Funk - Canadian Style\":Diasporic Dialogue and Hybridized Identity in the Music of Michie Mee","year":2015,"lang":"en","type":"dissertation","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Carleton University","funders":"University of Houston","keywords":"Style (visual arts); Identity (music); Hybridity; Articulation (sociology); Funk; Art; History; Art history; Visual arts; Literature; Aesthetics; Political science; Law","score_opus":0.0331142438297709,"score_gpt":0.23855834513204957,"score_spread":0.20544410130227866,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3112026564","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6289895,0.0027977354,0.00088123523,0.011320503,0.0002798708,0.00004515111,0.00012102831,0.000033423985,0.35553142],"genre_scores_gemma":[0.9634388,0.000914996,0.0003095179,0.00068624155,0.000033439766,0.000014722797,0.000024195113,0.000020447556,0.034557592],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.999292,0.00019554923,0.000009514675,0.00010559669,0.00021099036,0.00018631238],"domain_scores_gemma":[0.9995147,0.00014101517,0.000045434357,0.00002131217,0.0000929076,0.00018462016],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006156564,0.00033948605,0.00018723101,0.00069613743,0.017617688,0.0051858076,0.00055195205,0.00081246917,0.0026861185],"category_scores_gemma":[0.0013443757,0.00014872385,0.00009905501,0.0008620618,0.014633061,0.0013745204,0.002533255,0.0021231682,0.00024229982],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000060393995,0.000021498663,0.0036105698,0.000052851843,0.0000072157513,0.0007453326,0.9093673,0.00006095155,0.0016915436,0.060065895,0.011256173,0.0130602345],"study_design_scores_gemma":[0.0000072385665,0.000022122002,0.017264215,0.00013840817,0.000008584354,0.0005260528,0.78296596,0.00010489497,0.0005454576,0.0019930443,0.19639176,0.000032294014],"about_ca_topic_score_codex":0.5701118,"about_ca_topic_score_gemma":0.8632177,"teacher_disagreement_score":0.4298882,"about_ca_system_score_codex":0.01679729,"about_ca_system_score_gemma":0.010213952,"threshold_uncertainty_score":0.8648398},"labels":[],"label_agreement":null},{"id":"W3112147508","doi":"10.3138/md.63.4.1059","title":"Jewish Immigrant Theatre and the Argentinean Avant-Gardes: The Case of <i>Ibergus</i> in 1926 Buenos Aires","year":2020,"lang":"en","type":"article","venue":"Modern Drama","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Judaism; Yiddish; Immigration; Sociology; History; Literature; Art; Art history; Gender studies","score_opus":0.018679025766478966,"score_gpt":0.19300933289436656,"score_spread":0.1743303071278876,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3112147508","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.85811156,0.001977639,0.0004436066,0.0043898528,0.00023988329,0.00002712354,0.000026736765,0.000016546011,0.13476709],"genre_scores_gemma":[0.9859644,0.00033715263,0.00015395322,0.0002516886,0.00004657081,0.000015067911,0.0000103294615,0.000018942104,0.013201873],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989467,0.00057043054,0.000011520167,0.0000648422,0.00006967927,0.0003368414],"domain_scores_gemma":[0.99960846,0.0001358402,0.00005263508,0.000021605329,0.000046721347,0.00013475658],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011619753,0.00048607512,0.00028394157,0.00043645772,0.021468878,0.005238988,0.00080198457,0.0020588366,0.0037370229],"category_scores_gemma":[0.0011743685,0.00032962122,0.00017637444,0.0005461125,0.009130748,0.0012170393,0.0026268759,0.00239291,0.0003163021],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00025726634,0.00007736273,0.004557288,0.00011289452,0.000009802073,0.0051424964,0.88611686,0.00013999433,0.001384558,0.08397962,0.007524177,0.010697623],"study_design_scores_gemma":[0.00003129361,0.000103817125,0.018331828,0.0002608531,0.000021587928,0.0013600094,0.7435683,0.00035203435,0.0005301577,0.0022501159,0.23314925,0.000040714185],"about_ca_topic_score_codex":0.08739176,"about_ca_topic_score_gemma":0.17503068,"teacher_disagreement_score":0.08739176,"about_ca_system_score_codex":0.0068752943,"about_ca_system_score_gemma":0.0012931746,"threshold_uncertainty_score":0.1737662},"labels":[],"label_agreement":null},{"id":"W3112382612","doi":"10.3138/cras-2020-002","title":"The Screamers: Pop Ambition, Punk Nihilism, and Queer Futurities","year":2020,"lang":"en","type":"article","venue":"Canadian Review of American Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Punk; Nihilism; Queer; Futures contract; Aesthetics; Hostility; Queer theory; Sociology; Literature; Art; Art history; Gender studies; Philosophy; Epistemology; Psychology; Social psychology","score_opus":0.038736435158594026,"score_gpt":0.24505299180345066,"score_spread":0.20631655664485665,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3112382612","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1693204,0.114930555,0.002802219,0.09706695,0.000950606,0.000021744412,0.00008925945,0.000039736446,0.6147786],"genre_scores_gemma":[0.9609384,0.022277536,0.000284807,0.003926776,0.00034170842,0.000012656321,0.000018632652,0.000020195985,0.01217924],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99800354,0.0011543147,0.00003499488,0.0002099867,0.00031030705,0.00028685003],"domain_scores_gemma":[0.9976623,0.0015146036,0.00029014176,0.00012285972,0.00018270117,0.00022736576],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0034573493,0.00025779937,0.00026903735,0.0015548961,0.007974425,0.008193279,0.0005939419,0.0016580028,0.004635562],"category_scores_gemma":[0.0034516484,0.00016075521,0.0001614123,0.0019635388,0.054176003,0.008008273,0.0040923683,0.004104246,0.000308984],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022334698,0.00001258573,0.0012195902,0.00011273833,0.000006531882,0.00024959454,0.16118987,0.000049839564,0.000121039535,0.80946076,0.0058258073,0.021729313],"study_design_scores_gemma":[0.000016764916,0.00003375942,0.008269084,0.0008175206,0.000016014994,0.00051090145,0.2721943,0.000112944916,0.00025068442,0.20209074,0.515641,0.00004641425],"about_ca_topic_score_codex":0.026833167,"about_ca_topic_score_gemma":0.053433064,"teacher_disagreement_score":0.026833167,"about_ca_system_score_codex":0.005584319,"about_ca_system_score_gemma":0.003008279,"threshold_uncertainty_score":0.053353965},"labels":[],"label_agreement":null},{"id":"W3112551333","doi":"10.17561/grove.v27.a8","title":"Neil Young: The Man Who Fell to Earth","year":2020,"lang":"en","type":"article","venue":"The Grove - Working Papers on English Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Instinct; Fell; Rest (music); Art; Throwing; Art history; Aesthetics; Literature; History; Visual arts; Engineering; Cartography; Geography","score_opus":0.07749982396060673,"score_gpt":0.22768667840099524,"score_spread":0.1501868544403885,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3112551333","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.041579418,0.080197535,0.0009771028,0.286597,0.033520944,0.000063459614,0.0002179206,0.0002187199,0.5566279],"genre_scores_gemma":[0.11996099,0.017126694,0.0004979742,0.04776006,0.0015704326,0.000028449456,0.00008036696,0.00018225695,0.8127928],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992605,0.00013618793,0.000014361291,0.000091217385,0.00020375132,0.0002939514],"domain_scores_gemma":[0.9989023,0.00008007993,0.00004182064,0.00002081977,0.00025964956,0.0006953389],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000773623,0.00047319668,0.00034283558,0.0006642599,0.020993719,0.0051382044,0.0006227727,0.0016522675,0.015840514],"category_scores_gemma":[0.002361091,0.0002736614,0.0001348501,0.00052599603,0.00499558,0.0034199855,0.002806868,0.0033224865,0.005775187],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000036063837,0.000018056655,0.0013067423,0.00007587975,0.0000035293165,0.0013483963,0.050275832,0.000014216691,0.0004177193,0.02179401,0.8866752,0.038034294],"study_design_scores_gemma":[0.0000016173581,0.0000079987685,0.00093814556,0.00012698701,0.0000016540556,0.0005469337,0.039882213,0.000008362078,0.00007340731,0.0007193601,0.95768225,0.00001111195],"about_ca_topic_score_codex":0.27704227,"about_ca_topic_score_gemma":0.5456068,"teacher_disagreement_score":0.27704227,"about_ca_system_score_codex":0.0061052907,"about_ca_system_score_gemma":0.0082296,"threshold_uncertainty_score":0.55085945},"labels":[],"label_agreement":null},{"id":"W3112555115","doi":"10.5204/mcj.1900","title":"Mixing with Records","year":2001,"lang":"en","type":"article","venue":"M/C Journal","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Mixing (physics); Physics","score_opus":0.029492721655249302,"score_gpt":0.19181908862645813,"score_spread":0.16232636697120884,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3112555115","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.015222173,0.004202683,0.2527017,0.039559864,0.008333785,0.00081787194,0.010676133,0.03496651,0.63351935],"genre_scores_gemma":[0.1034158,0.004111425,0.13752379,0.012601795,0.0036661352,0.00063392695,0.01625373,0.012719098,0.7090742],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99306935,0.0021566588,0.00051392184,0.0012818564,0.0023574734,0.00062075764],"domain_scores_gemma":[0.988201,0.003820312,0.00060346734,0.004023671,0.0022685265,0.0010830006],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0047148797,0.0011066651,0.00073385815,0.0019420868,0.003578457,0.011997359,0.0027487068,0.00344971,0.21576886],"category_scores_gemma":[0.027654028,0.0009145165,0.0012464896,0.002893736,0.0019023365,0.018316574,0.010560992,0.003926891,0.1156825],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00038606476,0.00015066811,0.0022767333,0.0005650801,0.000038554947,0.00061429985,0.0064891656,0.00062159495,0.003390526,0.12669192,0.48047438,0.37830096],"study_design_scores_gemma":[0.00001069228,0.000033736214,0.00030901527,0.00018198845,0.000012933417,0.0002811253,0.0009764545,0.00067280367,0.0011717455,0.011921324,0.98439527,0.000033036842],"about_ca_topic_score_codex":0.0041211178,"about_ca_topic_score_gemma":0.004539317,"teacher_disagreement_score":0.21576886,"about_ca_system_score_codex":0.002092645,"about_ca_system_score_gemma":0.002159095,"threshold_uncertainty_score":0.72181875},"labels":[],"label_agreement":null},{"id":"W3117817285","doi":"10.1080/07494467.2020.1863001","title":"A Connected History and Geography of Studios","year":2020,"lang":"en","type":"article","venue":"Contemporary Music Review","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"Fundação para a Ciência e a Tecnologia","keywords":"Studio; Session (web analytics); Sign (mathematics); Visual arts; History; Geography; Computer science; Art; World Wide Web; Mathematics","score_opus":0.15126372229843624,"score_gpt":0.21911486217484008,"score_spread":0.06785113987640384,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3117817285","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03882406,0.24547347,0.0022252817,0.06194463,0.0030175857,0.00003162535,0.00025164743,0.00006371114,0.648168],"genre_scores_gemma":[0.72993314,0.15888852,0.00102489,0.008972406,0.00809095,0.0000603362,0.0002492549,0.00023151605,0.09254895],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978986,0.0011627254,0.0000659104,0.0002397032,0.0003016627,0.00033141783],"domain_scores_gemma":[0.99819225,0.00066577975,0.0002079907,0.00017724714,0.00027224157,0.0004844579],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015307721,0.00036942758,0.0005221153,0.0049653444,0.0035992279,0.017413065,0.0008798326,0.0020233921,0.031220062],"category_scores_gemma":[0.0040107486,0.00030269593,0.00030030098,0.007651734,0.011199688,0.008919641,0.005719246,0.0030209022,0.002230075],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007267292,0.000051015766,0.0024932283,0.00063694315,0.000018382147,0.00024319631,0.03104314,0.00013865091,0.000509995,0.8209893,0.0413858,0.10241763],"study_design_scores_gemma":[0.0000076035994,0.00003902542,0.008638518,0.001460134,0.000012471704,0.00025305373,0.040810533,0.000051061226,0.00008702091,0.036165968,0.9124622,0.000012365612],"about_ca_topic_score_codex":0.007367287,"about_ca_topic_score_gemma":0.013984198,"teacher_disagreement_score":0.031220062,"about_ca_system_score_codex":0.004177526,"about_ca_system_score_gemma":0.003925815,"threshold_uncertainty_score":0.104441464},"labels":[],"label_agreement":null},{"id":"W3118325289","doi":"10.1080/19401159.2020.1852765","title":"John Prine, 1946–2020","year":2021,"lang":"en","type":"article","venue":"Rock Music Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Brock University","funders":"","keywords":"Porch; Guitar; Art history; History; Art; Archaeology; Management; Economics","score_opus":0.07204914207798663,"score_gpt":0.24779786707260743,"score_spread":0.1757487249946208,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3118325289","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0025699276,0.17990981,0.0008082834,0.19486752,0.086512394,0.00004775874,0.0021356477,0.00015752715,0.5329912],"genre_scores_gemma":[0.010017003,0.021159744,0.0002465849,0.013009686,0.0037398925,0.000022219727,0.0003198454,0.00009519887,0.95138985],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99935323,0.00009823893,0.000026391072,0.00014134837,0.00027360098,0.0001070826],"domain_scores_gemma":[0.9994203,0.00007530878,0.00003938595,0.000031286192,0.000223566,0.00021025109],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008889379,0.00049634033,0.0002381397,0.00092846184,0.0028539032,0.0040167663,0.00046273612,0.0016807218,0.051766463],"category_scores_gemma":[0.0033837897,0.00024744653,0.0001498867,0.00080439897,0.0015330535,0.0029165738,0.0025375711,0.0023094015,0.030790202],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023646448,0.000005347245,0.00017512613,0.00008500151,0.0000020714792,0.00006921047,0.0004843252,0.000016884855,0.000079964695,0.020277215,0.9371692,0.041611977],"study_design_scores_gemma":[4.4911422e-7,9.449822e-7,0.00017637496,0.00003415199,1.7930208e-7,0.000012589458,0.000075447475,0.0000014118839,0.000014091755,0.0003552241,0.99932814,0.0000010022915],"about_ca_topic_score_codex":0.017124414,"about_ca_topic_score_gemma":0.06064073,"teacher_disagreement_score":0.051766463,"about_ca_system_score_codex":0.0028783223,"about_ca_system_score_gemma":0.002862575,"threshold_uncertainty_score":0.17317605},"labels":[],"label_agreement":null},{"id":"W3119139727","doi":"10.3138/jcs-2019-0006","title":"Liberation on the Dance Floor: Collective Dance and Queer Politics in Canada","year":2020,"lang":"en","type":"article","venue":"Journal of Canadian Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Queer; Dance; Gender studies; Lesbian; Politics; Concert dance; Sociology; Privilege (computing); Modern dance; Parade; Visual arts; Political science; Art; Law","score_opus":0.06216836117802646,"score_gpt":0.2000530109267633,"score_spread":0.13788464974873685,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3119139727","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.52089036,0.015157127,0.0010345549,0.09443593,0.00071112026,0.00010565631,0.0005926022,0.0000669341,0.36700574],"genre_scores_gemma":[0.9491959,0.0030684422,0.00028721048,0.0033999267,0.00005094322,0.000023897586,0.00008762223,0.000043887165,0.043842144],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9967174,0.00047628145,0.00003896781,0.00030373802,0.00063297676,0.0018306691],"domain_scores_gemma":[0.9969482,0.0006010365,0.00019279766,0.00009354623,0.00064138655,0.0015230962],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019655405,0.00033580716,0.0004657342,0.0017538713,0.052520897,0.010544955,0.0015481403,0.002307516,0.012640115],"category_scores_gemma":[0.0032815882,0.00032521004,0.00032778017,0.0038431627,0.019028857,0.0022520209,0.005045285,0.0045632604,0.00034909564],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013399118,0.00006160958,0.022009818,0.00022916858,0.00004230711,0.0013275377,0.53635925,0.00058380805,0.00061021175,0.3179361,0.067723244,0.05298298],"study_design_scores_gemma":[0.000023080223,0.000024634463,0.044931095,0.0003699196,0.000030382911,0.00017380786,0.47651574,0.00035462412,0.0002892178,0.0060380925,0.47114363,0.00010579294],"about_ca_topic_score_codex":0.9980641,"about_ca_topic_score_gemma":0.9995041,"teacher_disagreement_score":0.2227632,"about_ca_system_score_codex":0.2227632,"about_ca_system_score_gemma":0.19388452,"threshold_uncertainty_score":0.90148455},"labels":[],"label_agreement":null},{"id":"W3119186505","doi":"10.30535/mto.26.4.10","title":"Review of Dylan Robinson, <i>Hungry Listening: Resonant Theory for Indigenous Sound Studies</i> (University of Minnesota Press, 2020)","year":2020,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Queen's University","funders":"","keywords":"Active listening; Indigenous; Sound (geography); Art; Art history; Sociology; Acoustics; Communication; Physics; Biology; Ecology","score_opus":0.05713917903260146,"score_gpt":0.2448746230703495,"score_spread":0.18773544403774803,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3119186505","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000028811306,0.97451144,0.0000779464,0.01696307,0.0066070925,0.0000036825716,0.000034815865,0.000004587311,0.0017684927],"genre_scores_gemma":[0.00060295983,0.96589494,0.00014601123,0.01846642,0.009666928,0.000020698075,0.00006026997,0.000018369281,0.005123397],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987196,0.00040946706,0.0001510873,0.00020857704,0.00042624155,0.00008504676],"domain_scores_gemma":[0.9957268,0.002278488,0.00018497469,0.00008864473,0.001370439,0.00035070104],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0032281517,0.0012003668,0.001886558,0.0055769575,0.0013877474,0.00398949,0.0020108866,0.0050739264,0.010491567],"category_scores_gemma":[0.009390527,0.0006006214,0.00046725365,0.006786315,0.0027729757,0.006681449,0.003067446,0.0052455924,0.0070470423],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002671286,0.000019302875,0.00009168288,0.0036954014,0.000016504624,0.000044412594,0.00035812822,0.000048679965,0.00006933687,0.0042924006,0.85662663,0.13471083],"study_design_scores_gemma":[0.0000060490306,0.0000073125184,0.00032404574,0.0024648362,0.000011894385,0.00010485688,0.00024502046,0.000008511859,0.000023947689,0.0007370455,0.9960588,0.0000076188553],"about_ca_topic_score_codex":0.026541648,"about_ca_topic_score_gemma":0.047938634,"teacher_disagreement_score":0.026541648,"about_ca_system_score_codex":0.0033179244,"about_ca_system_score_gemma":0.0063239005,"threshold_uncertainty_score":0.05277431},"labels":[],"label_agreement":null},{"id":"W3121473852","doi":"10.22215/etd/2017-11869","title":"'This is Boedo' Stories of a Lost Football Stadium, a Buenos Aires Barrio, and How the Hinchas of San Lorenzo Fought to Return","year":2017,"lang":"en","type":"dissertation","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Club; Stadium; Fandom; Politics; Football; Football club; Sociology; Media studies; Humanities; Political science; History; Art; Law","score_opus":0.030532959019426174,"score_gpt":0.2393810585000693,"score_spread":0.20884809948064312,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3121473852","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.61342186,0.010571993,0.0016290395,0.0787413,0.002683793,0.000084269355,0.00036122437,0.00011011727,0.29239643],"genre_scores_gemma":[0.9195852,0.0026610193,0.00028565672,0.0043492946,0.00018227503,0.00004872026,0.00012058081,0.00010724648,0.07265995],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9985392,0.00072963466,0.000015501075,0.00013006039,0.00019292936,0.0003927113],"domain_scores_gemma":[0.9992248,0.00020787687,0.00009382631,0.000031166743,0.000107304855,0.0003349421],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012386133,0.0007283068,0.0004378899,0.0009093553,0.031182976,0.007970575,0.0012801888,0.0022096469,0.0093067195],"category_scores_gemma":[0.0024151753,0.00034722564,0.00023866704,0.0008843488,0.015255906,0.0054832282,0.004752867,0.0067936853,0.0007351639],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005504142,0.000040243864,0.0015771792,0.00006676196,0.0000060160596,0.0010663859,0.9279402,0.000029283927,0.00027214357,0.018182319,0.045246743,0.005517707],"study_design_scores_gemma":[0.000005975083,0.000020640051,0.0027591812,0.0002129082,0.0000056434505,0.00031817684,0.7572966,0.000034726294,0.000073664625,0.0008157427,0.23844272,0.000014011809],"about_ca_topic_score_codex":0.15026192,"about_ca_topic_score_gemma":0.36369193,"teacher_disagreement_score":0.15026192,"about_ca_system_score_codex":0.009509708,"about_ca_system_score_gemma":0.0028946593,"threshold_uncertainty_score":0.29877466},"labels":[],"label_agreement":null},{"id":"W3123920343","doi":"","title":"Survival of the Hippest: Life at the Top of the Hot 100","year":2005,"lang":"en","type":"preprint","venue":"RePEc: Research Papers in Economics","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Victoria","funders":"","keywords":"Hot spot (computer programming); Period (music); Art; Computer science; Aesthetics","score_opus":0.05948510581676786,"score_gpt":0.27734755521848153,"score_spread":0.21786244940171368,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3123920343","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9940387,0.0002924775,0.0000954013,0.00022040377,0.000014368991,0.0000035359383,0.0020298332,0.000008147155,0.003297102],"genre_scores_gemma":[0.9948211,0.00020686939,0.000038108676,0.00002741979,0.000026714282,0.000004350884,0.0025006656,0.0000072566786,0.0023675228],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.9998099,0.000025544903,0.000007871053,0.0000394623,0.00004044014,0.00007678333],"domain_scores_gemma":[0.99684405,0.0005710916,0.0015150884,0.000106136955,0.0002900269,0.0006735367],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00036774622,0.00013090878,0.0001686994,0.0011533349,0.00065424317,0.0013925544,0.0002771016,0.0002983564,0.0068492442],"category_scores_gemma":[0.0029988321,0.00007388992,0.00013547596,0.0014338407,0.00052304525,0.0005810219,0.0008760005,0.00058087654,0.0014043013],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003706608,0.00006423917,0.9648688,0.00004775198,0.00009283423,0.00029278707,0.0032645115,0.0006621621,0.0005608485,0.0012833857,0.0073022773,0.021189662],"study_design_scores_gemma":[0.000002902612,0.000033076223,0.99505264,0.000011278642,0.000012346522,0.000060700815,0.0022055919,0.0002949365,0.00010624997,0.00012851834,0.0020817402,0.000010059923],"about_ca_topic_score_codex":0.028729158,"about_ca_topic_score_gemma":0.045193397,"teacher_disagreement_score":0.028729158,"about_ca_system_score_codex":0.00054872996,"about_ca_system_score_gemma":0.00021903652,"threshold_uncertainty_score":0.0571239},"labels":[],"label_agreement":null},{"id":"W3124486759","doi":"10.11144/javeriana.mavae16-1.mpme","title":"Música pós-minimalista em cena: uma análise do uso de trance 4 em Closet monster*","year":2021,"lang":"pt","type":"article","venue":"Cuadernos de Música Artes Visuales y Artes Escénicas","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Monster; Art; Closet; Humanities; Musical; Queer; Trance; Art history; Visual arts; Philosophy; Psychology; Psychoanalysis; History; Theology; Archaeology","score_opus":0.03769060341174883,"score_gpt":0.277882928295541,"score_spread":0.24019232488379216,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3124486759","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.76335466,0.0047090887,0.0029733204,0.0031800782,0.00030259398,0.00010184483,0.00038064673,0.000037135225,0.22496077],"genre_scores_gemma":[0.9726337,0.001810428,0.0010582762,0.00040472017,0.000078596975,0.000036944195,0.00016621646,0.000048205915,0.023762872],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9988668,0.00047439418,0.00003436238,0.00012645102,0.00030171042,0.00019618426],"domain_scores_gemma":[0.9979842,0.001025212,0.00025362146,0.0001191177,0.00038503003,0.00023284556],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014230079,0.00039427367,0.00029946072,0.0026093905,0.0041965228,0.006019309,0.00061888946,0.00070295075,0.0080905],"category_scores_gemma":[0.0044320268,0.00021866946,0.00024083682,0.0026672347,0.006154607,0.0037137503,0.0032972519,0.0020714714,0.0004733602],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019330581,0.000042312182,0.018049005,0.00047391534,0.000031704683,0.0014757949,0.84197366,0.0001090628,0.0025304002,0.07148569,0.009165923,0.05446929],"study_design_scores_gemma":[0.000005521337,0.00006418868,0.062605664,0.00056238734,0.000022503098,0.00076237257,0.74735653,0.00015805881,0.0009279511,0.0030568424,0.18444224,0.000035737557],"about_ca_topic_score_codex":0.041325994,"about_ca_topic_score_gemma":0.10464226,"teacher_disagreement_score":0.041325994,"about_ca_system_score_codex":0.0046863267,"about_ca_system_score_gemma":0.0019584433,"threshold_uncertainty_score":0.0821709},"labels":[],"label_agreement":null},{"id":"W3124747013","doi":"","title":"The Role of Levies in Canada's Digital Music Marketplace","year":2005,"lang":"en","type":"article","venue":"eYLS (Yale Law School)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Business; Law and economics; Chemistry; Advertising; Economics","score_opus":0.009500160973029172,"score_gpt":0.17587478192267442,"score_spread":0.16637462094964525,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3124747013","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.19394986,0.0024239533,0.0037452304,0.04790203,0.00021701447,0.00013749703,0.00032820692,0.00018305989,0.7511131],"genre_scores_gemma":[0.95686066,0.0005680958,0.0007688073,0.0042015067,0.00006123422,0.00003592151,0.000051141298,0.000040355604,0.037412226],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99042785,0.0009648681,0.00013931589,0.0007018112,0.0039403876,0.003825698],"domain_scores_gemma":[0.9906171,0.002343671,0.00065187406,0.00038708228,0.0042315926,0.0017687442],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0048995367,0.00036359823,0.00047945624,0.003208599,0.026693124,0.02111728,0.0029837466,0.0059907106,0.011693814],"category_scores_gemma":[0.01468665,0.00053513056,0.00062547904,0.003255699,0.015227399,0.0046814894,0.0047534266,0.0058181887,0.0004744471],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000038613765,0.000039007802,0.0040740552,0.000044172888,0.000018083312,0.00027950868,0.0046817646,0.0008669881,0.0003859269,0.9593729,0.013019526,0.017179498],"study_design_scores_gemma":[0.0002147629,0.00020025282,0.04482188,0.00094065355,0.00028055115,0.0003036523,0.03910881,0.01150156,0.0023668818,0.22007896,0.6796569,0.0005251232],"about_ca_topic_score_codex":0.9800106,"about_ca_topic_score_gemma":0.9876681,"teacher_disagreement_score":0.15138823,"about_ca_system_score_codex":0.15138823,"about_ca_system_score_gemma":0.17630927,"threshold_uncertainty_score":0.9842694},"labels":[],"label_agreement":null},{"id":"W3125276159","doi":"10.52214/cm.v107i.7177","title":"Song Form and the Mainstreaming of Hip-Hop Music","year":2021,"lang":"en","type":"article","venue":"Current Musicology","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":16,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Musical; Mainstream; Popular music; Literature; Hook; Art; Musical form; History; Visual arts; Philosophy","score_opus":0.04867272536163899,"score_gpt":0.22941321034528603,"score_spread":0.18074048498364703,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3125276159","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9126892,0.002509938,0.0009539479,0.0007632292,0.00011038147,0.000025221994,0.00012495005,0.000016461454,0.08280657],"genre_scores_gemma":[0.992595,0.0011102798,0.0007582217,0.00011371151,0.00008225424,0.000013216913,0.00007682791,0.000025064963,0.005225407],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9992291,0.00023626599,0.0000436679,0.00013833602,0.0002528593,0.00009976634],"domain_scores_gemma":[0.99834275,0.0007276855,0.00032520376,0.00016683603,0.00027428032,0.00016314063],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010794315,0.00018809832,0.0002124514,0.0024200077,0.0025975879,0.0034285106,0.00037004496,0.00031419733,0.0035965387],"category_scores_gemma":[0.003072059,0.00014360178,0.000112217516,0.0020226596,0.0059536565,0.0026078718,0.002246034,0.00073480746,0.0001926486],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005205411,0.0000808275,0.07629516,0.0009367792,0.000049397593,0.0016750802,0.57715094,0.00024226787,0.016308488,0.07862535,0.0032121136,0.24490303],"study_design_scores_gemma":[0.00003136355,0.00024547285,0.597418,0.0007269278,0.000052617812,0.001784914,0.2622894,0.00038989767,0.0022308256,0.009896774,0.124868326,0.000065493674],"about_ca_topic_score_codex":0.009322454,"about_ca_topic_score_gemma":0.034709428,"teacher_disagreement_score":0.009322454,"about_ca_system_score_codex":0.0015084572,"about_ca_system_score_gemma":0.0006705515,"threshold_uncertainty_score":0.018536389},"labels":[],"label_agreement":null},{"id":"W3126713121","doi":"10.1558/pomh.39428","title":"Billboard’s ‘Hot Country Songs’ chart and the curation of country music culture","year":2021,"lang":"en","type":"article","venue":"Popular Music History","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Ottawa","funders":"","keywords":"Chart; Country; Context (archaeology); Musical; Narrative; Forgetting; Credibility; Visual arts; Variety (cybernetics); Popular music; History; Advertising; Media studies; Sociology; Art; Literature; Computer science; Political science; Linguistics; Business; Management; Law","score_opus":0.030375993324833588,"score_gpt":0.1887433834433843,"score_spread":0.1583673901185507,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3126713121","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.49251366,0.0045964066,0.058879808,0.02413417,0.0019461084,0.00061401457,0.0032275333,0.0004999092,0.41358832],"genre_scores_gemma":[0.933359,0.0019434891,0.030225987,0.001648564,0.00032748468,0.00042500824,0.0006935125,0.0003582049,0.031018788],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9967333,0.0018574541,0.00011522623,0.00027772368,0.00082535483,0.00019093623],"domain_scores_gemma":[0.9852984,0.009449144,0.0013542575,0.0018464663,0.0016038523,0.0004477966],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0034541816,0.0003902964,0.00019759305,0.004532967,0.0043336656,0.0070509478,0.0006831234,0.00059746916,0.0071769156],"category_scores_gemma":[0.021556107,0.0002182121,0.00020930436,0.0054497942,0.0075338874,0.005540304,0.0025114599,0.0016824917,0.0006587514],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019424106,0.00005024794,0.03437585,0.00047595552,0.000024151544,0.0005815174,0.38137847,0.00035401073,0.0018338901,0.2658337,0.062011763,0.25288618],"study_design_scores_gemma":[0.000011038997,0.000056613073,0.060480047,0.00077052653,0.000022744474,0.00036056968,0.22495337,0.0006439777,0.003175748,0.028916415,0.6805444,0.00006461785],"about_ca_topic_score_codex":0.015853766,"about_ca_topic_score_gemma":0.032913465,"teacher_disagreement_score":0.015853766,"about_ca_system_score_codex":0.0025676016,"about_ca_system_score_gemma":0.0027334695,"threshold_uncertainty_score":0.03152299},"labels":[],"label_agreement":null},{"id":"W3127871825","doi":"10.7202/1075798ar","title":"Corporeal Sounding: Listening to Bomba Dance, Listening to puertorriqueñxs","year":2021,"lang":"en","type":"article","venue":"Performance Matters","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Active listening; Dance; Improvisation; Movement (music); Visual arts; Art; History; Aesthetics; Sociology; Communication","score_opus":0.022479536513634806,"score_gpt":0.21621938745433006,"score_spread":0.19373985094069526,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3127871825","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6903631,0.00989599,0.0015604651,0.015683025,0.0005812017,0.00006709752,0.00008912099,0.00004112568,0.28171885],"genre_scores_gemma":[0.9743397,0.003104566,0.0005433865,0.0017767781,0.0001227314,0.000032421733,0.000023915025,0.000034680932,0.020021714],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9996773,0.00017885494,0.0000047832445,0.00003521651,0.000041565338,0.000062242085],"domain_scores_gemma":[0.9998122,0.000095453695,0.000016156288,0.000013842618,0.000031001455,0.0000313846],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00056566455,0.00035006745,0.00017464906,0.00058178714,0.0061583593,0.0028716568,0.0004926301,0.00102818,0.0036859505],"category_scores_gemma":[0.001134851,0.0001222887,0.00016036145,0.00041925782,0.005134888,0.0014955734,0.0020022457,0.0016851632,0.0002579368],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000040611067,0.000019588137,0.0018440643,0.00015740914,0.000009259453,0.0011158392,0.9390828,0.000036589176,0.00229408,0.028334782,0.0049982965,0.022066632],"study_design_scores_gemma":[0.000005456159,0.000029124265,0.012019543,0.00022080539,0.000015214038,0.0006340828,0.8767828,0.00008905305,0.0005232163,0.0021160087,0.10755013,0.000014592433],"about_ca_topic_score_codex":0.048631564,"about_ca_topic_score_gemma":0.105442815,"teacher_disagreement_score":0.048631564,"about_ca_system_score_codex":0.0019829557,"about_ca_system_score_gemma":0.00088305597,"threshold_uncertainty_score":0.09669697},"labels":[],"label_agreement":null},{"id":"W3128446334","doi":"10.2979/globalsouth.14.1.08","title":"The Africadian Blues: A Conversation with George Elliott Clarke","year":2020,"lang":"en","type":"article","venue":"The Global South","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"George (robot); Blues; Conversation; Sociology; Psychoanalysis; Media studies; Art; Art history; Psychology; Communication","score_opus":0.02325789550973877,"score_gpt":0.16569886600829292,"score_spread":0.14244097049855414,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3128446334","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.080176465,0.025738996,0.0011049114,0.77092427,0.007154929,0.00012417884,0.00017283706,0.00012400535,0.11447948],"genre_scores_gemma":[0.53760445,0.018113995,0.0026415258,0.2740069,0.0013060193,0.00016689462,0.00008424048,0.0002711208,0.1658048],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.995741,0.0017865219,0.000047889203,0.0003860054,0.0009327658,0.0011059409],"domain_scores_gemma":[0.9940713,0.0020963303,0.00018397807,0.00007963467,0.001383161,0.0021854655],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004279968,0.0008364748,0.00077980326,0.0018829725,0.046594646,0.007437755,0.0020449667,0.0060621975,0.004906798],"category_scores_gemma":[0.009213922,0.0007314368,0.00036697977,0.0025707202,0.016391136,0.0038893616,0.0032582534,0.012916629,0.001088613],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006990762,0.000062137406,0.0014414632,0.000125443,0.000012370038,0.0026315304,0.44303083,0.00015702326,0.00093746826,0.03620853,0.5021945,0.01312866],"study_design_scores_gemma":[0.0000072415833,0.00001599537,0.0009818586,0.0003056528,0.000006252818,0.0005806337,0.33571494,0.00008402752,0.0001651191,0.0014614958,0.66061926,0.000057524197],"about_ca_topic_score_codex":0.7998942,"about_ca_topic_score_gemma":0.8816207,"teacher_disagreement_score":0.7998942,"about_ca_system_score_codex":0.04141354,"about_ca_system_score_gemma":0.030315593,"threshold_uncertainty_score":0.40256846},"labels":[],"label_agreement":null},{"id":"W3128791718","doi":"10.3998/mp.9460447.0015.102","title":"Listener Discretion Advised: The Power and Politics of Intercultural Encounters on Music Radio","year":2021,"lang":"en","type":"article","venue":"Music and Politics","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Government of Newfoundland and Labrador; Memorial University of Newfoundland","funders":"","keywords":"Discretion; Politics; Power (physics); Intercultural communication; Political science; Psychology; Sociology; Communication; Law","score_opus":0.024041439357824768,"score_gpt":0.21059595464322087,"score_spread":0.1865545152853961,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3128791718","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.53483695,0.0016226888,0.0045180647,0.021106085,0.000538668,0.00006206932,0.00003690534,0.00008989041,0.43718868],"genre_scores_gemma":[0.99141484,0.00020057938,0.00021280495,0.0007596291,0.00008052699,0.000014090701,0.000008388303,0.000046481735,0.007262689],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9841995,0.011310647,0.00019186363,0.0009513518,0.001265082,0.0020814936],"domain_scores_gemma":[0.99087113,0.006352045,0.0006552896,0.0005971746,0.00033748313,0.0011868897],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.006969476,0.00031854998,0.00041009116,0.0019639977,0.02699923,0.015582243,0.0014926184,0.004117429,0.006240357],"category_scores_gemma":[0.016328162,0.00059460034,0.00038760874,0.0012895879,0.04337837,0.00714607,0.011191526,0.00618554,0.00072587264],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004536371,0.000013614319,0.0012634068,0.000022480752,0.000006054445,0.000895527,0.92758113,0.000033382817,0.0004365551,0.06245401,0.0025795125,0.0046688784],"study_design_scores_gemma":[0.000020630465,0.000029531604,0.0027037668,0.00011873269,0.000011167757,0.00048902567,0.8758986,0.0001635049,0.00033323074,0.014202275,0.10599742,0.000032148837],"about_ca_topic_score_codex":0.015792297,"about_ca_topic_score_gemma":0.028644117,"teacher_disagreement_score":0.02699923,"about_ca_system_score_codex":0.0052009807,"about_ca_system_score_gemma":0.0023632182,"threshold_uncertainty_score":0.03773594},"labels":[],"label_agreement":null},{"id":"W3129026872","doi":"10.21810/strm.v12i1.283","title":"Same as it ever was","year":2020,"lang":"en","type":"article","venue":"Stream Interdisciplinary Journal of Communication","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Toronto Metropolitan University; York University","funders":"","keywords":"Narrative; Nothing; Value (mathematics); Music industry; Position (finance); Reset (finance); Advertising; Media studies; Aesthetics; Visual arts; Sociology; Business; Art; Literature; Computer science","score_opus":0.04388211341729837,"score_gpt":0.28810074563130805,"score_spread":0.2442186322140097,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3129026872","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.048529834,0.0055028056,0.0071444106,0.09347038,0.015718475,0.00008462419,0.0003814775,0.0003195248,0.8288484],"genre_scores_gemma":[0.51342255,0.00303755,0.0030200456,0.042692162,0.0017319468,0.00010223954,0.0004498257,0.00055026665,0.43499336],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.995484,0.0016108087,0.00013120126,0.001057987,0.0008594945,0.00085641147],"domain_scores_gemma":[0.9978398,0.00028476352,0.0001745196,0.0005068598,0.00062898337,0.0005650786],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002672645,0.00059884536,0.00056953373,0.00077560975,0.01106501,0.01150924,0.0010297952,0.003019999,0.023867467],"category_scores_gemma":[0.007294769,0.000251125,0.000469918,0.00084721897,0.016062219,0.010767955,0.0069098864,0.0072149877,0.010522694],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014021888,0.00008826912,0.0038742837,0.0002263295,0.000066774686,0.00085078675,0.16320999,0.0001059298,0.001376122,0.59390426,0.1729589,0.06319815],"study_design_scores_gemma":[0.0000053836466,0.000020802425,0.00064621476,0.00015926479,0.000011075365,0.00029734697,0.031231623,0.000047117075,0.00023272708,0.01322485,0.954096,0.000027438888],"about_ca_topic_score_codex":0.014825526,"about_ca_topic_score_gemma":0.020088391,"teacher_disagreement_score":0.023867467,"about_ca_system_score_codex":0.0034379098,"about_ca_system_score_gemma":0.0033784118,"threshold_uncertainty_score":0.079844594},"labels":[],"label_agreement":null},{"id":"W3129735363","doi":"10.1386/punk_00077_5","title":"What Is Post-punk? Genre and Identity in Avant-garde Popular Music, 1977-82, Mimi Haddon (2020)","year":2021,"lang":"en","type":"article","venue":"Punk & Post Punk","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Punk; Avant garde; Identity (music); Art; Popular music; Art history; Literature; Media studies; Visual arts; Sociology; Aesthetics","score_opus":0.01812470418082183,"score_gpt":0.23107192108091262,"score_spread":0.2129472169000908,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3129735363","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00075955776,0.9722642,0.000035628553,0.011517009,0.002553427,0.0000025521058,0.00003900773,0.0000051424026,0.012823523],"genre_scores_gemma":[0.028301254,0.92759246,0.0001702602,0.0058959387,0.00410434,0.000020519437,0.00017304339,0.000018181225,0.03372399],"study_design_codex":"design_other","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99907386,0.00028274694,0.000072125746,0.0001078241,0.00033979144,0.00012362283],"domain_scores_gemma":[0.9990791,0.00028831195,0.000116617724,0.00002863826,0.00029382264,0.00019354097],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015063128,0.00039703402,0.00065564475,0.0018172554,0.0017304949,0.006660992,0.00074197986,0.0015691798,0.01209251],"category_scores_gemma":[0.0032123607,0.00032673686,0.00016644142,0.003876063,0.0031146205,0.005064172,0.0022484162,0.0019236287,0.0034756716],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011430494,0.00003850086,0.0023513704,0.0028679734,0.000018173741,0.00027876504,0.0055726827,0.000037409136,0.00028978367,0.017943084,0.3202356,0.65025234],"study_design_scores_gemma":[0.000007224122,0.000030461859,0.010170453,0.0027398868,0.000009444188,0.00040225787,0.006723375,0.000010886992,0.00007691992,0.0023508414,0.9774663,0.000011964435],"about_ca_topic_score_codex":0.027400803,"about_ca_topic_score_gemma":0.0695678,"teacher_disagreement_score":0.027400803,"about_ca_system_score_codex":0.0038649088,"about_ca_system_score_gemma":0.005511242,"threshold_uncertainty_score":0.05448258},"labels":[],"label_agreement":null},{"id":"W3131193136","doi":"10.26443/boss.v4i1.54","title":"Signifying (and Psychoanalyzing) National Identity in Rock: Bruce Springsteen and The Tragically Hip","year":2021,"lang":"en","type":"article","venue":"The Biannual Online-Journal of Springsteen Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Alberta","funders":"","keywords":"Identity (music); Art; History; Aesthetics","score_opus":0.06914526184073151,"score_gpt":0.3179675881665372,"score_spread":0.2488223263258057,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3131193136","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.63194865,0.002520469,0.0011302645,0.010169156,0.0004078663,0.000022267455,0.000031079664,0.000031737054,0.35373855],"genre_scores_gemma":[0.9809693,0.0008564038,0.00025210783,0.00057859824,0.000050412284,0.000010552276,0.000013506713,0.000021093616,0.017248064],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990872,0.0003220488,0.000016365926,0.00006408796,0.00024321346,0.00026710195],"domain_scores_gemma":[0.9994522,0.0002578839,0.00006250308,0.000017775772,0.00007102724,0.00013857633],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00077449303,0.00030753308,0.00023971291,0.0011850038,0.014463294,0.006006473,0.00062017905,0.0009686176,0.0036998],"category_scores_gemma":[0.0014186619,0.00014267926,0.000116928815,0.0013263185,0.016448122,0.0022354193,0.0023852307,0.002341236,0.00029209294],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004379693,0.000022660308,0.002808103,0.00007260301,0.0000058703736,0.0005322669,0.8574632,0.00005265494,0.00071791175,0.11729371,0.006984371,0.01400286],"study_design_scores_gemma":[0.0000044043218,0.000021429983,0.0048088497,0.00013918908,0.000008504917,0.00032890975,0.8867249,0.000081334816,0.00023424928,0.003662679,0.10396588,0.000019767096],"about_ca_topic_score_codex":0.28143817,"about_ca_topic_score_gemma":0.5529299,"teacher_disagreement_score":0.7185618,"about_ca_system_score_codex":0.006609329,"about_ca_system_score_gemma":0.0062473747,"threshold_uncertainty_score":0.5596},"labels":[],"label_agreement":null},{"id":"W3133139667","doi":"10.1386/mms_00031_1","title":"Right hand up, left hand down: The New Satanists of rock n’ roll, evil and the underground war on the abject","year":2020,"lang":"en","type":"article","venue":"Metal Music Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Scapegoat; Ideology; Political ponerology; Good and evil; Sociology; Aesthetics; Law; Philosophy; Politics; Theology; Political science","score_opus":0.0742196430048775,"score_gpt":0.2333116228918391,"score_spread":0.1590919798869616,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3133139667","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.62018067,0.014342095,0.00074008794,0.05489545,0.0011806827,0.000010111837,0.000016396141,0.000018818215,0.3086157],"genre_scores_gemma":[0.9767616,0.0019343842,0.000103538834,0.0015337748,0.00016430752,0.000003187214,0.000003493496,0.000008142414,0.019487659],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99963427,0.00020642341,0.00000498535,0.000024962386,0.00006194681,0.00006736747],"domain_scores_gemma":[0.9997756,0.00010946968,0.00003136634,0.000017097242,0.000018097593,0.00004836221],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00054660125,0.000181875,0.000103634,0.0004512153,0.0072210534,0.0033372734,0.00025157724,0.00070448185,0.0035450766],"category_scores_gemma":[0.0008657587,0.00009734637,0.00006390466,0.00034442559,0.013138714,0.0026724762,0.00185484,0.0023330883,0.0003535901],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010715606,0.000059622107,0.0039537074,0.000088587694,0.000008329242,0.0009240544,0.46279034,0.00010650778,0.001640933,0.4692692,0.022459943,0.03859164],"study_design_scores_gemma":[0.000016274676,0.00007930256,0.011273661,0.0002505418,0.000009495616,0.0011169934,0.5549618,0.00023240133,0.0008873131,0.030275041,0.40087286,0.00002437814],"about_ca_topic_score_codex":0.006317947,"about_ca_topic_score_gemma":0.021605698,"teacher_disagreement_score":0.0072210534,"about_ca_system_score_codex":0.0015414519,"about_ca_system_score_gemma":0.0009402435,"threshold_uncertainty_score":0.012562335},"labels":[],"label_agreement":null},{"id":"W3133517297","doi":"10.1177/1012690221991778","title":"American Dreams: Smart sleep, high-tech beds, and the National Football League","year":2021,"lang":"en","type":"article","venue":"International Review for the Sociology of Sport","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Football; Sleep (system call); League; Odds; Public relations; Sociology; Social media; Sleep medicine; Political science; Psychology; Sleep disorder; Medicine; Law; Psychiatry; Computer science","score_opus":0.02998558965784539,"score_gpt":0.27718202297769545,"score_spread":0.24719643331985006,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3133517297","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.17284797,0.29647607,0.0017538682,0.26224214,0.0048760604,0.000035354937,0.00016606573,0.000059330185,0.26154315],"genre_scores_gemma":[0.7648625,0.18199125,0.0009890905,0.025097456,0.0019864633,0.00003971457,0.00010613939,0.000043222964,0.02488422],"study_design_codex":"design_other","study_design_gemma":"observational","domain_scores_codex":[0.9992663,0.0003988379,0.000018649662,0.00007329503,0.00013911593,0.00010367057],"domain_scores_gemma":[0.9993005,0.00031321027,0.00011807155,0.00002462375,0.00008304345,0.00016060898],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011769785,0.00021442988,0.00019202745,0.00072550337,0.0029715453,0.0045792754,0.00046494554,0.0014804581,0.005567129],"category_scores_gemma":[0.0014011273,0.00014951514,0.00023602956,0.0010465059,0.008728427,0.004349994,0.0027831488,0.0028141995,0.00043461204],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016696891,0.00026251117,0.018100372,0.0020706197,0.00007525254,0.00069566997,0.18935671,0.00013701845,0.0005488621,0.24725837,0.10604215,0.43528545],"study_design_scores_gemma":[0.000016431448,0.00009564643,0.027600078,0.0033121295,0.000045502315,0.0006337396,0.2972005,0.00010235248,0.00024630126,0.037806448,0.6328926,0.00004839494],"about_ca_topic_score_codex":0.016268179,"about_ca_topic_score_gemma":0.04253094,"teacher_disagreement_score":0.016268179,"about_ca_system_score_codex":0.0016871153,"about_ca_system_score_gemma":0.0023281358,"threshold_uncertainty_score":0.032347023},"labels":[],"label_agreement":null},{"id":"W3135196611","doi":"10.22230/cjc.2021v46n1a4041","title":"Black Studies and/as Media Theory: A Conversation with Armond Towns","year":2021,"lang":"en","type":"article","venue":"Canadian Journal of Communication","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Conversation; Media theory; Sociology; Linguistics; Media studies; Communication; Philosophy","score_opus":0.045495335022889,"score_gpt":0.22472175313960185,"score_spread":0.17922641811671286,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3135196611","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00638212,0.007399115,0.0009866068,0.95626104,0.0021233305,0.000016779482,0.000018549139,0.000011449741,0.026801065],"genre_scores_gemma":[0.38007253,0.022245618,0.004380853,0.48095664,0.006892947,0.000208485,0.000021626951,0.0006727899,0.10454862],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.98932844,0.0080007715,0.00011641049,0.00078451814,0.0007425625,0.0010273253],"domain_scores_gemma":[0.9526353,0.04076222,0.00071645505,0.00043264197,0.0022160995,0.0032373627],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.020964818,0.0009080452,0.0012808675,0.0020780743,0.046873793,0.019456342,0.0025213533,0.016563473,0.010958337],"category_scores_gemma":[0.02115313,0.00090512645,0.0004424411,0.0027408192,0.03500575,0.029499682,0.008505671,0.027107317,0.0008625544],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007407774,0.00008504442,0.0003541558,0.00016103144,0.000015643322,0.00040652056,0.22496429,0.000109731925,0.00024863993,0.51615965,0.24290074,0.014520499],"study_design_scores_gemma":[0.000029709336,0.000025009014,0.0004635075,0.00071255874,0.000017825696,0.0001246435,0.22991967,0.0002255866,0.00042874797,0.08975965,0.6782285,0.000064604894],"about_ca_topic_score_codex":0.10437333,"about_ca_topic_score_gemma":0.14271994,"teacher_disagreement_score":0.10437333,"about_ca_system_score_codex":0.012067301,"about_ca_system_score_gemma":0.012847886,"threshold_uncertainty_score":0.20753163},"labels":[],"label_agreement":null},{"id":"W3135574550","doi":"10.3138/cras-2020-019","title":"The Journey of Self-Defence through Sound in Claudia Rankine’s <i>Citizen</i>","year":2021,"lang":"en","type":"article","venue":"Canadian Review of American Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Degree Rankine; Vernacular; Poetry; Silence; Sound (geography); Reading (process); Literature; Expression (computer science); Art; History; Aesthetics; Linguistics; Acoustics; Philosophy; Computer science; Engineering; Physics","score_opus":0.04307583729499424,"score_gpt":0.2776713823664922,"score_spread":0.23459554507149794,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3135574550","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.26511464,0.11543433,0.003445917,0.15066525,0.0026280049,0.00006046042,0.00005384923,0.00011536746,0.46248218],"genre_scores_gemma":[0.95276046,0.014088715,0.0005698749,0.004401909,0.0007342808,0.000040198312,0.000009648422,0.00006995637,0.027325002],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9977145,0.0016290835,0.000029780153,0.00011544146,0.00026366537,0.00024750934],"domain_scores_gemma":[0.99820745,0.0012197315,0.00013093985,0.00006602612,0.00016357044,0.00021225643],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023583893,0.00031488284,0.00031043083,0.0014652609,0.010694192,0.009063886,0.00064896425,0.0021116573,0.0020104656],"category_scores_gemma":[0.0031210303,0.00017801838,0.00013449027,0.0011669397,0.026216295,0.0045230333,0.0027226189,0.0035866944,0.0002881116],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000046213463,0.000031612526,0.0004861455,0.00021825107,0.000006790773,0.00053174054,0.65777,0.000037141708,0.00051720685,0.2816937,0.025956243,0.03270502],"study_design_scores_gemma":[0.000009313677,0.00004284618,0.002051959,0.000412075,0.0000062428076,0.0004904356,0.3051482,0.0000607613,0.00027800663,0.016673144,0.674801,0.00002617232],"about_ca_topic_score_codex":0.024794945,"about_ca_topic_score_gemma":0.05173418,"teacher_disagreement_score":0.024794945,"about_ca_system_score_codex":0.0041413833,"about_ca_system_score_gemma":0.0035944479,"threshold_uncertainty_score":0.049301207},"labels":[],"label_agreement":null},{"id":"W3136246165","doi":"10.14325/mississippi/9781496832368.003.0006","title":"Michie Mee","year":2021,"lang":"en","type":"book-chapter","venue":"University Press of Mississippi eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Diaspora; Identity (music); Sociology; Music industry; Gender studies; Media studies; Aesthetics; Visual arts; Art; Music education","score_opus":0.03430513910792069,"score_gpt":0.16318415632924296,"score_spread":0.12887901722132228,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3136246165","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.001953304,0.03310425,0.002500749,0.060678914,0.012987244,0.000053586842,0.00081322767,0.0006973662,0.88721126],"genre_scores_gemma":[0.005304554,0.0052707405,0.0008748963,0.005525169,0.00035253513,0.000019820829,0.00012370144,0.0001685156,0.9823601],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995639,0.000057777528,0.000011977246,0.00010709608,0.0002038087,0.000055405097],"domain_scores_gemma":[0.9995097,0.00007535015,0.000019860005,0.000023464316,0.0002335322,0.00013803034],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004502804,0.00054446724,0.00038010097,0.001064599,0.0032293778,0.002893429,0.0006560129,0.000891777,0.19609766],"category_scores_gemma":[0.0016176177,0.00026991268,0.00021461297,0.0006201504,0.0008099951,0.002472849,0.0020707804,0.0022890575,0.08790765],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001600462,0.000010543601,0.00022090705,0.000101788864,0.0000028021655,0.00016011744,0.0008942514,0.000037921014,0.00026477923,0.02294479,0.9155799,0.059766237],"study_design_scores_gemma":[5.7409073e-7,0.0000013973355,0.00008551953,0.000024803938,6.4552114e-7,0.00009566077,0.00020183112,0.000009182185,0.00004325401,0.00040405663,0.999131,0.0000020241305],"about_ca_topic_score_codex":0.015039647,"about_ca_topic_score_gemma":0.06085425,"teacher_disagreement_score":0.19609766,"about_ca_system_score_codex":0.0024889673,"about_ca_system_score_gemma":0.0021372817,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W3136508660","doi":"10.7202/1075345ar","title":"Reflets de la colonialité dans la scène des musiques nouvelles","year":2021,"lang":"fr","type":"article","venue":"Intersections Canadian Journal of Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Political science","score_opus":0.022326639235156126,"score_gpt":0.2360151268576692,"score_spread":0.21368848762251308,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3136508660","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.22108084,0.0064025577,0.0034663198,0.04139823,0.0010702788,0.000030303403,0.000082891325,0.00006045674,0.72640806],"genre_scores_gemma":[0.9247782,0.0009308866,0.00070762896,0.001801888,0.00019307199,0.000015268364,0.000023547915,0.00006937995,0.07148018],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99683857,0.0017124527,0.00008019651,0.0002784277,0.0005036633,0.00058669184],"domain_scores_gemma":[0.9975435,0.0011615782,0.00024200632,0.0002498785,0.00039395026,0.00040908402],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0030359193,0.00036281362,0.0003401453,0.0011903119,0.016426822,0.008692977,0.00064456376,0.0021357243,0.008742966],"category_scores_gemma":[0.0064523527,0.0002723428,0.00023664586,0.0012418069,0.023062546,0.0040384303,0.005047945,0.004930505,0.0006058586],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000044777957,0.00000864949,0.00094089,0.00005268173,0.000005749984,0.00040970885,0.25145844,0.00008129649,0.00046111923,0.7232551,0.01039347,0.012888122],"study_design_scores_gemma":[0.000017525459,0.000039455346,0.0057636574,0.0004031067,0.000011106731,0.00055399275,0.16068187,0.00026860228,0.00068648823,0.045931347,0.78560084,0.000042017306],"about_ca_topic_score_codex":0.054544352,"about_ca_topic_score_gemma":0.1539163,"teacher_disagreement_score":0.054544352,"about_ca_system_score_codex":0.012087008,"about_ca_system_score_gemma":0.00609971,"threshold_uncertainty_score":0.10845375},"labels":[],"label_agreement":null},{"id":"W3138534296","doi":"10.7202/1075342ar","title":"Building Relationships, Sustaining Communities: Decolonial Directions in Higher Ed Bluegrass Pedagogy","year":2021,"lang":"en","type":"article","venue":"Intersections Canadian Journal of Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Colonialism; Identity (music); Style (visual arts); Sociology; Resource (disambiguation); Higher education; Media studies; History; Political science; Aesthetics; Art; Archaeology; Law; Computer science","score_opus":0.0777635074837632,"score_gpt":0.26678442274650205,"score_spread":0.18902091526273884,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3138534296","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3539705,0.00919202,0.008439373,0.14124648,0.0008357949,0.0001453717,0.00001732362,0.00011101671,0.48604214],"genre_scores_gemma":[0.96044374,0.0019885306,0.0021241,0.0035005717,0.000087892004,0.00006427251,0.0000067975443,0.000029611783,0.031754546],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9974982,0.0015193429,0.000034514258,0.00017849506,0.00023884616,0.00053054787],"domain_scores_gemma":[0.9975399,0.000849455,0.00015923713,0.00011808291,0.00017832726,0.0011549398],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004919816,0.0003331787,0.0002335423,0.0011446095,0.027118577,0.012307369,0.0014030427,0.0024226257,0.009513472],"category_scores_gemma":[0.0032624605,0.00019438803,0.000136302,0.0009946674,0.03395088,0.008652379,0.016215935,0.004140528,0.00064809987],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021147127,0.00013639954,0.0014837945,0.00013730803,0.000003447988,0.00044127306,0.45836687,0.00010494081,0.0005101496,0.45595044,0.008947185,0.07389706],"study_design_scores_gemma":[0.000016467016,0.00006706524,0.0023722285,0.00028223442,0.000004174662,0.00012361846,0.57868576,0.00015683332,0.00020919307,0.074904725,0.343164,0.000013636854],"about_ca_topic_score_codex":0.020391064,"about_ca_topic_score_gemma":0.091184236,"teacher_disagreement_score":0.97960895,"about_ca_system_score_codex":0.01023046,"about_ca_system_score_gemma":0.017706443,"threshold_uncertainty_score":0.07422757},"labels":[],"label_agreement":null},{"id":"W3138553034","doi":"10.1007/978-3-030-65189-3_10","title":"Chapter 9: Let It Enfold You: Screaming, Masculinity, and the Loss of Emotional Control in Post-millennium Emo","year":2021,"lang":"en","type":"book-chapter","venue":"Palgrave studies in (re) presenting gender","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Screaming; Emotive; Psychology; Lyrics; Masculinity; Dominance (genetics); Psychoanalysis; Expression (computer science); Emotional expression; Laughter; Hatred; Social psychology; Art; Sociology; Literature; Politics; Philosophy; Law; Linguistics","score_opus":0.0907398573124697,"score_gpt":0.2773470288705165,"score_spread":0.1866071715580468,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3138553034","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.043549575,0.11728541,0.0009394686,0.0404312,0.005501049,0.000060118036,0.00011714057,0.000043472162,0.7920726],"genre_scores_gemma":[0.27695757,0.054066136,0.0007056364,0.009964681,0.001783993,0.00013351013,0.0001018283,0.00010400873,0.6561827],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997917,0.00007743242,0.000005280782,0.000023440938,0.000044171527,0.00005797866],"domain_scores_gemma":[0.9997819,0.00011810274,0.000019838342,0.000011878063,0.000023858354,0.00004455474],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00045610522,0.00040803303,0.0002710652,0.00034038036,0.0036828036,0.004347665,0.00074540684,0.0019245167,0.018257178],"category_scores_gemma":[0.00077171304,0.00018754136,0.0002010632,0.00054948154,0.004065175,0.0030487522,0.0021914179,0.004156542,0.0020523036],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006500464,0.00013260024,0.0011959999,0.0003824135,0.000011197907,0.0009639765,0.20002401,0.0000644051,0.00085538486,0.43444815,0.27573553,0.0861214],"study_design_scores_gemma":[0.000005509298,0.000027259597,0.0037108334,0.0007530935,0.000005149393,0.00074414373,0.07900263,0.000020144873,0.00028271484,0.019289069,0.8961483,0.0000111783365],"about_ca_topic_score_codex":0.0039357007,"about_ca_topic_score_gemma":0.011491102,"teacher_disagreement_score":0.018257178,"about_ca_system_score_codex":0.0014607796,"about_ca_system_score_gemma":0.0016733579,"threshold_uncertainty_score":0.061076343},"labels":[],"label_agreement":null},{"id":"W3138869636","doi":"10.1017/s0261143020000562","title":"When the dial goes Dylan: ‘premium’ radio, hybrid authenticity and <i>Theme Time Radio Hour</i>","year":2020,"lang":"en","type":"article","venue":"Popular Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Active listening; Context (archaeology); Radio program; Theme (computing); Telecommunications; Advertising; Narrative; Computer science; Art; History; Sociology; Business; Literature; Communication; World Wide Web","score_opus":0.029247578689025003,"score_gpt":0.18101962079782044,"score_spread":0.15177204210879544,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3138869636","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.26285666,0.0032543154,0.0076065124,0.02339001,0.001339317,0.000035910543,0.00007296508,0.00013988075,0.70130444],"genre_scores_gemma":[0.9453767,0.00056534435,0.00085310655,0.001882571,0.00017917147,0.000017223056,0.000019398596,0.000100389225,0.051006127],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9987093,0.00083031453,0.000013912904,0.00009667514,0.00015596172,0.00019381043],"domain_scores_gemma":[0.999225,0.00031755603,0.0000694649,0.000064431915,0.00008586315,0.0002376335],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013600554,0.00018586319,0.00014113911,0.0004290379,0.0060876003,0.006601776,0.00042963072,0.0008688179,0.009138987],"category_scores_gemma":[0.0018242437,0.00013688316,0.000088516645,0.00029623462,0.009197035,0.0033667134,0.0039989636,0.0025396827,0.0010906148],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014849457,0.000036747697,0.0021835263,0.00010106287,0.0000066775006,0.00082619855,0.54945683,0.000056700108,0.0021423993,0.37261114,0.04092706,0.0315032],"study_design_scores_gemma":[0.0000089709965,0.00005067045,0.0015180854,0.00013629127,0.0000053201447,0.0007829603,0.2995586,0.00008145133,0.00087957043,0.008069906,0.6888909,0.000017203538],"about_ca_topic_score_codex":0.004083869,"about_ca_topic_score_gemma":0.007672378,"teacher_disagreement_score":0.009138987,"about_ca_system_score_codex":0.0018571828,"about_ca_system_score_gemma":0.0007208467,"threshold_uncertainty_score":0.03057301},"labels":[],"label_agreement":null},{"id":"W3140971707","doi":"10.82308/55567","title":"Life stories of a Montreal Hip Hop group: culture, community and critical pedagogy","year":2017,"lang":"en","type":"article","venue":"eScholarship@McGill (McGill)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sociology; Gender studies; Media studies; Pedagogy","score_opus":0.05537387267464435,"score_gpt":0.2768982999232158,"score_spread":0.22152442724857144,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3140971707","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.85872227,0.0053389133,0.0015261039,0.028918985,0.00041876966,0.00029173173,0.0003031631,0.00006077393,0.1044192],"genre_scores_gemma":[0.97661906,0.0022326095,0.00049827184,0.001006759,0.0000858711,0.00013840052,0.000064343934,0.000043446158,0.01931118],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9948166,0.0033372615,0.000076054544,0.00031615078,0.00061640237,0.0008375717],"domain_scores_gemma":[0.9931263,0.00374885,0.00064460555,0.00024237297,0.00071964663,0.0015181488],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0044248058,0.0010934086,0.00063170027,0.0029488099,0.031675626,0.010894351,0.0038523907,0.002812681,0.0073703034],"category_scores_gemma":[0.011843233,0.0005385769,0.0002975664,0.0034813061,0.032092284,0.00544072,0.010809997,0.0039502275,0.00048107753],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011118693,0.0000224312,0.0012776387,0.00003676025,0.0000032087744,0.0006996257,0.9870522,0.000031544314,0.00014417029,0.0054900222,0.002267075,0.002964288],"study_design_scores_gemma":[0.0000033422407,0.00001592488,0.0015967148,0.000071877046,0.0000042697793,0.00012029061,0.96185803,0.00003473099,0.00013351592,0.0006885337,0.035458848,0.000013949916],"about_ca_topic_score_codex":0.52275026,"about_ca_topic_score_gemma":0.6789814,"teacher_disagreement_score":0.47724974,"about_ca_system_score_codex":0.038192473,"about_ca_system_score_gemma":0.021542309,"threshold_uncertainty_score":0.96012074},"labels":[],"label_agreement":null},{"id":"W3141120671","doi":"","title":"BORN TO BE WILD","year":2012,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Blues; Art; Sparrow; Geography; Geology; Art history","score_opus":0.05455511399399619,"score_gpt":0.21573177090651444,"score_spread":0.16117665691251826,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3141120671","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.049053144,0.016709158,0.002491446,0.03561299,0.009511526,0.00010599702,0.001367568,0.00020037103,0.88494784],"genre_scores_gemma":[0.077577665,0.0044276686,0.0006511228,0.004103615,0.00015113216,0.000021241774,0.00022670276,0.000089240195,0.9127515],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993187,0.00009544243,0.000013869235,0.000112141024,0.00016865984,0.00029121473],"domain_scores_gemma":[0.9994673,0.000047528432,0.000027171998,0.00005113017,0.00016581398,0.00024106105],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007707716,0.00051892136,0.000541569,0.00071443943,0.01587587,0.005562413,0.00071831385,0.0010238439,0.057377093],"category_scores_gemma":[0.0015269119,0.0003497482,0.00019935507,0.0008312454,0.0069527216,0.0024393292,0.0034827045,0.0029915443,0.011457158],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000078179946,0.000044715758,0.0052645802,0.00010267958,0.000014309362,0.0015697749,0.071995534,0.00007344032,0.00084313966,0.28117514,0.52733594,0.11150262],"study_design_scores_gemma":[0.0000016156515,0.000009017398,0.0012344609,0.00008057349,0.0000015669603,0.00014642552,0.008678479,0.000007668382,0.00007639232,0.0010227226,0.9887355,0.0000056589706],"about_ca_topic_score_codex":0.4288552,"about_ca_topic_score_gemma":0.8004083,"teacher_disagreement_score":0.4288552,"about_ca_system_score_codex":0.0116059575,"about_ca_system_score_gemma":0.01275418,"threshold_uncertainty_score":0.852718},"labels":[],"label_agreement":null},{"id":"W3141387065","doi":"","title":"Research guides: Guide to BIPOC musicians and related literature: University of Toronto Resources","year":2020,"lang":"en","type":"libguides","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Visual arts; Library science; Media studies; Sociology; Computer science; Art","score_opus":0.0343230828931211,"score_gpt":0.25557150235756004,"score_spread":0.22124841946443893,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3141387065","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0022832814,0.020708356,0.020486679,0.012436044,0.0029384703,0.017760636,0.18870214,0.008229469,0.726455],"genre_scores_gemma":[0.005351531,0.031480722,0.07036746,0.0044702077,0.0005681538,0.029127385,0.07222802,0.0035204778,0.78288597],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99737984,0.0008115761,0.00038728522,0.00018356553,0.0009675139,0.00027029804],"domain_scores_gemma":[0.97075045,0.009139327,0.0010279042,0.0014860258,0.0151142515,0.002482033],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.007198925,0.0012659167,0.0015509252,0.011261257,0.004249487,0.0041946108,0.002635696,0.0013211771,0.3225472],"category_scores_gemma":[0.021940466,0.0023030785,0.00053970126,0.01932157,0.0015611263,0.0037947658,0.0035682842,0.0030225497,0.19228393],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010938507,0.000022161117,0.000094720745,0.000683783,9.945857e-7,0.000027840519,0.0010626841,0.00003079981,0.000118108175,0.0009945374,0.9473974,0.04955612],"study_design_scores_gemma":[0.00001074892,0.000009225518,0.0010156754,0.00093201397,0.0000022030324,0.00002791338,0.0016398558,0.00002241541,0.00007869694,0.0007579229,0.99549085,0.000012560841],"about_ca_topic_score_codex":0.17637722,"about_ca_topic_score_gemma":0.524383,"teacher_disagreement_score":0.3225472,"about_ca_system_score_codex":0.006260797,"about_ca_system_score_gemma":0.035241965,"threshold_uncertainty_score":0.9663042},"labels":[],"label_agreement":null},{"id":"W3142594333","doi":"10.1177/1469540521990876","title":"“Enjoy your experience”: Symbolic violence and becoming a tasteful state cannabis consumer in Canada","year":2021,"lang":"en","type":"article","venue":"Journal of Consumer Culture","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":9,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Trent University; St. Francis Xavier University","funders":"","keywords":"Legalization; Sociology; State (computer science); Consumption (sociology); Symbolic power; Consumerism; Criminology; Law; Politics; Political science; Social science","score_opus":0.023027695738414584,"score_gpt":0.22729800185701482,"score_spread":0.20427030611860023,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3142594333","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9713302,0.0004557782,0.00016848781,0.0038010036,0.00005059872,0.00001846879,0.000054585493,0.000008414627,0.024112321],"genre_scores_gemma":[0.99567235,0.00039184905,0.00006714002,0.00043312332,0.00000611432,0.0000050397875,0.000022504324,0.000009003142,0.0033928093],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9972518,0.0005381649,0.00004218612,0.0001856276,0.000821805,0.0011604205],"domain_scores_gemma":[0.9974354,0.0006111876,0.00031263704,0.00007709662,0.0005250115,0.001038841],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013571623,0.00035453757,0.0005611345,0.0015956265,0.036808953,0.00896227,0.0014311165,0.0014478996,0.0043746727],"category_scores_gemma":[0.0032810208,0.00042483158,0.00031022166,0.0026593464,0.02315737,0.0023978974,0.006922574,0.0043684584,0.0002138439],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000042229887,0.000052492025,0.022355467,0.00003766905,0.000009258115,0.0007662485,0.9610943,0.000049186852,0.00057152484,0.006065946,0.0021856313,0.006770066],"study_design_scores_gemma":[0.0000025387117,0.000014106314,0.015773507,0.000047031317,0.00000540484,0.00015196844,0.9699028,0.00007419351,0.000110092136,0.0003110269,0.01357855,0.000028807935],"about_ca_topic_score_codex":0.98381096,"about_ca_topic_score_gemma":0.9935154,"teacher_disagreement_score":0.052563738,"about_ca_system_score_codex":0.052563738,"about_ca_system_score_gemma":0.057280246,"threshold_uncertainty_score":0.3813784},"labels":[],"label_agreement":null},{"id":"W3143053323","doi":"","title":"Snap, Twang, and Blue Note: A Cross-Cultural Examination of Features that Accompany Temporal Deviations in African-American Musics","year":2017,"lang":"en","type":"dissertation","venue":"TSpace (University of Toronto)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"University of Toronto; Harvard University; Emerald Publishing; University of Oxford; University of Cambridge; McGill University","keywords":"Cross-cultural; History; Geography; Anthropology; Sociology","score_opus":0.027856070045597252,"score_gpt":0.2727106103175776,"score_spread":0.24485454027198034,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3143053323","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.99925226,0.00007575739,0.00006277172,0.000027110353,0.0000029149294,0.0000021309286,0.000008001929,4.507316e-7,0.00056871143],"genre_scores_gemma":[0.9994837,0.00012805282,0.000112097725,0.000023613096,0.000003706282,0.0000036576705,0.000015849668,0.0000021918195,0.00022711385],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.999683,0.00010152125,0.000025435049,0.00005843362,0.00007932213,0.000052320596],"domain_scores_gemma":[0.99914944,0.00029813615,0.00024733308,0.00006955669,0.00014292511,0.000092525064],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000749884,0.00019556895,0.00015977825,0.0014134389,0.0016477501,0.0010158524,0.00027552803,0.00028839108,0.0011837245],"category_scores_gemma":[0.0023353938,0.00015108933,0.00014931611,0.0010663657,0.0015790391,0.00072011334,0.0013452074,0.00041636606,0.00009766687],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019964227,0.000069688285,0.43431443,0.00014350638,0.000072918134,0.0018067191,0.5009971,0.000058808575,0.024207046,0.0010725436,0.00033142697,0.036726102],"study_design_scores_gemma":[0.0000021597239,0.000055821096,0.7375994,0.000041700634,0.000019605179,0.0014623727,0.25754148,0.00007348462,0.000894347,0.00015311464,0.0021412447,0.000015218695],"about_ca_topic_score_codex":0.012012782,"about_ca_topic_score_gemma":0.03704664,"teacher_disagreement_score":0.012012782,"about_ca_system_score_codex":0.00033203905,"about_ca_system_score_gemma":0.00033460127,"threshold_uncertainty_score":0.023885727},"labels":[],"label_agreement":null},{"id":"W3150763782","doi":"10.82308/14288","title":"Jazz, gender, historiography: a case study of the \"Golden Age\" of jazz in Montreal (1925-1955)","year":2018,"lang":"en","type":"article","venue":"eScholarship@McGill (McGill)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"University of Oregon; University of Oxford; Schulich School of Music; McGill University; Louisiana State University","keywords":"Jazz; Historiography; Jazz dance; History; Art; Art history; Literature; Archaeology","score_opus":0.04427435921259431,"score_gpt":0.22591729292009177,"score_spread":0.18164293370749746,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3150763782","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9046994,0.00509155,0.0003947637,0.005222062,0.00020094612,0.000089530935,0.00063237833,0.00002992568,0.08363949],"genre_scores_gemma":[0.9713288,0.0017657353,0.00016387504,0.00030303648,0.000034282857,0.00002794408,0.00008810509,0.000018521643,0.026269693],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99906975,0.00022666954,0.000016908958,0.00010333198,0.00013546989,0.00044794922],"domain_scores_gemma":[0.99915445,0.00025063602,0.00013837292,0.00003556084,0.00012361487,0.00029732275],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010099909,0.00042443973,0.00040015802,0.002199776,0.021943977,0.0044637243,0.0015304106,0.0011965921,0.008938791],"category_scores_gemma":[0.0019278685,0.00037030576,0.00026277642,0.004899332,0.011944817,0.0019107515,0.0032585042,0.0017548316,0.0003536179],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000047191177,0.000024343699,0.019305814,0.00011671054,0.000014519965,0.003922803,0.92788273,0.00012668289,0.0006590449,0.028707076,0.0076732202,0.0115199555],"study_design_scores_gemma":[0.0000048718343,0.0000259645,0.063013665,0.00014701393,0.000021053942,0.0005854179,0.726796,0.00006279926,0.00031498514,0.00033745213,0.20865816,0.000032588217],"about_ca_topic_score_codex":0.9490347,"about_ca_topic_score_gemma":0.98458797,"teacher_disagreement_score":0.06263332,"about_ca_system_score_codex":0.06263332,"about_ca_system_score_gemma":0.021456094,"threshold_uncertainty_score":0.4544387},"labels":[],"label_agreement":null},{"id":"W3152362519","doi":"","title":"An Anthropological Analysis of Canadian Music Festivals: Tournaments of Value, Modes of Festival Consumption, Tension, Conflict, and Struggle in the Context of Vancouver Island Music Festival","year":2014,"lang":"en","type":"article","venue":"Totem","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Music festival; Context (archaeology); Consumption (sociology); Value (mathematics); Sociology; Advertising; Media studies; Art; Visual arts; History; Social science; Business; Archaeology; Mathematics; Statistics","score_opus":0.058750267360558245,"score_gpt":0.25633792376219644,"score_spread":0.1975876564016382,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3152362519","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.95333076,0.0007372802,0.00022448879,0.001264635,0.00004560392,0.0000831654,0.00024745983,0.000008291384,0.044058383],"genre_scores_gemma":[0.9912849,0.0005852494,0.00023540955,0.0001620083,0.000017277012,0.000044171276,0.00012423302,0.000014541879,0.007532323],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99851006,0.0004040935,0.000030011168,0.00011623806,0.00024226206,0.00069738406],"domain_scores_gemma":[0.99814487,0.0005375974,0.00018066516,0.000063569125,0.0004600626,0.00061328843],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015522165,0.0006539072,0.0004021368,0.0057061017,0.037771065,0.008981247,0.0018670914,0.0010110202,0.00608467],"category_scores_gemma":[0.0031161266,0.000551754,0.00027207003,0.0094472645,0.015071956,0.0015719292,0.004798973,0.0022784523,0.00017549089],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000098941084,0.00007876003,0.02739187,0.00008394338,0.0000141083365,0.0007993283,0.9423467,0.000094957075,0.00054533296,0.010893597,0.0036239754,0.014028495],"study_design_scores_gemma":[0.0000020103375,0.000009069873,0.047724728,0.00003978998,0.000005042698,0.00006315464,0.93710953,0.00003247037,0.000054048505,0.00019551591,0.014753138,0.000011612145],"about_ca_topic_score_codex":0.9720487,"about_ca_topic_score_gemma":0.99495846,"teacher_disagreement_score":0.05499505,"about_ca_system_score_codex":0.05499505,"about_ca_system_score_gemma":0.037614986,"threshold_uncertainty_score":0.39901882},"labels":[],"label_agreement":null},{"id":"W3152731870","doi":"10.82308/43361","title":"Gettin' skooled : how hip-hop culture shapes the identities of urban youth","year":2007,"lang":"en","type":"article","venue":"eScholarship@McGill (McGill)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Urban culture; Engineering","score_opus":0.02521931068368637,"score_gpt":0.20237396001198943,"score_spread":0.17715464932830305,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3152731870","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.991553,0.000121795696,0.00016586597,0.0003724994,0.000008772343,0.0000073343776,0.000014853964,0.00000725312,0.0077486318],"genre_scores_gemma":[0.9983512,0.000071904615,0.00005275983,0.000036447687,0.000001714661,0.0000036888173,0.0000065811346,0.0000046670257,0.001471042],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9989692,0.00044934105,0.000015276677,0.00007928523,0.00010654891,0.00038038968],"domain_scores_gemma":[0.9994467,0.00012428318,0.000101819125,0.000028531582,0.00007113329,0.00022745832],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012005233,0.00023944565,0.00022596335,0.00072497706,0.008427899,0.0056906883,0.00073706533,0.00046564388,0.003672879],"category_scores_gemma":[0.0016857112,0.00017622398,0.00015521988,0.00063840335,0.007670341,0.0012483947,0.003485802,0.00062946696,0.00020697057],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000039252725,0.000025600397,0.04134542,0.00002787215,0.000008251895,0.00043533606,0.9433409,0.000055200544,0.000653034,0.004535595,0.0007706959,0.0087627955],"study_design_scores_gemma":[0.000002123928,0.000016015294,0.021874717,0.000027107651,0.0000064460346,0.00007051389,0.9718945,0.000039400384,0.00015142349,0.00024053696,0.0056698313,0.000007371776],"about_ca_topic_score_codex":0.21835883,"about_ca_topic_score_gemma":0.39738777,"teacher_disagreement_score":0.21835883,"about_ca_system_score_codex":0.004354083,"about_ca_system_score_gemma":0.0034403396,"threshold_uncertainty_score":0.43417567},"labels":[],"label_agreement":null},{"id":"W3152979074","doi":"10.24908/iqurcp.11606","title":"There’s Just No Place for a Street Fighting Man!: Understanding the Influences of Race, Gender and Sexual Orientation in Britain’s Counterculture Between 1964-1971","year":2018,"lang":"en","type":"article","venue":"Inquiry Queen s Undergraduate Research Conference Proceedings","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Queer; Gender studies; Sexual orientation; Counterculture; Politics; Sociology; Injustice; Aesthetics; Political science; Law; Art","score_opus":0.26439847441992165,"score_gpt":0.3758927435300315,"score_spread":0.11149426911010984,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3152979074","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.95310014,0.0032097993,0.00021599364,0.0041068094,0.00008317828,0.000012131111,0.000041267987,0.000005992481,0.039224748],"genre_scores_gemma":[0.99014586,0.0015614259,0.00010064108,0.0006762385,0.000026884562,0.000014545324,0.0000257556,0.000018688075,0.0074299183],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9987733,0.00062522996,0.000018819477,0.00008429415,0.00021368449,0.00028464908],"domain_scores_gemma":[0.9986206,0.00072893355,0.00023218087,0.000034200304,0.00016819184,0.00021587673],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020372693,0.0003242834,0.00038757644,0.0014620669,0.0066922233,0.008607508,0.001034486,0.0012351525,0.0030124492],"category_scores_gemma":[0.0024124575,0.00041839623,0.00016862896,0.0013809123,0.013855372,0.0029975278,0.0025464648,0.0021228478,0.00047540636],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024015137,0.000019686571,0.007105611,0.000037657264,0.0000034891518,0.00022179945,0.9827539,0.000008844074,0.00033453017,0.0048584393,0.0008668521,0.003765299],"study_design_scores_gemma":[0.0000027675196,0.00002232895,0.034872998,0.00013888585,0.0000066361554,0.000095799296,0.94014686,0.00004044261,0.00012433153,0.0007200031,0.02381836,0.000010559627],"about_ca_topic_score_codex":0.23860681,"about_ca_topic_score_gemma":0.42841783,"teacher_disagreement_score":0.23860681,"about_ca_system_score_codex":0.008706745,"about_ca_system_score_gemma":0.0028279852,"threshold_uncertainty_score":0.47443593},"labels":[],"label_agreement":null},{"id":"W3155057565","doi":"","title":"Performing Queer Diasporas: Pelau MasQUEERade in the Toronto Pride Parade","year":2015,"lang":"en","type":"dissertation","venue":"TSpace (University of Toronto)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Parade; Pride; Queer; Media studies; Art; Gender studies; History; Sociology; Art history; Political science; Law","score_opus":0.024549298978735534,"score_gpt":0.23250705455092183,"score_spread":0.2079577555721863,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3155057565","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.87283474,0.0010360585,0.00079906324,0.006018887,0.00022470664,0.000052597887,0.00014390581,0.000047789727,0.11884216],"genre_scores_gemma":[0.97085226,0.00035473536,0.00018694114,0.00024014844,0.000018981938,0.000015564608,0.00003302074,0.000026411932,0.028271858],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9989637,0.00038230763,0.000012955706,0.00009062487,0.00013437832,0.00041609173],"domain_scores_gemma":[0.9991079,0.00017403507,0.00007829427,0.00006347633,0.00015861193,0.00041763854],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009726431,0.00047146773,0.0002707116,0.0007220846,0.02900026,0.0053470815,0.00089370913,0.0009522938,0.00797729],"category_scores_gemma":[0.0017404302,0.00020895978,0.00016219467,0.0011140673,0.013130049,0.0016556146,0.004869385,0.0019018665,0.0004370427],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025725603,0.0000127611875,0.0026126213,0.000032710817,0.000003870463,0.0006641402,0.9576791,0.00005284731,0.0005398827,0.025311459,0.007476728,0.0055881566],"study_design_scores_gemma":[0.000001840008,0.000011697015,0.004153387,0.00004067576,0.000004976847,0.00013039265,0.8872348,0.00004566957,0.00026765018,0.00051312166,0.10758196,0.000013851907],"about_ca_topic_score_codex":0.7084125,"about_ca_topic_score_gemma":0.9139462,"teacher_disagreement_score":0.29158747,"about_ca_system_score_codex":0.019424165,"about_ca_system_score_gemma":0.013135641,"threshold_uncertainty_score":0.58660936},"labels":[],"label_agreement":null},{"id":"W3155252044","doi":"10.24908/iqurcp.11714","title":"7. Jimi Hendrix: London Life in the 60's","year":2018,"lang":"en","type":"article","venue":"Inquiry Queen s Undergraduate Research Conference Proceedings","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Newspaper; Guitar; Consumerism; Sensationalism; Media studies; Portrait; Racism; Art history; Art; Sociology; History; Visual arts; Gender studies; Law; Political science; Management","score_opus":0.17313409864355003,"score_gpt":0.3486763384328285,"score_spread":0.1755422397892785,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3155252044","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.05488386,0.04046578,0.00039111765,0.08483217,0.004594261,0.00009532325,0.002298075,0.00034154902,0.81209785],"genre_scores_gemma":[0.1240686,0.009263734,0.00020789147,0.01089462,0.00049532,0.000041355255,0.0004937528,0.0003474598,0.85418725],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99935585,0.00013004021,0.000025480324,0.000069138296,0.00019107891,0.00022840775],"domain_scores_gemma":[0.99940753,0.00007173174,0.000057383306,0.0000232032,0.000096079435,0.00034409174],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00035198918,0.00043739547,0.00024475032,0.00068166014,0.0076405136,0.00806396,0.0005071302,0.0022567885,0.056333832],"category_scores_gemma":[0.0011688097,0.0003300945,0.00018175173,0.0013220985,0.0036270493,0.0034354238,0.0032716105,0.0023030327,0.016342334],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009582431,0.000025503763,0.0022158115,0.0003308381,0.000008207985,0.002353411,0.192056,0.0000484941,0.0010417359,0.033723067,0.7376298,0.030471394],"study_design_scores_gemma":[0.0000017843132,0.0000053781228,0.0012400824,0.000115967276,9.094956e-7,0.00013348897,0.027815657,0.0000033686165,0.000091130154,0.00016145698,0.97042453,0.0000061779265],"about_ca_topic_score_codex":0.17702568,"about_ca_topic_score_gemma":0.42177674,"teacher_disagreement_score":0.17702568,"about_ca_system_score_codex":0.008808252,"about_ca_system_score_gemma":0.0032799714,"threshold_uncertainty_score":0.35199052},"labels":[],"label_agreement":null},{"id":"W3155469153","doi":"10.4000/cadernosaa.3413","title":"Buzzing Lines of Flight: A Survey of My Own Private Soundscape","year":2020,"lang":"en","type":"article","venue":"Cadernos de arte e antropologia","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Waterloo","funders":"","keywords":"Soundscape; Courtesy; Negotiation; Ideology; Field (mathematics); Property (philosophy); Sound (geography); Sociology; Ethnography; Aesthetics; Acoustics; Art; Epistemology; Political science; Anthropology; Social science; Law; Philosophy; Mathematics","score_opus":0.0725390269450661,"score_gpt":0.24205066260319824,"score_spread":0.16951163565813215,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3155469153","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.98567384,0.0008918715,0.0005246225,0.0008254176,0.000028966482,0.00001665715,0.00013955163,0.000016480744,0.011882529],"genre_scores_gemma":[0.9899663,0.0011598842,0.00035159104,0.0003009264,0.00003456799,0.000027481346,0.000084673215,0.000032306543,0.008042291],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99856573,0.0005911931,0.00007978527,0.00019604884,0.00031889376,0.0002484227],"domain_scores_gemma":[0.9947706,0.0023528,0.0009519394,0.00043872977,0.00086861907,0.0006173881],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020601489,0.00025473692,0.0003071138,0.0024017321,0.004469084,0.0038627817,0.00075946865,0.0008562698,0.005016235],"category_scores_gemma":[0.006823658,0.00035774996,0.000116796764,0.0024229253,0.0038231486,0.00307576,0.0022923704,0.0013900998,0.0007904277],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000052781066,0.000069293106,0.03542437,0.0001325441,0.000008977518,0.000555777,0.91863364,0.000018735342,0.003220315,0.0014493561,0.0025993655,0.03783475],"study_design_scores_gemma":[0.0000018507998,0.0000650251,0.048431523,0.00008827454,0.000004367859,0.00069243787,0.9092699,0.000036167075,0.00041168917,0.00013981115,0.040840223,0.00001873048],"about_ca_topic_score_codex":0.013286054,"about_ca_topic_score_gemma":0.036629464,"teacher_disagreement_score":0.013286054,"about_ca_system_score_codex":0.0012573124,"about_ca_system_score_gemma":0.00077667664,"threshold_uncertainty_score":0.026417434},"labels":[],"label_agreement":null},{"id":"W3156787796","doi":"10.24908/iqurcp.11780","title":"True Noise: Defining Scenes in Toronto’s Underground Music Community","year":2018,"lang":"en","type":"article","venue":"Inquiry Queen s Undergraduate Research Conference Proceedings","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Musical; Mainstream; Locality; Visual arts; Violin musical styles; Presentation (obstetrics); Sociology; Local community; Media studies; Aesthetics; Computer science; Art; Linguistics; Political science; Law","score_opus":0.19064547280422187,"score_gpt":0.3649289483134582,"score_spread":0.1742834755092363,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3156787796","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6218729,0.0018508652,0.005890728,0.0052937735,0.00020424832,0.00020241489,0.00045674582,0.00007436074,0.36415407],"genre_scores_gemma":[0.98350877,0.00042881878,0.0012200269,0.00016409381,0.000017098087,0.00004704331,0.00012148719,0.000029799037,0.014462756],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9987419,0.00045948298,0.000033886758,0.00011820344,0.00025453733,0.00039195208],"domain_scores_gemma":[0.9987925,0.00024904325,0.00016515427,0.00007779937,0.00016771827,0.00054768857],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007858179,0.00046476093,0.00020648292,0.0022184977,0.015969219,0.008152384,0.0011022798,0.0010521114,0.006009853],"category_scores_gemma":[0.0019697638,0.000310649,0.00026398074,0.0027305628,0.022376195,0.0036721947,0.00672163,0.0011364061,0.00034558977],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000055188855,0.000015437963,0.012866731,0.00011330715,0.0000074738946,0.0010333251,0.76658994,0.00045468652,0.00083527586,0.20002565,0.0072413017,0.010761762],"study_design_scores_gemma":[0.000008691885,0.000024199384,0.030499168,0.00013700721,0.000014991016,0.00023135464,0.84704065,0.00059435685,0.00023701615,0.0068621472,0.114322424,0.000027994352],"about_ca_topic_score_codex":0.7981543,"about_ca_topic_score_gemma":0.9196583,"teacher_disagreement_score":0.2018457,"about_ca_system_score_codex":0.03535632,"about_ca_system_score_gemma":0.014570086,"threshold_uncertainty_score":0.4060688},"labels":[],"label_agreement":null},{"id":"W3158445103","doi":"10.1558/pomh.42890","title":"Vivien Goldman, Revenge of the She-Punks: A Feminist Music History from Poly Styrene to Pussy Riot","year":2021,"lang":"en","type":"article","venue":"Popular Music History","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Guelph","funders":"","keywords":"Art; Art history; History","score_opus":0.058391594305679424,"score_gpt":0.19596629126598114,"score_spread":0.13757469696030172,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3158445103","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0015018933,0.7489039,0.0007763811,0.11220592,0.006167804,0.000024754418,0.00016821224,0.00007047608,0.13018075],"genre_scores_gemma":[0.04305621,0.47601938,0.0015017817,0.04037389,0.004617849,0.00009182165,0.00015525604,0.00021069379,0.43397304],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991528,0.00030891865,0.000026640879,0.00009463161,0.00034030524,0.00007671187],"domain_scores_gemma":[0.99941254,0.00036987872,0.000053888754,0.000017043294,0.000079203106,0.00006747513],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008928359,0.000877062,0.00031621524,0.0012562722,0.0034400027,0.0026465785,0.0011819252,0.003965124,0.03354208],"category_scores_gemma":[0.0015137525,0.00046238714,0.000205409,0.0014457145,0.003935585,0.006091271,0.0019285933,0.0033639257,0.009199511],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000047938163,0.00001600131,0.00013031355,0.0003716953,0.0000041029525,0.0002820144,0.0061171455,0.000058251044,0.00043352947,0.035975393,0.8891005,0.067463145],"study_design_scores_gemma":[0.000004200771,0.000009408281,0.00052075204,0.00032045066,0.0000018151674,0.0002100008,0.0035711254,0.000017031776,0.00018691455,0.0047512287,0.9903999,0.0000071097793],"about_ca_topic_score_codex":0.021076728,"about_ca_topic_score_gemma":0.051917605,"teacher_disagreement_score":0.03354208,"about_ca_system_score_codex":0.0030249474,"about_ca_system_score_gemma":0.0014708772,"threshold_uncertainty_score":0.11220938},"labels":[],"label_agreement":null},{"id":"W3158596894","doi":"10.4000/transposition.5969","title":"Multiple and Sustained Climaxes in Icelandic Post-Rock: For an Expansion of the Notion of Musical Climax","year":2021,"lang":"en","type":"article","venue":"Transposition","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université Laval","funders":"","keywords":"Icelandic; Climax; Musical; Literature; Art; Philosophy; Linguistics","score_opus":0.022047239650197194,"score_gpt":0.21918315669587987,"score_spread":0.19713591704568267,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3158596894","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6987246,0.0080768,0.0035130759,0.0025496357,0.0006804981,0.000084643936,0.0041174297,0.000070874565,0.2821823],"genre_scores_gemma":[0.9656104,0.001845337,0.0018229026,0.00035532285,0.00023775369,0.000074190124,0.0024515733,0.00017812908,0.027424453],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9994848,0.00010721596,0.00003672952,0.00012291245,0.00012717562,0.00012125037],"domain_scores_gemma":[0.9992494,0.0003289386,0.0001308632,0.000093490096,0.00012738077,0.00006987309],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009627486,0.0003642524,0.00031871037,0.0016881461,0.0021373944,0.0021052763,0.00053524965,0.00052706024,0.010747323],"category_scores_gemma":[0.0015474499,0.00011634058,0.00019871989,0.0022117589,0.0037590673,0.0018814988,0.0016425889,0.0013464926,0.0011439305],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0015720747,0.00023222934,0.1042192,0.0020519593,0.000105067316,0.005730335,0.44209507,0.0010957499,0.00957785,0.20547181,0.054488122,0.17336059],"study_design_scores_gemma":[0.00003848189,0.00008964491,0.49796802,0.000899968,0.000034233322,0.0011025824,0.14072931,0.000525897,0.0021322118,0.0052127703,0.35120347,0.00006347931],"about_ca_topic_score_codex":0.03019908,"about_ca_topic_score_gemma":0.085052714,"teacher_disagreement_score":0.03019908,"about_ca_system_score_codex":0.0025988605,"about_ca_system_score_gemma":0.0012820935,"threshold_uncertainty_score":0.060046613},"labels":[],"label_agreement":null},{"id":"W3159641123","doi":"10.4000/volume.8984","title":"Des instrumentistes sur le devant de la scène. Apprentissage du métier et modalités de travail dans deux scènes de renouveau musical en Grèce","year":2021,"lang":"fr","type":"article","venue":"Volume !","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Musée de la Civilisation","funders":"","keywords":"Humanities; Art","score_opus":0.015476032400585786,"score_gpt":0.2193666324535553,"score_spread":0.20389060005296952,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3159641123","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.78172886,0.0013286181,0.004488367,0.0030849183,0.00015653753,0.00005121644,0.0000748821,0.00006307587,0.20902362],"genre_scores_gemma":[0.9362944,0.00039326074,0.0010658744,0.00017530571,0.000031644333,0.000028044848,0.000040705472,0.00006406784,0.061906744],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99860746,0.00051705807,0.000022996042,0.0002207798,0.00029471927,0.0003369824],"domain_scores_gemma":[0.999138,0.00026864142,0.00010500494,0.000056249813,0.00017781652,0.00025417825],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016050249,0.00037263002,0.00029939847,0.0013324954,0.009951572,0.0052046403,0.000642259,0.0011542207,0.010855609],"category_scores_gemma":[0.0026337374,0.00027245007,0.0002431473,0.0009536575,0.009506178,0.002235766,0.0034827606,0.002240804,0.0010594684],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015701349,0.000032647196,0.00854208,0.000062329986,0.0000074025284,0.00043910657,0.88417876,0.00013060922,0.004457424,0.06445641,0.0025376996,0.034998465],"study_design_scores_gemma":[0.000014113373,0.00009121082,0.0580849,0.0001805122,0.0000121247795,0.00029104826,0.65700215,0.00036632715,0.0011171267,0.0042470284,0.27854156,0.00005204024],"about_ca_topic_score_codex":0.08309079,"about_ca_topic_score_gemma":0.19272858,"teacher_disagreement_score":0.08309079,"about_ca_system_score_codex":0.0044583324,"about_ca_system_score_gemma":0.002827949,"threshold_uncertainty_score":0.1652143},"labels":[],"label_agreement":null},{"id":"W3159818122","doi":"10.7202/1076917ar","title":"Individuality and Continuity in Narrating across Generations","year":2021,"lang":"en","type":"article","venue":"Narrative Works","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Interpretation (philosophy); Daughter; Agency (philosophy); Epistemology; Sociology; Aesthetics; Order (exchange); Musical; Psychology; Philosophy; Literature; Linguistics; Art; Political science; Law","score_opus":0.03857451939291786,"score_gpt":0.27688573275398004,"score_spread":0.23831121336106217,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3159818122","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7554949,0.007166243,0.024188105,0.00966841,0.00038299485,0.00010246653,0.00009234841,0.00011749078,0.20278704],"genre_scores_gemma":[0.99393785,0.00060581055,0.0016728307,0.00020227888,0.000032968223,0.000019222804,0.000019914882,0.000031184798,0.003477977],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9936832,0.0047490676,0.0001573281,0.00045381437,0.00057384477,0.0003828022],"domain_scores_gemma":[0.995707,0.0028805425,0.000434576,0.00040093742,0.0002794244,0.0002976279],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0049901763,0.00034401112,0.00028376837,0.0015568503,0.0069853254,0.0072913133,0.00087752007,0.0011048297,0.0033735007],"category_scores_gemma":[0.014136356,0.00035710185,0.0002254533,0.0010770172,0.015631106,0.008245218,0.0075983866,0.0012443572,0.00030420467],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000030293473,0.000009987783,0.003311186,0.000058380727,0.000019194045,0.00065924716,0.9233691,0.0001248607,0.00046485016,0.058115978,0.00064932095,0.01318758],"study_design_scores_gemma":[0.000011879075,0.00007401502,0.009082662,0.00044658827,0.00006622394,0.0020683273,0.7680428,0.00044348242,0.0013037445,0.0883099,0.13009045,0.00005991582],"about_ca_topic_score_codex":0.0033601725,"about_ca_topic_score_gemma":0.004662307,"teacher_disagreement_score":0.0072913133,"about_ca_system_score_codex":0.0020666725,"about_ca_system_score_gemma":0.0012766594,"threshold_uncertainty_score":0.02639091},"labels":[],"label_agreement":null},{"id":"W3159829095","doi":"10.1051/shsconf/202110205001","title":"West African Polyrhythm: culture, theory, and representation","year":2021,"lang":"en","type":"article","venue":"SHS Web of Conferences","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Notation; Dance; Rhythm; Linguistics; Drama; Ethnomusicology; Representation (politics); Visual arts; Computer science; Sociology; Aesthetics; Art; Musical; Philosophy","score_opus":0.03632789550251599,"score_gpt":0.24804483180365225,"score_spread":0.21171693630113625,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3159829095","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.23160565,0.016565291,0.08196143,0.013224498,0.0006305312,0.00017190911,0.00009891313,0.000099494304,0.6556423],"genre_scores_gemma":[0.980858,0.0025818083,0.0050089704,0.0002650542,0.00010401651,0.0001128136,0.000022813816,0.000033667922,0.011012801],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9978721,0.001412212,0.00007508042,0.00020497236,0.00019941713,0.00023627072],"domain_scores_gemma":[0.9987262,0.00070190354,0.00020241385,0.00019584973,0.00009200387,0.0000815939],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022829552,0.0006336998,0.00036656423,0.002069418,0.004684436,0.0064208093,0.0010053689,0.0008590713,0.005307153],"category_scores_gemma":[0.0034883737,0.00020869417,0.00016886194,0.00242816,0.023946762,0.0052860854,0.004366949,0.0016450909,0.0004402685],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011645344,0.000008303746,0.00041232165,0.00007144476,0.0000026159914,0.00016607287,0.0366248,0.00012818731,0.00017804449,0.94742876,0.00059547526,0.014372272],"study_design_scores_gemma":[0.000020985655,0.000071320916,0.0035014844,0.00083461724,0.000017087206,0.00074536144,0.10117562,0.0024499274,0.0010287793,0.6917859,0.19833605,0.0000328698],"about_ca_topic_score_codex":0.0033678946,"about_ca_topic_score_gemma":0.0027717047,"teacher_disagreement_score":0.0064208093,"about_ca_system_score_codex":0.0034594135,"about_ca_system_score_gemma":0.0012838623,"threshold_uncertainty_score":0.025099874},"labels":[],"label_agreement":null},{"id":"W3160064283","doi":"10.21083/csieci.v14i2.6334","title":"Place As An Extended Technique","year":2021,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Liveness; Studio; Meaning (existential); Visual arts; Sound (geography); Art; Aesthetics; Computer science; Advertising; Human–computer interaction; Epistemology; Acoustics; Business; Philosophy","score_opus":0.0794887178866301,"score_gpt":0.3744465040209509,"score_spread":0.29495778613432083,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3160064283","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.016351907,0.0069515686,0.027746366,0.015077478,0.0015710238,0.00003326929,0.0000322757,0.000119175886,0.932117],"genre_scores_gemma":[0.8653786,0.0031039126,0.007873318,0.0023659754,0.00075402705,0.00008812481,0.000035331726,0.0001622744,0.120238416],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9978515,0.0011496852,0.00005334302,0.0002953292,0.00038378892,0.00026652467],"domain_scores_gemma":[0.99906415,0.00037690223,0.000066740016,0.00025527104,0.00010652175,0.00013050358],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016315838,0.00048627393,0.00027930463,0.001030271,0.005568787,0.00661471,0.0010508947,0.002282435,0.011886538],"category_scores_gemma":[0.0022257639,0.00018807391,0.0003725661,0.00074016803,0.04663624,0.0074012554,0.00661009,0.0042516305,0.0014917268],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011691362,0.0000036132208,0.000051783736,0.000027547203,0.0000013407298,0.00004984469,0.008201398,0.000055757002,0.00010609172,0.9819971,0.0020798384,0.0074140257],"study_design_scores_gemma":[0.000020285694,0.00007020882,0.00022495457,0.0002333203,0.000008247582,0.0003593421,0.01264156,0.00021515762,0.00034381004,0.3529867,0.63287973,0.000016721475],"about_ca_topic_score_codex":0.002640776,"about_ca_topic_score_gemma":0.0048865997,"teacher_disagreement_score":0.011886538,"about_ca_system_score_codex":0.002457072,"about_ca_system_score_gemma":0.002115936,"threshold_uncertainty_score":0.039764404},"labels":[],"label_agreement":null},{"id":"W3160116051","doi":"","title":"#djlife During the Pandemic: Reflections from DJs Rearranging Relations and Improvising Continuity","year":2021,"lang":"en","type":"article","venue":"Érudit (Université de Montréal)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Regina","funders":"","keywords":"Improvisation; Social media; Pandemic; Advertising; Coronavirus disease 2019 (COVID-19); Media studies; Internet privacy; Visual arts; Sociology; Art; World Wide Web; Computer science; Business","score_opus":0.013598905303851796,"score_gpt":0.1688405023444404,"score_spread":0.1552415970405886,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3160116051","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.63718474,0.0056137177,0.0025210371,0.20061913,0.010081692,0.0001995328,0.0004833988,0.00018938142,0.1431073],"genre_scores_gemma":[0.9175975,0.002176309,0.0008524121,0.033150163,0.0018889012,0.00007408752,0.00014793157,0.00024825317,0.043864444],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9904953,0.004974252,0.00019766264,0.0005707837,0.0009749162,0.0027869677],"domain_scores_gemma":[0.9881692,0.0037377297,0.00053126103,0.00036545662,0.0015947152,0.0056015574],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.009184559,0.0008797353,0.0007034061,0.0020904655,0.039117366,0.0175942,0.0028922062,0.0055730715,0.00984101],"category_scores_gemma":[0.018531224,0.0007222335,0.00083226187,0.0017384092,0.02117713,0.0077181547,0.016190547,0.014688864,0.0017703925],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013728265,0.0001488932,0.003855328,0.00015542816,0.000017826787,0.0026079651,0.9126981,0.00007423338,0.0007164159,0.010487771,0.058754243,0.0103464695],"study_design_scores_gemma":[0.000012429103,0.000033192733,0.0010194469,0.000067379624,0.000005462792,0.00028661024,0.8649275,0.000035935762,0.0000930615,0.00070084474,0.13279557,0.000022619251],"about_ca_topic_score_codex":0.043560956,"about_ca_topic_score_gemma":0.10321033,"teacher_disagreement_score":0.043560956,"about_ca_system_score_codex":0.013746639,"about_ca_system_score_gemma":0.005524382,"threshold_uncertainty_score":0.09973931},"labels":[],"label_agreement":null},{"id":"W3160823153","doi":"10.1386/ajpc_00025_1","title":"Vapor Memory, or, memory in the ruins of history","year":2020,"lang":"en","type":"article","venue":"Australasian Journal of Popular Culture","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Capitalism; Aesthetics; Appropriation; Ideology; Oppression; Humanism; Argument (complex analysis); Sociology; Late capitalism; Politics; Epistemology; Philosophy; Law; Political science","score_opus":0.06731884049904516,"score_gpt":0.2379478808254002,"score_spread":0.17062904032635504,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3160823153","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.13661115,0.016448075,0.012465054,0.019581508,0.0015099692,0.0000334244,0.00017884318,0.00017101,0.8130009],"genre_scores_gemma":[0.948371,0.003503552,0.0009846531,0.0010991577,0.000662767,0.000014005824,0.00004690596,0.00007027103,0.04524775],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997054,0.000104135856,0.000008520223,0.00004583457,0.0000661955,0.00007005353],"domain_scores_gemma":[0.999622,0.00016985598,0.0000508989,0.00008852451,0.000026195486,0.000042556872],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00042590732,0.00021753197,0.00014616693,0.0007520241,0.0030725438,0.004763731,0.000499219,0.000807524,0.009286543],"category_scores_gemma":[0.0016040265,0.00010321741,0.00010755008,0.00091195654,0.015080764,0.00744035,0.0032869785,0.0012978442,0.0006334652],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004456599,0.000009042817,0.0009843067,0.000094756026,0.000005615503,0.00016826071,0.035503045,0.0000987379,0.0006624652,0.9220069,0.008326662,0.03209568],"study_design_scores_gemma":[0.000010569776,0.00005081245,0.002352978,0.00025881315,0.000012989199,0.00046260387,0.04004391,0.00019992987,0.0013876905,0.1934996,0.76170224,0.000017846749],"about_ca_topic_score_codex":0.0023027335,"about_ca_topic_score_gemma":0.0053637084,"teacher_disagreement_score":0.009286543,"about_ca_system_score_codex":0.0012797895,"about_ca_system_score_gemma":0.00077254296,"threshold_uncertainty_score":0.031066597},"labels":[],"label_agreement":null},{"id":"W3160876569","doi":"10.1093/oxfordhb/9780190920753.013.26","title":"Paradox and Possibility","year":2021,"lang":"en","type":"book-chapter","venue":"Oxford University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Simon Fraser University","funders":"","keywords":"Mass media; Futures contract; Youth culture; Politics; China; Consumption (sociology); Globalization; Media studies; Sociology; Representation (politics); Youth studies; Reproduction; Gender studies; Political science; Social science","score_opus":0.03580696262908946,"score_gpt":0.1765328447194063,"score_spread":0.14072588209031683,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3160876569","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.014186552,0.008381508,0.023890449,0.038840204,0.0013097639,0.00004661801,0.00013320736,0.000089489884,0.9131222],"genre_scores_gemma":[0.9241782,0.004471382,0.009864585,0.004702822,0.001261992,0.00017336603,0.00010765096,0.0000938448,0.055146195],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99712485,0.0014892599,0.00009654478,0.00052923086,0.0005376143,0.00022247744],"domain_scores_gemma":[0.9955271,0.002991153,0.00017685618,0.000674826,0.00038738878,0.00024269396],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0034348508,0.0003740539,0.0005896917,0.0014664779,0.005149368,0.008564349,0.001448645,0.0030346496,0.014979015],"category_scores_gemma":[0.0071032657,0.00026322226,0.00056944415,0.0010408028,0.030465314,0.011834576,0.004393371,0.0050924397,0.0012311841],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000017014981,0.0000018188082,0.00002178682,0.000008738092,7.0501227e-7,0.000026137153,0.00034510408,0.000048925813,0.000011928632,0.99786794,0.00093213964,0.00073300704],"study_design_scores_gemma":[0.0000036270228,0.000002849963,0.000029776022,0.000037489455,0.0000011603179,0.000052799925,0.0004582569,0.00024301522,0.000030136353,0.9606413,0.038496092,0.0000035133562],"about_ca_topic_score_codex":0.002598915,"about_ca_topic_score_gemma":0.0015570482,"teacher_disagreement_score":0.014979015,"about_ca_system_score_codex":0.005705637,"about_ca_system_score_gemma":0.0027526845,"threshold_uncertainty_score":0.050109744},"labels":[],"label_agreement":null},{"id":"W3161082060","doi":"10.1017/cbo9780511675850","title":"Music, Sound and Space","year":2013,"lang":"en","type":"book","venue":"Cambridge University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":192,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sound (geography); Soundscape; Music; Popular music; Musicology; Musical; Call and response; Subjectivity; Aesthetics; Music history; Sociology; Visual arts; Music education; Art; Acoustics; Epistemology","score_opus":0.030033288363626478,"score_gpt":0.164719264991148,"score_spread":0.13468597662752152,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3161082060","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0020033994,0.08467296,0.0019471362,0.005428038,0.003158569,0.00003306998,0.00006344264,0.00011570109,0.90257776],"genre_scores_gemma":[0.059017897,0.054415062,0.0026584975,0.005818791,0.003618145,0.000103173785,0.00011067422,0.0001665246,0.8740912],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994259,0.00013520733,0.000019312765,0.00009097974,0.0002475254,0.000081049504],"domain_scores_gemma":[0.9997801,0.000087755216,0.000015748716,0.0000315876,0.00003788546,0.000046871075],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00031264592,0.00082148955,0.0005324944,0.0014123357,0.003684634,0.009692778,0.00069089,0.0018208495,0.020068286],"category_scores_gemma":[0.0010054513,0.0002494486,0.00028844856,0.001705194,0.009381935,0.006377446,0.003255374,0.0031225441,0.0052761785],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002829901,0.000025224354,0.00021818171,0.00031240098,0.000007960893,0.00016592993,0.0062427097,0.00020016536,0.00060386513,0.73880047,0.13563134,0.11776352],"study_design_scores_gemma":[0.00000385747,0.000013204836,0.00030948233,0.00024505382,0.0000028723039,0.00018882552,0.0014451449,0.000040625146,0.00008488935,0.044009928,0.9536507,0.0000054048332],"about_ca_topic_score_codex":0.005573243,"about_ca_topic_score_gemma":0.009681763,"teacher_disagreement_score":0.020068286,"about_ca_system_score_codex":0.0025623194,"about_ca_system_score_gemma":0.002739128,"threshold_uncertainty_score":0.067135096},"labels":[],"label_agreement":null},{"id":"W3161770076","doi":"10.7202/1076405ar","title":"Queer Perspectives in New Music","year":2021,"lang":"en","type":"article","venue":"Circuit Musiques contemporaines","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Queer; Cultural assimilation; Identity (music); Sexual orientation; Sociology; Aesthetics; Queer theory; Gender studies; Art; Anthropology","score_opus":0.10276607835157642,"score_gpt":0.24157264631097056,"score_spread":0.13880656795939414,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3161770076","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.060178276,0.050266597,0.0017655361,0.05112881,0.00193052,0.00002505477,0.000075532465,0.00007081855,0.83455884],"genre_scores_gemma":[0.81719905,0.024909621,0.0006420014,0.006557729,0.0023685626,0.00006387518,0.000062565334,0.000088996654,0.14810763],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985631,0.000770455,0.000046640584,0.00014253125,0.00029905094,0.00017820434],"domain_scores_gemma":[0.9983322,0.001228961,0.00013599798,0.00007329289,0.000084429055,0.00014519275],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020899256,0.00029815425,0.00031054596,0.001577601,0.009777096,0.008236133,0.00082947226,0.0018937916,0.010675199],"category_scores_gemma":[0.0026125384,0.00011358238,0.00017516738,0.0013783501,0.022864716,0.0069002686,0.0024943633,0.0037825815,0.00064125384],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024809908,0.000023040757,0.00026417957,0.00009867358,0.0000034931147,0.00030733258,0.21591404,0.000065390464,0.00016620145,0.7565099,0.013748277,0.012874673],"study_design_scores_gemma":[0.000012228148,0.00001897094,0.001039641,0.00041412291,0.0000037501993,0.00028581184,0.08508973,0.00009826282,0.00020454668,0.050916698,0.8619047,0.000011637276],"about_ca_topic_score_codex":0.0122187855,"about_ca_topic_score_gemma":0.028464338,"teacher_disagreement_score":0.0122187855,"about_ca_system_score_codex":0.0075124158,"about_ca_system_score_gemma":0.0021067597,"threshold_uncertainty_score":0.05450666},"labels":[],"label_agreement":null},{"id":"W3163042025","doi":"10.21083/csieci.v14i2.6322","title":"Free Jazz Communism [Book Review]","year":2021,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Jazz; Communism; Politics; Event (particle physics); Relation (database); History; Art history; Sociology; Political science; Law; Computer science","score_opus":0.09307378430871643,"score_gpt":0.3613608213516158,"score_spread":0.26828703704289936,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3163042025","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00012742195,0.9892509,0.00006160172,0.002047124,0.0017310267,0.000017620414,0.000073459785,0.00001103761,0.0066798185],"genre_scores_gemma":[0.001165401,0.9896297,0.00015687919,0.0026421044,0.0017662161,0.00003780713,0.00015874449,0.000013692103,0.004429497],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999265,0.00014630111,0.00007217629,0.000080851656,0.00038585888,0.00004986316],"domain_scores_gemma":[0.99710137,0.0016453568,0.00028457752,0.00006274632,0.00078397343,0.00012194949],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009079908,0.0005473517,0.0011476629,0.0033963397,0.00060483103,0.0034678106,0.0009872147,0.0012442014,0.01564544],"category_scores_gemma":[0.005260852,0.0003052043,0.00048778972,0.0070361434,0.00092704355,0.0022462115,0.00097265234,0.0022131852,0.004193788],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000044697477,0.000037159127,0.000102533224,0.029268973,0.000075954194,0.000111729576,0.0003895859,0.00007901023,0.00019790654,0.004353469,0.6045471,0.36079192],"study_design_scores_gemma":[0.000007840631,0.000029496889,0.0005121968,0.014090121,0.00004342706,0.0002873669,0.00017269026,0.000008702152,0.000037322356,0.00046038022,0.9843407,0.000009661135],"about_ca_topic_score_codex":0.0035897968,"about_ca_topic_score_gemma":0.007233175,"teacher_disagreement_score":0.01564544,"about_ca_system_score_codex":0.00094309787,"about_ca_system_score_gemma":0.004371627,"threshold_uncertainty_score":0.052339196},"labels":[],"label_agreement":null},{"id":"W3163143690","doi":"","title":"Streaming and the Online Hong Kong Underground: Conversations with Two Hong Kong Improvised Music Actors","year":2021,"lang":"en","type":"article","venue":"Érudit (Université de Montréal)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Guelph","funders":"","keywords":"Improvisation; Visual arts; Musical; Music festival; Media studies; Sociology; History; Art","score_opus":0.008877784077571114,"score_gpt":0.14655743202899463,"score_spread":0.1376796479514235,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3163143690","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.99152666,0.00013789516,0.00025567473,0.0015666549,0.00006807711,0.000034902114,0.00003868252,0.000012284272,0.006359252],"genre_scores_gemma":[0.9895124,0.00028669208,0.00023920323,0.000584991,0.00003672869,0.00003681534,0.000042743868,0.000029151453,0.009231377],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99806803,0.001010497,0.000061142884,0.00014293635,0.00013502286,0.0005822942],"domain_scores_gemma":[0.99648595,0.0014365386,0.00029421935,0.00019531671,0.00026346103,0.0013244274],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022191668,0.0008432078,0.0006117556,0.0008153532,0.019560246,0.0056333253,0.0010961352,0.0016998354,0.004964793],"category_scores_gemma":[0.0032029005,0.00053187,0.00031546006,0.001379831,0.010398775,0.0036623997,0.005372693,0.0039536045,0.00057221734],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000041550826,0.000045850982,0.0034222435,0.000026081736,0.0000052232267,0.00090340804,0.9908925,0.00004106357,0.00058922335,0.0009945661,0.0011168412,0.00192132],"study_design_scores_gemma":[0.0000024390552,0.000027760836,0.0019319918,0.000017341035,0.0000035819255,0.0000704689,0.9915633,0.000069018184,0.00014302508,0.000057667723,0.006102316,0.000011069542],"about_ca_topic_score_codex":0.18825297,"about_ca_topic_score_gemma":0.25957897,"teacher_disagreement_score":0.18825297,"about_ca_system_score_codex":0.0066873245,"about_ca_system_score_gemma":0.004504211,"threshold_uncertainty_score":0.3743145},"labels":[],"label_agreement":null},{"id":"W3163922992","doi":"10.7202/1076402ar","title":"Le sexe comme champ d’investigation1 : réévaluer les outils et techniques d’analyse de la musique contemporaine2","year":2021,"lang":"fr","type":"article","venue":"Circuit Musiques contemporaines","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.07059163607788546,"score_gpt":0.2803047787394034,"score_spread":0.20971314266151794,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3163922992","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14673744,0.080312654,0.08999591,0.03437699,0.0020406074,0.0001373591,0.00022908184,0.00015133857,0.6460187],"genre_scores_gemma":[0.9057878,0.022006214,0.016040234,0.0019394391,0.00076974183,0.0001883734,0.0001252605,0.00018255947,0.052960258],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99535996,0.0031523316,0.0001031587,0.00055693905,0.0006472931,0.00018035123],"domain_scores_gemma":[0.99159217,0.006322728,0.00047392456,0.0008128297,0.00059740565,0.00020090379],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.008299181,0.0007547555,0.0005672619,0.005107576,0.0055327113,0.010439868,0.0016976423,0.0020232506,0.010228568],"category_scores_gemma":[0.013074206,0.00037789665,0.00050229003,0.0046206233,0.03375882,0.012370973,0.00495763,0.0032238169,0.001067164],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000047346173,0.000016663334,0.002444246,0.00038117825,0.000026624783,0.00018007611,0.16086851,0.00016781963,0.0003744782,0.7869211,0.002021919,0.046549994],"study_design_scores_gemma":[0.00001968667,0.00008503981,0.0064412327,0.002122012,0.000048309383,0.00062155456,0.18512118,0.0009564022,0.0013070749,0.36602536,0.43719718,0.00005501852],"about_ca_topic_score_codex":0.010486785,"about_ca_topic_score_gemma":0.019663315,"teacher_disagreement_score":0.010486785,"about_ca_system_score_codex":0.0064296196,"about_ca_system_score_gemma":0.0048937607,"threshold_uncertainty_score":0.04665035},"labels":[],"label_agreement":null},{"id":"W31650894","doi":"10.1089/neu.2019.6800","title":"СИМВОЛ МИРОВОГО РОК-Н-РОЛЛА","year":2006,"lang":"en","type":"article","venue":"id = 5950, shortTitle = LISBIB, editionType = 2, dateBegin = 1929-03-01 00:00:00.0, officeEncoding = Cp1251, officeStatus = 1, loadType = 1, langId = Russian","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Canadian Institutes of Health Research","keywords":"Memphis; Geology","score_opus":0.021628247001958742,"score_gpt":0.22550984146790867,"score_spread":0.20388159446594994,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W31650894","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14615692,0.036817957,0.071056984,0.007525776,0.004490312,0.0005174154,0.0026709286,0.000981265,0.7297824],"genre_scores_gemma":[0.64862424,0.03539813,0.08884029,0.00077293505,0.001116786,0.0005341994,0.0014825104,0.0003464388,0.22288446],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994804,0.00006535252,0.000040308234,0.00010190037,0.00022924108,0.00008280626],"domain_scores_gemma":[0.9988587,0.0001864299,0.00023651516,0.0001300535,0.00043049347,0.00015791845],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000605012,0.00033817088,0.00026431796,0.002196284,0.0016914811,0.0022402285,0.00043961196,0.0006894942,0.049001347],"category_scores_gemma":[0.0016273165,0.0004435052,0.0003762742,0.0019655414,0.0013410042,0.0012926372,0.00092365796,0.0011497397,0.017753387],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00043400234,0.000120812285,0.008732239,0.00077888585,0.000079130805,0.0027396579,0.0020054826,0.0008126094,0.04585528,0.24871835,0.019648531,0.670075],"study_design_scores_gemma":[0.000045974823,0.00018556464,0.017741743,0.0002543281,0.000068024834,0.0027527972,0.0012055953,0.0007220625,0.020966822,0.046010736,0.9099571,0.00008927466],"about_ca_topic_score_codex":0.0066618556,"about_ca_topic_score_gemma":0.0133038685,"teacher_disagreement_score":0.95099866,"about_ca_system_score_codex":0.0011796547,"about_ca_system_score_gemma":0.0020206633,"threshold_uncertainty_score":0.16392583},"labels":[],"label_agreement":null},{"id":"W3166711739","doi":"10.5406/ethnomusicology.65.2.0259","title":"“Out of Time” and “Out of Tune”: Reflections of an Oud Apprentice in Somaliland","year":2021,"lang":"en","type":"article","venue":"Ethnomusicology","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":13,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Social Sciences and Humanities Research Council of Canada; Isaac Newton Trust; Leverhulme Trust","keywords":"Context (archaeology); Apprenticeship; Sociology; Theology; History; Philosophy; Archaeology","score_opus":0.05709858692148404,"score_gpt":0.2840157282867333,"score_spread":0.2269171413652493,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3166711739","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.96128696,0.001049165,0.0010590464,0.0063718245,0.000515543,0.000053494332,0.00006403097,0.000036078036,0.029563965],"genre_scores_gemma":[0.97549134,0.00067973573,0.0006652357,0.002091548,0.00010813903,0.000041011765,0.000042919663,0.00008532046,0.020794727],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99693274,0.0016069465,0.00007743923,0.00028524446,0.0002677611,0.00082977663],"domain_scores_gemma":[0.9980685,0.00071370305,0.0001330818,0.0001112725,0.00019947978,0.0007738604],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002374557,0.0011655649,0.001286692,0.0013075243,0.03104736,0.009039424,0.0028785577,0.005021014,0.007122464],"category_scores_gemma":[0.0048961365,0.0010346096,0.00060181407,0.00072339486,0.020446105,0.0044430783,0.012090989,0.01417805,0.0015335637],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000033201486,0.0000616808,0.0010392008,0.000038102557,0.0000039519837,0.002066257,0.9909876,0.00001844024,0.0005547425,0.002032743,0.0011352872,0.00202879],"study_design_scores_gemma":[0.0000025537995,0.00003523741,0.0011427298,0.00007182791,0.0000030779595,0.0005539918,0.9805802,0.00004153336,0.00019737773,0.0003663192,0.016991578,0.000013566742],"about_ca_topic_score_codex":0.015939446,"about_ca_topic_score_gemma":0.051544562,"teacher_disagreement_score":0.03104736,"about_ca_system_score_codex":0.0042603663,"about_ca_system_score_gemma":0.0020548082,"threshold_uncertainty_score":0.03169334},"labels":[],"label_agreement":null},{"id":"W3167092174","doi":"10.1177/14614448211020690","title":"Memes, scenes and #ELXN2019s: How partisans make memes during elections","year":2021,"lang":"en","type":"article","venue":"New Media & Society","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":40,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Concordia University","funders":"Government of Canada","keywords":"Articulation (sociology); Politics; Citizen journalism; Social media; Political activism; Identity (music); Sociology; Political science; Media studies; Public relations; Law; Aesthetics","score_opus":0.031019767650927257,"score_gpt":0.19819007010405648,"score_spread":0.16717030245312922,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3167092174","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.94282097,0.00048612646,0.0012707292,0.001634166,0.00014474748,0.00006934205,0.0003276152,0.000090596375,0.053155754],"genre_scores_gemma":[0.99055,0.00025014096,0.00075967313,0.00022810136,0.000043575816,0.000034829245,0.0001887425,0.0000633872,0.007881513],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9966528,0.002220787,0.0000798957,0.00025236036,0.00037199643,0.00042231183],"domain_scores_gemma":[0.9892341,0.006314939,0.0013228749,0.00093675085,0.0011552876,0.0010360682],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0041727326,0.00033410528,0.00023434978,0.0021407094,0.008008125,0.006434294,0.0006001805,0.00069805904,0.003917022],"category_scores_gemma":[0.02075397,0.0003107891,0.00016471044,0.0014439828,0.0035648053,0.0033083006,0.0029511997,0.00087185646,0.00080650585],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018650707,0.000052410538,0.068171814,0.00015797387,0.000035281122,0.00049903407,0.86503226,0.00009987451,0.0021488862,0.0050247223,0.008222155,0.050369125],"study_design_scores_gemma":[0.000007864412,0.000060478073,0.11540278,0.00013730429,0.000032341555,0.00021953449,0.75896025,0.0003979918,0.00095319195,0.0015641793,0.122210555,0.000053473297],"about_ca_topic_score_codex":0.05621071,"about_ca_topic_score_gemma":0.1634278,"teacher_disagreement_score":0.05621071,"about_ca_system_score_codex":0.002412369,"about_ca_system_score_gemma":0.00155801,"threshold_uncertainty_score":0.11176705},"labels":[],"label_agreement":null},{"id":"W3168514362","doi":"10.1386/punk_00071_1","title":"Habitus and field: Punk record labels in Spain","year":2021,"lang":"en","type":"article","venue":"Punk & Post Punk","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Trent University","funders":"","keywords":"Habitus; Punk; Field (mathematics); Class (philosophy); Sociology; Gender studies; Media studies; Social science; History; Epistemology; Art history; Cultural capital; Philosophy","score_opus":0.01606476523422486,"score_gpt":0.20390815300010437,"score_spread":0.1878433877658795,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3168514362","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9754543,0.0005682179,0.0010168537,0.00062987825,0.00009312518,0.00008017647,0.00020476007,0.0000306143,0.021922084],"genre_scores_gemma":[0.9845238,0.00032004635,0.00094118534,0.00023967736,0.000028337381,0.00007878735,0.00015951556,0.00004401987,0.013664815],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9977004,0.0014077807,0.00006925964,0.0002869585,0.0002321577,0.00030350135],"domain_scores_gemma":[0.9963475,0.0022846856,0.00041332553,0.0002949949,0.00035654308,0.00030292218],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0032629566,0.00037936395,0.0005317752,0.0016730401,0.0075662234,0.004105127,0.0013615141,0.0015875628,0.0030570216],"category_scores_gemma":[0.004930725,0.00034951587,0.00017710075,0.0022710317,0.006531395,0.0018074629,0.0029111856,0.0019949204,0.0004117148],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00021854352,0.0002024662,0.0104976045,0.00015912742,0.000004093304,0.00071921246,0.9577939,0.00008973028,0.0026201522,0.0033440168,0.0017450697,0.022605997],"study_design_scores_gemma":[0.000013980127,0.00011554194,0.017433055,0.00011219649,0.000003223218,0.00014233343,0.93342966,0.00008910559,0.00059595203,0.0005694239,0.047469884,0.000025727957],"about_ca_topic_score_codex":0.029688397,"about_ca_topic_score_gemma":0.056174915,"teacher_disagreement_score":0.029688397,"about_ca_system_score_codex":0.0074471883,"about_ca_system_score_gemma":0.001994706,"threshold_uncertainty_score":0.05903119},"labels":[],"label_agreement":null},{"id":"W3169277397","doi":"10.1177/21676968211014659","title":"“Finding my Blackness, Finding my Rhythm”: Music and Identity Development in African, Caribbean, and Black Emerging Adults","year":2021,"lang":"en","type":"article","venue":"Emerging Adulthood","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":10,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Guelph","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Rhythm; Identity (music); Psychology; Race (biology); Developmental psychology; Gender studies; Sociology; Aesthetics; Art","score_opus":0.025349377863444256,"score_gpt":0.23782577571175004,"score_spread":0.21247639784830577,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3169277397","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.99487984,0.0005776729,0.00005674917,0.0006660805,0.00001866954,0.0000170135,0.000021431695,0.0000016333374,0.0037609888],"genre_scores_gemma":[0.9963876,0.0009036863,0.00021780128,0.00044918773,0.0000056580316,0.000019912586,0.00003223685,0.0000036086328,0.0019802619],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99937767,0.00016301285,0.000028681672,0.000058616057,0.00012807832,0.00024394631],"domain_scores_gemma":[0.99917454,0.000119048884,0.00015498066,0.000019332194,0.00017318982,0.00035886755],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013820291,0.0002359884,0.00036059125,0.0009532029,0.007234698,0.0026926375,0.0004776009,0.0007079334,0.0024177178],"category_scores_gemma":[0.002539759,0.00021387776,0.00020407273,0.00062307675,0.0026935274,0.0015439079,0.0035231542,0.0013532541,0.00019149865],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000046697634,0.000096606505,0.12157289,0.00009993735,0.000012232016,0.0009877705,0.85327274,0.000011656508,0.0012517177,0.00089394615,0.0008271467,0.020926585],"study_design_scores_gemma":[0.0000028991942,0.000035687593,0.051219832,0.00007087477,0.000006673678,0.0002846882,0.9444507,0.00001537248,0.0000934133,0.00016123909,0.0036500087,0.000008543819],"about_ca_topic_score_codex":0.20982595,"about_ca_topic_score_gemma":0.48328367,"teacher_disagreement_score":0.20982595,"about_ca_system_score_codex":0.0022049956,"about_ca_system_score_gemma":0.0041117994,"threshold_uncertainty_score":0.4172092},"labels":[],"label_agreement":null},{"id":"W317173774","doi":"","title":"Ons BARNAT : Le studio d’enregistrement comme lieu d’expérimentation, outil créatif et vecteur d’internationalisation. Stonetree Records et la paranda garifuna en Amérique centrale. Thèse de doctorat en ethnomusicologie, soutenue le 22 novembre 2012 à l’Université de Montréal.","year":2013,"lang":"fr","type":"article","venue":"Cahiers d’ethnomusicologie. Anciennement Cahiers de musiques traditionnelles","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Studio; Visual arts","score_opus":0.019946264568512298,"score_gpt":0.23300339690982505,"score_spread":0.21305713234131274,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W317173774","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1377394,0.021819966,0.0040026153,0.05063198,0.003902422,0.00020942971,0.0012307764,0.00028702326,0.7801764],"genre_scores_gemma":[0.46003497,0.0046895472,0.0028198087,0.0012193806,0.00029003184,0.0001103051,0.00034237764,0.00026019718,0.5302334],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99873084,0.00060654373,0.000032820884,0.00016815506,0.00021951999,0.00024200178],"domain_scores_gemma":[0.99835867,0.00050511997,0.0001658798,0.00020648328,0.0003296373,0.00043410077],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020539262,0.00042067425,0.00020108468,0.000928395,0.008138955,0.0038764642,0.0007924644,0.00095195905,0.030173369],"category_scores_gemma":[0.0026314612,0.00046594045,0.00015506693,0.0012456041,0.006021455,0.0029708233,0.0034531655,0.0019279086,0.003495947],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00024161077,0.00008596735,0.010698769,0.0004672821,0.000010148685,0.0013447818,0.41607553,0.00017378671,0.003297707,0.14168093,0.22640604,0.19951743],"study_design_scores_gemma":[0.0000060410052,0.000022530454,0.014407999,0.00019913599,0.0000039981037,0.00018097505,0.066616766,0.000026811158,0.00045689289,0.0014834484,0.9165819,0.000013527113],"about_ca_topic_score_codex":0.15935718,"about_ca_topic_score_gemma":0.47095674,"teacher_disagreement_score":0.15935718,"about_ca_system_score_codex":0.0061582807,"about_ca_system_score_gemma":0.012801764,"threshold_uncertainty_score":0.31685925},"labels":[],"label_agreement":null},{"id":"W3172312422","doi":"10.1177/20436106211022752","title":"“The desert’s no home for a rose”: Filipinx childhood and music as aesthetic experience","year":2021,"lang":"en","type":"article","venue":"Global Studies of Childhood","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Queer; Sociology; Deportation; Aesthetics; Desert (philosophy); Argument (complex analysis); Mode (computer interface); Gender studies; Art; Immigration; History; Philosophy; Epistemology","score_opus":0.0259172079835294,"score_gpt":0.24921766035231172,"score_spread":0.22330045236878232,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3172312422","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8259319,0.004564684,0.00045542108,0.0061635133,0.00016355507,0.000009508787,0.000025573998,0.00002143574,0.16266444],"genre_scores_gemma":[0.99149054,0.0011378014,0.000095126714,0.00030181863,0.000038920072,0.000005226209,0.0000051669085,0.000007678009,0.0069177295],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99968815,0.00013262773,0.0000048082684,0.000033657278,0.000039883067,0.000100908735],"domain_scores_gemma":[0.99978954,0.00009991964,0.000037280886,0.000014388106,0.000012130868,0.000046714926],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005568683,0.0003271455,0.00020402895,0.00067077647,0.010667719,0.0043413737,0.00029694405,0.0009907669,0.004151699],"category_scores_gemma":[0.0006905862,0.000104063394,0.00011112477,0.00050142535,0.013127095,0.002476564,0.0032032584,0.0016625323,0.00021075824],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008628277,0.000030104633,0.0051603946,0.00009847507,0.000009569591,0.001849768,0.8781959,0.000052691314,0.002211578,0.08506669,0.0038876918,0.02335083],"study_design_scores_gemma":[0.000009022082,0.00006374809,0.020219943,0.00022097971,0.000011514278,0.0014291537,0.84341764,0.00005627761,0.00092471583,0.0038655698,0.12976156,0.000019968946],"about_ca_topic_score_codex":0.010817943,"about_ca_topic_score_gemma":0.02882401,"teacher_disagreement_score":0.010817943,"about_ca_system_score_codex":0.0029023574,"about_ca_system_score_gemma":0.00055250025,"threshold_uncertainty_score":0.021509945},"labels":[],"label_agreement":null},{"id":"W3174120381","doi":"10.1007/978-3-030-74903-3_4","title":"‘Sounding Black’: Theorizing Blackness in Justin Adams Burton’s Posthuman Rap","year":2021,"lang":"en","type":"book-chapter","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Postmodernism; Posthuman; Reactionary; Posthumanism; Popular culture; Aesthetics; White (mutation); Gaze; Sociology; Art history; Art; Literature; Psychoanalysis; Law; Politics","score_opus":0.039779889270973895,"score_gpt":0.21069730153499752,"score_spread":0.17091741226402363,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3174120381","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.030798651,0.0068400647,0.00937341,0.07239045,0.0012042797,0.000035759942,0.00002090513,0.000038005393,0.8792984],"genre_scores_gemma":[0.8156969,0.0016447032,0.0041533816,0.011381134,0.00037808367,0.00008055173,0.0000133678595,0.00012500916,0.16652691],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9982687,0.001184678,0.000020334564,0.00015736303,0.00017273653,0.00019601839],"domain_scores_gemma":[0.99865794,0.0008289059,0.00008505863,0.000103193386,0.00016262554,0.00016231596],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021426028,0.00051407435,0.0003235469,0.0008987127,0.012558122,0.00609662,0.0012357945,0.004037217,0.009350558],"category_scores_gemma":[0.0044174115,0.00028890322,0.00016626772,0.00092978217,0.037095733,0.007322373,0.0046674614,0.006987594,0.0009522543],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000073086626,0.000007273424,0.00006292826,0.000015635605,0.0000017197649,0.00007019445,0.058957595,0.000035259585,0.00007116297,0.9255249,0.011093604,0.004152446],"study_design_scores_gemma":[0.00001136335,0.000015745545,0.0002890546,0.00022814378,0.0000055374107,0.00020700792,0.059009805,0.00016097764,0.00016797539,0.5508866,0.389,0.000017846942],"about_ca_topic_score_codex":0.012240531,"about_ca_topic_score_gemma":0.028867919,"teacher_disagreement_score":0.012558122,"about_ca_system_score_codex":0.003215318,"about_ca_system_score_gemma":0.0020798736,"threshold_uncertainty_score":0.031280756},"labels":[],"label_agreement":null},{"id":"W3174441985","doi":"10.1177/20563051211025511","title":"Making Sweet Music Together: The Affordances of Networked Media for Building Performance Capital by YouTube Musicians","year":2021,"lang":"en","type":"article","venue":"Social Media + Society","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":11,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Royal Roads University; Toronto Metropolitan University","funders":"Canada Research Chairs","keywords":"Affordance; Homophily; Popular music; Meaning (existential); Advertising; Multimedia; Psychology; Computer science; Social psychology; Visual arts; Cognitive psychology; Business; Art","score_opus":0.055164601838443315,"score_gpt":0.24210980897197165,"score_spread":0.18694520713352833,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3174441985","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.89866596,0.00026134128,0.0015263491,0.0014176138,0.000025409267,0.000054999964,0.000085320906,0.000032114378,0.09793098],"genre_scores_gemma":[0.9957866,0.00010386911,0.0007204886,0.00007973443,0.000011850087,0.000016896343,0.000030075895,0.000014602262,0.0032358235],"study_design_codex":"observational","study_design_gemma":"qualitative","domain_scores_codex":[0.9986093,0.0005977854,0.00003973905,0.00014246037,0.00017523294,0.00043544447],"domain_scores_gemma":[0.9968484,0.0011507601,0.0005331087,0.0003286813,0.00017326682,0.00096581684],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014345769,0.00032376597,0.00017373869,0.0019748753,0.0051201107,0.006728567,0.00059212523,0.0005494847,0.010621879],"category_scores_gemma":[0.0059236125,0.00021359081,0.00022389233,0.0010661244,0.0033200553,0.0062603517,0.0070813517,0.0007372873,0.0006257094],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00036587665,0.00057024346,0.3745454,0.00029084357,0.00009809611,0.002778065,0.31232378,0.0006024528,0.0056365854,0.071751274,0.007136104,0.22390132],"study_design_scores_gemma":[0.000048258393,0.00033139,0.35570288,0.0005992226,0.000104521125,0.001086497,0.4792223,0.0027092795,0.0026852963,0.022579854,0.134813,0.00011743694],"about_ca_topic_score_codex":0.012789953,"about_ca_topic_score_gemma":0.04078039,"teacher_disagreement_score":0.012789953,"about_ca_system_score_codex":0.0020560455,"about_ca_system_score_gemma":0.0014797358,"threshold_uncertainty_score":0.035533726},"labels":[],"label_agreement":null},{"id":"W3175424618","doi":"10.1609/icwsm.v15i1.18099","title":"Imagine All the People: Characterizing Social Music Sharing on Reddit","year":2021,"lang":"en","type":"article","venue":"Proceedings of the International AAAI Conference on Web and Social Media","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"Natural Sciences and Engineering Research Council of Canada","keywords":"Musicality; Musical; Context (archaeology); Sociology; Popular music; Social media; Computer science; Visual arts; World Wide Web; Geography; Art","score_opus":0.06359236123371952,"score_gpt":0.23790227090086163,"score_spread":0.1743099096671421,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3175424618","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9875354,0.00044546757,0.0032817584,0.00032942556,0.000026266136,0.000042740117,0.0031686076,0.00006037574,0.005109893],"genre_scores_gemma":[0.9848284,0.00016457228,0.006137367,0.000091222544,0.000032022734,0.000050082264,0.0068785013,0.000019561818,0.0017982522],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.99951065,0.0001603813,0.000024349587,0.00013118485,0.0001020177,0.00007145864],"domain_scores_gemma":[0.99877614,0.00052545255,0.00026127472,0.00019575964,0.000104745115,0.00013660583],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004968184,0.00025591053,0.00027989966,0.0018187766,0.00086350954,0.0011301608,0.00065036205,0.0005515053,0.0015275613],"category_scores_gemma":[0.003286305,0.00011375754,0.00029892757,0.0022227797,0.00061759196,0.0014116835,0.0015225166,0.00051605975,0.0005090267],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0011086697,0.00059642724,0.7512335,0.00056913437,0.00029412226,0.001521548,0.021090966,0.010439804,0.008802656,0.0081956955,0.022763748,0.1733837],"study_design_scores_gemma":[0.000048740334,0.00017652437,0.80031985,0.00016728793,0.000080048456,0.0016536271,0.025352666,0.11765857,0.002648746,0.010541024,0.041266173,0.00008667171],"about_ca_topic_score_codex":0.0095493775,"about_ca_topic_score_gemma":0.02539947,"teacher_disagreement_score":0.0095493775,"about_ca_system_score_codex":0.0005087456,"about_ca_system_score_gemma":0.00020571258,"threshold_uncertainty_score":0.018987596},"labels":[],"label_agreement":null},{"id":"W3177449658","doi":"10.82308/50428","title":"Embodied Hip-Hop: gender, race and street dance in an urban arts school","year":2018,"lang":"en","type":"article","venue":"eScholarship@McGill (McGill)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"McGill University","keywords":"Dance; Embodied cognition; Race (biology); Visual arts; Art; Gender studies; Sociology; Aesthetics; Computer science","score_opus":0.04287009830391861,"score_gpt":0.23501167721257357,"score_spread":0.19214157890865496,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3177449658","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.99110377,0.0001945998,0.00017990642,0.00029388317,0.000012753351,0.0000057399825,0.0000063858984,0.0000026148832,0.008200396],"genre_scores_gemma":[0.9977754,0.00012956033,0.000072586714,0.000051120733,0.0000039997385,0.000003887412,0.0000040025625,0.0000029704743,0.0019563437],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9986613,0.00070184085,0.000041501797,0.00016254328,0.00020093056,0.00023181995],"domain_scores_gemma":[0.99917835,0.00038908684,0.00015473095,0.00004773033,0.00006193569,0.00016818036],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019027584,0.0002541627,0.00048442176,0.0013817943,0.007953367,0.0057020695,0.00070074416,0.0007596597,0.0040044542],"category_scores_gemma":[0.0017936503,0.00028038843,0.00021889604,0.00082204246,0.012293124,0.0021925443,0.0053967424,0.0011672565,0.00020691492],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022631224,0.000071419374,0.017580211,0.000037134305,0.000005928595,0.00028162234,0.9709415,0.000037521975,0.00049212493,0.0043897075,0.00022385073,0.005916359],"study_design_scores_gemma":[0.0000022769673,0.000035695935,0.017297246,0.0000556734,0.0000059839645,0.00010009731,0.97769725,0.00004753337,0.00016115318,0.0005758687,0.0040138653,0.000007273888],"about_ca_topic_score_codex":0.017848874,"about_ca_topic_score_gemma":0.059521724,"teacher_disagreement_score":0.017848874,"about_ca_system_score_codex":0.0021409222,"about_ca_system_score_gemma":0.0013553926,"threshold_uncertainty_score":0.035489976},"labels":[],"label_agreement":null},{"id":"W3179843438","doi":"10.47611/jsr.v10i2.1207","title":"\"It's in Our Veins\"","year":2021,"lang":"en","type":"article","venue":"Journal of Student Research","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Alberta","funders":"","keywords":"Latin Americans; Dance; Studio; Popularity; Identity (music); Narrative; Latin American studies; Visual arts; Gender studies; History; Sociology; Art; Political science; Literature; Aesthetics; Law","score_opus":0.30077930240885437,"score_gpt":0.4458087955059855,"score_spread":0.14502949309713115,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3179843438","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.010241283,0.011872433,0.0018200715,0.6261676,0.06747301,0.00008069209,0.00019865733,0.00055361545,0.28159252],"genre_scores_gemma":[0.07243922,0.0069758934,0.0016061747,0.2926812,0.0074936724,0.00008682538,0.00016492313,0.0004086235,0.6181435],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.9968052,0.0010568281,0.000077690645,0.00032578604,0.000819745,0.0009147071],"domain_scores_gemma":[0.9956393,0.0003288915,0.00024154528,0.0002786125,0.0016568258,0.0018547731],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0024857244,0.0007126569,0.00052732084,0.0007636568,0.0129668275,0.0092667565,0.0012991837,0.003916693,0.080461204],"category_scores_gemma":[0.009746081,0.00031070027,0.0006722189,0.00074296433,0.008896172,0.008525063,0.006398614,0.011967084,0.029721195],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003074432,0.00005018291,0.0020829935,0.00010917775,0.00001552003,0.00054080656,0.014850319,0.00001991157,0.00036433837,0.019325824,0.91049963,0.05211055],"study_design_scores_gemma":[0.000004693309,0.00001971056,0.0006293794,0.00022954613,0.0000074407776,0.0004019511,0.018949589,0.000015189829,0.00006594204,0.0018446537,0.977816,0.000015957106],"about_ca_topic_score_codex":0.031853016,"about_ca_topic_score_gemma":0.04418821,"teacher_disagreement_score":0.080461204,"about_ca_system_score_codex":0.0035360123,"about_ca_system_score_gemma":0.00836378,"threshold_uncertainty_score":0.26916957},"labels":[],"label_agreement":null},{"id":"W3180267295","doi":"10.1558/jfm.19491","title":"Nathan Platte, Making Music in Selznick’s Hollywood","year":2021,"lang":"en","type":"article","venue":"Journal of Film Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Ottawa","funders":"","keywords":"Hollywood; Art; Visual arts; Literature; Art history","score_opus":0.05278880553466981,"score_gpt":0.2273868527879993,"score_spread":0.1745980472533295,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3180267295","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0013191618,0.7149518,0.0016954406,0.09805641,0.015372345,0.000050183917,0.00042322156,0.0002510922,0.16788027],"genre_scores_gemma":[0.036652487,0.5081685,0.0017319117,0.024102036,0.0056135477,0.00016322373,0.00045192198,0.0004571436,0.42265922],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99916923,0.00021309465,0.000058143443,0.0001078888,0.00032663593,0.00012504474],"domain_scores_gemma":[0.999553,0.00019554138,0.000046620302,0.00001752779,0.00008443336,0.000102862505],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000797257,0.0016078898,0.0004884404,0.0021297317,0.004516361,0.005408411,0.0017905555,0.0041325847,0.038092375],"category_scores_gemma":[0.0018334623,0.000660483,0.0003163455,0.0021566902,0.0036040565,0.012163459,0.0037115964,0.0037662922,0.017975828],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003351141,0.000019102621,0.000109419154,0.0003567351,0.00000550932,0.00013155416,0.0027713173,0.0000463385,0.00013828489,0.029373702,0.90128505,0.065729514],"study_design_scores_gemma":[0.0000074942764,0.0000051977618,0.0006205533,0.00039498202,0.0000027371975,0.00011700537,0.001738414,0.0000199357,0.00012104219,0.00622803,0.99073225,0.000012394696],"about_ca_topic_score_codex":0.032700613,"about_ca_topic_score_gemma":0.092462435,"teacher_disagreement_score":0.038092375,"about_ca_system_score_codex":0.003237828,"about_ca_system_score_gemma":0.00239914,"threshold_uncertainty_score":0.12743169},"labels":[],"label_agreement":null},{"id":"W318761362","doi":"","title":"Rufus Wainwright-The Story of an Opera","year":2011,"lang":"en","type":"article","venue":"Journal of Singing","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Opera; Wainwright; Musical; Art; History; George (robot); Visual arts; Art history; Nothing; MOZART; Literature; Archaeology; Philosophy","score_opus":0.052499252813602855,"score_gpt":0.20186110492805473,"score_spread":0.14936185211445188,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W318761362","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.04349019,0.040356867,0.0014303107,0.1034349,0.013869551,0.00007569847,0.00031082012,0.00028677765,0.7967449],"genre_scores_gemma":[0.23507756,0.006887238,0.0005792017,0.009447082,0.0014105184,0.000058636142,0.00011228369,0.00023787329,0.7461896],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995927,0.00011169332,0.000005531549,0.000056994948,0.00008032082,0.00015281583],"domain_scores_gemma":[0.99978656,0.00006002904,0.000012782432,0.00001061485,0.000036985923,0.00009316785],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00066383305,0.00061929866,0.0001944965,0.00048300417,0.010975808,0.002958544,0.0005360927,0.0018499865,0.020468602],"category_scores_gemma":[0.0015054768,0.00021843775,0.00021247266,0.00033498905,0.003139721,0.002607491,0.0027774242,0.005445149,0.0033461256],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000098448276,0.00003446539,0.0005738307,0.000106464526,0.000007747368,0.0016430556,0.04551304,0.00006684196,0.0005055791,0.058242634,0.8458639,0.047344062],"study_design_scores_gemma":[0.0000025608635,0.000011818433,0.0006426518,0.00012520517,0.0000026619755,0.00029279973,0.0153074255,0.000021114498,0.00011950615,0.0009846878,0.9824818,0.000007810167],"about_ca_topic_score_codex":0.07594572,"about_ca_topic_score_gemma":0.15890037,"teacher_disagreement_score":0.07594572,"about_ca_system_score_codex":0.002519517,"about_ca_system_score_gemma":0.0011531195,"threshold_uncertainty_score":0.15100735},"labels":[],"label_agreement":null},{"id":"W3187728337","doi":"10.1177/13624806211028274","title":"A guilty pleasure: The legal, social scientific and feminist verdict against rap","year":2021,"lang":"en","type":"article","venue":"Theoretical Criminology","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":17,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Sociology; Scholarship; Ideology; Lyrics; Feminism; Gender studies; Law; Political science; Politics","score_opus":0.07449386034383337,"score_gpt":0.2497659284737182,"score_spread":0.17527206812988483,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3187728337","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10795178,0.009507402,0.0059182206,0.47504637,0.0019220469,0.000039168244,0.000043020038,0.00003728482,0.39953473],"genre_scores_gemma":[0.95768917,0.001763929,0.0008543652,0.023120854,0.0009034447,0.000057258036,0.000012029185,0.000040385843,0.015558553],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9814284,0.013492014,0.00026161087,0.001242443,0.002240276,0.001335317],"domain_scores_gemma":[0.9749731,0.02128136,0.0012793436,0.00083447515,0.00096586224,0.00066591986],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.017757446,0.00044633518,0.00054546766,0.0015882696,0.01926873,0.012338599,0.002130211,0.011722003,0.0029327464],"category_scores_gemma":[0.02551247,0.0003120117,0.00035437586,0.00078874454,0.10734176,0.008427609,0.008268814,0.011965247,0.00047475152],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016807158,0.000012232332,0.00048946764,0.000036102625,0.0000058661713,0.0004330948,0.05675522,0.000080201826,0.00010198614,0.92535716,0.009161135,0.0075507653],"study_design_scores_gemma":[0.00001856771,0.00004877295,0.0016912901,0.0007373607,0.000016287033,0.0006368303,0.17373294,0.00047050248,0.0009560948,0.5709352,0.2507159,0.000040191644],"about_ca_topic_score_codex":0.009545238,"about_ca_topic_score_gemma":0.011492413,"teacher_disagreement_score":0.01926873,"about_ca_system_score_codex":0.0060831015,"about_ca_system_score_gemma":0.0040763356,"threshold_uncertainty_score":0.09391147},"labels":[],"label_agreement":null},{"id":"W3191497840","doi":"","title":"Stereo/Types: Canadian Women DJs Sound Off","year":2021,"lang":"en","type":"dissertation","venue":"York University Digital Library (York University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Gender studies; Heteronormativity; Insider; Human sexuality; Diversity (politics); Sociology; Media studies; Political science; Law","score_opus":0.011700348251929095,"score_gpt":0.13940309491672748,"score_spread":0.1277027466647984,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3191497840","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.54870343,0.0021562807,0.0011382389,0.013384956,0.0009666817,0.00023469752,0.006060268,0.00018437729,0.427171],"genre_scores_gemma":[0.7312115,0.0018328323,0.00089494325,0.003770823,0.00012860235,0.00009360786,0.0015500094,0.0001479154,0.2603698],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9979729,0.00015125565,0.000033076343,0.00023718007,0.00066030095,0.00094527437],"domain_scores_gemma":[0.99862444,0.000093329836,0.000098994424,0.00006577743,0.0006060628,0.0005113875],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010687358,0.0006629826,0.0004880839,0.0039928337,0.029671896,0.006369996,0.0014123127,0.001220847,0.0495135],"category_scores_gemma":[0.002254094,0.0003330428,0.0004276098,0.0046766726,0.0059772152,0.0016047346,0.0035623517,0.001429384,0.004012669],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002495413,0.000086707616,0.06301065,0.00032310342,0.000021658576,0.0015964233,0.663259,0.00009766537,0.003008889,0.04528254,0.12550928,0.09755457],"study_design_scores_gemma":[0.000006419837,0.000019852603,0.03836522,0.0001581708,0.000013182112,0.00037244958,0.5979649,0.00006106082,0.00031188733,0.0005896423,0.36208043,0.00005686231],"about_ca_topic_score_codex":0.9856597,"about_ca_topic_score_gemma":0.99373746,"teacher_disagreement_score":0.0495135,"about_ca_system_score_codex":0.04578215,"about_ca_system_score_gemma":0.041647952,"threshold_uncertainty_score":0.3321743},"labels":[],"label_agreement":null},{"id":"W3191676292","doi":"10.1386/punk_00106_1","title":"Bone in the Throat: Video archiving and identity building within the Montreal hardcore scene","year":2021,"lang":"en","type":"article","venue":"Punk & Post Punk","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Université du Québec à Montréal","funders":"","keywords":"Collective memory; Thriving; Media studies; Politics; Identity (music); Reflexivity; Sociology; Visual arts; Political science; Aesthetics; Art; Social science; Law","score_opus":0.02101381015489918,"score_gpt":0.2296411159003748,"score_spread":0.20862730574547564,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3191676292","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.735355,0.0067062504,0.008615066,0.010962447,0.00049712753,0.000556331,0.0012496348,0.00044169495,0.2356164],"genre_scores_gemma":[0.95809036,0.0026969863,0.006890458,0.00052497484,0.00010871037,0.0000895298,0.00038139772,0.0002051849,0.031012475],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99726355,0.0011365599,0.000045745644,0.0002277922,0.0008407825,0.0004855564],"domain_scores_gemma":[0.9965348,0.0013352184,0.0002751746,0.00040998,0.00088957656,0.0005552423],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0027047032,0.00047216285,0.00026495353,0.0030963288,0.011207695,0.012804724,0.002219039,0.0010845016,0.008382133],"category_scores_gemma":[0.009090315,0.0003309109,0.0002121684,0.0034764314,0.009183037,0.004530868,0.0053068735,0.0018047298,0.00062475307],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014631095,0.00010976184,0.010561388,0.00036121148,0.000032483433,0.0023231665,0.77051,0.00051984005,0.0032884243,0.028368315,0.028605074,0.15517394],"study_design_scores_gemma":[0.000011536549,0.000073657146,0.024949364,0.00046396206,0.000032338645,0.00046049507,0.6855291,0.00064319547,0.0013264281,0.002056791,0.2843737,0.00007942468],"about_ca_topic_score_codex":0.6616716,"about_ca_topic_score_gemma":0.8370563,"teacher_disagreement_score":0.33832842,"about_ca_system_score_codex":0.023584103,"about_ca_system_score_gemma":0.016292868,"threshold_uncertainty_score":0.6806418},"labels":[],"label_agreement":null},{"id":"W3192879158","doi":"10.32920/ryerson.14652006.v1","title":"What 2 Listen 2: Reinventing the Presence of Tastemaker Influences in Music Discovery Through User Interaction and Aggregate Data","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Storytelling; Ideology; Music industry; Process (computing); Sustenance; Aesthetics; Sociology; Computer science; Narrative; Art; Literature; Political science; Visual arts; Music education","score_opus":0.13259896511629413,"score_gpt":0.29052059827186927,"score_spread":0.15792163315557514,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3192879158","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5060452,0.0018609987,0.3475429,0.022693638,0.00093402417,0.00047346004,0.0010153444,0.0045731016,0.11486128],"genre_scores_gemma":[0.93394196,0.0004646881,0.05612781,0.001865813,0.00041250497,0.00015893916,0.00033345862,0.0006427504,0.0060520153],"study_design_codex":"design_other","study_design_gemma":"simulation_or_modeling","domain_scores_codex":[0.98757637,0.007572909,0.0004115725,0.001783095,0.0021913096,0.0004647504],"domain_scores_gemma":[0.9588377,0.027603693,0.0018410496,0.009138627,0.0016071455,0.00097184064],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.014790987,0.0005233111,0.00087604095,0.0023240158,0.002679177,0.014900911,0.0011508053,0.0020415112,0.0046780664],"category_scores_gemma":[0.043134335,0.0006554058,0.0007995017,0.0025528555,0.0077681704,0.020117853,0.009517594,0.0022551387,0.0009052981],"study_design_candidate":"simulation_or_modeling","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0014852512,0.000513795,0.05183007,0.00076644064,0.00028588137,0.0012363067,0.25918013,0.0024782945,0.021489123,0.26021415,0.011368187,0.3891524],"study_design_scores_gemma":[0.00030922442,0.0009255441,0.03530012,0.00048777074,0.0005039583,0.0014216099,0.057688743,0.033187654,0.018312056,0.5855469,0.2657965,0.0005198843],"about_ca_topic_score_codex":0.0020094076,"about_ca_topic_score_gemma":0.0025966035,"teacher_disagreement_score":0.014900911,"about_ca_system_score_codex":0.0011287002,"about_ca_system_score_gemma":0.0016281597,"threshold_uncertainty_score":0.07822311},"labels":[],"label_agreement":null},{"id":"W3193689387","doi":"","title":"Left to right: The last stand of a Canadian pop star","year":2017,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Star (game theory); Political science; Physics; Astrophysics","score_opus":0.034078535978912014,"score_gpt":0.20241893226124502,"score_spread":0.168340396282333,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3193689387","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.075133264,0.005582618,0.00058318465,0.26011902,0.018622229,0.00007343351,0.00082017155,0.00015838647,0.63890755],"genre_scores_gemma":[0.28327587,0.0015591162,0.0004950227,0.034094464,0.0008753533,0.00001916822,0.00020697078,0.00028244237,0.6791916],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99835193,0.00013327114,0.000014900776,0.00013415125,0.00036633716,0.0009994555],"domain_scores_gemma":[0.998247,0.000058219666,0.000025048375,0.000027508055,0.00046968527,0.001172565],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00088255043,0.0005378334,0.00049058703,0.0009036801,0.060906768,0.012404382,0.0013269028,0.004811871,0.042637028],"category_scores_gemma":[0.0021434268,0.00035476426,0.00060241815,0.0012659493,0.006560758,0.0028778187,0.0039573805,0.010045547,0.0054274295],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001247082,0.000036332563,0.00232999,0.000048982238,0.0000143853495,0.0017957954,0.052499503,0.00007892357,0.0004331736,0.04271088,0.88240725,0.017520133],"study_design_scores_gemma":[0.0000049346227,0.000012077825,0.0022143272,0.000074325886,0.0000056906956,0.00018561361,0.09086464,0.000032466207,0.00009157274,0.00096882717,0.90550977,0.00003579323],"about_ca_topic_score_codex":0.94820386,"about_ca_topic_score_gemma":0.9904903,"teacher_disagreement_score":0.060906768,"about_ca_system_score_codex":0.04032317,"about_ca_system_score_gemma":0.045885477,"threshold_uncertainty_score":0.29256642},"labels":[],"label_agreement":null},{"id":"W3194970632","doi":"10.1177/13675494211030287","title":"Living in the wake of punk","year":2021,"lang":"en","type":"article","venue":"European Journal of Cultural Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Punk; Memoir; Narrative; Demise; Sociology; Aesthetics; Literature; History; Art history; Art; Law; Political science","score_opus":0.10286886684959377,"score_gpt":0.26079304367769,"score_spread":0.15792417682809623,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3194970632","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.69625545,0.005711259,0.0032903205,0.067577265,0.0027895137,0.000037246544,0.000106196836,0.00018974724,0.22404294],"genre_scores_gemma":[0.9727366,0.0009160704,0.00036143503,0.004279883,0.00015151827,0.000013930464,0.000024448305,0.00005664643,0.021459365],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9974769,0.0012314849,0.00004589121,0.00022927865,0.00042349016,0.0005930436],"domain_scores_gemma":[0.99890614,0.00027516624,0.00015242075,0.00011463746,0.00017565385,0.00037593752],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012517209,0.0003690446,0.000364746,0.0004172555,0.019245412,0.004529489,0.0009935171,0.0018045238,0.0037544647],"category_scores_gemma":[0.0039276336,0.00025611458,0.00027255868,0.00051194965,0.027771603,0.0060143047,0.0068611423,0.008491351,0.00045749426],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006777741,0.00003117343,0.002159899,0.000119645236,0.000013482019,0.0025004304,0.82802385,0.00014896256,0.0007512632,0.11688683,0.032905146,0.016391462],"study_design_scores_gemma":[0.0000058000333,0.00006500728,0.004531958,0.00022192503,0.000007851877,0.0019555327,0.6684811,0.000085042826,0.00037690575,0.009469316,0.31474796,0.000051543666],"about_ca_topic_score_codex":0.016639085,"about_ca_topic_score_gemma":0.038582362,"teacher_disagreement_score":0.019245412,"about_ca_system_score_codex":0.0053728763,"about_ca_system_score_gemma":0.0027752644,"threshold_uncertainty_score":0.038983166},"labels":[],"label_agreement":null},{"id":"W3195409856","doi":"10.1386/jfs_00022_1","title":"Life Is But a Story: Female pleasure and agency in Beyoncé’s autobiographical film","year":2020,"lang":"en","type":"article","venue":"The Journal of Fandom Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Ottawa","funders":"","keywords":"Pleasure; Narrative; Persona; Portrait; Dream; Agency (philosophy); Hollywood; Movie theater; Art; Aesthetics; Superstar; Media studies; Sociology; Visual arts; Psychology; Literature; Art history; Humanities","score_opus":0.09317733197565391,"score_gpt":0.25435281933467174,"score_spread":0.16117548735901782,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3195409856","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5886675,0.0075887297,0.0034046234,0.021076292,0.002293266,0.000076562836,0.0002099708,0.00014770968,0.37653536],"genre_scores_gemma":[0.95227253,0.0013018118,0.0005793679,0.0013772688,0.00018276577,0.000025443076,0.000050480452,0.00010742319,0.044102855],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992962,0.0003162271,0.000014755945,0.00008234138,0.00015992967,0.00013042391],"domain_scores_gemma":[0.99942374,0.0002939453,0.000046455527,0.00003219305,0.000072803356,0.00013089378],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00071603,0.00043356538,0.00023758816,0.00081475626,0.0073544267,0.0046475334,0.00044438292,0.0012727112,0.0038311856],"category_scores_gemma":[0.002807741,0.00023773908,0.0001611521,0.0005539688,0.006177692,0.0030717286,0.0020438032,0.002634801,0.00045454182],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012341204,0.000039060746,0.001338779,0.00012940787,0.00000861161,0.002217569,0.9128284,0.00007233417,0.0023415561,0.04605225,0.020412399,0.014436266],"study_design_scores_gemma":[0.000010842646,0.00004003507,0.0043019084,0.00029431307,0.0000152162775,0.0022441153,0.43024933,0.00019097149,0.0017230031,0.0027567483,0.55814,0.000033511442],"about_ca_topic_score_codex":0.013018315,"about_ca_topic_score_gemma":0.033807855,"teacher_disagreement_score":0.013018315,"about_ca_system_score_codex":0.0034276226,"about_ca_system_score_gemma":0.000836911,"threshold_uncertainty_score":0.025885046},"labels":[],"label_agreement":null},{"id":"W3196095787","doi":"10.7202/1079797ar","title":"Gamelan Girls. Gender, Childhood, and Politics in Balinese Music Ensembles, de Sonja Lynn Downing","year":2021,"lang":"en","type":"article","venue":"Revue musicale OICRM","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Politics; Psychology; Art; Gender studies; Sociology; Political science; Law","score_opus":0.03818471115000454,"score_gpt":0.21198518473477398,"score_spread":0.17380047358476944,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3196095787","genre_codex":"empirical","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.90422165,0.010788285,0.000056093006,0.010828578,0.00027802488,0.0000211572,0.0002255021,0.000006252351,0.07357454],"genre_scores_gemma":[0.96601915,0.0024837328,0.000046836205,0.0006496579,0.000043922744,0.0000355874,0.00006351665,0.0000104378905,0.03064721],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99966705,0.00010610511,0.000011967417,0.00004846398,0.000045946686,0.00012042746],"domain_scores_gemma":[0.99958307,0.000105735395,0.00010186409,0.000007753806,0.000038433114,0.00016302102],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004954887,0.00032400867,0.0003367089,0.00043599156,0.0065062973,0.0020326772,0.00039857047,0.0007698283,0.008933943],"category_scores_gemma":[0.00083999924,0.00033624377,0.0001314904,0.00049549463,0.002054462,0.0011502277,0.0017217188,0.0015276567,0.00059498666],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00031681382,0.0002740445,0.11751843,0.00022644147,0.000022652968,0.003187302,0.7891478,0.00004818032,0.0026158737,0.020523546,0.023186097,0.042932805],"study_design_scores_gemma":[0.000019077741,0.0001380941,0.34108484,0.00028330178,0.000018978353,0.0007307303,0.55379194,0.000020350531,0.00043223627,0.0009449515,0.10251217,0.000023335471],"about_ca_topic_score_codex":0.08198194,"about_ca_topic_score_gemma":0.31498766,"teacher_disagreement_score":0.08198194,"about_ca_system_score_codex":0.0015470461,"about_ca_system_score_gemma":0.0010180139,"threshold_uncertainty_score":0.16300952},"labels":[],"label_agreement":null},{"id":"W3196224666","doi":"10.7202/1079789ar","title":"« Todos juntos, nadie pierde ». Enregistrement audionumérique, processus d’internationalisation et de mise en marché des musiques afrocolombiennes au début du xxie siècle : le rôle des labels discographiques indépendants dans la ville de Bogota","year":2021,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.02078341399164261,"score_gpt":0.24735306053864328,"score_spread":0.22656964654700068,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3196224666","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5200411,0.009738133,0.0014568946,0.012217978,0.0010924725,0.00008050037,0.00060006866,0.00007972529,0.45469314],"genre_scores_gemma":[0.9214257,0.0020121015,0.00055048306,0.0006183253,0.000069845046,0.000049099173,0.00012509045,0.000043601627,0.07510576],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9996063,0.0001273491,0.000015241991,0.000067624984,0.00008405454,0.00009953501],"domain_scores_gemma":[0.99961025,0.00011252087,0.0000781975,0.00003290861,0.00007796598,0.00008823303],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005999909,0.00030439324,0.00016637571,0.0009169626,0.0061322656,0.0029722957,0.0003922814,0.0005072888,0.0074019493],"category_scores_gemma":[0.0014094469,0.00016274555,0.00008031699,0.0014937219,0.0035232643,0.0012199467,0.0023460344,0.0011021905,0.00064108055],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019749376,0.000014609398,0.014997486,0.0004646425,0.0000074335603,0.0006450409,0.8090187,0.000056835313,0.004411446,0.07302903,0.01551127,0.081645995],"study_design_scores_gemma":[0.000008063594,0.000032252497,0.077020936,0.0004761542,0.000010585695,0.00030091088,0.30208316,0.000049261,0.0007120468,0.0018022122,0.6174798,0.000024516803],"about_ca_topic_score_codex":0.18787614,"about_ca_topic_score_gemma":0.44035718,"teacher_disagreement_score":0.18787614,"about_ca_system_score_codex":0.004241295,"about_ca_system_score_gemma":0.0024539547,"threshold_uncertainty_score":0.37356514},"labels":[],"label_agreement":null},{"id":"W3196883026","doi":"","title":"Bob Dylan: Ultimate Reality and Meaning in Changing Times: Ultimate Reality and Meaning in Changing Times","year":2007,"lang":"en","type":"article","venue":"Ultimate Reality and Meaning","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Meaning (existential); Aesthetics; Philosophy; Epistemology; Sociology","score_opus":0.041799201952687895,"score_gpt":0.26651751756202735,"score_spread":0.22471831560933947,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3196883026","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.004723801,0.051451284,0.0073478944,0.6848982,0.006207593,0.000047922145,0.00021904013,0.0001710684,0.24493322],"genre_scores_gemma":[0.22436884,0.04569994,0.0056167725,0.12484428,0.004402064,0.00024809438,0.0002157217,0.0009427478,0.59366155],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987165,0.00080195366,0.00002837354,0.00010906178,0.00020094859,0.00014316896],"domain_scores_gemma":[0.9975922,0.001438759,0.00007818288,0.0000699492,0.00027914834,0.0005418352],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018969534,0.0006787472,0.0006446181,0.0010313926,0.011633756,0.01035132,0.0018098112,0.008582012,0.028854132],"category_scores_gemma":[0.0061853905,0.00055328256,0.00032565277,0.0018257631,0.01129803,0.017841142,0.005533359,0.009267497,0.004457829],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021864893,0.000011632642,0.0001344995,0.00009931729,0.000006338246,0.00026003429,0.015787432,0.00011693367,0.00007718671,0.34827977,0.6267844,0.008420685],"study_design_scores_gemma":[0.000017142109,0.0000058664937,0.00035119144,0.0003178383,0.00000931763,0.00018376607,0.033381853,0.00021889251,0.00033084772,0.125138,0.8400101,0.00003523026],"about_ca_topic_score_codex":0.05743337,"about_ca_topic_score_gemma":0.09147762,"teacher_disagreement_score":0.05743337,"about_ca_system_score_codex":0.0051963935,"about_ca_system_score_gemma":0.004591104,"threshold_uncertainty_score":0.11419815},"labels":[],"label_agreement":null},{"id":"W3199073185","doi":"10.1525/res.2021.2.3.377","title":"Soundscapes of Productivity","year":2021,"lang":"en","type":"article","venue":"Resonance The Journal of Sound and Culture","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":7,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Soundscape; Productivity; Sociology; Visual arts; Sound (geography); Art; Economic growth; Acoustics","score_opus":0.019681311357688924,"score_gpt":0.2110759684246592,"score_spread":0.1913946570669703,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3199073185","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.17769915,0.0047083045,0.03092611,0.0070603923,0.00074032333,0.00010621652,0.0009279946,0.00067026564,0.77716124],"genre_scores_gemma":[0.96288246,0.0013192621,0.0029599508,0.0003614028,0.00020220397,0.00007011567,0.00019580814,0.00013791783,0.031870883],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99815947,0.00060105015,0.00005524421,0.0002042373,0.00070458744,0.00027550574],"domain_scores_gemma":[0.9979944,0.00084345374,0.00020602407,0.0001813477,0.0004793265,0.00029542475],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011573331,0.000768524,0.00020127764,0.0044474592,0.004737579,0.010206795,0.0008771155,0.0010003871,0.011764275],"category_scores_gemma":[0.004114704,0.00018961776,0.00027774164,0.0028894423,0.013059724,0.003588225,0.0053539914,0.0012409957,0.0009129272],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00023347024,0.000052198837,0.010841426,0.00044886538,0.000041911313,0.00073238724,0.18689974,0.0016334369,0.005959982,0.613426,0.022705529,0.15702505],"study_design_scores_gemma":[0.000018661465,0.00011543605,0.03363891,0.00049968326,0.000026438307,0.00080496067,0.19299138,0.00089839986,0.0018564317,0.060503468,0.70854086,0.000105303574],"about_ca_topic_score_codex":0.04685851,"about_ca_topic_score_gemma":0.04517054,"teacher_disagreement_score":0.04685851,"about_ca_system_score_codex":0.005186159,"about_ca_system_score_gemma":0.0024679126,"threshold_uncertainty_score":0.09317154},"labels":[],"label_agreement":null},{"id":"W3199754612","doi":"10.3138/cjfs-2021-0022","title":"Hinterland Remixed: Media, Memory, and the Canadian 1970s By Andrew Burke","year":2021,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Sheridan College","funders":"","keywords":"Media studies; History; Sociology","score_opus":0.028545125211855628,"score_gpt":0.20596966852442034,"score_spread":0.17742454331256471,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3199754612","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0153282955,0.37153664,0.00022175074,0.3799049,0.010045476,0.00003337451,0.0010550371,0.000056017077,0.22181845],"genre_scores_gemma":[0.28269833,0.29235402,0.00080485083,0.03972529,0.0057366546,0.00005338918,0.00042956462,0.00020422062,0.37799367],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99851483,0.00020860508,0.000040318904,0.00015816774,0.00054753735,0.0005305294],"domain_scores_gemma":[0.9970186,0.0008478714,0.00012221224,0.00009094575,0.0013228285,0.0005975818],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020457853,0.00075082865,0.0007159482,0.0041735684,0.024135806,0.011089199,0.0015575946,0.0035794403,0.019382806],"category_scores_gemma":[0.0052228104,0.0004276286,0.000300727,0.008562386,0.012504034,0.007072952,0.0030533848,0.0052900556,0.0016913457],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008799563,0.00002583514,0.001157706,0.00033941746,0.0000140686825,0.0002857819,0.048554413,0.00011584128,0.00014210845,0.14719999,0.7485606,0.05351631],"study_design_scores_gemma":[0.0000065204795,0.000003917117,0.0019887725,0.00052881107,0.0000088396755,0.000059225928,0.032754548,0.0000192872,0.00007283357,0.0032331895,0.961297,0.000027114413],"about_ca_topic_score_codex":0.9873038,"about_ca_topic_score_gemma":0.9948946,"teacher_disagreement_score":0.06969619,"about_ca_system_score_codex":0.06969619,"about_ca_system_score_gemma":0.09227962,"threshold_uncertainty_score":0.5056836},"labels":[],"label_agreement":null},{"id":"W3199849072","doi":"10.3138/jcs-2019-0041","title":"Ambiguously Hip: The Tragically Hip and Canadian Nationalism","year":2021,"lang":"en","type":"article","venue":"Journal of Canadian Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Nationalism; Appropriation; Context (archaeology); Sociology; National identity; Aesthetics; Identity (music); Gender studies; History; Politics; Law; Political science; Art; Philosophy; Epistemology; Archaeology","score_opus":0.06318195216169858,"score_gpt":0.22835036916396378,"score_spread":0.1651684170022652,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3199849072","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.44472015,0.007842337,0.0014799392,0.083935514,0.0014991118,0.000026674801,0.00023688038,0.000074164185,0.46018517],"genre_scores_gemma":[0.9851517,0.0013478305,0.00024349758,0.0023954052,0.000060365775,0.0000039879765,0.00002783885,0.000028427721,0.010740959],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99747926,0.00048167756,0.000039361523,0.0002068629,0.0008482947,0.00094460545],"domain_scores_gemma":[0.9980566,0.0004909983,0.00015581773,0.00011233935,0.00060105376,0.0005830688],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002386343,0.00038876315,0.00030539228,0.0020036804,0.035227433,0.011397935,0.0012131064,0.0020257756,0.005828812],"category_scores_gemma":[0.004598545,0.00023891158,0.00021168544,0.0026110823,0.03703089,0.0027096688,0.004770214,0.003995812,0.00025003296],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007154086,0.000016053316,0.0063303527,0.00012119141,0.000018622848,0.0005972947,0.5691993,0.00017493754,0.0007463628,0.3540672,0.040955923,0.027701318],"study_design_scores_gemma":[0.000008219939,0.000017271723,0.011433739,0.00033520113,0.000028052827,0.00031935374,0.6115749,0.000182382,0.00047289967,0.00927085,0.3662685,0.0000886694],"about_ca_topic_score_codex":0.97220653,"about_ca_topic_score_gemma":0.987422,"teacher_disagreement_score":0.07896656,"about_ca_system_score_codex":0.07896656,"about_ca_system_score_gemma":0.06689074,"threshold_uncertainty_score":0.5729451},"labels":[],"label_agreement":null},{"id":"W3201090772","doi":"10.1098/rspa.2021.0457","title":"Modelling song popularity as a contagious process","year":2021,"lang":"en","type":"article","venue":"Proceedings of the Royal Society A Mathematical Physical and Engineering Sciences","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":26,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McMaster University","funders":"Social Sciences and Humanities Research Council of Canada; Natural Sciences and Engineering Research Council of Canada","keywords":"Popularity; Download; Epidemic model; Transmission (telecommunications); Infectious disease (medical specialty); Computer science; Advertising; Demography; Disease; Sociology; Psychology; World Wide Web; Population; Telecommunications; Social psychology; Medicine","score_opus":0.01902105099028294,"score_gpt":0.20986005035169758,"score_spread":0.19083899936141463,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3201090772","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9606193,0.00019330971,0.036279794,0.00041002693,0.00001679676,0.000048053105,0.00029927806,0.00008938963,0.0020439872],"genre_scores_gemma":[0.99500656,0.0001257885,0.0030826621,0.0000266188,0.0000133179,0.000034488443,0.00014512104,0.000018202822,0.0015473586],"study_design_codex":"simulation_or_modeling","study_design_gemma":"simulation_or_modeling","domain_scores_codex":[0.9995396,0.00021841841,0.00002635806,0.000099700796,0.00004277397,0.00007320546],"domain_scores_gemma":[0.9932521,0.0050854594,0.00084248895,0.00034969134,0.00026109148,0.00020925],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020483471,0.0004217439,0.0004399115,0.0013091406,0.00034244033,0.0013713425,0.0010488399,0.0013683353,0.0028226692],"category_scores_gemma":[0.012640009,0.00043662396,0.00071334006,0.0009069247,0.00096341653,0.0021560693,0.0008412364,0.00093127566,0.00040936],"study_design_candidate":"simulation_or_modeling","study_design_consensus":"simulation_or_modeling","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002577515,0.0001540723,0.12590994,0.00017647335,0.00018013323,0.0007188788,0.0020461439,0.809319,0.005323528,0.039222054,0.00092407287,0.015767805],"study_design_scores_gemma":[0.00002108873,0.00006525789,0.016087933,0.00001340398,0.000023807901,0.00012126657,0.0002350995,0.9746609,0.0002296346,0.008047169,0.00047143357,0.000022923321],"about_ca_topic_score_codex":0.015161982,"about_ca_topic_score_gemma":0.0077219857,"teacher_disagreement_score":0.015161982,"about_ca_system_score_codex":0.000962197,"about_ca_system_score_gemma":0.00034612342,"threshold_uncertainty_score":0.030147493},"labels":[],"label_agreement":null},{"id":"W3202574132","doi":"10.5149/northcarolina/9781469659350.003.0012","title":"How to Make It in the Music Business without Really Trying","year":2020,"lang":"en","type":"book-chapter","venue":"University of North Carolina Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Merge (version control); History; Chart; Football; Advertising; Visual arts; Art; Computer science; Archaeology; Business; Information retrieval; Mathematics","score_opus":0.05954153218453234,"score_gpt":0.1806657380325439,"score_spread":0.12112420584801156,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3202574132","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.001005131,0.0060249106,0.0016412562,0.05427282,0.0051928936,0.000025685064,0.000045898003,0.0002593058,0.93153214],"genre_scores_gemma":[0.012086943,0.004364008,0.0015988076,0.014356762,0.0006993581,0.000027424605,0.000043989286,0.00026388792,0.96655864],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990608,0.00018698155,0.000018086657,0.00011023362,0.0003891348,0.00023480065],"domain_scores_gemma":[0.9988943,0.00012324889,0.000031746466,0.000116376745,0.00029871764,0.0005355628],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00093660224,0.00072953117,0.0002660453,0.0009510852,0.008448894,0.01538575,0.0010489657,0.0026169056,0.064352],"category_scores_gemma":[0.0022505054,0.00033170843,0.00027101583,0.00095147797,0.0061331196,0.014531346,0.0038948467,0.006170585,0.059199654],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000004835433,0.000035164456,0.00012338688,0.000042893753,0.0000024267938,0.000091411945,0.0045505124,0.000039153063,0.00016300465,0.1570964,0.7824967,0.055354074],"study_design_scores_gemma":[0.0000010467237,0.0000030929511,0.00008452297,0.00008435153,6.9793424e-7,0.000044201108,0.0030765668,0.00001817929,0.00003385867,0.007778946,0.9888705,0.0000040445584],"about_ca_topic_score_codex":0.026084363,"about_ca_topic_score_gemma":0.056272246,"teacher_disagreement_score":0.064352,"about_ca_system_score_codex":0.0028653815,"about_ca_system_score_gemma":0.005891298,"threshold_uncertainty_score":0.21527892},"labels":[],"label_agreement":null},{"id":"W3204132967","doi":"10.5040/9781501318399.ch-007","title":"The Gender of Sound","year":2017,"lang":"en","type":"other","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":7,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sound (geography); Geography; Acoustics; Physics","score_opus":0.07294714535107176,"score_gpt":0.2327210702005441,"score_spread":0.15977392484947234,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3204132967","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0032336186,0.13545121,0.0008953888,0.033129856,0.00489422,0.000028210105,0.0008067012,0.00008547261,0.82147527],"genre_scores_gemma":[0.07963378,0.05342669,0.0010083296,0.00792025,0.0023263698,0.000078536694,0.000882065,0.00032207812,0.8544019],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995383,0.000108415465,0.000019503723,0.000087042186,0.00019052565,0.00005614959],"domain_scores_gemma":[0.9997008,0.00010713813,0.000015890237,0.000025950681,0.00009114756,0.000059161142],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00052050164,0.0007827194,0.00029865722,0.0018072864,0.0053003263,0.006194713,0.000751088,0.0015129686,0.06539631],"category_scores_gemma":[0.0012119919,0.00029643576,0.00021585554,0.0025212285,0.004069015,0.005027183,0.0027915388,0.0021987078,0.011170134],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006797604,0.000027279675,0.00046728633,0.00036230715,0.0000058740543,0.00016258468,0.015190525,0.00003262074,0.00028769163,0.114439406,0.7718301,0.09712638],"study_design_scores_gemma":[0.000004842445,0.000008500068,0.0010807383,0.00030722033,0.0000023875514,0.00012157482,0.005289574,0.000008821156,0.000076203454,0.0073996414,0.98569494,0.000005572626],"about_ca_topic_score_codex":0.06740377,"about_ca_topic_score_gemma":0.19259848,"teacher_disagreement_score":0.06740377,"about_ca_system_score_codex":0.00265443,"about_ca_system_score_gemma":0.0027833127,"threshold_uncertainty_score":0.21877247},"labels":[],"label_agreement":null},{"id":"W3204297318","doi":"10.1386/mms_00055_1","title":"Structuring subjectivity: Pain of Salvation’s The Perfect Element: Part I (2000)","year":2021,"lang":"en","type":"article","venue":"Metal Music Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Ottawa","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Subjectivity; Narrative; Performative utterance; Lyrics; Element (criminal law); Musical; Expression (computer science); Aesthetics; Art; Literature; Psychology; Epistemology; Philosophy; Computer science","score_opus":0.07571856107374192,"score_gpt":0.24097743812972544,"score_spread":0.16525887705598352,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3204297318","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.42321077,0.007462646,0.023468323,0.011565907,0.00062832044,0.00010504564,0.00008499978,0.00013045382,0.53334355],"genre_scores_gemma":[0.98084426,0.000893504,0.0012642139,0.0003045994,0.00010429825,0.000031756157,0.00002244073,0.00003809979,0.016496828],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992393,0.00040484357,0.000020225063,0.00006994519,0.00015989433,0.00010575529],"domain_scores_gemma":[0.99938035,0.0002804665,0.00009072425,0.00007412752,0.00007041308,0.000103819046],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011195457,0.00040550245,0.00022866535,0.0007045745,0.00359433,0.0058316556,0.0005325804,0.0008341705,0.0030125983],"category_scores_gemma":[0.0023808083,0.0001384228,0.00020850504,0.0005856312,0.020407934,0.0041324096,0.0043467693,0.002128747,0.00025324328],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006733166,0.000019849349,0.0015888424,0.00016093138,0.000010182929,0.000432519,0.55723965,0.00016704173,0.002656794,0.40702966,0.0052228533,0.02540433],"study_design_scores_gemma":[0.00002401902,0.00019855968,0.008663629,0.00060405035,0.000022879713,0.0021003278,0.426031,0.000618263,0.0038307728,0.10917488,0.44869083,0.000040782328],"about_ca_topic_score_codex":0.0022285848,"about_ca_topic_score_gemma":0.0025460154,"teacher_disagreement_score":0.0058316556,"about_ca_system_score_codex":0.0021385858,"about_ca_system_score_gemma":0.0010467616,"threshold_uncertainty_score":0.015516579},"labels":[],"label_agreement":null},{"id":"W3204366775","doi":"10.1386/punk_00112_1","title":"Opening up the pit: Negotiating a punk ethos with PUP","year":2021,"lang":"en","type":"article","venue":"Punk & Post Punk","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"York University","funders":"","keywords":"Punk; Ethos; Sociology; Politics; Gender studies; Media studies; Identity politics; Racism; Aesthetics; Political science; Law; Art; Art history","score_opus":0.02391741593739647,"score_gpt":0.19983063450219377,"score_spread":0.1759132185647973,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3204366775","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.35357398,0.0011593302,0.012957006,0.055292502,0.0005582488,0.00016693436,0.000093637595,0.00017626505,0.576022],"genre_scores_gemma":[0.9596683,0.00046906123,0.0021849922,0.0034368266,0.000030587013,0.00003418097,0.000021166323,0.00006134804,0.034093704],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99527943,0.0011816049,0.000049759383,0.00039754657,0.0011009895,0.0019906752],"domain_scores_gemma":[0.99675995,0.0007307554,0.00018624908,0.00020211478,0.0009311304,0.0011899547],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0037198192,0.0004097002,0.0002580079,0.0010237322,0.04239274,0.010206612,0.0017158835,0.002131715,0.007974984],"category_scores_gemma":[0.008579558,0.00037832925,0.00025768118,0.0013344854,0.033603434,0.003792841,0.0073549943,0.004215488,0.00058690994],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007274349,0.000055445344,0.011425278,0.00009498729,0.00001524539,0.0018641975,0.4890358,0.00043383054,0.0013152957,0.41237906,0.033378717,0.049929403],"study_design_scores_gemma":[0.0000089798505,0.000039092385,0.0067524235,0.00018861982,0.000019238174,0.00040475128,0.5355106,0.0006010388,0.00066356355,0.018710516,0.43704036,0.000060835246],"about_ca_topic_score_codex":0.82497174,"about_ca_topic_score_gemma":0.92465276,"teacher_disagreement_score":0.82497174,"about_ca_system_score_codex":0.04753797,"about_ca_system_score_gemma":0.06436274,"threshold_uncertainty_score":0.35211802},"labels":[],"label_agreement":null},{"id":"W3204719039","doi":"","title":"Centering the margins: exploring women of color participation in the SlutWalk movement","year":2016,"lang":"en","type":"article","venue":"CSUN ScholarWorks (California State University, Northridge)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movement (music); Women of color; Political science; Gender studies; Aesthetics; Sociology; Art; Race (biology)","score_opus":0.03830351389530512,"score_gpt":0.1998822744267205,"score_spread":0.16157876053141537,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3204719039","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.900632,0.0010869233,0.001255859,0.009827731,0.00024507384,0.00006024177,0.000066149085,0.000043078566,0.08678292],"genre_scores_gemma":[0.9826202,0.0005101055,0.00033251595,0.0012791927,0.000039221468,0.0000566511,0.000023718389,0.000049495113,0.015088891],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9968155,0.0021051075,0.00003522521,0.00015432338,0.0002311729,0.000658821],"domain_scores_gemma":[0.99740773,0.0015728947,0.00021581448,0.00010512383,0.00018349243,0.0005149919],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0033838523,0.00056697376,0.0003240411,0.0016586573,0.016348805,0.009789805,0.001331516,0.0018245433,0.0062804585],"category_scores_gemma":[0.00435602,0.00037532084,0.000285808,0.0013820456,0.018117916,0.0048727742,0.009855271,0.002599066,0.00049788074],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015695401,0.000011104674,0.0009078588,0.000024829882,0.0000015472792,0.00016887733,0.989131,0.0000083150735,0.00028274054,0.0050186357,0.0008100092,0.0036194066],"study_design_scores_gemma":[0.0000020234013,0.000011449975,0.00090866344,0.00006719129,0.0000027392653,0.000055820634,0.9782582,0.000018522629,0.00013256636,0.0005799664,0.01995791,0.0000048943366],"about_ca_topic_score_codex":0.034872692,"about_ca_topic_score_gemma":0.073270544,"teacher_disagreement_score":0.034872692,"about_ca_system_score_codex":0.00551852,"about_ca_system_score_gemma":0.0056162085,"threshold_uncertainty_score":0.069339395},"labels":[],"label_agreement":null},{"id":"W3206091025","doi":"10.1558/jwpm.19682","title":"Farzaneh Hemmasi. 2020. Tehrangeles Dreaming: Intimacy and Imagination in Southern California’s Iranian Pop Music.","year":2021,"lang":"en","type":"article","venue":"Journal of World Popular Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Psychology; Art; Psychoanalysis; Art history","score_opus":0.02483795441013677,"score_gpt":0.21740299784757824,"score_spread":0.19256504343744146,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3206091025","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010255473,0.8224446,0.00028553454,0.03382335,0.008887226,0.000021993881,0.0011220662,0.00019331659,0.13219646],"genre_scores_gemma":[0.023596412,0.43776196,0.0013551526,0.00542407,0.005267756,0.00009254187,0.001334909,0.00023763523,0.52492964],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.9996935,0.00003340872,0.000018375209,0.000038617844,0.00017027622,0.000045872857],"domain_scores_gemma":[0.99944466,0.00012467966,0.000041059346,0.000020333044,0.00023928552,0.00013001196],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005166577,0.0013466022,0.00052851916,0.0015351534,0.0020133953,0.0025913527,0.0009505892,0.0023892508,0.10449606],"category_scores_gemma":[0.0009381196,0.0006746623,0.0002920882,0.0021423704,0.0011337175,0.003909624,0.0015725483,0.0021762063,0.042670082],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021466321,0.0000062057156,0.00016801493,0.00018689032,0.000002219587,0.000045592446,0.0005849138,0.000021749433,0.00010274533,0.0022963155,0.87340504,0.12315891],"study_design_scores_gemma":[0.000005948717,0.000008722992,0.001876443,0.0005112057,0.0000053427443,0.000105107705,0.0011063633,0.000017777907,0.00008109238,0.0008688127,0.9954057,0.0000074712384],"about_ca_topic_score_codex":0.05296284,"about_ca_topic_score_gemma":0.12355745,"teacher_disagreement_score":0.10449606,"about_ca_system_score_codex":0.0019745426,"about_ca_system_score_gemma":0.0019695829,"threshold_uncertainty_score":0.34957415},"labels":[],"label_agreement":null},{"id":"W3207399397","doi":"10.22215/etd/2012-07161","title":"Enjoying gospel drumming : an investigation of 'post-racial' appropriation, consumption, and idealization in contemporary black musicianship","year":2012,"lang":"en","type":"dissertation","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University; Library and Archives Canada","funders":"Social Sciences and Humanities Research Council of Canada; University of Alberta; York University","keywords":"Idealization; Appropriation; Gospel; Art; Humanities; Literature; Philosophy; Physics; Linguistics","score_opus":0.07874111452971524,"score_gpt":0.2593633272896357,"score_spread":0.18062221275992044,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3207399397","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9894406,0.000101151614,0.00010975895,0.00024956267,0.000006708396,0.0000063197576,0.000011840148,0.0000016273646,0.010072336],"genre_scores_gemma":[0.99854904,0.000085252126,0.00008928963,0.00004467904,0.000007095112,0.000007911728,0.000012841525,0.0000036604972,0.0012001137],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9984811,0.00080621167,0.000050039274,0.000104051585,0.0002702831,0.00028837],"domain_scores_gemma":[0.9957943,0.0015007212,0.0013752584,0.00024543662,0.000495754,0.00058856973],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0028858904,0.00018630817,0.00020685336,0.0016910238,0.004584682,0.0046838582,0.0006237984,0.0007517615,0.004059251],"category_scores_gemma":[0.007157036,0.00025833774,0.00017798631,0.0012260525,0.005487822,0.0021159651,0.0030154998,0.0015409661,0.00020524806],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00027100678,0.00026085568,0.11503764,0.00005775743,0.000022154489,0.00020080118,0.8555475,0.000029079842,0.0016037567,0.010405395,0.00048242105,0.01608158],"study_design_scores_gemma":[0.000008595976,0.000065900065,0.25398418,0.00004806477,0.000010976694,0.00012336999,0.73812467,0.00010408222,0.0002507763,0.0009291927,0.006335453,0.000014809588],"about_ca_topic_score_codex":0.013563399,"about_ca_topic_score_gemma":0.038161967,"teacher_disagreement_score":0.013563399,"about_ca_system_score_codex":0.0017177959,"about_ca_system_score_gemma":0.0011621148,"threshold_uncertainty_score":0.026968896},"labels":[],"label_agreement":null},{"id":"W3208444172","doi":"","title":"Performing the “Exotic?”: Constructing an Ethical World Music Ensemble","year":2013,"lang":"en","type":"article","venue":"OpenCommons - UConn (University of Connecticut)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer science; Internet privacy; Computer security","score_opus":0.05283510234706715,"score_gpt":0.20141223994427715,"score_spread":0.14857713759721,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3208444172","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8908652,0.00036313146,0.007950257,0.012310921,0.00028103232,0.00012232736,0.000013303079,0.000053904507,0.088039935],"genre_scores_gemma":[0.98852044,0.00017928849,0.0029374273,0.00069256546,0.000034426015,0.000040137696,0.000007566923,0.00003239439,0.0075558936],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9949185,0.0037899255,0.00006055977,0.00020740586,0.00033381462,0.0006896848],"domain_scores_gemma":[0.99774545,0.00063603255,0.00024767616,0.00018135036,0.00014795062,0.0010414934],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.006315585,0.00039392072,0.00021410588,0.0007616223,0.020863462,0.007420318,0.0010360813,0.0013726954,0.003937084],"category_scores_gemma":[0.0046261596,0.00036302573,0.000205553,0.00035272367,0.026439277,0.0054057566,0.0099455,0.0038197685,0.00046262058],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019591935,0.00010045636,0.0053973454,0.000034586155,0.000003106686,0.0006771418,0.9166515,0.0000967419,0.0013000806,0.05808457,0.0036408792,0.013993996],"study_design_scores_gemma":[0.000006508578,0.000055606055,0.0024544348,0.00008622444,0.0000043194696,0.0003296371,0.90014374,0.00022864499,0.00050157664,0.0076040607,0.08857132,0.000013902947],"about_ca_topic_score_codex":0.0033158672,"about_ca_topic_score_gemma":0.015899012,"teacher_disagreement_score":0.020863462,"about_ca_system_score_codex":0.003486213,"about_ca_system_score_gemma":0.0042923572,"threshold_uncertainty_score":0.033400416},"labels":[],"label_agreement":null},{"id":"W3208801536","doi":"","title":"Sounding the “6ix”: Drake, Cultural Appropriation, and Embodied Caribbeanization","year":2019,"lang":"en","type":"article","venue":"MUSICultures","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Embodied cognition; Appropriation; Cultural appropriation; Indigenous; Conceptualization; Salient; Aesthetics; Dance; Subjectivity; Sociology; History; Art; Visual arts; Linguistics; Epistemology; Archaeology; Philosophy","score_opus":0.018418099183997397,"score_gpt":0.19800363602119614,"score_spread":0.17958553683719874,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3208801536","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.36093226,0.0021247214,0.010429332,0.008920289,0.00015805115,0.00004691628,0.000041593285,0.00006837688,0.6172785],"genre_scores_gemma":[0.97857535,0.00041442216,0.0014498121,0.00036263006,0.000022689355,0.000015176246,0.000011620329,0.00003304463,0.019115351],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99819297,0.0007423243,0.000031561434,0.00020195745,0.0004416515,0.000389568],"domain_scores_gemma":[0.9990608,0.00035327103,0.000108279375,0.00018273915,0.00015080547,0.00014409829],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002150323,0.00049642095,0.00024396002,0.0013319713,0.015206634,0.008137022,0.000978008,0.001617559,0.0065242667],"category_scores_gemma":[0.0035364039,0.00019248556,0.00022188133,0.0012429826,0.03943023,0.0037107277,0.0078441715,0.0023761243,0.00029932198],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004643086,0.000011037934,0.0014256109,0.000055785196,0.000006290665,0.00046670838,0.58365464,0.0001142618,0.0019349802,0.39148057,0.0016141027,0.019189557],"study_design_scores_gemma":[0.000015126879,0.000051903204,0.0050308136,0.00033280122,0.000027762342,0.00078789855,0.6326167,0.00039826226,0.0024065187,0.043246705,0.31502038,0.00006514884],"about_ca_topic_score_codex":0.16866155,"about_ca_topic_score_gemma":0.2683791,"teacher_disagreement_score":0.16866155,"about_ca_system_score_codex":0.0058402764,"about_ca_system_score_gemma":0.0052297716,"threshold_uncertainty_score":0.33535963},"labels":[],"label_agreement":null},{"id":"W3211098282","doi":"10.1017/s1355771821000248","title":"Soundscapes of Resistance: Amplifying social justice activism and aural counterpublics through field recording-based sound practices","year":2021,"lang":"en","type":"article","venue":"Organised Sound","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Soundscape; Appropriation; Sociology; Resistance (ecology); Visual arts; Field (mathematics); Media studies; Power (physics); Aesthetics; Art; Sound (geography); Acoustics","score_opus":0.05770803550149645,"score_gpt":0.2880938663016295,"score_spread":0.23038583080013303,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3211098282","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.57168514,0.004737763,0.054964665,0.01902066,0.0013679103,0.00046117336,0.00014153768,0.0007856615,0.34683543],"genre_scores_gemma":[0.9614393,0.0011805935,0.013682097,0.0013352978,0.000285481,0.00021367554,0.000041641135,0.00022321597,0.021598699],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99458873,0.0037035563,0.00009735541,0.00040216235,0.0007770698,0.00043119438],"domain_scores_gemma":[0.99010813,0.0074524498,0.00052294903,0.000985437,0.000538826,0.00039221405],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0064823795,0.0007475053,0.00024296144,0.0022762334,0.006865124,0.009516708,0.0013547526,0.0021027625,0.010838655],"category_scores_gemma":[0.011194176,0.00036796296,0.00037609,0.0009282977,0.01554821,0.0053708227,0.0083799185,0.002404247,0.0014740883],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00020878011,0.0002018526,0.004521767,0.000680498,0.00003093598,0.0011461604,0.7416388,0.00041505523,0.012916657,0.072366245,0.0093453005,0.15652792],"study_design_scores_gemma":[0.00006928725,0.00039088784,0.0040249447,0.0011879839,0.000055915287,0.0011786323,0.6324237,0.0007705613,0.0065972363,0.024579873,0.3286505,0.000070605995],"about_ca_topic_score_codex":0.0013700717,"about_ca_topic_score_gemma":0.004158064,"teacher_disagreement_score":0.010838655,"about_ca_system_score_codex":0.0014584186,"about_ca_system_score_gemma":0.0014461693,"threshold_uncertainty_score":0.036258936},"labels":[],"label_agreement":null},{"id":"W3211221106","doi":"","title":"Recorded in a Cabin in the Woods: Place, Publicity, and the Isolationist Narrative of Indie Music","year":2019,"lang":"en","type":"article","venue":"MUSICultures","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Indie film; Narrative; Originality; Publicity; Art; Sociology; Media studies; Aesthetics; Literature; Political science; Anthropology; Law","score_opus":0.018147308560047287,"score_gpt":0.19984684297798358,"score_spread":0.1816995344179363,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3211221106","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.85133976,0.00268275,0.00092489354,0.007651673,0.00035873443,0.000016366044,0.00004534904,0.000034336823,0.1369462],"genre_scores_gemma":[0.9935435,0.0004563844,0.00012761728,0.00026350428,0.00007821283,0.000007166738,0.000011497633,0.000023901343,0.0054882043],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99829394,0.00091861456,0.00002964292,0.00012315813,0.0002958436,0.00033879603],"domain_scores_gemma":[0.99816364,0.0009637109,0.00028888354,0.0001488068,0.00012502569,0.00030994747],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017908053,0.00038248586,0.00040825966,0.0016150761,0.01687585,0.010057841,0.0010006131,0.0014679562,0.0036796066],"category_scores_gemma":[0.0047247554,0.00027407968,0.00018034929,0.001505471,0.016402924,0.0038719776,0.006445332,0.003846353,0.00032619032],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000117748124,0.00003428107,0.004403179,0.00007575409,0.000010970617,0.0010335671,0.9433633,0.000053800904,0.0010245892,0.032127704,0.003840913,0.013914335],"study_design_scores_gemma":[0.000007662408,0.00003541136,0.008611665,0.00017411508,0.0000081131075,0.0004573494,0.92185766,0.000082466766,0.00047211637,0.0022072555,0.066064045,0.000022064609],"about_ca_topic_score_codex":0.0135052,"about_ca_topic_score_gemma":0.05152142,"teacher_disagreement_score":0.01687585,"about_ca_system_score_codex":0.0037237883,"about_ca_system_score_gemma":0.0013637085,"threshold_uncertainty_score":0.02701807},"labels":[],"label_agreement":null},{"id":"W3211830373","doi":"10.30535/mto.27.3.12","title":"Review of John Paul Ito, <i>Focal Impulse Theory: Musical Expression, Meter, and the Body</i> (Indiana University Press, 2020)","year":2021,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Impulse (physics); Musical; Musical expression; Art; Expression (computer science); Art history; Literature; Computer science; Physics; Classical mechanics; Programming language","score_opus":0.0143506924051445,"score_gpt":0.20407570554695006,"score_spread":0.18972501314180557,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3211830373","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00002765996,0.98842865,0.000081810074,0.006032524,0.002463012,0.0000021418844,0.000019954421,0.0000057417337,0.002938519],"genre_scores_gemma":[0.0006321303,0.9835796,0.00011723695,0.0068931356,0.0047579464,0.000011558883,0.000055237662,0.000016250377,0.003936898],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991314,0.00020715554,0.00009571638,0.00014919217,0.00034336932,0.000073146184],"domain_scores_gemma":[0.99690443,0.0018015067,0.00021093476,0.00007673855,0.00074728613,0.00025909467],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016819304,0.0010720361,0.0017078024,0.005419197,0.0013429489,0.0044047358,0.0018173765,0.004282466,0.011616372],"category_scores_gemma":[0.005493475,0.00085553294,0.0004909163,0.007703403,0.0034812118,0.0078100627,0.002304567,0.006097209,0.0082751345],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020555433,0.000024514324,0.00012773905,0.0041494183,0.000021178626,0.00008916696,0.0004166489,0.00010347436,0.00008566006,0.012581545,0.74749255,0.2348875],"study_design_scores_gemma":[0.0000031885447,0.000006592669,0.00043261683,0.0033411281,0.000008735376,0.00019031229,0.0001413027,0.0000151236045,0.000016881677,0.001367241,0.99446774,0.000009156768],"about_ca_topic_score_codex":0.014868077,"about_ca_topic_score_gemma":0.026210424,"teacher_disagreement_score":0.014868077,"about_ca_system_score_codex":0.003700313,"about_ca_system_score_gemma":0.0047490993,"threshold_uncertainty_score":0.03886068},"labels":[],"label_agreement":null},{"id":"W3212282665","doi":"10.32920/ryerson.14655234.v1","title":"\"The Cashtro Hop Project\" Hip Hop music and an exploration of the construction of artistic self-identity","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Centre for Social Innovation","funders":"","keywords":"Musical; Witness; Phenomenon; Aesthetics; Sociology; Identity (music); Narrative; Presentation (obstetrics); Visual arts; Art; Epistemology; Literature; Political science; Law","score_opus":0.07773645074333808,"score_gpt":0.2575037189870475,"score_spread":0.17976726824370942,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3212282665","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.38925764,0.0045518535,0.006394412,0.010105854,0.0007700044,0.00011605537,0.000075900905,0.00010175395,0.5886266],"genre_scores_gemma":[0.95076275,0.0011047687,0.0016541074,0.0003476929,0.00013367161,0.000050890554,0.00002254201,0.000032912107,0.045890678],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99919873,0.00049798266,0.00001113033,0.000065747125,0.00013472525,0.00009169712],"domain_scores_gemma":[0.99943453,0.00026665564,0.000060354847,0.00006639382,0.000046877223,0.00012515539],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015347988,0.0004432136,0.00013734325,0.0013802818,0.005925966,0.0071585984,0.00058881723,0.0007873181,0.005775729],"category_scores_gemma":[0.0016454174,0.00010451029,0.0001389959,0.0008198094,0.019680746,0.002335236,0.004532333,0.0012666326,0.0002879644],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006826965,0.000034116125,0.0014254774,0.00015161876,0.0000061862365,0.0006425697,0.2089928,0.00011879206,0.0007687575,0.7332666,0.012032906,0.04249193],"study_design_scores_gemma":[0.00002772653,0.00010321619,0.011284781,0.00091657205,0.000020043175,0.0009270685,0.42003822,0.00078169844,0.0021427302,0.1016985,0.46202102,0.000038474107],"about_ca_topic_score_codex":0.0045673903,"about_ca_topic_score_gemma":0.0071227737,"teacher_disagreement_score":0.0071585984,"about_ca_system_score_codex":0.0025653618,"about_ca_system_score_gemma":0.0022303911,"threshold_uncertainty_score":0.01932168},"labels":[],"label_agreement":null},{"id":"W3212923865","doi":"10.1093/oso/9780190869137.001.0001","title":"Sound Relations","year":2021,"lang":"en","type":"book","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":53,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sound (geography); History; Acoustics; Physics","score_opus":0.04188916896936266,"score_gpt":0.18948255170304393,"score_spread":0.14759338273368128,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3212923865","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00056177506,0.0008029352,0.00097194826,0.003654573,0.0015079292,0.000025811343,0.0004121346,0.00023490327,0.9918281],"genre_scores_gemma":[0.016141273,0.0011683303,0.00081426516,0.0018838838,0.0006447003,0.000049949955,0.0006677222,0.00029428472,0.9783357],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99801683,0.00035927177,0.00011142092,0.0004859313,0.00072763604,0.000298848],"domain_scores_gemma":[0.9988965,0.0001945776,0.000055452496,0.00023867992,0.00039186102,0.00022282088],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0010387033,0.00063331827,0.00046900174,0.0015113861,0.0046265945,0.011739726,0.0013696481,0.0029954195,0.46376708],"category_scores_gemma":[0.0033621471,0.00036344887,0.0004697024,0.002038689,0.002363813,0.008013935,0.006162056,0.0030698383,0.21321486],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000048637066,0.00004967398,0.00050985627,0.00018190203,0.000005982059,0.00019847888,0.0023873567,0.00010540169,0.00033937636,0.357207,0.50848967,0.13047665],"study_design_scores_gemma":[0.0000017326133,0.0000039005076,0.0001288226,0.000044430366,9.348504e-7,0.000038777805,0.00039721123,0.000017365099,0.00003794938,0.0052954457,0.9940308,0.0000026222428],"about_ca_topic_score_codex":0.007445331,"about_ca_topic_score_gemma":0.0072191805,"teacher_disagreement_score":0.46376708,"about_ca_system_score_codex":0.0033430355,"about_ca_system_score_gemma":0.0027849493,"threshold_uncertainty_score":0.7648712},"labels":[],"label_agreement":null},{"id":"W3214061155","doi":"10.1017/s0261143021000301","title":"Are workers musicians? Kesha Sebert, Johanna Wagner and the gendered commodification of star singers, 1853–2014","year":2021,"lang":"en","type":"article","venue":"Popular Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Commodification; Power (physics); Interpretation (philosophy); Sociology; Doctrine; Gender studies; Law; History; Political science","score_opus":0.05602777873991533,"score_gpt":0.2138731698630985,"score_spread":0.1578453911231832,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3214061155","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.71026784,0.02352567,0.00041334104,0.03576413,0.00033251898,0.000016443742,0.00017734649,0.000017790304,0.22948493],"genre_scores_gemma":[0.95472044,0.0029948351,0.000072549454,0.0009051653,0.000107863576,0.0000056390872,0.000020922238,0.000017969378,0.04115459],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9991522,0.00025739401,0.0000279685,0.00014595866,0.0001839684,0.00023239045],"domain_scores_gemma":[0.9993154,0.00032137643,0.000107933294,0.000043568794,0.000092519076,0.00011915608],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014577557,0.00017778632,0.00016720907,0.0013933225,0.0060843816,0.0052519436,0.00032503522,0.0013593535,0.005775305],"category_scores_gemma":[0.0023310736,0.00020847144,0.000075403004,0.0011855977,0.010989249,0.0023397272,0.002445304,0.0016777936,0.0007445265],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010584068,0.000051633764,0.01115757,0.00014216203,0.000009693299,0.0005746597,0.65151244,0.000091716,0.0011232694,0.2522016,0.022403866,0.060625583],"study_design_scores_gemma":[0.0000054068037,0.00004977555,0.04205911,0.0005618662,0.000006664717,0.00035464062,0.32409963,0.00006772671,0.00063706504,0.012493912,0.619637,0.000027169039],"about_ca_topic_score_codex":0.07875569,"about_ca_topic_score_gemma":0.22918852,"teacher_disagreement_score":0.07875569,"about_ca_system_score_codex":0.0064914394,"about_ca_system_score_gemma":0.003136696,"threshold_uncertainty_score":0.15659451},"labels":[],"label_agreement":null},{"id":"W3214705595","doi":"","title":"Folk Polyphony Goes Viral: Televised Singing Competitions and the Play of Authenticity in the Republic of Georgia","year":2019,"lang":"en","type":"article","venue":"MUSICultures","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Polyphony; Singing; Repertoire; Power (physics); Phenomenon; Relation (database); Folk music; History; Aesthetics; Visual arts; Literature; Sociology; Art; Musical; Epistemology; Acoustics; Philosophy; Computer science","score_opus":0.012915622299389343,"score_gpt":0.1993770145262458,"score_spread":0.18646139222685645,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3214705595","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.91307765,0.00035974832,0.00027192934,0.004011486,0.000072540046,0.00001902573,0.000022784807,0.000012011904,0.08215285],"genre_scores_gemma":[0.9935588,0.000114675924,0.000087182285,0.0003081668,0.0000069058774,0.0000069325292,0.000008776067,0.000008288467,0.005900267],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9991543,0.00039986023,0.000013138788,0.0000879498,0.000076553464,0.00026815233],"domain_scores_gemma":[0.9994099,0.00022768586,0.0000674062,0.000060041006,0.000033876193,0.00020112071],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00094376085,0.0002597262,0.00026266972,0.0007402608,0.014431104,0.0043027103,0.00085751,0.0018234495,0.00267211],"category_scores_gemma":[0.0011839755,0.00015303033,0.00020761331,0.0010004229,0.013496708,0.0014159301,0.004880804,0.002480235,0.00037229803],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013097785,0.00013750493,0.015279067,0.00011362776,0.000014532012,0.00571917,0.80273813,0.0003197842,0.002670325,0.12713885,0.009727597,0.036010496],"study_design_scores_gemma":[0.0000109012135,0.00006985921,0.0332216,0.00017937318,0.000011132379,0.0011937578,0.8821051,0.00026892024,0.00047481482,0.0056694187,0.076769955,0.00002521519],"about_ca_topic_score_codex":0.06817284,"about_ca_topic_score_gemma":0.32078484,"teacher_disagreement_score":0.06817284,"about_ca_system_score_codex":0.0069865948,"about_ca_system_score_gemma":0.0031059978,"threshold_uncertainty_score":0.13555205},"labels":[],"label_agreement":null},{"id":"W3215484013","doi":"","title":"From Soccer Chant to Sonic Meme: Sound Politics and Parody in Argentina’s “Hit of the Summer”","year":2020,"lang":"en","type":"article","venue":"MUSICultures","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Prestige; Vernacular; Politics; Art; Sound (geography); Commodity; Literature; Popular music; History; Art history; Law; Political science; Acoustics; Linguistics; Philosophy","score_opus":0.054519521877159596,"score_gpt":0.22756178543621663,"score_spread":0.17304226355905705,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3215484013","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.53713876,0.0056231236,0.0012258714,0.04373178,0.0014888118,0.00005471543,0.00019006568,0.000083952254,0.41046295],"genre_scores_gemma":[0.9673214,0.0009797141,0.00017553315,0.0024583498,0.0003478322,0.000031895524,0.00006466538,0.000078247656,0.028542463],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9983998,0.00075960794,0.000021187167,0.00017697302,0.00017406503,0.0004683099],"domain_scores_gemma":[0.9990957,0.00032257228,0.00013484234,0.000043507527,0.00010592893,0.0002975733],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016592259,0.00031328356,0.00032324198,0.0006175561,0.013182733,0.0077394266,0.0005455101,0.0026598943,0.011050295],"category_scores_gemma":[0.0027670958,0.0002853759,0.00015702996,0.000700999,0.007233856,0.0027083496,0.0037095237,0.003825663,0.00087308144],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00046686362,0.00019686673,0.015925664,0.00027646037,0.000020841127,0.0051759686,0.7081387,0.00010739564,0.0023481334,0.1459206,0.06890795,0.05251465],"study_design_scores_gemma":[0.000025821579,0.00010354165,0.034323238,0.0003839108,0.000008541193,0.0004789056,0.47438297,0.00014971379,0.0003468047,0.004566762,0.4851901,0.000039711806],"about_ca_topic_score_codex":0.03324398,"about_ca_topic_score_gemma":0.0866998,"teacher_disagreement_score":0.03324398,"about_ca_system_score_codex":0.006122128,"about_ca_system_score_gemma":0.0017410243,"threshold_uncertainty_score":0.066100955},"labels":[],"label_agreement":null},{"id":"W3216783497","doi":"","title":"Cut Every Corner: Intertextuality and Parody in the Music of The Simpsons","year":2020,"lang":"en","type":"article","venue":"MUSICultures","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Intertextuality; Theme (computing); Postmodernism; Art; Literature; Variety (cybernetics); Visual arts; Computer science","score_opus":0.056198622786646384,"score_gpt":0.21030264704531842,"score_spread":0.15410402425867203,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3216783497","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.59762573,0.0035124626,0.004267174,0.010560476,0.000774522,0.00003372025,0.000058442725,0.00008555368,0.38308182],"genre_scores_gemma":[0.9843215,0.00051244686,0.00045065535,0.00060922635,0.00017101865,0.000011572059,0.000015962483,0.00006240661,0.013845181],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99750537,0.0015674734,0.000041697524,0.00020323775,0.00039423245,0.000288005],"domain_scores_gemma":[0.9984572,0.00091778534,0.00012800991,0.00016460204,0.000082459206,0.00025000962],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017091898,0.00029940018,0.00029131005,0.00090877194,0.011657109,0.0063008526,0.0006714384,0.0012070162,0.00444534],"category_scores_gemma":[0.0038994502,0.0002789773,0.0002167471,0.00060889364,0.01895565,0.003041867,0.0068774503,0.0030664823,0.00057564006],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000106830645,0.000021249549,0.0018938731,0.00009943022,0.000011574331,0.0013141108,0.85719615,0.00007054599,0.0020513616,0.11408513,0.005880156,0.017269552],"study_design_scores_gemma":[0.000026961325,0.00008387642,0.0067796092,0.00037700194,0.000016970176,0.0019540659,0.6274487,0.00020564144,0.0013428574,0.019850602,0.3418662,0.000047501122],"about_ca_topic_score_codex":0.005026837,"about_ca_topic_score_gemma":0.014882064,"teacher_disagreement_score":0.011657109,"about_ca_system_score_codex":0.0016791823,"about_ca_system_score_gemma":0.00084317446,"threshold_uncertainty_score":0.01487118},"labels":[],"label_agreement":null},{"id":"W3217618107","doi":"10.3390/rel12111030","title":"Dirty South Feminism: The Girlies Got Somethin’ to Say Too! Southern Hip-Hop Women, Fighting Respectability, Talking Mess, and Twerking Up the Dirty South","year":2021,"lang":"en","type":"article","venue":"Religions","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":22,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Feminism; Gender studies; Narrative; Scholarship; Dance; Popular culture; Sociology; Art; Media studies; Political science; Literature","score_opus":0.028428010148398603,"score_gpt":0.23028734587078137,"score_spread":0.20185933572238277,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3217618107","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.50552577,0.006563201,0.0033122385,0.11153598,0.0012455847,0.00003910429,0.000102657796,0.00008686436,0.37158865],"genre_scores_gemma":[0.9272671,0.0018912925,0.00094645325,0.0054627834,0.00016962588,0.00003660659,0.000027103695,0.00011429532,0.06408474],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99891055,0.0006541652,0.000012654358,0.00009631608,0.00014965319,0.00017663093],"domain_scores_gemma":[0.99933296,0.00024429953,0.000093035655,0.000053014064,0.00009667417,0.00017991883],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017265701,0.00044366927,0.00023554398,0.0005691523,0.013278167,0.004836012,0.00045284157,0.0012557427,0.009797027],"category_scores_gemma":[0.0018142443,0.0002465387,0.0002039774,0.0005309084,0.01677947,0.0025303336,0.004306937,0.0027838435,0.000911247],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000045027027,0.000017494984,0.0038704332,0.00014063508,0.000009431645,0.0005431291,0.8715036,0.000053055206,0.0016617967,0.08309267,0.018184014,0.020878734],"study_design_scores_gemma":[0.0000073271003,0.000032747368,0.0054271994,0.0003480608,0.000010323628,0.0004192923,0.69341344,0.00006548872,0.0006812129,0.009329508,0.29024714,0.000018219724],"about_ca_topic_score_codex":0.021349397,"about_ca_topic_score_gemma":0.050507072,"teacher_disagreement_score":0.021349397,"about_ca_system_score_codex":0.002780987,"about_ca_system_score_gemma":0.0027882883,"threshold_uncertainty_score":0.04245025},"labels":[],"label_agreement":null},{"id":"W3217799070","doi":"10.3390/arts10040077","title":"“As Long as There’s Me. As Long as There’s You”: Trauma and Migration in David Bowie’s Berlin Triptych","year":2021,"lang":"en","type":"article","venue":"Arts","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Trent University","funders":"","keywords":"Paranoia; Modernism (music); Nightmare; Order (exchange); Argument (complex analysis); Art history; Art; Aesthetics; Sociology; History; Psychoanalysis; Psychology","score_opus":0.030037574770868106,"score_gpt":0.23717655050491157,"score_spread":0.20713897573404347,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3217799070","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.61814713,0.03310243,0.002431731,0.14637826,0.005128948,0.00008943334,0.00011445748,0.00012859672,0.19447891],"genre_scores_gemma":[0.94210494,0.0054868595,0.000424515,0.012131413,0.00037135757,0.000056687993,0.00003156688,0.00009168627,0.039300986],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99747664,0.0012023116,0.00004404177,0.00020943876,0.00042440908,0.00064319273],"domain_scores_gemma":[0.99879456,0.0004037719,0.00019260804,0.000054038792,0.00011040221,0.000444547],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021025673,0.00067858584,0.0005766999,0.0014629142,0.029814871,0.009624108,0.0013356972,0.004313672,0.004557461],"category_scores_gemma":[0.0049096667,0.00059958326,0.00030178996,0.0013742514,0.036960237,0.005981271,0.010754448,0.010350113,0.0008668639],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000050384017,0.00004161983,0.0012443394,0.000102892845,0.0000118619,0.0025989572,0.89473677,0.00006674785,0.00034843938,0.056871697,0.034875322,0.009051048],"study_design_scores_gemma":[0.000010821092,0.000037523605,0.0015329849,0.00029864587,0.000006836131,0.0022712015,0.79010606,0.000040766306,0.00012650262,0.004686543,0.2008468,0.000035241526],"about_ca_topic_score_codex":0.03964888,"about_ca_topic_score_gemma":0.057780214,"teacher_disagreement_score":0.03964888,"about_ca_system_score_codex":0.008251797,"about_ca_system_score_gemma":0.0032224674,"threshold_uncertainty_score":0.0788362},"labels":[],"label_agreement":null},{"id":"W332958807","doi":"","title":"Yiddish Folksongs from the Ruth Rubin Archive","year":2008,"lang":"en","type":"article","venue":"Shofar","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":39,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Judaism; Biography; History; Musical; World War II; Literature; Immigration; Classics; Sociology; Art history; Art","score_opus":0.03918997620271888,"score_gpt":0.1698900316884111,"score_spread":0.13070005548569222,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W332958807","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008552569,0.2655344,0.0017773471,0.011457078,0.008276787,0.00013943482,0.016971635,0.0021426217,0.6851481],"genre_scores_gemma":[0.015569161,0.060005218,0.0031211427,0.0015703023,0.0015222548,0.00011030978,0.009920017,0.0013653768,0.90681624],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99938357,0.00008174617,0.000047898287,0.000059525282,0.00035723377,0.000069967966],"domain_scores_gemma":[0.9992005,0.000106818705,0.0000825894,0.00018923715,0.00028687296,0.00013408242],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011733304,0.00064044824,0.00066035177,0.003441656,0.0021791137,0.0037568163,0.0008357232,0.000566469,0.12210049],"category_scores_gemma":[0.0022665078,0.00040823166,0.0002342171,0.004942479,0.0007210596,0.002282295,0.0021624917,0.0011373509,0.052403938],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021980703,0.000011633487,0.00019532068,0.00016736913,0.0000038463177,0.00006060073,0.00078175636,0.000027721604,0.00020908857,0.002916623,0.8904123,0.105191804],"study_design_scores_gemma":[0.0000011277908,0.0000017609974,0.0008546418,0.00008439614,8.215126e-7,0.000050394996,0.00019335758,0.000003881204,0.000039464227,0.00021294339,0.99855417,0.0000030791848],"about_ca_topic_score_codex":0.022243641,"about_ca_topic_score_gemma":0.0518015,"teacher_disagreement_score":0.12210049,"about_ca_system_score_codex":0.0019207379,"about_ca_system_score_gemma":0.0025355564,"threshold_uncertainty_score":0.40846682},"labels":[],"label_agreement":null},{"id":"W347722413","doi":"","title":"Lil' Son Jackson, Volume 1, 1948-1950: Rockin' and Rollin'; Volume 2, 1950-1952: Restless Blues","year":2010,"lang":"en","type":"article","venue":"Journal - Association for Recorded Sound Collections","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Blues; Guitar; Gospel; Art history; Art; Prologue; History; Literature; Management","score_opus":0.015308572409597121,"score_gpt":0.22516160491304932,"score_spread":0.2098530325034522,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W347722413","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0015657997,0.24161054,0.0011924183,0.03596726,0.01688741,0.000079982405,0.0009219088,0.00056913705,0.7012056],"genre_scores_gemma":[0.0070550297,0.041158594,0.00042644865,0.0047196657,0.002721264,0.00004084047,0.00031455752,0.00035965315,0.943204],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994436,0.000058820624,0.0000226279,0.00008695339,0.0003325485,0.000055455253],"domain_scores_gemma":[0.999316,0.00019267589,0.00011079587,0.000032149266,0.00024483787,0.00010358885],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005121134,0.00067890214,0.0002318307,0.002032,0.0016170061,0.003250833,0.0007625881,0.0016222819,0.12665823],"category_scores_gemma":[0.0024166105,0.00032381288,0.00016794009,0.0016352494,0.0010303544,0.003355526,0.0014167292,0.0018574479,0.045613628],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016318447,0.000006815066,0.00012246786,0.00022285483,0.0000015247243,0.00004300539,0.00044527097,0.00000981757,0.00021290686,0.0062079085,0.9357488,0.056962244],"study_design_scores_gemma":[7.015329e-7,0.0000024048284,0.00019775883,0.00008697061,6.319148e-7,0.00003434777,0.00007566068,0.0000023460757,0.00006477305,0.00014115998,0.9993919,0.0000012642955],"about_ca_topic_score_codex":0.018960586,"about_ca_topic_score_gemma":0.05246861,"teacher_disagreement_score":0.12665823,"about_ca_system_score_codex":0.003808834,"about_ca_system_score_gemma":0.0020957643,"threshold_uncertainty_score":0.42371398},"labels":[],"label_agreement":null},{"id":"W373591219","doi":"10.5860/choice.46-1309","title":"Coming to you wherever you are: MuchMusic, MTV, and youth identities","year":2008,"lang":"en","type":"article","venue":"Choice Reviews Online","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":13,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Musical; Nationalism; Ideology; Construct (python library); Media studies; Power (physics); Advertising; Sociology; Political science; Politics; Visual arts; Computer science; Art; Law; Business","score_opus":0.11281785703665421,"score_gpt":0.2703864881967379,"score_spread":0.15756863116008368,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W373591219","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5621177,0.018284995,0.00041105563,0.026551133,0.00039064136,0.000028114175,0.000112863476,0.000025741461,0.3920778],"genre_scores_gemma":[0.96829975,0.004219305,0.00009801687,0.0010951918,0.000058362613,0.000010953321,0.000031868763,0.000014499396,0.02617213],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9984225,0.0004732462,0.000026939812,0.00009165612,0.00039563797,0.0005900787],"domain_scores_gemma":[0.9985103,0.00035685475,0.0001412407,0.00003891925,0.00019118363,0.0007614836],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016899896,0.00018135758,0.00022805286,0.0013585847,0.012435984,0.010314242,0.0006483544,0.0010650986,0.0066752075],"category_scores_gemma":[0.0021204473,0.0001287445,0.00009068635,0.0019303905,0.009567199,0.002605348,0.002651832,0.0011876385,0.00041558407],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005631464,0.00007418306,0.019420734,0.000113029724,0.000009727211,0.00058572425,0.7409583,0.000030775936,0.00025586836,0.12315262,0.02608314,0.08925964],"study_design_scores_gemma":[0.000005127738,0.000020182715,0.018291257,0.00023317647,0.000007707768,0.00016333064,0.8044636,0.000035292727,0.0001401021,0.0033422962,0.17328303,0.000014884442],"about_ca_topic_score_codex":0.39233497,"about_ca_topic_score_gemma":0.58827573,"teacher_disagreement_score":0.39233497,"about_ca_system_score_codex":0.008713934,"about_ca_system_score_gemma":0.009210932,"threshold_uncertainty_score":0.78010267},"labels":[],"label_agreement":null},{"id":"W380828788","doi":"","title":"Review of: John Kirkpatrick, American Music, and the Printed Page by Drew Massey","year":2014,"lang":"en","type":"article","venue":"Sound Ideas (University of Puget Sound)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Art history","score_opus":0.012229385227403081,"score_gpt":0.1821283909440903,"score_spread":0.16989900571668723,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W380828788","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00008254705,0.7419299,0.00018545422,0.06722412,0.16554005,0.000020329708,0.00011320072,0.000045015422,0.024859464],"genre_scores_gemma":[0.0021453886,0.635779,0.0003113146,0.06217107,0.13143149,0.00005355603,0.00026299327,0.00010153857,0.16774362],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99827635,0.00022318686,0.00012390947,0.0002457834,0.001031607,0.00009911595],"domain_scores_gemma":[0.9950236,0.00107814,0.0003304041,0.00013602899,0.0027053668,0.0007265348],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014328791,0.0012817547,0.0013156835,0.0039771837,0.0016524493,0.0050329603,0.001826808,0.0032585768,0.03801949],"category_scores_gemma":[0.009631923,0.00056447455,0.00043666,0.004151693,0.0017441382,0.0049495166,0.0021891575,0.0051168255,0.03172365],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000055686955,0.0000028949255,0.000016998787,0.000290658,0.0000027385504,0.000016449741,0.000029482824,0.000010960127,0.00002883437,0.00061543775,0.97791153,0.021068374],"study_design_scores_gemma":[0.0000020817183,0.0000023907612,0.00008763537,0.0003615175,0.0000024977237,0.000056077333,0.000041709198,0.0000034882573,0.0000142245235,0.0001715222,0.9992531,0.0000037304453],"about_ca_topic_score_codex":0.008499135,"about_ca_topic_score_gemma":0.01734408,"teacher_disagreement_score":0.03801949,"about_ca_system_score_codex":0.0028561049,"about_ca_system_score_gemma":0.00464377,"threshold_uncertainty_score":0.12718785},"labels":[],"label_agreement":null},{"id":"W388599465","doi":"10.7202/019979ar","title":"Alan Lomax en Louisiane : les hauts et les bas d’un chercheur de terrain1","year":2009,"lang":"fr","type":"article","venue":"Rabaska Revue d ethnologie de l Amérique française","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Rite; Political science; Law","score_opus":0.034018445348619766,"score_gpt":0.2560721487706038,"score_spread":0.22205370342198405,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W388599465","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.21876156,0.049105335,0.002229462,0.16251029,0.0019121454,0.000028065278,0.00016368451,0.000105262014,0.5651842],"genre_scores_gemma":[0.7550183,0.010366889,0.000553841,0.007818046,0.00032558123,0.000017350667,0.000037635215,0.000061461855,0.22580092],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99917895,0.00040772633,0.000011750337,0.00007474544,0.00012918303,0.00019753123],"domain_scores_gemma":[0.9993611,0.00022907143,0.000074060095,0.000025709218,0.00014772132,0.00016232679],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009747108,0.0002987307,0.0001450422,0.0008046715,0.010419961,0.004287029,0.00039762285,0.0013290333,0.006451271],"category_scores_gemma":[0.0016615915,0.00018070645,0.00009595517,0.00083792466,0.008521719,0.0026869643,0.0024694353,0.0026927898,0.0009130582],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000091035035,0.000030241456,0.010730701,0.00016928164,0.0000129567225,0.0009448775,0.27635613,0.00017270078,0.0015176677,0.4663129,0.14232585,0.10133563],"study_design_scores_gemma":[0.0000023185974,0.000017946137,0.005325964,0.00020761527,0.0000026626872,0.00019198527,0.052106917,0.000050709885,0.00023510371,0.0058329576,0.9360062,0.000019635456],"about_ca_topic_score_codex":0.16053317,"about_ca_topic_score_gemma":0.4230339,"teacher_disagreement_score":0.16053317,"about_ca_system_score_codex":0.008738091,"about_ca_system_score_gemma":0.005043167,"threshold_uncertainty_score":0.31919754},"labels":[],"label_agreement":null},{"id":"W418691525","doi":"10.1007/978-3-319-94081-6","title":"Sounds and the city : popular music, place, and globalization","year":2014,"lang":"en","type":"book","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":23,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Punk; Blues; Popular music; Politics; Art history; Filmmaking; Poetics; Musical; History; Art; Rock music; Literature; Movie theater; Political science; Law","score_opus":0.01872763851959691,"score_gpt":0.17659450964717305,"score_spread":0.15786687112757614,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W418691525","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008945765,0.2587269,0.0003549325,0.15320289,0.02216835,0.000052781525,0.0007443484,0.00016551782,0.5556386],"genre_scores_gemma":[0.124273136,0.17402753,0.00053835433,0.03309307,0.034933683,0.00015006574,0.0008153536,0.00028838904,0.63188034],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995473,0.00012072073,0.00001526109,0.00005699779,0.00015008314,0.00010956937],"domain_scores_gemma":[0.9992618,0.0002824791,0.000048616315,0.000039834325,0.00012255031,0.00024466144],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00041192345,0.0008615239,0.00045284172,0.0018310081,0.004780791,0.0114520835,0.0008183323,0.0026685034,0.08384215],"category_scores_gemma":[0.0012318582,0.0003193585,0.0003093586,0.003711244,0.0032118217,0.0045276773,0.004193165,0.00275465,0.008769886],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028482866,0.000039655046,0.000980116,0.00030180297,0.0000062264858,0.00011844999,0.009431344,0.00003293148,0.00012624613,0.046177387,0.8853324,0.05742487],"study_design_scores_gemma":[0.0000041025396,0.000009476907,0.0025134198,0.00046980043,0.0000026608684,0.00006415457,0.011077345,0.000011635537,0.000021196363,0.0029727323,0.9828452,0.000008296556],"about_ca_topic_score_codex":0.015063585,"about_ca_topic_score_gemma":0.042736854,"teacher_disagreement_score":0.08384215,"about_ca_system_score_codex":0.0025230797,"about_ca_system_score_gemma":0.002220204,"threshold_uncertainty_score":0.28047997},"labels":[],"label_agreement":null},{"id":"W4200559867","doi":"10.3138/cjh.56-3-2021-0106","title":"“We Don’t Have Those American Problems”: Anti-Black Practices in Canada’s Rap Music Marketplace, 1985–2020","year":2021,"lang":"en","type":"article","venue":"Journal of History","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Mainstream; Music industry; Sociology; Culture industry; Racism; Black music; Media studies; Advertising; Political science; Business; Law; Gender studies; Social science; Music education","score_opus":0.046533917996048876,"score_gpt":0.22749643239060888,"score_spread":0.18096251439456001,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4200559867","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.72551334,0.0030866924,0.00054642116,0.06323939,0.0005572151,0.00011434494,0.0007474452,0.00006538496,0.20612971],"genre_scores_gemma":[0.928319,0.0012249819,0.00048798652,0.007226793,0.000058313683,0.00003342652,0.00011969812,0.000033582353,0.062496167],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99773455,0.00014346262,0.000028345752,0.00013996112,0.00072435103,0.0012293579],"domain_scores_gemma":[0.99723417,0.00020541978,0.00016844516,0.000040739556,0.000819846,0.0015314096],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014721608,0.00029379886,0.000203413,0.0017705611,0.039061148,0.008211724,0.001683877,0.0023437398,0.0076325503],"category_scores_gemma":[0.0027085813,0.00031934757,0.0002274841,0.0022763796,0.008277859,0.0014127418,0.0032371401,0.003402459,0.0004351537],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001292413,0.00019622684,0.06358554,0.00020380181,0.00002594567,0.0017120444,0.52534956,0.00033044512,0.0021125872,0.14777303,0.13912886,0.11945285],"study_design_scores_gemma":[0.0000114943105,0.00003479349,0.07567951,0.00019093501,0.000013558689,0.00017707855,0.40082818,0.00030485485,0.00048396896,0.0012145004,0.5210034,0.000057667443],"about_ca_topic_score_codex":0.99474156,"about_ca_topic_score_gemma":0.99850863,"teacher_disagreement_score":0.1111272,"about_ca_system_score_codex":0.1111272,"about_ca_system_score_gemma":0.16650143,"threshold_uncertainty_score":0.806288},"labels":[],"label_agreement":null},{"id":"W4205297475","doi":"10.1386/st.5.1.67_5","title":"Review","year":2012,"lang":"en","type":"article","venue":"The Soundtrack","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Ottawa","funders":"","keywords":"Art","score_opus":0.06890399815933053,"score_gpt":0.2432019388012242,"score_spread":0.1742979406418937,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4205297475","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00020029642,0.91119885,0.00045451178,0.016803551,0.011568086,0.00010421718,0.0019983689,0.00013871811,0.057533357],"genre_scores_gemma":[0.002724098,0.9412962,0.00054993114,0.0118963625,0.0059870034,0.00011730617,0.001932441,0.000066074135,0.035430584],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989525,0.00020843714,0.00012276886,0.00018996328,0.00042156447,0.00010470748],"domain_scores_gemma":[0.9972524,0.0009299806,0.00028477344,0.00017153879,0.0011216478,0.00023973858],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.001180142,0.0008282572,0.0014832491,0.0038760465,0.0006050308,0.003389508,0.0020491388,0.0020133061,0.12683056],"category_scores_gemma":[0.008147666,0.00031654767,0.0008100206,0.0044139964,0.00060848,0.0027380344,0.001705013,0.0021200972,0.06465145],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000046302484,0.000017456729,0.0001090668,0.0100058885,0.000068584435,0.000093721545,0.00006165031,0.00006894065,0.00014302543,0.003801057,0.72579163,0.25979266],"study_design_scores_gemma":[0.000006684153,0.000006961909,0.00017773155,0.004546379,0.000037136328,0.00012084401,0.00003181116,0.00000578952,0.000025834212,0.00073030073,0.99430615,0.0000044655503],"about_ca_topic_score_codex":0.003980167,"about_ca_topic_score_gemma":0.0047610705,"teacher_disagreement_score":0.8731694,"about_ca_system_score_codex":0.002298489,"about_ca_system_score_gemma":0.006391654,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4205523107","doi":"10.22215/etd/2021-14638","title":"Braindancing Through the Mainstream: Intelligent Dance Music as Popular Music","year":2021,"lang":"en","type":"dissertation","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Mainstream; Dance; Ideology; Electronic dance music; Identity (music); Popular music; Sociology; Aesthetics; Situated; Popular culture; Visual arts; Media studies; Art; Politics; Computer science; Political science; Artificial intelligence; Law","score_opus":0.042836429127209426,"score_gpt":0.24599287752086424,"score_spread":0.20315644839365482,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4205523107","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.54271954,0.0070165033,0.0072456333,0.010204052,0.00044729715,0.000048284735,0.000029699006,0.00004883536,0.43224013],"genre_scores_gemma":[0.9880706,0.0011030603,0.00080538704,0.0004955589,0.0000806858,0.000019672352,0.000008647226,0.00003087031,0.009385545],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99848586,0.00091848586,0.000028703998,0.00014414109,0.00025606196,0.00016681144],"domain_scores_gemma":[0.99887186,0.00063371676,0.00012268487,0.00010916044,0.00009104219,0.00017148373],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019581367,0.00034696818,0.00023048959,0.0017842997,0.006146204,0.011469348,0.0008266286,0.0012124516,0.0033878395],"category_scores_gemma":[0.0030065032,0.00015454569,0.00018983413,0.0011478716,0.027794927,0.008378576,0.0061367922,0.0022552095,0.00030926723],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000047236623,0.000033906977,0.0018855156,0.000090680434,0.0000053229205,0.0005572758,0.6346365,0.00006747389,0.00056007854,0.33329296,0.0017687874,0.027054273],"study_design_scores_gemma":[0.00002084303,0.000074297604,0.0053988006,0.0005804174,0.000020910806,0.00074368104,0.7147865,0.00062850385,0.001045141,0.08320277,0.19347261,0.000025423229],"about_ca_topic_score_codex":0.0052273017,"about_ca_topic_score_gemma":0.009677672,"teacher_disagreement_score":0.011469348,"about_ca_system_score_codex":0.0030536782,"about_ca_system_score_gemma":0.0018664276,"threshold_uncertainty_score":0.02215612},"labels":[],"label_agreement":null},{"id":"W4205538058","doi":"10.1080/13528165.2021.1977493","title":"Fracturing Patriarchal Objectivity through Electro-Pop: Purity Ring and the vicissitudes of sight","year":2021,"lang":"en","type":"article","venue":"Performance Research","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Objectivity (philosophy); Aesthetics; Conversation; Perception; Reactionary; Politics; Musical; Poetry; Sociology; Art; Visual arts; Literature; Philosophy; Epistemology; Law; Political science","score_opus":0.08870917265344845,"score_gpt":0.3125119464319363,"score_spread":0.22380277377848784,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4205538058","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.32231325,0.0029625793,0.0072280616,0.011991309,0.0002473113,0.000021290787,0.000033135613,0.00011372041,0.6550893],"genre_scores_gemma":[0.98384225,0.00035868518,0.00038873113,0.0002836078,0.00002008105,0.0000041643416,0.0000049687537,0.000028880608,0.015068619],"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9973532,0.0010020944,0.00003206911,0.00021887897,0.0007621863,0.00063150836],"domain_scores_gemma":[0.9986951,0.0005548368,0.00010029708,0.00017477316,0.0002590148,0.00021609159],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0028699902,0.00046869204,0.00025628728,0.0013850249,0.016205668,0.012799908,0.0009766602,0.0014720683,0.004209605],"category_scores_gemma":[0.0036059993,0.00024891645,0.00020145313,0.0011183177,0.0714782,0.00465988,0.006516708,0.002798966,0.0003202204],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000491265,0.000009243994,0.0008429474,0.00004184612,0.0000056421677,0.00034299176,0.49823248,0.00015646218,0.00089452363,0.4851103,0.0027233467,0.011590994],"study_design_scores_gemma":[0.000014912569,0.00005596724,0.0046309405,0.00019315799,0.00001627861,0.00046080205,0.5310033,0.00037842093,0.0014525038,0.07455825,0.38716838,0.00006702288],"about_ca_topic_score_codex":0.30907628,"about_ca_topic_score_gemma":0.37490883,"teacher_disagreement_score":0.30907628,"about_ca_system_score_codex":0.01649851,"about_ca_system_score_gemma":0.010089339,"threshold_uncertainty_score":0.6145545},"labels":[],"label_agreement":null},{"id":"W4205778813","doi":"10.1093/obo/9780199791286-0343","title":"Musicals on Television","year":2021,"lang":"en","type":"reference-entry","venue":"Cinema and Media Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Musical; Variety (cybernetics); Art; Cable television; Visual arts; Media studies; History; Art history; Advertising; Telecommunications; Sociology; Engineering; Computer science","score_opus":0.09754406647114736,"score_gpt":0.2818549829937435,"score_spread":0.18431091652259615,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4205778813","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0030527164,0.014215723,0.0011143691,0.014963705,0.00810916,0.000022673263,0.0002721231,0.00024559718,0.9580038],"genre_scores_gemma":[0.07816747,0.02022642,0.001631349,0.012298126,0.0121844085,0.00004713465,0.0004979408,0.00045578097,0.87449133],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983714,0.0003720309,0.00004135323,0.00017540567,0.00071156,0.00032826583],"domain_scores_gemma":[0.9988784,0.00024726012,0.0000638003,0.00013909694,0.00031795853,0.00035344105],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0007551195,0.00065462297,0.000329532,0.00160377,0.0045449766,0.0074531827,0.0007285814,0.0017350181,0.14248762],"category_scores_gemma":[0.0040006507,0.0002297894,0.0002784554,0.0014182174,0.003094085,0.0044257445,0.0044974764,0.0030927088,0.03740508],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006110601,0.00002870593,0.000540374,0.00019742029,0.000008634649,0.00024030576,0.004406919,0.00009127486,0.0012236428,0.13942438,0.69445354,0.15932377],"study_design_scores_gemma":[0.000003513418,0.00001086196,0.00043254255,0.00014897392,0.0000022077913,0.00012315476,0.0007486869,0.000015903557,0.00009622314,0.0031071953,0.99530447,0.0000062990653],"about_ca_topic_score_codex":0.0070683016,"about_ca_topic_score_gemma":0.009143726,"teacher_disagreement_score":0.85751235,"about_ca_system_score_codex":0.00212858,"about_ca_system_score_gemma":0.0012946485,"threshold_uncertainty_score":0.47666854},"labels":[],"label_agreement":null},{"id":"W4205917023","doi":"10.3138/jrpc.2020-0060","title":"Religion and Relationality in Punk: Musicking and Ordinary Ethics","year":2022,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Punk; Scholarship; Normative; Sociology; Aesthetics; Epistemology; Philosophy; Art; Art history; Law; Political science","score_opus":0.038950885601746726,"score_gpt":0.2608317342237969,"score_spread":0.22188084862205018,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4205917023","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.64764965,0.008327989,0.01028803,0.025857124,0.0003139999,0.00003592358,0.000015444675,0.000059446284,0.3074524],"genre_scores_gemma":[0.99705005,0.00035535058,0.00047459514,0.0004083207,0.000018185614,0.0000062321797,0.0000014689812,0.000006685662,0.0016791443],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9964386,0.0025649199,0.0000960835,0.00019203336,0.00036762893,0.00034076435],"domain_scores_gemma":[0.9971009,0.0016051045,0.00039813874,0.0003165116,0.00020277384,0.00037651224],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0027816882,0.0002072723,0.00027682193,0.0007835425,0.008786801,0.006098889,0.0008068948,0.0016838161,0.0030524663],"category_scores_gemma":[0.0056638704,0.00022677552,0.00015936197,0.0010967249,0.045194354,0.0053166137,0.0070978026,0.003314429,0.0002176081],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005999687,0.000059106085,0.0036057564,0.00015252786,0.000009046682,0.00071554835,0.28966504,0.00020949994,0.0005078432,0.6747477,0.0016458603,0.028622018],"study_design_scores_gemma":[0.000030318424,0.00014426296,0.013738434,0.0006130576,0.000015060411,0.0018402053,0.41821924,0.00081286445,0.00067932945,0.41899765,0.14481406,0.00009556401],"about_ca_topic_score_codex":0.0024366933,"about_ca_topic_score_gemma":0.0054546474,"teacher_disagreement_score":0.008786801,"about_ca_system_score_codex":0.0023502414,"about_ca_system_score_gemma":0.001954479,"threshold_uncertainty_score":0.017052293},"labels":[],"label_agreement":null},{"id":"W4206180690","doi":"10.1093/obo/9780199766581-0247","title":"Mass Media and Consumer Culture in 20th-Century Mexico","year":2021,"lang":"en","type":"reference-entry","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Ideology; Scholarship; Mass media; Media studies; Politics; Meaning (existential); Sociology; Modernization theory; Social science; Aesthetics; Political science; Art; Law","score_opus":0.03138119603954762,"score_gpt":0.2186413567053403,"score_spread":0.18726016066579268,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4206180690","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8448521,0.033594683,0.0001618212,0.015152454,0.00012040195,0.000018909172,0.00016474897,0.000010747726,0.105924174],"genre_scores_gemma":[0.9706569,0.018333761,0.00020774674,0.0010589281,0.00019715885,0.000033332424,0.00006762808,0.000008690805,0.009435755],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99974364,0.000084858606,0.000011437649,0.00004196978,0.000040749095,0.00007735149],"domain_scores_gemma":[0.9995844,0.00016445377,0.00014026182,0.000015990174,0.000043589047,0.0000513039],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00068145647,0.00017753459,0.00014968903,0.001527354,0.004342495,0.0044044056,0.0003480472,0.00093208253,0.0041091936],"category_scores_gemma":[0.0009826153,0.00014905294,0.00012232241,0.0017614077,0.0035443269,0.002375513,0.0015381837,0.00088291796,0.00010230757],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00024567713,0.00027975088,0.09274769,0.00053079106,0.000048632588,0.002037854,0.4894107,0.00012029876,0.0012298257,0.3046001,0.011214209,0.09753455],"study_design_scores_gemma":[0.000037565773,0.00012692144,0.29999974,0.0011171179,0.00006662748,0.0007525768,0.22226796,0.00017617499,0.00078933453,0.012150447,0.4624708,0.000044774166],"about_ca_topic_score_codex":0.04001072,"about_ca_topic_score_gemma":0.05446633,"teacher_disagreement_score":0.04001072,"about_ca_system_score_codex":0.0050760163,"about_ca_system_score_gemma":0.0012269077,"threshold_uncertainty_score":0.07955569},"labels":[],"label_agreement":null},{"id":"W4206218458","doi":"10.1007/978-3-030-85543-7_4","title":"Freewheelin’ with Adorno down Highway 61: Bob Dylan’s Transformative Electric Turn","year":2021,"lang":"en","type":"book-chapter","venue":"Palgrave studies in music and literature","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Lyrics; Transformative learning; Musical; Politics; Art; Popular music; Critical theory; Aesthetics; Art history; Focus (optics); Literature; Sociology; Philosophy; Epistemology; Law; Political science","score_opus":0.03136988766594434,"score_gpt":0.22105953873847864,"score_spread":0.1896896510725343,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4206218458","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0022870514,0.0049026175,0.00084852707,0.069265336,0.0073846215,0.00001880033,0.00007320682,0.00009512823,0.9151247],"genre_scores_gemma":[0.020001762,0.0008043359,0.00024474264,0.01213587,0.00034847064,0.0000139104595,0.000019461299,0.00012528132,0.96630615],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992255,0.00019722042,0.0000127118565,0.00012386605,0.00017299199,0.0002676525],"domain_scores_gemma":[0.9996406,0.00009296982,0.000012414775,0.000044217915,0.00009592878,0.00011385905],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009268801,0.00054351264,0.0002415474,0.0006357508,0.013074526,0.008385134,0.00075657846,0.004613081,0.076313],"category_scores_gemma":[0.0023042436,0.0003783175,0.00034209134,0.00055135106,0.0044203885,0.0057818172,0.0040002246,0.007336827,0.0146879265],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012092703,0.00001302295,0.00007560578,0.000011993312,0.0000015682174,0.000094172276,0.0021957587,0.00003665609,0.0000559074,0.22123311,0.7588861,0.017383924],"study_design_scores_gemma":[0.0000012028293,0.0000013005077,0.000047871534,0.000018301092,5.303466e-7,0.000018841993,0.0007167047,0.0000086827495,0.00003806238,0.0045222356,0.99462306,0.000003155492],"about_ca_topic_score_codex":0.06464875,"about_ca_topic_score_gemma":0.20781654,"teacher_disagreement_score":0.076313,"about_ca_system_score_codex":0.005823456,"about_ca_system_score_gemma":0.004148404,"threshold_uncertainty_score":0.25529236},"labels":[],"label_agreement":null},{"id":"W4206607076","doi":"10.5622/illinois/9780252043918.003.0009","title":"Sweetheart of the Rodeo","year":2021,"lang":"en","type":"book-chapter","venue":"University of Illinois Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"George (robot); Art; Art history; Performance art; Nothing; Guitar; Genealogy; White (mutation); History; Pilgrim; Parade; Archaeology; Philosophy","score_opus":0.03697403266657459,"score_gpt":0.16276771989752395,"score_spread":0.12579368723094936,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4206607076","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.018226694,0.0066208327,0.0006846715,0.010515401,0.0029932512,0.000024291752,0.00011960605,0.00017854491,0.9606367],"genre_scores_gemma":[0.10461885,0.0027613407,0.0006377844,0.0037740823,0.00049769424,0.000019800957,0.000088282795,0.0003673281,0.8872348],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990578,0.0002428554,0.000014321755,0.00014968739,0.00032063335,0.00021477952],"domain_scores_gemma":[0.9995425,0.00008058608,0.000039317503,0.000057763176,0.000114679315,0.00016520091],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00083286717,0.00046461032,0.0002486515,0.00092691503,0.00866451,0.006150639,0.0005103318,0.00077247893,0.049794063],"category_scores_gemma":[0.0013448508,0.0002075947,0.00017294467,0.0008710004,0.0029436592,0.0034697296,0.0030146483,0.002113852,0.009572284],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000097012926,0.000046126883,0.0013255606,0.00016034405,0.000008075806,0.0004897996,0.07704998,0.000041715983,0.0019683684,0.13150658,0.6474423,0.13986412],"study_design_scores_gemma":[0.0000012029379,0.000008085974,0.00071205583,0.00006266249,8.390936e-7,0.00008002397,0.009413364,0.0000070069623,0.00011456555,0.00047699813,0.98911756,0.0000056489152],"about_ca_topic_score_codex":0.034113683,"about_ca_topic_score_gemma":0.107517175,"teacher_disagreement_score":0.049794063,"about_ca_system_score_codex":0.0028040505,"about_ca_system_score_gemma":0.0017387301,"threshold_uncertainty_score":0.16657776},"labels":[],"label_agreement":null},{"id":"W4210419674","doi":"10.1002/9781444316568.wiem03005","title":"Subcultures","year":2010,"lang":"en","type":"other","venue":"Wiley International Encyclopedia of Marketing","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Subculture (biology); Consumption (sociology); Entertainment; Advertising; Sociology; Variety (cybernetics); Consumer Culture; Phenomenon; Marketing; Business; Social science; Political science; Law; Epistemology; Computer science","score_opus":0.008992566451392533,"score_gpt":0.21024275115463384,"score_spread":0.2012501847032413,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4210419674","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.113678575,0.0022517834,0.008687738,0.002650796,0.0007146853,0.00017545697,0.00013917763,0.00012868673,0.8715731],"genre_scores_gemma":[0.8997551,0.0016357604,0.0054263175,0.0010884029,0.0001862642,0.0001497049,0.00019619346,0.000103132326,0.09145902],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9954685,0.0017181797,0.00021135251,0.0007256594,0.0011298588,0.0007464339],"domain_scores_gemma":[0.99660635,0.0006489324,0.00040945088,0.00070524495,0.0009972636,0.00063278375],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016090063,0.0005752068,0.00036688498,0.0024127201,0.005391102,0.008244808,0.0010825585,0.0008872734,0.014284901],"category_scores_gemma":[0.0036535505,0.00019387828,0.00048372455,0.0021261657,0.008702712,0.0038079766,0.006334451,0.0014091341,0.0024655706],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009134726,0.000102667385,0.009233036,0.00030960998,0.000026474052,0.001271212,0.16882178,0.00022666783,0.0019652615,0.69481826,0.019548723,0.10358501],"study_design_scores_gemma":[0.000010920481,0.00006357532,0.0063707726,0.0003274239,0.000020588534,0.0012583827,0.099575855,0.00049373804,0.0008216402,0.114894226,0.77612644,0.000036465364],"about_ca_topic_score_codex":0.006347231,"about_ca_topic_score_gemma":0.0054871226,"teacher_disagreement_score":0.014284901,"about_ca_system_score_codex":0.00292501,"about_ca_system_score_gemma":0.0023037964,"threshold_uncertainty_score":0.047787786},"labels":[],"label_agreement":null},{"id":"W4210513552","doi":"10.1177/14648849211060606","title":"The acoustics of civil resistance: Summoning the spirit of the law with a smartphone","year":2022,"lang":"en","type":"article","venue":"Journalism","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Embodied cognition; Resistance (ecology); Context (archaeology); Witness; Gesture; TRACE (psycholinguistics); Sociology; Law; Aesthetics; Visual arts; Political science; Computer science; Art; History; Artificial intelligence; Philosophy; Linguistics; Archaeology","score_opus":0.014853254815963798,"score_gpt":0.1844874454000977,"score_spread":0.1696341905841339,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4210513552","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7511184,0.0054921373,0.016910141,0.022181602,0.0020176368,0.00011127423,0.00037109808,0.00036218646,0.20143546],"genre_scores_gemma":[0.9797847,0.001736294,0.00400168,0.0017796858,0.0004993549,0.000035080117,0.000049460334,0.00011537276,0.011998345],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9994423,0.00025155197,0.000013842512,0.00006486608,0.00015196568,0.000075520016],"domain_scores_gemma":[0.9988544,0.0007878307,0.000076044205,0.00008730376,0.000113946066,0.000080449936],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00089747703,0.00030734783,0.00016336793,0.00061440404,0.0019008061,0.0041341563,0.00036432443,0.0013738908,0.0054895375],"category_scores_gemma":[0.004899602,0.00020506712,0.00018874687,0.0003652601,0.0033602733,0.0031760777,0.0047258832,0.0014580146,0.00079342356],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00070320035,0.000093769515,0.0113873,0.0013684216,0.00006619359,0.0048935995,0.59026337,0.00082063925,0.07963765,0.053015996,0.039785318,0.21796454],"study_design_scores_gemma":[0.00007862971,0.0006445487,0.023456482,0.0018217325,0.000099250065,0.00336724,0.42732668,0.0021605093,0.011937476,0.016930072,0.51202434,0.00015306527],"about_ca_topic_score_codex":0.0015149652,"about_ca_topic_score_gemma":0.0038269912,"teacher_disagreement_score":0.0054895375,"about_ca_system_score_codex":0.00043721,"about_ca_system_score_gemma":0.00035882214,"threshold_uncertainty_score":0.01836431},"labels":[],"label_agreement":null},{"id":"W4210906369","doi":"10.1017/s0261143021000556","title":"‘Daddy-callin’ Mamas’ and ‘Jelly Beans’: sex work and ribaldry in the blues archive","year":2021,"lang":"en","type":"article","venue":"Popular Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Blues; Relation (database); Performance art; Art; Art history; Focus (optics); Gender studies; History; Visual arts; Literature; Sociology; Computer science","score_opus":0.03300274310387282,"score_gpt":0.19836324712661454,"score_spread":0.16536050402274172,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4210906369","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6886555,0.01273173,0.0011639227,0.007301777,0.0007374323,0.000034089775,0.0003343088,0.000084864936,0.28895643],"genre_scores_gemma":[0.9584094,0.001833984,0.00037563712,0.0006715165,0.00026239548,0.000016133581,0.00008263391,0.00012798615,0.038220294],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9985721,0.0007180549,0.000037868922,0.00014184069,0.00028819614,0.00024196746],"domain_scores_gemma":[0.998497,0.0007009044,0.00024037683,0.00017532757,0.0001611814,0.0002253089],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018676539,0.00023370223,0.00028097795,0.0023571767,0.0076318844,0.0058050714,0.00053733576,0.0007355648,0.008898699],"category_scores_gemma":[0.002916335,0.00019466403,0.00013875184,0.0025001834,0.011229922,0.0028581617,0.0043912064,0.0014618073,0.00074788503],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013424412,0.000023532673,0.006356747,0.00024658398,0.000010979221,0.00091942627,0.89076734,0.000031052023,0.0018614547,0.054557614,0.010398484,0.03469259],"study_design_scores_gemma":[0.0000067718297,0.00004282292,0.027779983,0.00044923427,0.0000057248694,0.0011368202,0.5162698,0.00004323949,0.00079127727,0.0023341312,0.4511184,0.000021709817],"about_ca_topic_score_codex":0.01023528,"about_ca_topic_score_gemma":0.039225645,"teacher_disagreement_score":0.01023528,"about_ca_system_score_codex":0.002769498,"about_ca_system_score_gemma":0.0009314283,"threshold_uncertainty_score":0.029769123},"labels":[],"label_agreement":null},{"id":"W4210965624","doi":"10.1017/9781108631730.014","title":"Rhythm in Jazz and Popular Music","year":2020,"lang":"en","type":"book-chapter","venue":"Cambridge University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Jazz; Rhythm; Popular music; Art; Literature; Visual arts; Communication; History; Aesthetics; Psychology","score_opus":0.038157436034803906,"score_gpt":0.16582953045396373,"score_spread":0.12767209441915983,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4210965624","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.010419846,0.15749632,0.0005552448,0.005313447,0.0017621295,0.000014845679,0.00007314579,0.00007065005,0.82429427],"genre_scores_gemma":[0.17219625,0.087520145,0.00051506405,0.0019566515,0.004415627,0.000028387178,0.00014705371,0.0001090208,0.7331118],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997893,0.00007221181,0.0000074900277,0.00002377753,0.00007044411,0.000036758833],"domain_scores_gemma":[0.9998215,0.000079779624,0.000012945418,0.0000144419055,0.000025237143,0.000046011763],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00031771077,0.00032758305,0.0002439768,0.0010530013,0.0016418752,0.004364553,0.0003680431,0.0006018396,0.028333759],"category_scores_gemma":[0.0008276685,0.00014120532,0.0001560118,0.0014197492,0.0017604782,0.0019250271,0.0009527698,0.0010488988,0.0046579586],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018086027,0.00010351204,0.0013587929,0.0008866026,0.000017777555,0.00026976896,0.016066896,0.00013980237,0.0015660916,0.2861885,0.2925826,0.40063876],"study_design_scores_gemma":[0.000012900908,0.00004412445,0.0061850944,0.00052059354,0.000007217056,0.00029487122,0.0053147227,0.00006938381,0.00017530088,0.015205937,0.97216064,0.00000917128],"about_ca_topic_score_codex":0.004643604,"about_ca_topic_score_gemma":0.013982369,"teacher_disagreement_score":0.028333759,"about_ca_system_score_codex":0.0011036588,"about_ca_system_score_gemma":0.00065947796,"threshold_uncertainty_score":0.09478587},"labels":[],"label_agreement":null},{"id":"W4210982401","doi":"10.1017/9781108631730.001","title":"Introduction","year":2020,"lang":"en","type":"book-chapter","venue":"Cambridge University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Computer science","score_opus":0.02796230210457052,"score_gpt":0.15822915530329135,"score_spread":0.13026685319872083,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4210982401","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006257282,0.005592664,0.0020408134,0.004785691,0.0044754855,0.00008817641,0.0015135132,0.00043915826,0.9804387],"genre_scores_gemma":[0.0035239614,0.0033440487,0.0011369765,0.0022080755,0.0009766481,0.00006092792,0.0012519379,0.00019438191,0.9873031],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991334,0.000094896015,0.000039202216,0.00022185351,0.00041246472,0.000098183424],"domain_scores_gemma":[0.9991373,0.00015599954,0.00004011557,0.00012435338,0.0003683008,0.00017392603],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00065488636,0.0006964311,0.0004783196,0.0011984354,0.0019633342,0.005351481,0.001703835,0.0026861608,0.53266734],"category_scores_gemma":[0.0024245358,0.00026658893,0.0004322483,0.0014165923,0.0011075014,0.003922097,0.0027911086,0.002088473,0.34144536],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003135118,0.00003783958,0.00022434063,0.0003058321,0.0000025062998,0.00014341885,0.00069534185,0.000089705834,0.00044869905,0.07708486,0.7751528,0.1457833],"study_design_scores_gemma":[8.943341e-7,0.0000039519678,0.00007728517,0.00007110798,4.2996726e-7,0.000055562254,0.00007108683,0.0000075696616,0.000027442953,0.002314956,0.99736816,0.0000016286655],"about_ca_topic_score_codex":0.002888073,"about_ca_topic_score_gemma":0.003682648,"teacher_disagreement_score":0.46733266,"about_ca_system_score_codex":0.0016928932,"about_ca_system_score_gemma":0.0018989571,"threshold_uncertainty_score":0.6665933},"labels":[],"label_agreement":null},{"id":"W4211204866","doi":"10.1215/9780822395720-005","title":"The Powwow Recording Industry in Western Canada","year":2012,"lang":"en","type":"book-chapter","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Business; Geography","score_opus":0.03907376998752661,"score_gpt":0.18468879754478068,"score_spread":0.14561502755725408,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4211204866","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11485788,0.028020287,0.0011074739,0.012571214,0.0009127946,0.00006658736,0.0005614144,0.000112581496,0.8417898],"genre_scores_gemma":[0.24872784,0.01756908,0.0010535166,0.0013728266,0.0000813229,0.000025286676,0.00027360185,0.00013648902,0.73076],"study_design_codex":"design_other","study_design_gemma":"qualitative","domain_scores_codex":[0.99919397,0.00004733831,0.000015498199,0.000062776264,0.0002983582,0.0003820863],"domain_scores_gemma":[0.99953175,0.000046954,0.000018333763,0.000010575794,0.00020936549,0.00018302992],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00035155323,0.00045871787,0.00029893528,0.001822822,0.022249248,0.008627868,0.0014816012,0.0013609442,0.022969542],"category_scores_gemma":[0.00074778346,0.0003686297,0.00022322283,0.0068282057,0.0031671843,0.0013968825,0.0017487985,0.0021150853,0.0015471522],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000080379665,0.00008351103,0.010034479,0.00045334824,0.00002030526,0.0021784438,0.116746,0.0005584826,0.0017851684,0.22404362,0.2516252,0.392391],"study_design_scores_gemma":[0.0000045244988,0.000012123346,0.015493967,0.000398377,0.000009748817,0.00022753712,0.08553775,0.00019283607,0.00037122497,0.0017151417,0.89600956,0.000027308688],"about_ca_topic_score_codex":0.99265444,"about_ca_topic_score_gemma":0.9988617,"teacher_disagreement_score":0.06646112,"about_ca_system_score_codex":0.06646112,"about_ca_system_score_gemma":0.1358952,"threshold_uncertainty_score":0.48221147},"labels":[],"label_agreement":null},{"id":"W4211228755","doi":"10.1017/9781108631730.024","title":"Epilogue","year":2020,"lang":"en","type":"book-chapter","venue":"Cambridge University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Computer science","score_opus":0.04374766964537068,"score_gpt":0.1667052802459004,"score_spread":0.1229576106005297,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4211228755","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0007486549,0.015024864,0.002359466,0.058200236,0.16616958,0.002209695,0.081582196,0.0036452024,0.6700601],"genre_scores_gemma":[0.0032871387,0.010639781,0.0018047763,0.029385122,0.021468008,0.0013648466,0.023040928,0.0010513742,0.907958],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99931335,0.00014383852,0.00006305294,0.00007419744,0.0003048156,0.0001007514],"domain_scores_gemma":[0.9955006,0.0011602269,0.00019939395,0.00025568332,0.0021491568,0.00073493505],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015691821,0.00075533177,0.0006796009,0.0030550575,0.00076624023,0.0029863536,0.0012172654,0.0019000346,0.72709686],"category_scores_gemma":[0.0105288625,0.00037336932,0.00071554777,0.0017911505,0.0004483686,0.0023007407,0.001704884,0.0021694894,0.3447066],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002989702,0.0000067603205,0.000031654887,0.00050659553,0.0000013582351,0.00003980334,0.000016736087,0.000011575371,0.000046382404,0.00073130726,0.9737654,0.024812471],"study_design_scores_gemma":[0.000009770753,0.000009024886,0.0001767035,0.00026375163,0.0000021131646,0.000060209277,0.00002215493,0.000004897485,0.00003771863,0.00039694094,0.9990132,0.0000033958647],"about_ca_topic_score_codex":0.0034130174,"about_ca_topic_score_gemma":0.005032696,"teacher_disagreement_score":0.72709686,"about_ca_system_score_codex":0.0013138234,"about_ca_system_score_gemma":0.002092438,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4211248359","doi":"10.1017/cbo9781316145074.005","title":"Instrumental ingredients","year":2016,"lang":"en","type":"book-chapter","venue":"Cambridge University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Computer science","score_opus":0.02820666709756043,"score_gpt":0.16453481747735824,"score_spread":0.1363281503797978,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4211248359","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00047816845,0.0015500668,0.007154734,0.0011367456,0.0014648458,0.00016529317,0.0015098705,0.00084174704,0.9856985],"genre_scores_gemma":[0.004936913,0.0013928975,0.0035229302,0.00058537116,0.00030632233,0.00014234378,0.0012279341,0.0008712054,0.9870142],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996031,0.00006101709,0.000021534346,0.00007497454,0.00019003007,0.000049325903],"domain_scores_gemma":[0.9994734,0.00010911665,0.000023339759,0.0001073933,0.00020215308,0.00008457588],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0008048878,0.0011433727,0.00061125495,0.0018732,0.0021179959,0.0041936007,0.0016025252,0.0015617805,0.59081095],"category_scores_gemma":[0.0023239108,0.00043888364,0.00059363624,0.0016528008,0.001300359,0.0043957033,0.0029205878,0.0025355828,0.33549884],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001545518,0.00007409786,0.00011300353,0.0008081557,0.0000060336147,0.0001737396,0.0008607918,0.000108079716,0.001960167,0.28934956,0.56006366,0.14632806],"study_design_scores_gemma":[0.0000031302177,0.000008106734,0.00004989598,0.00009061183,0.0000017516162,0.000052808322,0.000095584764,0.000018260618,0.0002436828,0.004198515,0.99523443,0.0000031109894],"about_ca_topic_score_codex":0.0012412351,"about_ca_topic_score_gemma":0.0023526351,"teacher_disagreement_score":0.59081095,"about_ca_system_score_codex":0.0013568398,"about_ca_system_score_gemma":0.0011475966,"threshold_uncertainty_score":0.58365846},"labels":[],"label_agreement":null},{"id":"W4213430183","doi":"10.7202/1086608ar","title":"“i am / virus to the system”: Indigiqueer Abjection and the Queering of Language in Joshua Whitehead’s full-metal indigiqueer and Jonny Appleseed","year":2022,"lang":"en","type":"article","venue":"Studies in Canadian Literature","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Université de Moncton","funders":"","keywords":"Philosophy; Sociology; Art","score_opus":0.010364361359859279,"score_gpt":0.21732195413925734,"score_spread":0.20695759277939807,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4213430183","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.514469,0.009975341,0.00085968553,0.061007515,0.0006706501,0.00003317438,0.00012196092,0.000038942148,0.41282377],"genre_scores_gemma":[0.9696469,0.0013349648,0.00015682493,0.0020775325,0.000043193373,0.000009624362,0.000016257267,0.000042088228,0.026672587],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9974909,0.0008411951,0.000055650282,0.00024713195,0.0006204045,0.0007447623],"domain_scores_gemma":[0.9970489,0.0014737673,0.00031250276,0.00012494491,0.0005881155,0.00045184258],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0030043127,0.00048871094,0.0004372794,0.0011822777,0.029267132,0.009768099,0.001232364,0.0021726876,0.005647754],"category_scores_gemma":[0.0047125504,0.00034492108,0.0001794027,0.0017048775,0.03643081,0.0043987697,0.0044950773,0.0056922887,0.00040062005],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016348078,0.00000833647,0.00087854906,0.000019912779,0.0000027762183,0.00028605177,0.9274291,0.000012290508,0.00025030077,0.06366893,0.004836418,0.0025910588],"study_design_scores_gemma":[0.000007830295,0.000009372851,0.004163287,0.00010195235,0.000009053239,0.00020093049,0.9037839,0.00003417739,0.00023735398,0.004042819,0.08737639,0.000032795244],"about_ca_topic_score_codex":0.83999413,"about_ca_topic_score_gemma":0.92552316,"teacher_disagreement_score":0.16000587,"about_ca_system_score_codex":0.027558262,"about_ca_system_score_gemma":0.018913886,"threshold_uncertainty_score":0.3218963},"labels":[],"label_agreement":null},{"id":"W4225886136","doi":"10.1525/jpms.2022.34.1.90","title":"Functions of Expressive Timing in Hip-Hop Flow","year":2022,"lang":"en","type":"article","venue":"Journal of Popular Music Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":17,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Rhythm; Beat (acoustics); Reminiscence; Computer science; Linguistics; Improvisation; Flow (mathematics); Speech recognition; Communication; Psychology; Aesthetics; Cognitive psychology; Art; Visual arts; Acoustics; Mathematics","score_opus":0.11195259742068939,"score_gpt":0.26663672279204603,"score_spread":0.15468412537135665,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4225886136","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.23738092,0.004472699,0.08147348,0.0033901373,0.00049446634,0.0000992533,0.00015306675,0.0002507923,0.6722852],"genre_scores_gemma":[0.98383915,0.0007236743,0.0065467656,0.00012869082,0.0001421321,0.000038539078,0.000036134537,0.000056831672,0.008488125],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.998787,0.00065715244,0.000057358455,0.00012285182,0.00021757375,0.00015810692],"domain_scores_gemma":[0.9974312,0.0014119812,0.00034226794,0.00024193015,0.0003183444,0.00025419332],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017867006,0.000536621,0.00024959136,0.0020102093,0.0027471518,0.006751874,0.0007367827,0.000960821,0.005231089],"category_scores_gemma":[0.0061874106,0.00023271545,0.00030218155,0.0015812855,0.008606759,0.0048845317,0.0028467025,0.0012215339,0.00053507165],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011460289,0.00003090313,0.0033615588,0.00014724048,0.000008130333,0.00035064507,0.070536725,0.00057550333,0.0019490047,0.86780494,0.001304198,0.053816516],"study_design_scores_gemma":[0.000092630165,0.0002983874,0.024263741,0.0013494812,0.0001057088,0.0019286021,0.1403341,0.0073096417,0.0075629614,0.5959383,0.22067693,0.00013946764],"about_ca_topic_score_codex":0.0020810093,"about_ca_topic_score_gemma":0.0013821793,"teacher_disagreement_score":0.006751874,"about_ca_system_score_codex":0.0016941387,"about_ca_system_score_gemma":0.00119561,"threshold_uncertainty_score":0.017499685},"labels":[],"label_agreement":null},{"id":"W4226367102","doi":"10.1017/s1478572221000219","title":"(De)constructing Argentine Women: Gender, Nation, and Identity in ‘Alfonsina y el mar’","year":2022,"lang":"en","type":"article","venue":"twentieth-century music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"Ryerson University","keywords":"Decorum; Narrative; Popular music; Nationalism; Identity (music); Musical; Gender studies; Popularity; Poetry; White (mutation); Sociology; Art; Literature; Aesthetics; Political science; Law","score_opus":0.036579879811488004,"score_gpt":0.2376780523247558,"score_spread":0.2010981725132678,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4226367102","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.58732903,0.005441725,0.001383851,0.0063483384,0.00036732553,0.0000267389,0.00006200774,0.000024909565,0.39901608],"genre_scores_gemma":[0.9837415,0.00064060814,0.00020259967,0.0002880255,0.000075258286,0.0000149936195,0.00001801525,0.000014615638,0.015004422],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.999406,0.00034998715,0.000008041798,0.000052354204,0.00006624292,0.000117418655],"domain_scores_gemma":[0.999754,0.00008811192,0.000055101973,0.000013162656,0.000038896367,0.00005082127],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011166007,0.000362574,0.00020297167,0.00053273427,0.005238809,0.0043592,0.00030616924,0.0006959003,0.0036559363],"category_scores_gemma":[0.00093260134,0.00010906839,0.00008264314,0.000470607,0.0063962284,0.0015458498,0.001881104,0.0009342355,0.00021394691],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013739677,0.0000569475,0.013161786,0.00014490375,0.000007982265,0.00085341494,0.7749168,0.00007932449,0.0011259401,0.14610688,0.013204797,0.05020385],"study_design_scores_gemma":[0.000010310387,0.00007967283,0.046946343,0.0003378868,0.000011787122,0.00053471426,0.47516158,0.00025420843,0.0004727882,0.006155703,0.47001368,0.000021319309],"about_ca_topic_score_codex":0.019996796,"about_ca_topic_score_gemma":0.033404686,"teacher_disagreement_score":0.019996796,"about_ca_system_score_codex":0.0027879344,"about_ca_system_score_gemma":0.0007213827,"threshold_uncertainty_score":0.03976077},"labels":[],"label_agreement":null},{"id":"W4226502043","doi":"10.1525/jpms.2022.34.1.175","title":"Contributors’ Notes","year":2022,"lang":"en","type":"article","venue":"Journal of Popular Music Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"Social Sciences and Humanities Research Council of Canada; Society for Music Theory; University of Toronto; University of Michigan","keywords":"Musicology; The arts; Poetry; Performance studies; Scholarship; Sociology; Library science; Art history; Art; Visual arts; Pedagogy; Literature; Anthropology; Political science; Computer science","score_opus":0.10951860671865607,"score_gpt":0.2698737167607603,"score_spread":0.1603551100421042,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4226502043","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0013216764,0.007757626,0.0030227578,0.093628585,0.26362187,0.0005517363,0.009823449,0.0012755592,0.6189968],"genre_scores_gemma":[0.0074165966,0.0036141763,0.0020971287,0.01685837,0.017280122,0.0005610238,0.003816068,0.0007763048,0.94758016],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9953242,0.0004956443,0.00038100165,0.00095650164,0.0022275497,0.00061507226],"domain_scores_gemma":[0.98235875,0.0025079856,0.0006532527,0.0019435763,0.010249481,0.0022870111],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0036851189,0.00090750214,0.001013263,0.0029197177,0.0053257425,0.007805893,0.0034009977,0.003388461,0.46681732],"category_scores_gemma":[0.0306224,0.00045070358,0.00074436975,0.0033373223,0.0012175743,0.0046235034,0.0045385505,0.0047816555,0.28612328],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011932904,0.000008035469,0.00006408772,0.000052606378,0.0000014288363,0.0000490743,0.00015709213,0.000017951412,0.000052707517,0.006450394,0.974566,0.018568665],"study_design_scores_gemma":[0.0000015301055,0.0000021219557,0.00006550652,0.000054701126,6.3644467e-7,0.000027045598,0.00009452814,0.000007589912,0.00003268809,0.0005566666,0.99915457,0.0000023346504],"about_ca_topic_score_codex":0.005129702,"about_ca_topic_score_gemma":0.0066828947,"teacher_disagreement_score":0.5331827,"about_ca_system_score_codex":0.0032952356,"about_ca_system_score_gemma":0.0076320767,"threshold_uncertainty_score":0.76052034},"labels":[],"label_agreement":null},{"id":"W4229020828","doi":"10.33137/ijidi.v6i1.37112","title":"Copyright Remix (It's Tricky)","year":2022,"lang":"en","type":"article","venue":"The International Journal of Information Diversity & Inclusion (IJIDI)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"University of Toronto","keywords":"Appropriation; Statute; Variety (cybernetics); Copyright law; Sampling (signal processing); Norm (philosophy); Sociology; Sample (material); Law; Aesthetics; Intellectual property; Computer science; Art; Political science; Epistemology; Telecommunications","score_opus":0.019216773237385,"score_gpt":0.20389921156523494,"score_spread":0.18468243832784995,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4229020828","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.010759278,0.0058784825,0.023788128,0.21290928,0.03708763,0.00025590594,0.00055367907,0.0029222518,0.70584536],"genre_scores_gemma":[0.09910689,0.0035202582,0.012715968,0.09399554,0.012384835,0.00020336952,0.00035728785,0.002061789,0.775654],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.98834026,0.0024599067,0.0006547326,0.0015074987,0.0062685013,0.0007691554],"domain_scores_gemma":[0.97416896,0.0057757655,0.0011463115,0.01143992,0.0062706997,0.0011983583],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.011299457,0.0004811328,0.00040245356,0.001839348,0.0064391517,0.012005699,0.0017644872,0.004414479,0.061370127],"category_scores_gemma":[0.05720927,0.00038384285,0.0007770386,0.001394579,0.0077302656,0.019862456,0.0063807704,0.008051611,0.039244905],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000033194956,0.000032391777,0.000877449,0.00012848196,0.000014465777,0.00028060365,0.0044555524,0.00009771065,0.0009122042,0.23301885,0.59162873,0.16852035],"study_design_scores_gemma":[0.0000034368788,0.000016106429,0.0003551514,0.00015775282,0.000004519713,0.00023742762,0.0010480664,0.0000798104,0.00038217474,0.015588356,0.9821138,0.0000135165665],"about_ca_topic_score_codex":0.005162757,"about_ca_topic_score_gemma":0.0064383857,"teacher_disagreement_score":0.061370127,"about_ca_system_score_codex":0.0018868527,"about_ca_system_score_gemma":0.0034915875,"threshold_uncertainty_score":0.20530355},"labels":[],"label_agreement":null},{"id":"W4229035761","doi":"10.33137/ijidi.v6i1.37116","title":"The Power of Hip Hop and the Library","year":2022,"lang":"en","type":"article","venue":"The International Journal of Information Diversity & Inclusion (IJIDI)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"University of Toronto","keywords":"Hop (telecommunications); Narrative; Variety (cybernetics); Telecommunications; Computer science; World Wide Web; Sociology; Art; Literature; Artificial intelligence","score_opus":0.009791235989127182,"score_gpt":0.1777654894579417,"score_spread":0.16797425346881453,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4229035761","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.04204936,0.0068064523,0.0018115485,0.081345774,0.0006446644,0.0000297447,0.000041235784,0.00010545392,0.86716586],"genre_scores_gemma":[0.8813625,0.0038138395,0.00059210195,0.008923032,0.0005900852,0.000041954936,0.000018924733,0.000088378634,0.10456919],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9898554,0.0064277947,0.00018849471,0.0003646772,0.0016821706,0.0014814005],"domain_scores_gemma":[0.9911708,0.0038402823,0.0005802819,0.00055922713,0.0009848567,0.0028645662],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005858172,0.0003051592,0.00031897088,0.0030038017,0.02919302,0.035910554,0.0016212419,0.003086527,0.018120287],"category_scores_gemma":[0.011069304,0.00038141664,0.00021976157,0.0041994513,0.05762041,0.012714745,0.022713618,0.0049069375,0.0021912],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005005529,0.000042220458,0.0015638765,0.0001453695,0.000011228277,0.0005497815,0.12218439,0.00013497719,0.00006906141,0.76117903,0.060741454,0.053328536],"study_design_scores_gemma":[0.000018575707,0.000027844277,0.0012435025,0.00053547166,0.000010479692,0.0003575973,0.20461087,0.00009071567,0.00016538199,0.07412236,0.71877635,0.000040843937],"about_ca_topic_score_codex":0.059266977,"about_ca_topic_score_gemma":0.08640928,"teacher_disagreement_score":0.059266977,"about_ca_system_score_codex":0.020390878,"about_ca_system_score_gemma":0.023914406,"threshold_uncertainty_score":0.14794683},"labels":[],"label_agreement":null},{"id":"W4229497548","doi":"10.1002/9781405186407.wbiecm098","title":"Music Videos","year":2008,"lang":"en","type":"other","venue":"The International Encyclopedia of Communication","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Shot (pellet); Digital video; Computer science; CLIPS; Multimedia; Video recording; Popular music; Digital audio; Visual arts; Art; Artificial intelligence; Speech recognition; Audio signal; Telecommunications","score_opus":0.028462091480407844,"score_gpt":0.22506162891083362,"score_spread":0.19659953743042577,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4229497548","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0012806378,0.000987688,0.0014709444,0.00054908363,0.0006520299,0.00010542143,0.0036182695,0.0006227423,0.9907132],"genre_scores_gemma":[0.013434215,0.002186101,0.0024625147,0.00065596786,0.00047274548,0.00010539368,0.006955111,0.0004686646,0.9732592],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995473,0.00006878303,0.000024350364,0.00006739689,0.00022405956,0.00006814486],"domain_scores_gemma":[0.9991424,0.00013835133,0.000063469684,0.00012408014,0.00028873334,0.00024291188],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00034673835,0.00050517236,0.00019867196,0.0022075106,0.0012004909,0.0040409034,0.0008762622,0.00088269374,0.4200298],"category_scores_gemma":[0.00251438,0.00012135971,0.00017856919,0.0027732116,0.00042557658,0.0028371396,0.0019462161,0.000612324,0.16031234],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000068178866,0.000050964747,0.00038700472,0.0003490268,0.000003253553,0.00020524011,0.0007360393,0.000073094336,0.0010365499,0.031007074,0.640027,0.32605654],"study_design_scores_gemma":[0.0000025179825,0.0000059820136,0.0004444099,0.0000668235,8.582329e-7,0.00015211679,0.00023799097,0.00002374737,0.00018432445,0.00089726143,0.99798137,0.0000025944157],"about_ca_topic_score_codex":0.0037139233,"about_ca_topic_score_gemma":0.008938238,"teacher_disagreement_score":0.4200298,"about_ca_system_score_codex":0.00092332315,"about_ca_system_score_gemma":0.0010049605,"threshold_uncertainty_score":0.8272571},"labels":[],"label_agreement":null},{"id":"W4229843738","doi":"10.46428/41.15","title":"Afternoons in the Quarter","year":2014,"lang":"en","type":"article","venue":"Ellipsis A Journal of Art Ideas and Literature","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Quarter (Canadian coin); History; Geography; Archaeology","score_opus":0.00736319036882278,"score_gpt":0.18635458167756333,"score_spread":0.17899139130874056,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4229843738","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.014466454,0.0014160384,0.00072480633,0.027901197,0.03707131,0.00009124378,0.0012905245,0.0006262843,0.91641206],"genre_scores_gemma":[0.04390354,0.00029299577,0.00037417127,0.0034213332,0.002041607,0.000031358955,0.00052490813,0.00037647082,0.9490336],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99905807,0.0001721297,0.000032683125,0.00016143001,0.00024370555,0.00033209068],"domain_scores_gemma":[0.99873227,0.00008968162,0.000047531725,0.00011951388,0.00032733424,0.0006837287],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0010290581,0.0005455142,0.00068548386,0.0010238781,0.01305114,0.006811482,0.0009300621,0.002345373,0.33543944],"category_scores_gemma":[0.0028540876,0.00039774508,0.00057679834,0.0012081929,0.0012543472,0.0033306838,0.003995277,0.0056701256,0.079021536],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00025869225,0.00009474375,0.00093887956,0.000059390866,0.000010144654,0.00045819982,0.00413745,0.000029892557,0.0005882198,0.03660938,0.9273492,0.029465662],"study_design_scores_gemma":[0.000010645369,0.000021816375,0.0010606704,0.00002908233,0.000002366419,0.00004404781,0.0046967287,0.000017775348,0.0000945289,0.0016478548,0.9923679,0.000006581805],"about_ca_topic_score_codex":0.01069281,"about_ca_topic_score_gemma":0.039609108,"teacher_disagreement_score":0.33543944,"about_ca_system_score_codex":0.0027330949,"about_ca_system_score_gemma":0.0018394418,"threshold_uncertainty_score":0.94791496},"labels":[],"label_agreement":null},{"id":"W4229867144","doi":"10.4000/volume.164","title":"Géographie, musique et postcolonialisme","year":2008,"lang":"fr","type":"paratext","venue":"Volume !","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.021718050908277404,"score_gpt":0.22572903191664012,"score_spread":0.2040109810083627,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4229867144","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03361208,0.17800163,0.00092900585,0.22863974,0.008189864,0.000010922108,0.00024171897,0.00008497232,0.55029005],"genre_scores_gemma":[0.6262799,0.07325966,0.0003741314,0.0165034,0.0073758475,0.000035058212,0.00014977777,0.00010269552,0.27591956],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.999485,0.00022288859,0.00001055686,0.000052948257,0.000103147155,0.00012531041],"domain_scores_gemma":[0.9995975,0.00018684806,0.000057756548,0.000037729136,0.00007725747,0.00004293421],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00052053045,0.00043512238,0.0002800948,0.0015738613,0.0035735064,0.005350577,0.00054275064,0.0014975822,0.010940568],"category_scores_gemma":[0.0010955151,0.00010422148,0.00013904017,0.0031317796,0.014354297,0.0029635488,0.0012427754,0.0016505758,0.0014853185],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017769393,0.000010743663,0.0008703172,0.00016770884,0.00000647511,0.00016131616,0.022268003,0.000088555964,0.00016416013,0.804927,0.13990507,0.031412855],"study_design_scores_gemma":[0.0000028935592,0.0000058933656,0.0032077692,0.00018455044,0.0000026338723,0.000070645336,0.009855719,0.00003325393,0.00007212187,0.016112136,0.97044486,0.0000075026446],"about_ca_topic_score_codex":0.13407888,"about_ca_topic_score_gemma":0.19421406,"teacher_disagreement_score":0.13407888,"about_ca_system_score_codex":0.011495898,"about_ca_system_score_gemma":0.0043226536,"threshold_uncertainty_score":0.26659685},"labels":[],"label_agreement":null},{"id":"W4230005281","doi":"10.5040/9781501311994.ch-009","title":"‘ Portugal dos Xutos ’: Portuguese music in the lives of ‘returned’ descendants of Portuguese emigrants from Canada","year":2016,"lang":"en","type":"other","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Portuguese; Emigration; Genealogy; Geography; History; Ethnology; Linguistics; Archaeology; Philosophy","score_opus":0.023940295458459444,"score_gpt":0.2069480487594299,"score_spread":0.18300775330097047,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4230005281","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.86690986,0.0039140023,0.0001162472,0.005880297,0.00019435058,0.00004247406,0.0013304765,0.000017758399,0.12159453],"genre_scores_gemma":[0.9018163,0.0056275185,0.00017220977,0.0010895842,0.00006892948,0.00003961081,0.00074942183,0.00006107594,0.09037538],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993926,0.00008595081,0.000010902208,0.00003480259,0.00010781129,0.00036783674],"domain_scores_gemma":[0.9993994,0.000090693444,0.00005185047,0.000026119613,0.00015780018,0.00027406515],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00064128864,0.0003551199,0.0003107032,0.0012892853,0.014535962,0.00516286,0.00087788014,0.001014757,0.007906775],"category_scores_gemma":[0.0017908367,0.00018014958,0.00016392265,0.0042326767,0.0044315495,0.001326609,0.0030546987,0.0015419252,0.0006412629],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013275043,0.000028110595,0.016169954,0.00017198952,0.000011105425,0.0015621602,0.9247858,0.000046666803,0.000422629,0.008725457,0.021528963,0.026414365],"study_design_scores_gemma":[0.000003134007,0.000007585105,0.042511787,0.00019444115,0.000005801918,0.00030181938,0.84020066,0.000010987974,0.00008833073,0.0001684159,0.11649496,0.000012027576],"about_ca_topic_score_codex":0.9497008,"about_ca_topic_score_gemma":0.9848802,"teacher_disagreement_score":0.050299227,"about_ca_system_score_codex":0.01461048,"about_ca_system_score_gemma":0.023839682,"threshold_uncertainty_score":0.10600692},"labels":[],"label_agreement":null},{"id":"W4230011770","doi":"10.32920/ryerson.14663199","title":"“Walk Like the Heroes”: The Performed Identity of Bruce Springsteen and the Relationship to Contemporary Popular Music Performance","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University; Centre for Social Innovation; York University","funders":"","keywords":"Identity (music); Meaning (existential); White (mutation); Persona; Popular music; Evocation; Aesthetics; Sociology; Media studies; Visual arts; Psychology; Art; Literature; Humanities","score_opus":0.08083454253303585,"score_gpt":0.2338525032054404,"score_spread":0.15301796067240456,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4230011770","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.96239036,0.00043851038,0.00014776456,0.0012295706,0.000052510608,0.0000029444977,0.000009162122,0.0000030777603,0.03572608],"genre_scores_gemma":[0.99621433,0.0003337687,0.000046909154,0.00007765067,0.00002834754,0.0000032209962,0.00000990335,0.0000047217745,0.003281216],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9992005,0.0002803326,0.000021363048,0.00010191954,0.00021581863,0.00018014033],"domain_scores_gemma":[0.9989272,0.0002899439,0.0003815612,0.00003543522,0.00012607886,0.00023973573],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005986859,0.0001685047,0.0001480574,0.0012320024,0.0052889846,0.0038190177,0.0004511919,0.0005138788,0.004223907],"category_scores_gemma":[0.0021733688,0.00010050495,0.00008179997,0.0011728693,0.0068199974,0.0014580125,0.001944223,0.0009047346,0.00039838982],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010843869,0.000077334844,0.069617376,0.000066905646,0.000012416473,0.0010189079,0.87390685,0.0000414267,0.0017156248,0.024520595,0.002357987,0.026556171],"study_design_scores_gemma":[0.000003168853,0.000064300686,0.12085113,0.00011297226,0.000008222218,0.00065231824,0.8554817,0.000053631247,0.00037337682,0.0012072336,0.0211772,0.000014778541],"about_ca_topic_score_codex":0.022336649,"about_ca_topic_score_gemma":0.04818803,"teacher_disagreement_score":0.022336649,"about_ca_system_score_codex":0.0015180937,"about_ca_system_score_gemma":0.0008623727,"threshold_uncertainty_score":0.04441327},"labels":[],"label_agreement":null},{"id":"W4230017610","doi":"10.1525/jpms.2021.33.3.22","title":"Country Canon","year":2021,"lang":"en","type":"article","venue":"Journal of Popular Music Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Indie film; Taste; Art; Ballad; Art history; Dandy; History; Literature; Poetry; Psychology","score_opus":0.08747261960264088,"score_gpt":0.266151836988418,"score_spread":0.1786792173857771,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4230017610","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0003526032,0.0011013324,0.000096963704,0.0007685761,0.0015327722,0.000018079401,0.00064421835,0.00016647133,0.99531895],"genre_scores_gemma":[0.001661141,0.00055084843,0.00007136627,0.00047049977,0.00011950382,0.000010872301,0.00040453998,0.00012286133,0.99658835],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996697,0.000031962263,0.000010303931,0.00009800415,0.000114718525,0.00007539204],"domain_scores_gemma":[0.9996712,0.000029118954,0.000014236286,0.000048857797,0.00011450523,0.00012213152],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00023508807,0.00083408906,0.00045956933,0.0013121202,0.0027688793,0.006784316,0.0006991736,0.001301545,0.7576015],"category_scores_gemma":[0.0007604097,0.00031129175,0.00035024105,0.0015717811,0.0005268737,0.0036386948,0.0029468297,0.002278078,0.48943555],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000467023,0.000027746375,0.00021164276,0.00012401336,0.0000037449608,0.00013907776,0.00017327187,0.000031504907,0.00033445083,0.026135767,0.8980925,0.074679606],"study_design_scores_gemma":[0.0000013549234,0.0000034338702,0.00014397084,0.000024725257,5.6069865e-7,0.000024126735,0.000063783795,0.000005352385,0.000035934474,0.00024919334,0.999446,0.0000015952875],"about_ca_topic_score_codex":0.00827571,"about_ca_topic_score_gemma":0.026610024,"teacher_disagreement_score":0.7576015,"about_ca_system_score_codex":0.0018321587,"about_ca_system_score_gemma":0.0015898546,"threshold_uncertainty_score":0.345752},"labels":[],"label_agreement":null},{"id":"W4230555285","doi":"10.1017/s0261143007003510","title":"","year":2007,"lang":"en","type":"article","venue":"Popular Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"CLARITY; Poetics; Popular music; Literature; Art; Poetry","score_opus":0.049449816905200124,"score_gpt":0.21667931948925218,"score_spread":0.16722950258405206,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4230555285","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005228384,0.64472747,0.0015447366,0.16318394,0.113505185,0.000022316013,0.00014559642,0.00010926851,0.07623864],"genre_scores_gemma":[0.00902843,0.44655386,0.0014210918,0.13801005,0.064664006,0.000057582492,0.00025920637,0.0002498921,0.33975586],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982096,0.0004251393,0.0000962473,0.00029231675,0.00089959824,0.00007707535],"domain_scores_gemma":[0.99631447,0.0014327817,0.0002725332,0.00013499685,0.0014183722,0.00042689196],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0012508186,0.0005456018,0.0005179659,0.0018510637,0.0013378437,0.004203248,0.00080635515,0.0017167324,0.016427891],"category_scores_gemma":[0.0093416395,0.00024430826,0.0002857693,0.0018705648,0.0013587582,0.003612977,0.0011391736,0.0034248452,0.0118637765],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000069048046,0.0000041892217,0.000059576036,0.000275388,0.0000047386784,0.000028341436,0.00015852497,0.000014391191,0.00007104593,0.0043722363,0.9605175,0.03448722],"study_design_scores_gemma":[7.4800533e-7,0.0000025432896,0.00011721261,0.00022830472,0.0000018152701,0.00008961165,0.0000853075,0.000007359077,0.000034565503,0.00084716274,0.99858224,0.0000030723163],"about_ca_topic_score_codex":0.002650942,"about_ca_topic_score_gemma":0.010100322,"teacher_disagreement_score":0.9835721,"about_ca_system_score_codex":0.0018287557,"about_ca_system_score_gemma":0.0025134746,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4231527914","doi":"10.18432/ari29333","title":"Praye(red)","year":2018,"lang":"en","type":"article","venue":"Art/Research International A Transdisciplinary Journal","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Poetry; Feeling; Queer; Sadness; Identity (music); Autoethnography; Tragedy (event); Aesthetics; Pride; Sociology; Anger; Embodied cognition; Vitality; Psychology; Gender studies; Social psychology; Psychoanalysis; Art; Literature; Philosophy; Epistemology","score_opus":0.14642740767879941,"score_gpt":0.37546477941315004,"score_spread":0.22903737173435063,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4231527914","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009438327,0.0012631165,0.0026607146,0.004398861,0.0035288113,0.00010126111,0.00044587898,0.0005720945,0.97759104],"genre_scores_gemma":[0.024849173,0.0005126051,0.0016807491,0.00082990294,0.00020945015,0.00005358031,0.00019923321,0.00025198533,0.97141325],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99964726,0.00007395847,0.000013183536,0.0000878354,0.00010919664,0.00006858369],"domain_scores_gemma":[0.99972695,0.000045018343,0.000014986158,0.000044929737,0.00008443871,0.00008361956],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005435155,0.00042716472,0.00031029913,0.0007297022,0.004228414,0.0030773426,0.00065047666,0.0010370308,0.2786949],"category_scores_gemma":[0.0012273425,0.0002457811,0.00027544162,0.0005019574,0.0009777551,0.0024765332,0.0029285208,0.0027096148,0.08778349],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00026653026,0.0001293871,0.0009714098,0.00031215182,0.000009234518,0.0010398717,0.010404744,0.00016875516,0.0027977347,0.13141185,0.6004724,0.2520159],"study_design_scores_gemma":[0.000003917268,0.000019009583,0.0003686923,0.000048600294,9.685095e-7,0.00017978948,0.0012310247,0.00003151892,0.00024363521,0.0012929906,0.99657464,0.000005289247],"about_ca_topic_score_codex":0.0018738841,"about_ca_topic_score_gemma":0.00571801,"teacher_disagreement_score":0.2786949,"about_ca_system_score_codex":0.00074607163,"about_ca_system_score_gemma":0.00064381567,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4231690464","doi":"10.1353/bcc.2006.0559","title":"My Dad's a Punk (review)","year":2006,"lang":"en","type":"article","venue":"Bulletin of the Center for Children's Books./Bulletin of the Center for Children's Books","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Punk; White (mutation); Art history; History; Media studies; Sociology; Art","score_opus":0.009494478502101144,"score_gpt":0.18771217779253477,"score_spread":0.17821769929043363,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4231690464","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00008252448,0.98751754,0.00006404118,0.0027999827,0.004543641,0.00003958594,0.00041663714,0.000036063695,0.004500069],"genre_scores_gemma":[0.0012646366,0.98299396,0.00016040269,0.0057262024,0.0023332068,0.0000732543,0.00068691897,0.000020213576,0.0067412984],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989248,0.00021335199,0.00019921747,0.00015928644,0.00040065657,0.00010260011],"domain_scores_gemma":[0.99725807,0.00064383046,0.00055963267,0.000071978044,0.0010966925,0.00036982162],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0009871771,0.0011876407,0.0025934759,0.0023035246,0.00059570104,0.0033698587,0.0021969008,0.0018967511,0.07098742],"category_scores_gemma":[0.0059758215,0.00050844334,0.0012833715,0.0033815182,0.0005369774,0.0022060783,0.0012097493,0.0024850424,0.0234812],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000110506866,0.000022338705,0.0002017921,0.045439873,0.000212133,0.00016316053,0.000063827414,0.000046982033,0.00012694662,0.00034428402,0.6751357,0.27813247],"study_design_scores_gemma":[0.00006915956,0.000047187597,0.001393498,0.03059873,0.0003596438,0.0007319199,0.00011721522,0.000020876341,0.0000851985,0.00021506239,0.9663367,0.000024629937],"about_ca_topic_score_codex":0.003600143,"about_ca_topic_score_gemma":0.006417078,"teacher_disagreement_score":0.9290126,"about_ca_system_score_codex":0.001218755,"about_ca_system_score_gemma":0.0044909744,"threshold_uncertainty_score":0.23747659},"labels":[],"label_agreement":null},{"id":"W4231949007","doi":"10.32920/ryerson.14645085.v1","title":"Parallel States of Change: On Creating Ash","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Wilfrid Laurier University","funders":"","keywords":"Punk; Verisimilitude; Narrative; Aesthetics; Victory; Sociology; Style (visual arts); Sociocultural evolution; Gender studies; Visual arts; Literature; Art; Politics; Political science; Law; Anthropology; Art history","score_opus":0.1394352451545118,"score_gpt":0.26306423900707515,"score_spread":0.12362899385256335,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4231949007","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.12222688,0.0020124684,0.022555584,0.029389031,0.0012985668,0.00024884284,0.000113238755,0.00030327088,0.82185215],"genre_scores_gemma":[0.9349101,0.0008578271,0.008124978,0.0024635508,0.0001550365,0.00018289781,0.00009804277,0.00020424965,0.053003345],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9933456,0.004317942,0.00014215913,0.0006502024,0.00079998805,0.0007439491],"domain_scores_gemma":[0.9963355,0.0014624462,0.00031904812,0.0008784075,0.00040156947,0.0006030609],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00617771,0.0005071515,0.00036964266,0.0015752345,0.011814441,0.014454597,0.0018933176,0.0028324341,0.015098289],"category_scores_gemma":[0.008563758,0.000377197,0.00051708904,0.0013624869,0.0345117,0.018991243,0.019145163,0.004644607,0.0014708331],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004709981,0.000043034892,0.0012081572,0.00008144017,0.0000065569043,0.00044018077,0.19956772,0.00017560787,0.00031399468,0.7681127,0.0064738435,0.023529615],"study_design_scores_gemma":[0.000029404428,0.000057047437,0.0014086377,0.00026509265,0.000016823995,0.0003843392,0.20446539,0.0007308363,0.00089275424,0.28224236,0.5094745,0.00003274578],"about_ca_topic_score_codex":0.0037978222,"about_ca_topic_score_gemma":0.0068280636,"teacher_disagreement_score":0.015098289,"about_ca_system_score_codex":0.0059725177,"about_ca_system_score_gemma":0.003490272,"threshold_uncertainty_score":0.050508857},"labels":[],"label_agreement":null},{"id":"W4232377253","doi":"10.25071/1708-6701.36612","title":"Scene but Not Heard: Collecting Local Music","year":2013,"lang":"en","type":"article","venue":"CAML Review / Revue de l ACBM","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Visual arts; Art; Communication; Psychology","score_opus":0.05207141894858724,"score_gpt":0.23360122740202008,"score_spread":0.18152980845343283,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4232377253","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.079669066,0.3413468,0.011286741,0.24186328,0.0152074555,0.0026847043,0.005911796,0.0005259209,0.30150416],"genre_scores_gemma":[0.32928336,0.34048113,0.035952285,0.08866302,0.016967561,0.0032086242,0.008772771,0.0011952159,0.17547607],"study_design_codex":"design_other","study_design_gemma":"qualitative","domain_scores_codex":[0.9926864,0.0032715877,0.0004833804,0.00084072974,0.0021440787,0.0005738549],"domain_scores_gemma":[0.9794366,0.008085519,0.0013383522,0.0023307202,0.007330692,0.0014781582],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.013126601,0.00079887075,0.0012139416,0.0059650596,0.00656904,0.0064832643,0.0042641186,0.0037370706,0.022190074],"category_scores_gemma":[0.043286376,0.00064190995,0.00066283986,0.008262957,0.007935122,0.005264372,0.006189185,0.003373738,0.0110718785],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015033329,0.00011854884,0.00999987,0.00912608,0.00011059899,0.00080296176,0.023691688,0.00006447153,0.0015157257,0.005637125,0.2846799,0.66410273],"study_design_scores_gemma":[0.00005714663,0.00014843121,0.06873159,0.014759314,0.00027671515,0.0010661233,0.15282196,0.00006263551,0.0021300167,0.004852956,0.755,0.00009302257],"about_ca_topic_score_codex":0.084374264,"about_ca_topic_score_gemma":0.268627,"teacher_disagreement_score":0.084374264,"about_ca_system_score_codex":0.004894859,"about_ca_system_score_gemma":0.02204158,"threshold_uncertainty_score":0.16776627},"labels":[],"label_agreement":null},{"id":"W4232653835","doi":"10.2307/25605974","title":"Music and Social Movements","year":2000,"lang":"en","type":"article","venue":"Anthropologica","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Social movement; Sociology; Movement (music); Visual arts; Communication; History; Linguistics; Art; Aesthetics; Political science; Politics; Philosophy; Law","score_opus":0.047825853175653306,"score_gpt":0.24160792088393318,"score_spread":0.19378206770827988,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4232653835","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.048994478,0.031857047,0.000532459,0.019776015,0.0007261348,0.000015166978,0.0000670595,0.000018805982,0.89801294],"genre_scores_gemma":[0.86580527,0.011438071,0.00025826876,0.0018352077,0.0017986057,0.000026742622,0.00005126185,0.000021182792,0.11876545],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99939704,0.00031856683,0.000013745645,0.00007659324,0.00007897786,0.00011516247],"domain_scores_gemma":[0.9994993,0.00023134767,0.000064387925,0.00005992681,0.000044183886,0.00010089477],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000797243,0.0004840869,0.00025083162,0.0025216977,0.005110378,0.009631073,0.000510149,0.0021687122,0.020847883],"category_scores_gemma":[0.0014370594,0.00016920525,0.00012187625,0.0031943256,0.01781051,0.00453024,0.0021943005,0.0015880291,0.00091499893],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019273788,0.000040371415,0.0009896669,0.00003648162,0.000005636586,0.00006570914,0.014094868,0.000057064695,0.00009261808,0.95919496,0.007234157,0.018169131],"study_design_scores_gemma":[0.000023241464,0.000048449674,0.008918843,0.00018566105,0.000017945831,0.00020156124,0.036038876,0.00009611452,0.00012709678,0.39277905,0.56155044,0.000012722137],"about_ca_topic_score_codex":0.0067426935,"about_ca_topic_score_gemma":0.016396679,"teacher_disagreement_score":0.020847883,"about_ca_system_score_codex":0.0022026761,"about_ca_system_score_gemma":0.0012779331,"threshold_uncertainty_score":0.06974316},"labels":[],"label_agreement":null},{"id":"W4233144400","doi":"10.1007/978-94-007-0753-5_103260","title":"Protest Song","year":2014,"lang":"en","type":"book-chapter","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Brandon University; University of Northern British Columbia","funders":"","keywords":"History","score_opus":0.03656189486917456,"score_gpt":0.17094216900745007,"score_spread":0.13438027413827552,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4233144400","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010547738,0.0008568922,0.00037229224,0.0007174773,0.0013455118,0.000023668475,0.000121405785,0.00011049422,0.9953975],"genre_scores_gemma":[0.005323695,0.00036517213,0.0001723499,0.00044709962,0.0003237962,0.000016523978,0.000116939744,0.00008558408,0.993149],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99972886,0.000047932022,0.000005662795,0.00004696066,0.00010902116,0.000061507904],"domain_scores_gemma":[0.9998685,0.000020012169,0.000005520015,0.000016432794,0.000030466092,0.000059039678],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00027664303,0.0006699172,0.00036554472,0.0013876719,0.0036852118,0.0036105523,0.00068483833,0.0011143321,0.25050682],"category_scores_gemma":[0.0006102639,0.00019313545,0.00024724184,0.0007831693,0.00078247144,0.0016744585,0.002613975,0.001820216,0.10225003],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000043454747,0.00007006418,0.00023157142,0.000112043854,0.0000044193453,0.00011261944,0.0011016071,0.00006287417,0.0006690141,0.0497566,0.77237797,0.17545779],"study_design_scores_gemma":[0.0000023804082,0.0000071186873,0.00032474482,0.000042505944,7.162949e-7,0.00006224341,0.00033410662,0.000021349617,0.000066464585,0.0013459972,0.99778986,0.000002455905],"about_ca_topic_score_codex":0.0022293536,"about_ca_topic_score_gemma":0.01607205,"teacher_disagreement_score":0.25050682,"about_ca_system_score_codex":0.0009976916,"about_ca_system_score_gemma":0.00080698746,"threshold_uncertainty_score":0.8380288},"labels":[],"label_agreement":null},{"id":"W4233172129","doi":"10.32920/ryerson.14653008.v1","title":"Kingfish","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Dalhousie University","funders":"","keywords":"Betrayal; Silence; Brother; Portrait; Ethnography; Phenomenon; Psychoanalysis; Sociology; Gender studies; History; Psychology; Aesthetics; Social psychology; Art history; Art; Epistemology; Philosophy; Anthropology","score_opus":0.054366032851089235,"score_gpt":0.20508999533071307,"score_spread":0.15072396247962383,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4233172129","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008713697,0.0013876935,0.0017901284,0.0026541648,0.0012643181,0.000091105336,0.0036883869,0.0013387359,0.9790718],"genre_scores_gemma":[0.024561377,0.0009156179,0.0018022099,0.0005438132,0.00010415813,0.000034013327,0.0023734195,0.00050123344,0.96916413],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994772,0.00004008133,0.00003279865,0.00013741551,0.0002463742,0.00006616177],"domain_scores_gemma":[0.9992144,0.0000740909,0.000042857304,0.00017535903,0.00033174598,0.000161501],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004956349,0.0005141897,0.00023958975,0.001188682,0.0019100033,0.003518836,0.0007300451,0.0013031717,0.41888657],"category_scores_gemma":[0.0018194779,0.00031669677,0.0002454308,0.0010721138,0.00067233876,0.002267528,0.0026519822,0.0008071686,0.19079833],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002496341,0.000042212036,0.0026890216,0.00044575633,0.000013293974,0.000654715,0.0037126904,0.00010074022,0.006377005,0.027360363,0.66490746,0.29344714],"study_design_scores_gemma":[0.0000041341095,0.000009738539,0.0015740189,0.00004463472,0.0000021208812,0.00015886288,0.00050918455,0.00002907219,0.00028977206,0.00057296816,0.99680066,0.000004879857],"about_ca_topic_score_codex":0.013972401,"about_ca_topic_score_gemma":0.029306836,"teacher_disagreement_score":0.41888657,"about_ca_system_score_codex":0.0014381354,"about_ca_system_score_gemma":0.0011736618,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4233469769","doi":"10.1017/9781316676400","title":"The Ballad in American Popular Music","year":2017,"lang":"en","type":"book","venue":"Cambridge University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":12,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Ballad; Musical; Literature; Power (physics); Appeal; Popular music; Period (music); Art; History; Aesthetics; Psychology; Political science","score_opus":0.0317132058457108,"score_gpt":0.1863609664062881,"score_spread":0.1546477605605773,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4233469769","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.007429727,0.041368093,0.00021124477,0.005809686,0.0028086344,0.000011247015,0.00002240141,0.000043051434,0.94229597],"genre_scores_gemma":[0.14097539,0.046292823,0.00037560228,0.0033051663,0.0037777442,0.0000310114,0.00006151112,0.00010523468,0.8050754],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99975926,0.000058396738,0.000005059007,0.000023916018,0.00010649872,0.000046863617],"domain_scores_gemma":[0.9998894,0.00003078083,0.0000075188045,0.000008284468,0.000028931745,0.000035071134],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00022728443,0.00029355552,0.00016903366,0.0011647796,0.004800308,0.005333776,0.0003841007,0.0007456697,0.015669001],"category_scores_gemma":[0.00039557405,0.00016356229,0.00010026593,0.0017360639,0.0026813159,0.0023510621,0.0016036822,0.0015110299,0.0030364664],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000048699825,0.00007444223,0.00082857907,0.00026112434,0.0000050918043,0.00021032365,0.019465799,0.00007729407,0.0006143224,0.3201391,0.45227653,0.20599869],"study_design_scores_gemma":[0.0000018751938,0.000008596524,0.000945634,0.000114743685,0.0000016114786,0.0000812321,0.0037438269,0.000021506597,0.00005216724,0.004307906,0.99071795,0.0000029030805],"about_ca_topic_score_codex":0.0089869285,"about_ca_topic_score_gemma":0.027883954,"teacher_disagreement_score":0.015669001,"about_ca_system_score_codex":0.0018653965,"about_ca_system_score_gemma":0.0012372242,"threshold_uncertainty_score":0.052417994},"labels":[],"label_agreement":null},{"id":"W4233572868","doi":"10.4000/hommesmigrations.2927","title":"Great Black Music","year":2014,"lang":"fr","type":"article","venue":"Hommes & migrations","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"World Federation of Science Journalists","funders":"","keywords":"Black music; Art; Aesthetics; Movement (music)","score_opus":0.028841855728943187,"score_gpt":0.21605499342028386,"score_spread":0.18721313769134068,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4233572868","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.01942327,0.003604374,0.0005658588,0.006460121,0.0024893635,0.000034624893,0.0003094329,0.000102553786,0.9670104],"genre_scores_gemma":[0.046609305,0.0010587377,0.00038445415,0.0007165466,0.00029502518,0.00001255674,0.00008670425,0.000073855896,0.9507628],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99969316,0.00004129932,0.0000059428753,0.00006291122,0.00010963166,0.00008711265],"domain_scores_gemma":[0.99968064,0.000032133034,0.000022363309,0.000026841655,0.000080961916,0.00015706077],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004804669,0.0005334922,0.00018867113,0.0010869898,0.0055816006,0.0028049508,0.00029828132,0.0006335274,0.16232179],"category_scores_gemma":[0.0007681729,0.00018812665,0.0001738401,0.0007456178,0.0012125965,0.000925742,0.0020805488,0.0012298849,0.021805417],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00023797642,0.000050166374,0.0030181536,0.0002950014,0.000017525448,0.000526726,0.017458018,0.00007912589,0.0060396553,0.12821507,0.56738293,0.2766796],"study_design_scores_gemma":[0.0000036890506,0.000016057318,0.0031675948,0.000053070245,0.0000015779416,0.00008848513,0.0014054513,0.000013410469,0.00023798888,0.0010188696,0.99398994,0.0000039505817],"about_ca_topic_score_codex":0.017152898,"about_ca_topic_score_gemma":0.070551164,"teacher_disagreement_score":0.16232179,"about_ca_system_score_codex":0.0017246691,"about_ca_system_score_gemma":0.001667583,"threshold_uncertainty_score":0.5430205},"labels":[],"label_agreement":null},{"id":"W4233936586","doi":"10.1093/oxfordhb/9780190691240.013.8","title":"Jazz Works","year":2021,"lang":"en","type":"book-chapter","venue":"Oxford University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Jazz; Thriving; Musical; Visual arts; Art; Media studies; History; Political science; Sociology; Social science","score_opus":0.036259003293599795,"score_gpt":0.16920926778418768,"score_spread":0.1329502644905879,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4233936586","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0014665294,0.00807578,0.000100558784,0.0023740882,0.0008024765,0.000010139401,0.0001361574,0.000060419763,0.98697364],"genre_scores_gemma":[0.036470897,0.007098602,0.00010786108,0.00059032615,0.0005762274,0.000012001891,0.00019257129,0.000073032454,0.95487857],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994641,0.00007688616,0.000013626226,0.000074726,0.00022437041,0.00014638665],"domain_scores_gemma":[0.9995727,0.00007773357,0.000026791242,0.00007276442,0.00010381823,0.00014619036],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00032408562,0.0006566269,0.00027220236,0.0020048402,0.0076432875,0.0087219365,0.0007816517,0.0010533705,0.15064186],"category_scores_gemma":[0.0009961056,0.00022505943,0.00021472285,0.0025537554,0.0043888846,0.002955575,0.0032357033,0.0017090385,0.028579608],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022992828,0.000020925867,0.0003965811,0.00021047085,0.0000043518585,0.00020458605,0.014310871,0.000069301685,0.0002267563,0.24414861,0.67811984,0.06226472],"study_design_scores_gemma":[6.015436e-7,0.0000016003985,0.0003284644,0.00006428908,6.926102e-7,0.00003193796,0.0010182887,0.000005340755,0.000017685248,0.0005820353,0.9979479,0.0000011494033],"about_ca_topic_score_codex":0.1004801,"about_ca_topic_score_gemma":0.20055257,"teacher_disagreement_score":0.15064186,"about_ca_system_score_codex":0.0103180045,"about_ca_system_score_gemma":0.003446846,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4234085960","doi":"10.3138/utq.79.3.975","title":"Swinging Modernism: Porter and Sinatra beneath the Skin","year":2010,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Lyrics; Trope (literature); Literature; Context (archaeology); Art; Modernism (music); Musical; Dance; History","score_opus":0.007532359072220693,"score_gpt":0.15939507666564992,"score_spread":0.15186271759342923,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4234085960","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3013906,0.0077579888,0.0008762381,0.040358257,0.00083667063,0.000010810277,0.000017717892,0.000041517163,0.6487102],"genre_scores_gemma":[0.9645777,0.0015856279,0.00013728788,0.0020496068,0.0001444335,0.0000037547752,0.0000058765354,0.00002576971,0.03147003],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993735,0.00025293778,0.000010666042,0.00007453305,0.00012702098,0.00016129106],"domain_scores_gemma":[0.9996543,0.000114696195,0.000047094123,0.000024737723,0.000056309913,0.00010282879],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00073584035,0.00025997096,0.00017218284,0.0005398343,0.010640446,0.0050237924,0.00038314602,0.0010361766,0.0052414243],"category_scores_gemma":[0.0009826968,0.00013318156,0.00009757322,0.0007724373,0.019045237,0.0033340033,0.002712024,0.003029344,0.00050149736],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000064484426,0.000026259611,0.0018316141,0.000058867925,0.0000045949573,0.0011301801,0.4106453,0.000050426504,0.0006287095,0.533335,0.032015625,0.020209014],"study_design_scores_gemma":[0.000015164025,0.000052265696,0.005291917,0.00019456637,0.000007104369,0.0008802468,0.4102689,0.00013969069,0.00043443218,0.03820648,0.5444838,0.000025519777],"about_ca_topic_score_codex":0.018782545,"about_ca_topic_score_gemma":0.06272995,"teacher_disagreement_score":0.018782545,"about_ca_system_score_codex":0.004970101,"about_ca_system_score_gemma":0.0018506434,"threshold_uncertainty_score":0.037346482},"labels":[],"label_agreement":null},{"id":"W4234392330","doi":"10.24124/2006/bpgub414","title":"\"Anarchy sounds good to me/then someone asks, who'd fix the sewers?\": The dialectic relationship between punk rock and the mainstream*.","year":2006,"lang":"en","type":"dissertation","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Northern British Columbia; Library and Archives Canada","funders":"","keywords":"Punk; Mainstream; Dialectic; Sanitary sewer; Humanities; Art; Sociology; Art history; Engineering; Philosophy; Theology","score_opus":0.026894204777367536,"score_gpt":0.22899315959099587,"score_spread":0.20209895481362833,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4234392330","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.062296093,0.0066214865,0.0020985024,0.02542192,0.00054047065,0.000019762902,0.000021564301,0.00004712979,0.9029331],"genre_scores_gemma":[0.9285263,0.0016176148,0.00065394014,0.0022324775,0.00012535766,0.00003317807,0.000010018857,0.00009834332,0.06670282],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99668854,0.0022930554,0.000049510658,0.00021928262,0.0004363722,0.0003131603],"domain_scores_gemma":[0.9984024,0.00084347674,0.00011113344,0.00012967958,0.00019551757,0.00031774034],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002745283,0.000335634,0.00021773264,0.0009715201,0.013015779,0.010471808,0.0006812039,0.0015632742,0.007067425],"category_scores_gemma":[0.0041139224,0.00022057397,0.000119568016,0.0011353624,0.038850356,0.007152216,0.0039833314,0.004684552,0.0011090571],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000049552484,0.000035029767,0.0007720265,0.00006374818,0.0000028870193,0.00020038769,0.42983782,0.000019429992,0.00022241201,0.5345357,0.013831821,0.020429123],"study_design_scores_gemma":[0.000028805463,0.000047289926,0.004220359,0.00040787875,0.000008362092,0.0005182746,0.45519507,0.00019006548,0.00040862543,0.097996145,0.44095862,0.000020508363],"about_ca_topic_score_codex":0.019457148,"about_ca_topic_score_gemma":0.043090858,"teacher_disagreement_score":0.019457148,"about_ca_system_score_codex":0.004797491,"about_ca_system_score_gemma":0.004050343,"threshold_uncertainty_score":0.038687825},"labels":[],"label_agreement":null},{"id":"W4234444724","doi":"10.1525/jpms.2019.311017","title":"Contributors’ Notes","year":2019,"lang":"en","type":"article","venue":"Journal of Popular Music Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Ethnomusicology; Icon; Musicology; Citation; Popular music; Library science; Sociology; Parade; Folklife; Popular culture; Media studies; Visual arts; Art; Art history; History; Musical; Anthropology; Folklore; Computer science","score_opus":0.07554460448116988,"score_gpt":0.26335915339380855,"score_spread":0.18781454891263866,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4234444724","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010350448,0.009011559,0.0018843267,0.09398171,0.19322251,0.00032223505,0.0061653843,0.0008339139,0.6935434],"genre_scores_gemma":[0.0062895496,0.0038927358,0.0012594176,0.015655585,0.013637234,0.00032083158,0.0024299745,0.00049889134,0.95601577],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99622667,0.0004045961,0.00025389387,0.00074649113,0.0018407488,0.0005275259],"domain_scores_gemma":[0.9880019,0.0019404675,0.00044692654,0.0013749388,0.00673989,0.0014958349],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0028870213,0.00087410444,0.0009007955,0.0029445454,0.005312999,0.007255002,0.0030853357,0.0033157696,0.40586612],"category_scores_gemma":[0.02267733,0.00042447128,0.00069799554,0.0034199485,0.0013574053,0.00441013,0.0038609274,0.0047011515,0.2360555],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008375746,0.000007842462,0.000058465248,0.00004066977,0.000001272123,0.000033293913,0.00014248039,0.000017576664,0.000041181793,0.006876819,0.9764624,0.016309608],"study_design_scores_gemma":[0.0000010870575,0.0000015366209,0.000061652856,0.00004724217,4.9694233e-7,0.000016171667,0.00007883812,0.0000059456047,0.000024003259,0.00053631427,0.99922466,0.0000019828788],"about_ca_topic_score_codex":0.007325743,"about_ca_topic_score_gemma":0.008791978,"teacher_disagreement_score":0.40586612,"about_ca_system_score_codex":0.0034941034,"about_ca_system_score_gemma":0.006511848,"threshold_uncertainty_score":0.84745985},"labels":[],"label_agreement":null},{"id":"W4235231917","doi":"10.1080/10632921.2015.1052170","title":"Guest Editor's Introduction","year":2015,"lang":"en","type":"article","venue":"The Journal of Arts Management Law and Society","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Ottawa","funders":"","keywords":"Computer science","score_opus":0.023598993352360043,"score_gpt":0.20222529449809826,"score_spread":0.17862630114573821,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4235231917","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00006687633,0.0014198615,0.00009397218,0.03353319,0.95754564,0.00003111762,0.000095646574,0.0000784991,0.0071352134],"genre_scores_gemma":[0.0016383778,0.0022642873,0.00022729719,0.05755823,0.83974236,0.00008518817,0.00013059427,0.00013168935,0.098221935],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99636143,0.00042519745,0.0002962559,0.0005811565,0.0018660567,0.00046990166],"domain_scores_gemma":[0.98136294,0.0029333574,0.0014227355,0.0009027344,0.009451449,0.0039268755],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0044346848,0.0016416252,0.0014705117,0.0025556607,0.002668322,0.0069442494,0.002512907,0.009166781,0.11947743],"category_scores_gemma":[0.028681396,0.00070518145,0.0015360942,0.0009751112,0.001111584,0.0024663317,0.0025295275,0.009003672,0.0548367],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012320283,0.0000061773344,0.000026617217,0.00006247312,0.000002793793,0.000054672826,0.0000063931293,0.000009927658,0.000035538884,0.00020249536,0.9954732,0.0041073924],"study_design_scores_gemma":[0.000023214974,0.000020280077,0.000251923,0.00016462848,0.000010589314,0.00011860402,0.0000400088,0.000047764224,0.000091959315,0.0004243351,0.99879575,0.000010921361],"about_ca_topic_score_codex":0.0011586105,"about_ca_topic_score_gemma":0.003162374,"teacher_disagreement_score":0.11947743,"about_ca_system_score_codex":0.0017230832,"about_ca_system_score_gemma":0.0039425762,"threshold_uncertainty_score":0.39969182},"labels":[],"label_agreement":null},{"id":"W4235439930","doi":"10.3138/jrpc.24.1.15","title":"Voice from Rikers: Spirituality in Hip Hop Artist Lil' Wayne's Prison Blog","year":2012,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Spirituality; Gratitude; Prison; Citizen journalism; Context (archaeology); Sociology; Media studies; Psychology; World Wide Web; History; Social psychology; Computer science; Criminology; Medicine","score_opus":0.027753381826802023,"score_gpt":0.2473298084092429,"score_spread":0.21957642658244086,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4235439930","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8363971,0.0011964967,0.0006001759,0.02334466,0.0024951147,0.00007958055,0.000499338,0.00026235936,0.13512512],"genre_scores_gemma":[0.9270516,0.00088928593,0.00058384595,0.0049044434,0.00088077947,0.00008108666,0.00026075536,0.00022506832,0.06512304],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99933714,0.00029961288,0.00002701682,0.000044934663,0.00016979851,0.00012149902],"domain_scores_gemma":[0.9960741,0.0023994073,0.0003787265,0.00014308105,0.00045805806,0.00054652046],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001241011,0.00027564837,0.0002136778,0.00091512845,0.0058259577,0.0038997596,0.00033326668,0.0010422857,0.013620784],"category_scores_gemma":[0.0047732396,0.00014130378,0.00011216787,0.0007380441,0.001857205,0.0016862378,0.002975942,0.0015396094,0.0018887374],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00040459592,0.00018442719,0.02328527,0.0008122168,0.000029973211,0.0061173285,0.7117427,0.00007715548,0.013832691,0.0033190772,0.15358825,0.08660641],"study_design_scores_gemma":[0.000018782128,0.0001744581,0.029176794,0.0005247004,0.000019936655,0.0013800673,0.6554595,0.00017887785,0.002479577,0.0003199837,0.3102137,0.00005366034],"about_ca_topic_score_codex":0.0036857054,"about_ca_topic_score_gemma":0.016481448,"teacher_disagreement_score":0.013620784,"about_ca_system_score_codex":0.0010711566,"about_ca_system_score_gemma":0.00093065866,"threshold_uncertainty_score":0.045566082},"labels":[],"label_agreement":null},{"id":"W4235583263","doi":"10.32920/ryerson.14654193.v1","title":"Between life and the underground : a study of photography found in Rolling Stone magazine from 1967 to 1972","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Photojournalism; Photography; Mainstream; Visual arts; Journalism; Convention; Period (music); Consumption (sociology); Art; Sociology; Media studies; Law; Aesthetics; Political science","score_opus":0.05114171019234912,"score_gpt":0.24500267261468986,"score_spread":0.19386096242234074,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4235583263","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9648134,0.0010907154,0.00017457784,0.00093545235,0.000042806063,0.000015442283,0.000059927985,0.0000089395235,0.03285862],"genre_scores_gemma":[0.9854489,0.0012274105,0.00013159675,0.00017478052,0.000059858274,0.000014563813,0.00005306321,0.000022805145,0.012866999],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9988172,0.00051699206,0.000038494167,0.00011120528,0.000248682,0.0002674653],"domain_scores_gemma":[0.99689734,0.0017825054,0.00060356385,0.00013956657,0.00027731492,0.0002995857],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010882637,0.00022273192,0.00026558732,0.0034888692,0.007986544,0.0046718447,0.00053843367,0.00073554966,0.005812504],"category_scores_gemma":[0.0046316106,0.00039315244,0.00013236432,0.004752621,0.0059456923,0.0030398907,0.0023694423,0.0014062317,0.0004415073],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000052378775,0.000033868113,0.007749446,0.000052359497,0.0000028523004,0.000982535,0.97239304,0.000009053274,0.0009195541,0.0040133134,0.0011341898,0.012657467],"study_design_scores_gemma":[0.0000028939403,0.00006086368,0.062156964,0.00010064147,0.000006795434,0.00053389533,0.86549145,0.000014814804,0.0006135087,0.0002797893,0.07072517,0.000013296746],"about_ca_topic_score_codex":0.04836401,"about_ca_topic_score_gemma":0.12988612,"teacher_disagreement_score":0.04836401,"about_ca_system_score_codex":0.0041164355,"about_ca_system_score_gemma":0.0016858694,"threshold_uncertainty_score":0.096165},"labels":[],"label_agreement":null},{"id":"W4235968504","doi":"10.3138/jrpc.24.3.432","title":"Sacred Symbols with a Secular Beat? A Content Analysis of Religious and Sexual Imagery in Modern Rock, Hip Hop, Christian, and Country Music Videos","year":2012,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Musical; Popular music; Beat (acoustics); Content analysis; Sacred music; Literature; Psychology; Art; History; Sociology; Acoustics; Anthropology","score_opus":0.02422317363404433,"score_gpt":0.21881572989824305,"score_spread":0.19459255626419872,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4235968504","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.99679226,0.00023792808,0.00027624972,0.00011963946,0.000011185062,0.000038957063,0.0002771186,0.0000050228105,0.0022416692],"genre_scores_gemma":[0.9977379,0.00028149315,0.0009198627,0.000054628876,0.000021990332,0.00004685735,0.00033274453,0.0000056891763,0.0005988819],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.9996655,0.00013960138,0.000030023639,0.000035978377,0.000084545354,0.000044455926],"domain_scores_gemma":[0.9976599,0.0012474881,0.00054627925,0.000074650394,0.00035617038,0.000115497685],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005989219,0.00008742176,0.00012525723,0.0023482377,0.0004887249,0.0010923882,0.00015791603,0.00018955684,0.0016255799],"category_scores_gemma":[0.0039995047,0.000070200964,0.0001006086,0.001908503,0.00071682374,0.00077372434,0.00054232636,0.00024162504,0.00013268973],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0011824706,0.00032131618,0.55690837,0.001468954,0.00011868218,0.0015213472,0.15358926,0.00021142904,0.034929354,0.002873594,0.004629171,0.24224614],"study_design_scores_gemma":[0.000009970996,0.00014348207,0.870732,0.0003075716,0.000042648226,0.0007392825,0.11363629,0.0008519459,0.0025507314,0.0003124213,0.010654607,0.00001896066],"about_ca_topic_score_codex":0.0039891754,"about_ca_topic_score_gemma":0.006849741,"teacher_disagreement_score":0.0039891754,"about_ca_system_score_codex":0.00051759824,"about_ca_system_score_gemma":0.0003412412,"threshold_uncertainty_score":0.007931948},"labels":[],"label_agreement":null},{"id":"W4236369706","doi":"10.18177/sym.2020.60.sr.11500","title":"12 by Howard Bashaw, Performance by Guillaume Tardif and Roger Admiral at the Music Conference Alberta, 2018","year":2020,"lang":"en","type":"article","venue":"College music symposium","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Art history","score_opus":0.029844031943416602,"score_gpt":0.17591552568315316,"score_spread":0.14607149373973655,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4236369706","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0011151929,0.049081564,0.00047254772,0.45121172,0.21724792,0.00013395262,0.0006596932,0.00038406058,0.27969334],"genre_scores_gemma":[0.0037490297,0.006176302,0.00022535391,0.021166941,0.009696082,0.000057518235,0.00013802618,0.000123617,0.95866716],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99799335,0.0002264925,0.00004046163,0.0002941871,0.00092045806,0.0005250603],"domain_scores_gemma":[0.9972705,0.00031528765,0.000066902634,0.000060731076,0.0010202643,0.0012662073],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021980405,0.0014969847,0.0006933844,0.0011903356,0.015466007,0.009526124,0.0017039542,0.008349921,0.09509465],"category_scores_gemma":[0.0048622186,0.0006346125,0.000538571,0.0009128872,0.0022410164,0.0030812365,0.004185663,0.0099555245,0.034046948],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000004380376,0.0000045104553,0.000027913413,0.000009356949,5.619483e-7,0.0000104206165,0.00006319101,0.0000075822227,0.000016121154,0.00062523497,0.9970758,0.0021548986],"study_design_scores_gemma":[0.000003967949,0.000004497163,0.00037534072,0.00005101908,0.0000015624826,0.000010146766,0.0007567123,0.000010996694,0.000022961234,0.00020079385,0.9985567,0.0000053204126],"about_ca_topic_score_codex":0.22931285,"about_ca_topic_score_gemma":0.6439639,"teacher_disagreement_score":0.77068716,"about_ca_system_score_codex":0.008408997,"about_ca_system_score_gemma":0.014285082,"threshold_uncertainty_score":0.45595616},"labels":[],"label_agreement":null},{"id":"W4236371032","doi":"10.32920/ryerson.14648925","title":"Sonic City: an exhibition of photography, A/V installation, community action","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"Mashhad University of Medical Sciences","keywords":"Exhibition; Thriving; Dance; Visual arts; Ephemeral key; Sociology; Citizen journalism; Action (physics); Participatory culture; Politics; Media studies; Aesthetics; Art; Social science; Political science","score_opus":0.13888587960470697,"score_gpt":0.2777843863104264,"score_spread":0.13889850670571943,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4236371032","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.25919986,0.0033519196,0.03594667,0.0067481627,0.0034708846,0.0012651127,0.007885016,0.006247601,0.67588484],"genre_scores_gemma":[0.67994595,0.0021584164,0.072624356,0.0010632571,0.0014617181,0.0013577198,0.0034037323,0.0027432607,0.2352416],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987445,0.0005369404,0.000035488796,0.00017910812,0.00032259297,0.0001812543],"domain_scores_gemma":[0.99844164,0.0006306876,0.000072678275,0.0004742592,0.00006983458,0.00031080912],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002409627,0.000854666,0.00041069015,0.001828721,0.005362785,0.005251857,0.0010093643,0.0013433128,0.024219844],"category_scores_gemma":[0.0026325027,0.00053155626,0.0006801634,0.0018873878,0.0035970209,0.0022866018,0.006598699,0.0018414555,0.0034549795],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0008770091,0.00044566687,0.0052416003,0.0022874367,0.00020110398,0.003947597,0.21330631,0.0028835223,0.03488799,0.066947915,0.42517382,0.24380007],"study_design_scores_gemma":[0.000058630543,0.00020569256,0.009670904,0.00032615836,0.000034029843,0.001012459,0.031364374,0.0005434143,0.0027117687,0.0037217047,0.95026934,0.00008153112],"about_ca_topic_score_codex":0.0032564031,"about_ca_topic_score_gemma":0.018320983,"teacher_disagreement_score":0.024219844,"about_ca_system_score_codex":0.0009862074,"about_ca_system_score_gemma":0.0013264322,"threshold_uncertainty_score":0.081023455},"labels":[],"label_agreement":null},{"id":"W4236586845","doi":"10.4324/9781315049236","title":"Music in Canada","year":2013,"lang":"en","type":"book","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.02378389173066756,"score_gpt":0.13388980889608884,"score_spread":0.11010591716542129,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4236586845","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0031030884,0.05040327,0.00045016943,0.006324453,0.002520309,0.000055025484,0.002560473,0.0002696128,0.93431354],"genre_scores_gemma":[0.017941445,0.03996803,0.0008242359,0.0012688286,0.00030945978,0.000027584507,0.0012927242,0.00014858299,0.93821913],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99922967,0.000027745113,0.000017707676,0.00007854254,0.00048580387,0.00016050482],"domain_scores_gemma":[0.99950194,0.00003099355,0.0000117641275,0.00001755647,0.0003208646,0.00011680924],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00028295923,0.0008306709,0.00045316693,0.0042395475,0.0107749775,0.007140405,0.0010151279,0.0011114818,0.07916064],"category_scores_gemma":[0.0008441507,0.00028529018,0.000326111,0.011143651,0.0022039404,0.0017139846,0.0019328017,0.0011462255,0.015684534],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002408456,0.000013769378,0.00046318583,0.00044042937,0.0000054021198,0.00023191108,0.0029458962,0.00015189081,0.00043604232,0.08413263,0.73650646,0.17464834],"study_design_scores_gemma":[9.1306714e-7,0.0000014387184,0.00050311774,0.00008488027,0.0000018201403,0.000040340987,0.0003450334,0.00001638484,0.000037193575,0.00059260585,0.99837214,0.000004264778],"about_ca_topic_score_codex":0.9728809,"about_ca_topic_score_gemma":0.99338645,"teacher_disagreement_score":0.07916064,"about_ca_system_score_codex":0.050470255,"about_ca_system_score_gemma":0.101440094,"threshold_uncertainty_score":0.36618906},"labels":[],"label_agreement":null},{"id":"W4236970156","doi":"10.21083/csieci.v4i2.903","title":"Sounding Out: Pauline Oliveros and Lesbian Musicality","year":2008,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":90,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Lesbian; Depth sounding; Feminism; Musicality; Sociology; Art; Literature; Gender studies; Musical; Geology; Oceanography","score_opus":0.23262701798370347,"score_gpt":0.37361333380337963,"score_spread":0.14098631581967616,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4236970156","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.09817738,0.19120318,0.004159211,0.42060667,0.009343695,0.000078307494,0.0000560709,0.00008830609,0.27628717],"genre_scores_gemma":[0.68743664,0.06264055,0.0023238373,0.046574917,0.005794659,0.00011958081,0.000027568181,0.00022942254,0.19485275],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9989126,0.00062531297,0.000021856102,0.00007055087,0.00028283076,0.00008682534],"domain_scores_gemma":[0.9983354,0.0011658928,0.00012425834,0.000034880613,0.00015714092,0.00018247886],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013524875,0.00052729214,0.0002978417,0.0007814871,0.006827346,0.0048901443,0.00046244686,0.0016866253,0.0026883879],"category_scores_gemma":[0.003344305,0.00019706791,0.00011287787,0.0006945586,0.013813574,0.0037128576,0.0018589115,0.0039725318,0.0003518268],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013398672,0.0000645807,0.002039697,0.00041303926,0.000011802345,0.0017724019,0.47473553,0.00010976342,0.0017677799,0.29217485,0.18550617,0.041270483],"study_design_scores_gemma":[0.000016247357,0.00004857314,0.0022186972,0.0005797424,0.0000074405903,0.0007778109,0.26815766,0.00006797694,0.00078226655,0.021131884,0.70619017,0.000021511692],"about_ca_topic_score_codex":0.013480851,"about_ca_topic_score_gemma":0.032087516,"teacher_disagreement_score":0.013480851,"about_ca_system_score_codex":0.0015855997,"about_ca_system_score_gemma":0.002119253,"threshold_uncertainty_score":0.026804745},"labels":[],"label_agreement":null},{"id":"W4237503458","doi":"10.32920/ryerson.14663199.v1","title":"“Walk Like the Heroes”: The Performed Identity of Bruce Springsteen and the Relationship to Contemporary Popular Music Performance","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University; Centre for Social Innovation; York University","funders":"","keywords":"Identity (music); Meaning (existential); Persona; White (mutation); Evocation; Aesthetics; Contemporary society; Sociology; Psychology; Media studies; Literature; Art; Social science; Humanities","score_opus":0.08083454253303585,"score_gpt":0.2338525032054404,"score_spread":0.15301796067240456,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4237503458","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.96239036,0.00043851038,0.00014776456,0.0012295706,0.000052510608,0.0000029444977,0.000009162122,0.0000030777603,0.03572608],"genre_scores_gemma":[0.99621433,0.0003337687,0.000046909154,0.00007765067,0.00002834754,0.0000032209962,0.00000990335,0.0000047217745,0.003281216],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9992005,0.0002803326,0.000021363048,0.00010191954,0.00021581863,0.00018014033],"domain_scores_gemma":[0.9989272,0.0002899439,0.0003815612,0.00003543522,0.00012607886,0.00023973573],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005986859,0.0001685047,0.0001480574,0.0012320024,0.0052889846,0.0038190177,0.0004511919,0.0005138788,0.004223907],"category_scores_gemma":[0.0021733688,0.00010050495,0.00008179997,0.0011728693,0.0068199974,0.0014580125,0.001944223,0.0009047346,0.00039838982],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010843869,0.000077334844,0.069617376,0.000066905646,0.000012416473,0.0010189079,0.87390685,0.0000414267,0.0017156248,0.024520595,0.002357987,0.026556171],"study_design_scores_gemma":[0.000003168853,0.000064300686,0.12085113,0.00011297226,0.000008222218,0.00065231824,0.8554817,0.000053631247,0.00037337682,0.0012072336,0.0211772,0.000014778541],"about_ca_topic_score_codex":0.022336649,"about_ca_topic_score_gemma":0.04818803,"teacher_disagreement_score":0.022336649,"about_ca_system_score_codex":0.0015180937,"about_ca_system_score_gemma":0.0008623727,"threshold_uncertainty_score":0.04441327},"labels":[],"label_agreement":null},{"id":"W4237825237","doi":"10.22215/etd/2010-09216","title":"Girl guitars: negotiating gender through instrument design, mediation, and use","year":2010,"lang":"en","type":"dissertation","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University; Canadian Heritage; Library and Archives Canada","funders":"","keywords":"Girl; Guitar; Negotiation; Mediation; Art; Humanities; Gender studies; Sociology; Visual arts; Psychology; Physics; Social science; Acoustics; Developmental psychology","score_opus":0.08037858172401521,"score_gpt":0.2430038167557906,"score_spread":0.1626252350317754,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4237825237","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6271673,0.0008363792,0.037163008,0.0032914875,0.000105921245,0.00014529462,0.00012355032,0.00016541281,0.3310016],"genre_scores_gemma":[0.974064,0.00016402056,0.004823644,0.00012934458,0.0000104179735,0.00007028904,0.000044449447,0.00010474644,0.020589072],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9957345,0.0030483624,0.00008082357,0.00034229184,0.0004821832,0.00031188191],"domain_scores_gemma":[0.99503124,0.0032521868,0.0005044796,0.00049730984,0.00036982933,0.00034488132],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0050797914,0.00042640985,0.00026249897,0.0008962307,0.0040273657,0.007179733,0.0010600656,0.001222022,0.026417198],"category_scores_gemma":[0.016844762,0.00036486806,0.00021768303,0.0005771245,0.0064742374,0.004551289,0.0038625835,0.0015486019,0.002204642],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0008284129,0.00026525534,0.041212358,0.00025559193,0.00004712151,0.00095768395,0.6439667,0.000347245,0.014154716,0.18386516,0.0053553395,0.10874447],"study_design_scores_gemma":[0.00018151019,0.00070146867,0.046366252,0.0005788587,0.000106523556,0.0010819286,0.65578604,0.0018993529,0.008916273,0.055502094,0.22878672,0.000092908485],"about_ca_topic_score_codex":0.0024421667,"about_ca_topic_score_gemma":0.0040649627,"teacher_disagreement_score":0.99597263,"about_ca_system_score_codex":0.0011317332,"about_ca_system_score_gemma":0.001196978,"threshold_uncertainty_score":0.08837432},"labels":[],"label_agreement":null},{"id":"W4237870004","doi":"10.1525/jpms.2019.313019","title":"Contributors’ Notes","year":2019,"lang":"en","type":"article","venue":"Journal of Popular Music Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Icon; Punk; Citation; Art history; Popular music; Art; Rock music; History; World Wide Web; Visual arts; Computer science","score_opus":0.07554460448116988,"score_gpt":0.26335915339380855,"score_spread":0.18781454891263866,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4237870004","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006091051,0.00593704,0.0018958265,0.05375745,0.1369016,0.0003296563,0.0055365562,0.0011119489,0.7939208],"genre_scores_gemma":[0.0032637897,0.002424787,0.0011733474,0.008163273,0.00895293,0.00031165374,0.002181401,0.0005704348,0.97295827],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9942352,0.0005323546,0.0003992235,0.0010367362,0.0031480503,0.0006484618],"domain_scores_gemma":[0.9817931,0.0024054847,0.00056230323,0.0021893887,0.010278338,0.0027714116],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0042029405,0.00084405794,0.0010101969,0.0036403392,0.005700586,0.0099506555,0.0035514964,0.0033390725,0.5207971],"category_scores_gemma":[0.02863968,0.0005382459,0.00074663566,0.0041135494,0.001259882,0.0052279416,0.0045650867,0.0045804405,0.38789257],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000006479299,0.0000068149507,0.000032995973,0.00003967341,7.8689965e-7,0.000027442522,0.00010048383,0.0000112543785,0.000033594784,0.006556034,0.9766555,0.016529076],"study_design_scores_gemma":[0.0000010763564,0.0000013116787,0.000031230422,0.0000387431,3.6292624e-7,0.000015196054,0.000050775343,0.0000051286606,0.00001642078,0.00047123694,0.99936706,0.0000015528781],"about_ca_topic_score_codex":0.0046154857,"about_ca_topic_score_gemma":0.0074779512,"teacher_disagreement_score":0.47920293,"about_ca_system_score_codex":0.003884519,"about_ca_system_score_gemma":0.008761479,"threshold_uncertainty_score":0.68352485},"labels":[],"label_agreement":null},{"id":"W4239125456","doi":"10.1525/9780520954861-002","title":"Introduction","year":2019,"lang":"en","type":"book-chapter","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.022822245434705343,"score_gpt":0.16602199934691714,"score_spread":0.1431997539122118,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4239125456","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0018974376,0.009024465,0.005093717,0.027004674,0.020783044,0.00039341606,0.00997798,0.0017817544,0.9240436],"genre_scores_gemma":[0.016609207,0.008190723,0.0033292146,0.010827092,0.006003867,0.0003792596,0.011374767,0.0010012955,0.9422845],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99758255,0.00033127685,0.0001416561,0.0006121139,0.0010272334,0.0003051263],"domain_scores_gemma":[0.99699116,0.0004190777,0.0001701291,0.00035732062,0.0014604361,0.0006019285],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0016337383,0.001098245,0.0007497601,0.0015404512,0.0025893187,0.007555725,0.002621558,0.0037648862,0.5651476],"category_scores_gemma":[0.0076996423,0.00037496662,0.00081332476,0.0016961957,0.0012692756,0.0047085583,0.004031325,0.0032885144,0.38533047],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000053390413,0.000053854026,0.000513551,0.00041499996,0.0000074496697,0.00018820219,0.0004741105,0.00014375571,0.00031757777,0.029279131,0.8627282,0.10582588],"study_design_scores_gemma":[0.0000033468498,0.000011536885,0.00028874606,0.00017437339,0.0000016843131,0.00008209055,0.00014718452,0.000025385178,0.000059523078,0.002777555,0.99642307,0.0000055076393],"about_ca_topic_score_codex":0.004593336,"about_ca_topic_score_gemma":0.0036318984,"teacher_disagreement_score":0.43485242,"about_ca_system_score_codex":0.0032196122,"about_ca_system_score_gemma":0.0050249607,"threshold_uncertainty_score":0.6202642},"labels":[],"label_agreement":null},{"id":"W4239171089","doi":"10.1386/jmte.3.1.67_4","title":"Reviews","year":2010,"lang":"en","type":"article","venue":"Journal of Music Technology and Education","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Saskatchewan","funders":"","keywords":"Publishing; Miller; Musical; Media studies; Sociology; Art history; Art; Humanities; Literature","score_opus":0.021449898719126413,"score_gpt":0.23656141171371156,"score_spread":0.21511151299458514,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4239171089","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006414578,0.48727626,0.0019029427,0.031720515,0.05954001,0.00027090617,0.0048397663,0.0009409573,0.41286716],"genre_scores_gemma":[0.0060936147,0.3976092,0.0026004654,0.02622165,0.027989198,0.0003397088,0.0074061574,0.0006989073,0.53104115],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99823344,0.00028317858,0.00018193114,0.00032828873,0.00080786104,0.00016529638],"domain_scores_gemma":[0.99698704,0.00075089297,0.00020236954,0.0003134187,0.0013093709,0.0004369369],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011205673,0.0010967092,0.0015029839,0.0035470175,0.0010690499,0.005862728,0.002715644,0.0030894524,0.35879537],"category_scores_gemma":[0.006981918,0.0004238538,0.00088556187,0.0036172438,0.00094552356,0.0042126784,0.0027123222,0.0024942115,0.25421607],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000037601014,0.00002595686,0.00009356941,0.0020768866,0.000015716585,0.00010651116,0.00009727378,0.00005351459,0.00018736052,0.0050791586,0.81743807,0.17478845],"study_design_scores_gemma":[0.0000036964798,0.000005647382,0.00009625094,0.00062723586,0.0000048216066,0.000113928305,0.000035697725,0.0000053767417,0.000024033792,0.00079012895,0.99829024,0.0000027988365],"about_ca_topic_score_codex":0.0027599772,"about_ca_topic_score_gemma":0.003747809,"teacher_disagreement_score":0.35879537,"about_ca_system_score_codex":0.0022574863,"about_ca_system_score_gemma":0.005202355,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4239571979","doi":"10.3138/ctr.179.013","title":"<i>SINK</i>","year":2019,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dance; Politics; Portrait; Contemplation; Art; Art history; History; Literature; Political science; Law; Theology","score_opus":0.01980519951294204,"score_gpt":0.19473546337310185,"score_spread":0.1749302638601598,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4239571979","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0025769463,0.10394281,0.0010057753,0.10239115,0.027582465,0.00009358477,0.000563744,0.00031703344,0.76152647],"genre_scores_gemma":[0.04040444,0.055757206,0.0009438354,0.048721828,0.005235455,0.0001469364,0.0006055297,0.0006408053,0.84754395],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995179,0.00009286458,0.000018204339,0.00006379197,0.00019912903,0.00010806559],"domain_scores_gemma":[0.99932003,0.00016704029,0.000045280445,0.000021259384,0.0002773798,0.0001690996],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005587478,0.00093180063,0.00026356327,0.0011966925,0.003740273,0.004351504,0.00085062085,0.0015902816,0.06819524],"category_scores_gemma":[0.0020834357,0.00019592317,0.00019765674,0.0011554203,0.0019799324,0.0036410657,0.002575319,0.0018630435,0.018794114],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013950176,0.00000516686,0.00009442029,0.00021218407,0.0000015159093,0.000071693954,0.001377344,0.000009575737,0.00014452568,0.0058406964,0.97422373,0.018005157],"study_design_scores_gemma":[0.0000010269682,0.0000039437914,0.00030591936,0.00015395522,8.566324e-7,0.00008211235,0.0016087799,0.0000049726177,0.000049697,0.00016039558,0.9976253,0.0000030002723],"about_ca_topic_score_codex":0.04104113,"about_ca_topic_score_gemma":0.11184686,"teacher_disagreement_score":0.06819524,"about_ca_system_score_codex":0.0023043687,"about_ca_system_score_gemma":0.0026729146,"threshold_uncertainty_score":0.22813582},"labels":[],"label_agreement":null},{"id":"W4239999272","doi":"10.1093/gmo/9781561592630.article.j212800","title":"Hunter, Alberta (jazz)","year":2003,"lang":"en","type":"book","venue":"Oxford Music Online","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Jazz; Geology; Art; Art history","score_opus":0.034776268060021036,"score_gpt":0.21277446589135302,"score_spread":0.17799819783133197,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4239999272","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00057784107,0.015402242,0.00038452042,0.0011462502,0.0013470604,0.000024154746,0.00076318387,0.0003682486,0.9799865],"genre_scores_gemma":[0.00069798745,0.0013702797,0.000123435,0.00009610068,0.000030021898,0.000003959462,0.00013011078,0.000054810167,0.9974934],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99977154,0.000011207532,0.0000073975393,0.000046660924,0.00010976749,0.0000534476],"domain_scores_gemma":[0.9997131,0.000030351168,0.000009469546,0.000025892758,0.0001373219,0.0000839488],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0003401507,0.0011833552,0.0007371275,0.0024532322,0.0040816874,0.0054090056,0.0010078681,0.0016621414,0.35745347],"category_scores_gemma":[0.0006291221,0.00063521974,0.00032215292,0.0045698886,0.00069697615,0.0024779874,0.0014488065,0.0018107323,0.1647765],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003091577,0.000016521197,0.00018963327,0.000094930954,0.0000023276202,0.00013610284,0.00023152934,0.0001255372,0.00019636207,0.0074358406,0.8379834,0.15355697],"study_design_scores_gemma":[0.0000036074166,0.0000037327559,0.0004860295,0.000058170914,0.0000025067277,0.00006749457,0.00020705561,0.00003359381,0.00006414026,0.0007160743,0.99835324,0.000004417767],"about_ca_topic_score_codex":0.30386022,"about_ca_topic_score_gemma":0.7264643,"teacher_disagreement_score":0.35745347,"about_ca_system_score_codex":0.004279399,"about_ca_system_score_gemma":0.004521945,"threshold_uncertainty_score":0.91651464},"labels":[],"label_agreement":null},{"id":"W4240516636","doi":"10.17184/eac.anthropen.014","title":"Hip-hop","year":2016,"lang":"fr","type":"article","venue":"Anthropen","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.03702470732664545,"score_gpt":0.24241987953388383,"score_spread":0.20539517220723838,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4240516636","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0066409474,0.0048053237,0.001446913,0.0155798085,0.007045174,0.0001761212,0.0029805123,0.0005700034,0.96075517],"genre_scores_gemma":[0.03369009,0.005358093,0.0014093558,0.007956712,0.0014119307,0.00016964211,0.0026162053,0.00031951076,0.9470685],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991454,0.00011942155,0.00004709565,0.00014220366,0.00029536942,0.0002505372],"domain_scores_gemma":[0.99884194,0.000101573496,0.00005995769,0.000073463096,0.00032223054,0.0006007757],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00064858096,0.00073263806,0.00041249895,0.0011564427,0.0031881034,0.0040043057,0.0010935966,0.0022784686,0.47685894],"category_scores_gemma":[0.0027173338,0.00025624575,0.000491585,0.0011040616,0.0009004351,0.0023842563,0.0044268183,0.0022680117,0.19953059],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016783139,0.00011038207,0.0024080318,0.0003889201,0.000010781442,0.0014130495,0.0011957455,0.00007863549,0.00035503483,0.028926317,0.7802184,0.18472685],"study_design_scores_gemma":[0.000017345892,0.00004897061,0.0016922799,0.00028211428,0.0000048089037,0.0011931165,0.0012243454,0.000025487596,0.00009855056,0.0021813123,0.9932192,0.000012483273],"about_ca_topic_score_codex":0.006817872,"about_ca_topic_score_gemma":0.015018733,"teacher_disagreement_score":0.47685894,"about_ca_system_score_codex":0.0019771445,"about_ca_system_score_gemma":0.0038895335,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4240516993","doi":"10.3138/utq.79.3.991","title":"A Change Ain't Gonna Come: Sam Cooke and the Protest Song","year":2010,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Blues; Theme (computing); Nothing; Meaning (existential); History; Politics; Literature; Period (music); Aesthetics; Sociology; Media studies; Art; Law; Political science; Philosophy; Art history; Epistemology","score_opus":0.01407787272776321,"score_gpt":0.17074957432999532,"score_spread":0.15667170160223212,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4240516993","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.25903854,0.050309755,0.00084047474,0.20663598,0.0094868755,0.00008549601,0.00014616597,0.000094447554,0.4733622],"genre_scores_gemma":[0.8292312,0.0095175635,0.00034094416,0.009709864,0.0012000948,0.000031048276,0.000039648305,0.0000812211,0.1498484],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99898106,0.00039150772,0.000013462237,0.00007784865,0.00018532401,0.00035080037],"domain_scores_gemma":[0.9991167,0.00015853334,0.000048624835,0.000034017165,0.00008589324,0.00055624306],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011055919,0.00036215445,0.00021908685,0.0007192797,0.022199823,0.00805848,0.0006109174,0.0023143808,0.007680311],"category_scores_gemma":[0.0018595966,0.00032114986,0.0001388355,0.0009171038,0.012521191,0.0023641596,0.0034349586,0.0044511766,0.0008566542],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011973823,0.00005698927,0.0019400064,0.00019792168,0.000016672995,0.0020266108,0.57146186,0.0000816213,0.0007616068,0.11504033,0.27112558,0.03717105],"study_design_scores_gemma":[0.000012924446,0.00003420931,0.005009021,0.00019916405,0.000006127487,0.00059797586,0.26396364,0.00003257241,0.00021317275,0.003159356,0.72674906,0.000022844322],"about_ca_topic_score_codex":0.15313885,"about_ca_topic_score_gemma":0.412745,"teacher_disagreement_score":0.15313885,"about_ca_system_score_codex":0.008749316,"about_ca_system_score_gemma":0.00460184,"threshold_uncertainty_score":0.30449498},"labels":[],"label_agreement":null},{"id":"W4240814480","doi":"10.1080/08989575.2009.10846788","title":"Celebrity Bio Blogs: Hagiography, Pathography, and Perez Hilton","year":2009,"lang":"en","type":"article","venue":"a/b Auto/Biography Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Art","score_opus":0.03359731636400935,"score_gpt":0.23846401685605184,"score_spread":0.20486670049204248,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4240814480","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.037804928,0.033394463,0.00050829933,0.71650434,0.012318095,0.000029856947,0.00043388337,0.000105671825,0.19890055],"genre_scores_gemma":[0.5106473,0.053074244,0.0009510328,0.04174448,0.010456683,0.00010449161,0.00041673103,0.00040635947,0.38219878],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.9992274,0.00033142045,0.000019739551,0.000097428616,0.00020411819,0.00011984084],"domain_scores_gemma":[0.99184954,0.0045052427,0.00046749235,0.00029440233,0.0014992434,0.0013840185],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0025128974,0.00052079867,0.00041790315,0.0027224491,0.007464755,0.009820972,0.00075661816,0.0031277374,0.029101182],"category_scores_gemma":[0.0115271825,0.00045342097,0.00012715356,0.0023432137,0.0023651212,0.010982064,0.0031346853,0.0028653734,0.0033927409],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000054772714,0.00009130217,0.0039923163,0.00013673338,0.000010246868,0.00007885872,0.013246916,0.000038196038,0.000092931834,0.03064981,0.9104969,0.04111106],"study_design_scores_gemma":[0.000033209606,0.000025457324,0.011302847,0.00068116124,0.000026596686,0.000119952994,0.07387363,0.00022356144,0.00024027658,0.00945812,0.903981,0.0000341748],"about_ca_topic_score_codex":0.016292403,"about_ca_topic_score_gemma":0.055680934,"teacher_disagreement_score":0.029101182,"about_ca_system_score_codex":0.0025390815,"about_ca_system_score_gemma":0.0027655133,"threshold_uncertainty_score":0.09735316},"labels":[],"label_agreement":null},{"id":"W4240999593","doi":"10.1386/jpme_00005_1","title":"Towards a pedagogy of deviance","year":2019,"lang":"en","type":"article","venue":"Journal of Popular Music Education","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Toronto","funders":"","keywords":"Performative utterance; Sociology; Narrative; Deviance (statistics); Aesthetics; Normative; Formative assessment; Performativity; Style (visual arts); Visual arts; Pedagogy; Art; Gender studies; Literature; Epistemology","score_opus":0.030151767917766383,"score_gpt":0.2749884253362097,"score_spread":0.24483665741844332,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4240999593","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07562379,0.014229918,0.09467442,0.20270039,0.0038175432,0.00034198767,0.000035298166,0.0006915051,0.6078851],"genre_scores_gemma":[0.88771516,0.006456636,0.03266912,0.012811368,0.0007395343,0.0004164523,0.00003516649,0.00030838596,0.058848258],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.98985416,0.006276391,0.0002318117,0.00087380095,0.0018334694,0.0009302725],"domain_scores_gemma":[0.99175304,0.0047203708,0.0006360873,0.00072895887,0.0007283165,0.0014333548],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.009077991,0.00086156087,0.00060317246,0.0031194936,0.011476947,0.009671413,0.0025506152,0.0044651465,0.0049660183],"category_scores_gemma":[0.01291981,0.00040603874,0.0006235348,0.0010375412,0.050456136,0.009775841,0.019902071,0.011143819,0.0011648202],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010833758,0.0001183171,0.00086244044,0.00024704594,0.0000067219207,0.0003552317,0.1946056,0.00023783474,0.00050111447,0.7560577,0.006958666,0.04003854],"study_design_scores_gemma":[0.000028924263,0.00009779616,0.0007118647,0.0010928637,0.000011857674,0.00042594993,0.11922685,0.000563653,0.00084874814,0.37057024,0.506396,0.000025221647],"about_ca_topic_score_codex":0.005699732,"about_ca_topic_score_gemma":0.009524145,"teacher_disagreement_score":0.011476947,"about_ca_system_score_codex":0.0080674505,"about_ca_system_score_gemma":0.015280337,"threshold_uncertainty_score":0.05853367},"labels":[],"label_agreement":null},{"id":"W4241010924","doi":"10.1386/ijcm.5.3.303_1","title":"REVIEWS","year":2012,"lang":"en","type":"article","venue":"International Journal of Community Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Biography; Corporation; Art history; Art; Sociology; History; Library science; Political science; Law; Computer science","score_opus":0.17135790206956944,"score_gpt":0.30341805518195153,"score_spread":0.1320601531123821,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4241010924","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00015217901,0.8539321,0.0005758266,0.01994387,0.045465942,0.00010847714,0.0012509414,0.0003214997,0.07824911],"genre_scores_gemma":[0.0014799626,0.78997093,0.0008902594,0.023431959,0.026109599,0.00014708197,0.002060764,0.00022134773,0.15568809],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99840635,0.0002216447,0.00016649952,0.00027931167,0.00076554366,0.00016067461],"domain_scores_gemma":[0.99620515,0.0008972919,0.00032718922,0.00027503632,0.0017269539,0.0005684238],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0013659201,0.0012107159,0.0016887118,0.0042385533,0.00095759454,0.0051050712,0.002591438,0.003384679,0.20769829],"category_scores_gemma":[0.007312962,0.0006314649,0.0009740772,0.0037019644,0.0008309064,0.004229139,0.0026231722,0.0031624264,0.18713437],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021201218,0.000015968062,0.000042381518,0.0019902217,0.000011400078,0.000050156228,0.000036879617,0.000028038909,0.000107979016,0.001003064,0.8566678,0.14002484],"study_design_scores_gemma":[0.0000033827657,0.0000059828467,0.000075697346,0.0009913383,0.0000051437482,0.000100682286,0.000022356957,0.0000034651,0.00002020014,0.00030082956,0.99846786,0.0000031038571],"about_ca_topic_score_codex":0.0032424787,"about_ca_topic_score_gemma":0.0055329395,"teacher_disagreement_score":0.7923017,"about_ca_system_score_codex":0.0020925973,"about_ca_system_score_gemma":0.0046099443,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4241175853","doi":"10.32920/ryerson.14654193","title":"Between life and the underground : a study of photography found in Rolling Stone magazine from 1967 to 1972","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Photojournalism; Photography; Visual arts; Mainstream; Journalism; Convention; Period (music); Consumption (sociology); Art; Sociology; Media studies; Law; Aesthetics; Political science","score_opus":0.05114171019234912,"score_gpt":0.24500267261468986,"score_spread":0.19386096242234074,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4241175853","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9648134,0.0010907154,0.00017457784,0.00093545235,0.000042806063,0.000015442283,0.000059927985,0.0000089395235,0.03285862],"genre_scores_gemma":[0.9854489,0.0012274105,0.00013159675,0.00017478052,0.000059858274,0.000014563813,0.00005306321,0.000022805145,0.012866999],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9988172,0.00051699206,0.000038494167,0.00011120528,0.000248682,0.0002674653],"domain_scores_gemma":[0.99689734,0.0017825054,0.00060356385,0.00013956657,0.00027731492,0.0002995857],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010882637,0.00022273192,0.00026558732,0.0034888692,0.007986544,0.0046718447,0.00053843367,0.00073554966,0.005812504],"category_scores_gemma":[0.0046316106,0.00039315244,0.00013236432,0.004752621,0.0059456923,0.0030398907,0.0023694423,0.0014062317,0.0004415073],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000052378775,0.000033868113,0.007749446,0.000052359497,0.0000028523004,0.000982535,0.97239304,0.000009053274,0.0009195541,0.0040133134,0.0011341898,0.012657467],"study_design_scores_gemma":[0.0000028939403,0.00006086368,0.062156964,0.00010064147,0.000006795434,0.00053389533,0.86549145,0.000014814804,0.0006135087,0.0002797893,0.07072517,0.000013296746],"about_ca_topic_score_codex":0.04836401,"about_ca_topic_score_gemma":0.12988612,"teacher_disagreement_score":0.04836401,"about_ca_system_score_codex":0.0041164355,"about_ca_system_score_gemma":0.0016858694,"threshold_uncertainty_score":0.096165},"labels":[],"label_agreement":null},{"id":"W4241752174","doi":"10.1007/978-3-319-91304-9_7","title":"Conclusion","year":2018,"lang":"en","type":"book-chapter","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Subversion; Postmodernism; Scholarship; Hegelianism; Aesthetics; Politics; Sociology; Cultural studies; Gender studies; Social science; Art; Epistemology; Literature; Political science; Philosophy; Law; Anthropology","score_opus":0.0391981156875221,"score_gpt":0.19074637492397825,"score_spread":0.15154825923645615,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4241752174","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0024866678,0.0013385029,0.0027927433,0.046607856,0.005176746,0.00007228801,0.0010902559,0.00022353294,0.9402115],"genre_scores_gemma":[0.05056008,0.0020783946,0.002937734,0.048835427,0.0018951488,0.00016297684,0.0019469507,0.00041109402,0.8911722],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978313,0.00036315227,0.000052674404,0.000406023,0.0009922604,0.00035453038],"domain_scores_gemma":[0.9963076,0.0006746238,0.00012351813,0.00033760106,0.0019688949,0.00058781327],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0026515685,0.000429582,0.00030447307,0.0011994713,0.0024466838,0.0060150083,0.0015337623,0.002028105,0.30146897],"category_scores_gemma":[0.009970862,0.00014073741,0.0004816715,0.00089390244,0.0014822693,0.0036744464,0.0026561676,0.0023632408,0.087654404],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000097377124,0.000052383737,0.0016601144,0.00027529142,0.000013772214,0.00015411098,0.001263196,0.0001360781,0.00031515275,0.21139504,0.67705876,0.10757876],"study_design_scores_gemma":[0.000009127614,0.000007763301,0.0010484145,0.0002698653,0.0000074995396,0.000058641923,0.0019130248,0.000041113002,0.00021654156,0.019860992,0.976562,0.000004972323],"about_ca_topic_score_codex":0.00893907,"about_ca_topic_score_gemma":0.01240486,"teacher_disagreement_score":0.69853103,"about_ca_system_score_codex":0.0035926022,"about_ca_system_score_gemma":0.005093522,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4242806895","doi":"10.4324/9780203892787-13","title":"Track 7 “Still Reppin Por Mi Gente”","year":2008,"lang":"es","type":"book-chapter","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Track (disk drive); Computer science; Operating system","score_opus":0.048842435606043205,"score_gpt":0.2032232022454197,"score_spread":0.1543807666393765,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4242806895","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0016653523,0.0016909267,0.00035498283,0.0026641376,0.00090481946,0.000027443177,0.0005388493,0.0001558002,0.9919978],"genre_scores_gemma":[0.0039378093,0.00032559692,0.00011604868,0.00037179727,0.000023335175,0.0000061421833,0.00013000231,0.000034383807,0.99505484],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997305,0.000017223118,0.0000032566945,0.00003777697,0.000112711634,0.00009846506],"domain_scores_gemma":[0.9998312,0.000011741826,0.000004147145,0.000009832994,0.00010484296,0.000038117203],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00027007924,0.0005136793,0.00023364657,0.0008756037,0.0059058093,0.003867502,0.00079330447,0.0013645458,0.19751137],"category_scores_gemma":[0.00039818083,0.0001967345,0.0003415911,0.00084726093,0.001407313,0.0015313347,0.0011191075,0.0016456023,0.034122847],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022399487,0.000017412178,0.00041523235,0.00006836714,0.0000026812418,0.000120715515,0.0016732109,0.000062541156,0.00040024755,0.074827455,0.855559,0.0668307],"study_design_scores_gemma":[5.6957134e-7,0.0000024810374,0.00040895448,0.000025056299,7.74792e-7,0.00002137537,0.00040373774,0.000016735214,0.000069276146,0.00038125546,0.9986676,0.0000023296188],"about_ca_topic_score_codex":0.762053,"about_ca_topic_score_gemma":0.94765115,"teacher_disagreement_score":0.762053,"about_ca_system_score_codex":0.013428033,"about_ca_system_score_gemma":0.010488201,"threshold_uncertainty_score":0.6607413},"labels":[],"label_agreement":null},{"id":"W4242982125","doi":"10.4324/9781315613437-3","title":"Growing up to be a Rapper?","year":2017,"lang":"en","type":"book-chapter","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Materials science","score_opus":0.08912973065679321,"score_gpt":0.22688958308014884,"score_spread":0.13775985242335564,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4242982125","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.016803216,0.03246248,0.0024496745,0.08504086,0.011499799,0.000067320674,0.00018154547,0.00042495117,0.8510701],"genre_scores_gemma":[0.0840423,0.015376124,0.0020267728,0.02379303,0.002107621,0.00008784795,0.00016946737,0.00036601917,0.87203074],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.99944764,0.00017697857,0.00001114987,0.000101317266,0.00013807692,0.00012481959],"domain_scores_gemma":[0.9995079,0.00011923304,0.00003191126,0.000023781766,0.000066734516,0.000250383],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00066416146,0.0004956446,0.00028326342,0.0005862397,0.0071903453,0.00588631,0.0007851409,0.0018563794,0.04350591],"category_scores_gemma":[0.0012747991,0.0002556837,0.0001945054,0.00056270324,0.0024387273,0.007293091,0.002596786,0.0033245222,0.023254897],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024739098,0.00005222125,0.00081642304,0.0001859301,0.0000050210465,0.0005604166,0.043716058,0.000023556826,0.0003588668,0.080114566,0.7559265,0.118215695],"study_design_scores_gemma":[0.0000017727265,0.000011316388,0.0003312172,0.00018622274,0.0000018545549,0.0005036379,0.021318935,0.000025428239,0.00009682258,0.002618901,0.9748981,0.0000058085793],"about_ca_topic_score_codex":0.0031425597,"about_ca_topic_score_gemma":0.01981633,"teacher_disagreement_score":0.04350591,"about_ca_system_score_codex":0.0015825214,"about_ca_system_score_gemma":0.0013217675,"threshold_uncertainty_score":0.14554179},"labels":[],"label_agreement":null},{"id":"W4243156051","doi":"10.32920/ryerson.14645472.v1","title":"Heavy Metal Thunder: the making of the film","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Media studies; History; Sociology","score_opus":0.05791287184068363,"score_gpt":0.23246188309663626,"score_spread":0.17454901125595262,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4243156051","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0565962,0.010635652,0.002137075,0.04745338,0.010280368,0.0001490715,0.00072063826,0.00018195547,0.87184566],"genre_scores_gemma":[0.41567376,0.010264564,0.0028093844,0.007563945,0.0028759919,0.000078849116,0.00047334426,0.0005439121,0.5597163],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993748,0.00015987713,0.000009536821,0.00007348406,0.00022568017,0.00015668513],"domain_scores_gemma":[0.99954885,0.00007837097,0.000016594891,0.000027195942,0.00017567837,0.00015338584],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00064935716,0.00038956077,0.00015008177,0.0006951222,0.011428996,0.0074817,0.0006101208,0.0012804406,0.018829186],"category_scores_gemma":[0.0017582363,0.00022868038,0.00019873674,0.00076035754,0.0033566214,0.0022364852,0.0024307175,0.0030575856,0.002194236],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011430468,0.00006486621,0.0012133493,0.0003463729,0.000015425821,0.0015551004,0.15889694,0.00012363032,0.0049039503,0.089253165,0.67896223,0.06455069],"study_design_scores_gemma":[0.0000035904316,0.000008329204,0.00097399025,0.00015579943,0.0000051474326,0.00017157676,0.031037148,0.000038844693,0.00046756348,0.00070307264,0.9664265,0.000008509739],"about_ca_topic_score_codex":0.14464124,"about_ca_topic_score_gemma":0.41033155,"teacher_disagreement_score":0.14464124,"about_ca_system_score_codex":0.006538181,"about_ca_system_score_gemma":0.0030058671,"threshold_uncertainty_score":0.2875986},"labels":[],"label_agreement":null},{"id":"W4243234003","doi":"10.32920/ryerson.14649591","title":"Constructing identities through music videos: a case study analysis of Tegan and Sara's music videos","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Human sexuality; Musical; Narrative; Identity (music); Psychology; Popular music; Order (exchange); Sociology; Gender studies; Visual arts; Art; Aesthetics; Literature","score_opus":0.08052278644354877,"score_gpt":0.26641075415403337,"score_spread":0.1858879677104846,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4243234003","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.97555393,0.00032242388,0.0013246562,0.0017415183,0.00006530528,0.0002120305,0.00013916682,0.000012509089,0.0206284],"genre_scores_gemma":[0.9877579,0.0006368642,0.0025098093,0.0003664446,0.000039656945,0.00017588378,0.00012137247,0.000037148246,0.0083548855],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9926103,0.0050423783,0.00020088023,0.00042902128,0.00077321246,0.00094422046],"domain_scores_gemma":[0.98929554,0.0077103586,0.00091093103,0.0004961458,0.00080379646,0.00078321714],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0056260168,0.0006421473,0.00043847732,0.003379589,0.016259847,0.0063468376,0.002223334,0.003118318,0.0047116047],"category_scores_gemma":[0.017454863,0.0005188771,0.00036815068,0.0032203344,0.00795076,0.0055987267,0.005556629,0.003100108,0.0006786825],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005129364,0.00016373127,0.004731863,0.000106907464,0.00000488438,0.004808034,0.9705034,0.000040925206,0.0007630673,0.0057966434,0.00124126,0.011788073],"study_design_scores_gemma":[0.0000045738075,0.00003528705,0.0024445192,0.00011455804,0.0000051887873,0.00095022056,0.98161983,0.00011709712,0.00047115723,0.00040453448,0.013821541,0.000011397683],"about_ca_topic_score_codex":0.026909478,"about_ca_topic_score_gemma":0.072032586,"teacher_disagreement_score":0.026909478,"about_ca_system_score_codex":0.006284754,"about_ca_system_score_gemma":0.003190276,"threshold_uncertainty_score":0.05350566},"labels":[],"label_agreement":null},{"id":"W4243258211","doi":"10.4000/transposition.2734","title":"Sheila Whiteley &amp; Jedediah Sklower (eds), Popular Music and Countercultures","year":2018,"lang":"en","type":"article","venue":"Transposition","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Musée de la Civilisation","funders":"","keywords":"Popular music; Art; Art history; History; Visual arts","score_opus":0.02419914232466151,"score_gpt":0.20964544073412103,"score_spread":0.18544629840945953,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4243258211","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.011539548,0.5248312,0.0027364492,0.22892487,0.011900863,0.00004226481,0.00022205713,0.00013387071,0.2196689],"genre_scores_gemma":[0.10870133,0.5003399,0.0029304435,0.01713483,0.006913074,0.0000971517,0.00023905233,0.00016120299,0.36348292],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999479,0.00015456538,0.00002813299,0.00008007009,0.00020255696,0.000055677352],"domain_scores_gemma":[0.9990221,0.0005107556,0.00012469744,0.000036089543,0.0001544445,0.00015182128],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00092131994,0.0006767349,0.00031167277,0.0016041809,0.002779529,0.006638707,0.00060780445,0.0016180534,0.013507055],"category_scores_gemma":[0.0015265761,0.00037787794,0.00019361483,0.001723385,0.0029063218,0.0066839177,0.002031687,0.0021859207,0.004634346],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000056802608,0.00005754144,0.0019245335,0.000865581,0.000014974123,0.00025278487,0.020117138,0.000101669655,0.0007798744,0.09691265,0.57262486,0.3062917],"study_design_scores_gemma":[0.000004937724,0.000010876972,0.003252333,0.00060121645,0.000007741262,0.00021094563,0.012905465,0.00006490996,0.0002815763,0.0090305805,0.9736143,0.000015102088],"about_ca_topic_score_codex":0.008100103,"about_ca_topic_score_gemma":0.0238579,"teacher_disagreement_score":0.013507055,"about_ca_system_score_codex":0.0017227739,"about_ca_system_score_gemma":0.0024503365,"threshold_uncertainty_score":0.045185626},"labels":[],"label_agreement":null},{"id":"W4243864821","doi":"10.3138/cras.38.3.351","title":"Reconsidering Rap's “I”: Eminem's Autobiographical Postures and the Construction of Identity Authenticity","year":2008,"lang":"en","type":"article","venue":"Canadian Review of American Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":13,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Subjectivity; Identity (music); Aesthetics; Representation (politics); Malleability; Sociology; Order (exchange); White (mutation); Epistemology; Psychology; Art; Philosophy; Computer science; Politics; Political science; Law","score_opus":0.057482499767967155,"score_gpt":0.24989284373403084,"score_spread":0.19241034396606368,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4243864821","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.27716416,0.028400453,0.010567509,0.11397486,0.001329707,0.000034432887,0.000043626987,0.00008608259,0.56839913],"genre_scores_gemma":[0.98114187,0.0029631162,0.000878119,0.0020963247,0.00020881894,0.00001765261,0.0000057927314,0.000021447882,0.012666929],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9957563,0.0031560946,0.000062471576,0.00021814727,0.0004918545,0.00031503628],"domain_scores_gemma":[0.99534035,0.0028935128,0.00050700683,0.0004215482,0.00045442226,0.00038310085],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00515111,0.00027906083,0.00033001773,0.0019334273,0.007248963,0.0067437245,0.0010914692,0.0022407125,0.001737672],"category_scores_gemma":[0.00789421,0.0001790592,0.000146722,0.0010984553,0.04288128,0.007528602,0.0046597077,0.003578449,0.00030514522],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019595462,0.0000132720725,0.00064344495,0.00009013225,0.000004195804,0.00039612362,0.42873168,0.000042960113,0.00022621675,0.5423764,0.00548188,0.021974042],"study_design_scores_gemma":[0.000008391177,0.000048372796,0.0024949554,0.0007262507,0.000011501375,0.0014119041,0.48035014,0.00026907935,0.0008067709,0.111314066,0.40253034,0.0000282692],"about_ca_topic_score_codex":0.0060820663,"about_ca_topic_score_gemma":0.008131679,"teacher_disagreement_score":0.007248963,"about_ca_system_score_codex":0.0033875387,"about_ca_system_score_gemma":0.0029759537,"threshold_uncertainty_score":0.027242005},"labels":[],"label_agreement":null},{"id":"W4243915819","doi":"10.21083/csieci.v4i2.963","title":"Connective Tissues","year":2008,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Improvisation; Human sexuality; Identity (music); Aesthetics; Sociology; Set (abstract data type); Gender studies; Art; Psychology; Visual arts; Computer science","score_opus":0.1662771387964339,"score_gpt":0.3683925096363444,"score_spread":0.2021153708399105,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4243915819","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.01070362,0.3041579,0.009517123,0.07345202,0.18032634,0.00015991698,0.0006952236,0.00045500227,0.4205328],"genre_scores_gemma":[0.0652083,0.18642308,0.008688699,0.022610974,0.07694352,0.00020594559,0.0008833858,0.00041022451,0.6386259],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992538,0.00013642073,0.00009251072,0.000109660745,0.0003393063,0.00006831183],"domain_scores_gemma":[0.9984718,0.0006412433,0.0001581012,0.00014973489,0.00035203478,0.0002270614],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010305253,0.00045127384,0.00042648506,0.0016144541,0.0011710832,0.0036180257,0.0007943268,0.001878277,0.06334874],"category_scores_gemma":[0.0031425327,0.00023499281,0.00033432004,0.0010765704,0.0013471312,0.0021201316,0.0014008804,0.0020354115,0.011442488],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000164279,0.000054480024,0.0006647959,0.0015989612,0.00003037981,0.0017151085,0.0011747194,0.00009746464,0.010735909,0.045724913,0.5651289,0.3729101],"study_design_scores_gemma":[0.0000045396423,0.00001973101,0.0003653098,0.00023341105,0.000004905333,0.0017172265,0.00027039825,0.0000255855,0.0006191,0.0036494334,0.9930848,0.000005600719],"about_ca_topic_score_codex":0.00049578917,"about_ca_topic_score_gemma":0.0010843095,"teacher_disagreement_score":0.06334874,"about_ca_system_score_codex":0.0006146676,"about_ca_system_score_gemma":0.0010686029,"threshold_uncertainty_score":0.21192265},"labels":[],"label_agreement":null},{"id":"W4243921002","doi":"10.4000/temoigner.1901","title":"The ARC Ensemble committed to Remembering the Forgotten","year":2015,"lang":"en","type":"article","venue":"Témoigner. Entre Histoire et Mémoire","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Arc (geometry); Chamber music; Art history; Discography; History; Visual arts; Literature; Classics; Art; Engineering","score_opus":0.038580562497180323,"score_gpt":0.22790578672777123,"score_spread":0.1893252242305909,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4243921002","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.017160466,0.015810834,0.0054017594,0.09674413,0.013002073,0.000046279212,0.0001892799,0.0006558026,0.8509893],"genre_scores_gemma":[0.23461956,0.0047093607,0.002771416,0.009917366,0.0018624124,0.000019160347,0.0001155,0.0004003901,0.74558485],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.99499714,0.00081237673,0.0001546576,0.0007365545,0.0026787757,0.00062052946],"domain_scores_gemma":[0.99509096,0.0005838946,0.00040366512,0.0007636268,0.0014619384,0.0016958418],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023195876,0.0005495588,0.0003272625,0.0010414831,0.010224321,0.009605909,0.0010442288,0.002189545,0.018250894],"category_scores_gemma":[0.0076057073,0.00035294768,0.0002255034,0.0007033575,0.013805826,0.0041945865,0.0061164442,0.0065411953,0.004486602],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000810616,0.000018204963,0.0017738336,0.00017363556,0.000029769293,0.00083233736,0.07060447,0.00015389948,0.001618436,0.264142,0.5614278,0.09914463],"study_design_scores_gemma":[0.000001253345,0.0000063799066,0.000815318,0.00004509186,0.0000037507325,0.00031471552,0.004314719,0.000023059965,0.00018856433,0.001741658,0.9925355,0.000009963737],"about_ca_topic_score_codex":0.09652091,"about_ca_topic_score_gemma":0.20165798,"teacher_disagreement_score":0.09652091,"about_ca_system_score_codex":0.007993982,"about_ca_system_score_gemma":0.008618049,"threshold_uncertainty_score":0.1919182},"labels":[],"label_agreement":null},{"id":"W4244249272","doi":"10.1093/oso/9780197535066.001.0001","title":"Music Downtown Eastside","year":2020,"lang":"en","type":"book","venue":"Oxford University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":7,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Downtown; Human rights; Ethnography; Poverty; Musical; Sociology; Political science; Media studies; Visual arts; History; Art; Law; Anthropology","score_opus":0.04442365386272487,"score_gpt":0.16629045600922915,"score_spread":0.12186680214650428,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4244249272","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0018101949,0.0041082124,0.00017460741,0.0011336542,0.0013137411,0.000018150438,0.0001765585,0.00009206044,0.99117285],"genre_scores_gemma":[0.0044535496,0.0012578632,0.000112339716,0.00032608947,0.00006526748,0.0000062954728,0.00010206996,0.00005174958,0.9936248],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998661,0.000008142503,0.0000028879645,0.00002262456,0.000066956854,0.000033251985],"domain_scores_gemma":[0.99990416,0.000010670677,0.0000036225397,0.0000073187994,0.000041703828,0.00003253872],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00008239378,0.0004709833,0.00023923822,0.00076205353,0.0032158834,0.0026589937,0.00039998183,0.00064090494,0.27946174],"category_scores_gemma":[0.00023715092,0.00021062102,0.00016980682,0.000883473,0.00063167344,0.0012060864,0.0014539805,0.0014347619,0.06401016],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000051130533,0.000022368398,0.00045714265,0.00017989281,0.0000025771699,0.00031955852,0.0018722571,0.000101188554,0.0017842983,0.024446642,0.8319641,0.13879895],"study_design_scores_gemma":[0.0000016230131,0.0000036802242,0.00048035535,0.000049423823,7.783901e-7,0.00009782334,0.0004139236,0.0000133717,0.00008583156,0.00021244508,0.99863833,0.0000023828868],"about_ca_topic_score_codex":0.092054114,"about_ca_topic_score_gemma":0.36208636,"teacher_disagreement_score":0.9079459,"about_ca_system_score_codex":0.0022314538,"about_ca_system_score_gemma":0.0016108197,"threshold_uncertainty_score":0.93489265},"labels":[],"label_agreement":null},{"id":"W4244399562","doi":"10.32920/ryerson.14652006","title":"What 2 Listen 2: Reinventing the Presence of Tastemaker Influences in Music Discovery Through User Interaction and Aggregate Data","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Storytelling; Music industry; Ideology; Aesthetics; Process (computing); Property (philosophy); Sociology; Narrative; Computer science; Art; Epistemology; Literature; Political science; Visual arts; Music education; Philosophy; Law","score_opus":0.13259896511629413,"score_gpt":0.29052059827186927,"score_spread":0.15792163315557514,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4244399562","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5060452,0.0018609987,0.3475429,0.022693638,0.00093402417,0.00047346004,0.0010153444,0.0045731016,0.11486128],"genre_scores_gemma":[0.93394196,0.0004646881,0.05612781,0.001865813,0.00041250497,0.00015893916,0.00033345862,0.0006427504,0.0060520153],"study_design_codex":"design_other","study_design_gemma":"simulation_or_modeling","domain_scores_codex":[0.98757637,0.007572909,0.0004115725,0.001783095,0.0021913096,0.0004647504],"domain_scores_gemma":[0.9588377,0.027603693,0.0018410496,0.009138627,0.0016071455,0.00097184064],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.014790987,0.0005233111,0.00087604095,0.0023240158,0.002679177,0.014900911,0.0011508053,0.0020415112,0.0046780664],"category_scores_gemma":[0.043134335,0.0006554058,0.0007995017,0.0025528555,0.0077681704,0.020117853,0.009517594,0.0022551387,0.0009052981],"study_design_candidate":"simulation_or_modeling","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0014852512,0.000513795,0.05183007,0.00076644064,0.00028588137,0.0012363067,0.25918013,0.0024782945,0.021489123,0.26021415,0.011368187,0.3891524],"study_design_scores_gemma":[0.00030922442,0.0009255441,0.03530012,0.00048777074,0.0005039583,0.0014216099,0.057688743,0.033187654,0.018312056,0.5855469,0.2657965,0.0005198843],"about_ca_topic_score_codex":0.0020094076,"about_ca_topic_score_gemma":0.0025966035,"teacher_disagreement_score":0.014900911,"about_ca_system_score_codex":0.0011287002,"about_ca_system_score_gemma":0.0016281597,"threshold_uncertainty_score":0.07822311},"labels":[],"label_agreement":null},{"id":"W4244716227","doi":"10.4000/volume.686","title":"Introduction","year":2010,"lang":"en","type":"article","venue":"Volume !","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Musée de la Civilisation","funders":"","keywords":"Computer science","score_opus":0.008666532160256351,"score_gpt":0.16911381628758662,"score_spread":0.16044728412733028,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4244716227","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0018520005,0.0045221485,0.0038449971,0.014270776,0.008605414,0.00023697017,0.0047391662,0.00080649264,0.96112204],"genre_scores_gemma":[0.014642345,0.0038159045,0.0029519338,0.0062034186,0.0018398211,0.00022382315,0.00467404,0.00043409655,0.96521455],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99829787,0.00022504022,0.000090904185,0.0004289884,0.0007091001,0.00024809327],"domain_scores_gemma":[0.9982222,0.00022821696,0.00007913398,0.00024813434,0.0009115273,0.0003108232],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0015239568,0.00079401047,0.0004842468,0.0014515476,0.00278969,0.0063654045,0.0018992035,0.002985607,0.4267337],"category_scores_gemma":[0.0046820045,0.00030993664,0.0006461802,0.0015422087,0.0013824491,0.0038620206,0.0034803785,0.002590716,0.24950857],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000078094345,0.000048749218,0.0007053302,0.00034406272,0.0000066740745,0.00018854988,0.0010894233,0.00010283416,0.00048737897,0.08356804,0.7742724,0.13910839],"study_design_scores_gemma":[0.0000023645848,0.000007326961,0.00031128185,0.00010392119,0.000001280639,0.0000676301,0.00021417403,0.000014101514,0.00007202304,0.002555146,0.99664706,0.0000036399927],"about_ca_topic_score_codex":0.0071171345,"about_ca_topic_score_gemma":0.007623497,"teacher_disagreement_score":0.57326627,"about_ca_system_score_codex":0.0031506214,"about_ca_system_score_gemma":0.004448538,"threshold_uncertainty_score":0.8176948},"labels":[],"label_agreement":null},{"id":"W4244872514","doi":"10.32920/ryerson.14649591.v1","title":"Constructing identities through music videos: a case study analysis of Tegan and Sara's music videos","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Human sexuality; Musical; Narrative; Identity (music); Psychology; Popular music; Order (exchange); Gender studies; Sociology; Visual arts; Aesthetics; Art; Literature","score_opus":0.08052278644354877,"score_gpt":0.26641075415403337,"score_spread":0.1858879677104846,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4244872514","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.97555393,0.00032242388,0.0013246562,0.0017415183,0.00006530528,0.0002120305,0.00013916682,0.000012509089,0.0206284],"genre_scores_gemma":[0.9877579,0.0006368642,0.0025098093,0.0003664446,0.000039656945,0.00017588378,0.00012137247,0.000037148246,0.0083548855],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9926103,0.0050423783,0.00020088023,0.00042902128,0.00077321246,0.00094422046],"domain_scores_gemma":[0.98929554,0.0077103586,0.00091093103,0.0004961458,0.00080379646,0.00078321714],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0056260168,0.0006421473,0.00043847732,0.003379589,0.016259847,0.0063468376,0.002223334,0.003118318,0.0047116047],"category_scores_gemma":[0.017454863,0.0005188771,0.00036815068,0.0032203344,0.00795076,0.0055987267,0.005556629,0.003100108,0.0006786825],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005129364,0.00016373127,0.004731863,0.000106907464,0.00000488438,0.004808034,0.9705034,0.000040925206,0.0007630673,0.0057966434,0.00124126,0.011788073],"study_design_scores_gemma":[0.0000045738075,0.00003528705,0.0024445192,0.00011455804,0.0000051887873,0.00095022056,0.98161983,0.00011709712,0.00047115723,0.00040453448,0.013821541,0.000011397683],"about_ca_topic_score_codex":0.026909478,"about_ca_topic_score_gemma":0.072032586,"teacher_disagreement_score":0.026909478,"about_ca_system_score_codex":0.006284754,"about_ca_system_score_gemma":0.003190276,"threshold_uncertainty_score":0.05350566},"labels":[],"label_agreement":null},{"id":"W4245147937","doi":"10.32920/ryerson.14646861","title":"Pilgrimage to solitude : landscapes of Glenn Gould","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Toronto Metropolitan University; McGill University","funders":"","keywords":"Pilgrimage; Solitude; Style (visual arts); Biography; Antecedent (behavioral psychology); Art; History; Literature; Art history; Visual arts; Psychology; Archaeology","score_opus":0.03415269226027871,"score_gpt":0.22846102457567338,"score_spread":0.19430833231539468,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4245147937","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.40030512,0.0057659037,0.0013127931,0.017390667,0.00045815622,0.000058540616,0.00022988972,0.000115593386,0.57436335],"genre_scores_gemma":[0.95776623,0.0013721923,0.00072040595,0.0006967076,0.00003245946,0.000012345403,0.000037754064,0.000062335144,0.039299585],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99961925,0.000111606205,0.0000035218513,0.00004117456,0.000102378304,0.000121973855],"domain_scores_gemma":[0.9997341,0.0001015768,0.000016574653,0.000022105807,0.00004694877,0.00007871068],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00040858783,0.00022491977,0.00012207316,0.000806578,0.013868266,0.004357681,0.0005261151,0.0007245271,0.00845211],"category_scores_gemma":[0.0011672371,0.00013304295,0.00009444244,0.0011094983,0.008527378,0.0014257141,0.002139455,0.001127625,0.0002987341],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001779164,0.000048505397,0.0032643245,0.0002215798,0.000007812063,0.0022923278,0.663032,0.00030907756,0.0050821267,0.16497473,0.07317667,0.08741298],"study_design_scores_gemma":[0.0000069600374,0.000030698146,0.009167091,0.00020535842,0.0000072155917,0.0006518863,0.41515586,0.000111142566,0.0010921414,0.004408749,0.5691407,0.000022321388],"about_ca_topic_score_codex":0.6758291,"about_ca_topic_score_gemma":0.8992013,"teacher_disagreement_score":0.6758291,"about_ca_system_score_codex":0.0155937085,"about_ca_system_score_gemma":0.006980058,"threshold_uncertainty_score":0.6521599},"labels":[],"label_agreement":null},{"id":"W4245441685","doi":"10.4324/9781315602714","title":"Protest Music in France","year":2016,"lang":"en","type":"book","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History; Art","score_opus":0.026830393320362515,"score_gpt":0.1752437333265105,"score_spread":0.14841334000614798,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4245441685","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.33829975,0.037418567,0.0012538928,0.05464843,0.003521289,0.000058101657,0.00017367817,0.00038463238,0.56424165],"genre_scores_gemma":[0.8461583,0.0063881576,0.00061908824,0.0039187176,0.0015267531,0.000035524183,0.000107930806,0.00009668702,0.14114885],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9988152,0.00039480097,0.00002044827,0.00014872552,0.0003432073,0.00027773294],"domain_scores_gemma":[0.9994804,0.00018371477,0.000080172445,0.000020135207,0.00007781822,0.00015781871],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011542839,0.00054771727,0.00025367536,0.0017540499,0.008708903,0.007384099,0.0005719439,0.0030288845,0.0094850855],"category_scores_gemma":[0.0022822449,0.00020488886,0.00031324592,0.0010663591,0.003360626,0.0010556118,0.0022663136,0.0019850442,0.0011209063],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002597852,0.00022643383,0.008354496,0.00033652713,0.000051768257,0.005827916,0.16764216,0.0016254054,0.0039114747,0.46378407,0.15930386,0.1886761],"study_design_scores_gemma":[0.000011988167,0.00007026706,0.010141967,0.00017219347,0.000003355545,0.00059492246,0.01514703,0.00018677632,0.00024594757,0.0026073765,0.9707959,0.000022209435],"about_ca_topic_score_codex":0.059962034,"about_ca_topic_score_gemma":0.07249311,"teacher_disagreement_score":0.059962034,"about_ca_system_score_codex":0.009546442,"about_ca_system_score_gemma":0.0023151767,"threshold_uncertainty_score":0.11922604},"labels":[],"label_agreement":null},{"id":"W4245516915","doi":"10.32920/ryerson.14655234","title":"\"The Cashtro Hop Project\" Hip Hop music and an exploration of the construction of artistic self-identity","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Centre for Social Innovation","funders":"","keywords":"Musical; Aesthetics; Witness; Phenomenon; Sociology; Narrative; Identity (music); Fandom; Visual arts; Psychology; Art; Media studies; Computer science; Epistemology; Literature","score_opus":0.07773645074333808,"score_gpt":0.2575037189870475,"score_spread":0.17976726824370942,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4245516915","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.38925764,0.0045518535,0.006394412,0.010105854,0.0007700044,0.00011605537,0.000075900905,0.00010175395,0.5886266],"genre_scores_gemma":[0.95076275,0.0011047687,0.0016541074,0.0003476929,0.00013367161,0.000050890554,0.00002254201,0.000032912107,0.045890678],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99919873,0.00049798266,0.00001113033,0.000065747125,0.00013472525,0.00009169712],"domain_scores_gemma":[0.99943453,0.00026665564,0.000060354847,0.00006639382,0.000046877223,0.00012515539],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015347988,0.0004432136,0.00013734325,0.0013802818,0.005925966,0.0071585984,0.00058881723,0.0007873181,0.005775729],"category_scores_gemma":[0.0016454174,0.00010451029,0.0001389959,0.0008198094,0.019680746,0.002335236,0.004532333,0.0012666326,0.0002879644],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006826965,0.000034116125,0.0014254774,0.00015161876,0.0000061862365,0.0006425697,0.2089928,0.00011879206,0.0007687575,0.7332666,0.012032906,0.04249193],"study_design_scores_gemma":[0.00002772653,0.00010321619,0.011284781,0.00091657205,0.000020043175,0.0009270685,0.42003822,0.00078169844,0.0021427302,0.1016985,0.46202102,0.000038474107],"about_ca_topic_score_codex":0.0045673903,"about_ca_topic_score_gemma":0.0071227737,"teacher_disagreement_score":0.0071585984,"about_ca_system_score_codex":0.0025653618,"about_ca_system_score_gemma":0.0022303911,"threshold_uncertainty_score":0.01932168},"labels":[],"label_agreement":null},{"id":"W4245629299","doi":"10.1525/jpms.2020.323007","title":"Hip Hop and the University","year":2020,"lang":"en","type":"article","venue":"Journal of Popular Music Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"MacEwan University","funders":"","keywords":"Scholarship; Poetry; Embodied cognition; Sociology; Hop (telecommunications); Poetics; Space (punctuation); Aesthetics; Media studies; Epistemology; Computer science; Art; Literature; Political science; Telecommunications; Linguistics; Philosophy; Law","score_opus":0.09517030129911115,"score_gpt":0.21790104271328814,"score_spread":0.12273074141417699,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4245629299","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08719179,0.019286532,0.0018842508,0.07892451,0.0010897758,0.000022467357,0.000031628442,0.0000455845,0.8115235],"genre_scores_gemma":[0.9635868,0.0045344457,0.000380188,0.004541606,0.00061916193,0.000014816633,0.000011241509,0.000021274895,0.026290415],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9963159,0.0023169168,0.000072835166,0.0002465275,0.0005789163,0.00046902618],"domain_scores_gemma":[0.99752504,0.0012886187,0.00024864514,0.00021118205,0.00020956161,0.0005169524],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020076383,0.0001989303,0.00026748842,0.0016656829,0.011325943,0.0124462005,0.00068214035,0.0032496913,0.0071118125],"category_scores_gemma":[0.0050085774,0.00013394852,0.00016419547,0.001646973,0.046089288,0.0068952716,0.0067155454,0.0041647214,0.00052620564],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009109249,0.000012160437,0.0004429661,0.000033363493,0.0000017957749,0.00010480808,0.044661794,0.00005164458,0.000031390828,0.93454224,0.0075748856,0.0125338165],"study_design_scores_gemma":[0.000010109254,0.000043797663,0.0027082218,0.00068387116,0.000008212803,0.00039343484,0.16012603,0.00016517451,0.0002500787,0.26035017,0.57522994,0.000030974377],"about_ca_topic_score_codex":0.0078024585,"about_ca_topic_score_gemma":0.009362681,"teacher_disagreement_score":0.0124462005,"about_ca_system_score_codex":0.0070524835,"about_ca_system_score_gemma":0.006239813,"threshold_uncertainty_score":0.051169574},"labels":[],"label_agreement":null},{"id":"W4245834852","doi":"10.22215/etd/2012-07234","title":"Jamaican Canadian music in Toronto in the 1970s and 1980s : a preliminary history","year":2012,"lang":"en","type":"dissertation","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Carleton University; Library and Archives Canada","funders":"","keywords":"Humanities; Art; History","score_opus":0.02608326134259611,"score_gpt":0.20397998597773306,"score_spread":0.17789672463513695,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4245834852","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.51464653,0.07847732,0.00034675119,0.018440505,0.00060789846,0.00016186216,0.013963044,0.00005757405,0.3732984],"genre_scores_gemma":[0.8588094,0.048637882,0.0004925773,0.0011467948,0.00018772417,0.000055090313,0.0026464176,0.000042460535,0.08798155],"study_design_codex":"design_other","study_design_gemma":"qualitative","domain_scores_codex":[0.99916553,0.000042116026,0.000039369075,0.00007703446,0.0003018424,0.00037404633],"domain_scores_gemma":[0.9980063,0.00020495104,0.00023105672,0.00004030394,0.0010891083,0.00042831496],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005132038,0.0003589795,0.00027267457,0.0061090016,0.010969474,0.0038651605,0.00071581715,0.00054539694,0.011918952],"category_scores_gemma":[0.0021783216,0.00030501897,0.00019722244,0.02013087,0.0024938402,0.0010308723,0.0015864357,0.00093581906,0.0007002218],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00052266446,0.00012680437,0.27770656,0.0032580178,0.00012137863,0.004272471,0.24913904,0.00067949493,0.0015507569,0.059572637,0.1205952,0.28245494],"study_design_scores_gemma":[0.000008436954,0.00002097257,0.60499966,0.000733109,0.000031109463,0.0003128543,0.07150187,0.00011002651,0.00028082242,0.00042443804,0.32154027,0.00003653459],"about_ca_topic_score_codex":0.9953106,"about_ca_topic_score_gemma":0.9992318,"teacher_disagreement_score":0.092786625,"about_ca_system_score_codex":0.092786625,"about_ca_system_score_gemma":0.08852916,"threshold_uncertainty_score":0.67321724},"labels":[],"label_agreement":null},{"id":"W4245944571","doi":"10.32920/ryerson.14645472","title":"Heavy Metal Thunder: the making of the film","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Media studies; History; Sociology","score_opus":0.05791287184068363,"score_gpt":0.23246188309663626,"score_spread":0.17454901125595262,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4245944571","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0565962,0.010635652,0.002137075,0.04745338,0.010280368,0.0001490715,0.00072063826,0.00018195547,0.87184566],"genre_scores_gemma":[0.41567376,0.010264564,0.0028093844,0.007563945,0.0028759919,0.000078849116,0.00047334426,0.0005439121,0.5597163],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993748,0.00015987713,0.000009536821,0.00007348406,0.00022568017,0.00015668513],"domain_scores_gemma":[0.99954885,0.00007837097,0.000016594891,0.000027195942,0.00017567837,0.00015338584],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00064935716,0.00038956077,0.00015008177,0.0006951222,0.011428996,0.0074817,0.0006101208,0.0012804406,0.018829186],"category_scores_gemma":[0.0017582363,0.00022868038,0.00019873674,0.00076035754,0.0033566214,0.0022364852,0.0024307175,0.0030575856,0.002194236],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011430468,0.00006486621,0.0012133493,0.0003463729,0.000015425821,0.0015551004,0.15889694,0.00012363032,0.0049039503,0.089253165,0.67896223,0.06455069],"study_design_scores_gemma":[0.0000035904316,0.000008329204,0.00097399025,0.00015579943,0.0000051474326,0.00017157676,0.031037148,0.000038844693,0.00046756348,0.00070307264,0.9664265,0.000008509739],"about_ca_topic_score_codex":0.14464124,"about_ca_topic_score_gemma":0.41033155,"teacher_disagreement_score":0.14464124,"about_ca_system_score_codex":0.006538181,"about_ca_system_score_gemma":0.0030058671,"threshold_uncertainty_score":0.2875986},"labels":[],"label_agreement":null},{"id":"W4245967378","doi":"10.32920/ryerson.14664375","title":"Situating hybridity and searching for authenticity in Canadian hip-hop : how do we \"keep it real\"?","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Hybridity; Narrative; Rhetoric; Mainstream; Bricolage; Gender studies; Sociology; Slang; Ethnography; Literature; Political science; Linguistics; Art; Anthropology; Law","score_opus":0.07327638941642912,"score_gpt":0.2608058840058951,"score_spread":0.187529494589466,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4245967378","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.63091654,0.005921361,0.007391275,0.04003126,0.0007358528,0.00012341276,0.00035303712,0.00014011956,0.31438708],"genre_scores_gemma":[0.98382217,0.0011466788,0.0014187918,0.0008641099,0.00003144376,0.000020877713,0.000054242864,0.000054046384,0.012587607],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99395233,0.0019276729,0.00012665355,0.0006069378,0.0018833813,0.0015030353],"domain_scores_gemma":[0.9941163,0.0024108966,0.00043641462,0.00038360158,0.0016210448,0.0010316122],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005150157,0.0007973679,0.0005667223,0.0047237417,0.043878064,0.017853152,0.0028698333,0.002652054,0.006182062],"category_scores_gemma":[0.010996585,0.00039657598,0.00035087,0.005431756,0.048052993,0.004761893,0.00907384,0.003822101,0.00045451926],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003200209,0.000009148673,0.0032109888,0.00010447052,0.000007787292,0.00049504754,0.9227541,0.00008058571,0.00046823855,0.052382022,0.0039984086,0.016457321],"study_design_scores_gemma":[0.000002140593,0.0000072850967,0.00203543,0.00018350896,0.0000111747595,0.00016501534,0.913239,0.00008679186,0.000278131,0.002416664,0.08155031,0.000024469657],"about_ca_topic_score_codex":0.9475331,"about_ca_topic_score_gemma":0.97171843,"teacher_disagreement_score":0.087850764,"about_ca_system_score_codex":0.087850764,"about_ca_system_score_gemma":0.10460305,"threshold_uncertainty_score":0.6374049},"labels":[],"label_agreement":null},{"id":"W4246313268","doi":"10.1386/smt.9.2.199_1","title":"Book Reviews","year":2015,"lang":"en","type":"article","venue":"Studies in Musical Theatre","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Mount Allison University","funders":"","keywords":"Art; Art history; Humanities","score_opus":0.21775417978967207,"score_gpt":0.3301904152259168,"score_spread":0.11243623543624473,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4246313268","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00033505258,0.43288836,0.0014343242,0.024718069,0.077482976,0.00017190768,0.0029585,0.000840869,0.4591699],"genre_scores_gemma":[0.0021394207,0.20678702,0.0012625073,0.0169213,0.025481872,0.00012853269,0.0032040852,0.00049272977,0.7435824],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989868,0.00010665601,0.00007050689,0.00017726577,0.00057599763,0.000082745784],"domain_scores_gemma":[0.997693,0.00047982283,0.000179348,0.00017748808,0.0010978814,0.00037236622],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00067616143,0.0010632459,0.0013133986,0.0037502863,0.00092700956,0.0051194187,0.0020638225,0.0021930097,0.4057946],"category_scores_gemma":[0.0047104084,0.00043963542,0.000826371,0.0039639473,0.0007242613,0.0030603586,0.0018999361,0.0026861771,0.37957877],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010849896,0.000012026243,0.000019503419,0.0005407476,0.0000037277846,0.000047387275,0.000023185701,0.000032537286,0.000104139974,0.0012679625,0.9118272,0.08611075],"study_design_scores_gemma":[0.0000024552169,0.0000039284646,0.000041598392,0.00034565153,0.0000022714494,0.000099776786,0.000015974854,0.000005154069,0.000018557648,0.0003808178,0.99908113,0.0000026543526],"about_ca_topic_score_codex":0.0028609093,"about_ca_topic_score_gemma":0.0043652165,"teacher_disagreement_score":0.4057946,"about_ca_system_score_codex":0.0016750515,"about_ca_system_score_gemma":0.0028988656,"threshold_uncertainty_score":0.8475619},"labels":[],"label_agreement":null},{"id":"W4246400807","doi":"10.5429/2079-3871(2019)v9i2.1en","title":"Editorial Introduction","year":2019,"lang":"es","type":"article","venue":"IASPM Journal","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"York University","funders":"","keywords":"Philosophy","score_opus":0.008206371524755202,"score_gpt":0.1958144426108499,"score_spread":0.1876080710860947,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4246400807","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00017416876,0.0063261567,0.00032831894,0.044030037,0.8665621,0.00008676817,0.0007253047,0.00031830184,0.08144883],"genre_scores_gemma":[0.0034166009,0.009548356,0.0005297092,0.040374365,0.6211635,0.00011641162,0.0012633306,0.00039199606,0.32319567],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99729854,0.00026574693,0.00022286386,0.00054317864,0.0013070067,0.00036253393],"domain_scores_gemma":[0.9904169,0.0013806025,0.0005249497,0.00068587967,0.0050130524,0.0019787436],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002422635,0.0013391491,0.0010182181,0.0025568327,0.0023414386,0.007032826,0.00217206,0.0057478645,0.29294738],"category_scores_gemma":[0.012414878,0.0004996317,0.0011489284,0.0010880377,0.0011258492,0.0037995998,0.0023571958,0.005862331,0.1539613],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015038507,0.000007831036,0.000036681926,0.00013068851,0.0000024065623,0.00007377743,0.00001921718,0.000012463794,0.00007959255,0.0008546999,0.98609954,0.01266818],"study_design_scores_gemma":[0.00000525104,0.0000060922075,0.0001032846,0.00013023826,0.0000023196078,0.00006529945,0.000027327946,0.00001119043,0.00004312113,0.00034866712,0.9992537,0.000003536686],"about_ca_topic_score_codex":0.0019545457,"about_ca_topic_score_gemma":0.0031531353,"teacher_disagreement_score":0.29294738,"about_ca_system_score_codex":0.002364398,"about_ca_system_score_gemma":0.0036925056,"threshold_uncertainty_score":0.98000664},"labels":[],"label_agreement":null},{"id":"W4246434892","doi":"10.32920/ryerson.14664375.v1","title":"Situating hybridity and searching for authenticity in Canadian hip-hop : how do we \"keep it real\"?","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Hybridity; Narrative; Rhetoric; Mainstream; Gender studies; Bricolage; Sociology; Slang; Literature; Political science; Linguistics; Art; Anthropology; Law","score_opus":0.07327638941642912,"score_gpt":0.2608058840058951,"score_spread":0.187529494589466,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4246434892","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.63091654,0.005921361,0.007391275,0.04003126,0.0007358528,0.00012341276,0.00035303712,0.00014011956,0.31438708],"genre_scores_gemma":[0.98382217,0.0011466788,0.0014187918,0.0008641099,0.00003144376,0.000020877713,0.000054242864,0.000054046384,0.012587607],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99395233,0.0019276729,0.00012665355,0.0006069378,0.0018833813,0.0015030353],"domain_scores_gemma":[0.9941163,0.0024108966,0.00043641462,0.00038360158,0.0016210448,0.0010316122],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005150157,0.0007973679,0.0005667223,0.0047237417,0.043878064,0.017853152,0.0028698333,0.002652054,0.006182062],"category_scores_gemma":[0.010996585,0.00039657598,0.00035087,0.005431756,0.048052993,0.004761893,0.00907384,0.003822101,0.00045451926],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003200209,0.000009148673,0.0032109888,0.00010447052,0.000007787292,0.00049504754,0.9227541,0.00008058571,0.00046823855,0.052382022,0.0039984086,0.016457321],"study_design_scores_gemma":[0.000002140593,0.0000072850967,0.00203543,0.00018350896,0.0000111747595,0.00016501534,0.913239,0.00008679186,0.000278131,0.002416664,0.08155031,0.000024469657],"about_ca_topic_score_codex":0.9475331,"about_ca_topic_score_gemma":0.97171843,"teacher_disagreement_score":0.087850764,"about_ca_system_score_codex":0.087850764,"about_ca_system_score_gemma":0.10460305,"threshold_uncertainty_score":0.6374049},"labels":[],"label_agreement":null},{"id":"W4246925889","doi":"10.1002/9781118786352.wbieg0217","title":"Soundscapes","year":2017,"lang":"en","type":"other","venue":"International Encyclopedia of Geography","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McMaster University","funders":"","keywords":"Soundscape; Performative utterance; Musical; Representation (politics); Natural (archaeology); Perspective (graphical); Sound (geography); Identity (music); Sociology; Aesthetics; Visual arts; History; Acoustics; Art; Political science; Law","score_opus":0.010479422302249816,"score_gpt":0.22000668747400803,"score_spread":0.2095272651717582,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4246925889","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0023817506,0.0022204614,0.00695533,0.0013950735,0.0012321753,0.00012574492,0.004503728,0.002676696,0.9785091],"genre_scores_gemma":[0.045977443,0.00706647,0.011382365,0.0020794421,0.00088002445,0.00037217193,0.011367356,0.0047141463,0.9161606],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986106,0.0002556011,0.000096571595,0.00017612716,0.00068473024,0.0001764005],"domain_scores_gemma":[0.99818987,0.00045237562,0.00011164236,0.00035269576,0.00051514903,0.0003783157],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00096192607,0.0009122208,0.00031305812,0.0032501689,0.0022283304,0.008517966,0.0014610967,0.0016204779,0.28404075],"category_scores_gemma":[0.0068060774,0.0002583922,0.0004265684,0.0039342693,0.001633348,0.008409378,0.006616521,0.0014157939,0.1289769],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007361798,0.0000452645,0.0006996497,0.0007317551,0.000010240558,0.00028016322,0.0037881723,0.00021792743,0.0013492662,0.15263659,0.59024453,0.24992293],"study_design_scores_gemma":[0.0000013124345,0.0000037566915,0.00021226988,0.000104831975,0.0000010020608,0.00011734635,0.00046691447,0.000020341899,0.00014100752,0.0027534757,0.9961718,0.00000605691],"about_ca_topic_score_codex":0.0028708773,"about_ca_topic_score_gemma":0.004498909,"teacher_disagreement_score":0.28404075,"about_ca_system_score_codex":0.0012043931,"about_ca_system_score_gemma":0.0018135149,"threshold_uncertainty_score":0.950211},"labels":[],"label_agreement":null},{"id":"W4247034504","doi":"10.22215/etd/2010-08799","title":"(Re)Gendering jazz: women instrumentalists in Toronto","year":2010,"lang":"en","type":"dissertation","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Jazz; Humanities; Gender studies; Art; Sociology; Art history","score_opus":0.016581587260380486,"score_gpt":0.2324426455579835,"score_spread":0.21586105829760302,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4247034504","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.66400874,0.009434207,0.00071971974,0.046292894,0.0010425963,0.000115655595,0.0010777107,0.00013814284,0.27717042],"genre_scores_gemma":[0.8440105,0.0024307102,0.00016303327,0.0013271499,0.00008492269,0.000042594314,0.00013463343,0.00009987261,0.15170658],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99822444,0.00038696348,0.00004545228,0.00022014626,0.00022188452,0.000901018],"domain_scores_gemma":[0.9976156,0.00041585308,0.0002268137,0.000087220425,0.0002748928,0.001379691],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013036602,0.00056411175,0.00043258324,0.00139629,0.03283991,0.009987723,0.0012228162,0.0023586855,0.02503984],"category_scores_gemma":[0.0028540022,0.00054401386,0.00025038197,0.0028916523,0.012925478,0.0037656317,0.0070066815,0.003826613,0.0017422853],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000053189582,0.000010544165,0.00412746,0.00006326922,0.0000031720162,0.0004788172,0.9552886,0.000021937776,0.0005312295,0.010305467,0.020953681,0.008162665],"study_design_scores_gemma":[0.000004004943,0.000009582213,0.012548422,0.00006690015,0.0000047107746,0.00007604785,0.8802688,0.000014760315,0.00012662674,0.00020670785,0.10666225,0.00001115229],"about_ca_topic_score_codex":0.9204352,"about_ca_topic_score_gemma":0.98086643,"teacher_disagreement_score":0.07956481,"about_ca_system_score_codex":0.05467462,"about_ca_system_score_gemma":0.03373472,"threshold_uncertainty_score":0.396694},"labels":[],"label_agreement":null},{"id":"W4247384249","doi":"10.4135/9781483317731.n137","title":"Canada: History, Culture, and Geography of Music","year":2019,"lang":"en","type":"reference-entry","venue":"The SAGE International Encyclopedia of Music and Culture","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Geography; Music Geography; Visual arts; Anthropology; Human geography; Cultural geography; Economic geography; Sociology; Art","score_opus":0.0170776298011611,"score_gpt":0.19272975923020663,"score_spread":0.17565212942904554,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4247384249","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.007818954,0.05585884,0.00059316464,0.02528153,0.0019224237,0.000120059165,0.06200719,0.0005206972,0.8458771],"genre_scores_gemma":[0.059524544,0.05993859,0.0023384828,0.0023991058,0.00031945927,0.00008324002,0.019722229,0.0004893188,0.855185],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.998672,0.00005181476,0.00005254326,0.000081838225,0.0007546732,0.00038718426],"domain_scores_gemma":[0.9974016,0.00012395991,0.00008431979,0.000055491728,0.0018018379,0.00053288136],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005638013,0.0009478529,0.00065346295,0.005225311,0.008878259,0.01054502,0.001401826,0.0015418621,0.09073074],"category_scores_gemma":[0.0031476247,0.0005045934,0.00036492335,0.021771416,0.0029619501,0.003501463,0.002395467,0.0020561726,0.012847524],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002764255,0.000016512797,0.002235879,0.0005684617,0.000008057447,0.00013600665,0.0016208793,0.00019557931,0.00009627738,0.030483773,0.8870657,0.077545196],"study_design_scores_gemma":[0.000004395809,0.000002912585,0.0089031365,0.00047582958,0.0000070073,0.00005047798,0.0029488057,0.00006841887,0.00006332106,0.0025731556,0.9848824,0.000020270227],"about_ca_topic_score_codex":0.9977829,"about_ca_topic_score_gemma":0.99910516,"teacher_disagreement_score":0.09594179,"about_ca_system_score_codex":0.09594179,"about_ca_system_score_gemma":0.33496758,"threshold_uncertainty_score":0.69610965},"labels":[],"label_agreement":null},{"id":"W4247632672","doi":"10.1353/mdr.0.0067","title":"An Experiment in Modern Vaudeville: Archiving the Wretched Refuse in John Howard Lawson’s Processional","year":2008,"lang":"en","type":"article","venue":"Modern Drama","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Literature; History","score_opus":0.04084589402717762,"score_gpt":0.24413626456690307,"score_spread":0.20329037053972546,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4247632672","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6221733,0.0014370087,0.006574383,0.014470741,0.0007394739,0.00014479237,0.00016036748,0.0001640115,0.35413593],"genre_scores_gemma":[0.9345347,0.00038126955,0.0039165528,0.0018115587,0.0000980552,0.00011837724,0.00006726618,0.00014414075,0.05892805],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99723274,0.0019076783,0.000035749457,0.00022745672,0.0003515022,0.00024477852],"domain_scores_gemma":[0.99760085,0.0014885436,0.0000660729,0.0004666784,0.0002075521,0.00017028769],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0046777334,0.00032185327,0.00024971442,0.00081735465,0.013545752,0.007168118,0.0013130303,0.002031451,0.012905642],"category_scores_gemma":[0.0077931727,0.00032955396,0.00023417959,0.00083095906,0.014544099,0.006583909,0.0056171883,0.0038378139,0.0008403695],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00027751556,0.00030837828,0.0012611415,0.00012657864,0.000013660679,0.00057494553,0.5915544,0.00017937481,0.0035964542,0.3304636,0.025455352,0.046188693],"study_design_scores_gemma":[0.00007595038,0.00031742326,0.0026509908,0.00026262988,0.000015910715,0.00040749167,0.24082549,0.00040751963,0.0035049624,0.029958798,0.72151154,0.000061300954],"about_ca_topic_score_codex":0.013710935,"about_ca_topic_score_gemma":0.037018064,"teacher_disagreement_score":0.013710935,"about_ca_system_score_codex":0.004110345,"about_ca_system_score_gemma":0.0013753335,"threshold_uncertainty_score":0.04317361},"labels":[],"label_agreement":null},{"id":"W4247946671","doi":"10.1386/smt.4.2.227_5","title":"Reviews","year":2010,"lang":"en","type":"article","venue":"Studies in Musical Theatre","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Musical; Art; Art history; Studio; Performance art; Media studies; Humanities; Visual arts; Sociology","score_opus":0.11400931950380022,"score_gpt":0.3194214596050253,"score_spread":0.2054121401012251,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4247946671","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00041329875,0.57303536,0.0013556812,0.025519803,0.03776758,0.00020869036,0.004971609,0.00084781524,0.3558801],"genre_scores_gemma":[0.0038164905,0.4822528,0.0019459147,0.016978733,0.013937329,0.00020635236,0.0067709778,0.00059611426,0.47349536],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982101,0.00020176974,0.00014093658,0.00030259773,0.0009355461,0.00020917838],"domain_scores_gemma":[0.9972089,0.00043952023,0.00016341444,0.00024328602,0.0014674664,0.00047747092],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0011773013,0.0012456438,0.0013737542,0.0038988094,0.001493015,0.0070433663,0.0028792378,0.0028673823,0.31108454],"category_scores_gemma":[0.0058478974,0.0004926489,0.00095705036,0.004934582,0.0009614964,0.0038763336,0.0026900764,0.0027559,0.21835685],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021872329,0.000016746986,0.00006748495,0.0017226174,0.000009902276,0.00007217852,0.00009026325,0.000042896576,0.0001487551,0.0032949268,0.8535912,0.14092113],"study_design_scores_gemma":[0.0000018306571,0.000002787657,0.000082176026,0.0005224341,0.0000033296496,0.00006470963,0.000033263983,0.00000387112,0.00001846572,0.00037913417,0.9988857,0.0000024521933],"about_ca_topic_score_codex":0.01629215,"about_ca_topic_score_gemma":0.02511271,"teacher_disagreement_score":0.6889155,"about_ca_system_score_codex":0.0040648934,"about_ca_system_score_gemma":0.011894936,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4248001499","doi":"10.1007/978-94-6300-500-5_5","title":"Hiphop Citizen","year":2016,"lang":"en","type":"book-chapter","venue":"SensePublishers eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"MacEwan University","funders":"","keywords":"Alley; Youth culture; Variety (cybernetics); Sociology; Art; Aesthetics; Advertising; Engineering; Gender studies; Business; Computer science; Civil engineering","score_opus":0.030104692053685246,"score_gpt":0.1793589856785026,"score_spread":0.14925429362481737,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4248001499","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0008203611,0.00043697338,0.00023531055,0.0030010494,0.00125715,0.00002622858,0.00037375456,0.00025684445,0.9935923],"genre_scores_gemma":[0.0017462391,0.00024330826,0.00010566334,0.0008153219,0.00009022269,0.0000092499995,0.00013215693,0.00009708983,0.9967609],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996172,0.000042464922,0.000009491412,0.00006815743,0.00017184738,0.00009079899],"domain_scores_gemma":[0.9996488,0.00003666107,0.0000131615725,0.000054564232,0.00011732258,0.00012944102],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00031940785,0.00048309145,0.00022579623,0.00077917526,0.0037512055,0.0044779205,0.00072566967,0.0018811703,0.47310185],"category_scores_gemma":[0.00096759055,0.00026293733,0.00025777332,0.00095573964,0.0009191161,0.004140571,0.003945744,0.0024744796,0.18924828],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000066601388,0.000016264248,0.00009653785,0.000039109815,5.6740896e-7,0.00010695818,0.0007606368,0.0000065921827,0.00012599112,0.016435742,0.94634366,0.03606124],"study_design_scores_gemma":[5.7466326e-7,0.0000015493699,0.00008684425,0.000014415456,1.7804139e-7,0.000047334437,0.00032114316,0.0000032845612,0.00002257867,0.00022117341,0.9992798,0.0000010645587],"about_ca_topic_score_codex":0.00864091,"about_ca_topic_score_gemma":0.029652538,"teacher_disagreement_score":0.47310185,"about_ca_system_score_codex":0.0013675556,"about_ca_system_score_gemma":0.0016873545,"threshold_uncertainty_score":0.7515563},"labels":[],"label_agreement":null},{"id":"W4248964101","doi":"10.1093/oxfordhb/9780199793525.013.102","title":"(To) Queer","year":2018,"lang":"en","type":"book-chapter","venue":"Oxford University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Canadian University Music Society; University of Toronto","funders":"","keywords":"Queer; Performativity; Narrative; Human sexuality; Subject (documents); Individuation; Gender studies; Conversation; Musical; Psychoanalysis; Sociology; Lesbian; Aesthetics; Art; Psychology; Literature; Communication","score_opus":0.036858757254270166,"score_gpt":0.18040616989379932,"score_spread":0.14354741263952914,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4248964101","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.004753691,0.0035506305,0.00054723205,0.011955213,0.0022063467,0.000038413884,0.00015817395,0.00010166602,0.97668856],"genre_scores_gemma":[0.036300592,0.0015782322,0.00019399993,0.002985764,0.00033403578,0.000019372068,0.000047155383,0.000050731174,0.95849013],"study_design_codex":"not_applicable","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9997178,0.00006146049,0.000007764842,0.00005193802,0.00007812942,0.00008293476],"domain_scores_gemma":[0.9998448,0.00003231022,0.000018060982,0.000020362144,0.000046207108,0.000038096387],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00032147882,0.00035112698,0.00017122393,0.00042314836,0.0046453853,0.0025207014,0.00029046004,0.0008445366,0.16183406],"category_scores_gemma":[0.00086763327,0.00008592909,0.00015200373,0.00037095006,0.001637822,0.0019994911,0.0014087162,0.0019121816,0.036167897],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000035857942,0.000030910887,0.0005934964,0.00014180968,0.0000036450053,0.0006069244,0.02447245,0.000047710542,0.0008433636,0.32473272,0.534183,0.114308126],"study_design_scores_gemma":[0.0000014480862,0.000006557281,0.00022398283,0.000049957504,8.1649915e-7,0.00015699264,0.0027209101,0.000012827566,0.00008184099,0.0015310814,0.9952108,0.0000027974233],"about_ca_topic_score_codex":0.01452858,"about_ca_topic_score_gemma":0.028706083,"teacher_disagreement_score":0.16183406,"about_ca_system_score_codex":0.0014230066,"about_ca_system_score_gemma":0.00077795814,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4249183353","doi":"10.1353/bio.2018.0053","title":"Editor's Note","year":2018,"lang":"en","type":"article","venue":"Biography","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Biography; Audience measurement; Theme (computing); Musical; History; Politics; Lyrics; Media studies; Art history; Literature; Sociology; Art; Political science; Law","score_opus":0.013085607132959224,"score_gpt":0.2039637157622461,"score_spread":0.19087810862928686,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4249183353","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000104167826,0.001797704,0.00026729365,0.112169534,0.86944735,0.000072795454,0.00018308194,0.00025953157,0.015698565],"genre_scores_gemma":[0.0033249017,0.004028228,0.0010623625,0.22557765,0.5468293,0.0002290837,0.00030438747,0.00041172293,0.21823235],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99517375,0.00046484248,0.00044239764,0.00093747536,0.002508428,0.00047320127],"domain_scores_gemma":[0.97479546,0.0034453974,0.001101879,0.0010671562,0.016409552,0.003180676],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0040278616,0.0018766125,0.0017217573,0.0016148023,0.003132469,0.0077033667,0.0038439205,0.0085746795,0.12241688],"category_scores_gemma":[0.03910471,0.00070640695,0.0015799316,0.0009438188,0.001562089,0.004479147,0.0027055393,0.0117564285,0.088930026],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00000720925,0.000004482519,0.000019014231,0.00003476224,0.0000013522236,0.000053500025,0.000011733023,0.000007083517,0.000029209828,0.00025416075,0.9950783,0.0044992184],"study_design_scores_gemma":[0.000007685827,0.000007263815,0.00008453987,0.00008695509,0.000002537939,0.0000984884,0.000043374494,0.000031389303,0.00006444574,0.0002803903,0.99928504,0.000007880662],"about_ca_topic_score_codex":0.0017625735,"about_ca_topic_score_gemma":0.0043539815,"teacher_disagreement_score":0.12241688,"about_ca_system_score_codex":0.0025090396,"about_ca_system_score_gemma":0.0060305577,"threshold_uncertainty_score":0.40952528},"labels":[],"label_agreement":null},{"id":"W4249931311","doi":"10.1353/mdr.2010.0029","title":"AIDS = Purgatory: Prior Walter's Prophecy and Angels in America","year":2010,"lang":"en","type":"article","venue":"Modern Drama","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Purgatory; Liminality; Humanity; Realm; Metaphor; Vision; Art; Pessimism; Space (punctuation); Philosophy; Literature; Art history; Theology; History; Aesthetics","score_opus":0.015108956687999784,"score_gpt":0.2052474627001584,"score_spread":0.19013850601215862,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4249931311","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16184892,0.014510371,0.0021557596,0.0848632,0.0024408898,0.00003281159,0.00006182569,0.00009988857,0.7339863],"genre_scores_gemma":[0.8939679,0.003987668,0.00042311553,0.005137345,0.00036082193,0.0000151405475,0.00001843878,0.000046020148,0.09604357],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996222,0.00019177876,0.0000045416004,0.000025629313,0.0000498103,0.000105997795],"domain_scores_gemma":[0.99961436,0.00015549209,0.000040260544,0.000017019185,0.00002194247,0.00015091061],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007359816,0.00027096647,0.00012420036,0.0004142492,0.0065947375,0.0038614848,0.00034355273,0.0011634794,0.0046964255],"category_scores_gemma":[0.0011795571,0.00014293061,0.00008991662,0.0003108528,0.01247866,0.0028928032,0.0024396973,0.0043318807,0.00036675087],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000061787985,0.0000647351,0.00091958186,0.00007016289,0.0000047273375,0.0009871867,0.40033945,0.00008085492,0.00053837243,0.48122564,0.09157453,0.024132997],"study_design_scores_gemma":[0.000017745962,0.00003180749,0.00096639316,0.0001696774,0.0000048717325,0.0008252152,0.14698613,0.0000722884,0.00028681956,0.012391923,0.8382341,0.000013037755],"about_ca_topic_score_codex":0.017203657,"about_ca_topic_score_gemma":0.05300939,"teacher_disagreement_score":0.017203657,"about_ca_system_score_codex":0.0025471395,"about_ca_system_score_gemma":0.0012476048,"threshold_uncertainty_score":0.034207046},"labels":[],"label_agreement":null},{"id":"W4249937877","doi":"10.22215/etd/2013-06494","title":"Shaping American identity through music : nationality, taste, and power at the Cincinnati May Festival, 1873-1905","year":2013,"lang":"en","type":"dissertation","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University; Canadian Heritage; Library and Archives Canada","funders":"","keywords":"Nationality; Taste; Identity (music); Humanities; Power (physics); Performance art; Art; Art history; Visual arts; History; Aesthetics; Political science; Psychology; Law; Immigration","score_opus":0.05881677616291675,"score_gpt":0.28105320348900154,"score_spread":0.22223642732608478,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4249937877","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.81386614,0.0011706685,0.00011804831,0.0054389164,0.00019546079,0.000024902454,0.00027442383,0.000008817223,0.1789026],"genre_scores_gemma":[0.9655929,0.00036238038,0.000039594222,0.00020642497,0.000032232943,0.000011422837,0.000039384387,0.000010068743,0.03370555],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9995295,0.00012280417,0.000010427946,0.000050835202,0.00008114824,0.00020529675],"domain_scores_gemma":[0.9994184,0.000070037626,0.00007535663,0.000022866843,0.00011468618,0.0002986211],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001211723,0.00018890784,0.00015693312,0.000610471,0.009806446,0.0037295087,0.0003600003,0.00045117922,0.008789306],"category_scores_gemma":[0.0013263476,0.00012905781,0.00006442033,0.0010782948,0.0046216757,0.0011664013,0.0025700377,0.0013443539,0.00058997056],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00030117074,0.00016142947,0.086306006,0.00008441299,0.000018348901,0.00041759756,0.77658194,0.00011988115,0.0009907132,0.023246774,0.044720244,0.06705151],"study_design_scores_gemma":[0.0000089209225,0.0000521627,0.33128175,0.000094676936,0.0000093358785,0.00005169624,0.45732296,0.000036192883,0.00029532745,0.0008238821,0.21000406,0.000019101397],"about_ca_topic_score_codex":0.18627746,"about_ca_topic_score_gemma":0.6831638,"teacher_disagreement_score":0.18627746,"about_ca_system_score_codex":0.007651057,"about_ca_system_score_gemma":0.0024772766,"threshold_uncertainty_score":0.37038636},"labels":[],"label_agreement":null},{"id":"W4250277229","doi":"10.1080/14927713.2012.678660","title":"Corrigendum","year":2012,"lang":"fr","type":"erratum","venue":"Leisure/Loisir","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.04728666663834826,"score_gpt":0.22618011385396766,"score_spread":0.1788934472156194,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4250277229","genre_codex":"editorial","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00025954974,0.0022768718,0.00073099165,0.026055727,0.7348228,0.00025497066,0.01116588,0.0038635954,0.22056958],"genre_scores_gemma":[0.001155298,0.0014714451,0.0006934112,0.00708602,0.030552752,0.00014040332,0.004831548,0.0011105647,0.9529584],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.997575,0.00020690444,0.00019187138,0.0002222951,0.0015346733,0.0002693447],"domain_scores_gemma":[0.98760986,0.0010380284,0.00035088812,0.0008015331,0.009310165,0.0008896451],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.001231611,0.0020613836,0.0018774146,0.0058307634,0.0028510059,0.0058394126,0.0026606736,0.003463748,0.7802048],"category_scores_gemma":[0.020894026,0.0009553737,0.0015994764,0.0028671734,0.00068110914,0.001927463,0.0025214253,0.0031928364,0.6060567],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000056486497,0.000003286929,0.000013654458,0.000033674496,8.43573e-7,0.00001555492,0.0000018103652,0.000007189364,0.000008774854,0.00006582283,0.9943447,0.00549908],"study_design_scores_gemma":[0.000017181785,0.000017744853,0.0005679891,0.00017230774,0.000009837636,0.00005813831,0.000036906284,0.000053260173,0.00009065141,0.00035242716,0.9986085,0.000015124903],"about_ca_topic_score_codex":0.024449531,"about_ca_topic_score_gemma":0.04246233,"teacher_disagreement_score":0.21979523,"about_ca_system_score_codex":0.0034585358,"about_ca_system_score_gemma":0.003077492,"threshold_uncertainty_score":0.3135112},"labels":[],"label_agreement":null},{"id":"W4250400651","doi":"10.3138/utq.78.3.881","title":"The Ambivalence of Jizz and Mirth: Herschel Henlere in British Music Hall and Variety, 1921–1964","year":2009,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Jazz; Art; Piano; Entertainment; Art history; Performing arts; Variety (cybernetics); Dance; Character (mathematics); Period (music); Visual arts; History; Aesthetics","score_opus":0.00953615829753725,"score_gpt":0.16195933373124277,"score_spread":0.1524231754337055,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4250400651","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.61106545,0.013788982,0.00030377216,0.022509294,0.0007613067,0.000029282182,0.00016124149,0.000039427014,0.35134125],"genre_scores_gemma":[0.85807884,0.0017466426,0.00011537134,0.001547793,0.0000883925,0.000009209831,0.000040123403,0.000042630487,0.13833107],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988192,0.00022292988,0.000017644667,0.00018170747,0.00033416596,0.0004243214],"domain_scores_gemma":[0.9994306,0.00011968416,0.000040299004,0.000020581578,0.00017580809,0.00021303396],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00084882416,0.0002406298,0.00023490166,0.0011186576,0.024557559,0.004975086,0.0005997287,0.0013305899,0.008256286],"category_scores_gemma":[0.0016253794,0.00034891514,0.00009241814,0.001384631,0.010740729,0.0014071588,0.0024581184,0.0027236417,0.0007908929],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00027588278,0.000051454936,0.009478336,0.00012240789,0.000014725602,0.0019485971,0.7579677,0.00008655906,0.0023996264,0.08706014,0.0810825,0.05951217],"study_design_scores_gemma":[0.000009989391,0.000042248463,0.04307864,0.00014587602,0.000005803507,0.0004378286,0.14573988,0.000028514203,0.00034124916,0.00084729155,0.80928326,0.00003927192],"about_ca_topic_score_codex":0.8096683,"about_ca_topic_score_gemma":0.9544028,"teacher_disagreement_score":0.8096683,"about_ca_system_score_codex":0.032919362,"about_ca_system_score_gemma":0.006583816,"threshold_uncertainty_score":0.3829052},"labels":[],"label_agreement":null},{"id":"W4250426219","doi":"10.1007/978-3-319-91304-9_1","title":"Introduction","year":2018,"lang":"en","type":"book-chapter","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Hegelianism; Alienation; Aesthetics; State (computer science); Sociology; Art; Philosophy; Epistemology; Law; Political science","score_opus":0.027727120037811234,"score_gpt":0.17565921391703532,"score_spread":0.14793209387922407,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4250426219","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00024880623,0.0023895889,0.0022567888,0.0024677056,0.0046051396,0.00008753549,0.0010678711,0.00042568464,0.9864509],"genre_scores_gemma":[0.00071292603,0.0011609814,0.0005953461,0.0007835796,0.0005880617,0.000045186378,0.0006756334,0.00013821309,0.99530005],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994204,0.00006253502,0.000019591289,0.000119065684,0.00031508238,0.00006334268],"domain_scores_gemma":[0.99937207,0.00009279438,0.000021202784,0.0000848096,0.00029697738,0.00013211802],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0005682952,0.00075728213,0.00043296834,0.0017037197,0.0014350476,0.0041717356,0.0013757979,0.0015967983,0.57193136],"category_scores_gemma":[0.001959578,0.0002650478,0.00044106558,0.001403983,0.0006871347,0.0030742355,0.0025260975,0.0018789262,0.45286986],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016425967,0.00003182101,0.00007576848,0.00014785359,0.0000015391297,0.00003898487,0.00015000843,0.00009058534,0.00028498747,0.034890212,0.80380404,0.16046768],"study_design_scores_gemma":[9.397154e-7,0.000002568996,0.00004397294,0.0000535496,4.2767914e-7,0.000015310836,0.000032771444,0.0000096102485,0.00003487937,0.0021738273,0.9976307,0.0000013137125],"about_ca_topic_score_codex":0.0026743829,"about_ca_topic_score_gemma":0.0050437194,"teacher_disagreement_score":0.42806864,"about_ca_system_score_codex":0.0014435098,"about_ca_system_score_gemma":0.0021626996,"threshold_uncertainty_score":0.61058795},"labels":[],"label_agreement":null},{"id":"W4250942413","doi":"10.25071/1708-6701.35767","title":"Helmut Kallmann: A Life in Canadian Music","year":2012,"lang":"en","type":"article","venue":"CAML Review / Revue de l ACBM","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Kallmann syndrome; Art; Medicine; Internal medicine","score_opus":0.04799857517614658,"score_gpt":0.23069815781791397,"score_spread":0.1826995826417674,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4250942413","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005125941,0.50249976,0.00019799861,0.37577015,0.06840079,0.00003613858,0.00025497656,0.000054307264,0.052273355],"genre_scores_gemma":[0.027776904,0.521605,0.00065779424,0.22778423,0.03588813,0.00009067502,0.00036081809,0.00014036777,0.18569607],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9975897,0.00036195377,0.00009059573,0.00024635915,0.0011883484,0.00052294135],"domain_scores_gemma":[0.99714226,0.00045209934,0.00008119396,0.00006735647,0.0015680868,0.0006889965],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022555625,0.0010873486,0.00074689183,0.0029915671,0.008291308,0.006498199,0.002325168,0.007055476,0.03402328],"category_scores_gemma":[0.0067453124,0.00032360334,0.0005092771,0.0049734246,0.006210326,0.005176347,0.0034409903,0.005887294,0.0060845544],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012398778,0.000003950835,0.00007384649,0.00033079984,0.000005216002,0.000084553336,0.0004551364,0.000015698177,0.00004353973,0.010336294,0.9637969,0.024841709],"study_design_scores_gemma":[0.000004125037,0.0000028147456,0.0004024634,0.00054384506,0.0000068372856,0.00006578869,0.001115319,0.0000051677325,0.000037913243,0.0011178395,0.99668497,0.000012998804],"about_ca_topic_score_codex":0.7875591,"about_ca_topic_score_gemma":0.879675,"teacher_disagreement_score":0.21244091,"about_ca_system_score_codex":0.032370757,"about_ca_system_score_gemma":0.06361612,"threshold_uncertainty_score":0.42738402},"labels":[],"label_agreement":null},{"id":"W4251248155","doi":"10.1525/jpms.2020.32.2.238","title":"Contributors' Notes","year":2020,"lang":"en","type":"article","venue":"Journal of Popular Music Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Psychology","score_opus":0.16437860373394353,"score_gpt":0.2730186621215973,"score_spread":0.10864005838765378,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4251248155","genre_codex":"other","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"editorial","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000529991,0.00453632,0.0012188003,0.067298315,0.16598861,0.0003404268,0.0055724536,0.00077633857,0.7537388],"genre_scores_gemma":[0.0028998666,0.0021443663,0.0007000672,0.01047321,0.008855171,0.00023396888,0.0018012825,0.00032867363,0.9725634],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99671566,0.0002695272,0.00020422428,0.0005720968,0.001812649,0.00042581494],"domain_scores_gemma":[0.9880382,0.001759972,0.00038275664,0.0012807768,0.007310882,0.0012273995],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0026806963,0.00074415805,0.00087357115,0.0026138993,0.00530669,0.00667886,0.0032295915,0.0031467762,0.4869449],"category_scores_gemma":[0.020068895,0.00045435058,0.00068157923,0.0033281883,0.0010819955,0.0043220706,0.0034098937,0.004503311,0.32092875],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000052157598,0.0000060075804,0.000036028403,0.000028752467,6.1289415e-7,0.000017987773,0.000071691225,0.000009873354,0.000024466775,0.0051426697,0.982437,0.012219653],"study_design_scores_gemma":[0.0000011595056,0.0000014657314,0.000060374485,0.00004207593,3.9125197e-7,0.000010458177,0.00006668274,0.000005134493,0.000017369106,0.00042920356,0.9993641,0.0000015821847],"about_ca_topic_score_codex":0.00943325,"about_ca_topic_score_gemma":0.011833538,"teacher_disagreement_score":0.4869449,"about_ca_system_score_codex":0.003117033,"about_ca_system_score_gemma":0.0069800317,"threshold_uncertainty_score":0.7318108},"labels":[],"label_agreement":null},{"id":"W4251252553","doi":"10.22215/etd/2006-08143","title":"Changing technology and the rise of the Canadian rock recording industry","year":2006,"lang":"en","type":"dissertation","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Carleton University; Canadian Heritage","funders":"","keywords":"Political science; Humanities; Art","score_opus":0.011123608667156388,"score_gpt":0.18747262641313286,"score_spread":0.17634901774597647,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4251252553","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.25264844,0.014646343,0.001030003,0.068307236,0.00046714197,0.00007312432,0.000801803,0.00010471758,0.6619212],"genre_scores_gemma":[0.85033774,0.012605196,0.0009768908,0.0026314398,0.000111122805,0.000025739178,0.00030055954,0.00007589663,0.13293545],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9951443,0.00031407524,0.00008025169,0.00029582853,0.0019381371,0.0022274351],"domain_scores_gemma":[0.9952107,0.0005011743,0.00028597776,0.00013782964,0.0023850114,0.0014792505],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018741454,0.00032695217,0.0002152109,0.0042047966,0.017151114,0.011723262,0.0014350702,0.0019409864,0.028033521],"category_scores_gemma":[0.0058764876,0.00030916935,0.00031180025,0.007837429,0.010123395,0.0032377893,0.0031212987,0.0026786267,0.0014313059],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00031143514,0.00009534965,0.033002216,0.00051187124,0.000030226336,0.0020379967,0.11525744,0.0012835966,0.0034099407,0.46462715,0.10165192,0.27778092],"study_design_scores_gemma":[0.0000148961035,0.000034218476,0.088149324,0.00038407577,0.000017842047,0.00029058254,0.1018759,0.00041437402,0.00057693815,0.0048597753,0.80329704,0.00008495323],"about_ca_topic_score_codex":0.99360585,"about_ca_topic_score_gemma":0.9975291,"teacher_disagreement_score":0.13686799,"about_ca_system_score_codex":0.13686799,"about_ca_system_score_gemma":0.15689375,"threshold_uncertainty_score":0.9930514},"labels":[],"label_agreement":null},{"id":"W4251460652","doi":"10.32920/ryerson.14648925.v1","title":"Sonic City: an exhibition of photography, A/V installation, community action","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"Mashhad University of Medical Sciences","keywords":"Exhibition; Thriving; Dance; Ephemeral key; Visual arts; Sociology; Action (physics); Citizen journalism; Aesthetics; Politics; Participatory culture; Media studies; Art; Social science; Political science","score_opus":0.13888587960470697,"score_gpt":0.2777843863104264,"score_spread":0.13889850670571943,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4251460652","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.25919986,0.0033519196,0.03594667,0.0067481627,0.0034708846,0.0012651127,0.007885016,0.006247601,0.67588484],"genre_scores_gemma":[0.67994595,0.0021584164,0.072624356,0.0010632571,0.0014617181,0.0013577198,0.0034037323,0.0027432607,0.2352416],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987445,0.0005369404,0.000035488796,0.00017910812,0.00032259297,0.0001812543],"domain_scores_gemma":[0.99844164,0.0006306876,0.000072678275,0.0004742592,0.00006983458,0.00031080912],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002409627,0.000854666,0.00041069015,0.001828721,0.005362785,0.005251857,0.0010093643,0.0013433128,0.024219844],"category_scores_gemma":[0.0026325027,0.00053155626,0.0006801634,0.0018873878,0.0035970209,0.0022866018,0.006598699,0.0018414555,0.0034549795],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0008770091,0.00044566687,0.0052416003,0.0022874367,0.00020110398,0.003947597,0.21330631,0.0028835223,0.03488799,0.066947915,0.42517382,0.24380007],"study_design_scores_gemma":[0.000058630543,0.00020569256,0.009670904,0.00032615836,0.000034029843,0.001012459,0.031364374,0.0005434143,0.0027117687,0.0037217047,0.95026934,0.00008153112],"about_ca_topic_score_codex":0.0032564031,"about_ca_topic_score_gemma":0.018320983,"teacher_disagreement_score":0.024219844,"about_ca_system_score_codex":0.0009862074,"about_ca_system_score_gemma":0.0013264322,"threshold_uncertainty_score":0.081023455},"labels":[],"label_agreement":null},{"id":"W4251598210","doi":"10.5406/illinois/9780252036620.003.0001","title":"Introduction","year":2017,"lang":"en","type":"book","venue":"University of Illinois Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Masculinity; Privilege (computing); Context (archaeology); Gender studies; Race (biology); Musical; Quarter (Canadian coin); Neglect; Sociology; Aesthetics; Psychology; History; Art; Visual arts; Political science; Law","score_opus":0.030870466003621998,"score_gpt":0.17343312207280534,"score_spread":0.14256265606918334,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4251598210","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000523401,0.0044412566,0.0019211686,0.0042037265,0.0037009376,0.00007871399,0.0008463351,0.00037535446,0.9839092],"genre_scores_gemma":[0.003603154,0.002962335,0.0009801484,0.001510816,0.0009944359,0.00006273024,0.0007690164,0.00016768284,0.9889498],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99935216,0.000076257755,0.000026193911,0.00017735294,0.00028427216,0.00008382467],"domain_scores_gemma":[0.9995085,0.000079559875,0.000023521576,0.00006861486,0.00021180406,0.000108027176],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00049844914,0.00078450295,0.00054335885,0.0012351737,0.0025142124,0.00536971,0.0014583049,0.0023299572,0.46562544],"category_scores_gemma":[0.001617292,0.00028039806,0.00042408824,0.0012225483,0.0010655762,0.0038274748,0.0029259499,0.002188037,0.28569394],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024732966,0.000040795032,0.00023390642,0.00021712219,0.0000024036692,0.000117600954,0.0009349839,0.00010528118,0.00038735935,0.117636025,0.72631043,0.15398934],"study_design_scores_gemma":[8.238024e-7,0.0000046140776,0.00008147322,0.00006719039,4.4120662e-7,0.000042395928,0.0001042805,0.000011113974,0.000026702795,0.002606339,0.99705315,0.0000016575375],"about_ca_topic_score_codex":0.0028769854,"about_ca_topic_score_gemma":0.0040240986,"teacher_disagreement_score":0.5343746,"about_ca_system_score_codex":0.0020182473,"about_ca_system_score_gemma":0.0017247547,"threshold_uncertainty_score":0.76222044},"labels":[],"label_agreement":null},{"id":"W4251602675","doi":"10.1386/mms.3.3.459_5","title":"Conference Review","year":2017,"lang":"en","type":"article","venue":"Metal Music Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Geography; Media studies; Library science; History; Sociology; Computer science","score_opus":0.36090149520449916,"score_gpt":0.3343970301756869,"score_spread":0.026504465028812263,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4251602675","genre_codex":"review","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00031671923,0.8820336,0.00037274504,0.03344721,0.032121092,0.00033483835,0.0036378123,0.00011517693,0.047620893],"genre_scores_gemma":[0.0052198675,0.8946521,0.00088271947,0.03170066,0.01381054,0.0005338796,0.0044939704,0.0001079846,0.048598267],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99799865,0.00053372135,0.00027621555,0.00025191286,0.00067596737,0.00026349083],"domain_scores_gemma":[0.99156123,0.0021689981,0.0006857278,0.00034894297,0.0043807966,0.0008542913],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002560833,0.0006920914,0.0013243033,0.004790486,0.001038262,0.0041873767,0.002028889,0.0024366493,0.13538817],"category_scores_gemma":[0.01856294,0.0003137271,0.0013129145,0.005862584,0.0006673733,0.0022113875,0.0022628016,0.002642711,0.030846503],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009595481,0.000023225295,0.00017823346,0.015252025,0.00011693953,0.00006731418,0.00007177101,0.000050355542,0.000064290594,0.0012935426,0.8485001,0.1342862],"study_design_scores_gemma":[0.000028128212,0.000013033639,0.0004500439,0.018108608,0.00012188081,0.00010368245,0.00010715184,0.000006848996,0.000029354369,0.00039409002,0.98062783,0.000009376289],"about_ca_topic_score_codex":0.024673373,"about_ca_topic_score_gemma":0.0450297,"teacher_disagreement_score":0.13538817,"about_ca_system_score_codex":0.0042415406,"about_ca_system_score_gemma":0.015885968,"threshold_uncertainty_score":0.45291853},"labels":[],"label_agreement":null},{"id":"W4251674419","doi":"10.1525/jpms.2021.33.3.213","title":"Contributors’ Notes","year":2021,"lang":"en","type":"article","venue":"Journal of Popular Music Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Materials science; Psychology","score_opus":0.11919790617892262,"score_gpt":0.2823702716283219,"score_spread":0.16317236544939928,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4251674419","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000990304,0.007711789,0.0026842987,0.0828233,0.2409398,0.00043264622,0.0076404116,0.001246515,0.6555309],"genre_scores_gemma":[0.0055976836,0.0030725882,0.0015307594,0.014028724,0.015752796,0.0004355574,0.0029714815,0.0007246348,0.95588577],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.995203,0.00051954284,0.00036255794,0.0010007205,0.0023186265,0.0005955532],"domain_scores_gemma":[0.9824225,0.002464754,0.00060816546,0.0020639286,0.010216375,0.0022242088],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.003888248,0.00091728766,0.0010175646,0.0030161608,0.005269798,0.008117323,0.0033757975,0.0032377278,0.47594333],"category_scores_gemma":[0.029882621,0.00050177827,0.00074199156,0.0032742398,0.0012569239,0.005012331,0.004717046,0.0047125733,0.33044335],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009346119,0.0000066072475,0.00004528037,0.000044152683,0.0000012104325,0.000030756943,0.00012466735,0.00001407319,0.000046465564,0.006756646,0.9770512,0.015869573],"study_design_scores_gemma":[0.0000014688177,0.0000018695349,0.00005232693,0.00004927822,5.596076e-7,0.000019281384,0.00007923511,0.000007255144,0.000028367056,0.00062909536,0.99912924,0.000002188511],"about_ca_topic_score_codex":0.0042036567,"about_ca_topic_score_gemma":0.0060607786,"teacher_disagreement_score":0.5240567,"about_ca_system_score_codex":0.0032838974,"about_ca_system_score_gemma":0.006718081,"threshold_uncertainty_score":0.7475032},"labels":[],"label_agreement":null},{"id":"W4251688472","doi":"10.1386/smt.6.2.255_5","title":"Reviews","year":2012,"lang":"en","type":"article","venue":"Studies in Musical Theatre","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Art history; Musical; Performance art; Humanities; Literature","score_opus":0.20384602767200716,"score_gpt":0.3362821899932226,"score_spread":0.13243616232121547,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4251688472","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00052596244,0.42999575,0.0022590524,0.045505993,0.0947622,0.00031342622,0.004587795,0.0013375905,0.4207122],"genre_scores_gemma":[0.004072299,0.3054162,0.0025546309,0.029511617,0.030264815,0.00029067474,0.006273188,0.0008923858,0.6207242],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9977991,0.00029948857,0.00019991228,0.00037006155,0.0011562429,0.00017507741],"domain_scores_gemma":[0.9954758,0.00079368474,0.00030006366,0.0004190194,0.00238776,0.0006236146],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013783396,0.0010433114,0.0012467591,0.0036351213,0.0010882828,0.0058475374,0.002606022,0.0030170972,0.33770666],"category_scores_gemma":[0.008557691,0.00048376003,0.00084158033,0.00343505,0.000852023,0.004137401,0.0025317965,0.0025381662,0.31318563],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017282984,0.000013885373,0.000046851204,0.00097440166,0.000006673467,0.000062828396,0.000051421546,0.000026753378,0.00011429028,0.0018051239,0.88338006,0.11350046],"study_design_scores_gemma":[0.00000230726,0.0000037470818,0.000060219594,0.00036389625,0.000002457272,0.00007926073,0.000024744613,0.0000033554688,0.000020352967,0.00033667777,0.99910057,0.0000023375674],"about_ca_topic_score_codex":0.0032153514,"about_ca_topic_score_gemma":0.005294193,"teacher_disagreement_score":0.33770666,"about_ca_system_score_codex":0.0021981879,"about_ca_system_score_gemma":0.005083289,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4251789836","doi":"10.1002/9781405165518.wbeoss295.pub2","title":"Subculture","year":2018,"lang":"en","type":"other","venue":"The Blackwell Encyclopedia of Sociology","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Trent University","funders":"","keywords":"Subculture (biology); Deviance (statistics); Sociology; Criticism; Criminology; Youth culture; Diversity (politics); Media studies; Gender studies; Anthropology; Political science; Law; Computer science","score_opus":0.014795114372213005,"score_gpt":0.21284352937685055,"score_spread":0.19804841500463755,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4251789836","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10017879,0.0006768947,0.0015286925,0.0012416211,0.00041164376,0.00012028076,0.0003069313,0.000090409056,0.89544475],"genre_scores_gemma":[0.74796283,0.0008912369,0.0014218271,0.0008564095,0.0001432527,0.00014096333,0.0005973766,0.00013828855,0.24784783],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9979917,0.00058333785,0.00008300329,0.00031936335,0.00048045834,0.00054221705],"domain_scores_gemma":[0.99815434,0.00013946429,0.00018823003,0.0003659738,0.00057278597,0.00057920243],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00078572135,0.00049370166,0.00025990998,0.0023487727,0.0058878744,0.006832631,0.0011689512,0.0005527578,0.049682207],"category_scores_gemma":[0.002022675,0.0001527679,0.00028441084,0.002269501,0.0027862047,0.0029145025,0.0059544155,0.0011061254,0.009240872],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013464851,0.0002758961,0.03502563,0.00030194022,0.000025609674,0.0015316121,0.2249338,0.0001716157,0.0012127904,0.435372,0.093727864,0.20728655],"study_design_scores_gemma":[0.000009382536,0.00004753489,0.017284038,0.0002666121,0.000009764391,0.0006516103,0.12590905,0.00018889445,0.00041534414,0.025096502,0.8301048,0.000016384154],"about_ca_topic_score_codex":0.010225778,"about_ca_topic_score_gemma":0.012849949,"teacher_disagreement_score":0.049682207,"about_ca_system_score_codex":0.002272615,"about_ca_system_score_gemma":0.0021205945,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4251889153","doi":"10.30535/mto.17.3.1","title":"Introduction","year":2011,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Art","score_opus":0.05707922359583724,"score_gpt":0.19626666127620263,"score_spread":0.1391874376803654,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4251889153","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0015105278,0.006690591,0.004754417,0.023480373,0.020395637,0.00019830014,0.0029258311,0.00082620175,0.93921816],"genre_scores_gemma":[0.01335205,0.005941606,0.0030417556,0.009628725,0.0063084094,0.00020707274,0.0035797067,0.00051380537,0.9574268],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980572,0.00029840157,0.00010651196,0.0004784058,0.0008249793,0.00023455135],"domain_scores_gemma":[0.99734145,0.0005187298,0.00013482629,0.0003504135,0.0011617194,0.0004928468],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0013706922,0.00078615535,0.0006208151,0.0015751004,0.0027914736,0.007234085,0.0020817737,0.003191427,0.43694922],"category_scores_gemma":[0.0064742616,0.00029858036,0.00058528886,0.0017732481,0.0013659585,0.0049269083,0.0037991686,0.002722172,0.2591575],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000042127733,0.000039540595,0.0003944324,0.00024164772,0.0000037943207,0.000097974575,0.00089852227,0.00008724092,0.0002917659,0.06021553,0.8365487,0.10113882],"study_design_scores_gemma":[0.0000015866509,0.000007822037,0.00015419805,0.00008359779,7.9997733e-7,0.00005478949,0.00020286629,0.000014525802,0.00003529967,0.0029788075,0.996463,0.0000027912101],"about_ca_topic_score_codex":0.0024848236,"about_ca_topic_score_gemma":0.0030594205,"teacher_disagreement_score":0.43694922,"about_ca_system_score_codex":0.0024785732,"about_ca_system_score_gemma":0.0028852744,"threshold_uncertainty_score":0.8031236},"labels":[],"label_agreement":null},{"id":"W4252306100","doi":"10.5406/illinois/9780252038679.003.0005","title":"Finding Community in the New England Country and Western Event","year":2017,"lang":"en","type":"book","venue":"University of Illinois Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Frontier; Dance; Negotiation; Club; Event (particle physics); Expression (computer science); Style (visual arts); Space (punctuation); History; Media studies; Geography; Political science; Sociology; Visual arts; Art; Law; Archaeology","score_opus":0.05084150217635956,"score_gpt":0.20878048273691885,"score_spread":0.15793898056055927,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4252306100","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06506457,0.020339763,0.0008662685,0.008917596,0.0012324522,0.00006492282,0.00009388018,0.000080442616,0.90334004],"genre_scores_gemma":[0.35281157,0.01603043,0.0017238249,0.0020051487,0.00029966072,0.00010530261,0.00018477818,0.00016304641,0.6266763],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99952626,0.00014166503,0.000015484675,0.000068101195,0.000118543365,0.00012993829],"domain_scores_gemma":[0.9995653,0.000106069616,0.000026082524,0.000024447669,0.000066966975,0.00021112857],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00068186375,0.00026465562,0.00033027548,0.0012158841,0.012012459,0.009650914,0.0006315582,0.0008176706,0.022428274],"category_scores_gemma":[0.0011122974,0.00023660072,0.00014829195,0.0013715762,0.0051990882,0.0064182766,0.006182934,0.0015796835,0.0018179768],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000065774766,0.00008745359,0.0021997273,0.0004198537,0.000006505556,0.0014960917,0.5221954,0.000076819764,0.0008308764,0.24925378,0.12447681,0.09889094],"study_design_scores_gemma":[0.0000041002877,0.000009814022,0.0018311801,0.00028165552,0.0000037314287,0.00021718703,0.12081296,0.000027700777,0.000082121034,0.0029372545,0.87378484,0.0000074651534],"about_ca_topic_score_codex":0.1443522,"about_ca_topic_score_gemma":0.44129154,"teacher_disagreement_score":0.1443522,"about_ca_system_score_codex":0.0063506817,"about_ca_system_score_gemma":0.006018505,"threshold_uncertainty_score":0.28702396},"labels":[],"label_agreement":null},{"id":"W4253851150","doi":"10.5040/9781501329227-0028356","title":"—Universal Music Group","year":2003,"lang":"en","type":"other","venue":"Bloomsbury Encyclopedia of Popular Music of the World","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Group (periodic table); Computer science; Physics","score_opus":0.015142688813673734,"score_gpt":0.19114593763167118,"score_spread":0.17600324881799745,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4253851150","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0019739426,0.0004122026,0.0004317416,0.0031309114,0.0009235841,0.00015228605,0.0033603988,0.0010971635,0.98851776],"genre_scores_gemma":[0.009026665,0.0003386465,0.00052021013,0.0035196159,0.00037649015,0.0001345312,0.0039502345,0.0003401028,0.9817935],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985825,0.00012896342,0.000053930336,0.00019193186,0.00057711283,0.0004655634],"domain_scores_gemma":[0.9971751,0.00009242003,0.00009238398,0.00026365177,0.0010961713,0.0012803338],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00095885893,0.00052604266,0.00026121,0.0020348113,0.003069274,0.004018661,0.0011200274,0.0013003158,0.346282],"category_scores_gemma":[0.0028567335,0.00018726439,0.00023645505,0.0018744647,0.0004026965,0.0028100356,0.0033387488,0.001202177,0.2573722],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002867698,0.00004095747,0.0007075343,0.000027484439,0.0000011250761,0.00005730915,0.00013588622,0.000011878329,0.00019802766,0.006585511,0.9198944,0.072311185],"study_design_scores_gemma":[0.0000038165963,0.0000056712875,0.0006927721,0.000010447959,4.265221e-7,0.000045305595,0.00008772866,0.000011126835,0.000053805725,0.00027154933,0.9988153,0.0000020263913],"about_ca_topic_score_codex":0.014014975,"about_ca_topic_score_gemma":0.023646196,"teacher_disagreement_score":0.346282,"about_ca_system_score_codex":0.001739308,"about_ca_system_score_gemma":0.004488174,"threshold_uncertainty_score":0.9324494},"labels":[],"label_agreement":null},{"id":"W4253907614","doi":"10.32920/ryerson.14645400.v1","title":"Band Geek: a study of the Toronto independent music scene","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Geek; Music industry; Promotion (chess); Musical; Social media; Advertising; Popular music; Digital audio; Visual arts; Digital media; Media studies; Sociology; Public relations; Multimedia; Music education; Art; Political science; Business; Computer science; World Wide Web; Telecommunications; Politics","score_opus":0.05009724606614013,"score_gpt":0.22456169255628586,"score_spread":0.17446444649014572,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4253907614","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9304885,0.0010270103,0.00027031012,0.006008733,0.00011909619,0.00010694046,0.00055503874,0.00003722175,0.0613871],"genre_scores_gemma":[0.9627845,0.0010828334,0.00028944016,0.0008703521,0.000029007337,0.000050364353,0.00023664611,0.00008628615,0.03457054],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9983535,0.00042172533,0.000031900705,0.00020769166,0.00040871903,0.0005765253],"domain_scores_gemma":[0.99638534,0.0008747697,0.0003859639,0.00016855334,0.00057000417,0.0016154352],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010275489,0.00056587707,0.00060100044,0.0021309745,0.031720053,0.0074185487,0.0016769216,0.0012571352,0.012394368],"category_scores_gemma":[0.0042088698,0.00053934235,0.00024963872,0.0049270787,0.010898574,0.0030419624,0.004168518,0.002788466,0.00091042515],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004104643,0.000048637372,0.006094112,0.00008135081,0.0000073316755,0.0009775019,0.97423446,0.00003398403,0.0007265462,0.004187419,0.008765438,0.0048021614],"study_design_scores_gemma":[0.0000047602284,0.000018064593,0.01975657,0.000059987473,0.000009380032,0.000113221795,0.93108064,0.00006091058,0.00014494719,0.00017395752,0.048552234,0.000025418567],"about_ca_topic_score_codex":0.96652323,"about_ca_topic_score_gemma":0.9920196,"teacher_disagreement_score":0.053508285,"about_ca_system_score_codex":0.053508285,"about_ca_system_score_gemma":0.042354144,"threshold_uncertainty_score":0.38823158},"labels":[],"label_agreement":null},{"id":"W4254292369","doi":"10.1108/s0163-2396(2010)0000035026","title":"Studies in symbolic interaction","year":2010,"lang":"en","type":"book-chapter","venue":"Studies in symbolic interaction","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":30,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Okanagan University College; University of British Columbia","funders":"","keywords":"Symbolic interactionism; Musical; The Symbolic; Sociology; Identity (music); Art; Visual arts; Media studies; Aesthetics; Psychology; Social science; Psychoanalysis","score_opus":0.17443555526379192,"score_gpt":0.3599922252364972,"score_spread":0.18555666997270528,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4254292369","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008147794,0.27545732,0.003948724,0.083949566,0.009127599,0.00006954949,0.0004296221,0.00012083901,0.6187489],"genre_scores_gemma":[0.5788142,0.21721305,0.0028592397,0.020570805,0.006985554,0.00048614322,0.00081550825,0.00027771023,0.17197782],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9942115,0.0036390382,0.00026734895,0.0005166642,0.0009348203,0.0004306631],"domain_scores_gemma":[0.9958545,0.0026262274,0.00031060775,0.00041704866,0.00039606853,0.00039562004],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003241517,0.0009313662,0.00076090085,0.0029120953,0.0065703406,0.011633986,0.0010235597,0.0029298197,0.026437538],"category_scores_gemma":[0.007887674,0.0002837386,0.00041211376,0.007266967,0.020165667,0.012785185,0.005915052,0.0040697493,0.0043437285],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002426271,0.000047685004,0.00096211175,0.0010711245,0.000015871727,0.00018309992,0.065897934,0.00007373978,0.00013443625,0.6403149,0.21151546,0.07975942],"study_design_scores_gemma":[0.000009205813,0.000021155192,0.001375964,0.0018262841,0.000006994529,0.000266447,0.025649017,0.00005133077,0.00008651125,0.06883675,0.9018581,0.000012296519],"about_ca_topic_score_codex":0.006913869,"about_ca_topic_score_gemma":0.006069612,"teacher_disagreement_score":0.026437538,"about_ca_system_score_codex":0.006158018,"about_ca_system_score_gemma":0.0066257077,"threshold_uncertainty_score":0.088442445},"labels":[],"label_agreement":null},{"id":"W4254338184","doi":"10.32920/ryerson.14646861.v1","title":"Pilgrimage to solitude : landscapes of Glenn Gould","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Toronto Metropolitan University; McGill University","funders":"","keywords":"Pilgrimage; Solitude; Style (visual arts); Biography; Antecedent (behavioral psychology); Art; Art history; Literature; History; Visual arts; Psychology; Archaeology","score_opus":0.03415269226027871,"score_gpt":0.22846102457567338,"score_spread":0.19430833231539468,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4254338184","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.40030512,0.0057659037,0.0013127931,0.017390667,0.00045815622,0.000058540616,0.00022988972,0.000115593386,0.57436335],"genre_scores_gemma":[0.95776623,0.0013721923,0.00072040595,0.0006967076,0.00003245946,0.000012345403,0.000037754064,0.000062335144,0.039299585],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99961925,0.000111606205,0.0000035218513,0.00004117456,0.000102378304,0.000121973855],"domain_scores_gemma":[0.9997341,0.0001015768,0.000016574653,0.000022105807,0.00004694877,0.00007871068],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00040858783,0.00022491977,0.00012207316,0.000806578,0.013868266,0.004357681,0.0005261151,0.0007245271,0.00845211],"category_scores_gemma":[0.0011672371,0.00013304295,0.00009444244,0.0011094983,0.008527378,0.0014257141,0.002139455,0.001127625,0.0002987341],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001779164,0.000048505397,0.0032643245,0.0002215798,0.000007812063,0.0022923278,0.663032,0.00030907756,0.0050821267,0.16497473,0.07317667,0.08741298],"study_design_scores_gemma":[0.0000069600374,0.000030698146,0.009167091,0.00020535842,0.0000072155917,0.0006518863,0.41515586,0.000111142566,0.0010921414,0.004408749,0.5691407,0.000022321388],"about_ca_topic_score_codex":0.6758291,"about_ca_topic_score_gemma":0.8992013,"teacher_disagreement_score":0.6758291,"about_ca_system_score_codex":0.0155937085,"about_ca_system_score_gemma":0.006980058,"threshold_uncertainty_score":0.6521599},"labels":[],"label_agreement":null},{"id":"W4254394471","doi":"10.1515/9783839407967-010","title":"Musicmaking and the City. Making Sense of the Montreal Scene","year":2007,"lang":"en","type":"book-chapter","venue":"transcript Verlag eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sense of place; Sense (electronics); Geography; History; Media studies; Sociology; Engineering; Economic geography; Electrical engineering","score_opus":0.05646428954134949,"score_gpt":0.21194093991126373,"score_spread":0.15547665036991423,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4254394471","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.012223369,0.025147531,0.0007755081,0.03717322,0.0016175498,0.00006625783,0.0004726425,0.0001703601,0.9223535],"genre_scores_gemma":[0.3338759,0.011133267,0.00082202884,0.003860674,0.0006409395,0.00008386837,0.00021478042,0.00025833052,0.6491102],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.9993654,0.00014312555,0.000008270057,0.0000678187,0.00015763116,0.0002578418],"domain_scores_gemma":[0.9995939,0.00006321831,0.000031421052,0.000026508986,0.00008608174,0.00019883865],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00066261186,0.0007627444,0.00027924022,0.001619275,0.01618035,0.014190305,0.0013534249,0.0019410547,0.049694482],"category_scores_gemma":[0.0016985476,0.0004104309,0.00025914737,0.0026765943,0.015209555,0.0041788495,0.0036213533,0.0021938663,0.002655621],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008139667,0.000035883473,0.0013781443,0.00019080148,0.000015899554,0.00041013313,0.09163442,0.0002892572,0.00066617987,0.37535927,0.43737695,0.09256163],"study_design_scores_gemma":[0.0000072442485,0.00000787118,0.0033633239,0.00012377986,0.000006532785,0.00003715305,0.036248773,0.000045773748,0.00009134104,0.0061215437,0.95392615,0.000020684824],"about_ca_topic_score_codex":0.91582507,"about_ca_topic_score_gemma":0.97259146,"teacher_disagreement_score":0.08417493,"about_ca_system_score_codex":0.030270694,"about_ca_system_score_gemma":0.020639168,"threshold_uncertainty_score":0.2196303},"labels":[],"label_agreement":null},{"id":"W4254563245","doi":"10.22215/etd/2005-07612","title":"Making scenes: studying local independent music in Canada","year":2005,"lang":"en","type":"dissertation","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Carleton University","funders":"","keywords":"Humanities; Art","score_opus":0.05668991797230118,"score_gpt":0.2370818355821614,"score_spread":0.1803919176098602,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4254563245","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.909155,0.00067398325,0.0004189533,0.0026587371,0.00005598486,0.00015929465,0.0010424297,0.00003497571,0.08580051],"genre_scores_gemma":[0.96168554,0.0007673069,0.00040810843,0.0004645008,0.000009722407,0.000047089674,0.00051244267,0.00004822293,0.03605703],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9983285,0.0001596018,0.000028678107,0.00021459653,0.00048123923,0.0007873712],"domain_scores_gemma":[0.9973562,0.00024309095,0.00016991244,0.000078864105,0.0011085613,0.001043412],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00091458234,0.00048193213,0.000500389,0.0034117722,0.030314872,0.0075516677,0.0019908992,0.0011208027,0.012432705],"category_scores_gemma":[0.0035446216,0.00046591734,0.0003526443,0.007987443,0.006299646,0.0018703538,0.003559922,0.0022979688,0.00088475004],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022284212,0.0002508472,0.08613109,0.00018506071,0.00004901947,0.0009973272,0.80167574,0.00042226343,0.0019106787,0.016807612,0.024054937,0.06729262],"study_design_scores_gemma":[0.000007863897,0.000028917068,0.09226117,0.00007884446,0.000015843265,0.000059048394,0.8589682,0.00016701531,0.00022230438,0.00038643042,0.04777267,0.00003164436],"about_ca_topic_score_codex":0.997514,"about_ca_topic_score_gemma":0.9995814,"teacher_disagreement_score":0.11708712,"about_ca_system_score_codex":0.11708712,"about_ca_system_score_gemma":0.11885019,"threshold_uncertainty_score":0.84953046},"labels":[],"label_agreement":null},{"id":"W4254970190","doi":"10.1007/978-3-642-36172-2_151","title":"Khat","year":2015,"lang":"en","type":"book-chapter","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Traditional medicine; Geography; Medicine","score_opus":0.12551721703165905,"score_gpt":0.20557210283849667,"score_spread":0.08005488580683762,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4254970190","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0009836722,0.0029597993,0.0010550566,0.00092702487,0.0007819893,0.000039812992,0.0011810903,0.00056401524,0.99150753],"genre_scores_gemma":[0.003592388,0.0008958105,0.0004040839,0.0002874217,0.00008982743,0.000025855892,0.00050861447,0.00013953111,0.99405646],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996958,0.000028718669,0.000015719104,0.00010261723,0.00010843938,0.000048688755],"domain_scores_gemma":[0.99979645,0.00003287709,0.000015787033,0.00004220484,0.00006414556,0.00004864734],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002784477,0.0011432645,0.00062619476,0.0015068565,0.0020619102,0.00414893,0.0008559316,0.0013336348,0.64884084],"category_scores_gemma":[0.00062962534,0.00037979963,0.0003224986,0.0015565064,0.0007506833,0.0027253001,0.002383695,0.0016124271,0.575909],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015364638,0.00008449452,0.0006287509,0.0005054146,0.000013659174,0.00026981882,0.0005049889,0.0002495979,0.0017327769,0.0534103,0.41203678,0.5304098],"study_design_scores_gemma":[0.000008411077,0.0000130288845,0.0004992687,0.000076513104,0.0000036186393,0.00013474688,0.00014117878,0.0000550454,0.0002857645,0.0034930373,0.9952846,0.000004708321],"about_ca_topic_score_codex":0.0020887076,"about_ca_topic_score_gemma":0.0044651334,"teacher_disagreement_score":0.64884084,"about_ca_system_score_codex":0.0009687108,"about_ca_system_score_gemma":0.0011219558,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4255211975","doi":"10.1558/jwpm.v1i2.26722","title":"Ruth Hellier, ed. 2013. Women Singers in Global Contexts: Music, Biography. Identity. University of Illinois Press. 264pp. ISBN 978-0-2520-37245 (pbk).","year":2015,"lang":"en","type":"article","venue":"Journal of World Popular Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Queen's University","funders":"","keywords":"Biography; Identity (music); Sociology; Media studies; Art; Art history; Aesthetics","score_opus":0.03251201836928424,"score_gpt":0.216258730696734,"score_spread":0.18374671232744974,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4255211975","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00019754327,0.9604199,0.0008908415,0.008952237,0.0047467295,0.000010203193,0.00035145067,0.00017082058,0.02426022],"genre_scores_gemma":[0.0038845374,0.91885877,0.0015015126,0.0016298206,0.0025563058,0.000042599953,0.00040034088,0.00019000629,0.07093608],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993948,0.000103495404,0.00007454359,0.00009197789,0.00027922317,0.000055858054],"domain_scores_gemma":[0.9986872,0.0005841933,0.00013165834,0.00007808924,0.0003577036,0.00016111573],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013208614,0.0026244498,0.001292964,0.0039531086,0.0012054134,0.0028649522,0.0015528403,0.0022574563,0.0482879],"category_scores_gemma":[0.0031077273,0.0015597645,0.00058043154,0.0032944602,0.0013279717,0.0053972104,0.0020100533,0.0025559573,0.05281836],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003771443,0.000015023441,0.0002203932,0.00082635594,0.000010592027,0.00008391493,0.0006160265,0.00014032001,0.00017654574,0.0026064736,0.7338385,0.26142818],"study_design_scores_gemma":[0.0000066578677,0.000012298066,0.00080381363,0.0025070703,0.000013886223,0.0004061301,0.00058415724,0.00006985232,0.00017643833,0.003063037,0.99233997,0.0000167442],"about_ca_topic_score_codex":0.011424364,"about_ca_topic_score_gemma":0.023612652,"teacher_disagreement_score":0.0482879,"about_ca_system_score_codex":0.0012286905,"about_ca_system_score_gemma":0.002954448,"threshold_uncertainty_score":0.16153914},"labels":[],"label_agreement":null},{"id":"W4255574401","doi":"10.32920/ryerson.14645085","title":"Parallel States of Change: On Creating Ash","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Wilfrid Laurier University","funders":"","keywords":"Punk; Verisimilitude; Narrative; Aesthetics; Victory; Sociology; Style (visual arts); Sociocultural evolution; Visual arts; Art; Literature; Politics; Political science; Law; Anthropology; Art history","score_opus":0.1394352451545118,"score_gpt":0.26306423900707515,"score_spread":0.12362899385256335,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4255574401","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.12222688,0.0020124684,0.022555584,0.029389031,0.0012985668,0.00024884284,0.000113238755,0.00030327088,0.82185215],"genre_scores_gemma":[0.9349101,0.0008578271,0.008124978,0.0024635508,0.0001550365,0.00018289781,0.00009804277,0.00020424965,0.053003345],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9933456,0.004317942,0.00014215913,0.0006502024,0.00079998805,0.0007439491],"domain_scores_gemma":[0.9963355,0.0014624462,0.00031904812,0.0008784075,0.00040156947,0.0006030609],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00617771,0.0005071515,0.00036964266,0.0015752345,0.011814441,0.014454597,0.0018933176,0.0028324341,0.015098289],"category_scores_gemma":[0.008563758,0.000377197,0.00051708904,0.0013624869,0.0345117,0.018991243,0.019145163,0.004644607,0.0014708331],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004709981,0.000043034892,0.0012081572,0.00008144017,0.0000065569043,0.00044018077,0.19956772,0.00017560787,0.00031399468,0.7681127,0.0064738435,0.023529615],"study_design_scores_gemma":[0.000029404428,0.000057047437,0.0014086377,0.00026509265,0.000016823995,0.0003843392,0.20446539,0.0007308363,0.00089275424,0.28224236,0.5094745,0.00003274578],"about_ca_topic_score_codex":0.0037978222,"about_ca_topic_score_gemma":0.0068280636,"teacher_disagreement_score":0.015098289,"about_ca_system_score_codex":0.0059725177,"about_ca_system_score_gemma":0.003490272,"threshold_uncertainty_score":0.050508857},"labels":[],"label_agreement":null},{"id":"W4255804640","doi":"10.22215/etd/2012-07135","title":"Challenging expectations : perceptions of Canadian music and the localized practices of experimental artists","year":2012,"lang":"en","type":"dissertation","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Perception; Art; Visual arts; Humanities; Psychology","score_opus":0.04506405506806228,"score_gpt":0.26851480070280026,"score_spread":0.223450745634738,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4255804640","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9813731,0.00012898009,0.00012269396,0.0013177333,0.000020964133,0.00003539934,0.000037318543,0.0000056447884,0.01695818],"genre_scores_gemma":[0.99752825,0.00010374728,0.00006163007,0.00019989231,0.0000037258674,0.000016015108,0.000022395236,0.000005180339,0.0020591686],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99228764,0.002298819,0.00023252437,0.000555323,0.0023450993,0.0022805901],"domain_scores_gemma":[0.9850466,0.004182776,0.001754025,0.00051476265,0.00390629,0.0045955456],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.008709717,0.0004982271,0.00039876104,0.001929412,0.024393203,0.010488264,0.0019933432,0.0019070712,0.008902334],"category_scores_gemma":[0.0205362,0.00043593362,0.00034217647,0.0021999758,0.018429656,0.0021802597,0.00545338,0.0032287762,0.00038965844],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002534906,0.00018386183,0.03638444,0.000052058826,0.0000134694565,0.00023094234,0.9477911,0.000073832685,0.001186958,0.0037922247,0.0013612526,0.008676335],"study_design_scores_gemma":[0.000010423907,0.000047299134,0.024537416,0.000030512037,0.0000044819494,0.000023820749,0.9711367,0.0000661007,0.0001082272,0.00018291657,0.0038268187,0.000025246107],"about_ca_topic_score_codex":0.9527967,"about_ca_topic_score_gemma":0.9675611,"teacher_disagreement_score":0.047203302,"about_ca_system_score_codex":0.046674836,"about_ca_system_score_gemma":0.055087335,"threshold_uncertainty_score":0.33865118},"labels":[],"label_agreement":null},{"id":"W4256068064","doi":"10.5406/illinois/9780252037245.001.0001","title":"Women Singers in Global Contexts","year":2013,"lang":"en","type":"book","venue":"University of Illinois Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":9,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Singing; Agency (philosophy); Gender studies; Narrative; Musical; Power (physics); Sociocultural evolution; Politics; History; Sociology; Visual arts; Art; Aesthetics; Literature; Political science; Social science; Anthropology","score_opus":0.022852131842981814,"score_gpt":0.1695211825957732,"score_spread":0.14666905075279138,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4256068064","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.15516217,0.033432975,0.0004164481,0.012338327,0.0020585794,0.000054682532,0.00007706275,0.0001441057,0.79631555],"genre_scores_gemma":[0.6983992,0.031268526,0.000540577,0.004639817,0.0014026549,0.00013677301,0.00010079885,0.00021374515,0.26329792],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985947,0.00076100824,0.000024814633,0.0001086624,0.00015505774,0.00035574098],"domain_scores_gemma":[0.9995746,0.00014469291,0.000034058692,0.000038830018,0.000033152537,0.00017472067],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014067045,0.000981797,0.0006318971,0.001855498,0.01157349,0.012204436,0.0006814422,0.0020743744,0.017033378],"category_scores_gemma":[0.0013139358,0.0003346874,0.00025430473,0.0028406694,0.009003488,0.004634698,0.008212267,0.001771565,0.0021035331],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000065311244,0.000063141866,0.004519965,0.0004617525,0.000017628092,0.0019968331,0.76558423,0.00008651673,0.0010678497,0.10336003,0.047418624,0.07535819],"study_design_scores_gemma":[0.0000049060386,0.00003237152,0.0024915019,0.00034891663,0.000008275898,0.0005987522,0.45423156,0.000015927464,0.000091864844,0.0025619906,0.53960603,0.0000078727635],"about_ca_topic_score_codex":0.004318545,"about_ca_topic_score_gemma":0.012708825,"teacher_disagreement_score":0.017033378,"about_ca_system_score_codex":0.0020048306,"about_ca_system_score_gemma":0.0015939911,"threshold_uncertainty_score":0.05698228},"labels":[],"label_agreement":null},{"id":"W4256493490","doi":"10.32920/ryerson.14653008","title":"Kingfish","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Dalhousie University","funders":"","keywords":"Betrayal; Silence; Brother; Portrait; Ethnography; Psychoanalysis; Sociology; Gender studies; History; Psychology; Aesthetics; Social psychology; Art history; Art; Anthropology","score_opus":0.054366032851089235,"score_gpt":0.20508999533071307,"score_spread":0.15072396247962383,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4256493490","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008713697,0.0013876935,0.0017901284,0.0026541648,0.0012643181,0.000091105336,0.0036883869,0.0013387359,0.9790718],"genre_scores_gemma":[0.024561377,0.0009156179,0.0018022099,0.0005438132,0.00010415813,0.000034013327,0.0023734195,0.00050123344,0.96916413],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994772,0.00004008133,0.00003279865,0.00013741551,0.0002463742,0.00006616177],"domain_scores_gemma":[0.9992144,0.0000740909,0.000042857304,0.00017535903,0.00033174598,0.000161501],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004956349,0.0005141897,0.00023958975,0.001188682,0.0019100033,0.003518836,0.0007300451,0.0013031717,0.41888657],"category_scores_gemma":[0.0018194779,0.00031669677,0.0002454308,0.0010721138,0.00067233876,0.002267528,0.0026519822,0.0008071686,0.19079833],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002496341,0.000042212036,0.0026890216,0.00044575633,0.000013293974,0.000654715,0.0037126904,0.00010074022,0.006377005,0.027360363,0.66490746,0.29344714],"study_design_scores_gemma":[0.0000041341095,0.000009738539,0.0015740189,0.00004463472,0.0000021208812,0.00015886288,0.00050918455,0.00002907219,0.00028977206,0.00057296816,0.99680066,0.000004879857],"about_ca_topic_score_codex":0.013972401,"about_ca_topic_score_gemma":0.029306836,"teacher_disagreement_score":0.41888657,"about_ca_system_score_codex":0.0014381354,"about_ca_system_score_gemma":0.0011736618,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W427315204","doi":"","title":"African Children’s Choir to Perform at Cedarville University","year":2014,"lang":"en","type":"article","venue":"DigitalCommons-Cedarville (Cedarville University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Choir; Psychology; Pedagogy","score_opus":0.009762904731467195,"score_gpt":0.14420539792294168,"score_spread":0.1344424931914745,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W427315204","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.033452105,0.0066285348,0.0002707958,0.016286058,0.006051262,0.00012825298,0.0009213346,0.00026261175,0.93599904],"genre_scores_gemma":[0.06967069,0.0034028466,0.0008078574,0.0015966338,0.0007849091,0.00007811369,0.00029662938,0.00010603248,0.9232563],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997031,0.000051581854,0.0000063013053,0.0000335574,0.00006899209,0.0001363984],"domain_scores_gemma":[0.99969494,0.000016846954,0.00001029279,0.000013277385,0.00004509941,0.00021969166],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006900905,0.00074306317,0.00023868482,0.0008531437,0.008495692,0.0025601683,0.000442716,0.00094739196,0.25543568],"category_scores_gemma":[0.00052587123,0.00019073639,0.00024156123,0.0004036939,0.0007489849,0.0010999653,0.0029437966,0.0018007031,0.026399046],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008613237,0.00011918675,0.0017442356,0.00012935206,0.0000042131956,0.0009489093,0.004431629,0.00004526602,0.0009345334,0.007899542,0.91878974,0.06486728],"study_design_scores_gemma":[0.000005310499,0.000024394098,0.005784519,0.00013727696,0.0000013688475,0.00026217973,0.005491112,0.000013111261,0.00023147941,0.00026659254,0.9877765,0.0000060291186],"about_ca_topic_score_codex":0.018240657,"about_ca_topic_score_gemma":0.12972777,"teacher_disagreement_score":0.25543568,"about_ca_system_score_codex":0.0016017526,"about_ca_system_score_gemma":0.0013987714,"threshold_uncertainty_score":0.85451746},"labels":[],"label_agreement":null},{"id":"W4281725106","doi":"10.7202/1089677ar","title":"Staging Aural Fugitivity through Nineteenth-Century Freak Show Archives","year":2022,"lang":"en","type":"article","venue":"Performance Matters","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"FREAK; Biography; History; Sound (geography); Visual arts; Art history; Object (grammar); Order (exchange); Art; Acoustics; Linguistics; Computer science","score_opus":0.019826450848320385,"score_gpt":0.18944445244276506,"score_spread":0.16961800159444468,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4281725106","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.81210315,0.0030841478,0.0024578,0.0019702439,0.00018732018,0.000050400868,0.000116197436,0.00014343229,0.17988738],"genre_scores_gemma":[0.98216116,0.0006606689,0.00061675644,0.00007794729,0.000034485838,0.000013900544,0.000032317454,0.0000657765,0.016336873],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990075,0.0003780061,0.000035892546,0.000097718585,0.00020698452,0.0002739624],"domain_scores_gemma":[0.9988355,0.0004612691,0.00012825275,0.00017453004,0.00023271261,0.00016775125],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018942795,0.00036226513,0.000231882,0.0040299813,0.011348509,0.0070787445,0.00087835744,0.0009015348,0.007374798],"category_scores_gemma":[0.0041846237,0.0002680452,0.00015089252,0.002147507,0.010566066,0.0047357106,0.006929015,0.0015750082,0.0006657061],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010951398,0.000028221652,0.005035835,0.000120792785,0.00001104749,0.0009973829,0.8525414,0.00013024543,0.0017551437,0.076836035,0.0036733162,0.05876109],"study_design_scores_gemma":[0.0000073733136,0.000084593245,0.021720815,0.00046902357,0.000021693995,0.0008346306,0.726894,0.00013776774,0.0023930022,0.005479335,0.24191228,0.000045424906],"about_ca_topic_score_codex":0.030542202,"about_ca_topic_score_gemma":0.11000118,"teacher_disagreement_score":0.030542202,"about_ca_system_score_codex":0.0051040635,"about_ca_system_score_gemma":0.0020263013,"threshold_uncertainty_score":0.060728848},"labels":[],"label_agreement":null},{"id":"W4281908243","doi":"10.7202/1089678ar","title":"Surface Listening: Free Association and Recitation in the Wooster Group's The B-Side: \"Negro Folklore from Texas State Prisons\" A Record Album Interpretation","year":2022,"lang":"en","type":"article","venue":"Performance Matters","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"University of Pennsylvania; Yale University","keywords":"Active listening; Interpretation (philosophy); Folklore; Narrative; Singing; Ethnography; State (computer science); Sociology; Visual arts; History; Art; Psychology; Anthropology; Literature; Communication; Linguistics","score_opus":0.014577676272345297,"score_gpt":0.19546343716372241,"score_spread":0.18088576089137712,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4281908243","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6895023,0.0013382477,0.0026937327,0.015236362,0.0009826403,0.00006451965,0.00006571074,0.00009408195,0.29002237],"genre_scores_gemma":[0.9671208,0.00031577668,0.00027994436,0.0009811114,0.0001840371,0.000029289822,0.000021960172,0.000075462216,0.030991456],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987037,0.0008142755,0.000021145244,0.0000883668,0.00015143225,0.00022097718],"domain_scores_gemma":[0.99928975,0.00032621206,0.00007266056,0.00006632497,0.00007887214,0.0001661305],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014001456,0.0005725313,0.00027466123,0.00078067055,0.015281781,0.008638153,0.0007738836,0.0018077347,0.006511203],"category_scores_gemma":[0.0022179468,0.00018491941,0.00020293103,0.0006030555,0.016536651,0.0025478387,0.0058148606,0.0034119373,0.0005796034],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000076636374,0.000027684662,0.0006434867,0.000073781775,0.000004205665,0.0008915271,0.9433451,0.000046951984,0.0020115569,0.036841072,0.007556219,0.008481822],"study_design_scores_gemma":[0.000007967439,0.00006115571,0.0021318884,0.00014358928,0.000006798618,0.00031149184,0.88823956,0.00008746053,0.0007449329,0.0022205529,0.106028005,0.00001652995],"about_ca_topic_score_codex":0.01202797,"about_ca_topic_score_gemma":0.022546623,"teacher_disagreement_score":0.015281781,"about_ca_system_score_codex":0.0028749944,"about_ca_system_score_gemma":0.0013900019,"threshold_uncertainty_score":0.023915946},"labels":[],"label_agreement":null},{"id":"W4281987234","doi":"10.7202/1089680ar","title":"“I’m A Stripper, Ho\": The Sonics of Cardi B’s Ratchet, Diasporic Feminism","year":2022,"lang":"en","type":"article","venue":"Performance Matters","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":12,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Gender studies; Craft; Vernacular; Narrative; Sociology; Feminism; Musical; Storytelling; Politics; Framing (construction); Aesthetics; Visual arts; Art; Literature; History; Law; Political science","score_opus":0.016600655760892567,"score_gpt":0.16934951542820764,"score_spread":0.15274885966731508,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4281987234","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.43515623,0.003915171,0.006586648,0.027610457,0.0014657753,0.00004320428,0.000055448734,0.00015981706,0.52500725],"genre_scores_gemma":[0.931077,0.0009024151,0.0010193877,0.0023097454,0.00013445996,0.00002668109,0.00001553902,0.00012497194,0.064389795],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99908423,0.00053141755,0.000009816347,0.00007832946,0.00012873641,0.0001675562],"domain_scores_gemma":[0.9995067,0.0002019101,0.000028147671,0.000047191512,0.00005341836,0.00016273223],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012139741,0.000317075,0.00014591432,0.0005285857,0.008090856,0.0053964965,0.0005453231,0.0011095189,0.007053952],"category_scores_gemma":[0.0014430933,0.00023582396,0.00013171753,0.0002900729,0.011282419,0.001824619,0.003991916,0.0023665854,0.0010599843],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002554775,0.000038879414,0.004456582,0.00015180517,0.000011427312,0.0012193836,0.6883368,0.00014605853,0.0065290346,0.21556076,0.041309703,0.041984074],"study_design_scores_gemma":[0.000010965557,0.00010003673,0.005895886,0.00025112453,0.000010428311,0.00097610266,0.49373615,0.00027527596,0.0016660264,0.0062751356,0.49076012,0.00004275669],"about_ca_topic_score_codex":0.017065398,"about_ca_topic_score_gemma":0.032151688,"teacher_disagreement_score":0.017065398,"about_ca_system_score_codex":0.0018109374,"about_ca_system_score_gemma":0.0010047101,"threshold_uncertainty_score":0.03393215},"labels":[],"label_agreement":null},{"id":"W4283122354","doi":"10.5206/notabene.v15i1.15033","title":"The Postminimal is Political: Social Activism in the Music of Julius Eastman and Ann Southam","year":2022,"lang":"en","type":"article","venue":"Nota bene","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"McGill University","funders":"","keywords":"Politics; Queer; Musical; Social movement; Courage; Political consciousness; Composition (language); Citizen journalism; Aesthetics; Consciousness; Sociology; Gender studies; History; Literature; Media studies; Art; Psychology; Political science; Law","score_opus":0.042509302692472425,"score_gpt":0.22420085001146672,"score_spread":0.18169154731899428,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4283122354","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5661154,0.00719788,0.00046991298,0.108515956,0.0012619639,0.000037263668,0.000035088666,0.00002865405,0.31633785],"genre_scores_gemma":[0.94725406,0.0022839457,0.00019179651,0.00567199,0.00040783235,0.000037114954,0.0000099173085,0.000040857685,0.044102453],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987984,0.0005915954,0.000022253682,0.00008675235,0.0002619132,0.00023909888],"domain_scores_gemma":[0.9989741,0.0005665067,0.00011653409,0.000040498842,0.000070342576,0.00023198103],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014186138,0.00030250323,0.0001956579,0.000598357,0.015025534,0.004100761,0.0006614279,0.0011716684,0.0034785464],"category_scores_gemma":[0.0019925665,0.00020753413,0.00012680171,0.00050217565,0.014783761,0.0021385695,0.0046910956,0.003461847,0.0003125577],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006439139,0.000031403382,0.0012742323,0.00009166955,0.0000057503776,0.00074698485,0.8234733,0.000046700177,0.0016849239,0.13112463,0.025062414,0.016393557],"study_design_scores_gemma":[0.000012185845,0.000041915035,0.0073039415,0.0003007849,0.000008873324,0.00046306846,0.47051176,0.00011980542,0.0009070475,0.010872308,0.5094359,0.00002246614],"about_ca_topic_score_codex":0.024842035,"about_ca_topic_score_gemma":0.09224679,"teacher_disagreement_score":0.024842035,"about_ca_system_score_codex":0.00604553,"about_ca_system_score_gemma":0.0037913078,"threshold_uncertainty_score":0.049394846},"labels":[],"label_agreement":null},{"id":"W4283123938","doi":"10.5206/notabene.v15i1.15032","title":"“Be Yourself”: Frank Ocean’s Blonde and Hip-Hop","year":2022,"lang":"en","type":"article","venue":"Nota bene","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Musical; Musical form; Style (visual arts); Identity (music); Art; Art history; Aesthetics; Visual arts; Literature","score_opus":0.030076824703192104,"score_gpt":0.19627908050750453,"score_spread":0.16620225580431242,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4283123938","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.44878104,0.016950253,0.0016059272,0.06975288,0.0016933148,0.000026174646,0.000026211292,0.00005976981,0.46110442],"genre_scores_gemma":[0.9328192,0.0013803504,0.00025897482,0.0045113065,0.00014081494,0.000007495965,0.000008383769,0.000044114375,0.0608295],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985176,0.00065183244,0.000018841627,0.00012669415,0.0002931228,0.00039189655],"domain_scores_gemma":[0.99943763,0.00023129104,0.00006184839,0.000031094194,0.0000651506,0.00017300229],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011432464,0.00021947785,0.0002314056,0.0005065787,0.011583421,0.0069031455,0.0004496115,0.0014765497,0.0024839952],"category_scores_gemma":[0.0026021085,0.0001959486,0.00010855933,0.00043188548,0.019079436,0.0029005364,0.0046438575,0.003714103,0.00041275934],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008572899,0.00003650633,0.0020241335,0.000076353,0.000006005892,0.0013726532,0.6718636,0.000060633585,0.000441214,0.25442398,0.046473484,0.02313565],"study_design_scores_gemma":[0.0000125843535,0.00003219156,0.00339793,0.00031042358,0.000005852385,0.00074721104,0.390843,0.00010857091,0.00032268144,0.017800735,0.58637977,0.00003904983],"about_ca_topic_score_codex":0.035232864,"about_ca_topic_score_gemma":0.07454277,"teacher_disagreement_score":0.035232864,"about_ca_system_score_codex":0.004898579,"about_ca_system_score_gemma":0.0020474887,"threshold_uncertainty_score":0.070055604},"labels":[],"label_agreement":null},{"id":"W4283712419","doi":"10.7551/mitpress/10818.003.0008","title":"Tuning, Tundra, and Treasure: Canada’s Expanded Musicality","year":2022,"lang":"en","type":"book-chapter","venue":"The MIT Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Treasure; Tundra; Guitar; Geography; Ecology; Archaeology; Biology; Acoustics; Arctic; Physics","score_opus":0.06144078314363212,"score_gpt":0.1941058521725604,"score_spread":0.13266506902892827,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4283712419","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.011532294,0.013286494,0.00054415996,0.017019669,0.0012659932,0.000023466686,0.00041290716,0.000090169844,0.9558248],"genre_scores_gemma":[0.18692707,0.009626793,0.00087105995,0.0054058633,0.00029950216,0.000030141795,0.00025022897,0.00019085951,0.79639834],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99881953,0.000073681906,0.000015393245,0.000092509516,0.00053098955,0.0004678955],"domain_scores_gemma":[0.9992773,0.000085299085,0.000012575234,0.00004364236,0.00024012962,0.00034101482],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007587644,0.000517011,0.00032975042,0.0014724209,0.013170146,0.010270846,0.0011327594,0.0020559614,0.04411408],"category_scores_gemma":[0.0014450055,0.0002994847,0.000247079,0.0023713424,0.006503921,0.0021591492,0.003355049,0.0031915288,0.0036864078],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008142607,0.00002253721,0.0010934612,0.00015738558,0.000009572771,0.00031337255,0.01851198,0.00031900548,0.0008504721,0.24939778,0.56213987,0.1671032],"study_design_scores_gemma":[0.0000032293979,0.0000027129756,0.001380022,0.00008449154,0.0000022106792,0.000038447775,0.003917075,0.000034009965,0.0000500666,0.0022043565,0.9922733,0.000009995507],"about_ca_topic_score_codex":0.9800637,"about_ca_topic_score_gemma":0.9958989,"teacher_disagreement_score":0.04411408,"about_ca_system_score_codex":0.0411666,"about_ca_system_score_gemma":0.08911649,"threshold_uncertainty_score":0.29868603},"labels":[],"label_agreement":null},{"id":"W4285269696","doi":"10.7202/1088246ar","title":"Les parodies de chanson liées à la covid-19. La version québécoise d’un phénomène mondial","year":2022,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Coronavirus disease 2019 (COVID-19); Philosophy; Medicine","score_opus":0.03186130502438584,"score_gpt":0.2382938419897992,"score_spread":0.20643253696541336,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4285269696","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.88405156,0.0029160471,0.002397751,0.008357568,0.000368001,0.000093021044,0.0008845874,0.000048940637,0.10088254],"genre_scores_gemma":[0.9707447,0.00069502305,0.00050292275,0.0007065681,0.00002651606,0.000049131737,0.00016313537,0.000035992816,0.02707597],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99828595,0.0007397382,0.000042001167,0.000260078,0.00036535316,0.00030682897],"domain_scores_gemma":[0.9972627,0.000886033,0.00034119567,0.00013903415,0.0007807895,0.0005901768],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018252062,0.00034524448,0.00030641977,0.0012741,0.0103960335,0.0037917602,0.0007504663,0.0013159948,0.012641949],"category_scores_gemma":[0.00484649,0.00029438737,0.00021185627,0.0014763345,0.007915076,0.002207852,0.0024418659,0.0019400932,0.0008609191],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000051137722,0.000014137921,0.021272328,0.00016699782,0.000014224423,0.0007246569,0.9417408,0.000047597456,0.0018657893,0.013808832,0.0076451446,0.012648376],"study_design_scores_gemma":[0.000004426422,0.000026951722,0.06999506,0.00029828868,0.0000118559365,0.00035941286,0.76690805,0.00012840179,0.00031546003,0.0007497622,0.16114455,0.000057768353],"about_ca_topic_score_codex":0.7321714,"about_ca_topic_score_gemma":0.87009835,"teacher_disagreement_score":0.26782858,"about_ca_system_score_codex":0.01347794,"about_ca_system_score_gemma":0.010936136,"threshold_uncertainty_score":0.53881174},"labels":[],"label_agreement":null},{"id":"W4285370795","doi":"10.1386/jfs_00041_1","title":"‘My whole world shifted’: Identity and transformation in becoming-a-fan narratives","year":2021,"lang":"en","type":"article","venue":"The Journal of Fandom Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Waterloo","funders":"","keywords":"Narrative; Fandom; Identity (music); Sociology; Object (grammar); Transition (genetics); Media studies; Aesthetics; Art; Computer science; Literature; Artificial intelligence","score_opus":0.0821820724112253,"score_gpt":0.29897770408526264,"score_spread":0.21679563167403734,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4285370795","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9538948,0.00084055885,0.0024215379,0.003994084,0.00018599031,0.00006287517,0.000041478837,0.00003202938,0.038526587],"genre_scores_gemma":[0.9969086,0.00021283733,0.00036858168,0.00016112403,0.000020016356,0.000015730555,0.00001921176,0.000020669771,0.0022732662],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9948211,0.003768473,0.00009706292,0.00030840974,0.00039505234,0.0006099988],"domain_scores_gemma":[0.9959073,0.002660806,0.00027670866,0.00019150606,0.0002540602,0.00070958916],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.007403519,0.00071442075,0.00050594605,0.002222122,0.01412766,0.008991069,0.0014540434,0.0016764514,0.002986128],"category_scores_gemma":[0.008212781,0.0003886279,0.0003874918,0.0013890464,0.022387661,0.01025196,0.006552714,0.0030354098,0.0002148697],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001945849,0.000012485481,0.0011278478,0.000017209044,0.0000018336821,0.00034244003,0.9889494,0.00001858847,0.00014887044,0.0071602734,0.00030035022,0.0019013439],"study_design_scores_gemma":[0.0000032059343,0.00001197217,0.0009354289,0.000053762902,0.000002573428,0.00022791418,0.98454535,0.000082886385,0.00012893496,0.001752778,0.01224638,0.000008779466],"about_ca_topic_score_codex":0.012683679,"about_ca_topic_score_gemma":0.019422363,"teacher_disagreement_score":0.01412766,"about_ca_system_score_codex":0.0044692964,"about_ca_system_score_gemma":0.0027182952,"threshold_uncertainty_score":0.039154053},"labels":[],"label_agreement":null},{"id":"W4285580658","doi":"10.5325/ampamermusipers.1.2.0136","title":"Reproducing Inheritance: How the Country Music Association’s Award Criteria Reinforce Industry White Supremacy Capitalist Patriarchy","year":2020,"lang":"en","type":"article","venue":"AMP American Music Perspectives","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Ottawa","funders":"","keywords":"Patriarchy; White supremacy; White (mutation); Indigenous; Nomination; Disadvantaged; Music industry; Inheritance (genetic algorithm); Chart; Gender studies; Sociology; Political science; Law; Racism; Music education","score_opus":0.04252372054847539,"score_gpt":0.24381386202641128,"score_spread":0.2012901414779359,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4285580658","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5046907,0.00059294794,0.0060216575,0.026890779,0.00039290913,0.00003892326,0.00003235671,0.000097616874,0.46124214],"genre_scores_gemma":[0.98795265,0.000091858186,0.00064465613,0.001014318,0.000046124314,0.000012393915,0.0000073247147,0.000038554703,0.010192032],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.991267,0.0051064454,0.00015255211,0.00077737967,0.0017559787,0.00094060396],"domain_scores_gemma":[0.9811452,0.010507881,0.0017611423,0.0024873703,0.002653275,0.001445234],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.013727394,0.0001827302,0.00022550728,0.0018281274,0.01680631,0.013467243,0.0016041457,0.0015038614,0.00888421],"category_scores_gemma":[0.03743287,0.00026124436,0.00016005883,0.001994256,0.02362724,0.0050221817,0.0069115614,0.0032096028,0.0007406693],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004510254,0.00009039061,0.013867424,0.000030900384,0.000011885311,0.0004726165,0.3511314,0.00017617467,0.00064544484,0.57778215,0.0127322795,0.043014213],"study_design_scores_gemma":[0.000055331268,0.00013604398,0.028733946,0.00037002127,0.00005366871,0.00034567207,0.33820364,0.0013634007,0.0018895647,0.16456933,0.46419042,0.000088959074],"about_ca_topic_score_codex":0.03311715,"about_ca_topic_score_gemma":0.06280752,"teacher_disagreement_score":0.03311715,"about_ca_system_score_codex":0.006660099,"about_ca_system_score_gemma":0.0069931913,"threshold_uncertainty_score":0.07259828},"labels":[],"label_agreement":null},{"id":"W4285580674","doi":"10.5325/ampamermusipers.1.2.0098","title":"Intersections of Gender, Race, and Genre: Cammie Gilbert and Black Female Subjectivity in Metal Music","year":2020,"lang":"en","type":"article","venue":"AMP American Music Perspectives","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":14,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Ottawa","funders":"","keywords":"Oppression; Intersectionality; Gender studies; Subjectivity; Sociology; Black feminism; Human sexuality; Race (biology); Musical; Interpretation (philosophy); Aesthetics; Feminism; Epistemology; Art; Politics; Linguistics; Literature; Political science","score_opus":0.0502631885927862,"score_gpt":0.2377822141498229,"score_spread":0.1875190255570367,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4285580674","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.77137536,0.003126216,0.0008588608,0.021217423,0.00025517715,0.000022654633,0.000037265392,0.000021664813,0.2030854],"genre_scores_gemma":[0.98618627,0.00055443327,0.00020278672,0.00089516415,0.00006956005,0.00001568504,0.000006056899,0.000018482624,0.01205154],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9980755,0.00121924,0.000023962397,0.00013191414,0.00026039864,0.00028903875],"domain_scores_gemma":[0.99845374,0.0009399729,0.00018326144,0.000052236326,0.0001367764,0.00023393804],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026049055,0.00047871692,0.0003940315,0.0026497382,0.015262505,0.007444136,0.0006408735,0.0017541711,0.0066881073],"category_scores_gemma":[0.0030783885,0.000249975,0.00014610394,0.0013340522,0.02200705,0.002967904,0.0047876546,0.001790328,0.00038047507],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005027026,0.00001877728,0.0043569235,0.00005452598,0.0000036027836,0.00067491224,0.9115706,0.0000216848,0.0010094178,0.06893893,0.003264629,0.010035728],"study_design_scores_gemma":[0.0000049065497,0.000022195434,0.005358578,0.00019695528,0.0000051088796,0.00036110316,0.9236606,0.000054047025,0.0003090538,0.0048331423,0.06518186,0.000012417415],"about_ca_topic_score_codex":0.032500856,"about_ca_topic_score_gemma":0.072436534,"teacher_disagreement_score":0.032500856,"about_ca_system_score_codex":0.0043879678,"about_ca_system_score_gemma":0.0020084193,"threshold_uncertainty_score":0.064623356},"labels":[],"label_agreement":null},{"id":"W4286382210","doi":"10.3138/jeunesse.13.1.159","title":"“Laugh! I Thought I Should’ve Died”: British Music Hall Humour and the Subversion of Childhood on The Muppet Show","year":2021,"lang":"en","type":"article","venue":"Jeunesse Young People Texts Cultures","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Subversion; Comedy; Carnivalesque; Musical; Context (archaeology); Human sexuality; Interpretation (philosophy); Sociology; Normative; Trope (literature); Aesthetics; Psychology; Literature; Art; Gender studies; History; Politics; Philosophy; Linguistics; Epistemology; Law","score_opus":0.018594803474520943,"score_gpt":0.20948216740977096,"score_spread":0.19088736393525002,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4286382210","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.83924407,0.0019875097,0.00067113235,0.007929088,0.00024199988,0.000028374592,0.000034207333,0.00004236112,0.14982119],"genre_scores_gemma":[0.9813153,0.0007312206,0.00018186631,0.00051318866,0.000030839252,0.0000108880695,0.000009281627,0.000029876575,0.017177533],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99822754,0.0010335053,0.000023562176,0.00008135825,0.00023264858,0.00040139712],"domain_scores_gemma":[0.99898344,0.00049480505,0.00009957113,0.000061677776,0.000098453995,0.00026199446],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016145356,0.00041029725,0.0002969922,0.000913616,0.017855292,0.005742014,0.0007195182,0.0015549548,0.0051829964],"category_scores_gemma":[0.0027928303,0.00034401997,0.00016464229,0.000679418,0.013952516,0.0021026244,0.0043817894,0.003203252,0.0006325808],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028202312,0.000014644765,0.0018599775,0.000038150087,0.0000036586255,0.0023675372,0.9722755,0.000020602854,0.0005369304,0.013884439,0.0027769078,0.006193575],"study_design_scores_gemma":[0.0000052984183,0.00003628005,0.0063261036,0.00018885698,0.000010016339,0.0023343877,0.8862117,0.000060626833,0.0006117297,0.0014643689,0.1027244,0.00002618687],"about_ca_topic_score_codex":0.09845036,"about_ca_topic_score_gemma":0.21903464,"teacher_disagreement_score":0.09845036,"about_ca_system_score_codex":0.004378273,"about_ca_system_score_gemma":0.002013354,"threshold_uncertainty_score":0.19575465},"labels":[],"label_agreement":null},{"id":"W4286523186","doi":"10.30535/mto.28.2.11","title":"The Many Paths of Decolonization","year":2022,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":18,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Manitoba","funders":"","keywords":"Colonialism; Indigenous; Tribe; Gesture; Decolonization; Diversity (politics); Field (mathematics); Inclusion (mineral); Sociology; Epistemology; Aesthetics; Art; Literature; History; Anthropology; Linguistics; Philosophy; Political science; Mathematics; Law","score_opus":0.020572015722124526,"score_gpt":0.20330721321416279,"score_spread":0.18273519749203826,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4286523186","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.20584558,0.016790839,0.024582785,0.09777397,0.0012719217,0.00011187046,0.00007909483,0.00024018825,0.65330374],"genre_scores_gemma":[0.9494277,0.0027807783,0.003303546,0.0033752352,0.00023456263,0.00008418588,0.000023991464,0.00023558828,0.04053453],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99158716,0.0046336316,0.00020626358,0.0009953954,0.0013189047,0.0012586636],"domain_scores_gemma":[0.9956488,0.0017198467,0.00033213902,0.0010264842,0.00080188573,0.00047090172],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0082835015,0.0005637887,0.0004443592,0.0018030385,0.0142327575,0.009378519,0.0017613155,0.0016046163,0.0061044726],"category_scores_gemma":[0.011878034,0.0003555396,0.00038295524,0.0016267248,0.06533704,0.0121126585,0.011726567,0.005798127,0.000727688],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021400005,0.0000130533845,0.0006116094,0.00006170779,0.0000066761468,0.000110814704,0.10004413,0.00010549849,0.00023332004,0.87386966,0.0045920247,0.020330058],"study_design_scores_gemma":[0.000016845177,0.000041410316,0.0020289065,0.0004063674,0.000012232033,0.00028572112,0.14572243,0.00049697165,0.0007267485,0.37417614,0.47603938,0.00004690784],"about_ca_topic_score_codex":0.015626872,"about_ca_topic_score_gemma":0.018739177,"teacher_disagreement_score":0.015626872,"about_ca_system_score_codex":0.007821645,"about_ca_system_score_gemma":0.0062713046,"threshold_uncertainty_score":0.056750298},"labels":[],"label_agreement":null},{"id":"W4287101283","doi":"10.5281/zenodo.5068169","title":"{ZIP DOWNLOAD#%} Drake Scorpion Album (2018)","year":2021,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Download; Scorpion; World Wide Web; Computer science; Biology; Fishery","score_opus":0.05054264667264157,"score_gpt":0.2088495320461088,"score_spread":0.1583068853734672,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4287101283","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0008285894,0.00019062417,0.00056950474,0.0004375703,0.00068218936,0.00017825271,0.07507383,0.014358157,0.9076813],"genre_scores_gemma":[0.0022701856,0.00020897231,0.0004507917,0.0003198571,0.00019184298,0.00008967821,0.04199968,0.0068986486,0.9475703],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997199,0.000015910635,0.000011820285,0.000051663952,0.00013072121,0.0000699428],"domain_scores_gemma":[0.9984113,0.00008403472,0.00004306884,0.00014687775,0.00080748263,0.00050721655],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00025287436,0.0011659119,0.00058506744,0.0016519128,0.0016692438,0.0034080094,0.001173294,0.0006004122,0.9109963],"category_scores_gemma":[0.002071156,0.0004967227,0.00057212624,0.0018851031,0.00025812796,0.0028184848,0.002582558,0.0010478357,0.90258783],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019585312,0.000008444305,0.00008460657,0.00003988132,8.292598e-7,0.0000125607685,0.000018367316,0.000009860874,0.00008532025,0.00022545469,0.9869632,0.012531899],"study_design_scores_gemma":[0.000011750735,0.00000965166,0.0012904458,0.000040813076,0.000001558115,0.000028618422,0.000039705774,0.00004170883,0.00017566505,0.00015188922,0.99819946,0.000008673667],"about_ca_topic_score_codex":0.020752342,"about_ca_topic_score_gemma":0.03648851,"teacher_disagreement_score":0.08900368,"about_ca_system_score_codex":0.0009852148,"about_ca_system_score_gemma":0.00079812924,"threshold_uncertainty_score":0.12695289},"labels":[],"label_agreement":null},{"id":"W4287101464","doi":"10.5281/zenodo.5068159","title":"MP3# Download: The Weeknd Beauty Behind The Madness zip","year":2021,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Download; Beauty; Art; Computer science; Internet privacy; Aesthetics; World Wide Web","score_opus":0.049226238120776186,"score_gpt":0.2114525315821759,"score_spread":0.16222629346139972,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4287101464","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010871217,0.0002526301,0.0008365397,0.0006491745,0.0013079337,0.00016645124,0.024526434,0.013518705,0.95765495],"genre_scores_gemma":[0.0031427147,0.00020442712,0.00042234507,0.00042835178,0.00029027698,0.00007846831,0.010854175,0.008554875,0.9760243],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999826,0.00001389247,0.0000051080397,0.000025319778,0.000077667966,0.000051909126],"domain_scores_gemma":[0.99922216,0.00006982842,0.000021672431,0.00010291077,0.0002851338,0.0002982335],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00025074245,0.00079862337,0.00041239653,0.0008877559,0.0017358615,0.0034870328,0.0007898882,0.00072675827,0.8781482],"category_scores_gemma":[0.0013386664,0.00040005214,0.00043539683,0.0010068964,0.0002930293,0.0023784405,0.002464546,0.0012154846,0.8193473],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021039008,0.000009416174,0.000062501655,0.000032419557,7.5692657e-7,0.00001858874,0.00004477279,0.000007999486,0.00012576493,0.0002662271,0.98660594,0.012804612],"study_design_scores_gemma":[0.000011357411,0.000011233093,0.00076347636,0.00003627394,0.000001169463,0.00003482073,0.000081154336,0.0000378951,0.00019459763,0.00015055793,0.9986707,0.000006732266],"about_ca_topic_score_codex":0.0076199803,"about_ca_topic_score_gemma":0.018761702,"teacher_disagreement_score":0.1218518,"about_ca_system_score_codex":0.00062491855,"about_ca_system_score_gemma":0.0004828258,"threshold_uncertainty_score":0.17380673},"labels":[],"label_agreement":null},{"id":"W4288444727","doi":"10.1111/taja.12437","title":"Re‐territorializing the city: Youth and the productive role of reggae music in Vanuatu","year":2022,"lang":"en","type":"article","venue":"The Australian Journal of Anthropology","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Wilfrid Laurier University","funders":"Social Sciences and Humanities Research Council of Canada; Centre National de la Recherche Scientifique; École des Hautes Etudes en Sciences Sociales","keywords":"Sociology; Lyrics; Popularity; Ethnography; Politics; Aesthetics; Art; Political science; Psychology; Social psychology; Literature; Anthropology; Law","score_opus":0.05497699708883883,"score_gpt":0.25771686048856857,"score_spread":0.20273986339972974,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4288444727","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9783,0.00065671955,0.00019143807,0.0007209685,0.00004166908,0.000010734744,0.00001903297,0.000009113996,0.020050468],"genre_scores_gemma":[0.9976471,0.00014057664,0.00007537819,0.000039343337,0.000005487011,0.0000045157867,0.000006039178,0.0000041672297,0.0020773204],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9992816,0.00038605926,0.000016989054,0.000054709955,0.000050615716,0.00021005317],"domain_scores_gemma":[0.9995308,0.00016214795,0.000067916524,0.000029114863,0.000042992757,0.00016701227],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012438163,0.00021192335,0.000266958,0.00094779284,0.0059710625,0.0050918283,0.00076885615,0.00067983737,0.0034582664],"category_scores_gemma":[0.0011912028,0.00022442665,0.00015542441,0.0007080555,0.0058874423,0.0013643542,0.004441351,0.0011339885,0.00018508697],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004790736,0.00005994077,0.024844782,0.00009367398,0.000011355634,0.0011836764,0.9367695,0.00006358041,0.0013542293,0.016673699,0.0012752577,0.01762243],"study_design_scores_gemma":[0.000003314938,0.000032921747,0.019911775,0.00012103203,0.000008233412,0.00028791899,0.94089395,0.00007799948,0.00024265911,0.000871951,0.037537053,0.000011176122],"about_ca_topic_score_codex":0.030987963,"about_ca_topic_score_gemma":0.08987271,"teacher_disagreement_score":0.030987963,"about_ca_system_score_codex":0.002223133,"about_ca_system_score_gemma":0.0013054027,"threshold_uncertainty_score":0.06161523},"labels":[],"label_agreement":null},{"id":"W4290086391","doi":"10.21083/partnership.v17i1.6706","title":"From Copyright Cartels to Commons and Care: A Public Infrastructure Model for Canadian Music Communities","year":2022,"lang":"en","type":"article","venue":"Partnership The Canadian Journal of Library and Information Practice and Research","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Alberta; University of Winnipeg","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Commons; Consolidation (business); Variety (cybernetics); Corporate governance; Government (linguistics); Public domain; Public relations; Livelihood; Music industry; Public policy; Politics; Business; Political science; Public administration; Sociology; Economics; Music education; Economic growth; Finance; Geography","score_opus":0.11611161168162068,"score_gpt":0.29034996215668457,"score_spread":0.1742383504750639,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4290086391","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14936565,0.00064452254,0.0320872,0.05045967,0.00018624007,0.00056394155,0.00028229755,0.00024429092,0.76616627],"genre_scores_gemma":[0.97493875,0.00021256227,0.004373501,0.0009094818,0.000030067546,0.00011713709,0.000048455273,0.000031065603,0.01933884],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99362814,0.0018507343,0.00009768089,0.00055918394,0.0015544697,0.002309828],"domain_scores_gemma":[0.99391514,0.0014243028,0.00035710252,0.00072676543,0.0013520935,0.0022244907],"candidate_categories":["scholarly_communication"],"consensus_categories":[],"category_scores_codex":[0.0038911467,0.00043670868,0.00031155482,0.0031972087,0.024066085,0.017342055,0.0027221034,0.0034349912,0.011042116],"category_scores_gemma":[0.010505357,0.0004376186,0.00062125456,0.0033298496,0.031454463,0.0077493303,0.009868975,0.0033021555,0.0005087747],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015555355,0.00003976061,0.002628812,0.000026871989,0.000007871959,0.0003456668,0.014407909,0.00199255,0.00012474137,0.96438473,0.0044374894,0.011587999],"study_design_scores_gemma":[0.00012796353,0.0000714853,0.011654424,0.00041709404,0.000073398325,0.0003855198,0.07927082,0.016174179,0.00045417534,0.49023074,0.40097746,0.00016273325],"about_ca_topic_score_codex":0.92709494,"about_ca_topic_score_gemma":0.9578289,"teacher_disagreement_score":0.98265797,"about_ca_system_score_codex":0.11393856,"about_ca_system_score_gemma":0.17364936,"threshold_uncertainty_score":0.826686},"labels":[],"label_agreement":null},{"id":"W4290609994","doi":"10.1080/03007766.2022.2099196","title":"Cherokee Missed: Indigenous Influence and Natural Metaphysics in the Music of Jimi Hendrix","year":2022,"lang":"en","type":"article","venue":"Popular Music & Society","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Athabasca University","funders":"","keywords":"Natural (archaeology); Metaphysics; Musical; Indigenous; Mythology; Cherokee; Art; Literature; Aesthetics; History; Philosophy; Epistemology; Archaeology","score_opus":0.030414747624950052,"score_gpt":0.20994132944289237,"score_spread":0.17952658181794232,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4290609994","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.63756496,0.0034920217,0.0022575133,0.00495983,0.00022377877,0.000032685773,0.000025402063,0.000047389374,0.35139644],"genre_scores_gemma":[0.987845,0.0003145082,0.00024647592,0.00018853555,0.00004370386,0.000003961959,0.0000033992565,0.000012777804,0.01134165],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99930036,0.00025037184,0.00001606472,0.000093166695,0.00018442626,0.00015562643],"domain_scores_gemma":[0.9995136,0.00027113216,0.00004997507,0.00003461976,0.00005337127,0.00007733834],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00075118715,0.00016467998,0.00021896011,0.0007678991,0.005082356,0.004242409,0.00043936563,0.000525682,0.003420426],"category_scores_gemma":[0.0020720095,0.0001426054,0.00007298548,0.0004628528,0.012333208,0.0015515714,0.0030241925,0.0015841797,0.00023662602],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015086301,0.00004712132,0.004177157,0.0001765398,0.000023132812,0.0024282504,0.6678667,0.00021342684,0.0033043935,0.2801964,0.002916266,0.038499687],"study_design_scores_gemma":[0.000032134412,0.00014075679,0.041642092,0.00032180833,0.000047875845,0.0024551712,0.4598024,0.0007303851,0.0046139136,0.051285353,0.43885437,0.00007369079],"about_ca_topic_score_codex":0.018806309,"about_ca_topic_score_gemma":0.046336256,"teacher_disagreement_score":0.018806309,"about_ca_system_score_codex":0.002752153,"about_ca_system_score_gemma":0.00084145844,"threshold_uncertainty_score":0.03739369},"labels":[],"label_agreement":null},{"id":"W4292057418","doi":"10.1215/9781478023012-001","title":"Music as a Cosmopolitical Practice","year":2022,"lang":"en","type":"book-chapter","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Visual arts; Art","score_opus":0.053753763477492826,"score_gpt":0.23033132841688722,"score_spread":0.1765775649393944,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4292057418","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005285539,0.010549394,0.001829976,0.019370286,0.007139419,0.000033983008,0.00004110023,0.000131929,0.9556183],"genre_scores_gemma":[0.32883105,0.014761957,0.004159176,0.01429151,0.01753877,0.00013754192,0.0001272431,0.00043370074,0.619719],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9976394,0.0009634762,0.000080129845,0.00032184905,0.00068448257,0.00031062993],"domain_scores_gemma":[0.99777514,0.0003168915,0.00012795505,0.00033326095,0.0003029177,0.0011437096],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018618656,0.0005752189,0.00033198396,0.0014254996,0.0066686124,0.012178234,0.00075148785,0.0019040684,0.046429433],"category_scores_gemma":[0.0036695267,0.00018724082,0.0002140271,0.0013281058,0.011502038,0.0043443847,0.007710387,0.0036868928,0.009403017],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000077467805,0.000121993035,0.001094831,0.00024771216,0.000018376788,0.00041639595,0.023943463,0.00015667205,0.0016600153,0.4849699,0.3491998,0.13809347],"study_design_scores_gemma":[0.000006502994,0.000023959537,0.0005177778,0.0001468282,0.0000017654402,0.0002178496,0.0046200356,0.000038554015,0.000060168248,0.0078861695,0.9864738,0.0000066266825],"about_ca_topic_score_codex":0.0021110394,"about_ca_topic_score_gemma":0.0062189754,"teacher_disagreement_score":0.046429433,"about_ca_system_score_codex":0.0017855996,"about_ca_system_score_gemma":0.0015619916,"threshold_uncertainty_score":0.1553219},"labels":[],"label_agreement":null},{"id":"W4293221711","doi":"10.1017/s1752196321000493","title":"Defining the Songs of Incarceration: The Lomax Prison Project at a Critical Juncture","year":2022,"lang":"en","type":"article","venue":"Journal of the Society for American Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Prison; Imprisonment; Juncture; Criminology; Sociology; Gender studies; Political science; Linguistics","score_opus":0.02303500897222987,"score_gpt":0.2505708872196095,"score_spread":0.22753587824737964,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4293221711","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7731355,0.0058918204,0.0038166398,0.08727491,0.0021875834,0.00011751997,0.000073985306,0.00011415656,0.12738788],"genre_scores_gemma":[0.98971903,0.00067728467,0.00047245628,0.0018344555,0.0003087574,0.00007063629,0.000012288897,0.000037231515,0.006867783],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.993421,0.0047078934,0.00016126626,0.00030832982,0.0005540106,0.00084752834],"domain_scores_gemma":[0.9924023,0.00403556,0.00075124815,0.00035305857,0.0009401858,0.0015176426],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0069398903,0.00056781364,0.00038550072,0.0019594342,0.030708812,0.011805342,0.0014875061,0.0028849589,0.0043602637],"category_scores_gemma":[0.014814025,0.00043081248,0.00014210222,0.0010037071,0.03368133,0.006697005,0.009662429,0.006269971,0.00046161885],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000055769586,0.000027985454,0.001314541,0.000068202266,0.0000028103173,0.0005100179,0.93873435,0.000018984436,0.0006914689,0.04485319,0.005972916,0.0077499105],"study_design_scores_gemma":[0.0000029915375,0.00004667389,0.0027045188,0.0003060258,0.0000032307878,0.00027589814,0.8966111,0.000044504606,0.00047134035,0.0033122604,0.096202664,0.000018797677],"about_ca_topic_score_codex":0.009279083,"about_ca_topic_score_gemma":0.017522926,"teacher_disagreement_score":0.030708812,"about_ca_system_score_codex":0.006501155,"about_ca_system_score_gemma":0.0046045426,"threshold_uncertainty_score":0.047169387},"labels":[],"label_agreement":null},{"id":"W4293282537","doi":"","title":"Keeping the message alive. The politics of glocal hip-hop scences (Paris, Sydney, Québec)","year":2013,"lang":"en","type":"preprint","venue":"HAL (Le Centre pour la Communication Scientifique Directe)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Glocalization; Politics; Hop (telecommunications); Computer science; Telecommunications; Political science","score_opus":0.02361659174705426,"score_gpt":0.21184873603972496,"score_spread":0.18823214429267068,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4293282537","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.09659202,0.024432233,0.00054016657,0.19254619,0.0030777224,0.000057553672,0.0010679828,0.00010030172,0.68158585],"genre_scores_gemma":[0.4830841,0.0028832098,0.00021318354,0.007341979,0.0003420843,0.000024877918,0.00010893257,0.00009732856,0.5059043],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.99904925,0.00017213507,0.000016310085,0.00008800481,0.00022480918,0.00044948034],"domain_scores_gemma":[0.9989371,0.00014346714,0.00008857352,0.000043802178,0.0004077079,0.00037935458],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010013063,0.00043274512,0.00022965403,0.00091685343,0.017180508,0.0082639465,0.0008315013,0.0029450646,0.037913457],"category_scores_gemma":[0.0026367453,0.0003277433,0.00017903873,0.0016362431,0.006180181,0.00172592,0.0023479,0.0038481366,0.0019334364],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000105729705,0.00002805652,0.0043684714,0.0001886386,0.000026145366,0.0009290879,0.06087398,0.00027865198,0.00069345225,0.33327553,0.54579324,0.05343902],"study_design_scores_gemma":[0.000010643932,0.0000128104375,0.017275294,0.000108643086,0.000010394946,0.00007008574,0.022421183,0.00008190314,0.00022226309,0.0020030309,0.95775956,0.000024175382],"about_ca_topic_score_codex":0.95812243,"about_ca_topic_score_gemma":0.98377615,"teacher_disagreement_score":0.060660433,"about_ca_system_score_codex":0.060660433,"about_ca_system_score_gemma":0.041684423,"threshold_uncertainty_score":0.44012433},"labels":[],"label_agreement":null},{"id":"W4294199473","doi":"10.4000/volume.9949","title":"Soft Machine, la « Scène de Canterbury » et le rock progressif italien","year":2022,"lang":"fr","type":"article","venue":"Volume !","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Musée de la Civilisation","funders":"","keywords":"Humanities; Art; Political science","score_opus":0.012101508794169049,"score_gpt":0.21541213863899056,"score_spread":0.2033106298448215,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4294199473","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18126835,0.0034573027,0.0030562442,0.015895916,0.0008503795,0.00005976051,0.0001529198,0.0000778652,0.7951813],"genre_scores_gemma":[0.72134584,0.0019105021,0.00083973265,0.0011828952,0.000216601,0.000071983035,0.00009267148,0.000112327616,0.2742274],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.998971,0.00026226544,0.000019636995,0.00016504506,0.000278722,0.00030344594],"domain_scores_gemma":[0.99930394,0.00028544993,0.00007428363,0.00005399061,0.00009293071,0.00018934828],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009177576,0.00083501346,0.00024545746,0.0011284675,0.008888129,0.007906353,0.0007423292,0.0010893745,0.024132382],"category_scores_gemma":[0.0016902736,0.0002505969,0.00020593357,0.0013685275,0.016994605,0.0027113676,0.003593379,0.0027239996,0.0018919837],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00025635134,0.00003394117,0.0036616288,0.0003211542,0.000011773868,0.0015306411,0.35496023,0.00032685685,0.0047714915,0.5171169,0.052517496,0.06449149],"study_design_scores_gemma":[0.00002206623,0.00007470051,0.015618057,0.00050616404,0.000013608191,0.00026335235,0.13452698,0.00022587932,0.0012195756,0.006307727,0.84117115,0.00005071166],"about_ca_topic_score_codex":0.24769829,"about_ca_topic_score_gemma":0.40986192,"teacher_disagreement_score":0.24769829,"about_ca_system_score_codex":0.012363506,"about_ca_system_score_gemma":0.007118695,"threshold_uncertainty_score":0.49251306},"labels":[],"label_agreement":null},{"id":"W4294627730","doi":"10.1080/20551940.2022.2112387","title":"Grid of nows: sound recording and the problem of time","year":2022,"lang":"en","type":"article","venue":"Sound Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Athabasca University","funders":"","keywords":"Computer science; Sound (geography); Grid; Acoustics; Physics; Geology","score_opus":0.04341044417135552,"score_gpt":0.22928074258888254,"score_spread":0.185870298417527,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4294627730","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.110956386,0.008295805,0.3002036,0.045765087,0.0013782503,0.00012398363,0.00021480407,0.000439116,0.53262293],"genre_scores_gemma":[0.9492568,0.00198688,0.028539246,0.0010233577,0.0002921165,0.00016046556,0.000054521617,0.00018068713,0.018506024],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9942669,0.0040852088,0.00016075624,0.0005924951,0.00056099275,0.00033369812],"domain_scores_gemma":[0.9898756,0.007178061,0.00051866757,0.0015353534,0.0005472495,0.000345051],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0052906987,0.0004659633,0.0004358887,0.0012957816,0.006474955,0.010451243,0.0018449875,0.0025838923,0.00785774],"category_scores_gemma":[0.010572708,0.00043735816,0.00043757187,0.0015712266,0.029247612,0.019647056,0.0058164955,0.002987616,0.0006307446],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000045520694,0.000011162233,0.0002783634,0.00005784198,0.000004152443,0.00011637361,0.028124038,0.00042186936,0.00036294808,0.95544475,0.0013648235,0.013768128],"study_design_scores_gemma":[0.00005543145,0.00009863938,0.0007267842,0.0003288511,0.000024581164,0.0005895818,0.06178921,0.0032096198,0.0016144433,0.6962045,0.235296,0.00006241099],"about_ca_topic_score_codex":0.0077623464,"about_ca_topic_score_gemma":0.0057141585,"teacher_disagreement_score":0.010451243,"about_ca_system_score_codex":0.0034415612,"about_ca_system_score_gemma":0.0022417938,"threshold_uncertainty_score":0.027980268},"labels":[],"label_agreement":null},{"id":"W4294795299","doi":"10.14324/111.9781800082434","title":"Music and Digital Media: A planetary anthology","year":2022,"lang":"en","type":"book","venue":"UCL Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":32,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Ethnography; Digital media; Popular music; Digital audio; New media; Musicology; Media studies; Cultural studies; Visual arts; Sociology; Art; Anthropology; Computer science; World Wide Web; Telecommunications","score_opus":0.0467265688453767,"score_gpt":0.18054954188708675,"score_spread":0.13382297304171004,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4294795299","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00672025,0.31124276,0.004819468,0.06992916,0.023273231,0.000091213704,0.00022277533,0.00015817986,0.58354294],"genre_scores_gemma":[0.13806686,0.25839612,0.008603152,0.02169867,0.047232542,0.00034239466,0.0004240856,0.0006267728,0.5246094],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99933654,0.00026189818,0.000026127236,0.000090245834,0.00018688034,0.000098335244],"domain_scores_gemma":[0.999298,0.00042383262,0.000039868108,0.000042707143,0.000073498595,0.0001220809],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008009692,0.0007353191,0.00057128683,0.0020245798,0.0036844523,0.0093764495,0.0013680286,0.0023570163,0.014378369],"category_scores_gemma":[0.0019068033,0.00038100523,0.00044258664,0.002497071,0.005011575,0.006303525,0.003988418,0.0040436047,0.002584004],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000039862985,0.000065242406,0.0002759121,0.00064898806,0.000011504136,0.00034278352,0.0129133025,0.00015598926,0.0005754524,0.5077689,0.406816,0.07038606],"study_design_scores_gemma":[0.0000042502015,0.000011473016,0.00016804335,0.00036381753,0.0000023751215,0.00010509227,0.0016858293,0.000042738433,0.000042311996,0.014608857,0.9829621,0.000003167238],"about_ca_topic_score_codex":0.0010809416,"about_ca_topic_score_gemma":0.0016931406,"teacher_disagreement_score":0.014378369,"about_ca_system_score_codex":0.0017778736,"about_ca_system_score_gemma":0.002034177,"threshold_uncertainty_score":0.048100412},"labels":[],"label_agreement":null},{"id":"W4295301991","doi":"","title":". KUBIK (Gerhard), Theory of African Music, Volume 1, Chicago, The University of Chicago Press, 1994; KUBIK (Gerhard), Theory of African Music, Volume 2, Chicago, The University of Chicago Press, 2010, dans: Revue canadienne des études africaines 46 (1), 2012: 170-173.","year":2010,"lang":"en","type":"preprint","venue":"HAL (Le Centre pour la Communication Scientifique Directe)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Volume (thermodynamics); Art history; Art; Thermodynamics; Physics","score_opus":0.021669882668090612,"score_gpt":0.17251442788638968,"score_spread":0.15084454521829907,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4295301991","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0033136008,0.83121645,0.015576354,0.04876453,0.004928778,0.00004842074,0.0011923516,0.000466952,0.09449262],"genre_scores_gemma":[0.19671018,0.59400624,0.02628936,0.011676157,0.009099017,0.00030402787,0.0014310355,0.00077167246,0.15971226],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99938774,0.00021238627,0.000047981055,0.00010241533,0.0001601887,0.00008921603],"domain_scores_gemma":[0.99929786,0.00039029203,0.00010445588,0.00004860379,0.00010338693,0.000055297776],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009773709,0.0019546053,0.0012229687,0.004089559,0.0025300137,0.0037493904,0.00104548,0.0032547617,0.023546698],"category_scores_gemma":[0.0022491727,0.00089665345,0.0006910283,0.0048929476,0.0031444079,0.008395795,0.001811309,0.0036425588,0.010132176],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014888796,0.00008382595,0.00071269594,0.0013925554,0.00008435323,0.00030511888,0.0025926672,0.00060697796,0.0004313386,0.5084739,0.383271,0.101896636],"study_design_scores_gemma":[0.00004401015,0.00002113147,0.005362677,0.00064136734,0.00004732559,0.0007092515,0.001087672,0.0006540857,0.0010051711,0.47577295,0.51454806,0.00010630684],"about_ca_topic_score_codex":0.008606812,"about_ca_topic_score_gemma":0.013878089,"teacher_disagreement_score":0.023546698,"about_ca_system_score_codex":0.002862164,"about_ca_system_score_gemma":0.0012950562,"threshold_uncertainty_score":0.07877153},"labels":[],"label_agreement":null},{"id":"W4295921122","doi":"10.1525/jpms.2022.34.3.159","title":"Contributors’ Notes","year":2022,"lang":"en","type":"article","venue":"Journal of Popular Music Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Icon; Musical; Citation; Blues; Folklife; Popular music; Order (exchange); Scholarship; Folklore; Visual arts; Library science; World Wide Web; History; Art; Art history; Computer science; Literature","score_opus":0.10951860671865607,"score_gpt":0.2698737167607603,"score_spread":0.1603551100421042,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4295921122","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0007173005,0.007600596,0.0019023729,0.09938113,0.15340783,0.00033702023,0.0073429616,0.0011474122,0.7281634],"genre_scores_gemma":[0.003398573,0.0028213004,0.0010088609,0.016217535,0.009695101,0.00024705214,0.002551873,0.00046599586,0.9635938],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9961665,0.00035210754,0.00024934803,0.00070703035,0.0019932666,0.0005317163],"domain_scores_gemma":[0.98757523,0.0019132385,0.0004313028,0.0013424008,0.0069184853,0.0018192308],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0030642266,0.00076480565,0.00092176074,0.002580774,0.0051130163,0.0076296604,0.0034780556,0.0036597247,0.51722944],"category_scores_gemma":[0.02349236,0.00049601967,0.00075084006,0.003084689,0.0011705607,0.004184095,0.0040789726,0.0053835134,0.37412378],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005569233,0.000005203319,0.00003170112,0.0000261951,7.0231937e-7,0.000029231247,0.00006528356,0.000009502031,0.00002432186,0.0039319266,0.9844862,0.011384229],"study_design_scores_gemma":[0.000001052568,0.0000014174176,0.00004425001,0.000031730033,3.6215377e-7,0.000020916903,0.000055248354,0.000004798044,0.000017328584,0.00037337214,0.9994479,0.0000016501585],"about_ca_topic_score_codex":0.007063227,"about_ca_topic_score_gemma":0.0092499135,"teacher_disagreement_score":0.51722944,"about_ca_system_score_codex":0.003691976,"about_ca_system_score_gemma":0.007811686,"threshold_uncertainty_score":0.6886136},"labels":[],"label_agreement":null},{"id":"W4296448459","doi":"10.15353/sankofa.v2/4877","title":"Framing the Black Atlantic","year":2022,"lang":"en","type":"article","venue":"Sankofa Journal of Interdisciplinary Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Waterloo","funders":"","keywords":"Black music; Framing (construction); Atlantic slave trade; Musical; Music history; Key (lock); Atlantic World; Music Geography; Popular music; Art; History; Literature; Aesthetics; Archaeology; Ecology; Economic history; Ancient history","score_opus":0.04794677639000988,"score_gpt":0.290653812314046,"score_spread":0.24270703592403614,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4296448459","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1469372,0.010792448,0.002968331,0.12932657,0.0038273227,0.000021338834,0.00003422489,0.000021573927,0.706071],"genre_scores_gemma":[0.8949642,0.0039906884,0.0012012431,0.016870717,0.001169209,0.0000358647,0.000013382094,0.00005400776,0.08170063],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9988349,0.000537669,0.000013933006,0.00011134605,0.0002166365,0.00028554516],"domain_scores_gemma":[0.999161,0.00031279764,0.00007767799,0.000041992786,0.00016471742,0.00024179036],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022070096,0.00026184658,0.0001746464,0.00080757594,0.012479042,0.005726876,0.000451219,0.002125846,0.007900169],"category_scores_gemma":[0.002421668,0.00010147402,0.00012405265,0.00046252794,0.013589339,0.0033814237,0.0052423966,0.0041646976,0.0007026092],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004613565,0.000020259604,0.00088786223,0.000041992007,0.000002651515,0.0002555095,0.07646738,0.000036299905,0.0006205806,0.8823912,0.013870692,0.025359407],"study_design_scores_gemma":[0.000015611964,0.000052491116,0.0029059723,0.00051133847,0.000010157078,0.00020971832,0.09514624,0.00017987941,0.00058009994,0.11894132,0.7814237,0.000023521376],"about_ca_topic_score_codex":0.018011587,"about_ca_topic_score_gemma":0.055349942,"teacher_disagreement_score":0.018011587,"about_ca_system_score_codex":0.0050671306,"about_ca_system_score_gemma":0.0034858817,"threshold_uncertainty_score":0.03676474},"labels":[],"label_agreement":null},{"id":"W4296784537","doi":"10.1177/00420859221126711","title":"A Different Energy: The Critical Hip-Hop Teaching Artist and School Culture","year":2022,"lang":"en","type":"article","venue":"Urban Education","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"McGill University","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"General partnership; The arts; Pedagogy; Sociology; Visual arts education; Visual arts; Political science; Art","score_opus":0.012954824429757428,"score_gpt":0.22375523194003294,"score_spread":0.2108004075102755,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4296784537","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.84075713,0.0021685455,0.0018358523,0.016767513,0.000452686,0.000066644076,0.00003219189,0.000027908103,0.13789153],"genre_scores_gemma":[0.9943469,0.0003476516,0.00025038052,0.00091872364,0.00003545219,0.000013148435,0.000005533061,0.000015664833,0.004066469],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99522984,0.0028133332,0.000054172586,0.00031014514,0.0005450312,0.0010474379],"domain_scores_gemma":[0.99571675,0.0018887499,0.00045388524,0.00031197094,0.00030852584,0.0013201239],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0046618157,0.00039164117,0.00048926007,0.0016416368,0.023436846,0.015364864,0.0018007613,0.0017334512,0.004982307],"category_scores_gemma":[0.0057538,0.00028582162,0.0003023876,0.0012862216,0.049801398,0.0055535003,0.008573201,0.0053664334,0.00029032855],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002491196,0.00012062945,0.008024677,0.00007252425,0.000007706546,0.0004052047,0.92681694,0.00004351984,0.00040356992,0.052402396,0.0020319137,0.009646059],"study_design_scores_gemma":[0.000005322637,0.000031070613,0.0050664847,0.00009401941,0.0000072949824,0.00015937956,0.96550214,0.00003773424,0.00018768561,0.0040481007,0.02484853,0.000012179897],"about_ca_topic_score_codex":0.043112405,"about_ca_topic_score_gemma":0.100705974,"teacher_disagreement_score":0.043112405,"about_ca_system_score_codex":0.007765161,"about_ca_system_score_gemma":0.009621504,"threshold_uncertainty_score":0.08572292},"labels":[],"label_agreement":null},{"id":"W4296838844","doi":"10.3366/edinburgh/9781474478021.003.0019","title":"Harmonium in California : Musically Imagined Communities and the Rockumentary Form","year":2021,"lang":"en","type":"book-chapter","venue":"Edinburgh University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Genealogy; Geography; History","score_opus":0.026494751779212122,"score_gpt":0.17009463492214583,"score_spread":0.1435998831429337,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4296838844","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.060007986,0.0025926507,0.00046776814,0.0053327265,0.00020853334,0.000024563606,0.000037450667,0.00003717177,0.93129116],"genre_scores_gemma":[0.85872686,0.0016600677,0.00054147054,0.00083076715,0.00007883937,0.000032607702,0.000048290713,0.000031412455,0.13804965],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.999276,0.00016745177,0.000009718274,0.00009798825,0.00018061306,0.00026817372],"domain_scores_gemma":[0.99972326,0.00004834658,0.000022537432,0.000025994015,0.000054052583,0.00012575346],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00057159294,0.00022831504,0.00020448916,0.00061445293,0.015687164,0.007414688,0.0009986169,0.0010347998,0.012687394],"category_scores_gemma":[0.0008828473,0.0002105415,0.000119429795,0.00086389546,0.012752156,0.0019892135,0.0036697763,0.0021651066,0.000478176],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000034944132,0.000044393466,0.0015155945,0.000065748216,0.000004815394,0.00038715094,0.107771866,0.0002279126,0.0002350527,0.7976595,0.054807067,0.037246034],"study_design_scores_gemma":[0.000026761223,0.00003163215,0.0062268516,0.00018480992,0.0000073516762,0.00013261473,0.120700195,0.00013900464,0.00011084869,0.013817331,0.85859746,0.000025172227],"about_ca_topic_score_codex":0.46590492,"about_ca_topic_score_gemma":0.7952663,"teacher_disagreement_score":0.46590492,"about_ca_system_score_codex":0.012017967,"about_ca_system_score_gemma":0.011389364,"threshold_uncertainty_score":0.9263861},"labels":[],"label_agreement":null},{"id":"W4297896421","doi":"10.1093/oso/9780190856694.001.0001","title":"Dark Matter in Breaking Cyphers","year":2022,"lang":"en","type":"book","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Spectacle; Dance; Aesthetics; Vitality; Kinesthetic learning; Sociology; History; Visual arts; Art; Philosophy; Political science","score_opus":0.0203174404527635,"score_gpt":0.18623083187994935,"score_spread":0.16591339142718586,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4297896421","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0454518,0.013036629,0.0022906489,0.016046548,0.0020284273,0.0000257853,0.00003604329,0.00008391856,0.9210002],"genre_scores_gemma":[0.7337784,0.006194178,0.0008556574,0.0031502955,0.0007752235,0.000037050635,0.000027407288,0.00014394356,0.25503784],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993007,0.00032728296,0.000011934009,0.00006614252,0.0001731983,0.00012074782],"domain_scores_gemma":[0.9995865,0.00023020816,0.000033069282,0.000053232317,0.00004077538,0.000056216708],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00084133097,0.0005063209,0.0002856266,0.0013045836,0.008808236,0.006137592,0.00055663695,0.0015347302,0.012342318],"category_scores_gemma":[0.0015743589,0.0001743695,0.00019526169,0.0010296773,0.019263156,0.0045496696,0.0039896774,0.003399569,0.0011184807],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000034768622,0.000015848118,0.0002490214,0.000119670956,0.000003643597,0.0003724152,0.0829066,0.00011026329,0.00035351008,0.86039317,0.032926317,0.02251474],"study_design_scores_gemma":[0.00000639178,0.000034607787,0.0008708641,0.0004803379,0.000006603878,0.0006390909,0.056627553,0.00012224956,0.0005962029,0.0639604,0.8766396,0.000016215734],"about_ca_topic_score_codex":0.00364606,"about_ca_topic_score_gemma":0.009160287,"teacher_disagreement_score":0.012342318,"about_ca_system_score_codex":0.0029883008,"about_ca_system_score_gemma":0.0012578376,"threshold_uncertainty_score":0.04128909},"labels":[],"label_agreement":null},{"id":"W4297998691","doi":"10.1037/aca0000527","title":"“I may look fake but I’m real where it counts”: Positivity and authenticity in the songs of Dolly Parton.","year":2022,"lang":"en","type":"article","venue":"Psychology of Aesthetics Creativity and the Arts","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Parton; Particle physics; Art; Physics; Quantum chromodynamics","score_opus":0.03187334050328905,"score_gpt":0.2682788156616955,"score_spread":0.23640547515840643,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4297998691","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2167171,0.0071671293,0.004797597,0.065301105,0.0021070016,0.00004856766,0.000041729494,0.000052863685,0.7037668],"genre_scores_gemma":[0.9765688,0.00069242186,0.000586384,0.00418174,0.0002609981,0.00002337724,0.00000830297,0.000042336123,0.017635636],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9966544,0.0024815595,0.0000411904,0.00018645113,0.0004611617,0.00017528814],"domain_scores_gemma":[0.99200505,0.0051736915,0.00078541687,0.00056999165,0.0008641032,0.00060172984],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0034469177,0.000296416,0.00022330307,0.0004631997,0.008368138,0.0065742168,0.00054836815,0.0022035735,0.0050852597],"category_scores_gemma":[0.018131528,0.00029581945,0.00017601406,0.00028869507,0.022649659,0.0056607514,0.0033859403,0.0053370255,0.000757994],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00025922566,0.00006479943,0.004312724,0.00020887193,0.00003283005,0.0015465717,0.6252931,0.000120716344,0.0026934443,0.2933655,0.040411867,0.03169034],"study_design_scores_gemma":[0.00006840432,0.00015132963,0.02318859,0.0007727079,0.00003754938,0.0033311734,0.5369261,0.00055021944,0.0018039978,0.12674953,0.30629534,0.00012507498],"about_ca_topic_score_codex":0.0025427833,"about_ca_topic_score_gemma":0.004421039,"teacher_disagreement_score":0.008368138,"about_ca_system_score_codex":0.0010120021,"about_ca_system_score_gemma":0.00076176814,"threshold_uncertainty_score":0.018229306},"labels":[],"label_agreement":null},{"id":"W4298019100","doi":"10.7202/1087911ar","title":"Community Music in Alberta: Some Good Schoolhouse Stuff! By George W. Lyon. (Calgary: University of Calgary Press, 1999.156 pp., bibliography, index, $29.95, ISBN 1-895176-83-2, pbk.)","year":2000,"lang":"en","type":"article","venue":"Ethnologies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"George (robot); Index (typography); Art; Library science; Media studies; Humanities; Sociology; Art history; Computer science; World Wide Web","score_opus":0.023629599857300534,"score_gpt":0.20304926716247346,"score_spread":0.17941966730517292,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4298019100","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0009974336,0.8305066,0.00055608636,0.047219932,0.012379262,0.00006726904,0.0011575785,0.00033613676,0.10677974],"genre_scores_gemma":[0.009131903,0.3260429,0.0013600871,0.006673456,0.0033864304,0.000048625723,0.0013633935,0.00024704213,0.65174615],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993888,0.000051529656,0.000024686075,0.00007991579,0.00032923874,0.00012574725],"domain_scores_gemma":[0.9993149,0.00007420216,0.0000362308,0.000034321907,0.00031374214,0.00022655031],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009385716,0.0018893759,0.0009038291,0.0032208518,0.0040834034,0.00509395,0.0015683552,0.0022467566,0.106279805],"category_scores_gemma":[0.0009069079,0.0007452974,0.0004938963,0.008942057,0.002290781,0.004535903,0.0031363517,0.002601898,0.045563836],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018216177,0.000011568046,0.00022689249,0.00033061468,0.000005453831,0.00007618531,0.0007870736,0.00005920013,0.00012171708,0.0013443154,0.8985082,0.09851072],"study_design_scores_gemma":[0.0000029558516,0.0000045323986,0.0018729813,0.0003219007,0.0000040381747,0.0000633222,0.0012969297,0.000008328546,0.000028744102,0.00039990057,0.9959894,0.00000701168],"about_ca_topic_score_codex":0.67747015,"about_ca_topic_score_gemma":0.89361376,"teacher_disagreement_score":0.32252985,"about_ca_system_score_codex":0.011220745,"about_ca_system_score_gemma":0.012649314,"threshold_uncertainty_score":0.64885855},"labels":[],"label_agreement":null},{"id":"W4298506617","doi":"10.3138/jeunesse.9.2.69","title":"The Politics of Voice in Tween Girls’ Music Criticism","year":2017,"lang":"en","type":"article","venue":"Jeunesse Young People Texts Cultures","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Criticism; Antithesis; Politics; Embodied cognition; Aesthetics; Musical; Meaning (existential); Perception; Psychology; Human sexuality; Normative; Music and emotion; Sociology; Art; Gender studies; Music history; Literature; Epistemology; Political science; Philosophy; Law","score_opus":0.028657984284359773,"score_gpt":0.26269406084229063,"score_spread":0.23403607655793085,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4298506617","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.49152192,0.00230102,0.0038373237,0.011946169,0.00024383968,0.000027323907,0.00002463902,0.000045116496,0.49005258],"genre_scores_gemma":[0.9928397,0.00018092862,0.00012569736,0.00025270056,0.000037510144,0.0000073306214,0.0000030800627,0.000026632892,0.0065263947],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9949032,0.0033880374,0.00008222911,0.0003607987,0.00070756214,0.0005581781],"domain_scores_gemma":[0.99737537,0.0017890593,0.0002729915,0.00018728412,0.00014598992,0.00022930474],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0037399621,0.00032753372,0.0002838517,0.0011443949,0.009558488,0.0134174945,0.0007015296,0.0025864635,0.003893049],"category_scores_gemma":[0.0057494533,0.0003167931,0.00022944326,0.0007765726,0.0369934,0.004247825,0.0059619644,0.0034089307,0.00049788074],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000035873916,0.000020532245,0.0029166876,0.0000325515,0.0000074757504,0.000748267,0.6386552,0.000065024105,0.0011145499,0.34705415,0.0012178494,0.008131906],"study_design_scores_gemma":[0.00003685742,0.000076999204,0.0063541196,0.00028216233,0.000018367711,0.0011537876,0.6992883,0.00021393441,0.0022559839,0.08148622,0.2087999,0.00003331115],"about_ca_topic_score_codex":0.0034830202,"about_ca_topic_score_gemma":0.00456497,"teacher_disagreement_score":0.0134174945,"about_ca_system_score_codex":0.0035423115,"about_ca_system_score_gemma":0.0013458303,"threshold_uncertainty_score":0.025701463},"labels":[],"label_agreement":null},{"id":"W4299906876","doi":"10.5860/choice.45-0773","title":"The North American folk music revival: nation and identity in the United States and Canada, 1945-1980","year":2007,"lang":"en","type":"article","venue":"Choice Reviews Online","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":54,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Identity (music); History; Folk music; Political science; Genealogy; Ethnology; Art; Aesthetics; Literature; Musical","score_opus":0.04706198428386931,"score_gpt":0.2850272798439597,"score_spread":0.23796529556009038,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4299906876","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.74452764,0.034367174,0.00012254983,0.036940996,0.0006218883,0.000062730425,0.00695096,0.00003990051,0.17636614],"genre_scores_gemma":[0.8782928,0.016976837,0.00012835204,0.0016677871,0.0001183609,0.000028727733,0.0012987413,0.000029095738,0.10145929],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99924195,0.000065571505,0.00001968641,0.000050243016,0.0003106139,0.00031199795],"domain_scores_gemma":[0.9968156,0.0003458225,0.00021496497,0.00005843719,0.0014507286,0.001114446],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00088279735,0.00015882011,0.0002771016,0.0023150833,0.0096585965,0.004583912,0.0009286273,0.0007461207,0.00695072],"category_scores_gemma":[0.00299402,0.00013163367,0.00014505936,0.0058975425,0.0026660478,0.0016593877,0.0017078186,0.001231064,0.0005072835],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00033834513,0.00023662052,0.257984,0.0006213287,0.000075046715,0.0007018036,0.16400293,0.00031429323,0.0003825665,0.052884154,0.26075456,0.26170447],"study_design_scores_gemma":[0.0000069378652,0.00001961628,0.45853812,0.00032799673,0.000024418678,0.00006550313,0.17951062,0.00010457463,0.0002449115,0.0006212826,0.3605053,0.00003067597],"about_ca_topic_score_codex":0.99427325,"about_ca_topic_score_gemma":0.9986619,"teacher_disagreement_score":0.048318632,"about_ca_system_score_codex":0.048318632,"about_ca_system_score_gemma":0.09459542,"threshold_uncertainty_score":0.35057783},"labels":[],"label_agreement":null},{"id":"W4300980991","doi":"10.32920/ryerson.14664375.v2","title":"Situating hybridity and searching for authenticity in Canadian hip-hop : how do we \"keep it real\"?","year":2022,"lang":"en","type":"preprint","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Hybridity; Narrative; Rhetoric; Mainstream; Gender studies; Sociology; Bricolage; Ethnography; Slang; Literature; Political science; Art; Linguistics; Anthropology; Law","score_opus":0.07776063136518396,"score_gpt":0.2681899360820158,"score_spread":0.19042930471683184,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4300980991","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6311028,0.0058276155,0.007340232,0.03962187,0.0007295393,0.0001226442,0.00034993395,0.0001398713,0.31476548],"genre_scores_gemma":[0.98383003,0.0011291681,0.0014080118,0.0008602436,0.00003111326,0.000020703697,0.000053567954,0.00005351347,0.012613756],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99400336,0.0019092689,0.00012527172,0.0006007431,0.0018662433,0.0014951106],"domain_scores_gemma":[0.9941771,0.002381278,0.0004322131,0.00037952905,0.0016053253,0.0010245354],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005119841,0.00079353625,0.00056259567,0.0047026174,0.04379983,0.017833699,0.0028550865,0.002645081,0.006172013],"category_scores_gemma":[0.010930222,0.00039566535,0.00034884046,0.0054077692,0.047809903,0.004737039,0.009033592,0.0038092085,0.00045413256],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000031876665,0.000009171028,0.0032150906,0.00010354164,0.000007748615,0.0004963256,0.9227446,0.00008077339,0.00046751354,0.052405868,0.0040025194,0.016435005],"study_design_scores_gemma":[0.0000021307583,0.000007270744,0.002031176,0.00018099573,0.000011085006,0.00016473186,0.9135579,0.00008696751,0.00027811853,0.002409143,0.08124624,0.00002429496],"about_ca_topic_score_codex":0.9475278,"about_ca_topic_score_gemma":0.971754,"teacher_disagreement_score":0.087363295,"about_ca_system_score_codex":0.087363295,"about_ca_system_score_gemma":0.10431598,"threshold_uncertainty_score":0.63386804},"labels":[],"label_agreement":null},{"id":"W4302007579","doi":"10.1080/08263663.2023.2125785","title":"Pop friction: performing Canada at the Festival Internacional da Canção Popular","year":2022,"lang":"en","type":"article","venue":"Canadian Journal of Latin American and Caribbean Studies / Revue canadienne des études latino-américaines et caraïbes","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Queen's University","funders":"Social Sciences and Humanities Research Council of Canada; Concordia University","keywords":"Art","score_opus":0.05060194192548692,"score_gpt":0.22969413337235234,"score_spread":0.17909219144686542,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4302007579","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7068426,0.002051739,0.00044541387,0.016505715,0.00028297893,0.000058806883,0.00034539332,0.000039371324,0.27342802],"genre_scores_gemma":[0.9672327,0.0009670098,0.00019350564,0.0010576441,0.000019368592,0.00001279074,0.0000810736,0.00002721931,0.03040882],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99849653,0.00021215942,0.000012513079,0.0001112905,0.000356701,0.000810732],"domain_scores_gemma":[0.9987249,0.00017165304,0.000106782936,0.000043743414,0.00038617512,0.0005666725],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009884943,0.000347416,0.0002395564,0.0014755734,0.031118264,0.006730581,0.0010616229,0.0009943709,0.010165118],"category_scores_gemma":[0.0030176984,0.00019938017,0.00018530259,0.0029361702,0.007859424,0.001120989,0.0041228114,0.0016660137,0.000429555],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00029407258,0.00011810693,0.08456347,0.00027385703,0.00006454387,0.0030940124,0.6077619,0.00063829497,0.0021756685,0.13475536,0.07582363,0.09043713],"study_design_scores_gemma":[0.000011667871,0.000035035086,0.060630266,0.00015337442,0.000024153367,0.00021205551,0.6184531,0.0001335889,0.00048143422,0.00090635096,0.3189107,0.00004834501],"about_ca_topic_score_codex":0.9851864,"about_ca_topic_score_gemma":0.99681455,"teacher_disagreement_score":0.06287027,"about_ca_system_score_codex":0.06287027,"about_ca_system_score_gemma":0.074363634,"threshold_uncertainty_score":0.45615786},"labels":[],"label_agreement":null},{"id":"W4306680060","doi":"10.4000/ideas.14353","title":"Alberto Mira, The Pop Musical. Sweat, Tears and Tarnished Utopias","year":2022,"lang":"en","type":"article","venue":"IdeAs","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Musée de la Civilisation","funders":"","keywords":"SWEAT; Tears; Musical; Art; Literature; Medicine; Internal medicine; Surgery","score_opus":0.015362514079192533,"score_gpt":0.18273510033992746,"score_spread":0.16737258626073492,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4306680060","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0013948376,0.36603427,0.0006723681,0.4122079,0.063849345,0.000017085107,0.00019986223,0.00022389732,0.15540051],"genre_scores_gemma":[0.04084592,0.18237159,0.001400521,0.11226547,0.050655983,0.000056478315,0.00017016908,0.0005905804,0.61164325],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99931777,0.00021143512,0.000021558524,0.00010286144,0.00027016154,0.00007614873],"domain_scores_gemma":[0.99913555,0.00026633803,0.000071123555,0.000045553723,0.00023300572,0.00024848388],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009838851,0.00072413223,0.00034019834,0.001195532,0.004476324,0.0060004634,0.0005934321,0.002643431,0.023066737],"category_scores_gemma":[0.0027306501,0.0003172153,0.00022684495,0.0010126102,0.0029590887,0.0040181954,0.002304769,0.005031695,0.012236387],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020837879,0.0000108770755,0.00016132386,0.00011039376,0.000003325024,0.00004987039,0.0012382335,0.000013058755,0.00012096538,0.023683967,0.9459967,0.028590407],"study_design_scores_gemma":[0.000002879044,0.000002988509,0.00022294637,0.00010493456,0.0000014600529,0.00007549544,0.0006898756,0.000010386312,0.000047212132,0.0023376204,0.99650013,0.0000040175914],"about_ca_topic_score_codex":0.008210012,"about_ca_topic_score_gemma":0.024527874,"teacher_disagreement_score":0.023066737,"about_ca_system_score_codex":0.0016242872,"about_ca_system_score_gemma":0.0012696566,"threshold_uncertainty_score":0.0771659},"labels":[],"label_agreement":null},{"id":"W4306894168","doi":"10.3138/utq.91.3.hr012","title":"Charity Marsh and Mark V. Campbell, eds. <i>We Still Here: Hip Hop North of the 49th Parallel</i>","year":2022,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Mount Saint Vincent University","funders":"","keywords":"Marsh; Hop (telecommunications); History; Geology; Computer network; Computer science; Ecology; Biology; Wetland","score_opus":0.0113017370208891,"score_gpt":0.15831509059430018,"score_spread":0.14701335357341108,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4306894168","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00028969505,0.8798264,0.000420939,0.06086639,0.017270923,0.000010794253,0.00016183747,0.0000829593,0.041070066],"genre_scores_gemma":[0.004334387,0.8142508,0.00071961473,0.0073493756,0.007053869,0.000022515169,0.00015965913,0.00010280124,0.16600698],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992711,0.00013533627,0.000034710323,0.000070104616,0.00040888056,0.000080009246],"domain_scores_gemma":[0.99806005,0.00067555974,0.00014203133,0.000051715593,0.00068975834,0.00038082845],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011710168,0.0014806131,0.00075919006,0.001956556,0.002732978,0.004415633,0.0010384965,0.002143336,0.032626282],"category_scores_gemma":[0.0029452413,0.0008652944,0.00038619465,0.00331261,0.0014675837,0.0053267786,0.0015992115,0.0030943365,0.023600815],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013870574,0.0000045293114,0.00008605167,0.00024772208,0.0000018205551,0.000040215073,0.0003794363,0.000035037094,0.000028008404,0.0022918032,0.9588303,0.038041178],"study_design_scores_gemma":[0.0000017878594,0.0000027136264,0.00043875226,0.0004655758,0.0000031767531,0.0001056722,0.00072055345,0.00001671773,0.000026825144,0.00068974885,0.9975235,0.000005003552],"about_ca_topic_score_codex":0.091380276,"about_ca_topic_score_gemma":0.25821525,"teacher_disagreement_score":0.091380276,"about_ca_system_score_codex":0.0035308714,"about_ca_system_score_gemma":0.0071266266,"threshold_uncertainty_score":0.18169677},"labels":[],"label_agreement":null},{"id":"W4306960925","doi":"10.1386/iscc_00045_1","title":"Remastering Prince and authenticity: Marketing the posthumous cultural artefacts of a past musical life","year":2022,"lang":"en","type":"article","venue":"Interactions Studies in Communication & Culture","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"MacEwan University","funders":"","keywords":"Commodification; Musical; Icon; Art; Cultural history; Visual arts; Aesthetics; Popular music; History; Sociology; Anthropology","score_opus":0.1052805243297788,"score_gpt":0.3210605993777138,"score_spread":0.215780075047935,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4306960925","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4612699,0.009093006,0.0066846176,0.03355279,0.0007881239,0.00014781291,0.000029343995,0.000106602,0.48832777],"genre_scores_gemma":[0.9338686,0.003621367,0.0017791587,0.0017479759,0.00038216662,0.00002957412,0.000013249011,0.00005454931,0.05850323],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980242,0.0012014479,0.00004291367,0.00009350664,0.0004580729,0.00017987078],"domain_scores_gemma":[0.997387,0.0012114333,0.0003522301,0.00033623367,0.00032168723,0.0003913793],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0035242909,0.00028490584,0.00020932053,0.0007611568,0.006205481,0.008659441,0.0005502137,0.0017287856,0.009687109],"category_scores_gemma":[0.005764426,0.0002859301,0.00019038972,0.0006853447,0.011343764,0.007508804,0.004627829,0.0027316825,0.0017033597],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011254125,0.00016914433,0.0029183757,0.00041850033,0.000021530166,0.003208625,0.6147681,0.00008854381,0.0029893627,0.22855382,0.015372513,0.13137893],"study_design_scores_gemma":[0.000018887175,0.00044547403,0.005758824,0.00068945263,0.00002264767,0.0032169556,0.29837522,0.0002461343,0.002891313,0.017240033,0.67104954,0.00004554816],"about_ca_topic_score_codex":0.0014089979,"about_ca_topic_score_gemma":0.0027561556,"teacher_disagreement_score":0.009687109,"about_ca_system_score_codex":0.0016688776,"about_ca_system_score_gemma":0.0014360942,"threshold_uncertainty_score":0.03240657},"labels":[],"label_agreement":null},{"id":"W4307992270","doi":"10.7227/jbr.8.8","title":"“This Music Begins on the Auction Block”","year":2022,"lang":"en","type":"article","venue":"James Baldwin Review","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Theme (computing); Musical expression; Literature; Expression (computer science); Musical; White (mutation); Quarter (Canadian coin); History; Call and response; Music history; Art; Visual arts; Computer science","score_opus":0.0532834430308646,"score_gpt":0.22190030464925775,"score_spread":0.16861686161839315,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4307992270","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.017789083,0.038247198,0.005361918,0.037072167,0.008965037,0.000069948,0.00018602454,0.00018952269,0.89211917],"genre_scores_gemma":[0.2544724,0.027946308,0.002647799,0.018131483,0.0034153308,0.000076848606,0.00018022233,0.00022153548,0.69290817],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99955267,0.0001252821,0.000014360642,0.00006368453,0.00016440103,0.00007952993],"domain_scores_gemma":[0.9997004,0.00009320594,0.00003091403,0.00003442781,0.00007712056,0.0000640073],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00058640225,0.00032233077,0.00018149854,0.00060287537,0.0029613052,0.003115306,0.00040332985,0.0010434054,0.023375347],"category_scores_gemma":[0.0018897868,0.000116593576,0.00018069717,0.0007429134,0.0040259585,0.0026273434,0.0015016084,0.0019724483,0.0053116307],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014528919,0.000022392527,0.0011590244,0.00069759565,0.000018347675,0.00067771063,0.018711861,0.000072261355,0.00220858,0.45407215,0.3175922,0.20462257],"study_design_scores_gemma":[0.0000042673414,0.00001549396,0.0010293552,0.00025732775,0.0000026878004,0.00020497262,0.0028150065,0.000015725096,0.00022137242,0.0047562392,0.99067265,0.0000049581877],"about_ca_topic_score_codex":0.0063335896,"about_ca_topic_score_gemma":0.014274772,"teacher_disagreement_score":0.023375347,"about_ca_system_score_codex":0.0009238613,"about_ca_system_score_gemma":0.0011042173,"threshold_uncertainty_score":0.07819837},"labels":[],"label_agreement":null},{"id":"W4308124871","doi":"10.3390/h11060137","title":"“Befo’ de Wah”: Sounding Out Ill-Legibility in Charles W. Chesnutt’s Conjure Stories","year":2022,"lang":"en","type":"article","venue":"Humanities","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Narrative; Aesthetics; Literature; History; Philosophy; Art","score_opus":0.08808694226213683,"score_gpt":0.2445797376259761,"score_spread":0.15649279536383925,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4308124871","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.57088286,0.007981507,0.00671811,0.06941151,0.001185221,0.00006459123,0.00011365112,0.00018036949,0.3434621],"genre_scores_gemma":[0.96673524,0.0011529704,0.00067172037,0.0030651763,0.00018807717,0.000020388394,0.000024416702,0.00012309819,0.02801885],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99834144,0.00090009975,0.000024677895,0.00015019185,0.00031938878,0.0002641959],"domain_scores_gemma":[0.9978416,0.0014621628,0.00015296944,0.000118775366,0.00016087436,0.00026369066],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014802458,0.00064587296,0.0002415753,0.0011069783,0.015226726,0.00909679,0.00081099645,0.0024393003,0.0039875484],"category_scores_gemma":[0.0054982807,0.00031349924,0.00023470735,0.0005982712,0.028273853,0.0061863493,0.0049598278,0.004497498,0.00040263854],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000042554617,0.000012651366,0.0008031543,0.000043199947,0.000007023491,0.0013741327,0.8349076,0.000096501804,0.0007753199,0.13615145,0.019251335,0.006535121],"study_design_scores_gemma":[0.0000120235745,0.00003343489,0.0023861562,0.0002716446,0.000012917866,0.0010815043,0.44514847,0.000319092,0.0018145045,0.031664744,0.5172191,0.000036452177],"about_ca_topic_score_codex":0.022211168,"about_ca_topic_score_gemma":0.04114456,"teacher_disagreement_score":0.022211168,"about_ca_system_score_codex":0.0063502276,"about_ca_system_score_gemma":0.0015206952,"threshold_uncertainty_score":0.04607439},"labels":[],"label_agreement":null},{"id":"W4309168429","doi":"10.1111/johs.12386","title":"‘Eyesight to the Blind’: Secular and Religious Dialogue in the ‘Devil's Music’","year":2022,"lang":"en","type":"article","venue":"Journal of Historical Sociology","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Blues; Dialogic; Race (biology); Hegemony; Sacred music; Singing; Literature; Sociology; Religious studies; Philosophy; History; Law; Art; Gender studies; Political science; Art history; Musical","score_opus":0.03723839959511875,"score_gpt":0.21935151456308674,"score_spread":0.182113114967968,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4309168429","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.46653077,0.0050075087,0.0028019238,0.057208817,0.0009736527,0.000029951143,0.000046865476,0.00006669807,0.4673338],"genre_scores_gemma":[0.98956966,0.0003327746,0.00016343288,0.0014312137,0.00015079493,0.000008628465,0.0000038201124,0.000018518003,0.008321202],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99700195,0.002253627,0.00003473093,0.00012379284,0.000307225,0.0002786901],"domain_scores_gemma":[0.99696594,0.0019767194,0.0002738247,0.00017563096,0.00019695694,0.00041100822],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003583863,0.00033175395,0.00031484052,0.001309393,0.012557272,0.008191516,0.00074985507,0.0025084107,0.0063293534],"category_scores_gemma":[0.0058095097,0.0001840427,0.00014245305,0.00069071096,0.036465198,0.0039499556,0.006289616,0.0040276013,0.00047772584],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004952004,0.00003617388,0.00075451535,0.000050311668,0.0000044905128,0.0005285325,0.7305138,0.000035657948,0.00074729836,0.2525114,0.007009598,0.007758566],"study_design_scores_gemma":[0.00002927587,0.000071013375,0.00254776,0.00036137277,0.000008697551,0.0004486917,0.69602025,0.00024216507,0.0008724992,0.048341453,0.25102523,0.000031638225],"about_ca_topic_score_codex":0.006348209,"about_ca_topic_score_gemma":0.010025939,"teacher_disagreement_score":0.012557272,"about_ca_system_score_codex":0.0028516187,"about_ca_system_score_gemma":0.0015349473,"threshold_uncertainty_score":0.021173835},"labels":[],"label_agreement":null},{"id":"W4309435339","doi":"10.1386/punk_00161_1","title":"On punk friendship and the limits of community","year":2022,"lang":"en","type":"article","venue":"Punk & Post Punk","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Punk; Subculture (biology); Friendship; Sociology; Memoir; Gender studies; Value (mathematics); Aesthetics; Social science; Law; Art; Political science; Art history","score_opus":0.04318833269386477,"score_gpt":0.222443225301403,"score_spread":0.17925489260753824,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4309435339","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.35034674,0.008178007,0.0076081464,0.041898068,0.00046172083,0.000035156987,0.00003900731,0.000069552305,0.5913636],"genre_scores_gemma":[0.9953354,0.0006974119,0.00027148495,0.0006661643,0.00008222702,0.000017397675,0.0000046959367,0.000014199597,0.0029110895],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9903893,0.0063379947,0.00018707554,0.00081485097,0.0010308848,0.0012398774],"domain_scores_gemma":[0.9900299,0.005441844,0.0011106523,0.0012053212,0.0008274608,0.0013848904],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.006315469,0.00032035905,0.00046565826,0.00171922,0.024052633,0.012596527,0.0015555996,0.0024038523,0.00435842],"category_scores_gemma":[0.010924316,0.0003037665,0.00025656255,0.0011443691,0.08031526,0.013731559,0.016406842,0.0040365187,0.00039974204],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003248147,0.000022476694,0.0021347422,0.000051513638,0.000007838164,0.00030922156,0.20465997,0.00009265339,0.00014516537,0.77534294,0.0028007,0.014400361],"study_design_scores_gemma":[0.000026997777,0.00009206286,0.0066001904,0.0005236996,0.00002028077,0.00077770324,0.35004762,0.00038630326,0.00035841585,0.42091691,0.2201904,0.00005945203],"about_ca_topic_score_codex":0.007409162,"about_ca_topic_score_gemma":0.009235979,"teacher_disagreement_score":0.024052633,"about_ca_system_score_codex":0.0042055454,"about_ca_system_score_gemma":0.0026309208,"threshold_uncertainty_score":0.03339982},"labels":[],"label_agreement":null},{"id":"W4310368279","doi":"10.1111/var.12277","title":"Granular Activisms","year":2022,"lang":"en","type":"article","venue":"Visual Anthropology Review","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Caste; Performative utterance; Ethnography; Scholarship; Sociology; Singing; Gender studies; Dynamics (music); Aesthetics; Anthropology; Art; Linguistics; Political science; Pedagogy","score_opus":0.04081875676697975,"score_gpt":0.3057579188973179,"score_spread":0.26493916213033814,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4310368279","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14001921,0.0049361195,0.013365714,0.0038653698,0.0004485864,0.00024286838,0.0001743152,0.0001377053,0.83681005],"genre_scores_gemma":[0.96700555,0.0015905424,0.0024244746,0.00052400277,0.00022976748,0.00013578782,0.000098679,0.00003698871,0.02795421],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99812084,0.000711321,0.000073151205,0.0003353106,0.00041390088,0.00034532553],"domain_scores_gemma":[0.99869907,0.0006276562,0.00017499884,0.00021949918,0.000092382696,0.00018638394],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012519063,0.00032014257,0.00023047792,0.0019762933,0.0023610191,0.00583081,0.0008882551,0.0010705016,0.012567102],"category_scores_gemma":[0.002429269,0.00016175142,0.00025190678,0.0014828354,0.008370165,0.003755849,0.0058906362,0.0013336177,0.0010369152],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010628041,0.00007609316,0.0045760185,0.00071925815,0.000020538208,0.00070584513,0.10863051,0.0003468053,0.0039116917,0.72501916,0.0088217985,0.14706598],"study_design_scores_gemma":[0.000034396184,0.00011171668,0.014276156,0.0014531934,0.000022873346,0.0010831077,0.15526302,0.0006360822,0.001399545,0.15802468,0.6676714,0.000023896719],"about_ca_topic_score_codex":0.0015174933,"about_ca_topic_score_gemma":0.0022666845,"teacher_disagreement_score":0.012567102,"about_ca_system_score_codex":0.0015592834,"about_ca_system_score_gemma":0.0009658943,"threshold_uncertainty_score":0.042041123},"labels":[],"label_agreement":null},{"id":"W4310910907","doi":"10.7202/1105865ar","title":"From the Studio to the Stage: Bruno Mars, Liveness, and the Out-of-Tune Voice in “Locked Out of Heaven” (2012)","year":2023,"lang":"en","type":"article","venue":"Intersections Canadian Journal of Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Canadian University Music Society","funders":"","keywords":"Studio; Liveness; Heaven; Mars Exploration Program; Computer science; Art; Visual arts; Lyrics; Aesthetics; Literature; Physics","score_opus":0.045510359192060444,"score_gpt":0.23216950103106967,"score_spread":0.18665914183900922,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4310910907","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4357758,0.03081618,0.0025849205,0.047591053,0.0035717569,0.000048907732,0.0001710664,0.00014938189,0.4792909],"genre_scores_gemma":[0.951199,0.0027047524,0.00051399355,0.001788925,0.0003871625,0.000014463473,0.00003231498,0.00007871529,0.04328068],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993524,0.0002841608,0.000010875082,0.0000982012,0.000111098816,0.00014330453],"domain_scores_gemma":[0.99963415,0.00013252955,0.000054547923,0.000030637042,0.0000474266,0.00010061261],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008111344,0.00036734677,0.00018483125,0.0008364597,0.008687049,0.006610416,0.00057995325,0.0012713888,0.0045546],"category_scores_gemma":[0.002317869,0.0001778901,0.00012435477,0.000800619,0.01242371,0.0024583908,0.0019873562,0.0022799463,0.0005423692],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003328056,0.00003491758,0.0031852273,0.00024765055,0.00001324594,0.002224644,0.7602535,0.00010966603,0.0036910842,0.10634122,0.05061352,0.072952576],"study_design_scores_gemma":[0.000019527206,0.000057838162,0.01527397,0.00042460024,0.000011352326,0.0013669784,0.3423354,0.00011138587,0.0013166737,0.006265784,0.63274795,0.00006843926],"about_ca_topic_score_codex":0.05905264,"about_ca_topic_score_gemma":0.16033994,"teacher_disagreement_score":0.05905264,"about_ca_system_score_codex":0.005248858,"about_ca_system_score_gemma":0.0012407446,"threshold_uncertainty_score":0.11741787},"labels":[],"label_agreement":null},{"id":"W4311680962","doi":"10.22215/etd/2022-15195","title":"The Ten$ion of Post-Apartheid Whiteness: A Study of Die Antwoord's Performance of White Identity and Power","year":2022,"lang":"en","type":"dissertation","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Postmodernism; White (mutation); Power (physics); Gender studies; Mandate; Identity (music); Religious studies; History; Sociology; Art; Political science; Aesthetics; Philosophy; Law; Literature","score_opus":0.014105164191096866,"score_gpt":0.23088078181225258,"score_spread":0.21677561762115571,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4311680962","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9708835,0.0003640901,0.00012508666,0.0023072115,0.00007089072,0.000018732611,0.000011100864,0.000004140723,0.026215252],"genre_scores_gemma":[0.9808189,0.00048897683,0.00007603708,0.0005372847,0.000020939433,0.000024710356,0.00001390301,0.000018732826,0.018000517],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.998054,0.001005141,0.000041401076,0.00012305928,0.0002975138,0.0004787895],"domain_scores_gemma":[0.9981698,0.0007335197,0.00030147834,0.00007135924,0.00023706787,0.00048672076],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002302243,0.0003967257,0.0003549884,0.0015185869,0.016615836,0.008538237,0.0011426945,0.0014897153,0.0036123644],"category_scores_gemma":[0.004680243,0.0004344824,0.00013959028,0.0015718029,0.009541619,0.0028723902,0.004689303,0.003608805,0.00053992716],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012271764,0.000036399135,0.0017098379,0.000013213466,0.0000016497761,0.00027473163,0.99175054,0.000005177227,0.00021723965,0.0024781397,0.00079872477,0.0027021386],"study_design_scores_gemma":[0.0000010924721,0.000013017119,0.0047227372,0.000031638978,0.0000012790051,0.000069290996,0.9830456,0.000013670449,0.00006706505,0.000161484,0.011868596,0.000004422394],"about_ca_topic_score_codex":0.0692334,"about_ca_topic_score_gemma":0.16682006,"teacher_disagreement_score":0.0692334,"about_ca_system_score_codex":0.0038138926,"about_ca_system_score_gemma":0.0038582399,"threshold_uncertainty_score":0.13766086},"labels":[],"label_agreement":null},{"id":"W4311681153","doi":"10.22215/etd/2022-15325","title":"Material and Digital Identity Negotiation of Francophone Music Artists: Decolonizing Diversity-Focused Festivals in Canada","year":2022,"lang":"en","type":"dissertation","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Carleton University","funders":"","keywords":"Multiculturalism; Sociology; Media studies; Ethnography; Musical; Identity (music); Gender studies; Popular music; Diversity (politics); Visual arts; Art; Aesthetics; Anthropology","score_opus":0.014106282399719098,"score_gpt":0.18452570162873091,"score_spread":0.17041941922901183,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4311681153","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9558319,0.00016187565,0.00018299006,0.0019581958,0.00005440527,0.00006204774,0.00009007622,0.000010243058,0.041648373],"genre_scores_gemma":[0.98672223,0.0001408739,0.0001444135,0.00038135584,0.000006381005,0.000014394744,0.0000615199,0.000013876388,0.012514998],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99633163,0.00059091486,0.00006524418,0.00034388137,0.0008603871,0.0018080081],"domain_scores_gemma":[0.99429613,0.0007666515,0.00034934757,0.0001979973,0.0019996152,0.0023902792],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0033840358,0.00037921587,0.00041169047,0.0016605842,0.037367363,0.01358688,0.0021822036,0.001666668,0.008974849],"category_scores_gemma":[0.007947319,0.00031719232,0.00031240727,0.0018714899,0.009818765,0.0022593655,0.006328001,0.0028819512,0.00053165253],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004229702,0.00035749018,0.05821229,0.00008111382,0.00003304562,0.0012216275,0.8792523,0.00037518906,0.0015938268,0.014031636,0.009902762,0.0345156],"study_design_scores_gemma":[0.000016038877,0.000031530733,0.027237372,0.000073791,0.000011196417,0.000042940068,0.94272834,0.00019752621,0.00019810762,0.00036901908,0.02906668,0.000027439297],"about_ca_topic_score_codex":0.98852694,"about_ca_topic_score_gemma":0.99633175,"teacher_disagreement_score":0.0968735,"about_ca_system_score_codex":0.0968735,"about_ca_system_score_gemma":0.117426984,"threshold_uncertainty_score":0.7028697},"labels":[],"label_agreement":null},{"id":"W4311862214","doi":"10.30819/aemr.10-6","title":"Patterns of Repertoire amongst Toronto Chinese Orchestras","year":2022,"lang":"en","type":"article","venue":"ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Repertoire; Hybridity; Amateur; Diaspora; Multiculturalism; Negotiation; Sociology; History; Media studies; Gender studies; Literature; Anthropology; Art; Social science","score_opus":0.07280555543084848,"score_gpt":0.293734759760873,"score_spread":0.2209292043300245,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4311862214","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.98320067,0.0002678643,0.00027372662,0.00012932693,0.000008076791,0.000019849067,0.00011826636,0.000010137854,0.015972082],"genre_scores_gemma":[0.99427456,0.00018721947,0.00019937278,0.00002586894,0.000003971162,0.000015257494,0.000107809465,0.000011736298,0.005174008],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99889624,0.00019635103,0.000051838357,0.00020653775,0.00026423106,0.00038485706],"domain_scores_gemma":[0.99881077,0.000248292,0.0001833656,0.00010370487,0.00022058396,0.00043330528],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00078361796,0.00033156903,0.00030506318,0.0028134114,0.007491082,0.0029005695,0.00084345206,0.00055838574,0.006070084],"category_scores_gemma":[0.002036113,0.00035777656,0.00023771662,0.0027733715,0.005143914,0.0010015134,0.0028345478,0.0006483535,0.00038797458],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00027399292,0.00002745397,0.14708723,0.00017070821,0.00004152932,0.0013677016,0.7821521,0.00019297509,0.014186838,0.012277548,0.002131888,0.040090095],"study_design_scores_gemma":[0.000009527482,0.000074888296,0.44750687,0.00013847981,0.00002888038,0.00094906817,0.5139469,0.0005863781,0.0012774701,0.000702344,0.03469957,0.00007965806],"about_ca_topic_score_codex":0.3657787,"about_ca_topic_score_gemma":0.73816055,"teacher_disagreement_score":0.6342213,"about_ca_system_score_codex":0.008211794,"about_ca_system_score_gemma":0.004317204,"threshold_uncertainty_score":0.72729933},"labels":[],"label_agreement":null},{"id":"W4311883836","doi":"10.1093/oxfordhb/9780190247867.013.33","title":"The Camera in the Cypher","year":2022,"lang":"en","type":"book-chapter","venue":"Oxford University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":15,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Dance; Visual arts; Lens (geology); Art; Media studies; Sociology; Physics; Optics","score_opus":0.03260569719203545,"score_gpt":0.1723609454287524,"score_spread":0.13975524823671695,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4311883836","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.049906794,0.0031791467,0.0005094324,0.0057937186,0.0005636389,0.000019476258,0.0000877906,0.00007970079,0.93986034],"genre_scores_gemma":[0.4903933,0.0032253927,0.0005112787,0.0013958248,0.00029197117,0.000023478458,0.00006592884,0.00013905374,0.50395375],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99969614,0.00009864852,0.0000059177937,0.000049102804,0.00007119753,0.00007906685],"domain_scores_gemma":[0.99984705,0.00005708322,0.000017202225,0.000026006757,0.00002561582,0.00002699199],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00030699876,0.00025475296,0.0001353738,0.0009424947,0.005471807,0.0033897401,0.00022117901,0.00086272456,0.04820812],"category_scores_gemma":[0.00062631565,0.00018610612,0.00014652012,0.0008724931,0.0043976963,0.00170231,0.0017349949,0.0015002198,0.0040684007],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014093336,0.0000437187,0.0028724656,0.00020644921,0.000013179067,0.0025302926,0.12382313,0.00026531317,0.002264527,0.4871271,0.24702084,0.13369212],"study_design_scores_gemma":[0.0000047567787,0.000018286126,0.0036909657,0.00018312785,0.000004915677,0.00061413925,0.020961987,0.00007602568,0.0004687907,0.0017202448,0.9722454,0.000011354492],"about_ca_topic_score_codex":0.022100832,"about_ca_topic_score_gemma":0.06876802,"teacher_disagreement_score":0.04820812,"about_ca_system_score_codex":0.0032429455,"about_ca_system_score_gemma":0.0010427813,"threshold_uncertainty_score":0.16127223},"labels":[],"label_agreement":null},{"id":"W4311883879","doi":"10.1093/oxfordhb/9780190247867.013.10","title":"Breakin’ Down the Bloc","year":2022,"lang":"en","type":"book-chapter","venue":"Oxford University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Dance; Gender studies; Soviet union; Political science; Sociology; Visual arts; Art; Law","score_opus":0.029876114821942863,"score_gpt":0.16568697221146556,"score_spread":0.1358108573895227,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4311883879","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.047213722,0.002482698,0.0014268646,0.005697284,0.0018474308,0.000049635422,0.0000986183,0.00013434143,0.94104946],"genre_scores_gemma":[0.32763192,0.0014371331,0.0007933092,0.001630797,0.00016854773,0.00003258059,0.00008278226,0.00017518454,0.6680478],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996984,0.00006246067,0.000007275765,0.000053003674,0.000068173686,0.000110671695],"domain_scores_gemma":[0.99985504,0.000029989667,0.000013906155,0.00001904453,0.0000331252,0.000048837897],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003853776,0.00045237105,0.00022962053,0.0006248894,0.006340766,0.0032391744,0.0003983198,0.000911524,0.045766193],"category_scores_gemma":[0.00072751497,0.00017744608,0.0002258268,0.0005984528,0.0037884344,0.0021058284,0.0027593814,0.0028419406,0.0062146946],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015883736,0.00009149908,0.0027862273,0.0002580155,0.00001788076,0.0014375552,0.17127928,0.00017666152,0.0025859897,0.3510616,0.28600878,0.18413766],"study_design_scores_gemma":[0.0000046534815,0.000043023247,0.0025298793,0.00026132414,0.000003596563,0.0002702048,0.026058102,0.000056846668,0.00026618212,0.0026537345,0.96784425,0.000008111545],"about_ca_topic_score_codex":0.023658037,"about_ca_topic_score_gemma":0.04757079,"teacher_disagreement_score":0.045766193,"about_ca_system_score_codex":0.0017284811,"about_ca_system_score_gemma":0.0010296259,"threshold_uncertainty_score":0.15310323},"labels":[],"label_agreement":null},{"id":"W4311883883","doi":"10.1093/oxfordhb/9780190247867.013.2","title":"What Makes a Man Break?","year":2022,"lang":"en","type":"book-chapter","venue":"Oxford University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Girl; Gender studies; Sociology; Aesthetics; Psychology; Art; Developmental psychology","score_opus":0.035675593202717154,"score_gpt":0.17443530596711085,"score_spread":0.1387597127643937,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4311883883","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.015578788,0.05656301,0.0023021419,0.10341007,0.011275064,0.000053785523,0.00009232987,0.00017360889,0.81055117],"genre_scores_gemma":[0.39808935,0.032810055,0.0015323794,0.027728193,0.0032588444,0.00007511109,0.000089133944,0.00024888263,0.5361681],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985,0.0007441583,0.000030335246,0.00018604862,0.00026399072,0.0002754334],"domain_scores_gemma":[0.9994485,0.00016044232,0.000052493422,0.000045427278,0.00008001772,0.00021298983],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014069243,0.00056754064,0.00041474725,0.000597073,0.0065952996,0.005030041,0.00069644337,0.0017061585,0.02274957],"category_scores_gemma":[0.0019274527,0.0002844146,0.00028480182,0.00048941886,0.013373111,0.0053867903,0.0025978782,0.004980282,0.006714108],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000065593056,0.0000971687,0.0013488112,0.0003250139,0.000027487999,0.001357023,0.10898498,0.000094336625,0.00045205164,0.4551475,0.3294076,0.10269241],"study_design_scores_gemma":[0.000004099052,0.000034229743,0.00052643946,0.00042301722,0.0000062258573,0.00068664993,0.034336153,0.000031688087,0.000121370256,0.01892615,0.94489384,0.000010040299],"about_ca_topic_score_codex":0.0044036172,"about_ca_topic_score_gemma":0.0071118805,"teacher_disagreement_score":0.02274957,"about_ca_system_score_codex":0.0024974025,"about_ca_system_score_gemma":0.0017782544,"threshold_uncertainty_score":0.07610488},"labels":[],"label_agreement":null},{"id":"W4311883892","doi":"10.1093/oxfordhb/9780190247867.013.32","title":"Introduction","year":2022,"lang":"en","type":"book-chapter","venue":"Oxford University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Dance; Rubric; Scholarship; Sociology; Politics; Aesthetics; Political science; Visual arts; Art; Pedagogy; Law","score_opus":0.026725570801494417,"score_gpt":0.16156067642038538,"score_spread":0.13483510561889095,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4311883892","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00088613975,0.006500165,0.0025672417,0.0073583815,0.008233314,0.00011950765,0.0018250995,0.00048220597,0.97202796],"genre_scores_gemma":[0.004976899,0.0041251425,0.0013744215,0.0020041107,0.001646297,0.00008151133,0.0012982156,0.00019154388,0.9843019],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99926347,0.000090101654,0.000037089423,0.00021077316,0.00031770818,0.00008085823],"domain_scores_gemma":[0.99932885,0.00012387024,0.000035801175,0.00007525752,0.00032239655,0.0001138243],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005004496,0.00081126776,0.00045584203,0.0013050316,0.0018657163,0.0056314855,0.0013590642,0.0022615886,0.4120986],"category_scores_gemma":[0.0019273675,0.00026861674,0.0004194797,0.0011992606,0.00091930793,0.0031211076,0.002674569,0.0023480265,0.22911493],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000318366,0.000039754406,0.00018962637,0.00035714603,0.000002795737,0.0001568389,0.0009091802,0.0001336191,0.00047737805,0.08023075,0.7928368,0.12463438],"study_design_scores_gemma":[0.0000011009729,0.000005756282,0.00008962352,0.00011267185,5.8088943e-7,0.000051848354,0.00012331277,0.000012331976,0.000041228177,0.0021347445,0.99742484,0.0000020097982],"about_ca_topic_score_codex":0.0032352034,"about_ca_topic_score_gemma":0.0034837439,"teacher_disagreement_score":0.4120986,"about_ca_system_score_codex":0.0018090449,"about_ca_system_score_gemma":0.0020252909,"threshold_uncertainty_score":0.83857},"labels":[],"label_agreement":null},{"id":"W4311900300","doi":"10.1093/oxfordhb/9780197523933.013.17","title":"Fringe or Middle? Assessing Rock as Late Twentieth-Century Middlebrow","year":2022,"lang":"en","type":"book-chapter","venue":"Oxford University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Cape Breton University","funders":"","keywords":"Middlebrow; Middle class; Argument (complex analysis); History; Politics; Identity (music); Gender studies; Sociology; Aesthetics; Art; Political science; Law; Art history","score_opus":0.06273829823319453,"score_gpt":0.20210754682170337,"score_spread":0.13936924858850885,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4311900300","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.85813874,0.0010157508,0.0013880993,0.0004961254,0.000090923364,0.000039060367,0.00010733241,0.000031008396,0.13869303],"genre_scores_gemma":[0.9919002,0.00036277215,0.0005645274,0.00006137258,0.000016257278,0.000017651922,0.00005675825,0.00002517573,0.006995401],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992988,0.00014309432,0.00003331251,0.000093066024,0.00027857267,0.00015314098],"domain_scores_gemma":[0.99839574,0.00044469256,0.0003202962,0.000080962636,0.0004043525,0.0003540023],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00217813,0.00022776429,0.00024610423,0.0025426005,0.0017585794,0.005236449,0.00057402323,0.0007298503,0.009654205],"category_scores_gemma":[0.0051187268,0.00016591187,0.00015849393,0.0009885625,0.002891743,0.0038643656,0.0029125107,0.0009476642,0.0009563924],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0006808672,0.00014514365,0.17225012,0.00043297975,0.00003681082,0.0015959356,0.6000341,0.00013408969,0.009038047,0.089553185,0.005684902,0.120413795],"study_design_scores_gemma":[0.000009018469,0.00016899614,0.378409,0.00061595894,0.000023784762,0.0007064604,0.51864177,0.00027479662,0.0015018528,0.0074423538,0.092148624,0.000057442136],"about_ca_topic_score_codex":0.009779124,"about_ca_topic_score_gemma":0.025656888,"teacher_disagreement_score":0.009779124,"about_ca_system_score_codex":0.0012872656,"about_ca_system_score_gemma":0.0007585995,"threshold_uncertainty_score":0.03229648},"labels":[],"label_agreement":null},{"id":"W4312103323","doi":"10.1093/geroni/igac059.1590","title":"THE BLUES AND OLDER MINORITY MUSICIANS: MORE THAN JUST MUSIC XXIX","year":2022,"lang":"en","type":"article","venue":"Innovation in Aging","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Blues; Jazz; Studio; Visual arts; Art history; Musical; Art; Thriving; Popular music; Call and response; Gospel; History; Sociology; Literature; Music history","score_opus":0.042965985994139415,"score_gpt":0.24596415458664958,"score_spread":0.20299816859251016,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4312103323","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1252115,0.09358699,0.00034524585,0.32480907,0.03569937,0.00007429516,0.00049104134,0.00013361847,0.41964886],"genre_scores_gemma":[0.37456763,0.04894152,0.0005093113,0.055481985,0.028290298,0.00008824377,0.0002538745,0.00012503419,0.4917421],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993248,0.00013948065,0.000016112339,0.000080720885,0.00025060322,0.00018830759],"domain_scores_gemma":[0.9989635,0.00008189077,0.00006466507,0.000026937112,0.00015156527,0.0007114722],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010022508,0.00034359403,0.0002632077,0.0006755975,0.0045866254,0.006700505,0.0004367751,0.0011833564,0.0354764],"category_scores_gemma":[0.0013984977,0.00013951948,0.00013495918,0.00048167908,0.0018633016,0.0033836144,0.0038333046,0.0020700197,0.0038480035],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011585998,0.0001562949,0.008449601,0.0003370162,0.00001532582,0.00029268736,0.030371722,0.000017621836,0.0011529477,0.021504775,0.71226144,0.22532463],"study_design_scores_gemma":[0.000009267166,0.00006078724,0.009162888,0.00043533364,0.0000073722053,0.00025583088,0.036499992,0.000015597749,0.000111769565,0.0015170269,0.95191467,0.0000094172965],"about_ca_topic_score_codex":0.012026474,"about_ca_topic_score_gemma":0.039245076,"teacher_disagreement_score":0.0354764,"about_ca_system_score_codex":0.0017342494,"about_ca_system_score_gemma":0.0018811979,"threshold_uncertainty_score":0.11868042},"labels":[],"label_agreement":null},{"id":"W4312103715","doi":"10.1093/geroni/igac059.1591","title":"THE BLUES AND OLDER MINORITY MUSICIANS: MORE THAN JUST MUSIC XXIX","year":2022,"lang":"en","type":"article","venue":"Innovation in Aging","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Blues; Jazz; Studio; Musical; Visual arts; Art history; Art; Popular music; Gospel; Call and response; History; Literature; Music history","score_opus":0.042965985994139415,"score_gpt":0.24596415458664958,"score_spread":0.20299816859251016,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4312103715","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1083205,0.02846337,0.0002396232,0.3207741,0.023262007,0.00010772642,0.0006130546,0.0001305092,0.5180892],"genre_scores_gemma":[0.24885249,0.017725317,0.00033409995,0.065800145,0.013534587,0.000083593484,0.00024690497,0.000106012536,0.6533169],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.9992747,0.0001631816,0.000016517277,0.00007521592,0.0002499658,0.00022051326],"domain_scores_gemma":[0.99901617,0.000059638835,0.000046160094,0.000019485708,0.00012318107,0.0007353434],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008918241,0.0003032092,0.00022170538,0.00061451853,0.0063273087,0.006520127,0.00038788765,0.0014632451,0.04667747],"category_scores_gemma":[0.0008551604,0.00017030316,0.0001140669,0.0004554123,0.0016722525,0.0030963009,0.0045093303,0.0025470087,0.0055121775],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007706163,0.00013912136,0.0050332076,0.00019178289,0.0000070356878,0.00028113072,0.02112506,0.000014686571,0.0012370413,0.011344473,0.8460322,0.11451732],"study_design_scores_gemma":[0.0000060745238,0.00003580295,0.006028968,0.00022584763,0.000003332163,0.00014312497,0.04027946,0.000011076608,0.00013192234,0.00062248553,0.9525047,0.0000072155817],"about_ca_topic_score_codex":0.013837244,"about_ca_topic_score_gemma":0.05771237,"teacher_disagreement_score":0.04667747,"about_ca_system_score_codex":0.0018697041,"about_ca_system_score_gemma":0.002423482,"threshold_uncertainty_score":0.15615171},"labels":[],"label_agreement":null},{"id":"W4312222994","doi":"10.1080/09298215.2023.2201242","title":"Creative uses of low tech in Bamako recording studios (Mali)","year":2022,"lang":"en","type":"article","venue":"Journal of New Music Research","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Social Sciences and Humanities Research Council of Canada; Agence Nationale de la Recherche","keywords":"Studio; Narrative; Visual arts; Ethnography; Multimedia; Production (economics); Computer science; Sociology; Art; Literature; Anthropology","score_opus":0.27245727490580285,"score_gpt":0.36554050758590223,"score_spread":0.09308323268009938,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4312222994","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9397816,0.0020034956,0.0016836711,0.0013176998,0.00005745492,0.000052190364,0.00006382732,0.000026742677,0.055013385],"genre_scores_gemma":[0.9952213,0.00056107325,0.000585816,0.000100443955,0.000014365399,0.000023955063,0.000015693897,0.000012093891,0.0034652208],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.998654,0.00068374426,0.000064017724,0.00016128196,0.00017668429,0.00026016845],"domain_scores_gemma":[0.99799216,0.0014031199,0.00024029997,0.00009443014,0.00007045724,0.00019959961],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022551771,0.0004332718,0.00035193283,0.0012798937,0.0066008563,0.0051580104,0.00068090594,0.00077995117,0.0040917424],"category_scores_gemma":[0.0028643627,0.0003413951,0.00012843648,0.0022399153,0.008258863,0.0026769852,0.0034446944,0.0012150204,0.0004064433],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014144232,0.00003788051,0.010063345,0.000501349,0.000008712932,0.002881061,0.92385304,0.00007568927,0.009005558,0.016546436,0.0008026301,0.03608288],"study_design_scores_gemma":[0.000015613916,0.00014648856,0.028383229,0.0005140176,0.000020871723,0.0020803113,0.9123058,0.00017401358,0.0024923,0.0020105706,0.05182156,0.000035256133],"about_ca_topic_score_codex":0.0043801814,"about_ca_topic_score_gemma":0.016446888,"teacher_disagreement_score":0.0066008563,"about_ca_system_score_codex":0.0032310975,"about_ca_system_score_gemma":0.0013261707,"threshold_uncertainty_score":0.023443341},"labels":[],"label_agreement":null},{"id":"W4312321716","doi":"10.33137/ic.v32i.38732","title":"My Nonna's Spirituality &amp; Her Clash With The Beatles. Imagine!","year":2022,"lang":"en","type":"article","venue":"Italian Canadiana","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Spirituality; Aesthetics; Art; Sociology; Medicine","score_opus":0.022613763138775195,"score_gpt":0.18976422866880485,"score_spread":0.16715046553002966,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4312321716","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0066310386,0.00424106,0.0011395343,0.0858275,0.014568215,0.00009839262,0.00037607912,0.0010110368,0.886107],"genre_scores_gemma":[0.023663864,0.0013166722,0.00055099867,0.009998614,0.00067975716,0.000051917854,0.000094859264,0.00035484557,0.9632885],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995546,0.00010477598,0.000008985562,0.000052760388,0.00014786338,0.00013107494],"domain_scores_gemma":[0.99877423,0.00005705352,0.00006292536,0.000058808484,0.00026336257,0.0007835278],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00042138065,0.0006793394,0.00042474933,0.0004300081,0.008044073,0.004159486,0.0005503304,0.0015285726,0.33152145],"category_scores_gemma":[0.0021782594,0.00027993167,0.00039064183,0.00021626551,0.0016139415,0.0036526618,0.0061997846,0.0041975137,0.14343229],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016879181,0.000026854172,0.00047472634,0.000053015716,0.000002432384,0.00016386635,0.002991487,0.0000076152946,0.0003733415,0.0031997354,0.96285605,0.029833967],"study_design_scores_gemma":[0.000002878052,0.00001271697,0.00065534347,0.00006878447,0.0000013324874,0.0002794758,0.005150658,0.000012128739,0.00007892379,0.00051836146,0.99321234,0.0000070528995],"about_ca_topic_score_codex":0.00628891,"about_ca_topic_score_gemma":0.019102057,"teacher_disagreement_score":0.33152145,"about_ca_system_score_codex":0.0011188964,"about_ca_system_score_gemma":0.0010034632,"threshold_uncertainty_score":0.9535035},"labels":[],"label_agreement":null},{"id":"W4312512460","doi":"10.7202/1090843ar","title":"Les rappeuses québécoises sur le devant de la scène : autorité lyrique de la voix féminine chez Donzelle et MCM","year":2022,"lang":"fr","type":"article","venue":"Analyses Revue de littératures franco-canadiennes et québécoise","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Manitoba","funders":"","keywords":"Humanities; Art","score_opus":0.025702978322952163,"score_gpt":0.2688253828186796,"score_spread":0.24312240449572747,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4312512460","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.73086923,0.0029139945,0.0026788763,0.024773145,0.00038114743,0.00006976004,0.0003312513,0.000057989455,0.23792455],"genre_scores_gemma":[0.9181235,0.00073501474,0.0005488909,0.0008964792,0.00003644103,0.000037380345,0.00005339908,0.000054514734,0.07951438],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9988889,0.0004797561,0.000013972453,0.0001316809,0.0002344962,0.0002512509],"domain_scores_gemma":[0.9986463,0.00061575376,0.000106756,0.00005309559,0.00031898427,0.0002591309],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012640168,0.0005300215,0.00029994186,0.0010552941,0.018869258,0.0038643472,0.0009147827,0.0017786192,0.010100661],"category_scores_gemma":[0.002412539,0.00027092206,0.00016945582,0.0011581684,0.011329313,0.001853466,0.0016409517,0.002830591,0.0005433573],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000026639224,0.000011079218,0.0025599145,0.00005111442,0.000004466128,0.000791889,0.93308896,0.000058693575,0.0010374127,0.03970738,0.010903999,0.011758374],"study_design_scores_gemma":[0.0000030524116,0.000012541626,0.009566177,0.00016697132,0.0000076278607,0.00028894664,0.62581134,0.000145605,0.0005465377,0.0010346058,0.36238545,0.000031146268],"about_ca_topic_score_codex":0.8517863,"about_ca_topic_score_gemma":0.9520402,"teacher_disagreement_score":0.14821368,"about_ca_system_score_codex":0.026511936,"about_ca_system_score_gemma":0.012941269,"threshold_uncertainty_score":0.29817307},"labels":[],"label_agreement":null},{"id":"W4312613610","doi":"10.7202/1085920ar","title":"Judith VANDER, Songprints: The Musical Experienceof Five Shoshone Women, Urbana andChicago, University of Illinois Press, 1988. XXvi + 317 pages, Preface, Appendix","year":2022,"lang":"en","type":"article","venue":"Culture","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Brandon University","funders":"","keywords":"Musical; Art history; Gerontology; Sociology; Humanities; Art; Medicine; Visual arts","score_opus":0.024066105466285397,"score_gpt":0.18755791717417708,"score_spread":0.16349181170789168,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4312613610","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00462861,0.768255,0.0008471335,0.05600648,0.010146164,0.00010367184,0.0006675245,0.0002181719,0.15912728],"genre_scores_gemma":[0.0430498,0.45147756,0.0018896183,0.014016168,0.0038516666,0.00020258623,0.00075882766,0.00032180097,0.48443207],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99947006,0.00014195472,0.000033000593,0.00005280415,0.00022779164,0.00007436161],"domain_scores_gemma":[0.9991272,0.0003249916,0.000080735415,0.000017129896,0.00023208497,0.00021775416],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007754213,0.0010840109,0.00050025,0.0016862169,0.0034145406,0.0025975348,0.00097294286,0.0017893261,0.05179917],"category_scores_gemma":[0.0017824941,0.00045454313,0.00012118534,0.0027731617,0.0016104885,0.004576546,0.001972485,0.0018530189,0.015924249],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024860297,0.000016275617,0.00033726805,0.00037382814,0.0000023901018,0.00013181433,0.007162713,0.000013958575,0.00022396407,0.0024692079,0.92683923,0.062404357],"study_design_scores_gemma":[0.000008208247,0.00001600526,0.006090264,0.00069730094,0.000004596048,0.00032694836,0.016126372,0.0000134603115,0.00012597688,0.0012989063,0.9752749,0.000016998707],"about_ca_topic_score_codex":0.030012751,"about_ca_topic_score_gemma":0.096843086,"teacher_disagreement_score":0.05179917,"about_ca_system_score_codex":0.0014678513,"about_ca_system_score_gemma":0.0018205323,"threshold_uncertainty_score":0.17328548},"labels":[],"label_agreement":null},{"id":"W4312706439","doi":"10.5622/illinois/9780252044267.003.0002","title":"Queer Country and Sincerity","year":2022,"lang":"en","type":"book-chapter","venue":"University of Illinois Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sincerity; Queer; Essentialism; Sociology; Context (archaeology); Gender studies; Aesthetics; Psychology; History; Art; Social psychology","score_opus":0.026869641507687374,"score_gpt":0.1617399688672569,"score_spread":0.13487032735956953,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4312706439","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.010869341,0.014027272,0.0004039706,0.005886615,0.00030632387,0.00001011555,0.000027718814,0.000019403109,0.9684493],"genre_scores_gemma":[0.5961801,0.01377677,0.00029590464,0.0023076474,0.00044979283,0.000020408692,0.000046863293,0.00003667141,0.38688582],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994771,0.00015944612,0.000007088971,0.000055690576,0.000111679765,0.0001890806],"domain_scores_gemma":[0.99969697,0.00011888415,0.000029288733,0.00002603136,0.000047256974,0.00008151805],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00051792787,0.00028126608,0.00017821215,0.00072842033,0.007265067,0.005374798,0.00048770974,0.0009000465,0.01729122],"category_scores_gemma":[0.0008166428,0.00009778382,0.00013592768,0.000802727,0.011815471,0.0024304262,0.0020255318,0.0025367313,0.0011191],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009805126,0.000006689149,0.00022817602,0.000026540174,0.0000011799891,0.00008478216,0.016356535,0.000024239771,0.00009142334,0.95750844,0.011195799,0.014466267],"study_design_scores_gemma":[0.0000054805137,0.00002188865,0.0014041908,0.00026058956,0.000004038596,0.00021866796,0.013185958,0.00004759912,0.00020267774,0.044372138,0.94026774,0.0000089624955],"about_ca_topic_score_codex":0.055692703,"about_ca_topic_score_gemma":0.11134711,"teacher_disagreement_score":0.055692703,"about_ca_system_score_codex":0.0052862708,"about_ca_system_score_gemma":0.0039493158,"threshold_uncertainty_score":0.110737085},"labels":[],"label_agreement":null},{"id":"W4312719749","doi":"10.21083/csieci.v15i1.6810","title":"Voices Found: Free Jazz and Singing by Chris Tonelli","year":2022,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Guelph","funders":"","keywords":"Singing; Jazz; Geography; Art; Visual arts; Acoustics; Physics","score_opus":0.055435651437897845,"score_gpt":0.3229391143293003,"score_spread":0.2675034628914024,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4312719749","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010699136,0.81196904,0.00050091813,0.11285721,0.019052641,0.000017158727,0.00004145336,0.000046066034,0.054445628],"genre_scores_gemma":[0.051039614,0.6736122,0.000940506,0.09884447,0.02824994,0.00015295435,0.0001829151,0.0003944171,0.14658298],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9958758,0.0014469749,0.0001956304,0.000305935,0.0017628092,0.0004128561],"domain_scores_gemma":[0.9921937,0.005015085,0.00035945166,0.00025127153,0.0015687812,0.00061176106],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0035064197,0.0006690507,0.00066266616,0.0029993898,0.0045627058,0.0070901653,0.0013730505,0.004423151,0.013609923],"category_scores_gemma":[0.015678808,0.00037600362,0.00030712053,0.003635068,0.006943907,0.009005917,0.0036588155,0.0050965436,0.0029800537],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000045948553,0.000014524911,0.00014729485,0.0018363084,0.000009676553,0.00023025405,0.012080356,0.000027502414,0.00020232098,0.035067916,0.8576981,0.0926398],"study_design_scores_gemma":[0.000005334453,0.0000072882594,0.00032454912,0.0020371238,0.000004849678,0.00019715016,0.0062789796,0.0000076138563,0.00008236551,0.0018317346,0.98921424,0.000008818829],"about_ca_topic_score_codex":0.01933943,"about_ca_topic_score_gemma":0.039604638,"teacher_disagreement_score":0.01933943,"about_ca_system_score_codex":0.004264248,"about_ca_system_score_gemma":0.0059934543,"threshold_uncertainty_score":0.045529723},"labels":[],"label_agreement":null},{"id":"W4313002446","doi":"10.21083/csieci.v15i1.6703","title":"Universal Tonality: The Life and Music of William Parker by Cisco Bradley","year":2022,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Tonality; Cognitive science; Psychology; Aesthetics; Psychoanalysis; Philosophy; Communication; Art; Visual arts; Musical","score_opus":0.07379465620087372,"score_gpt":0.3065986730396139,"score_spread":0.2328040168387402,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4313002446","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0014415928,0.7862976,0.0012731157,0.08211478,0.008830498,0.000014628827,0.00003090261,0.000042587682,0.119954325],"genre_scores_gemma":[0.091680504,0.52693385,0.0014322589,0.03786551,0.010366377,0.00008589435,0.000081170416,0.00018488163,0.3313697],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989519,0.00038285408,0.000038643993,0.00011286254,0.00042422442,0.00008948552],"domain_scores_gemma":[0.9985273,0.00075894827,0.00008165673,0.00006654162,0.00040478897,0.00016070741],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010865792,0.00052237517,0.00049094955,0.0014152215,0.0034863718,0.005155647,0.0009384048,0.0017546128,0.0074593197],"category_scores_gemma":[0.004450777,0.00033487636,0.00015157447,0.0020555553,0.008346877,0.0060343887,0.0022788045,0.004276602,0.0015719248],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000036814712,0.000013021022,0.00022806655,0.00052823126,0.000006403199,0.00013126033,0.00880142,0.00009947748,0.00020019314,0.15432131,0.7470991,0.088534676],"study_design_scores_gemma":[0.0000033167964,0.000006162799,0.0005377771,0.0005650311,0.0000025260665,0.00012967178,0.0029124678,0.000020152096,0.00005259629,0.012070848,0.9836896,0.000009861855],"about_ca_topic_score_codex":0.034519296,"about_ca_topic_score_gemma":0.050992865,"teacher_disagreement_score":0.034519296,"about_ca_system_score_codex":0.0038903886,"about_ca_system_score_gemma":0.0042655766,"threshold_uncertainty_score":0.068636715},"labels":[],"label_agreement":null},{"id":"W4313160897","doi":"10.1386/mms_00086_1","title":"Metallica the state/Metallica the war machine: A Deleuzoguattarian analysis of the world’s biggest metal band","year":2022,"lang":"en","type":"article","venue":"Metal Music Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Parallels; Representation (politics); State (computer science); Key (lock); Sociology; Media studies; Engineering; Computer science; Political science; Law; Mechanical engineering; Computer security; Politics","score_opus":0.05438143082737462,"score_gpt":0.24634375306365697,"score_spread":0.19196232223628235,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4313160897","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14116979,0.004940462,0.0036805936,0.010141193,0.00022911598,0.000028754537,0.000054583594,0.000026639542,0.8397289],"genre_scores_gemma":[0.95449644,0.0014363725,0.0008922318,0.00061374414,0.00009969416,0.000021764776,0.000030756306,0.000035429002,0.0423736],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99955267,0.00016800367,0.000008156907,0.00007168477,0.000100894475,0.000098570235],"domain_scores_gemma":[0.9997749,0.00008938492,0.000027934706,0.000026442374,0.00004397727,0.000037433245],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006320146,0.00028782935,0.00018744964,0.0018377046,0.0052929725,0.005079948,0.00054367975,0.0010171792,0.0069950754],"category_scores_gemma":[0.0010397587,0.00011877189,0.0002116923,0.0011135776,0.011998552,0.0020596862,0.0020786745,0.0012830188,0.0008666769],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016344211,0.00000720443,0.0006085655,0.00001687793,0.0000016106331,0.000114454575,0.020545084,0.00007813816,0.0001780737,0.96874183,0.0021069567,0.007584859],"study_design_scores_gemma":[0.000019459114,0.00005062423,0.013266121,0.0002781636,0.000015849142,0.00042951794,0.05156659,0.00081302767,0.0007371112,0.23718156,0.69561154,0.000030423866],"about_ca_topic_score_codex":0.0138637265,"about_ca_topic_score_gemma":0.020735802,"teacher_disagreement_score":0.0138637265,"about_ca_system_score_codex":0.0044819927,"about_ca_system_score_gemma":0.0012026094,"threshold_uncertainty_score":0.03251922},"labels":[],"label_agreement":null},{"id":"W4317765725","doi":"10.1002/9781405165518.wbeosm137.pub2","title":"Music and Media","year":2021,"lang":"en","type":"other","venue":"The Blackwell Encyclopedia of Sociology","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Brandon University","funders":"","keywords":"Mediation; Popular music; Consumption (sociology); Advertising; Music industry; Multimedia; Sociology; Art; Computer science; Visual arts; Aesthetics; Business; Social science; Music education","score_opus":0.025217267724906577,"score_gpt":0.20893149177050122,"score_spread":0.18371422404559465,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4317765725","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.001918227,0.020055354,0.0005668922,0.009189598,0.0014416088,0.000021318461,0.00016010224,0.00006606636,0.9665808],"genre_scores_gemma":[0.16716047,0.061182383,0.0024606308,0.011456334,0.0056658285,0.00014880359,0.00041060938,0.00027463844,0.7512403],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980585,0.00068936,0.00007982402,0.00023851925,0.0006354881,0.0002982873],"domain_scores_gemma":[0.9987723,0.00041364486,0.00014032493,0.00018223049,0.00019630982,0.00029504157],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009425765,0.00067007646,0.00036887295,0.0029102238,0.005124135,0.02022862,0.00078895426,0.0026764558,0.06374655],"category_scores_gemma":[0.0034172595,0.00020694018,0.00023401486,0.004502227,0.008763782,0.011184705,0.006970136,0.0019774165,0.013253886],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000030988966,0.000020520445,0.0007348734,0.00027801134,0.000006415392,0.0001623506,0.007855803,0.000057120465,0.00024711803,0.77913624,0.1094827,0.10198785],"study_design_scores_gemma":[0.0000026405912,0.000008809648,0.00052346376,0.00032624262,0.0000024791327,0.0001643593,0.0027958886,0.000014157156,0.000059784317,0.02378931,0.97230744,0.000005353716],"about_ca_topic_score_codex":0.0056288373,"about_ca_topic_score_gemma":0.007886707,"teacher_disagreement_score":0.06374655,"about_ca_system_score_codex":0.002780346,"about_ca_system_score_gemma":0.0025366612,"threshold_uncertainty_score":0.21325344},"labels":[],"label_agreement":null},{"id":"W4318196183","doi":"10.4324/9781003193135-3","title":"Walking with sound: race and the prosthetic ear","year":2023,"lang":"en","type":"book-chapter","venue":"Focal Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Context (archaeology); Active listening; History; Diaspora; Musical; Colonialism; Race (biology); Sound (geography); Visual arts; Art; Literature; Aesthetics; Sociology; Gender studies; Acoustics; Archaeology; Communication","score_opus":0.039477506672049786,"score_gpt":0.19492835978480708,"score_spread":0.1554508531127573,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4318196183","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.32486233,0.07060797,0.012195052,0.16062613,0.0062930654,0.000050866995,0.000075732925,0.0001518227,0.425137],"genre_scores_gemma":[0.909814,0.017544067,0.0026335176,0.010982595,0.0013669168,0.000047935042,0.000022382932,0.00010678545,0.057481833],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99838173,0.00080552674,0.00004620202,0.00018368055,0.00029332566,0.0002895466],"domain_scores_gemma":[0.9989373,0.00046254345,0.00008240481,0.00007532352,0.00017617017,0.00026625878],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002661428,0.0003453826,0.00028811654,0.0005867662,0.0064444495,0.008609465,0.0007440566,0.0025162664,0.01128354],"category_scores_gemma":[0.005216462,0.00019393892,0.00024876508,0.00033271115,0.012183299,0.0068981,0.0056881346,0.0032498287,0.0018930428],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00041508392,0.00018271783,0.006777607,0.0003061644,0.000021634174,0.0024686737,0.37884638,0.00010935613,0.0035381767,0.22525106,0.04196283,0.34012035],"study_design_scores_gemma":[0.000041145955,0.00035015758,0.0069225165,0.001445846,0.000033928536,0.008730975,0.2693613,0.00029538773,0.0014226852,0.0584732,0.6528432,0.00007975225],"about_ca_topic_score_codex":0.0035546704,"about_ca_topic_score_gemma":0.0051497077,"teacher_disagreement_score":0.01128354,"about_ca_system_score_codex":0.0013784684,"about_ca_system_score_gemma":0.0014316494,"threshold_uncertainty_score":0.037747204},"labels":[],"label_agreement":null},{"id":"W4318767723","doi":"10.32920/21992084.v1","title":"Making Sweet Music Together: The Affordances of Networked Media for Building Performance Capital by YouTube Musicians","year":2023,"lang":"en","type":"preprint","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Royal Roads University; Toronto Metropolitan University","funders":"Canada Research Chairs","keywords":"Affordance; Homophily; Popular music; Meaning (existential); Advertising; Capital (architecture); Sociology; Psychology; Social psychology; Business; Visual arts; Art; Cognitive psychology","score_opus":0.10944285936523672,"score_gpt":0.2614221709672327,"score_spread":0.15197931160199596,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4318767723","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.894031,0.00023956214,0.0018473612,0.0015811856,0.000022327144,0.00004837131,0.00010712267,0.000039234903,0.10208383],"genre_scores_gemma":[0.99466395,0.00010503498,0.0010047223,0.000082050414,0.000010909579,0.000016968948,0.000043935175,0.000017965838,0.004054545],"study_design_codex":"observational","study_design_gemma":"qualitative","domain_scores_codex":[0.99911946,0.00036465493,0.00002510934,0.00010514649,0.00011435573,0.0002712409],"domain_scores_gemma":[0.997511,0.0008750538,0.00041114434,0.00028365862,0.00014138735,0.0007776538],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011621314,0.00027612262,0.00014360013,0.0015809867,0.0035853258,0.0056854193,0.00048938714,0.0004694495,0.010657125],"category_scores_gemma":[0.004960875,0.00018560213,0.00020035551,0.0009429838,0.0027333521,0.005379445,0.0056622354,0.00058948714,0.000647266],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00040630152,0.0005412652,0.4031484,0.0002859092,0.00009555511,0.0019942813,0.2164791,0.0007982493,0.0074619297,0.08502146,0.009971834,0.27379575],"study_design_scores_gemma":[0.000053209944,0.00029503665,0.47884098,0.0005660063,0.00010473779,0.00077404146,0.3371242,0.0038915016,0.00439472,0.028276905,0.14557189,0.00010686764],"about_ca_topic_score_codex":0.015068141,"about_ca_topic_score_gemma":0.04382754,"teacher_disagreement_score":0.015068141,"about_ca_system_score_codex":0.0019093651,"about_ca_system_score_gemma":0.0013555418,"threshold_uncertainty_score":0.035651684},"labels":[],"label_agreement":null},{"id":"W4318767892","doi":"10.32920/21992084","title":"Making Sweet Music Together: The Affordances of Networked Media for Building Performance Capital by YouTube Musicians","year":2023,"lang":"en","type":"preprint","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Royal Roads University; Toronto Metropolitan University","funders":"Canada Research Chairs","keywords":"Affordance; Homophily; Popular music; Meaning (existential); Advertising; Capital (architecture); Psychology; Social psychology; Visual arts; Art; Cognitive psychology; Business","score_opus":0.10944285936523672,"score_gpt":0.2614221709672327,"score_spread":0.15197931160199596,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4318767892","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.894031,0.00023956214,0.0018473612,0.0015811856,0.000022327144,0.00004837131,0.00010712267,0.000039234903,0.10208383],"genre_scores_gemma":[0.99466395,0.00010503498,0.0010047223,0.000082050414,0.000010909579,0.000016968948,0.000043935175,0.000017965838,0.004054545],"study_design_codex":"observational","study_design_gemma":"qualitative","domain_scores_codex":[0.99911946,0.00036465493,0.00002510934,0.00010514649,0.00011435573,0.0002712409],"domain_scores_gemma":[0.997511,0.0008750538,0.00041114434,0.00028365862,0.00014138735,0.0007776538],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011621314,0.00027612262,0.00014360013,0.0015809867,0.0035853258,0.0056854193,0.00048938714,0.0004694495,0.010657125],"category_scores_gemma":[0.004960875,0.00018560213,0.00020035551,0.0009429838,0.0027333521,0.005379445,0.0056622354,0.00058948714,0.000647266],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00040630152,0.0005412652,0.4031484,0.0002859092,0.00009555511,0.0019942813,0.2164791,0.0007982493,0.0074619297,0.08502146,0.009971834,0.27379575],"study_design_scores_gemma":[0.000053209944,0.00029503665,0.47884098,0.0005660063,0.00010473779,0.00077404146,0.3371242,0.0038915016,0.00439472,0.028276905,0.14557189,0.00010686764],"about_ca_topic_score_codex":0.015068141,"about_ca_topic_score_gemma":0.04382754,"teacher_disagreement_score":0.015068141,"about_ca_system_score_codex":0.0019093651,"about_ca_system_score_gemma":0.0013555418,"threshold_uncertainty_score":0.035651684},"labels":[],"label_agreement":null},{"id":"W4318774086","doi":"10.4324/9781003281979","title":"Rhythm Changes","year":2023,"lang":"en","type":"book","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Rhythm; Art; Aesthetics","score_opus":0.060873817178535565,"score_gpt":0.20409386762363257,"score_spread":0.143220050445097,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4318774086","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0055907085,0.006764435,0.0025782888,0.006911482,0.00819419,0.000040049676,0.00012218884,0.00030829295,0.9694904],"genre_scores_gemma":[0.055467673,0.0044868523,0.0011893732,0.003745098,0.0023662513,0.00004333271,0.00019364152,0.00035945929,0.93214834],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99926025,0.00014352695,0.00002951025,0.00016283477,0.00029523522,0.000108688786],"domain_scores_gemma":[0.9995414,0.00010327995,0.000033517143,0.000079855155,0.00012676034,0.000115278555],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005120448,0.0004220661,0.00023799308,0.00075970456,0.0027131422,0.007990439,0.000784343,0.0013952245,0.04997297],"category_scores_gemma":[0.0017553947,0.00018711716,0.00044390044,0.0008440937,0.0028545912,0.0049727946,0.0028452033,0.0028667988,0.017231662],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006658083,0.000045599114,0.0005963071,0.00024541948,0.000008650711,0.00024159515,0.015851757,0.0001223528,0.0019596848,0.33361593,0.43398595,0.21326026],"study_design_scores_gemma":[0.0000029596656,0.000012641468,0.00044609993,0.00007620517,0.0000020152816,0.00018131507,0.0017726684,0.000038142487,0.00018085139,0.0063504465,0.9909321,0.0000046142613],"about_ca_topic_score_codex":0.0022282305,"about_ca_topic_score_gemma":0.003399351,"teacher_disagreement_score":0.04997297,"about_ca_system_score_codex":0.0018318458,"about_ca_system_score_gemma":0.0010080871,"threshold_uncertainty_score":0.16717625},"labels":[],"label_agreement":null},{"id":"W4318965882","doi":"10.1017/9781108937443.006","title":"A Double-Edged Sword","year":2022,"lang":"en","type":"book-chapter","venue":"Cambridge University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Ottawa","funders":"","keywords":"SWORD; Narrative; Scholarship; Chart; Music industry; History; Visual arts; Art; Literature; Political science; Engineering; Law; Music education","score_opus":0.0456142628912055,"score_gpt":0.17785946951008497,"score_spread":0.13224520661887945,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4318965882","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.014313204,0.013388353,0.0022575175,0.023692962,0.003808858,0.00003136684,0.00019511259,0.000110841815,0.94220185],"genre_scores_gemma":[0.17018864,0.01268171,0.0016420414,0.009071705,0.0016166865,0.00006303004,0.00021300612,0.00039280372,0.8041303],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.998706,0.00034069995,0.000027394592,0.0001813744,0.00056962663,0.00017486325],"domain_scores_gemma":[0.99899083,0.00039105312,0.000060360337,0.00015065605,0.00018122986,0.00022587612],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010898255,0.00040606488,0.0002995358,0.002000202,0.0072652195,0.008386459,0.00085456704,0.0013658382,0.020599434],"category_scores_gemma":[0.0027169124,0.00028248242,0.00025112645,0.0021964419,0.0094578285,0.008032987,0.0057458943,0.004302312,0.004694726],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000032632914,0.000028776674,0.0009109511,0.00015064089,0.000005617837,0.00026504436,0.0682529,0.000054262007,0.00029253587,0.5949829,0.24071237,0.09431133],"study_design_scores_gemma":[0.0000010557328,0.000007843987,0.0004134138,0.00015713176,0.000001251968,0.00013195477,0.011932189,0.000024220404,0.00007780158,0.008033002,0.97921616,0.000003901593],"about_ca_topic_score_codex":0.0075499024,"about_ca_topic_score_gemma":0.02007495,"teacher_disagreement_score":0.020599434,"about_ca_system_score_codex":0.002880303,"about_ca_system_score_gemma":0.0028835286,"threshold_uncertainty_score":0.06891197},"labels":[],"label_agreement":null},{"id":"W4318965943","doi":"10.1017/9781108937443.001","title":"“She went to Nashville to sing country music”","year":2022,"lang":"en","type":"book-chapter","venue":"Cambridge University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Ottawa","funders":"","keywords":"Music industry; Product (mathematics); Production (economics); Profit (economics); Identity (music); Public relations; Business; Marketing; Advertising; Sociology; Political science; Economics; Art; Aesthetics; Visual arts; Music education","score_opus":0.033630648773423255,"score_gpt":0.17236058332185408,"score_spread":0.13872993454843083,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4318965943","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008641125,0.0016472855,0.0010349384,0.01441139,0.002787339,0.000060432645,0.00013901782,0.0001311153,0.9711473],"genre_scores_gemma":[0.019123634,0.00078802416,0.00052143337,0.004031556,0.00013217994,0.000036638696,0.00005600652,0.00008161118,0.9752289],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99961853,0.00011137773,0.0000064112223,0.00005736374,0.00010029824,0.000105953746],"domain_scores_gemma":[0.99977535,0.000037809517,0.0000074606514,0.000016643828,0.00007076768,0.00009194782],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005829303,0.00045546415,0.00021065919,0.00041985736,0.0070864637,0.0041193687,0.0006869124,0.001248764,0.07077847],"category_scores_gemma":[0.0009593021,0.00020073394,0.0001938901,0.00031501136,0.0021331944,0.0027795513,0.0017622724,0.0035129252,0.022876257],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000058984835,0.000057978716,0.0017294778,0.00013803031,0.0000069689036,0.00093290186,0.03028609,0.00008448365,0.0023741357,0.10683588,0.75706697,0.100428104],"study_design_scores_gemma":[0.0000017798596,0.000010717204,0.0006878754,0.00006630034,0.000001266543,0.00022089115,0.011215072,0.000029325356,0.00014322622,0.0008640023,0.98675287,0.000006701182],"about_ca_topic_score_codex":0.051218595,"about_ca_topic_score_gemma":0.21896034,"teacher_disagreement_score":0.07077847,"about_ca_system_score_codex":0.0024960367,"about_ca_system_score_gemma":0.0030501625,"threshold_uncertainty_score":0.23677754},"labels":[],"label_agreement":null},{"id":"W4318988797","doi":"10.1080/00083968.2023.2165629","title":"Performance and the Afterlives of Injustice: Dance and Live Art in Contemporary South Africa and Beyond","year":2023,"lang":"en","type":"article","venue":"Canadian Journal of African Studies / Revue canadienne des études africaines","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dance; Injustice; Aesthetics; Sociology; Political science; Gender studies; Art; History; Visual arts; Law","score_opus":0.0463074523122428,"score_gpt":0.2109094173554561,"score_spread":0.16460196504321328,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4318988797","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.60149115,0.0255118,0.0007373105,0.05588216,0.00056327815,0.000037252023,0.00003791885,0.000028984472,0.31571007],"genre_scores_gemma":[0.9825952,0.0038340732,0.000118366916,0.0011058729,0.000109628934,0.000015377322,0.000005106352,0.000018900146,0.0121974535],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99859077,0.0006629814,0.000037779882,0.00008270463,0.00017685718,0.0004488927],"domain_scores_gemma":[0.9989328,0.00049438607,0.00017306785,0.000053099324,0.00007881751,0.00026789657],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017981551,0.0005494797,0.0003367184,0.0020584243,0.02267096,0.008991052,0.0007743823,0.0026115072,0.0067082783],"category_scores_gemma":[0.0025963455,0.0002388339,0.00015863682,0.001693825,0.040151544,0.004112741,0.0064131846,0.0042124707,0.00032069153],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002222347,0.000024642366,0.0016739487,0.0001003987,0.0000033776191,0.00037188872,0.89165,0.000042479838,0.00033776354,0.09356586,0.001926805,0.010280451],"study_design_scores_gemma":[0.0000065954086,0.000033242402,0.0065654274,0.00044104012,0.0000056764247,0.0003361574,0.90339327,0.000048945865,0.00015493375,0.011191145,0.07780738,0.000016184684],"about_ca_topic_score_codex":0.036870956,"about_ca_topic_score_gemma":0.08611231,"teacher_disagreement_score":0.036870956,"about_ca_system_score_codex":0.00444288,"about_ca_system_score_gemma":0.0040610805,"threshold_uncertainty_score":0.0733127},"labels":[],"label_agreement":null},{"id":"W4319321250","doi":"10.1080/20551940.2023.2174062","title":"Lasting echo","year":2023,"lang":"en","type":"article","venue":"Sound Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Carleton University","funders":"","keywords":"Improvisation; Musicology; Marie curie; Musical; Art; Politics; Visual arts; Art history; Humanities; Sociology; Political science; Law","score_opus":0.22856354678533894,"score_gpt":0.308351005391,"score_spread":0.07978745860566108,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4319321250","genre_codex":"editorial","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0015957932,0.0069982195,0.000670973,0.3501043,0.39232358,0.00007527035,0.0027340108,0.0005079893,0.24498989],"genre_scores_gemma":[0.015696272,0.003862599,0.00035083323,0.13723448,0.05030236,0.00010519859,0.0013399057,0.00048012796,0.7906282],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99764746,0.00037891004,0.00007409502,0.00034848522,0.0008700941,0.00068093906],"domain_scores_gemma":[0.99331164,0.0009543891,0.00017029337,0.00045578432,0.002719284,0.0023886128],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003201278,0.0006943961,0.0006055315,0.00095254194,0.006372915,0.008388442,0.0013483211,0.0062612747,0.19388212],"category_scores_gemma":[0.015773557,0.00030616162,0.0005954187,0.0007036029,0.0016822523,0.00424501,0.0055374596,0.010953124,0.07680861],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016705666,0.00000492745,0.00005978217,0.00002629406,0.000001429648,0.000039631577,0.00015146636,0.0000042489837,0.000035325276,0.0022418038,0.99210346,0.005314967],"study_design_scores_gemma":[0.0000030179383,0.000004852575,0.00019007779,0.000045057703,0.000001300605,0.0000272448,0.0003633643,0.00000407867,0.00002284657,0.0004008662,0.9989334,0.0000040025175],"about_ca_topic_score_codex":0.010520356,"about_ca_topic_score_gemma":0.031921223,"teacher_disagreement_score":0.19388212,"about_ca_system_score_codex":0.0028594858,"about_ca_system_score_gemma":0.00546777,"threshold_uncertainty_score":0.64860034},"labels":[],"label_agreement":null},{"id":"W4319451217","doi":"10.4000/communiquer.10114","title":"Everyone Loves Live Music","year":2022,"lang":"fr","type":"article","venue":"Communiquer Revue de communication sociale et publique","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"Agence Nationale de la Recherche","keywords":"Art; Visual arts","score_opus":0.04915890133957202,"score_gpt":0.26115220641666864,"score_spread":0.21199330507709663,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4319451217","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.032568034,0.0074845683,0.0014992926,0.07091162,0.006700118,0.000048734564,0.0004219868,0.00026167944,0.88010406],"genre_scores_gemma":[0.24071693,0.0052189687,0.00095289445,0.020041686,0.0028054118,0.000055415458,0.00031191908,0.00019276468,0.729704],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99830306,0.00046340135,0.00004501571,0.00020370778,0.00060955726,0.0003752663],"domain_scores_gemma":[0.99849033,0.00012548189,0.00012584044,0.00017925765,0.00030396332,0.0007750739],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009849374,0.00045995257,0.0004808522,0.0006117011,0.008099884,0.0055037146,0.00048360028,0.0016898932,0.061555535],"category_scores_gemma":[0.003445341,0.00017995111,0.000248953,0.00060516346,0.003515473,0.0041701198,0.005300419,0.0025801286,0.017609619],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016005764,0.0001246489,0.0080965385,0.00041777384,0.000060297138,0.00085428933,0.071142055,0.000058442773,0.0027789308,0.13766704,0.45995626,0.31868374],"study_design_scores_gemma":[0.0000047960043,0.00003359696,0.0019637363,0.00009364182,0.0000045475435,0.00029964637,0.014028483,0.0000092146665,0.00008436702,0.00333509,0.9801319,0.000010980949],"about_ca_topic_score_codex":0.005777575,"about_ca_topic_score_gemma":0.014989099,"teacher_disagreement_score":0.061555535,"about_ca_system_score_codex":0.0012450668,"about_ca_system_score_gemma":0.0013284184,"threshold_uncertainty_score":0.2059238},"labels":[],"label_agreement":null},{"id":"W4320003462","doi":"10.4000/communiquer.10064","title":"We Still Here: Hip Hop North of the 49th Parallel","year":2022,"lang":"fr","type":"article","venue":"Communiquer Revue de communication sociale et publique","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Université du Québec à Montréal","funders":"","keywords":"Queen (butterfly); Marsh; Art; Biology; Botany; Ecology","score_opus":0.050750647357259024,"score_gpt":0.25967578299256616,"score_spread":0.20892513563530712,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4320003462","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0072661354,0.011239142,0.0009222274,0.45056015,0.1701377,0.000089079884,0.00060875923,0.00031636696,0.35886055],"genre_scores_gemma":[0.030926656,0.0031112563,0.00044941765,0.048463657,0.0075181876,0.000075797616,0.00017804094,0.00041208428,0.9088649],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99765354,0.00032339816,0.000049521364,0.00032788812,0.00073346373,0.0009123243],"domain_scores_gemma":[0.9958687,0.00019428144,0.00012961152,0.00023109565,0.0010106597,0.0025656992],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013969664,0.0005573191,0.00063738436,0.00069176103,0.01624076,0.009651056,0.000983167,0.0041903285,0.20241119],"category_scores_gemma":[0.003911244,0.00041579612,0.00042100198,0.0008176878,0.0037789857,0.00677574,0.007588555,0.011171182,0.05536331],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000044426517,0.00002932171,0.00032539715,0.000048775724,0.0000039082192,0.0002477588,0.0023250042,0.000016815706,0.00026912877,0.012442128,0.9672601,0.016987253],"study_design_scores_gemma":[0.000002565416,0.000008313232,0.0006141487,0.00005107915,0.0000011939193,0.00004503427,0.002816676,0.0000035782975,0.000057030753,0.0005303073,0.99586236,0.000007745637],"about_ca_topic_score_codex":0.039872535,"about_ca_topic_score_gemma":0.08972731,"teacher_disagreement_score":0.9601275,"about_ca_system_score_codex":0.0047022738,"about_ca_system_score_gemma":0.0078113973,"threshold_uncertainty_score":0.67713284},"labels":[],"label_agreement":null},{"id":"W4320003488","doi":"10.4000/communiquer.9958","title":"La captation et ses paradoxes. Réflexions sur la mise en vidéo des concerts à l’ère de la plateformisation de la musique","year":2022,"lang":"fr","type":"article","venue":"Communiquer Revue de communication sociale et publique","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.03649090845761583,"score_gpt":0.29934910041596446,"score_spread":0.26285819195834864,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4320003488","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.13062477,0.011910157,0.03737495,0.114715636,0.0016830841,0.00007774193,0.00031233253,0.00019280254,0.70310867],"genre_scores_gemma":[0.9644346,0.00214389,0.0034006825,0.0044515515,0.0005776153,0.00009108555,0.000082219434,0.0001486753,0.024669727],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99255705,0.0042119245,0.00017795182,0.0011587068,0.0015219799,0.00037237874],"domain_scores_gemma":[0.985857,0.00898312,0.0013241671,0.0013775325,0.0018468209,0.00061130815],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.006189255,0.0005890072,0.00043607823,0.0016924202,0.0075363377,0.012318225,0.0014589285,0.0038748186,0.012417094],"category_scores_gemma":[0.02252173,0.00044877396,0.0003849462,0.0018210115,0.028230239,0.015641388,0.0055985646,0.005257926,0.0015880474],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009096993,0.00002218138,0.0009180784,0.00018022151,0.000011457177,0.00021908424,0.05825571,0.00017318944,0.0006890285,0.9197752,0.0058865515,0.013778375],"study_design_scores_gemma":[0.00008724212,0.00010004859,0.0037866107,0.00062213367,0.000033013202,0.00073881284,0.0779556,0.0016333575,0.0015495998,0.5798725,0.3335277,0.00009338851],"about_ca_topic_score_codex":0.01102452,"about_ca_topic_score_gemma":0.0057984157,"teacher_disagreement_score":0.012417094,"about_ca_system_score_codex":0.0052650813,"about_ca_system_score_gemma":0.0027108595,"threshold_uncertainty_score":0.04153937},"labels":[],"label_agreement":null},{"id":"W4320164485","doi":"10.7202/1095429ar","title":"Discerner les trois types de voix saturées du genre musical métal : les implications sur la recherche","year":2023,"lang":"fr","type":"article","venue":"Les Cahiers de la Société québécoise de recherche en musique","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Humanities; Art","score_opus":0.14972495761612686,"score_gpt":0.3590968333393981,"score_spread":0.20937187572327126,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4320164485","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.62920684,0.030824201,0.06936076,0.011531376,0.0015151957,0.00038054376,0.0008572498,0.00028638923,0.25603744],"genre_scores_gemma":[0.8795331,0.012028711,0.02713876,0.0012935721,0.00043433785,0.00024222603,0.0004307813,0.00022544016,0.07867294],"study_design_codex":"design_other","study_design_gemma":"observational","domain_scores_codex":[0.99746823,0.00067899533,0.00013323178,0.00048260883,0.00096241606,0.00027454487],"domain_scores_gemma":[0.99229604,0.004318755,0.0009227114,0.0006814732,0.0013252224,0.0004558136],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0047789994,0.0007345715,0.00048563493,0.0038517467,0.0039364262,0.008361719,0.0010251923,0.0017021099,0.014200401],"category_scores_gemma":[0.012556278,0.0003054319,0.00053700374,0.0030276808,0.006696409,0.0053015,0.0027559823,0.0019805178,0.0019773007],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00042902053,0.00007114292,0.05608336,0.003033449,0.00012358419,0.0011654977,0.26979148,0.0005668807,0.03903756,0.09688517,0.00789397,0.5249189],"study_design_scores_gemma":[0.000026631189,0.00042530778,0.23097762,0.004215915,0.00014020507,0.002598813,0.32229927,0.0013567244,0.011780903,0.026046455,0.39993295,0.00019914466],"about_ca_topic_score_codex":0.043014545,"about_ca_topic_score_gemma":0.13078302,"teacher_disagreement_score":0.043014545,"about_ca_system_score_codex":0.0038890736,"about_ca_system_score_gemma":0.0051516527,"threshold_uncertainty_score":0.08552837},"labels":[],"label_agreement":null},{"id":"W4320164538","doi":"10.7202/1095430ar","title":"Développement numérique de la communauté rap québécoise : articulation d’un réseau alternatif en réponse à une marginalisation de l’industrie musicale","year":2023,"lang":"fr","type":"article","venue":"Les Cahiers de la Société québécoise de recherche en musique","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Université de Montréal","funders":"","keywords":"Humanities; Art; Political science","score_opus":0.05932934795631934,"score_gpt":0.33192985152399446,"score_spread":0.2726005035676751,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4320164538","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.78578997,0.0012860261,0.0021879328,0.00557831,0.00011027856,0.00008020725,0.00015886642,0.000056934015,0.20475152],"genre_scores_gemma":[0.92947835,0.0003934193,0.0013678343,0.00017608966,0.000012272276,0.000037052778,0.000050120787,0.00003234841,0.06845255],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983631,0.00042607842,0.0000332216,0.00025259677,0.00041716365,0.0005079358],"domain_scores_gemma":[0.99591136,0.0007277054,0.00030168332,0.00020126939,0.0013230554,0.0015349467],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002742004,0.00044694674,0.0003141563,0.0019923341,0.012422732,0.00712007,0.0011340897,0.0009048394,0.014659397],"category_scores_gemma":[0.0031620027,0.000239324,0.00024668965,0.0016453767,0.006660762,0.0021421227,0.0029963383,0.0013751272,0.0008302262],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00020994799,0.00019769567,0.057429314,0.00020489455,0.00004437431,0.0013753275,0.64345914,0.00050059496,0.005163519,0.10206272,0.013015373,0.17633708],"study_design_scores_gemma":[0.000020066374,0.0001405586,0.2081043,0.00046215713,0.000031604384,0.00038258982,0.32329205,0.0009413531,0.0014292104,0.0041331565,0.46096694,0.00009612781],"about_ca_topic_score_codex":0.85706407,"about_ca_topic_score_gemma":0.9391729,"teacher_disagreement_score":0.14293593,"about_ca_system_score_codex":0.036586612,"about_ca_system_score_gemma":0.043502733,"threshold_uncertainty_score":0.2875554},"labels":[],"label_agreement":null},{"id":"W4321182805","doi":"10.1017/9781800109506.027","title":"New Home, New Family, New Music","year":2023,"lang":"en","type":"book-chapter","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.09096827693138841,"score_gpt":0.19908602284324287,"score_spread":0.10811774591185445,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4321182805","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.002151058,0.015565979,0.00035414373,0.020332368,0.011030104,0.000042719763,0.00030834824,0.00014630689,0.95006907],"genre_scores_gemma":[0.015615163,0.0062579843,0.00027673983,0.0064341584,0.0024047007,0.00005014833,0.0001510267,0.00011666443,0.96869344],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991627,0.00015525948,0.000022921704,0.00011670569,0.00038186793,0.00016068242],"domain_scores_gemma":[0.9992126,0.00004064984,0.000037595175,0.00006108343,0.00015569323,0.00049233786],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005925877,0.0005226085,0.00030963245,0.00075716525,0.004478286,0.0068471166,0.0008051563,0.0014767844,0.27804035],"category_scores_gemma":[0.0021383986,0.00021392181,0.00019272155,0.0009683555,0.0016404922,0.0065476964,0.0052211457,0.0027603486,0.08261805],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001243368,0.00003133832,0.00032690616,0.00007925765,0.0000019054397,0.00016091584,0.0019667894,0.000020487165,0.00012590885,0.015688984,0.8718942,0.10969094],"study_design_scores_gemma":[0.0000013574228,0.0000032280304,0.00034784887,0.000047629168,4.1072144e-7,0.00010859755,0.0012350368,0.0000036885417,0.000008250653,0.000482953,0.99775887,0.000002006305],"about_ca_topic_score_codex":0.0082627665,"about_ca_topic_score_gemma":0.03645083,"teacher_disagreement_score":0.27804035,"about_ca_system_score_codex":0.0021520732,"about_ca_system_score_gemma":0.0019752467,"threshold_uncertainty_score":0.93013763},"labels":[],"label_agreement":null},{"id":"W4321219279","doi":"10.1177/14614448231154568","title":"Serendipity on radio and streaming: Between musical discovery and recognition","year":2023,"lang":"en","type":"article","venue":"New Media & Society","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Serendipity; Context (archaeology); Musical; Active listening; Agency (philosophy); Computer science; Sociology; Multimedia; Visual arts; Communication; Epistemology; Social science; History; Art","score_opus":0.0722703446083744,"score_gpt":0.23029905247433333,"score_spread":0.1580287078659589,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4321219279","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.26393968,0.008586688,0.029929666,0.012447759,0.0007236846,0.000044550423,0.00004512559,0.00011641835,0.6841664],"genre_scores_gemma":[0.98341286,0.0018360665,0.001559557,0.0005281012,0.00030955597,0.000020161764,0.000012822174,0.000081375525,0.012239329],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9977176,0.0012625742,0.00006594736,0.00030086708,0.00039610927,0.00025696342],"domain_scores_gemma":[0.99409,0.004318018,0.00042084765,0.00063722697,0.00026851564,0.000265318],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0037738804,0.0005067398,0.00038072257,0.0019982166,0.00555975,0.011224338,0.0010277143,0.0016133554,0.0053864014],"category_scores_gemma":[0.0069533796,0.00026763664,0.0002622248,0.001234592,0.040688764,0.012443499,0.008843141,0.0032740638,0.00056713703],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007817369,0.000019038718,0.0009439103,0.00012780998,0.000008107715,0.00044744706,0.2475197,0.000102436046,0.0011054763,0.7247932,0.0009746295,0.023880053],"study_design_scores_gemma":[0.000028639246,0.00019234698,0.0045133745,0.0011474949,0.000059667007,0.0021520494,0.32877246,0.0007604482,0.005632952,0.33283383,0.32383054,0.00007613708],"about_ca_topic_score_codex":0.0011348185,"about_ca_topic_score_gemma":0.0014276569,"teacher_disagreement_score":0.011224338,"about_ca_system_score_codex":0.0018923033,"about_ca_system_score_gemma":0.00117665,"threshold_uncertainty_score":0.019958436},"labels":[],"label_agreement":null},{"id":"W4321354534","doi":"10.1353/not.2023.0019","title":"Books Recently Published","year":2023,"lang":"en","type":"article","venue":"Notes","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Musical; Intellect; Art history; Comics; Art; History; Visual arts; Literature; Theology; Philosophy","score_opus":0.05940520252640894,"score_gpt":0.22794279737432593,"score_spread":0.168537594847917,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4321354534","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00040962733,0.028578646,0.00045891487,0.0034476996,0.012233582,0.00012779106,0.0044182516,0.000781249,0.94954413],"genre_scores_gemma":[0.001044134,0.014459941,0.00060705823,0.0015426665,0.0012748791,0.000076976874,0.003959557,0.00036523637,0.97666955],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99894065,0.00006722102,0.00006240381,0.00022490935,0.00058169744,0.0001230776],"domain_scores_gemma":[0.9989686,0.0000915302,0.000044848708,0.00012566046,0.0005813507,0.00018793857],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00044622624,0.0015514216,0.0017804743,0.003941938,0.0023322082,0.01182651,0.002062448,0.0020761993,0.6482874],"category_scores_gemma":[0.0025334575,0.0008169841,0.0009846095,0.008321506,0.0008132972,0.005369099,0.0027403254,0.0034758316,0.65855384],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010246758,0.000020359346,0.0000665548,0.0003491866,0.00000474874,0.000054460957,0.000065773136,0.000042513577,0.000121999845,0.0033495228,0.90784603,0.08806855],"study_design_scores_gemma":[0.0000022669144,0.0000031981667,0.000110521265,0.00017030541,0.0000015279055,0.00004072206,0.000041265786,0.0000063043394,0.00001603055,0.0003333652,0.9992711,0.0000034924542],"about_ca_topic_score_codex":0.0058417744,"about_ca_topic_score_gemma":0.011004703,"teacher_disagreement_score":0.6482874,"about_ca_system_score_codex":0.0020648844,"about_ca_system_score_gemma":0.0040743267,"threshold_uncertainty_score":0.5016753},"labels":[],"label_agreement":null},{"id":"W4321453576","doi":"10.7202/1096065ar","title":"Listening at Night","year":2023,"lang":"en","type":"article","venue":"Ethnologies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Active listening; Soundscape; Ethnography; Social media; Commodification; Appreciative listening; Psychology; Key (lock); Sociology; Sociocultural evolution; Media studies; Aesthetics; Sound (geography); Communication; Acoustics; Art; Computer science","score_opus":0.06178147350940883,"score_gpt":0.24780434974375176,"score_spread":0.18602287623434294,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4321453576","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6941795,0.0041914172,0.01060162,0.006038044,0.0012432877,0.00011536486,0.0002767694,0.0002739441,0.28308004],"genre_scores_gemma":[0.95926076,0.0015366065,0.0017623818,0.0014712695,0.00013400853,0.000038899638,0.00007744274,0.00008029978,0.035638243],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989976,0.00045958394,0.0000404183,0.00014456637,0.00017861681,0.00017924323],"domain_scores_gemma":[0.99898475,0.00031135985,0.00010749682,0.00011290598,0.00015550267,0.0003279182],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008397708,0.00027849284,0.00026314094,0.00048974156,0.004263183,0.0029302991,0.00058635196,0.0006969556,0.009153922],"category_scores_gemma":[0.0025540472,0.00017072492,0.00030309503,0.00028098735,0.0043364833,0.0027024497,0.002561174,0.0013130121,0.001383242],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00021443205,0.00012661159,0.011858902,0.0005216115,0.0000380344,0.0012345761,0.7912324,0.00012498253,0.008811044,0.038862042,0.022490209,0.12448506],"study_design_scores_gemma":[0.000014193278,0.00027568926,0.01367934,0.00038772318,0.000029699886,0.0017786104,0.612773,0.00014476867,0.0016220446,0.0055348645,0.36369383,0.00006623475],"about_ca_topic_score_codex":0.0046821027,"about_ca_topic_score_gemma":0.013735795,"teacher_disagreement_score":0.009153922,"about_ca_system_score_codex":0.0007947296,"about_ca_system_score_gemma":0.0008674382,"threshold_uncertainty_score":0.03062296},"labels":[],"label_agreement":null},{"id":"W4321607818","doi":"10.1093/oxfordhb/9780190693879.013.26","title":"Phenomenological Approaches in the History of Ethnomusicology","year":2023,"lang":"en","type":"book-chapter","venue":"Oxford University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Memorial University of Newfoundland","funders":"","keywords":"Ethnomusicology; Phenomenology (philosophy); Temporality; Musical; Epistemology; Aesthetics; Sociology; Musicology; Trance; Interpretation (philosophy); Interpretative phenomenological analysis; Literature; Social science; Art; Philosophy; Anthropology; Linguistics; Qualitative research","score_opus":0.2232329346173681,"score_gpt":0.1935222517502175,"score_spread":0.02971068286715059,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4321607818","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.020857763,0.34817618,0.05778554,0.104733795,0.0056771,0.00028881253,0.0002002287,0.00014561016,0.462135],"genre_scores_gemma":[0.7282731,0.17382962,0.030302366,0.016461622,0.0050598346,0.0011662073,0.00015241609,0.00018180389,0.044573028],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9836152,0.014582251,0.00027667233,0.0004918,0.0007262184,0.00030788564],"domain_scores_gemma":[0.963944,0.03337907,0.0005555091,0.0010263834,0.00062638195,0.0004687026],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.01275448,0.00072154356,0.000714764,0.0057042516,0.0077546276,0.012642007,0.0018824851,0.0035186303,0.0042340513],"category_scores_gemma":[0.011180103,0.00046589095,0.00040536604,0.0062771766,0.0794311,0.011773958,0.0059269127,0.0068307095,0.00033929534],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000112718435,0.000015016997,0.00014998298,0.0002725779,0.0000053077974,0.00011646282,0.04669936,0.00016139989,0.00004879666,0.93901825,0.0038600082,0.00964156],"study_design_scores_gemma":[0.000016566986,0.000023617682,0.00041215727,0.002220487,0.000006534233,0.00021712441,0.057101466,0.00034086255,0.00014694897,0.6151604,0.32432908,0.000024765188],"about_ca_topic_score_codex":0.005459873,"about_ca_topic_score_gemma":0.0061361436,"teacher_disagreement_score":0.01275448,"about_ca_system_score_codex":0.012566971,"about_ca_system_score_gemma":0.0049243257,"threshold_uncertainty_score":0.091180146},"labels":[],"label_agreement":null},{"id":"W4323657422","doi":"10.1017/9781580466943.002","title":"Humanizing the Musical Savage: Orientalism and Racism in the History of British Ethnomusicology","year":2023,"lang":"en","type":"other","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Empire; Geopolitics; British Empire; History; Colonialism; Racism; Frontier; Orientalism; Ancient history; Musical; Settlement (finance); Geography; Ethnology; Sociology; Politics; Gender studies; Political science; Law; Art; Archaeology; Literature","score_opus":0.04598462194286467,"score_gpt":0.2139577540347732,"score_spread":0.16797313209190853,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4323657422","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.47341788,0.11776536,0.0017078884,0.07609168,0.0015312684,0.000033786342,0.000042198542,0.000056571276,0.3293534],"genre_scores_gemma":[0.9682501,0.009307458,0.0003413151,0.0034317588,0.00024584337,0.000016063534,0.0000069967555,0.00004142289,0.018358978],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9971131,0.0019042261,0.00006189757,0.00017817193,0.00027945286,0.00046313865],"domain_scores_gemma":[0.99821126,0.0012048976,0.000104389386,0.00011752449,0.00017039578,0.00019155006],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0025524683,0.00038128154,0.00034388978,0.0017515769,0.015175467,0.008388434,0.00062197406,0.0024478456,0.002381742],"category_scores_gemma":[0.0024568874,0.00031733932,0.00011781803,0.0021020342,0.045539733,0.00381486,0.0035630965,0.0028186897,0.00022041207],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003045557,0.0000116787505,0.0016831151,0.00008961153,0.0000058732285,0.0005749154,0.85834503,0.000044806085,0.00029383582,0.112639606,0.008683849,0.017597135],"study_design_scores_gemma":[0.000007677284,0.000026083639,0.008429178,0.0006510079,0.000009308509,0.0010411524,0.40942904,0.00010731152,0.00019480516,0.021334484,0.55871207,0.000057883266],"about_ca_topic_score_codex":0.2608489,"about_ca_topic_score_gemma":0.48242575,"teacher_disagreement_score":0.98482454,"about_ca_system_score_codex":0.01132581,"about_ca_system_score_gemma":0.0037639257,"threshold_uncertainty_score":0.5186612},"labels":[],"label_agreement":null},{"id":"W4323789694","doi":"10.33137/ic.v30i.39496","title":"My Brother’s Phonograph","year":2022,"lang":"en","type":"article","venue":"Italian Canadiana","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Phonograph; Brother; Art; Engineering; Electrical engineering; Political science; Law","score_opus":0.018769717288121254,"score_gpt":0.1676211482394752,"score_spread":0.14885143095135395,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4323789694","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008495472,0.0055318964,0.00038807053,0.2774671,0.032041345,0.000033850098,0.0008107708,0.00014252185,0.6750889],"genre_scores_gemma":[0.038244843,0.0016103002,0.00022813269,0.018759305,0.0028309042,0.000011511128,0.00015843907,0.00011864491,0.9380379],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99962115,0.000031376032,0.000006318081,0.000048144637,0.00012304321,0.0001699255],"domain_scores_gemma":[0.99935573,0.000046731235,0.000012864418,0.000018021961,0.00026903304,0.00029770017],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003489203,0.00044436724,0.00025180663,0.0011199783,0.008292677,0.0027141413,0.0005460297,0.0021062603,0.106598556],"category_scores_gemma":[0.0018445731,0.00015139679,0.0002977639,0.0008280227,0.0015554196,0.0012915874,0.0010662331,0.004909455,0.016262053],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002105322,0.00001543043,0.0006655434,0.000018535477,0.0000025181682,0.000950476,0.00143226,0.0000139327385,0.00013995121,0.013968528,0.9683043,0.014467412],"study_design_scores_gemma":[0.0000025189752,0.0000036698718,0.0011360681,0.000029189945,0.000001643458,0.00043833026,0.0020261877,0.0000075913767,0.000026648964,0.00038597974,0.9959365,0.000005666732],"about_ca_topic_score_codex":0.57393974,"about_ca_topic_score_gemma":0.7751051,"teacher_disagreement_score":0.57393974,"about_ca_system_score_codex":0.00893594,"about_ca_system_score_gemma":0.0070745256,"threshold_uncertainty_score":0.8571388},"labels":[],"label_agreement":null},{"id":"W4324027505","doi":"10.3983/twc.2023.2269","title":"Turing tests, catfishing, and other technologies of transgender rage","year":2023,"lang":"en","type":"article","venue":"Transformative Works and Cultures","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Transgender; Rage (emotion); Gossip; Transgender women; Articulation (sociology); Autoethnography; Art; Aesthetics; Visual arts; Sociology; Psychoanalysis; Psychology; Gender studies; Politics; Human immunodeficiency virus (HIV); Social psychology; Medicine","score_opus":0.03189625117106778,"score_gpt":0.2385321012269626,"score_spread":0.20663585005589483,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4324027505","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.23661688,0.0036810248,0.020817367,0.054290153,0.0013042658,0.00010483183,0.000067403475,0.00022414878,0.682894],"genre_scores_gemma":[0.95344824,0.0006175336,0.0017514908,0.0022665153,0.00007764573,0.000059901744,0.000012072355,0.000091449074,0.041675255],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9882625,0.0096117975,0.00015089232,0.0004351005,0.00089489203,0.00064484106],"domain_scores_gemma":[0.9924143,0.005356765,0.00040478274,0.00078828004,0.00041748557,0.0006183152],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0058120717,0.0005433775,0.0003286864,0.0013112893,0.011098674,0.00880045,0.00091849326,0.0020587584,0.006454255],"category_scores_gemma":[0.013295034,0.00020621553,0.0002837567,0.0008619747,0.06115023,0.0078093535,0.006767302,0.004328353,0.00084591424],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022909953,0.000018146302,0.0007116669,0.00006469729,0.0000037787597,0.00045756265,0.4162522,0.00009588615,0.00041609159,0.56360453,0.0076247896,0.010727787],"study_design_scores_gemma":[0.00001038843,0.0000633803,0.0007824127,0.00036059317,0.000006728462,0.0011885093,0.4511979,0.00028358414,0.0017011333,0.093749486,0.45061436,0.000041598527],"about_ca_topic_score_codex":0.0038002785,"about_ca_topic_score_gemma":0.005139294,"teacher_disagreement_score":0.011098674,"about_ca_system_score_codex":0.0036067872,"about_ca_system_score_gemma":0.002877225,"threshold_uncertainty_score":0.030737579},"labels":[],"label_agreement":null},{"id":"W4327636520","doi":"10.1017/9781580466356.020","title":"Children’s Choirs","year":2005,"lang":"en","type":"other","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Geography","score_opus":0.01009602310790615,"score_gpt":0.17600730083469546,"score_spread":0.16591127772678932,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4327636520","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0076324926,0.0031245654,0.00039553372,0.006251122,0.0051552504,0.00045090367,0.0077809487,0.00038596572,0.9688232],"genre_scores_gemma":[0.012869034,0.001472575,0.0004134086,0.00090636144,0.00039781316,0.00015589943,0.0032584171,0.00014804582,0.98037845],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.99880946,0.00010337986,0.000047952424,0.00019157221,0.00035962294,0.00048802674],"domain_scores_gemma":[0.9986759,0.000037663165,0.000050871633,0.00006195941,0.00034439215,0.0008292256],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00078315777,0.0010357315,0.0005287877,0.0014316434,0.0042353384,0.0026181105,0.0009069342,0.0010104737,0.46978486],"category_scores_gemma":[0.0016436012,0.0005669,0.00038048363,0.0014384977,0.00065818947,0.0016807321,0.0045338045,0.0021659557,0.19638216],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000432506,0.000041720465,0.0010851715,0.00007594293,0.0000020664288,0.0000755002,0.0004053414,0.000017220578,0.00023451194,0.003659769,0.9567879,0.037571657],"study_design_scores_gemma":[0.000006283671,0.000022924556,0.0045146234,0.00004711666,7.137093e-7,0.000042113472,0.0006777217,0.0000051295024,0.000055487828,0.00011401988,0.99451065,0.000003248796],"about_ca_topic_score_codex":0.023820138,"about_ca_topic_score_gemma":0.101066485,"teacher_disagreement_score":0.46978486,"about_ca_system_score_codex":0.0020604313,"about_ca_system_score_gemma":0.0049424623,"threshold_uncertainty_score":0.7562876},"labels":[],"label_agreement":null},{"id":"W4353060564","doi":"10.1093/oxfordhb/9780197523933.013.18","title":"<i>Vera Lynn in Nashville</i> (1977)","year":2023,"lang":"en","type":"book-chapter","venue":"Oxford University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McMaster University","funders":"","keywords":"Middlebrow; Musical; White (mutation); Art; Aesthetics; Sociology; Literature","score_opus":0.044335415805648655,"score_gpt":0.17773768779983848,"score_spread":0.13340227199418983,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4353060564","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.095120445,0.008996237,0.00049109454,0.01275523,0.0022010526,0.00003123101,0.0001606797,0.000075457,0.8801685],"genre_scores_gemma":[0.28014654,0.0021591587,0.00025016934,0.0013377459,0.00014277204,0.000017557668,0.00007707176,0.000093387396,0.7157756],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998375,0.000047792662,0.0000028484642,0.000025567984,0.00003121537,0.00005496434],"domain_scores_gemma":[0.9999099,0.000019639954,0.000007783915,0.0000031441282,0.00001842311,0.000041094132],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00031511858,0.00021609338,0.0001370553,0.0004610423,0.005834275,0.002590823,0.0003937587,0.0005152514,0.019424587],"category_scores_gemma":[0.00023786444,0.00012514918,0.00008388822,0.00038333383,0.0016891122,0.0010163244,0.0016455163,0.0015021581,0.00267839],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002568735,0.00008603323,0.0047584525,0.00024908743,0.000009526612,0.0053367466,0.19271216,0.00029061758,0.0096662585,0.18657161,0.45563895,0.14442365],"study_design_scores_gemma":[0.0000016396635,0.000016151567,0.002135264,0.00009974318,0.0000016938285,0.00023230628,0.023410428,0.000039503913,0.00051645923,0.00068499515,0.9728539,0.000007785267],"about_ca_topic_score_codex":0.10786367,"about_ca_topic_score_gemma":0.3987523,"teacher_disagreement_score":0.10786367,"about_ca_system_score_codex":0.005696852,"about_ca_system_score_gemma":0.0015782244,"threshold_uncertainty_score":0.21447164},"labels":[],"label_agreement":null},{"id":"W4353061298","doi":"10.1093/oxfordhb/9780197523933.013.1","title":"Canned Music, Canned Culture","year":2023,"lang":"en","type":"book-chapter","venue":"Oxford University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Middlebrow; Highbrow; Musical; Slogan; Aesthetics; Art; Elitism; Popular music; Literature; History; Visual arts; Political science; Law","score_opus":0.05104763378988463,"score_gpt":0.17910840139196696,"score_spread":0.12806076760208232,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4353061298","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.014984398,0.023862284,0.0005611534,0.0062228516,0.00080502493,0.000008220668,0.000023516393,0.000030509076,0.95350206],"genre_scores_gemma":[0.5907593,0.016663875,0.00053741777,0.0022329607,0.0008137694,0.000022124437,0.000031955133,0.00007508437,0.3888636],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996044,0.00010671615,0.000009599344,0.00005196037,0.00016429451,0.00006295113],"domain_scores_gemma":[0.9997749,0.00010283697,0.000013607551,0.00002323804,0.000050994586,0.00003451085],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000312662,0.00033439015,0.00016890284,0.00087157375,0.0041946284,0.005049696,0.00033775702,0.000902282,0.0134312315],"category_scores_gemma":[0.00082357717,0.00009667578,0.00011836091,0.0007974409,0.0064783883,0.0021774936,0.0017296828,0.0018917972,0.0013710165],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000031190117,0.000022995671,0.00038351092,0.00009820131,0.000003220735,0.00011887732,0.015888242,0.00008681364,0.0005306007,0.91206414,0.0314723,0.039299924],"study_design_scores_gemma":[0.0000032784365,0.000015314175,0.0009933945,0.00023083693,0.00000349584,0.00014765689,0.006611565,0.000097305936,0.00044808057,0.033773754,0.9576686,0.00000679648],"about_ca_topic_score_codex":0.016174203,"about_ca_topic_score_gemma":0.027652778,"teacher_disagreement_score":0.016174203,"about_ca_system_score_codex":0.004015807,"about_ca_system_score_gemma":0.0016999706,"threshold_uncertainty_score":0.04493189},"labels":[],"label_agreement":null},{"id":"W4360615863","doi":"10.1017/s1752196323000032","title":"Ginger Smock: Narratives of Perpetual Discovery, Jazz Historiography, and the “Swinging Lady of the Violin”","year":2023,"lang":"en","type":"article","venue":"Journal of the Society for American Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Jazz; Narrative; Violin; Historiography; Entertainment; History; Musical; Art; Art history; Literature; Visual arts; Sociology; Archaeology","score_opus":0.016303891209570407,"score_gpt":0.20821602819608334,"score_spread":0.19191213698651294,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4360615863","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8862003,0.005559324,0.00086130894,0.021022243,0.00028397373,0.000021309752,0.000058031248,0.000052298077,0.08594128],"genre_scores_gemma":[0.9906797,0.001000767,0.00015056769,0.00050450984,0.00005766438,0.000011985844,0.00001292434,0.00002613399,0.0075558387],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99734735,0.0015595637,0.00005108448,0.00023406198,0.0003766642,0.00043125643],"domain_scores_gemma":[0.99738103,0.0015588127,0.00029931284,0.00010628197,0.00020059894,0.00045401513],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00352258,0.00045039825,0.00038585477,0.0027694588,0.02760266,0.009119534,0.001172723,0.001594854,0.0025925126],"category_scores_gemma":[0.0047237733,0.000439498,0.00013688003,0.0014610701,0.036538426,0.005831548,0.0059689796,0.0037713535,0.00025681587],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015409143,0.000007977753,0.0006798849,0.000013986964,0.0000016281763,0.00034832006,0.97183293,0.000011887802,0.00017473914,0.02215682,0.00262723,0.0021292835],"study_design_scores_gemma":[0.0000030542903,0.000014143612,0.0014497044,0.00011759953,0.000004252782,0.00028959115,0.89808846,0.00005088601,0.0002571203,0.0020794873,0.0976315,0.00001421947],"about_ca_topic_score_codex":0.035690594,"about_ca_topic_score_gemma":0.07377025,"teacher_disagreement_score":0.035690594,"about_ca_system_score_codex":0.009491132,"about_ca_system_score_gemma":0.0041288044,"threshold_uncertainty_score":0.07096571},"labels":[],"label_agreement":null},{"id":"W4361752642","doi":"10.1007/978-3-031-29677-2_3","title":"Choir Boy: Trans Vocal Performance and the De-Pathologization of Transition","year":2023,"lang":"en","type":"book-chapter","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Choir; Medicalization; Singing; Cognitive reframing; Narrative; Transition (genetics); Gatekeeping; Conversation; Identity (music); Gender studies; Psychology; Transgender; Art; Aesthetics; Sociology; Visual arts; Literature; Social psychology; Communication; Political science; Law; Psychiatry","score_opus":0.026317051434355438,"score_gpt":0.17478551952729848,"score_spread":0.14846846809294303,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4361752642","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.023371909,0.008783197,0.002160222,0.019872976,0.001528351,0.000028480497,0.000028136048,0.000049322836,0.9441774],"genre_scores_gemma":[0.6078784,0.0039566904,0.0009959074,0.0046318565,0.0007999963,0.000069486785,0.00003609478,0.00013379617,0.38149783],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989471,0.0005995488,0.00001913522,0.00009582933,0.00015844686,0.00017991627],"domain_scores_gemma":[0.99932694,0.0003069999,0.000056715766,0.000049429043,0.000074686825,0.00018530492],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011823474,0.00042920397,0.00020985628,0.000572132,0.005558116,0.005734769,0.0009243662,0.0024357731,0.00950436],"category_scores_gemma":[0.0022977893,0.00015288769,0.00012867957,0.0004932142,0.012735167,0.003797716,0.0042515597,0.0047981283,0.0013004595],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000051367067,0.000038459166,0.00046727245,0.000089161374,0.0000030168226,0.0006256966,0.11846614,0.000065039596,0.00073355576,0.789259,0.04905888,0.041142356],"study_design_scores_gemma":[0.000009046054,0.000077407596,0.002302345,0.00043540297,0.0000055496594,0.0016258057,0.18649557,0.00018590997,0.0009249781,0.05020058,0.7577147,0.000022683858],"about_ca_topic_score_codex":0.0065300833,"about_ca_topic_score_gemma":0.018782202,"teacher_disagreement_score":0.00950436,"about_ca_system_score_codex":0.0018957359,"about_ca_system_score_gemma":0.0026066331,"threshold_uncertainty_score":0.031795204},"labels":[],"label_agreement":null},{"id":"W4362475882","doi":"10.24908/iqurcp16284","title":"The Power of Indigenous Music: Ethnography, Resistance, and Protests","year":2023,"lang":"en","type":"article","venue":"Inquiry Queen s Undergraduate Research Conference Proceedings","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Queen's University","funders":"","keywords":"Indigenous; Ethnography; Colonialism; Musical; Resistance (ecology); Sociology; Power (physics); Musicology; Anthropology; Media studies; Aesthetics; Visual arts; History; Art; Pedagogy; Archaeology","score_opus":0.13783660298366063,"score_gpt":0.33528578732781206,"score_spread":0.19744918434415143,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4362475882","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9665296,0.0026584796,0.001432187,0.0036531324,0.00015198262,0.00016564892,0.00005112972,0.000019548044,0.02533837],"genre_scores_gemma":[0.9901064,0.0031076586,0.0010453712,0.00069139706,0.00014494156,0.00023477162,0.000036989873,0.000031443567,0.0046010767],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.98644835,0.010567458,0.00029873414,0.00048663086,0.0007803012,0.0014185149],"domain_scores_gemma":[0.9921112,0.0060768113,0.00046003683,0.0004422296,0.00033444667,0.00057522074],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.008840417,0.0005870736,0.00068458455,0.0044733547,0.015812512,0.0077038584,0.0021610784,0.0023279784,0.0021880881],"category_scores_gemma":[0.009866114,0.0006297529,0.0004347724,0.0033236723,0.021803971,0.006351988,0.008956601,0.0032001962,0.00024874965],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000065276085,0.000017818116,0.0006730387,0.00002894677,0.0000022838663,0.0002738069,0.99492836,0.000010853652,0.00013851438,0.0015926702,0.00022887724,0.0020983564],"study_design_scores_gemma":[0.0000015418339,0.000016947182,0.001518127,0.00008788122,0.000002495334,0.00021691048,0.99042445,0.000031791184,0.0001057106,0.0006061231,0.0069796126,0.000008406691],"about_ca_topic_score_codex":0.015609689,"about_ca_topic_score_gemma":0.028142128,"teacher_disagreement_score":0.015812512,"about_ca_system_score_codex":0.004230999,"about_ca_system_score_gemma":0.0025148452,"threshold_uncertainty_score":0.04675311},"labels":[],"label_agreement":null},{"id":"W4362644474","doi":"10.38055/sof010106","title":"Between Histories: A South African Pop Culture Archive","year":2023,"lang":"en","type":"article","venue":"Fashion Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"History; Geography; Anthropology; Genealogy; Ethnology; Sociology","score_opus":0.11308754982832638,"score_gpt":0.27833100682393713,"score_spread":0.16524345699561077,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4362644474","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.25265,0.016375741,0.0021653448,0.029449334,0.0023192805,0.0002605554,0.0047363318,0.00039935388,0.69164413],"genre_scores_gemma":[0.5059448,0.012331098,0.0034730798,0.0022733666,0.0010224908,0.0002638229,0.0017836049,0.001019761,0.47188807],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996562,0.000121818164,0.000015837442,0.000019297368,0.00011242597,0.00007445793],"domain_scores_gemma":[0.99836594,0.00070007594,0.00011810408,0.00026553657,0.00019745616,0.00035299637],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001518573,0.00033023802,0.00019443994,0.004146094,0.012853978,0.0062634232,0.0004376155,0.0008809826,0.043981925],"category_scores_gemma":[0.0035387187,0.00034387832,0.00009272657,0.007352324,0.0027871802,0.0040181098,0.005084085,0.0015060619,0.0030973137],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00033457312,0.00009636868,0.006281197,0.00093271193,0.000016650181,0.0037330545,0.5139821,0.0001543499,0.0069663604,0.09416499,0.19068325,0.18265443],"study_design_scores_gemma":[0.0000044676426,0.000008944958,0.004511501,0.00022503939,0.0000036151446,0.00028703647,0.061522793,0.000029209918,0.00060566276,0.0016634767,0.9311321,0.000006229978],"about_ca_topic_score_codex":0.008447464,"about_ca_topic_score_gemma":0.04122267,"teacher_disagreement_score":0.043981925,"about_ca_system_score_codex":0.0023150248,"about_ca_system_score_gemma":0.003965427,"threshold_uncertainty_score":0.14713424},"labels":[],"label_agreement":null},{"id":"W4362668437","doi":"10.17645/up.v8i2.6372","title":"Radical Solidarities in Punk and Queer Refusals of Safety and Inclusion Narratives in Planning","year":2023,"lang":"en","type":"article","venue":"Urban Planning","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"McGill University","funders":"McGill University","keywords":"Punk; Queer; Sociology; Inclusion (mineral); Gender studies; Narrative; Solidarity; Public space; Media studies; Politics; Aesthetics; Political science; Law; History; Art; Literature","score_opus":0.0325427799575736,"score_gpt":0.253216941403637,"score_spread":0.2206741614460634,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4362668437","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.86683655,0.0012731338,0.0044398154,0.012596804,0.00018731649,0.00009208612,0.00012635389,0.00007286933,0.114375055],"genre_scores_gemma":[0.99538404,0.00022192369,0.0002768166,0.00026219594,0.000009370793,0.000025865398,0.00001701917,0.000023436716,0.0037793953],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9898156,0.0072290623,0.00018576675,0.00066025904,0.00068463874,0.0014247654],"domain_scores_gemma":[0.9900474,0.0075616497,0.0006873423,0.0005237422,0.00036693952,0.00081297447],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.009010102,0.0006535057,0.0005403092,0.0020306865,0.030709805,0.010864527,0.0018262072,0.0020152002,0.0058616665],"category_scores_gemma":[0.013234847,0.0006456877,0.00031642933,0.0029442948,0.08162426,0.00782186,0.009632284,0.0056236163,0.00024180573],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019001038,0.0000063479656,0.00052696245,0.000021946888,0.0000025704344,0.0002171379,0.9730867,0.000043850992,0.00007880159,0.023832338,0.00040390898,0.0017604548],"study_design_scores_gemma":[0.0000030277547,0.000006153912,0.0006658346,0.000061927545,0.0000033535932,0.000082773186,0.9775378,0.00005084658,0.00013106698,0.00357116,0.017870596,0.000015513913],"about_ca_topic_score_codex":0.11917123,"about_ca_topic_score_gemma":0.27216357,"teacher_disagreement_score":0.11917123,"about_ca_system_score_codex":0.020500971,"about_ca_system_score_gemma":0.01080497,"threshold_uncertainty_score":0.23695517},"labels":[],"label_agreement":null},{"id":"W4365151901","doi":"10.5210/spir.v2022i0.12952","title":"WHAT DOES THE INTERNET SOUND LIKE?","year":2023,"lang":"en","type":"article","venue":"AoIR Selected Papers of Internet Research","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Scholarship; The Internet; Sociology; Everyday life; Citizen journalism; Computer science; Narrative; Epistemology; World Wide Web; Political science; Art","score_opus":0.06247022715263164,"score_gpt":0.30488479647038474,"score_spread":0.2424145693177531,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4365151901","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.09654674,0.047892105,0.009952765,0.25607133,0.007740237,0.00009113489,0.0003779685,0.000306127,0.5810216],"genre_scores_gemma":[0.8684391,0.05566053,0.004348564,0.024173545,0.004303556,0.00011206648,0.00020307022,0.00024535457,0.042514328],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99799156,0.001169876,0.00006782785,0.00019434867,0.0003498947,0.00022656769],"domain_scores_gemma":[0.9978333,0.0014303909,0.00015531915,0.00018120071,0.00019601308,0.00020377547],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002078465,0.00039505534,0.00035764647,0.0022977458,0.0042340094,0.01676064,0.00074052997,0.002454153,0.008368423],"category_scores_gemma":[0.0065546855,0.00017748044,0.00033669127,0.002454676,0.0133155035,0.016901486,0.0021824536,0.0025849238,0.0020293968],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012532047,0.00007908393,0.00815661,0.0011673853,0.000056956647,0.0008781768,0.17317593,0.00041285928,0.0018611199,0.47759384,0.08465098,0.25184178],"study_design_scores_gemma":[0.000013297439,0.00006649785,0.0053382586,0.0020998965,0.00003735161,0.0007374248,0.19496498,0.000266032,0.00064425357,0.14052166,0.65526,0.00005039801],"about_ca_topic_score_codex":0.0028214238,"about_ca_topic_score_gemma":0.0034215658,"teacher_disagreement_score":0.01676064,"about_ca_system_score_codex":0.0016510873,"about_ca_system_score_gemma":0.0014767374,"threshold_uncertainty_score":0.02799517},"labels":[],"label_agreement":null},{"id":"W4365393794","doi":"10.7202/1097858ar","title":"« Changer le monde un hit à la fois » ? Programmation et diversité à CKOI-FM","year":2023,"lang":"fr","type":"article","venue":"Les Cahiers de la Société québécoise de recherche en musique","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Ottawa","funders":"","keywords":"Humanities; Art; Political science","score_opus":0.06892212367218134,"score_gpt":0.32246731912023724,"score_spread":0.25354519544805587,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4365393794","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.38474187,0.0072924267,0.0044052484,0.11050823,0.0010081151,0.00016105424,0.0008606372,0.00031130615,0.49071115],"genre_scores_gemma":[0.88315463,0.002435445,0.0010893865,0.00398481,0.00011709126,0.00008864402,0.00027969034,0.00012750467,0.10872283],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980532,0.0003868455,0.000027190308,0.00019296589,0.00043199584,0.0009077826],"domain_scores_gemma":[0.9970112,0.0004682472,0.00023330105,0.00013704992,0.00064682786,0.0015034373],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0027881851,0.00022114613,0.00023791775,0.0012486862,0.01017191,0.008087638,0.001273898,0.001065295,0.019256238],"category_scores_gemma":[0.0055264025,0.0002289686,0.00018229116,0.0021560593,0.0073111034,0.0036363306,0.004684799,0.0029166068,0.0014977803],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014236092,0.0001226262,0.06465789,0.00043781576,0.000039064722,0.00064637745,0.397208,0.0004274248,0.0015035191,0.19271745,0.111679345,0.23041812],"study_design_scores_gemma":[0.000009964336,0.000057766996,0.06878179,0.00043818375,0.000012847918,0.00012330385,0.19157252,0.0002656604,0.00030550724,0.0051902686,0.73320705,0.000035252797],"about_ca_topic_score_codex":0.7505041,"about_ca_topic_score_gemma":0.8274616,"teacher_disagreement_score":0.24949592,"about_ca_system_score_codex":0.028264472,"about_ca_system_score_gemma":0.03415765,"threshold_uncertainty_score":0.5019305},"labels":[],"label_agreement":null},{"id":"W4366441867","doi":"10.1080/00085006.2023.2197386","title":"Culture from the slums: punk rock in East and West Germany","year":2023,"lang":"en","type":"article","venue":"Canadian Slavonic Papers","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Punk; West germany; West coast; History; Geography; Ancient history; Archaeology; Media studies; Art history; Sociology; Economic history; Geology","score_opus":0.02240172171977201,"score_gpt":0.18137039497337326,"score_spread":0.15896867325360126,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4366441867","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9250374,0.007958088,0.00015487129,0.009740063,0.0004824857,0.000014586552,0.00014571655,0.000017223058,0.056449678],"genre_scores_gemma":[0.98970944,0.0027765608,0.000071942064,0.0008909954,0.000038346967,0.000010557824,0.000061787876,0.000012320295,0.0064281467],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99916935,0.0002217739,0.000031832224,0.000060841605,0.00010818606,0.00040811513],"domain_scores_gemma":[0.99961275,0.00013657378,0.000060703216,0.000024477993,0.000024981426,0.00014055087],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007832093,0.00049690076,0.00034723125,0.0016529347,0.009116156,0.0052576293,0.00074394565,0.0010111241,0.00426258],"category_scores_gemma":[0.0014425548,0.0002749468,0.00015362304,0.003409592,0.0072128912,0.0034835304,0.0046415175,0.0018483169,0.00024227927],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011783608,0.000062441344,0.017497154,0.00028370085,0.000036174963,0.002040285,0.85165083,0.00017209756,0.0006156894,0.05376433,0.02144633,0.052313242],"study_design_scores_gemma":[0.0000097989705,0.00004549999,0.0704172,0.00028057364,0.000021085994,0.00045586054,0.82955945,0.00006263813,0.0003605012,0.0020576953,0.09669673,0.00003289403],"about_ca_topic_score_codex":0.14630811,"about_ca_topic_score_gemma":0.4033118,"teacher_disagreement_score":0.14630811,"about_ca_system_score_codex":0.0054066693,"about_ca_system_score_gemma":0.0037718175,"threshold_uncertainty_score":0.29091305},"labels":[],"label_agreement":null},{"id":"W4366809962","doi":"10.1353/rss.2003.0010","title":"Two New Critiques of Monk, and: Monk’s “Pathography”","year":2003,"lang":"en","type":"article","venue":"Russell the Journal of Bertrand Russell Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Biography; Memphis; Musical; Art history; Anecdote; Art; Blues; History; Literature","score_opus":0.04020055908222471,"score_gpt":0.2630308094665161,"score_spread":0.22283025038429138,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4366809962","genre_codex":"commentary","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":"commentary","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0034056788,0.35548085,0.0012621903,0.42768472,0.014433223,0.000016072518,0.000114422255,0.00007081842,0.19753198],"genre_scores_gemma":[0.27203912,0.2300864,0.0015886591,0.1948076,0.05795234,0.00022948974,0.00021452125,0.00048874354,0.2425931],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9947003,0.0026372545,0.00011117411,0.00052358734,0.0013253905,0.00070234656],"domain_scores_gemma":[0.9945826,0.0032031382,0.00037609928,0.00027959884,0.0011170337,0.00044157673],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004259877,0.00095343497,0.0006189871,0.0045268694,0.008480125,0.013040649,0.0019735938,0.005851417,0.009482479],"category_scores_gemma":[0.0107083,0.00039306807,0.00043785438,0.004438491,0.022292344,0.012499766,0.0041996087,0.0069598756,0.001526574],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022808943,0.000009723105,0.00015296658,0.00022450989,0.000005825109,0.00011232599,0.012064977,0.00006062365,0.000055267574,0.48749152,0.48419443,0.015605079],"study_design_scores_gemma":[0.0000039180054,0.0000037165323,0.00023346512,0.00030982983,0.0000026427526,0.00007730986,0.0038595386,0.000035833677,0.000033290944,0.02101072,0.974422,0.000007763179],"about_ca_topic_score_codex":0.05475681,"about_ca_topic_score_gemma":0.06726349,"teacher_disagreement_score":0.05475681,"about_ca_system_score_codex":0.024365053,"about_ca_system_score_gemma":0.0143712,"threshold_uncertainty_score":0.17678165},"labels":[],"label_agreement":null},{"id":"W4367156973","doi":"10.7202/1094011ar","title":"William Irwin, \"The Meaning of Metallica: Ride the Lyrics\"","year":2022,"lang":"en","type":"article","venue":"Philosophy in Review","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Lyrics; Meaning (existential); Philosophy; Literature; Art; Epistemology","score_opus":0.07628309059321937,"score_gpt":0.2485505684544621,"score_spread":0.17226747786124275,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4367156973","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000121442274,0.8037455,0.00028695766,0.16940932,0.02197871,0.000014356781,0.00007473099,0.000026539865,0.004342481],"genre_scores_gemma":[0.005467096,0.70321465,0.00072466524,0.24304113,0.022681786,0.00008730272,0.0001292603,0.000103633916,0.0245506],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99711573,0.0012117745,0.00025098244,0.00025961065,0.0010004833,0.00016149352],"domain_scores_gemma":[0.99483806,0.0031757986,0.0003170607,0.000118863645,0.0012365535,0.00031365448],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004037629,0.0010977503,0.0011168751,0.0031917684,0.0026042056,0.00619348,0.0018850976,0.008369496,0.0055664],"category_scores_gemma":[0.018326772,0.0005824913,0.0005280529,0.0043372973,0.0056206626,0.009480763,0.0028053722,0.007912774,0.0034583025],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022406382,0.000008489276,0.00011793125,0.0008797386,0.000014415181,0.000029434972,0.00091158546,0.000025197218,0.000048615853,0.010144587,0.9607241,0.027073396],"study_design_scores_gemma":[0.00002529031,0.000008690859,0.0006173131,0.0022654335,0.000015771473,0.000055020613,0.0012661659,0.000018172916,0.00007727079,0.0069147684,0.98871696,0.000019155545],"about_ca_topic_score_codex":0.039249733,"about_ca_topic_score_gemma":0.07187023,"teacher_disagreement_score":0.039249733,"about_ca_system_score_codex":0.002561162,"about_ca_system_score_gemma":0.0073041953,"threshold_uncertainty_score":0.07804251},"labels":[],"label_agreement":null},{"id":"W4367159211","doi":"10.7202/1078149ar","title":"John Miller CHERNOFF, African Rhythm and African Sensibility, Chicago, The University of Chicago Press, 1979. 261 pages, US $8.95 (paper)","year":2021,"lang":"en","type":"article","venue":"Culture","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Sensibility; Miller; Rhythm; History; Art; Political science; Law; Biology","score_opus":0.02447762049455765,"score_gpt":0.1864783510844221,"score_spread":0.16200073058986444,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4367159211","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00045930225,0.9040069,0.00059503916,0.021037081,0.005729423,0.00003128946,0.00051609305,0.00012334243,0.067501634],"genre_scores_gemma":[0.0058570732,0.7763567,0.0013133405,0.0043821204,0.004563586,0.00006255841,0.00058343634,0.00018070878,0.20670044],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99939275,0.00009471366,0.000058650603,0.00007148987,0.00030855055,0.00007390736],"domain_scores_gemma":[0.9989471,0.00043980815,0.000111911526,0.000031490985,0.0003242668,0.0001454728],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010598752,0.0016730488,0.0010172751,0.0039441925,0.002062444,0.0033832446,0.0012131551,0.0018507756,0.08711526],"category_scores_gemma":[0.0027413655,0.0008422077,0.00037012537,0.0044180867,0.001458538,0.007877922,0.0015094451,0.0023941284,0.043267313],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003521305,0.000015142517,0.00021063029,0.00034585688,0.0000073853444,0.00004153755,0.00029479136,0.00002821959,0.00011565541,0.004698453,0.93655807,0.057649113],"study_design_scores_gemma":[0.000009069981,0.000007416914,0.002806307,0.0006443546,0.000010382188,0.00013968862,0.00067853235,0.00002791322,0.00013035235,0.005232819,0.9902953,0.000017850089],"about_ca_topic_score_codex":0.030199857,"about_ca_topic_score_gemma":0.08422149,"teacher_disagreement_score":0.08711526,"about_ca_system_score_codex":0.0022093724,"about_ca_system_score_gemma":0.0026500798,"threshold_uncertainty_score":0.29142958},"labels":[],"label_agreement":null},{"id":"W4376058831","doi":"10.5325/ampamermusipers.2.2.0158","title":"Musical Introspection and the Affective <i>Group-en-Fusion</i>: Existential Reckoning with the Political and Climate Crises","year":2021,"lang":"en","type":"article","venue":"AMP American Music Perspectives","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Existentialism; Musical; Politics; Active listening; Argument (complex analysis); Alterity; Introspection; Aesthetics; Sociology; Psychology; Social psychology; Epistemology; Philosophy; Literature; Cognitive psychology; Art; Political science; Communication; Law","score_opus":0.013963353088713505,"score_gpt":0.22679350628146444,"score_spread":0.21283015319275095,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4376058831","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.37534964,0.0022198532,0.009500191,0.024027456,0.0005482256,0.000037807527,0.000034598153,0.00012239351,0.58815974],"genre_scores_gemma":[0.9957699,0.00016906594,0.00035638057,0.0005006224,0.00006238395,0.000006411828,0.0000047573385,0.000019703317,0.0031106633],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9972366,0.0016606285,0.00004232329,0.00023767211,0.0004571951,0.00036556827],"domain_scores_gemma":[0.99691963,0.0014619505,0.00049424823,0.00038510544,0.00030903055,0.0004300519],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003917178,0.0003870953,0.00023262872,0.0012257419,0.008276942,0.0098450305,0.0008271296,0.0020129306,0.0027961233],"category_scores_gemma":[0.0055805705,0.00023170498,0.00024073536,0.0006771268,0.059331093,0.005335241,0.007170029,0.004699505,0.00022511587],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000042558797,0.000044879773,0.002650184,0.000056583725,0.000015068939,0.0006234868,0.6665706,0.00018966617,0.001840647,0.31080657,0.003699098,0.0134606585],"study_design_scores_gemma":[0.000032167292,0.00010764429,0.0139518585,0.00030414417,0.000024754787,0.0008642804,0.63881725,0.00057838357,0.0014092833,0.16321641,0.1806182,0.00007567758],"about_ca_topic_score_codex":0.008262133,"about_ca_topic_score_gemma":0.009761306,"teacher_disagreement_score":0.0098450305,"about_ca_system_score_codex":0.003485504,"about_ca_system_score_gemma":0.001976328,"threshold_uncertainty_score":0.025289178},"labels":[],"label_agreement":null},{"id":"W4377237279","doi":"10.1515/9780773559714","title":"Hinterland Remixed","year":2019,"lang":"de","type":"book","venue":"McGill-Queen's University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Winnipeg","funders":"","keywords":"Geography; Political science","score_opus":0.018060973358556238,"score_gpt":0.18350866808233476,"score_spread":0.16544769472377852,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4377237279","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00047754607,0.0027931908,0.0005681583,0.0006507535,0.0013878339,0.000029518802,0.00058226945,0.0002649029,0.9932459],"genre_scores_gemma":[0.0010401076,0.00038041346,0.00014525697,0.000088895315,0.000032438733,0.0000066443863,0.00013000103,0.00007833007,0.99809784],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99974126,0.000024831756,0.000009479129,0.000069874965,0.000108126646,0.000046346104],"domain_scores_gemma":[0.999818,0.000027710768,0.000007989748,0.00005009744,0.000059155893,0.000037058693],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00027539016,0.00083095196,0.0004633945,0.0016393627,0.0019503289,0.00347305,0.00090011733,0.0012102921,0.6093563],"category_scores_gemma":[0.00090895896,0.00038515983,0.0003670585,0.0014865169,0.00064396724,0.0021904192,0.0023803432,0.0015477482,0.35392487],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000080013066,0.00003092124,0.00018295656,0.00016310293,0.0000047957183,0.00020796605,0.0003175957,0.0001702494,0.0009611614,0.043745812,0.66252,0.29161543],"study_design_scores_gemma":[0.0000027531225,0.000004247702,0.00014699853,0.000050792663,0.0000014651454,0.000046017238,0.00006910095,0.000026899146,0.00012319046,0.0012279769,0.99829787,0.0000025939125],"about_ca_topic_score_codex":0.011018413,"about_ca_topic_score_gemma":0.038002785,"teacher_disagreement_score":0.6093563,"about_ca_system_score_codex":0.001182597,"about_ca_system_score_gemma":0.0009679524,"threshold_uncertainty_score":0.5572058},"labels":[],"label_agreement":null},{"id":"W4377238551","doi":"10.4324/9781003256458-8","title":"Global musical hits beyond American shores","year":2023,"lang":"en","type":"book-chapter","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Musical; Geography; Art; Visual arts","score_opus":0.035413502747831074,"score_gpt":0.21894289607550635,"score_spread":0.18352939332767526,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4377238551","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.048656065,0.0022269923,0.0005442855,0.001678723,0.00025090543,0.000008095172,0.000023782328,0.000048111313,0.946563],"genre_scores_gemma":[0.7170136,0.003049537,0.00050892256,0.0012627443,0.0001551361,0.000017007515,0.00006519809,0.00015002648,0.2777778],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995024,0.00010732874,0.000009532765,0.00008136923,0.000095903444,0.00020347186],"domain_scores_gemma":[0.9997693,0.000050004688,0.000013364431,0.000033302644,0.00003904272,0.00009493178],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00044287258,0.0005663783,0.00031586483,0.0008969334,0.0076063015,0.008197701,0.0004131536,0.0007454267,0.027623259],"category_scores_gemma":[0.0005911779,0.00015927052,0.0002135395,0.0015926447,0.0053068614,0.00368413,0.0061293137,0.0026302813,0.0023750486],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014595053,0.00007422246,0.0037651442,0.00015282244,0.00001692083,0.00074553234,0.13548058,0.0002974151,0.0010121511,0.64116204,0.076137,0.14101022],"study_design_scores_gemma":[0.000007909616,0.000039123544,0.0047650374,0.00022028759,0.000010824967,0.0002951926,0.07156184,0.00009263895,0.0003455713,0.016929232,0.9057225,0.000009796214],"about_ca_topic_score_codex":0.010761999,"about_ca_topic_score_gemma":0.05787929,"teacher_disagreement_score":0.027623259,"about_ca_system_score_codex":0.002927915,"about_ca_system_score_gemma":0.0015810723,"threshold_uncertainty_score":0.092409015},"labels":[],"label_agreement":null},{"id":"W4377241340","doi":"10.1515/9780773556089-006","title":"Music within Bounds: Distribution, Borders, and the Canadian Recording Industry","year":2018,"lang":"en","type":"book-chapter","venue":"McGill-Queen's University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Music industry; Distribution (mathematics); Computer science; Mathematics; Art; Visual arts; Mathematical analysis; Music education","score_opus":0.022561479458905232,"score_gpt":0.1826833251293587,"score_spread":0.16012184567045346,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4377241340","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.04209333,0.01612593,0.0011697471,0.01617842,0.0002688502,0.000029397454,0.00029237737,0.00007103205,0.9237711],"genre_scores_gemma":[0.7102197,0.014422318,0.001069085,0.0024768587,0.00015768695,0.00003603734,0.00025510474,0.00017239049,0.27119088],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9973213,0.00015728295,0.000041911953,0.00024466254,0.0010940334,0.0011407967],"domain_scores_gemma":[0.99764854,0.0005650212,0.00010192829,0.00012054566,0.00091088616,0.0006530921],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011946873,0.0004924212,0.0004605677,0.0034685028,0.022056855,0.020233769,0.0021989965,0.0020746943,0.03071465],"category_scores_gemma":[0.0045298333,0.00043648665,0.000306686,0.009133958,0.017023992,0.0051425574,0.0045078816,0.003511904,0.001248468],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007521363,0.000023690709,0.0026246342,0.00013503344,0.000008785414,0.00019049304,0.039576087,0.0003781184,0.00040262585,0.77014107,0.056521747,0.12992251],"study_design_scores_gemma":[0.000018743005,0.000023381503,0.026411733,0.0008183842,0.00002714869,0.0001603048,0.09116293,0.0005056277,0.00032485308,0.039902814,0.8405547,0.00008944398],"about_ca_topic_score_codex":0.99315804,"about_ca_topic_score_gemma":0.99663746,"teacher_disagreement_score":0.10729636,"about_ca_system_score_codex":0.10729636,"about_ca_system_score_gemma":0.1444014,"threshold_uncertainty_score":0.7784932},"labels":[],"label_agreement":null},{"id":"W4377943528","doi":"10.1017/s0261143023000119","title":"Shades of Springsteen: Politics, Love, Sports, and Masculinity. By John Massaro. New Brunswick, NJ: Rutgers University Press, 2021. 255 pp. ISBN 978-1-9788-1616-9","year":2023,"lang":"en","type":"article","venue":"Popular Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Media studies; Politics; Masculinity; History; Sociology; Gender studies; Political science; Law","score_opus":0.023046823717582272,"score_gpt":0.19437854688925713,"score_spread":0.17133172317167486,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4377943528","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00032480626,0.9659232,0.00011741226,0.011611278,0.002754498,0.000007635408,0.00012291447,0.000035634363,0.019102732],"genre_scores_gemma":[0.011258362,0.8421641,0.00062677456,0.004534148,0.004149261,0.000047116304,0.00026834453,0.00010319431,0.13684867],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99970955,0.00008214559,0.000021778664,0.000042688487,0.00010434625,0.000039360097],"domain_scores_gemma":[0.9996106,0.00016265079,0.000049801973,0.000025100966,0.00006686886,0.000085004605],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008042242,0.0018662163,0.0010304296,0.00246369,0.0015921777,0.0032279966,0.0009252535,0.0016985566,0.04088361],"category_scores_gemma":[0.0011379453,0.0013515133,0.000484743,0.0035988772,0.0030710031,0.004911566,0.0020913999,0.0025772585,0.014722007],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000055457043,0.000031576725,0.00047543232,0.0010510914,0.000022478114,0.00010356521,0.0022154867,0.00007990446,0.00020280083,0.0105269095,0.77057964,0.2146556],"study_design_scores_gemma":[0.0000057640927,0.000012031505,0.0032350384,0.0018887239,0.000012148637,0.00028722253,0.0020322015,0.000040863273,0.000049225924,0.0050881654,0.98733425,0.000014345685],"about_ca_topic_score_codex":0.027247868,"about_ca_topic_score_gemma":0.08149943,"teacher_disagreement_score":0.04088361,"about_ca_system_score_codex":0.0018435778,"about_ca_system_score_gemma":0.0020159485,"threshold_uncertainty_score":0.1367693},"labels":[],"label_agreement":null},{"id":"W4377987194","doi":"10.1007/978-3-030-22767-8_355","title":"Ethics, Craft, and the Business of Music","year":2023,"lang":"en","type":"book-chapter","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Canadian Mennonite University","funders":"","keywords":"Craft; Business; Visual arts; Art","score_opus":0.09665810789609156,"score_gpt":0.21521376785021554,"score_spread":0.11855565995412398,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4377987194","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0026422762,0.007830661,0.00089530635,0.0049556904,0.00011556545,0.0000084990525,0.0000088553,0.000012848678,0.9835302],"genre_scores_gemma":[0.28838518,0.007917294,0.0011693963,0.0019864356,0.00039500018,0.000039056195,0.000020365458,0.00005881936,0.7000285],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991099,0.00038056084,0.00001584303,0.000052573767,0.0003006257,0.00014044764],"domain_scores_gemma":[0.99923086,0.00045709018,0.000044188873,0.00007180351,0.00009280445,0.00010320908],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007947376,0.00034146153,0.00021622387,0.0008858395,0.004487901,0.00943051,0.0005626088,0.0022248619,0.015084199],"category_scores_gemma":[0.0020371054,0.00022238455,0.00011559394,0.0011625843,0.01527807,0.0033219163,0.0014692352,0.0025617285,0.002072835],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000067724964,0.000010656492,0.00006849882,0.00001654721,6.7803e-7,0.000023918641,0.0016333498,0.000057220463,0.000047168254,0.971983,0.013670746,0.0124815125],"study_design_scores_gemma":[0.000006504499,0.000010507641,0.00077772414,0.00027201945,0.0000023433374,0.0001079796,0.0051377183,0.00026713664,0.00022438029,0.40753067,0.58565634,0.000006546449],"about_ca_topic_score_codex":0.00980966,"about_ca_topic_score_gemma":0.023798427,"teacher_disagreement_score":0.015084199,"about_ca_system_score_codex":0.0038651144,"about_ca_system_score_gemma":0.004373219,"threshold_uncertainty_score":0.05046171},"labels":[],"label_agreement":null},{"id":"W4378385780","doi":"10.1515/9780773559813-018","title":"Excerpt from an Audio Recording: (from a presentation at the TransCanada conference at the University of Toronto)","year":2019,"lang":"en","type":"book-chapter","venue":"McGill-Queen's University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Presentation (obstetrics); Audio visual; Multimedia; Computer science; Medicine","score_opus":0.027322898410635402,"score_gpt":0.18588340314709997,"score_spread":0.15856050473646457,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4378385780","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005514631,0.0068667526,0.002032179,0.0061169523,0.020131873,0.00058130856,0.031053606,0.0010202287,0.9266825],"genre_scores_gemma":[0.0073748156,0.0014280265,0.0004987162,0.0009156652,0.001299675,0.00011182469,0.0032530122,0.00031254583,0.98480576],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998524,0.0000130527305,0.0000048360553,0.000015645986,0.000090736976,0.000023249331],"domain_scores_gemma":[0.99958295,0.00017900257,0.000013925978,0.000021344134,0.00015052066,0.00005225029],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00015608354,0.0011957928,0.000671544,0.001318435,0.0019126758,0.0015683912,0.00073868124,0.0010180076,0.43008623],"category_scores_gemma":[0.00082207884,0.00028286106,0.00024498915,0.0033261548,0.0004275434,0.0007355157,0.0011292143,0.0010780981,0.13851188],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006881493,0.000011285883,0.00003154618,0.00019382848,0.0000015600555,0.00017278273,0.0003351465,0.000030435787,0.00091932574,0.00045498705,0.97768265,0.02009755],"study_design_scores_gemma":[0.000019913734,0.000018831392,0.0031198023,0.00011883999,0.0000036527456,0.00016077072,0.00076016044,0.000039744995,0.00031413653,0.00017015266,0.99526536,0.000008670114],"about_ca_topic_score_codex":0.06910293,"about_ca_topic_score_gemma":0.18011503,"teacher_disagreement_score":0.93089706,"about_ca_system_score_codex":0.0011199953,"about_ca_system_score_gemma":0.00086594804,"threshold_uncertainty_score":0.8129128},"labels":[],"label_agreement":null},{"id":"W4378650079","doi":"10.32920/23257205.v1","title":"Marcela","year":2023,"lang":"en","type":"preprint","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University; University of King's College","funders":"","keywords":"Subject (documents); Narrative; Ballet; Identity (music); Revelation; Ethnography; Gender studies; Art; Visual arts; Aesthetics; Sociology; Psychology; Psychoanalysis; History; Literature; Anthropology; Dance","score_opus":0.14237460407066288,"score_gpt":0.23665109301927226,"score_spread":0.09427648894860938,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4378650079","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005479777,0.006441902,0.0021149241,0.007796148,0.0032092785,0.00007055976,0.0015621199,0.0006519581,0.9726733],"genre_scores_gemma":[0.03411268,0.0033400904,0.0015705636,0.0007472107,0.00048020412,0.000054016837,0.00055475684,0.0003462956,0.9587942],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99917823,0.00010394069,0.00003885158,0.00028344637,0.0002758556,0.00011961161],"domain_scores_gemma":[0.9993795,0.000082087776,0.00006759134,0.000080028534,0.00020033053,0.00019038659],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000613633,0.0007011393,0.00034778018,0.0014648772,0.002704751,0.003978884,0.0007900255,0.0013397385,0.32387534],"category_scores_gemma":[0.0024739208,0.0003411854,0.00027597207,0.000877615,0.00084735465,0.002617361,0.0022291583,0.0017838242,0.13630873],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002897592,0.00006164836,0.0014552976,0.00058557984,0.000011981298,0.00077290274,0.0036344328,0.00022957881,0.0032968111,0.13243216,0.5822874,0.27494246],"study_design_scores_gemma":[0.0000021004034,0.0000054584702,0.00047180886,0.00005249472,0.000001196112,0.00017504698,0.00024367128,0.000038907692,0.00031959778,0.0008226252,0.99786264,0.0000046492064],"about_ca_topic_score_codex":0.010389785,"about_ca_topic_score_gemma":0.014383167,"teacher_disagreement_score":0.32387534,"about_ca_system_score_codex":0.0018211717,"about_ca_system_score_gemma":0.0012452429,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4378672589","doi":"10.32920/23257205","title":"Marcela","year":2023,"lang":"en","type":"preprint","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University; University of King's College","funders":"","keywords":"Subject (documents); Narrative; Ballet; Identity (music); Revelation; Ethnography; Gender studies; Reflexivity; Visual arts; Aesthetics; Art; Sociology; Psychoanalysis; Psychology; History; Literature; Anthropology; Dance","score_opus":0.14237460407066288,"score_gpt":0.23665109301927226,"score_spread":0.09427648894860938,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4378672589","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005479777,0.006441902,0.0021149241,0.007796148,0.0032092785,0.00007055976,0.0015621199,0.0006519581,0.9726733],"genre_scores_gemma":[0.03411268,0.0033400904,0.0015705636,0.0007472107,0.00048020412,0.000054016837,0.00055475684,0.0003462956,0.9587942],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99917823,0.00010394069,0.00003885158,0.00028344637,0.0002758556,0.00011961161],"domain_scores_gemma":[0.9993795,0.000082087776,0.00006759134,0.000080028534,0.00020033053,0.00019038659],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000613633,0.0007011393,0.00034778018,0.0014648772,0.002704751,0.003978884,0.0007900255,0.0013397385,0.32387534],"category_scores_gemma":[0.0024739208,0.0003411854,0.00027597207,0.000877615,0.00084735465,0.002617361,0.0022291583,0.0017838242,0.13630873],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002897592,0.00006164836,0.0014552976,0.00058557984,0.000011981298,0.00077290274,0.0036344328,0.00022957881,0.0032968111,0.13243216,0.5822874,0.27494246],"study_design_scores_gemma":[0.0000021004034,0.0000054584702,0.00047180886,0.00005249472,0.000001196112,0.00017504698,0.00024367128,0.000038907692,0.00031959778,0.0008226252,0.99786264,0.0000046492064],"about_ca_topic_score_codex":0.010389785,"about_ca_topic_score_gemma":0.014383167,"teacher_disagreement_score":0.6761247,"about_ca_system_score_codex":0.0018211717,"about_ca_system_score_gemma":0.0012452429,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4379207407","doi":"10.25071/1708-6701.40459","title":"Bedroom Rapper: Cadence Weapon on Hip-Hop, Resistance and Surviving the Music Industry by Rollie Pemberton (Book)","year":2023,"lang":"en","type":"article","venue":"CAML Review / Revue de l ACBM","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Bedroom; Documentation; Cadence; Resistance (ecology); Visual arts; Engineering; Art; Computer science; Civil engineering","score_opus":0.03655360384560002,"score_gpt":0.23516010904560197,"score_spread":0.19860650520000195,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4379207407","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00017712892,0.92499626,0.00011346634,0.03504593,0.016392743,0.000012851431,0.000020360125,0.000018613217,0.02322263],"genre_scores_gemma":[0.0038156102,0.8323167,0.00033829187,0.029907726,0.0112293,0.000036712234,0.00004179247,0.000042677275,0.12227114],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993249,0.00020293424,0.000030260004,0.000085914326,0.00028906052,0.00006694206],"domain_scores_gemma":[0.9990709,0.000378129,0.0000671953,0.0000246335,0.00030671462,0.00015249562],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009626132,0.0005714856,0.000537355,0.0011869225,0.0011699955,0.002894047,0.0008177894,0.002598747,0.018487362],"category_scores_gemma":[0.0027781904,0.0003027528,0.00024930714,0.0010579273,0.0016360242,0.0024559735,0.0016338084,0.003826606,0.007453965],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014724786,0.000009190945,0.000034904377,0.0007812393,0.000005726327,0.00004663289,0.0002582444,0.000015304042,0.000070442984,0.004659875,0.8984587,0.095645025],"study_design_scores_gemma":[0.000002868078,0.000009765104,0.0001982948,0.0013495404,0.0000044494295,0.00012664543,0.00033395315,0.000004057275,0.000028313692,0.0005267205,0.99741143,0.000003926285],"about_ca_topic_score_codex":0.0104555255,"about_ca_topic_score_gemma":0.0314546,"teacher_disagreement_score":0.018487362,"about_ca_system_score_codex":0.0013200382,"about_ca_system_score_gemma":0.002725724,"threshold_uncertainty_score":0.061846375},"labels":[],"label_agreement":null},{"id":"W4379518454","doi":"10.32920/23302226","title":"Horses in the Back: Negotiations of Black Identity through Cowboy Symbolism in American Popular Culture","year":2023,"lang":"en","type":"preprint","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University; McGill University; Centre for Social Innovation; York University","funders":"","keywords":"Mythology; Popular culture; Subversion; Queer; Gender studies; Identity (music); Sociology; Subculture (biology); Culture of the United States; Mainstream; American studies; Intertextuality; Popular music; Aesthetics; White (mutation); Art; Literature; Media studies; Politics; Political science; Law","score_opus":0.07506327540881082,"score_gpt":0.2894019734672648,"score_spread":0.214338698058454,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4379518454","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7620084,0.00079630816,0.0017571854,0.012663451,0.00020129692,0.000020993753,0.000011853058,0.000029496983,0.22251098],"genre_scores_gemma":[0.99203426,0.00013666863,0.00022626777,0.0004529049,0.000021863372,0.000009203326,0.0000029946375,0.000020906451,0.0070949085],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99689025,0.0022866605,0.000023606986,0.0001493169,0.00027185123,0.00037827992],"domain_scores_gemma":[0.99839956,0.00088121166,0.00020830905,0.00012370938,0.00014829704,0.00023894141],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0037871196,0.0003554947,0.0002110635,0.0010298745,0.01766494,0.00798708,0.0006186751,0.0016123035,0.0048225424],"category_scores_gemma":[0.0049548317,0.00025911478,0.00016358025,0.0005999085,0.025198646,0.0053338166,0.0054698195,0.003122054,0.00040998525],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006021652,0.000032566884,0.0014734025,0.000019283321,0.0000052653,0.00026740154,0.8587961,0.000036545673,0.00077873113,0.12753507,0.0022162036,0.008779154],"study_design_scores_gemma":[0.000019516048,0.00004394412,0.0029591662,0.00011728875,0.000014517197,0.0001469602,0.88114566,0.00027614654,0.00095080846,0.027721275,0.08657895,0.000025716681],"about_ca_topic_score_codex":0.014043727,"about_ca_topic_score_gemma":0.016702535,"teacher_disagreement_score":0.01766494,"about_ca_system_score_codex":0.0036356167,"about_ca_system_score_gemma":0.0022386091,"threshold_uncertainty_score":0.027923942},"labels":[],"label_agreement":null},{"id":"W4379522647","doi":"10.32920/23302226.v1","title":"Horses in the Back: Negotiations of Black Identity through Cowboy Symbolism in American Popular Culture","year":2023,"lang":"en","type":"preprint","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University; McGill University; Centre for Social Innovation; York University","funders":"","keywords":"Mythology; Popular culture; Subversion; Queer; Gender studies; Identity (music); Sociology; Subculture (biology); Culture of the United States; Mainstream; American studies; Intertextuality; Popular music; Aesthetics; White (mutation); Art; Literature; Media studies; Politics; Political science; Law","score_opus":0.07506327540881082,"score_gpt":0.2894019734672648,"score_spread":0.214338698058454,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4379522647","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7620084,0.00079630816,0.0017571854,0.012663451,0.00020129692,0.000020993753,0.000011853058,0.000029496983,0.22251098],"genre_scores_gemma":[0.99203426,0.00013666863,0.00022626777,0.0004529049,0.000021863372,0.000009203326,0.0000029946375,0.000020906451,0.0070949085],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99689025,0.0022866605,0.000023606986,0.0001493169,0.00027185123,0.00037827992],"domain_scores_gemma":[0.99839956,0.00088121166,0.00020830905,0.00012370938,0.00014829704,0.00023894141],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0037871196,0.0003554947,0.0002110635,0.0010298745,0.01766494,0.00798708,0.0006186751,0.0016123035,0.0048225424],"category_scores_gemma":[0.0049548317,0.00025911478,0.00016358025,0.0005999085,0.025198646,0.0053338166,0.0054698195,0.003122054,0.00040998525],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006021652,0.000032566884,0.0014734025,0.000019283321,0.0000052653,0.00026740154,0.8587961,0.000036545673,0.00077873113,0.12753507,0.0022162036,0.008779154],"study_design_scores_gemma":[0.000019516048,0.00004394412,0.0029591662,0.00011728875,0.000014517197,0.0001469602,0.88114566,0.00027614654,0.00095080846,0.027721275,0.08657895,0.000025716681],"about_ca_topic_score_codex":0.014043727,"about_ca_topic_score_gemma":0.016702535,"teacher_disagreement_score":0.01766494,"about_ca_system_score_codex":0.0036356167,"about_ca_system_score_gemma":0.0022386091,"threshold_uncertainty_score":0.027923942},"labels":[],"label_agreement":null},{"id":"W4379779695","doi":"10.1353/cro.2015.a782594","title":"Leonard Cohen, Singer of the Bible","year":2015,"lang":"en","type":"article","venue":"CrossCurrents","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Praise; Faith; Poetry; Literature; Style (visual arts); Soul; Period (music); Art; Philosophy; History; Art history; Theology; Aesthetics","score_opus":0.13064462791513795,"score_gpt":0.24247325598717012,"score_spread":0.11182862807203217,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4379779695","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.007710064,0.22170007,0.00083084375,0.33082187,0.032989632,0.000036004363,0.0001577226,0.00017684784,0.40557703],"genre_scores_gemma":[0.101129316,0.05408678,0.0011950338,0.07203511,0.009644808,0.00006170717,0.00010851397,0.00023255394,0.76150614],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990293,0.0003079983,0.000036978217,0.00013875993,0.00034750823,0.00013953864],"domain_scores_gemma":[0.9986224,0.00035997247,0.00009505639,0.000030316984,0.00042302595,0.00046937575],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00091029494,0.00037814135,0.00036624353,0.0009341211,0.0065296907,0.0024971173,0.00036866343,0.0014522369,0.018778104],"category_scores_gemma":[0.0043737777,0.00021261026,0.00008473037,0.0005852244,0.0019436503,0.0016490411,0.0014137062,0.0029938237,0.008431324],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000216858,0.000008356787,0.00047320567,0.00008828939,0.0000022635945,0.00014168417,0.0038358478,0.000020262356,0.00015752348,0.019511491,0.943435,0.032304235],"study_design_scores_gemma":[0.000003882159,0.000008104645,0.00061789365,0.00010779063,0.0000014302957,0.0001780064,0.0018403478,0.000018132494,0.00006930951,0.0012551002,0.99589324,0.0000066651855],"about_ca_topic_score_codex":0.02238586,"about_ca_topic_score_gemma":0.058695838,"teacher_disagreement_score":0.97761416,"about_ca_system_score_codex":0.0030788071,"about_ca_system_score_gemma":0.0027615894,"threshold_uncertainty_score":0.06281906},"labels":[],"label_agreement":null},{"id":"W4380237006","doi":"10.1515/9780773574762","title":"Music in Canada","year":2008,"lang":"en","type":"book","venue":"McGill-Queen's University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.020938232686531322,"score_gpt":0.1569173406455513,"score_spread":0.13597910795901996,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380237006","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.004271207,0.03962727,0.00022138673,0.008180984,0.0021329,0.000026656766,0.00040643828,0.00010542663,0.94502765],"genre_scores_gemma":[0.04271269,0.03282636,0.00049285317,0.002167042,0.0003622981,0.00002284627,0.00033599112,0.000097588985,0.9209824],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993954,0.000022782144,0.000011629324,0.000051791205,0.0003548608,0.00016349513],"domain_scores_gemma":[0.9996118,0.000031399566,0.000010666478,0.0000140409065,0.0002133019,0.000118738964],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00023971043,0.00065623084,0.00030832808,0.0023071792,0.01378381,0.007741253,0.0009555339,0.0013043432,0.052277144],"category_scores_gemma":[0.0008554294,0.00026193546,0.00025894633,0.0053147026,0.0032600625,0.0014049199,0.0020444249,0.0014165046,0.0066396813],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000026387164,0.000016013937,0.000627352,0.00030195198,0.0000058254186,0.00038947302,0.0073609757,0.00018594561,0.0003917997,0.16460036,0.67464685,0.15144712],"study_design_scores_gemma":[0.0000014013845,0.0000016807795,0.00059552735,0.000083286795,0.0000019325555,0.00005699264,0.0009611086,0.00001864184,0.000031785654,0.0007038384,0.99753916,0.0000047661815],"about_ca_topic_score_codex":0.97427803,"about_ca_topic_score_gemma":0.9927394,"teacher_disagreement_score":0.055931784,"about_ca_system_score_codex":0.055931784,"about_ca_system_score_gemma":0.08303008,"threshold_uncertainty_score":0.40581542},"labels":[],"label_agreement":null},{"id":"W4380243643","doi":"10.1515/9780773576247-001","title":"Foreword","year":2009,"lang":"en","type":"book-chapter","venue":"McGill-Queen's University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Psychology","score_opus":0.023645183499035605,"score_gpt":0.17938936996586788,"score_spread":0.15574418646683227,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380243643","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00036973596,0.009206239,0.0007383568,0.023778982,0.026017487,0.00015150696,0.0018911804,0.00055687554,0.9372896],"genre_scores_gemma":[0.0012847316,0.0028249517,0.00022629256,0.0033544926,0.0016369325,0.00002505565,0.00060443574,0.00016657641,0.98987657],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992719,0.000040163814,0.000020294834,0.00008545268,0.00046842406,0.000113772025],"domain_scores_gemma":[0.9983474,0.000117827156,0.00003569725,0.00007638281,0.0011257654,0.00029689877],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0004355959,0.00065689074,0.0006333542,0.0014967097,0.004361423,0.004704334,0.0014380661,0.0020109182,0.4666278],"category_scores_gemma":[0.0024616905,0.00026215383,0.00038487997,0.0020194137,0.00086296664,0.0021167153,0.0017100917,0.0027323256,0.36886945],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000042786205,0.0000041045546,0.00002963365,0.00004131151,4.512666e-7,0.000022560116,0.000057135447,0.000009211288,0.00004984759,0.002782749,0.97727907,0.019719735],"study_design_scores_gemma":[5.757651e-7,0.0000016505207,0.00007813158,0.00003561708,3.8504044e-7,0.000024001187,0.000069268506,0.0000033807562,0.000019019737,0.00025279846,0.99951386,0.0000012393949],"about_ca_topic_score_codex":0.11423793,"about_ca_topic_score_gemma":0.21399742,"teacher_disagreement_score":0.53337216,"about_ca_system_score_codex":0.0056333626,"about_ca_system_score_gemma":0.007948064,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4380303344","doi":"10.5406/15351882.136.540.10","title":"Made in Louisiana: The Story of the Acadian Accordion","year":2023,"lang":"en","type":"article","venue":"Journal of American Folklore","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Accordion; Visual arts; Art; History; Computer science; World Wide Web","score_opus":0.020037586996575776,"score_gpt":0.22234799939971425,"score_spread":0.20231041240313846,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380303344","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.20282641,0.02057512,0.00053907256,0.1587666,0.0038126237,0.00004150975,0.0002541612,0.0001896619,0.6129949],"genre_scores_gemma":[0.60620534,0.008097561,0.00028001936,0.028011499,0.0010333719,0.000057810976,0.00012315354,0.00014098942,0.3560502],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99915624,0.0002872323,0.000011295989,0.00006751954,0.00013131842,0.0003463018],"domain_scores_gemma":[0.99963427,0.000073348805,0.000024993402,0.000008547302,0.00008934908,0.00016941995],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006204394,0.00057259435,0.0002631357,0.0006182816,0.03733787,0.005939628,0.000800267,0.003214699,0.0067266137],"category_scores_gemma":[0.000907085,0.000254855,0.00026656935,0.000646235,0.0070444304,0.0020588983,0.004790618,0.009061299,0.0014829781],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000977909,0.00012275088,0.004177618,0.000112453745,0.000027862086,0.0066043306,0.50264865,0.00013484557,0.0015166294,0.092325255,0.36120066,0.031031152],"study_design_scores_gemma":[0.0000032573557,0.000023588625,0.0012866646,0.00010752822,0.000006432568,0.0002694593,0.122529425,0.00002824142,0.00016708035,0.00078949,0.8747689,0.000019905638],"about_ca_topic_score_codex":0.3066154,"about_ca_topic_score_gemma":0.58209085,"teacher_disagreement_score":0.3066154,"about_ca_system_score_codex":0.01465079,"about_ca_system_score_gemma":0.007219228,"threshold_uncertainty_score":0.60966146},"labels":[],"label_agreement":null},{"id":"W4380873900","doi":"10.3138/ctr.105.011","title":"Festival Vancouver: An Ambitious New Summer Series Debuts in Vancouver","year":2001,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Choir; Noon; Musical; Opera; Art; History; Visual arts; Art history; Geography; Cartography; Astronomy","score_opus":0.030881326008490095,"score_gpt":0.22550802164527195,"score_spread":0.19462669563678187,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380873900","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.048689473,0.069972865,0.000508509,0.030633377,0.022615185,0.00030360985,0.005383407,0.0003080459,0.8215856],"genre_scores_gemma":[0.06743325,0.019772982,0.00042861557,0.0018529266,0.0010152027,0.000085017935,0.002333801,0.00011412343,0.9069641],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992404,0.00005871698,0.000020055331,0.00005824188,0.00039689057,0.00022574214],"domain_scores_gemma":[0.9983997,0.000050860814,0.000036335136,0.0000484721,0.00078165985,0.0006830065],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009884293,0.00049903535,0.00033502866,0.0018000347,0.008119465,0.0044498895,0.001003316,0.0009921158,0.053917978],"category_scores_gemma":[0.0012740132,0.00029515402,0.00020625623,0.0026595085,0.00089627295,0.0006852699,0.0021947299,0.0014204653,0.005905409],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000068995774,0.00003495969,0.0015700896,0.00022700039,0.0000076229576,0.00026784604,0.001852885,0.000051822124,0.00043145605,0.0030037803,0.92565495,0.06682863],"study_design_scores_gemma":[0.000004063747,0.000011310472,0.0056896093,0.00009567865,0.0000022692657,0.00004946976,0.0014896743,0.000008571358,0.000074929914,0.000093774564,0.99247485,0.0000057697594],"about_ca_topic_score_codex":0.7426846,"about_ca_topic_score_gemma":0.9551066,"teacher_disagreement_score":0.2573154,"about_ca_system_score_codex":0.011326541,"about_ca_system_score_gemma":0.01596934,"threshold_uncertainty_score":0.5176616},"labels":[],"label_agreement":null},{"id":"W4380874349","doi":"10.3138/ctr.124.022","title":"Nothing Hidden: The Cameras Bare Their Best","year":2005,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Nothing; Carry (investment); Visual arts; Aesthetics; Art; History; Philosophy; Epistemology","score_opus":0.03248352701221696,"score_gpt":0.2131333095428778,"score_spread":0.18064978253066083,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874349","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.010420028,0.19100876,0.004073137,0.055323415,0.0030405265,0.000053820735,0.0001606101,0.0001391312,0.7357806],"genre_scores_gemma":[0.34057465,0.23243456,0.0052506877,0.018545143,0.00221709,0.00006352217,0.00025250306,0.0003040555,0.40035784],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.997163,0.0007149624,0.00007328913,0.00028994598,0.0012777774,0.0004809475],"domain_scores_gemma":[0.99825937,0.00031239973,0.00015255844,0.00017247467,0.00084715866,0.00025606883],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021468694,0.00053456216,0.00046068407,0.0016420597,0.0071726223,0.011417392,0.0011962781,0.0025415246,0.023715753],"category_scores_gemma":[0.0051364717,0.00035424365,0.0003062603,0.0023564827,0.007816366,0.008144538,0.00247788,0.002610941,0.0034346227],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014849521,0.000030521165,0.0020163816,0.0013903714,0.000058822894,0.0008732993,0.016402898,0.00019342442,0.0015020007,0.30577725,0.2704871,0.40111938],"study_design_scores_gemma":[0.00000839294,0.000020579291,0.002010712,0.0007625454,0.000027728878,0.00053736975,0.011155664,0.00003451448,0.00033300783,0.009648646,0.97544265,0.000018212362],"about_ca_topic_score_codex":0.2930931,"about_ca_topic_score_gemma":0.46230066,"teacher_disagreement_score":0.2930931,"about_ca_system_score_codex":0.010869668,"about_ca_system_score_gemma":0.010141631,"threshold_uncertainty_score":0.58277416},"labels":[],"label_agreement":null},{"id":"W4380874487","doi":"10.3138/ctr.136.017","title":"One Yellow Rabbit's Nostalgic Romp with Fascism: Review of <i>Ilsa, Queen of the Nazi Love Camp</i>","year":2008,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Nazism; Queen (butterfly); Art; The Holocaust; Hollywood; Art history; Nazi Germany; Performance art; Musical; Comics; Judaism; Literature; History; Philosophy; Theology; Archaeology","score_opus":0.02121381594818332,"score_gpt":0.1855533344926892,"score_spread":0.1643395185445059,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874487","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00009848282,0.99560803,0.000008757861,0.0022968014,0.0007178361,0.0000018729149,0.0000083086525,0.0000013701859,0.0012584035],"genre_scores_gemma":[0.003074369,0.9922052,0.000035347133,0.0018054127,0.001071752,0.0000055626956,0.000030011026,0.000003881462,0.0017683894],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987883,0.00023524105,0.0001175097,0.00011299202,0.0006051215,0.00014087024],"domain_scores_gemma":[0.9954189,0.0012123595,0.00036748676,0.000082381564,0.0024843167,0.0004344942],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0025449088,0.0005866642,0.000962301,0.0060659684,0.002037246,0.0034746295,0.0012840604,0.0015736079,0.003439738],"category_scores_gemma":[0.0046030176,0.00039209728,0.00024138717,0.008820913,0.0033440508,0.0018167573,0.0010447522,0.0017551165,0.00089866173],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008709222,0.000036414494,0.0008900226,0.015939431,0.000066213186,0.00037946078,0.0036018272,0.00010208928,0.00041178803,0.008091385,0.61817396,0.35222036],"study_design_scores_gemma":[0.0000039937563,0.000014398512,0.0020810612,0.004558833,0.000021513772,0.00026091104,0.000992983,0.000006364112,0.00004084154,0.00013781826,0.991872,0.000009345793],"about_ca_topic_score_codex":0.34850937,"about_ca_topic_score_gemma":0.6134937,"teacher_disagreement_score":0.34850937,"about_ca_system_score_codex":0.01088755,"about_ca_system_score_gemma":0.024879644,"threshold_uncertainty_score":0.69296163},"labels":[],"label_agreement":null},{"id":"W4380874616","doi":"10.3138/ctr.130.019","title":"Standing in the Shadows of America: Afro-Diasporic Oral Culture and the Emancipation of Canadian Hip-Hop","year":2007,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Politics; Emancipation; Juncture; Art; Gender studies; History; Literature; Sociology; Political science; Law; Linguistics; Philosophy","score_opus":0.03469398892182444,"score_gpt":0.23446702493640875,"score_spread":0.19977303601458432,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874616","genre_codex":"other","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.38484144,0.18317538,0.00038097313,0.03272599,0.00058992737,0.000051259693,0.00029445946,0.000040927192,0.39789966],"genre_scores_gemma":[0.9201545,0.05439797,0.00023435333,0.0011554399,0.000113837996,0.000009505159,0.000052073025,0.000018554287,0.023863655],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99875534,0.0002175714,0.000023350365,0.00009058782,0.00046770708,0.0004455144],"domain_scores_gemma":[0.9986628,0.00027324277,0.00014102377,0.00004326942,0.00061178126,0.00026778664],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016474475,0.00031038257,0.00027870003,0.002152279,0.010172913,0.0062729986,0.0009057386,0.0008564028,0.00587221],"category_scores_gemma":[0.0023981472,0.00018694291,0.00014255305,0.004084216,0.010021855,0.0010173658,0.0019553376,0.0010553825,0.0003252178],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022267376,0.00007994085,0.020735329,0.0012546745,0.00004879826,0.0018964182,0.42155457,0.0001826907,0.0014751429,0.1590733,0.057200212,0.3362763],"study_design_scores_gemma":[0.000018616342,0.000049249404,0.07023092,0.0010231936,0.00005605144,0.0009806494,0.2868667,0.00008650013,0.00059319363,0.0035241365,0.636502,0.00006867684],"about_ca_topic_score_codex":0.9823814,"about_ca_topic_score_gemma":0.99262685,"teacher_disagreement_score":0.050123677,"about_ca_system_score_codex":0.050123677,"about_ca_system_score_gemma":0.06574282,"threshold_uncertainty_score":0.3636744},"labels":[],"label_agreement":null},{"id":"W4380874707","doi":"10.3138/ctr.138.014","title":"Impressions of a Sharp-Elbowed Georgia Beatty and an Easily Saturated Bar Fly: HIVE2 at the Magnetic North Festival","year":2009,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Ceiling (cloud); Art; Porch; Menagerie; Visual arts; Art history; Living room; History; Archaeology; Engineering","score_opus":0.020214501239541653,"score_gpt":0.21950889321973316,"score_spread":0.1992943919801915,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874707","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5286928,0.006512005,0.0031260292,0.040628057,0.0096291695,0.00021547252,0.0013937216,0.0010256451,0.40877712],"genre_scores_gemma":[0.69655824,0.0011980323,0.0012538566,0.009970543,0.0009598609,0.000089804955,0.00041598544,0.0008308869,0.28872275],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99918205,0.00030611578,0.00000898576,0.000093890856,0.00018544635,0.00022353532],"domain_scores_gemma":[0.9992853,0.00011729938,0.000035802892,0.000045617806,0.00011751302,0.00039847285],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00090315804,0.0014778902,0.00045758436,0.0005851555,0.011873736,0.005912591,0.0008560377,0.0021317129,0.037138768],"category_scores_gemma":[0.0016060018,0.0005146825,0.00048033724,0.00023409072,0.003887705,0.0032029718,0.0053778705,0.0055838507,0.004689597],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00050175784,0.00019741383,0.0036465616,0.00029565737,0.00006042052,0.0058540585,0.54296994,0.00015003864,0.004623543,0.00820499,0.41735116,0.016144414],"study_design_scores_gemma":[0.000032972694,0.0001756411,0.00777392,0.00025561478,0.00002462523,0.0019313373,0.50382096,0.00021010241,0.0005469484,0.00093888864,0.48419717,0.00009183073],"about_ca_topic_score_codex":0.012184579,"about_ca_topic_score_gemma":0.04399122,"teacher_disagreement_score":0.037138768,"about_ca_system_score_codex":0.0014333007,"about_ca_system_score_gemma":0.0004738656,"threshold_uncertainty_score":0.12424153},"labels":[],"label_agreement":null},{"id":"W4380925734","doi":"10.3138/ctr.130.011","title":"What’s All the Yap? Reading Mirha-Soleil Ross’s Performance of Activist Pedagogy","year":2007,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Transsexual; Transgender; Performance art; Reading (process); Performance studies; Art; Visual arts; Animal rights; Movie theater; Art history; Media studies; Sociology; History; Gender studies; Law; Anthropology; Political science","score_opus":0.04187246181570503,"score_gpt":0.26700439798480186,"score_spread":0.22513193616909682,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925734","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.024554498,0.2931665,0.0009323058,0.3165504,0.0074108113,0.00004997248,0.00011190311,0.00010041151,0.35712332],"genre_scores_gemma":[0.561818,0.16647972,0.00093652663,0.03152938,0.004069479,0.000090034606,0.00017518117,0.00014537301,0.23475634],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983924,0.00063353224,0.000025506402,0.00011475609,0.0005248105,0.00030900224],"domain_scores_gemma":[0.99869114,0.00038301176,0.000100255194,0.000042161835,0.0005155574,0.0002678959],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015864901,0.00040066283,0.00027055782,0.0012055879,0.006604816,0.005346029,0.0009817863,0.0015885533,0.0064071566],"category_scores_gemma":[0.0032721006,0.00012631693,0.00010912144,0.0011018803,0.005991818,0.002601997,0.0013692942,0.0021291007,0.0010726552],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006368447,0.00004116459,0.0015107264,0.00072206947,0.000014679366,0.00061086175,0.07532239,0.000121030775,0.00087623583,0.11540988,0.67191577,0.1333915],"study_design_scores_gemma":[0.0000043176337,0.000018905397,0.0026814172,0.00049805426,0.0000063071284,0.00014609161,0.037595417,0.000024559,0.00021425677,0.001942851,0.9568578,0.00000992881],"about_ca_topic_score_codex":0.47117078,"about_ca_topic_score_gemma":0.6343529,"teacher_disagreement_score":0.47117078,"about_ca_system_score_codex":0.013456294,"about_ca_system_score_gemma":0.011153618,"threshold_uncertainty_score":0.9368565},"labels":[],"label_agreement":null},{"id":"W4380926401","doi":"10.3138/ctr.112.006","title":"Québécìté: A Libretto in Three Cantos (First Draft)","year":2002,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Jazz; Art; Performance art; Visual arts; Humanities; Art history","score_opus":0.03525250877094094,"score_gpt":0.19010589449568355,"score_spread":0.1548533857247426,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380926401","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.039243415,0.062341306,0.0023838151,0.10760827,0.013132866,0.0013200048,0.015442479,0.0010463779,0.75748146],"genre_scores_gemma":[0.084601216,0.009758419,0.0022355465,0.0062292,0.00025747035,0.0003711316,0.0025371725,0.00021267301,0.89379716],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986432,0.00021514171,0.00006206418,0.0001062304,0.0006575775,0.00031582464],"domain_scores_gemma":[0.9979715,0.00019066015,0.000075465214,0.00007750683,0.0013273425,0.00035758602],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0025500972,0.00040553452,0.00029554658,0.0015080608,0.008839526,0.006024903,0.0010087576,0.0017383413,0.044184357],"category_scores_gemma":[0.003759144,0.00039778757,0.00023886967,0.0030172693,0.0020837768,0.0011776205,0.001238822,0.0017736016,0.0039967117],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006561994,0.000018625571,0.00066018215,0.00030225038,0.0000041281533,0.00025021232,0.0051945006,0.00011013938,0.00084151066,0.026375223,0.9229236,0.04325383],"study_design_scores_gemma":[0.0000054188763,0.000008716026,0.003057468,0.000118146265,0.000002512361,0.000026543354,0.002215226,0.000017433274,0.00016564033,0.0001579394,0.99421245,0.000012599744],"about_ca_topic_score_codex":0.9705291,"about_ca_topic_score_gemma":0.9891972,"teacher_disagreement_score":0.044184357,"about_ca_system_score_codex":0.040260565,"about_ca_system_score_gemma":0.072052166,"threshold_uncertainty_score":0.29211223},"labels":[],"label_agreement":null},{"id":"W4380928969","doi":"10.3138/ctr.112.002","title":"Impro","year":2002,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Jazz; Improvisation; Art; Performance art; Art history; Lyrics; Visual arts; Period (music); Piano; Literature; Aesthetics","score_opus":0.04122643414622547,"score_gpt":0.19674689971934536,"score_spread":0.15552046557311988,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380928969","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0014692352,0.0006953956,0.011475927,0.0017426031,0.002721378,0.0001742102,0.0031769064,0.010957798,0.96758646],"genre_scores_gemma":[0.012772105,0.00061377644,0.006359293,0.0018087025,0.00068565906,0.00018557762,0.0052309446,0.006236231,0.9661076],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99853134,0.00020061206,0.000084738494,0.00029776565,0.0006785506,0.00020700053],"domain_scores_gemma":[0.9983316,0.00025056434,0.00006310861,0.0004130003,0.00053049886,0.00041117423],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010394512,0.0009972915,0.00050952187,0.001741369,0.0023245886,0.006956875,0.00200287,0.0019256868,0.6627806],"category_scores_gemma":[0.0037999281,0.00049606315,0.00063938886,0.0013187872,0.00068058807,0.004222391,0.0058775847,0.0022238174,0.53347766],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00023383657,0.00008605222,0.00056527235,0.0004299383,0.000012774063,0.00029992813,0.0010126055,0.00020443492,0.0023961938,0.03880774,0.71338177,0.2425694],"study_design_scores_gemma":[0.000006310696,0.000010567136,0.00017078158,0.00003942718,0.0000016653231,0.00009733283,0.00015285771,0.00008863379,0.00034212062,0.0017656689,0.9973182,0.0000064720543],"about_ca_topic_score_codex":0.0015059364,"about_ca_topic_score_gemma":0.003059902,"teacher_disagreement_score":0.6627806,"about_ca_system_score_codex":0.00094570464,"about_ca_system_score_gemma":0.0011464226,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4381322766","doi":"10.1525/jpms.2023.35.2.130","title":"Contributors’ Notes","year":2023,"lang":"en","type":"article","venue":"Journal of Popular Music Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"Society for Theatre Research","keywords":"Psychology","score_opus":0.1618086070923958,"score_gpt":0.30026635710306426,"score_spread":0.13845775001066846,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4381322766","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005459556,0.007525696,0.0011420695,0.057052717,0.15869431,0.00023802703,0.003936474,0.0008949117,0.7699698],"genre_scores_gemma":[0.0022697377,0.0025188243,0.0005588765,0.008551067,0.010480488,0.00016809585,0.0013618174,0.00039314933,0.9736979],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9964563,0.00029765628,0.00022231662,0.0006523558,0.0018681709,0.00050313043],"domain_scores_gemma":[0.9903106,0.0013125982,0.00036441858,0.0012441045,0.005486996,0.0012812105],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.002461967,0.0009515388,0.0009885898,0.003164825,0.0053162836,0.009114592,0.003206442,0.003785033,0.4908711],"category_scores_gemma":[0.018552102,0.0005299955,0.0008130594,0.0036839829,0.0012682956,0.005001639,0.003977533,0.0048709037,0.3632653],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000047517588,0.000005098092,0.000027452477,0.000028039696,6.898696e-7,0.000019494866,0.00005975422,0.000011224049,0.000028175386,0.004514619,0.9834647,0.011835929],"study_design_scores_gemma":[7.7480865e-7,0.0000010514339,0.00003563418,0.000029487981,3.1625518e-7,0.000011124896,0.000034042183,0.000004591936,0.000014930591,0.00032193243,0.9995447,0.0000014458154],"about_ca_topic_score_codex":0.0070855445,"about_ca_topic_score_gemma":0.009687333,"teacher_disagreement_score":0.5091289,"about_ca_system_score_codex":0.003458143,"about_ca_system_score_gemma":0.006302146,"threshold_uncertainty_score":0.7262106},"labels":[],"label_agreement":null},{"id":"W4381435944","doi":"10.5206/notabene.v16i1.16614","title":"Ballroom Refuses to Burn: Exploitation versus Community Education in Documentaries about Voguing and the Ballroom Community","year":2023,"lang":"en","type":"article","venue":"Nota bene","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Queen's University","funders":"","keywords":"Ballroom; Mainstream; Queer; Media studies; Racism; Sociology; Art; Gender studies; History; Visual arts; Performance art; Political science; Art history; Law","score_opus":0.06499774810801627,"score_gpt":0.29094221802997816,"score_spread":0.22594446992196188,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4381435944","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4615116,0.0084025785,0.002828541,0.042207543,0.0016152078,0.00012979732,0.00018753845,0.00008464854,0.48303244],"genre_scores_gemma":[0.9681483,0.0015543383,0.0006434976,0.0023181825,0.00042487876,0.00006114029,0.000060890707,0.00009061076,0.026698217],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99530125,0.0033707565,0.00014832093,0.0002448395,0.0004935306,0.00044123255],"domain_scores_gemma":[0.9852455,0.01136221,0.0012752309,0.0005505764,0.0007934427,0.00077291834],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0046983454,0.00039538386,0.00023036126,0.0014723479,0.012965039,0.011021822,0.0008500885,0.0017934879,0.007846113],"category_scores_gemma":[0.014838611,0.00022524683,0.00013429587,0.0013969092,0.015210783,0.0072412533,0.004972946,0.004258318,0.0007196149],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000041339637,0.000025099238,0.0012823337,0.0001509906,0.0000026524933,0.0003362336,0.91080153,0.00002750438,0.0003825571,0.06125797,0.010534252,0.015157523],"study_design_scores_gemma":[0.000006338894,0.00003558065,0.0027819464,0.0008701517,0.0000054051234,0.00033826203,0.66219825,0.000072330164,0.00050405634,0.0032624747,0.32990783,0.000017392398],"about_ca_topic_score_codex":0.012993494,"about_ca_topic_score_gemma":0.036836892,"teacher_disagreement_score":0.012993494,"about_ca_system_score_codex":0.005360908,"about_ca_system_score_gemma":0.0033971872,"threshold_uncertainty_score":0.038896263},"labels":[],"label_agreement":null},{"id":"W4382939308","doi":"10.1017/s1752196323000159","title":"Affective Interruptions: Political Collectivity in Halftime","year":2023,"lang":"en","type":"article","venue":"Journal of the Society for American Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Temporality; Musical; Lyrics; Narrative; Aesthetics; Queer; Politics; Rhythm; Sociology; Psychology; Visual arts; Literature; Art; Psychoanalysis; Law; Philosophy","score_opus":0.039087848828893754,"score_gpt":0.2650203827289161,"score_spread":0.22593253390002233,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4382939308","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.75118774,0.0015877174,0.012922537,0.0033360766,0.000481592,0.0000448133,0.00016102438,0.00015622849,0.23012228],"genre_scores_gemma":[0.99564254,0.00014733821,0.00040224462,0.00015805486,0.0000810461,0.000015355687,0.000031030082,0.00004291759,0.0034794942],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9985208,0.00078343955,0.000031417207,0.00016545122,0.00029619236,0.00020274235],"domain_scores_gemma":[0.9977991,0.00091476034,0.0005052788,0.00025133652,0.00019808584,0.00033140785],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009804678,0.00029707886,0.00027070902,0.00078036677,0.0044543515,0.0059441878,0.00059657043,0.0009763607,0.0068585756],"category_scores_gemma":[0.004317475,0.00020746254,0.00027208065,0.0007419374,0.0077128788,0.003425428,0.005689469,0.0021886888,0.000491057],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005303338,0.00007412913,0.012610115,0.0002850359,0.00007368783,0.0013742707,0.7835611,0.00045167512,0.014137811,0.14461677,0.0064780978,0.03580691],"study_design_scores_gemma":[0.000038077775,0.00023424097,0.06641938,0.00037634448,0.0000620802,0.0011911792,0.5842451,0.0010554837,0.0032508455,0.037746456,0.30524692,0.00013392836],"about_ca_topic_score_codex":0.0018666259,"about_ca_topic_score_gemma":0.002905591,"teacher_disagreement_score":0.0068585756,"about_ca_system_score_codex":0.0013825465,"about_ca_system_score_gemma":0.00046206612,"threshold_uncertainty_score":0.022944272},"labels":[],"label_agreement":null},{"id":"W4382985898","doi":"10.21476/pp.2023.81430","title":"Listening is Action: A Soundwalk with Hildegard Westerkamp","year":2023,"lang":"en","type":"article","venue":"Performance Philosophy","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":25,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"McGill University","funders":"European Commission","keywords":"Soundscape; Active listening; Conversation; Action (physics); Situated; Visual arts; Sociology; Downtown; Media studies; Sound (geography); History; Art; Communication; Archaeology; Acoustics; Computer science","score_opus":0.07601395668295446,"score_gpt":0.23577085150556878,"score_spread":0.15975689482261432,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4382985898","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.32200733,0.02540739,0.012353725,0.13139948,0.01690599,0.0006190956,0.00030026145,0.0005182603,0.49048844],"genre_scores_gemma":[0.50107306,0.00965053,0.008871513,0.022238892,0.0012427841,0.0003401817,0.00018495394,0.0010013105,0.45539683],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9949183,0.0026112113,0.00015214721,0.0005833861,0.0009702275,0.00076469296],"domain_scores_gemma":[0.9970396,0.0012967399,0.00008451488,0.0001413537,0.00035151694,0.001086341],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0039337925,0.0010014566,0.0008318999,0.0012035025,0.024572356,0.014799452,0.0015946552,0.0053655147,0.009046095],"category_scores_gemma":[0.007268632,0.00081794104,0.0003967151,0.00094299053,0.012069968,0.0066339197,0.009394858,0.010202499,0.0026785403],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001154572,0.0001454239,0.0005530557,0.00026469838,0.000014492707,0.005225715,0.8465661,0.0001576386,0.001999594,0.031642504,0.06973352,0.043581866],"study_design_scores_gemma":[0.000009793483,0.000064308595,0.0008064201,0.00039543916,0.00000886903,0.0012374906,0.39299384,0.00009928501,0.00096660096,0.0026238367,0.60074466,0.000049470407],"about_ca_topic_score_codex":0.046651643,"about_ca_topic_score_gemma":0.117600456,"teacher_disagreement_score":0.046651643,"about_ca_system_score_codex":0.004774008,"about_ca_system_score_gemma":0.0050795046,"threshold_uncertainty_score":0.092760205},"labels":[],"label_agreement":null},{"id":"W4383219507","doi":"10.5406/25784773.6.1.08","title":"Contributors to This Issue","year":2023,"lang":"en","type":"article","venue":"Jazz & Culture","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Jazz; Ethnomusicology; The arts; Icon; Citation; Archivist; Library science; Media studies; Visual arts; Sociology; Art; Musical; Computer science","score_opus":0.02304830503750866,"score_gpt":0.23142174800451226,"score_spread":0.2083734429670036,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4383219507","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000328563,0.013833353,0.00073109847,0.04583985,0.37434402,0.00028342815,0.0015903801,0.0010438685,0.56200546],"genre_scores_gemma":[0.001312656,0.0066950754,0.0004065054,0.012680805,0.063325495,0.00011506157,0.0011977555,0.000399643,0.913867],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99806756,0.00023985676,0.00012561874,0.00031885505,0.0010200791,0.00022794344],"domain_scores_gemma":[0.9942007,0.00067859364,0.000267433,0.00055615965,0.0026060552,0.0016910575],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0016565188,0.0012961519,0.0010941082,0.0025213892,0.0027998404,0.0099299755,0.0026483575,0.004447273,0.6343342],"category_scores_gemma":[0.011585573,0.00047339473,0.0008515461,0.0025930752,0.00092194165,0.0054042777,0.0049298103,0.0039773406,0.53010565],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000043849927,0.000011490726,0.000048334092,0.00006250925,0.0000011491422,0.00001766244,0.0000218973,0.0000064971846,0.000029102925,0.0006332977,0.9738918,0.025271898],"study_design_scores_gemma":[0.0000018568434,0.0000029740008,0.00007318373,0.00006566895,9.2842305e-7,0.000019198253,0.000048649625,0.000005660831,0.000010367324,0.00026575488,0.9995041,0.0000017426736],"about_ca_topic_score_codex":0.0013152951,"about_ca_topic_score_gemma":0.0025769828,"teacher_disagreement_score":0.6343342,"about_ca_system_score_codex":0.0011149814,"about_ca_system_score_gemma":0.0032117423,"threshold_uncertainty_score":0.52157784},"labels":[],"label_agreement":null},{"id":"W4384170084","doi":"10.1515/9780773597389-017","title":"Toronto's Cultural Scene: Tonic or Toxin for a Sagged Soul?","year":2015,"lang":"en","type":"book-chapter","venue":"McGill-Queen's University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Soul; Tonic (physiology); Aesthetics; Art; Psychology; Neuroscience; Epistemology; Philosophy","score_opus":0.056745215086653485,"score_gpt":0.22713496448525283,"score_spread":0.17038974939859935,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4384170084","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.012526923,0.019395506,0.00038182884,0.042693887,0.0048958594,0.00002577562,0.00035154153,0.00011053372,0.91961807],"genre_scores_gemma":[0.2776317,0.012383459,0.00042625377,0.00811491,0.001013726,0.00002890236,0.0001956,0.00026872056,0.6999368],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994462,0.00010683458,0.0000098173105,0.000044285396,0.00014903891,0.00024385931],"domain_scores_gemma":[0.9995578,0.000043975186,0.000026590671,0.000029516927,0.000068597044,0.00027346003],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00042788632,0.0008502902,0.000287358,0.0010922056,0.014810099,0.009621154,0.00086050946,0.0019270179,0.03200239],"category_scores_gemma":[0.001156897,0.00032101944,0.0002607554,0.0018444906,0.011132632,0.0022760828,0.0033652128,0.0034204244,0.002794326],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000052019535,0.00000861577,0.00054729404,0.00013512427,0.000011271041,0.0003747245,0.046822768,0.000096484,0.00031893436,0.32150248,0.60653675,0.023593567],"study_design_scores_gemma":[0.000005394213,0.000009068634,0.0016305107,0.00013770106,0.000008469326,0.000087188135,0.025659744,0.000026322019,0.00008510225,0.0020994996,0.9702398,0.000011150632],"about_ca_topic_score_codex":0.860235,"about_ca_topic_score_gemma":0.96246386,"teacher_disagreement_score":0.13976502,"about_ca_system_score_codex":0.035257988,"about_ca_system_score_gemma":0.027930195,"threshold_uncertainty_score":0.2811762},"labels":[],"label_agreement":null},{"id":"W4384558832","doi":"10.1177/00219096231186386","title":"Theorizing Intimacies and Articulation in Nigerian Hip Hop Music","year":2023,"lang":"en","type":"article","venue":"Journal of Asian and African Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":7,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Queen's University","funders":"","keywords":"Lyrics; Articulation (sociology); Sociology; Gender studies; Popular music; African studies; African american; Politics; Anthropology; Visual arts; Art; Literature; Political science; Law","score_opus":0.06047651126232822,"score_gpt":0.256209185117706,"score_spread":0.1957326738553778,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4384558832","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5408426,0.0060649347,0.011755501,0.007983348,0.00020819216,0.000048418842,0.0000147366945,0.000017164539,0.43306518],"genre_scores_gemma":[0.99576485,0.00088443514,0.00075321656,0.00012074393,0.00001939401,0.000011866044,0.0000028015552,0.000004515377,0.0024381597],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9985594,0.0009191814,0.00004139132,0.000101295984,0.00018966319,0.00018901964],"domain_scores_gemma":[0.99844813,0.000992302,0.00023924286,0.00010361978,0.0000959087,0.00012078284],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002847905,0.0004919199,0.0002562091,0.0029845112,0.010265637,0.008233271,0.000721972,0.0014381559,0.0032930532],"category_scores_gemma":[0.0037753435,0.00036033936,0.00017311262,0.0013906242,0.03426192,0.0070367535,0.007291135,0.0021738105,0.0002302392],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000027743064,0.000019847772,0.0042403624,0.0000768132,0.0000054596835,0.0005614067,0.44398943,0.0001753653,0.00045695176,0.5376991,0.00027059636,0.012476864],"study_design_scores_gemma":[0.000015753534,0.00004327744,0.005862148,0.0008881064,0.000024528876,0.00068765716,0.7720847,0.00065240415,0.0005851198,0.16327412,0.05586266,0.000019458344],"about_ca_topic_score_codex":0.0044332934,"about_ca_topic_score_gemma":0.007130744,"teacher_disagreement_score":0.010265637,"about_ca_system_score_codex":0.0032002633,"about_ca_system_score_gemma":0.002511572,"threshold_uncertainty_score":0.023219645},"labels":[],"label_agreement":null},{"id":"W4384569540","doi":"10.1111/jpcu.13246","title":"For the Culture: Hip‐Hop and the Fight for Social Justice. Edited by Lakeyta M.Bonnette‐Bailey, and Adolphus G.Belk, Jr. U of Michigan P, 2022. 346 pp. $80.00 hardcover","year":2023,"lang":"en","type":"article","venue":"The Journal of Popular Culture","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Citation; Economic Justice; Library science; Social justice; Sociology; Hop (telecommunications); Gerontology; Media studies; Criminology; Law; Medicine; Political science; Engineering; Computer science; Telecommunications","score_opus":0.025865500621899195,"score_gpt":0.24108554985553404,"score_spread":0.21522004923363486,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4384569540","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0025860718,0.6328776,0.00085139624,0.11401245,0.034384787,0.000045116194,0.00020445789,0.0001811393,0.21485703],"genre_scores_gemma":[0.032738913,0.4222752,0.0018273405,0.02740552,0.012360731,0.00013257399,0.0002953235,0.00024027497,0.5027241],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99941015,0.0001938194,0.000017940149,0.000048160004,0.00023587335,0.000094039104],"domain_scores_gemma":[0.9995764,0.0001023378,0.000052272724,0.000021430516,0.00009963394,0.0001479284],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006609411,0.0010644367,0.00045504817,0.0008614701,0.0030053942,0.0060607037,0.000854881,0.0017574523,0.023531059],"category_scores_gemma":[0.0015805191,0.00032455343,0.00032426268,0.0012708433,0.0023900557,0.0041461806,0.002482149,0.0030276405,0.006906212],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008664112,0.000018356066,0.00016555031,0.00023896809,0.000004622543,0.00005257684,0.0023885237,0.000021409085,0.00008153611,0.008446017,0.9077563,0.08081747],"study_design_scores_gemma":[0.0000025020538,0.000009143217,0.0006531242,0.00064141216,0.0000030956082,0.00011725617,0.0041513634,0.000015545573,0.000036710862,0.0030210537,0.9913429,0.0000058837004],"about_ca_topic_score_codex":0.009095633,"about_ca_topic_score_gemma":0.02460326,"teacher_disagreement_score":0.023531059,"about_ca_system_score_codex":0.0019938687,"about_ca_system_score_gemma":0.0048829326,"threshold_uncertainty_score":0.0787192},"labels":[],"label_agreement":null},{"id":"W4384817306","doi":"10.5406/19452349.40.4.14","title":"Is Country Music Quintessentially American?","year":2022,"lang":"en","type":"article","venue":"American Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":12,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Country; Art; History; Literature; Economics; Management","score_opus":0.022453189253291074,"score_gpt":0.21191826667040295,"score_spread":0.18946507741711188,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4384817306","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.13573106,0.024360878,0.0029974186,0.10252671,0.0056514577,0.000020924057,0.00015261889,0.00009328489,0.7284657],"genre_scores_gemma":[0.94772,0.009936433,0.0006562848,0.014729055,0.004055836,0.000032612683,0.000114930735,0.00005572053,0.022699088],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99886215,0.00041232991,0.000033548746,0.00026090525,0.0002351786,0.00019592517],"domain_scores_gemma":[0.99893206,0.000316399,0.00017806969,0.00012051441,0.00023433888,0.00021867921],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013803074,0.00021120622,0.00027179235,0.0009730397,0.005040512,0.0075251902,0.00067742204,0.0013452345,0.007926883],"category_scores_gemma":[0.0040529636,0.00013339508,0.00014452766,0.0016179734,0.011601057,0.004888675,0.002111398,0.0025977804,0.0013985124],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015802194,0.00005686777,0.013325056,0.0001888049,0.000029123019,0.00061082956,0.0646451,0.000056889086,0.0010173501,0.74440765,0.061816014,0.11368835],"study_design_scores_gemma":[0.00001640636,0.000043248256,0.022574754,0.0003771085,0.000020094209,0.0008995175,0.08177693,0.00020862326,0.0002760772,0.1061052,0.7876609,0.00004119817],"about_ca_topic_score_codex":0.0059042526,"about_ca_topic_score_gemma":0.007404237,"teacher_disagreement_score":0.007926883,"about_ca_system_score_codex":0.0014873652,"about_ca_system_score_gemma":0.00094061444,"threshold_uncertainty_score":0.026518047},"labels":[],"label_agreement":null},{"id":"W4384817333","doi":"10.5406/19452349.40.4.26","title":"Doing Tai Chi with “American Music”","year":2022,"lang":"en","type":"article","venue":"American Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Flute; Violin; Oboe; History; Sound (geography); Visual arts; Art; Art history; Acoustics","score_opus":0.014447260028873872,"score_gpt":0.18414663254568694,"score_spread":0.16969937251681308,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4384817333","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06277579,0.0096034715,0.009535777,0.099007174,0.020340314,0.0002263313,0.00019541259,0.0015416294,0.79677415],"genre_scores_gemma":[0.20794399,0.008850355,0.011690275,0.06115659,0.0047922037,0.00034657624,0.00025854586,0.0008116006,0.70414984],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990361,0.00028947482,0.000027682865,0.00014025548,0.00028328603,0.00022322318],"domain_scores_gemma":[0.9984598,0.00014707187,0.0000684272,0.00011099293,0.00024291637,0.00097079016],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014260713,0.00069462653,0.00026098173,0.0006926638,0.009355678,0.003819747,0.00048748337,0.001092229,0.072768815],"category_scores_gemma":[0.003142056,0.00026128796,0.0003429039,0.0006360351,0.0028831982,0.0030479971,0.0036434915,0.0036254835,0.02112826],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010677631,0.00032991328,0.0056527457,0.00023840721,0.000017875758,0.00046214816,0.045259003,0.000028384688,0.0036169945,0.009396845,0.677916,0.25697485],"study_design_scores_gemma":[0.0000115936145,0.000079597485,0.0034456213,0.00018931724,0.000012160622,0.0004844872,0.02581077,0.000040104365,0.0003639579,0.0020982118,0.9674463,0.000017793334],"about_ca_topic_score_codex":0.0045805187,"about_ca_topic_score_gemma":0.02466493,"teacher_disagreement_score":0.072768815,"about_ca_system_score_codex":0.0010014833,"about_ca_system_score_gemma":0.002141072,"threshold_uncertainty_score":0.24343592},"labels":[],"label_agreement":null},{"id":"W4384817359","doi":"10.5406/19452349.40.4.22","title":"Rock ’n’ Roll (Archipelagic American Music Studies)","year":2022,"lang":"en","type":"article","venue":"American Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Rock music; Historiography; Indigenous; Ideology; Narrative; History; Musical; Popular music; Music industry; Politics; Literature; Genealogy; Art; Archaeology; Political science; Visual arts; Law; Music education","score_opus":0.05238391559290052,"score_gpt":0.24550974452984267,"score_spread":0.19312582893694213,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4384817359","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.056696303,0.11267234,0.00079180405,0.1856413,0.011928682,0.00004091683,0.00041059763,0.00014689931,0.63167125],"genre_scores_gemma":[0.5188105,0.07841834,0.001367663,0.0351443,0.011611841,0.0002119832,0.0003356287,0.00029973013,0.35380003],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995459,0.00020428335,0.000014010875,0.00005634882,0.00010116492,0.00007824646],"domain_scores_gemma":[0.99941087,0.00019580167,0.000048878064,0.000052341682,0.00007930872,0.00021274999],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009523845,0.00035200882,0.00015508394,0.0012370581,0.006427731,0.004775839,0.00057731615,0.0013703157,0.012603058],"category_scores_gemma":[0.0011371359,0.00014113776,0.00011554831,0.0014327201,0.0031861465,0.0037310324,0.0028843416,0.0024870678,0.0017207044],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000401007,0.00008946467,0.0028494457,0.00032260793,0.0000067641668,0.00048794635,0.053373862,0.000037051024,0.0007968472,0.1840984,0.6442217,0.1136758],"study_design_scores_gemma":[0.0000016634403,0.000008431984,0.0027815297,0.00019012092,0.0000017434083,0.0001200304,0.012654004,0.000023717083,0.00009772382,0.003438106,0.9806788,0.000004021871],"about_ca_topic_score_codex":0.0173658,"about_ca_topic_score_gemma":0.056459926,"teacher_disagreement_score":0.0173658,"about_ca_system_score_codex":0.0021988312,"about_ca_system_score_gemma":0.0026182414,"threshold_uncertainty_score":0.042161405},"labels":[],"label_agreement":null},{"id":"W4384824330","doi":"10.1515/9780228018391-004","title":"Electrifying Musical Life in Toronto","year":2023,"lang":"en","type":"book-chapter","venue":"McGill-Queen's University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Musical; Visual arts; Art; History; Art history; Media studies; Sociology","score_opus":0.03234938544679138,"score_gpt":0.20083540556539464,"score_spread":0.16848602011860325,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4384824330","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.018846814,0.02338499,0.00026226236,0.010448148,0.0007395401,0.00001525002,0.00018370902,0.000035906738,0.9460835],"genre_scores_gemma":[0.26692402,0.01678401,0.00032668863,0.0007676235,0.00017799836,0.000020317655,0.00009347226,0.000043410764,0.71486247],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99969125,0.000043333523,0.000008098946,0.000025395411,0.00009794171,0.0001339974],"domain_scores_gemma":[0.9997781,0.000032543237,0.000013602665,0.000013013963,0.00004928121,0.0001135131],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00024398237,0.0004454574,0.0001749599,0.0009143993,0.00881562,0.0058674766,0.0006057722,0.0009373038,0.046758886],"category_scores_gemma":[0.00057427364,0.00022264698,0.00013673236,0.002339658,0.0034483448,0.0011865535,0.0031007256,0.0013313537,0.0020889689],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000093508264,0.000018451083,0.0018234533,0.0002914823,0.000010952119,0.0010107661,0.049312327,0.0007348664,0.0008589582,0.557644,0.27328372,0.1149174],"study_design_scores_gemma":[0.000003666426,0.000009031427,0.0039241794,0.00015807935,0.000004718707,0.000078224955,0.01669716,0.000090190464,0.00011909037,0.0040994924,0.9748058,0.000010467411],"about_ca_topic_score_codex":0.8422788,"about_ca_topic_score_gemma":0.9655838,"teacher_disagreement_score":0.15772122,"about_ca_system_score_codex":0.03913407,"about_ca_system_score_gemma":0.0185028,"threshold_uncertainty_score":0.31730008},"labels":[],"label_agreement":null},{"id":"W4385197815","doi":"10.1080/10509208.2023.2236509","title":"Historiography and Documentary Techniques in <i>Let It Be</i> (1970) and <i>The Beatles: Get Back</i> (2021)","year":2023,"lang":"en","type":"article","venue":"Quarterly Review of Film and Video","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Wilfrid Laurier University","funders":"","keywords":"Studio; Art; Art history; Historiography; Performance art; Movie theater; History; Literature; Media studies; Visual arts; Sociology","score_opus":0.01466219897200914,"score_gpt":0.23311893896860947,"score_spread":0.21845673999660034,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385197815","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0019641065,0.3063619,0.004871648,0.050886903,0.03652752,0.00012535414,0.0026966485,0.00058460556,0.59598136],"genre_scores_gemma":[0.027492043,0.26737785,0.0062891897,0.0071370397,0.01349038,0.00020542671,0.0022317101,0.00092503446,0.6748514],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.99943274,0.00017361215,0.000063149186,0.000061245526,0.00020060618,0.000068564266],"domain_scores_gemma":[0.9980216,0.00088539236,0.00016680623,0.00017489948,0.00058737415,0.00016400024],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012843485,0.00069309206,0.00031979542,0.010051595,0.00273936,0.0064797546,0.0006875467,0.0008866125,0.086732075],"category_scores_gemma":[0.0052631237,0.00032293552,0.00024842305,0.011517119,0.0029948698,0.00622006,0.0012301865,0.0022503424,0.022937154],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024129493,0.000013439619,0.00023267345,0.00047977304,0.000003135508,0.000037712012,0.0013999323,0.00003883457,0.00018183586,0.08615693,0.80765796,0.103773616],"study_design_scores_gemma":[0.000002060718,0.0000036507513,0.00035661834,0.0003517757,0.0000025659506,0.000025982148,0.0005894872,0.000011618295,0.00011027126,0.002093178,0.99644995,0.0000028682305],"about_ca_topic_score_codex":0.027853293,"about_ca_topic_score_gemma":0.051724482,"teacher_disagreement_score":0.086732075,"about_ca_system_score_codex":0.002738499,"about_ca_system_score_gemma":0.0026935812,"threshold_uncertainty_score":0.29014772},"labels":[],"label_agreement":null},{"id":"W4385311371","doi":"10.59962/9780774862295-002","title":"Preface and Acknowledgments","year":2020,"lang":"en","type":"book-chapter","venue":"University of British Columbia Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History; Geography","score_opus":0.026251500545894285,"score_gpt":0.15509426489931022,"score_spread":0.12884276435341593,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385311371","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0025029234,0.01291689,0.008355723,0.0645859,0.33938724,0.0012737632,0.023259318,0.0022739943,0.5454442],"genre_scores_gemma":[0.011942155,0.009848924,0.0048041795,0.01932567,0.05274993,0.0012754939,0.021756126,0.0017214398,0.8765762],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980774,0.00033598448,0.00017165662,0.0003285791,0.0009142203,0.00017205703],"domain_scores_gemma":[0.9889643,0.0017225797,0.00037717144,0.00062247115,0.0067280764,0.0015853771],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.002561888,0.0010053723,0.00081620394,0.002544967,0.0036587685,0.004314053,0.001803811,0.0014695604,0.30053544],"category_scores_gemma":[0.021323781,0.00033603804,0.0004875403,0.001784102,0.0008043373,0.0031151786,0.003049029,0.004213835,0.19838974],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000026644646,0.000016687602,0.00010665515,0.00013760722,0.0000016604218,0.00006091905,0.0002732737,0.000028513898,0.00012583465,0.0027048655,0.9730569,0.023460386],"study_design_scores_gemma":[0.0000036826773,0.000013954139,0.000250068,0.00015560607,0.0000013567931,0.000053293403,0.00019344463,0.000013112027,0.0000592339,0.0010270803,0.9982248,0.000004442555],"about_ca_topic_score_codex":0.004136961,"about_ca_topic_score_gemma":0.0045801275,"teacher_disagreement_score":0.69946456,"about_ca_system_score_codex":0.0024737902,"about_ca_system_score_gemma":0.0037274647,"threshold_uncertainty_score":0.9977013},"labels":[],"label_agreement":null},{"id":"W4385361222","doi":"10.59962/9780774862295-010","title":"In Search of the Canadian Sound","year":2020,"lang":"en","type":"book-chapter","venue":"University of British Columbia Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sound (geography); Computer science; History; Geology; Oceanography","score_opus":0.03234504042185608,"score_gpt":0.16163800262764036,"score_spread":0.1292929622057843,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385361222","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0021843547,0.018960997,0.0002921221,0.02533116,0.0025805072,0.000024010422,0.00027203548,0.00006810797,0.95028675],"genre_scores_gemma":[0.021276267,0.007638382,0.00038141292,0.0026844535,0.00017061013,0.000011937111,0.00007831532,0.000053083913,0.96770555],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99929154,0.000045165558,0.000010991801,0.00007593599,0.00034918383,0.00022723289],"domain_scores_gemma":[0.9994836,0.000036132253,0.000009210531,0.000019646508,0.00029901136,0.00015237977],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00048124976,0.000644557,0.00035411195,0.0021230266,0.016481766,0.009103682,0.0010152415,0.0020953573,0.07891694],"category_scores_gemma":[0.0013341517,0.00035762056,0.00030745714,0.0031987578,0.00467185,0.002220036,0.0020619417,0.0033637262,0.009203955],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000385926,0.00001629529,0.00051113387,0.000113454844,0.00000412661,0.00014858134,0.0042187814,0.000088821194,0.0002363236,0.18708852,0.7143168,0.09321851],"study_design_scores_gemma":[0.0000018352679,0.0000018810274,0.00043676596,0.00006034246,0.0000022499041,0.0000202419,0.0020300408,0.000019371846,0.000035631536,0.0017417007,0.9956442,0.000005677552],"about_ca_topic_score_codex":0.98685336,"about_ca_topic_score_gemma":0.99649686,"teacher_disagreement_score":0.07891694,"about_ca_system_score_codex":0.046942845,"about_ca_system_score_gemma":0.08547189,"threshold_uncertainty_score":0.34059578},"labels":[],"label_agreement":null},{"id":"W4385473038","doi":"10.7202/1102234ar","title":"Naviguer à travers les attentes genrées de la communauté de danse swing de Montréal","year":2023,"lang":"fr","type":"article","venue":"Les Cahiers de la Société québécoise de recherche en musique","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"McGill University","funders":"","keywords":"Art; Humanities; Political science","score_opus":0.055969196511512574,"score_gpt":0.3152948592275121,"score_spread":0.25932566271599955,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385473038","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6189511,0.0008351616,0.0408844,0.006434998,0.00032936534,0.0002902058,0.0020779134,0.0007258238,0.32947102],"genre_scores_gemma":[0.8946272,0.0005797355,0.012952109,0.0005587424,0.000028095144,0.00015648858,0.0007913302,0.00030952916,0.089996815],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99895704,0.00032009723,0.000027871609,0.00023234086,0.00026725623,0.00019535975],"domain_scores_gemma":[0.9975655,0.00078481354,0.00019268482,0.00026202982,0.00082558836,0.00036952097],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013905201,0.0005077251,0.00023552398,0.0011951681,0.006125071,0.0061362013,0.0012286291,0.0008411554,0.018606175],"category_scores_gemma":[0.006051602,0.00033045627,0.00036222333,0.0016038142,0.004972608,0.003564253,0.0033713006,0.0011492638,0.0014211371],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00031371732,0.00012188032,0.07397392,0.0004763909,0.000061539744,0.0012684243,0.61372024,0.0017311596,0.0097283805,0.09786043,0.02328314,0.17746079],"study_design_scores_gemma":[0.000034712917,0.000120629054,0.11635831,0.00046255207,0.00006624428,0.0003043769,0.32829753,0.003434202,0.00383691,0.0109741865,0.535937,0.0001734438],"about_ca_topic_score_codex":0.8152958,"about_ca_topic_score_gemma":0.9214425,"teacher_disagreement_score":0.18470418,"about_ca_system_score_codex":0.0191477,"about_ca_system_score_gemma":0.012699382,"threshold_uncertainty_score":0.37158388},"labels":[],"label_agreement":null},{"id":"W4385483267","doi":"10.7202/1102400ar","title":"Jamaican Sound Systems and Knowledge Systems: Practice-Based Research (PBR) in Popular Culture","year":2023,"lang":"en","type":"article","venue":"Performance Matters","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Grassroots; Session (web analytics); Situated; Scope (computer science); Tacit knowledge; Value (mathematics); Embodied cognition; Sociology; Public relations; Harassment; Visual arts; Knowledge management; Computer science; Psychology; Political science; Social psychology; Art; World Wide Web; Law; Artificial intelligence","score_opus":0.130145740320317,"score_gpt":0.31977306975547204,"score_spread":0.18962732943515503,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385483267","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.71154904,0.007524186,0.0072803153,0.047983598,0.00020067029,0.0006174149,0.00009728996,0.000037851318,0.22470967],"genre_scores_gemma":[0.99177915,0.0021518376,0.0018723885,0.0011006324,0.00003773807,0.00012584553,0.000014304154,0.0000065915897,0.0029114985],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.98656726,0.010342749,0.0003083235,0.00084354496,0.0011181813,0.00081982365],"domain_scores_gemma":[0.957906,0.035736088,0.0014826901,0.0021171295,0.0014839264,0.0012742246],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.017944263,0.0003205057,0.0004389384,0.0018823956,0.013685249,0.015926566,0.0017028674,0.0022651227,0.0037827683],"category_scores_gemma":[0.018913012,0.0004174618,0.00014696045,0.0038813874,0.048364647,0.007993582,0.00767809,0.00374199,0.00021049155],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000037709702,0.00036868546,0.011440361,0.0007257096,0.000018804865,0.00060579524,0.8407881,0.00027411993,0.0005431691,0.08674055,0.0020698735,0.056387022],"study_design_scores_gemma":[0.000025376597,0.00013156753,0.008905052,0.0008196101,0.000011274918,0.00012946453,0.95038605,0.00032405404,0.0003518196,0.014461834,0.02443837,0.000015462023],"about_ca_topic_score_codex":0.04062306,"about_ca_topic_score_gemma":0.09948403,"teacher_disagreement_score":0.9863148,"about_ca_system_score_codex":0.01652145,"about_ca_system_score_gemma":0.019981729,"threshold_uncertainty_score":0.11987209},"labels":[],"label_agreement":null},{"id":"W4385498264","doi":"10.7202/1102408ar","title":"Listening Otherwise: Relationalities of the Othered","year":2023,"lang":"en","type":"article","venue":"Performance Matters","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"The Scarborough Hospital; University of Toronto","funders":"","keywords":"Active listening; Performative utterance; Scholarship; Field (mathematics); Musical; Sociology; Aesthetics; Appreciative listening; Psychology; Visual arts; Art; Political science; Communication","score_opus":0.02504792912114608,"score_gpt":0.19271555704721643,"score_spread":0.16766762792607035,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385498264","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16995627,0.0021349746,0.018519958,0.013375801,0.0008921398,0.000060601255,0.000057239213,0.00013011871,0.7948729],"genre_scores_gemma":[0.9745646,0.00053626456,0.0010042555,0.0008696078,0.00014546484,0.000023779276,0.000022912336,0.000091921574,0.02274121],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9916283,0.0057011764,0.00013609424,0.00076366856,0.0008563211,0.0009145475],"domain_scores_gemma":[0.99551046,0.002228022,0.00039462812,0.0005412953,0.00035859857,0.00096703635],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005556814,0.00063636433,0.00050477457,0.002127638,0.012911912,0.014164699,0.0016701013,0.0024641636,0.009892999],"category_scores_gemma":[0.0123481555,0.00026196145,0.0005439682,0.0011877702,0.038590502,0.011574662,0.014237227,0.0053840005,0.0009972778],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005265964,0.000026514204,0.0007827702,0.00007038847,0.000015417327,0.00063120166,0.6615616,0.00008990785,0.0010902096,0.32437515,0.0021851766,0.009118937],"study_design_scores_gemma":[0.000017208793,0.000060774695,0.001165554,0.0002500154,0.000022583412,0.0009529123,0.73846906,0.00029199297,0.0005853333,0.077196345,0.18094291,0.0000453823],"about_ca_topic_score_codex":0.004046947,"about_ca_topic_score_gemma":0.0054837433,"teacher_disagreement_score":0.014164699,"about_ca_system_score_codex":0.0020486885,"about_ca_system_score_gemma":0.0016179195,"threshold_uncertainty_score":0.03309536},"labels":[],"label_agreement":null},{"id":"W4385511877","doi":"10.1515/9780228000143","title":"Contemporary Musical Expressions in Canada","year":2020,"lang":"en","type":"book","venue":"McGill-Queen's University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Musical; Geography; Linguistics; Communication; Art; Visual arts; Sociology; Philosophy","score_opus":0.030197913550367418,"score_gpt":0.1751284641205319,"score_spread":0.1449305505701645,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385511877","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.25254494,0.012153268,0.0014066465,0.0282037,0.0016173704,0.000090481764,0.0009916592,0.00017024374,0.7028218],"genre_scores_gemma":[0.79802126,0.008534066,0.0011366432,0.0027710563,0.00020655451,0.00006306879,0.00050541526,0.00020156986,0.18856029],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9973948,0.00028669668,0.00006082977,0.0002440835,0.0010925863,0.00092101126],"domain_scores_gemma":[0.9983241,0.00016881045,0.00008047265,0.00006473076,0.00085728697,0.00050450675],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00082368,0.00069509563,0.00045593438,0.0025008472,0.036459845,0.013770664,0.0019286603,0.0014840277,0.014186683],"category_scores_gemma":[0.0028236478,0.0002853348,0.00027208976,0.007975162,0.014346319,0.0017710853,0.005782316,0.0026088704,0.0012161928],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000095125964,0.00003684298,0.0069145807,0.00028193332,0.00001760973,0.0015793031,0.5473545,0.00044385332,0.0021735097,0.17990069,0.15087639,0.11032567],"study_design_scores_gemma":[0.0000035839387,0.000008716861,0.0058845785,0.0001767051,0.000010211074,0.00023655499,0.23842363,0.00014561198,0.00026732308,0.0017027558,0.75309604,0.000044338474],"about_ca_topic_score_codex":0.9869235,"about_ca_topic_score_gemma":0.99401194,"teacher_disagreement_score":0.1354195,"about_ca_system_score_codex":0.1354195,"about_ca_system_score_gemma":0.1272743,"threshold_uncertainty_score":0.98254186},"labels":[],"label_agreement":null},{"id":"W4385591419","doi":"10.1353/esc.2020.a903563","title":"\"Apprentices of Listening\": Sound Studies in Educational Leadership","year":2020,"lang":"en","type":"article","venue":"English studies in Canada","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Active listening; Reflective listening; Appreciative listening; Reading (process); Informational listening; Sociology; Pedagogy; Psychology; Epistemology; Linguistics; Philosophy; Communication","score_opus":0.26797260802203027,"score_gpt":0.2947095462261405,"score_spread":0.026736938204110217,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385591419","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.02632284,0.096835054,0.0023570335,0.74722874,0.007959785,0.000063496715,0.00001761005,0.000083591505,0.119131826],"genre_scores_gemma":[0.63694733,0.07433775,0.0030134812,0.18019411,0.01113673,0.00036116224,0.000024944376,0.00019216814,0.09379227],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99535817,0.0034340227,0.000054107953,0.00017804062,0.00056344044,0.0004121212],"domain_scores_gemma":[0.99257094,0.005316123,0.00021999754,0.00018694985,0.0005088827,0.0011970935],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0065354654,0.0005436639,0.00046013325,0.0016632172,0.018403335,0.009704659,0.0015244568,0.006253767,0.0046308585],"category_scores_gemma":[0.00788106,0.00027862802,0.00025578393,0.0010491132,0.025135368,0.013803971,0.008738583,0.011793049,0.00080669293],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000031945285,0.00010686997,0.00048821548,0.00024899677,0.000005200844,0.00073327613,0.5013603,0.00005032994,0.00047605194,0.23561867,0.19803971,0.06284039],"study_design_scores_gemma":[0.000009199743,0.00004743769,0.00095369335,0.001188287,0.000004691354,0.0005201971,0.30746505,0.0000850414,0.00027837986,0.034057043,0.6553668,0.000024272977],"about_ca_topic_score_codex":0.009363455,"about_ca_topic_score_gemma":0.03303201,"teacher_disagreement_score":0.018403335,"about_ca_system_score_codex":0.0055391057,"about_ca_system_score_gemma":0.0058905412,"threshold_uncertainty_score":0.040189207},"labels":[],"label_agreement":null},{"id":"W4385591478","doi":"10.1353/esc.2020.a903566","title":"\"That Men Might Listen Earnestly to It\": Hearing Blackness","year":2020,"lang":"en","type":"article","venue":"English studies in Canada","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Active listening; Silence; White (mutation); Aesthetics; Meaning (existential); Entertainment; Sociology; History; Visual arts; Psychology; Art; Communication","score_opus":0.12892593712747616,"score_gpt":0.2504667801340637,"score_spread":0.12154084300658755,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385591478","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10416699,0.025039902,0.0024047154,0.59819967,0.015025027,0.00009291836,0.00009607475,0.0001666002,0.25480813],"genre_scores_gemma":[0.65447474,0.013239059,0.0014963503,0.1609733,0.00638049,0.00023335377,0.000058841826,0.0003356656,0.16280824],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9974075,0.0017422477,0.000026735706,0.0001841426,0.0002479162,0.00039145676],"domain_scores_gemma":[0.99859744,0.0005081072,0.00012870034,0.000038972044,0.00017859873,0.00054824416],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023448083,0.0006549222,0.00033295073,0.0005283817,0.013230801,0.0053400258,0.0008250983,0.0037563145,0.010563698],"category_scores_gemma":[0.004966933,0.00033335725,0.0003014406,0.00023264822,0.011278531,0.0051304176,0.0048377453,0.008415731,0.0021238988],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014177954,0.00008773146,0.0020153522,0.00020813668,0.000023274428,0.0012667513,0.58869463,0.000048419886,0.0015303302,0.044303715,0.31297463,0.048705228],"study_design_scores_gemma":[0.000026314001,0.00008002515,0.0038792966,0.00085369445,0.000022486618,0.0011547698,0.49225935,0.00011001308,0.0004430564,0.008416703,0.49270302,0.000051241404],"about_ca_topic_score_codex":0.019483779,"about_ca_topic_score_gemma":0.034557823,"teacher_disagreement_score":0.019483779,"about_ca_system_score_codex":0.002976538,"about_ca_system_score_gemma":0.0016633335,"threshold_uncertainty_score":0.038740754},"labels":[],"label_agreement":null},{"id":"W4385591490","doi":"10.1353/esc.2020.a903558","title":"Listening Queerly to Teleny and Trilby","year":2020,"lang":"en","type":"article","venue":"English studies in Canada","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Queer; Active listening; Suspect; Musical; Meaning (existential); Literature; Aesthetics; Identity (music); Sociology; Art; History; Philosophy; Gender studies; Epistemology","score_opus":0.05204946479773537,"score_gpt":0.22228357862919995,"score_spread":0.17023411383146458,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385591490","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.027664414,0.07389139,0.0013150393,0.20634499,0.013331857,0.00006887416,0.00010108775,0.00012846272,0.6771539],"genre_scores_gemma":[0.33315986,0.038360115,0.0006964912,0.03558535,0.007715011,0.00009009776,0.00006032033,0.0002641426,0.5840686],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.998988,0.0004737107,0.000023014329,0.00016473162,0.00021915873,0.00013144576],"domain_scores_gemma":[0.9992729,0.00031294275,0.00008300109,0.000037372116,0.00011152881,0.00018228391],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013781467,0.0003113796,0.00025964424,0.0007015945,0.008279914,0.0054309806,0.00047252688,0.0018205114,0.016261557],"category_scores_gemma":[0.0025193382,0.00015818911,0.000115442366,0.000448172,0.008893011,0.0038341717,0.0023770775,0.0037650273,0.002558021],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010740265,0.00007597577,0.00072330364,0.00023391318,0.000010411196,0.0006963642,0.22072616,0.00006002456,0.0014143181,0.21178068,0.48651588,0.07765558],"study_design_scores_gemma":[0.000004483041,0.000021323911,0.0012711596,0.00030347722,0.0000035746657,0.00025195593,0.03858448,0.00003234862,0.00020543285,0.0056563476,0.9536513,0.000014043836],"about_ca_topic_score_codex":0.020311773,"about_ca_topic_score_gemma":0.049044173,"teacher_disagreement_score":0.020311773,"about_ca_system_score_codex":0.003966616,"about_ca_system_score_gemma":0.0017830889,"threshold_uncertainty_score":0.054400325},"labels":[],"label_agreement":null},{"id":"W4385592453","doi":"10.5040/9798400679841","title":"Listen To Rap!","year":2019,"lang":"en","type":"book","venue":"ABC-CLIO eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Emphasis (telecommunications); Musical; Phenomenon; Art; Visual arts; Media studies; Sociology; Engineering; Telecommunications","score_opus":0.030952711415161784,"score_gpt":0.19003298302903265,"score_spread":0.15908027161387087,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385592453","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0001937779,0.00071802386,0.00062578794,0.0025577855,0.0020538953,0.00003081701,0.00020032491,0.000693857,0.99292576],"genre_scores_gemma":[0.001275768,0.0004575032,0.00032757997,0.0018286703,0.00034053117,0.000027924287,0.00016477208,0.00046179353,0.9951155],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99949443,0.000099338584,0.000013767767,0.000058865593,0.000256869,0.00007668404],"domain_scores_gemma":[0.999337,0.00014479905,0.00003210337,0.000072341376,0.00024583342,0.00016786958],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00045006993,0.00080535887,0.00042478743,0.0011739592,0.0040506194,0.0057722833,0.0009826729,0.001985476,0.38474968],"category_scores_gemma":[0.0017871215,0.00043551682,0.00041359002,0.00083015347,0.0012735832,0.005546723,0.0045432965,0.0041148057,0.39573258],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005566177,0.00000939671,0.000030911164,0.000043616765,8.4489136e-7,0.00004125309,0.0006394918,0.000012751817,0.000119362485,0.006338007,0.965492,0.0272667],"study_design_scores_gemma":[9.747406e-7,0.000002857293,0.00007038587,0.000041823758,4.0119957e-7,0.000056081357,0.0003109212,0.000010957982,0.00004286645,0.00063745165,0.9988226,0.0000026721946],"about_ca_topic_score_codex":0.004313883,"about_ca_topic_score_gemma":0.012442602,"teacher_disagreement_score":0.38474968,"about_ca_system_score_codex":0.001069437,"about_ca_system_score_gemma":0.00097546977,"threshold_uncertainty_score":0.8775799},"labels":[],"label_agreement":null},{"id":"W4385592815","doi":"10.59962/9780774837705-015","title":"Canadian Jazz Sources","year":2018,"lang":"en","type":"book-chapter","venue":"University of British Columbia Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Jazz; History; Art history","score_opus":0.018031367594379386,"score_gpt":0.1415175173129509,"score_spread":0.12348614971857151,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385592815","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005479335,0.0027358427,0.00031156154,0.0026261508,0.0018024449,0.00016158035,0.07438414,0.0009814036,0.916449],"genre_scores_gemma":[0.0014989962,0.0016511752,0.00038064359,0.00027054787,0.00014660919,0.00004581729,0.012844461,0.0003842452,0.9827776],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981098,0.00006671977,0.00005715766,0.00017803037,0.0012700533,0.0003182658],"domain_scores_gemma":[0.9923983,0.00026590846,0.00012262641,0.00030298243,0.0061598253,0.00075033866],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0008890082,0.0015449631,0.0010468564,0.016820908,0.010618422,0.009064246,0.002185204,0.0011728398,0.6317898],"category_scores_gemma":[0.005739437,0.00082050543,0.0006688811,0.026251046,0.0008771151,0.0020591258,0.0020630301,0.0020205767,0.34556],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001447693,0.000004281022,0.00006939827,0.00006714595,0.0000012449588,0.000012696532,0.000060649105,0.0000119249,0.000030420359,0.0013418705,0.9854506,0.012935275],"study_design_scores_gemma":[0.000003400856,0.000001220325,0.00057069655,0.000053213054,0.00000272253,0.000010273987,0.00014504563,0.00001328393,0.000045857167,0.00017126088,0.99897707,0.0000060475745],"about_ca_topic_score_codex":0.8974271,"about_ca_topic_score_gemma":0.957149,"teacher_disagreement_score":0.6317898,"about_ca_system_score_codex":0.0250652,"about_ca_system_score_gemma":0.045961693,"threshold_uncertainty_score":0.52520716},"labels":[],"label_agreement":null},{"id":"W4385592906","doi":"10.59962/9780774837705","title":"Live at The Cellar","year":2018,"lang":"en","type":"book","venue":"University of British Columbia Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.01769562368672963,"score_gpt":0.14824620646054598,"score_spread":0.13055058277381634,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385592906","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.025949689,0.0027302254,0.0021592889,0.019831369,0.0047509423,0.0001305501,0.0015997736,0.0006799446,0.94216824],"genre_scores_gemma":[0.0847815,0.001589154,0.0013935509,0.005664499,0.0004598768,0.00007570303,0.0009267942,0.00051087583,0.90459806],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99807066,0.00029236806,0.000025538628,0.00028977846,0.0006491413,0.00067248085],"domain_scores_gemma":[0.9978496,0.00013437831,0.000045031105,0.00018022423,0.0008463232,0.0009443859],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009328471,0.0007099819,0.00035740633,0.0011056104,0.026190823,0.011109444,0.0015096535,0.001965927,0.12856698],"category_scores_gemma":[0.0025250295,0.00031026985,0.00034381554,0.0010931231,0.004206788,0.0030065146,0.007218718,0.0041069933,0.028893748],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007715342,0.00005388952,0.0023444833,0.000094712814,0.000010520414,0.000637038,0.03668383,0.00005790407,0.0011199915,0.03578361,0.8398986,0.08323826],"study_design_scores_gemma":[0.0000026299267,0.000011005334,0.0007399252,0.000050248735,0.0000028645136,0.00014166205,0.018006498,0.000014733494,0.00014121961,0.00046281508,0.9804152,0.000011192853],"about_ca_topic_score_codex":0.52910113,"about_ca_topic_score_gemma":0.8644541,"teacher_disagreement_score":0.52910113,"about_ca_system_score_codex":0.010066695,"about_ca_system_score_gemma":0.012843847,"threshold_uncertainty_score":0.9473442},"labels":[],"label_agreement":null},{"id":"W4385656503","doi":"10.7202/1101786ar","title":"Rutherford Chang. The Record Collector as Artist-Curator","year":2023,"lang":"en","type":"article","venue":"Revue musicale OICRM","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Creativity; White (mutation); Art; Commodity; Art history; Interrogation; Visual arts; Law; Political science; Business","score_opus":0.04690978101483727,"score_gpt":0.21684194777179483,"score_spread":0.16993216675695755,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385656503","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0045699957,0.023627805,0.002384897,0.09472855,0.0096152155,0.0000766025,0.0003215113,0.000733245,0.86394215],"genre_scores_gemma":[0.062466502,0.005295144,0.0018050952,0.011774764,0.0013013881,0.000068487265,0.00010147616,0.00033438564,0.9168527],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99856913,0.00049063377,0.000058093952,0.00029959736,0.0004526781,0.00012977126],"domain_scores_gemma":[0.9977794,0.0007465638,0.00018865147,0.00038101233,0.00045237702,0.00045206564],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012251886,0.00049762265,0.00013203506,0.00092452386,0.005397093,0.0052708033,0.00093776523,0.003044439,0.0941404],"category_scores_gemma":[0.0064903665,0.00026495632,0.00012476444,0.0012247149,0.003828699,0.0056586154,0.002656457,0.0022692527,0.022869226],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019683164,0.000019539175,0.00045563187,0.000095539566,0.0000021337212,0.0001557437,0.007585939,0.000017289398,0.00034696233,0.07783646,0.83974993,0.07371519],"study_design_scores_gemma":[0.0000017605066,0.000003730744,0.00031537475,0.000066731955,8.951558e-7,0.00009164721,0.0018956016,0.000015395273,0.0001181146,0.0018317918,0.9956546,0.0000043568302],"about_ca_topic_score_codex":0.020827862,"about_ca_topic_score_gemma":0.06544654,"teacher_disagreement_score":0.0941404,"about_ca_system_score_codex":0.002639488,"about_ca_system_score_gemma":0.0023704097,"threshold_uncertainty_score":0.31493104},"labels":[],"label_agreement":null},{"id":"W4385656547","doi":"10.7202/1101793ar","title":"« Paul Is Dead ». Une histoire médiatique du disque-conspiration","year":2023,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.0280830314808517,"score_gpt":0.21328122990257864,"score_spread":0.18519819842172694,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385656547","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.09204158,0.0592069,0.0063381568,0.12060797,0.007542211,0.00006950549,0.00019509124,0.00007900965,0.7139195],"genre_scores_gemma":[0.8419539,0.015940772,0.0009526112,0.008937504,0.0014657057,0.000076720804,0.0000551693,0.00010694164,0.13051061],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99732023,0.0014251855,0.00006820071,0.00035588956,0.0004999643,0.0003304984],"domain_scores_gemma":[0.996968,0.0019193027,0.00036885208,0.00018693715,0.0003540433,0.00020286128],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0027336057,0.0007601583,0.0002648202,0.0019052069,0.01092292,0.010620692,0.0009087593,0.0032083446,0.0051316055],"category_scores_gemma":[0.006290954,0.00039663608,0.0002451366,0.0017310288,0.031437803,0.008342197,0.0042163585,0.0053668586,0.00080848683],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000048949685,0.000009803876,0.00083122175,0.00018966447,0.000007741804,0.00036166233,0.34880412,0.000064527994,0.00032783113,0.61436737,0.018928645,0.016058443],"study_design_scores_gemma":[0.0000072596363,0.000028712364,0.0012486079,0.0004947603,0.000010542983,0.00030109144,0.14367244,0.00006642281,0.00048842566,0.021966856,0.8316936,0.000021198606],"about_ca_topic_score_codex":0.03730824,"about_ca_topic_score_gemma":0.056546926,"teacher_disagreement_score":0.03730824,"about_ca_system_score_codex":0.007213322,"about_ca_system_score_gemma":0.003431611,"threshold_uncertainty_score":0.07418215},"labels":[],"label_agreement":null},{"id":"W4385763555","doi":"10.1353/bhb.2023.a904143","title":"Clarion call: Toward Jazz and the Black Arts Movement","year":2023,"lang":"en","type":"article","venue":"Black History Bulletin","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Jazz; Blues; Improvisation; Musical; Call and response; The arts; Aesthetics; Melody; Visual arts; Singing; Art; Black music; Literature; History; Sociology; Movement (music); Art history; Music history","score_opus":0.041797106308388114,"score_gpt":0.195753979189324,"score_spread":0.15395687288093587,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385763555","genre_codex":"other","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0025266467,0.009542002,0.00060148665,0.3073434,0.04285541,0.00019865099,0.00033864385,0.0006415401,0.6359522],"genre_scores_gemma":[0.005799412,0.0012221887,0.00039391586,0.029838141,0.003459993,0.00009802583,0.00006189568,0.00015093505,0.95897555],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990301,0.00015897071,0.000017415874,0.00020980714,0.00036660105,0.00021713352],"domain_scores_gemma":[0.99801457,0.00017772113,0.00009646362,0.000063785745,0.0003132652,0.0013341167],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0012269159,0.00084214465,0.00032905105,0.0008577189,0.0073536746,0.004870534,0.0011259189,0.0059977565,0.3398258],"category_scores_gemma":[0.0024290471,0.00028695367,0.00030232794,0.00026198168,0.0014774849,0.003202835,0.0068357256,0.005627567,0.1091131],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001981537,0.000021105447,0.00006983856,0.000024707875,5.1875816e-7,0.00007055777,0.00015112894,0.0000064677733,0.00014593762,0.0019091356,0.98578775,0.011793045],"study_design_scores_gemma":[0.000004886202,0.0000097095835,0.00026491945,0.00008504108,6.1895196e-7,0.00008498262,0.0004734156,0.000016229551,0.00004698049,0.0003589351,0.99864894,0.000005336526],"about_ca_topic_score_codex":0.0055337735,"about_ca_topic_score_gemma":0.01633631,"teacher_disagreement_score":0.3398258,"about_ca_system_score_codex":0.0016545439,"about_ca_system_score_gemma":0.0023324213,"threshold_uncertainty_score":0.9416584},"labels":[],"label_agreement":null},{"id":"W4385862997","doi":"10.59962/9780774852159","title":"Pepper in Our Eyes","year":2007,"lang":"en","type":"book","venue":"University of British Columbia Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Pepper; Capsicum annuum; Mathematics; Horticulture; Biology","score_opus":0.0203363693008163,"score_gpt":0.17235698878988043,"score_spread":0.15202061948906412,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385862997","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0029986107,0.015108474,0.0011103938,0.21029751,0.10472358,0.00010458595,0.0006041233,0.0008727628,0.66418],"genre_scores_gemma":[0.013464729,0.00383154,0.0006782301,0.09638157,0.010952401,0.000080139216,0.00014300701,0.00041560121,0.87405276],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99900925,0.00022148392,0.000031861437,0.00021141923,0.00035035404,0.00017553264],"domain_scores_gemma":[0.9977391,0.00061073294,0.00012679619,0.00021235074,0.0005043439,0.0008067466],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011230828,0.0010295532,0.00039861913,0.0008599873,0.0062347646,0.0075449664,0.0010368762,0.004764328,0.19770023],"category_scores_gemma":[0.008021705,0.00033847228,0.00029517204,0.00058759196,0.002092013,0.0074070096,0.0055616433,0.0076655042,0.052110616],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011342272,0.000009949789,0.00007099746,0.000045453024,0.0000011054899,0.0002506295,0.00061720115,0.000008770758,0.000089723784,0.0071606115,0.97537315,0.016360959],"study_design_scores_gemma":[0.0000010618985,0.0000041556737,0.00005584675,0.00003604723,4.5433188e-7,0.00013989031,0.00048762994,0.0000055381797,0.00004503859,0.0005927915,0.9986286,0.0000029461532],"about_ca_topic_score_codex":0.001951069,"about_ca_topic_score_gemma":0.003589693,"teacher_disagreement_score":0.19770023,"about_ca_system_score_codex":0.0013033014,"about_ca_system_score_gemma":0.0019500674,"threshold_uncertainty_score":0.66137314},"labels":[],"label_agreement":null},{"id":"W4386014163","doi":"10.2307/jj.6047928.7","title":"Electrifying Musical Life in Toronto","year":2023,"lang":"en","type":"book-chapter","venue":"McGill-Queen's University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Musical; History; Art; Visual arts","score_opus":0.03234938544679138,"score_gpt":0.20083540556539464,"score_spread":0.16848602011860325,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4386014163","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.018846814,0.02338499,0.00026226236,0.010448148,0.0007395401,0.00001525002,0.00018370902,0.000035906738,0.9460835],"genre_scores_gemma":[0.26692402,0.01678401,0.00032668863,0.0007676235,0.00017799836,0.000020317655,0.00009347226,0.000043410764,0.71486247],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99969125,0.000043333523,0.000008098946,0.000025395411,0.00009794171,0.0001339974],"domain_scores_gemma":[0.9997781,0.000032543237,0.000013602665,0.000013013963,0.00004928121,0.0001135131],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00024398237,0.0004454574,0.0001749599,0.0009143993,0.00881562,0.0058674766,0.0006057722,0.0009373038,0.046758886],"category_scores_gemma":[0.00057427364,0.00022264698,0.00013673236,0.002339658,0.0034483448,0.0011865535,0.0031007256,0.0013313537,0.0020889689],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000093508264,0.000018451083,0.0018234533,0.0002914823,0.000010952119,0.0010107661,0.049312327,0.0007348664,0.0008589582,0.557644,0.27328372,0.1149174],"study_design_scores_gemma":[0.000003666426,0.000009031427,0.0039241794,0.00015807935,0.000004718707,0.000078224955,0.01669716,0.000090190464,0.00011909037,0.0040994924,0.9748058,0.000010467411],"about_ca_topic_score_codex":0.8422788,"about_ca_topic_score_gemma":0.9655838,"teacher_disagreement_score":0.15772122,"about_ca_system_score_codex":0.03913407,"about_ca_system_score_gemma":0.0185028,"threshold_uncertainty_score":0.31730008},"labels":[],"label_agreement":null},{"id":"W4386110876","doi":"10.1386/punk_00198_1","title":"Sex, violence and a bit of a giggle: Notes on the novelty song","year":2023,"lang":"en","type":"article","venue":"Punk & Post Punk","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Trent University","funders":"","keywords":"Novelty; Seriousness; Originality; Function (biology); Alley; Aesthetics; History; Psychology; Literature; Art; Social psychology; Epistemology; Philosophy","score_opus":0.03658574431546311,"score_gpt":0.2160474542193951,"score_spread":0.179461709903932,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4386110876","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.32221082,0.031963702,0.004066698,0.022316946,0.0034796733,0.000043071384,0.00007381866,0.000045190543,0.6158001],"genre_scores_gemma":[0.96169746,0.004108163,0.00053743727,0.0024403515,0.0014395843,0.000022618646,0.000018661889,0.000060174127,0.029675549],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99836785,0.0010576942,0.000031730706,0.000108409826,0.0002598762,0.00017440873],"domain_scores_gemma":[0.99906355,0.0006606889,0.00006645987,0.000055890367,0.000044591183,0.00010891921],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010058067,0.00032880018,0.00026357485,0.00084555155,0.010285636,0.0044817487,0.0008172177,0.001605424,0.003110299],"category_scores_gemma":[0.0024551316,0.00015287194,0.00028998524,0.00068576355,0.018724848,0.0030322399,0.0035945093,0.0030980704,0.00042177044],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010797767,0.000032058957,0.0022842344,0.00016197146,0.000015959533,0.0035587144,0.5875148,0.000085434476,0.0007895925,0.3639661,0.012728649,0.028754469],"study_design_scores_gemma":[0.000021513704,0.00014258317,0.0094984,0.00056820567,0.000012881925,0.0045815026,0.36668143,0.00012560394,0.0005933079,0.033504218,0.5842258,0.00004453558],"about_ca_topic_score_codex":0.004598408,"about_ca_topic_score_gemma":0.0097851325,"teacher_disagreement_score":0.010285636,"about_ca_system_score_codex":0.0015379091,"about_ca_system_score_gemma":0.0006051366,"threshold_uncertainty_score":0.011158347},"labels":[],"label_agreement":null},{"id":"W4386154741","doi":"10.18432/ari29691","title":"\"I Have a Bag of Old Knickers. Do You?\"","year":2023,"lang":"en","type":"article","venue":"Art/Research International A Transdisciplinary Journal","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Autoethnography; Media studies; Poetry; Sociology; Embodied cognition; Materialism; Framing (construction); Visual arts; Aesthetics; Art; Gender studies; History; Literature; Computer science","score_opus":0.1299031660990907,"score_gpt":0.3629975360985151,"score_spread":0.2330943699994244,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4386154741","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18900101,0.015487758,0.017172918,0.10741892,0.012418628,0.00030988248,0.0008385304,0.0011624091,0.65619],"genre_scores_gemma":[0.45020133,0.009085768,0.0073643834,0.019453537,0.0018010422,0.00016044966,0.0003716515,0.00054062443,0.5110212],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991141,0.0004398301,0.000024193527,0.0000838917,0.00017824266,0.00015971185],"domain_scores_gemma":[0.9992099,0.00020591001,0.000117049836,0.000064762375,0.00016123711,0.00024105136],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012260221,0.0008286577,0.00030622352,0.0007904612,0.0063479412,0.0036583568,0.0006017,0.0013363315,0.029378608],"category_scores_gemma":[0.0043498143,0.00025910736,0.00032649864,0.00069158175,0.0040447586,0.0062071956,0.0023262037,0.0029904454,0.012889779],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001433196,0.00013577654,0.0064229984,0.00040120605,0.000031784733,0.0021654097,0.27985603,0.000071853356,0.0016307115,0.037557315,0.49554273,0.17604089],"study_design_scores_gemma":[0.0000060811785,0.00005771819,0.002438079,0.0003232907,0.000010293742,0.001683003,0.25903866,0.00007896706,0.00038101853,0.003388127,0.73256314,0.000031608895],"about_ca_topic_score_codex":0.0035198808,"about_ca_topic_score_gemma":0.008853379,"teacher_disagreement_score":0.029378608,"about_ca_system_score_codex":0.0007374036,"about_ca_system_score_gemma":0.00058617425,"threshold_uncertainty_score":0.098281264},"labels":[],"label_agreement":null},{"id":"W4386331431","doi":"10.1515/9781772127003","title":"Indie Rock","year":2023,"lang":"en","type":"book","venue":"University of Alberta Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Indie film; Geology; Geochemistry; Art; Visual arts","score_opus":0.035627778201392526,"score_gpt":0.16948334136135343,"score_spread":0.1338555631599609,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4386331431","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0011301124,0.0057873074,0.0002242669,0.0022999044,0.00060109387,0.000011318961,0.00016899068,0.00016521524,0.98961174],"genre_scores_gemma":[0.0030917707,0.0011417624,0.00013656306,0.00035765994,0.000047031474,0.0000074094373,0.000076303004,0.000081175574,0.9950604],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99975437,0.00001678994,0.0000046402765,0.00004384601,0.00010588228,0.00007446701],"domain_scores_gemma":[0.9997732,0.000034013618,0.000009940871,0.000031864525,0.00006958691,0.00008145976],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00020177475,0.0005980714,0.00031887935,0.0018422339,0.0050470876,0.0053537176,0.0007423497,0.0011283923,0.16893339],"category_scores_gemma":[0.0006731296,0.00035775284,0.00024291975,0.0014611203,0.0013421968,0.0023556007,0.0020023326,0.0024219458,0.051495455],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021577749,0.000017927488,0.00021810137,0.00007433316,0.0000019523536,0.00025946333,0.001822167,0.000034734057,0.00035668898,0.04132011,0.9026488,0.053224124],"study_design_scores_gemma":[5.657272e-7,0.0000016864547,0.00021960388,0.000034206838,6.076149e-7,0.00014065752,0.00026252106,0.000010537579,0.000045740166,0.00024659152,0.99903536,0.0000019994245],"about_ca_topic_score_codex":0.08463308,"about_ca_topic_score_gemma":0.35461843,"teacher_disagreement_score":0.16893339,"about_ca_system_score_codex":0.004170112,"about_ca_system_score_gemma":0.0024125653,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4386453978","doi":"10.3998/mp.4571","title":"“Disinclined to Politicize”? Music and Canadian Politics 2.0","year":2023,"lang":"en","type":"article","venue":"Music and Politics","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Queen's University","funders":"","keywords":"Politics; Ideology; Musical; Lyrics; Aesthetics; Object (grammar); Sociology; Citizen journalism; Face (sociological concept); Media studies; Political science; Literature; Social science; Art; Law; Linguistics; Philosophy","score_opus":0.05310472229449869,"score_gpt":0.22765500272942396,"score_spread":0.17455028043492526,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4386453978","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.092356734,0.0074973884,0.001006348,0.084267475,0.00064309995,0.000053570173,0.00060049247,0.000097009346,0.81347775],"genre_scores_gemma":[0.9176083,0.0038988343,0.0008332482,0.0069054435,0.00010987716,0.000031579082,0.0002481311,0.00009570577,0.07026893],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9945528,0.00082008506,0.00006840175,0.00052124145,0.0016884167,0.0023490814],"domain_scores_gemma":[0.99596846,0.0007896465,0.00021368454,0.00015860648,0.0014923541,0.0013772368],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0024963727,0.00053351,0.00042278244,0.0031534953,0.03566384,0.021301832,0.0016719924,0.0030492523,0.021227917],"category_scores_gemma":[0.0058680694,0.00036591393,0.00040400613,0.005128435,0.02350966,0.0034705538,0.0038857295,0.0033802153,0.0011245254],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007270649,0.000032259864,0.015605351,0.00015424646,0.000023659783,0.0005092277,0.109101824,0.0002471879,0.0005617575,0.7292887,0.10027064,0.04413254],"study_design_scores_gemma":[0.00002173464,0.000015599986,0.0371729,0.00045669233,0.000047254744,0.00026067134,0.15829837,0.0005359282,0.0003866284,0.024825944,0.777863,0.00011522146],"about_ca_topic_score_codex":0.99624205,"about_ca_topic_score_gemma":0.9979285,"teacher_disagreement_score":0.20795226,"about_ca_system_score_codex":0.20795226,"about_ca_system_score_gemma":0.18640311,"threshold_uncertainty_score":0.91866314},"labels":[],"label_agreement":null},{"id":"W4386512614","doi":"10.1215/9781478027171","title":"Nimrods","year":2023,"lang":"en","type":"book","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Punk; Memoir; Queer; Poetry; Politics; Performance art; Gender studies; Art; Harlem Renaissance; Racism; Psychoanalysis; Sociology; Art history; Literature; Psychology; Law; Political science","score_opus":0.05664256287595954,"score_gpt":0.20015282927500386,"score_spread":0.14351026639904432,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4386512614","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0025782932,0.002747723,0.0011304029,0.010762357,0.00952188,0.00008302822,0.001242005,0.0009247476,0.97100955],"genre_scores_gemma":[0.007861244,0.0010482945,0.00077166397,0.0025388347,0.0007107444,0.000054864355,0.00046787763,0.00035060884,0.9861958],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985505,0.00019163746,0.000068233414,0.00023848235,0.00077889534,0.00017233455],"domain_scores_gemma":[0.99866164,0.00017329252,0.00007452259,0.00021299616,0.00040889645,0.0004686128],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013602978,0.0007156555,0.00045082666,0.0016285325,0.0042522526,0.0055028875,0.0013633255,0.002061931,0.3652695],"category_scores_gemma":[0.0049364744,0.0003591767,0.00035796026,0.0012641407,0.0011102187,0.0027493879,0.003868952,0.0023303353,0.161413],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007177272,0.000045341665,0.00043337155,0.00011473175,0.000003298596,0.0003795486,0.0006912414,0.000038053262,0.00050865975,0.03461192,0.8686523,0.09444986],"study_design_scores_gemma":[0.0000015716047,0.0000033957697,0.000112927366,0.000020737694,4.9653625e-7,0.00005751792,0.000112938236,0.000015526439,0.000066706176,0.00056220574,0.99904436,0.0000016759362],"about_ca_topic_score_codex":0.0034035747,"about_ca_topic_score_gemma":0.012085193,"teacher_disagreement_score":0.3652695,"about_ca_system_score_codex":0.0021532737,"about_ca_system_score_gemma":0.0025437872,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4386516761","doi":"10.1515/9781772125078-006","title":"The Crisis of Love in Dionne Brand’s Love Enough","year":2019,"lang":"fr","type":"book-chapter","venue":"University of Alberta Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Love story; Psychology; History; Art; Literature","score_opus":0.02097409522710655,"score_gpt":0.1708425980392096,"score_spread":0.14986850281210304,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4386516761","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.061920065,0.015034949,0.001393517,0.0525947,0.002127374,0.000020032914,0.00006526192,0.000044676355,0.8667994],"genre_scores_gemma":[0.7748522,0.0060822987,0.0003769998,0.005955741,0.0004910498,0.000021683472,0.000032098764,0.000075875854,0.21211205],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989796,0.00034895918,0.000014374667,0.00011294342,0.0002639831,0.00028004302],"domain_scores_gemma":[0.999418,0.00016922234,0.000043280343,0.000047493922,0.000079072975,0.00024290358],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010344732,0.00037866892,0.00030308493,0.0006657714,0.016129965,0.009434204,0.00044623666,0.0018622234,0.0061533973],"category_scores_gemma":[0.00133184,0.00033514368,0.0001492546,0.0007884924,0.026762024,0.005182495,0.0040331003,0.004141517,0.0006335606],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003156353,0.000013909167,0.00041637113,0.000048270722,0.0000023529228,0.00021305027,0.15535145,0.000044069853,0.00017947632,0.7892898,0.0463005,0.008109271],"study_design_scores_gemma":[0.000005180782,0.000014239348,0.0007699228,0.00008360585,0.0000028970844,0.0003702044,0.06634289,0.00005613331,0.00013061447,0.032744214,0.8994656,0.000014608142],"about_ca_topic_score_codex":0.10700601,"about_ca_topic_score_gemma":0.27125478,"teacher_disagreement_score":0.10700601,"about_ca_system_score_codex":0.019326441,"about_ca_system_score_gemma":0.0054593547,"threshold_uncertainty_score":0.21276635},"labels":[],"label_agreement":null},{"id":"W4386628105","doi":"10.5040/9781501389221","title":"k.d. lang’ s Ingénue","year":2023,"lang":"en","type":"book","venue":"Bloomsbury Publishing Plc eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Punk; Lesbian; Art; Persona; Art history; Narrative; Musical; Performance art; Drummer; Media studies; Literature; History; Visual arts; Humanities; Sociology; Gender studies","score_opus":0.0498116591936481,"score_gpt":0.20585410409593127,"score_spread":0.15604244490228317,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4386628105","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.003185395,0.010148702,0.00047735538,0.019512998,0.0044259084,0.00003757108,0.0004996555,0.00032727577,0.9613852],"genre_scores_gemma":[0.008704585,0.0022952182,0.00020532263,0.0011861504,0.000115367606,0.000006897642,0.00008246949,0.00010024115,0.9873038],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99949205,0.000030885778,0.000011676281,0.00008549457,0.0002565827,0.00012337498],"domain_scores_gemma":[0.99941707,0.000049426995,0.000017756101,0.00002880281,0.00030338232,0.00018364479],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00039336382,0.0005868168,0.00025124045,0.00092448946,0.008156461,0.004451749,0.00054476754,0.0012078045,0.14074515],"category_scores_gemma":[0.00105959,0.00028752766,0.00020708503,0.00093200523,0.0013181287,0.001927529,0.0016489994,0.0017090508,0.042461142],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018871737,0.000009042651,0.00035011096,0.000081487466,0.0000012098968,0.000120013676,0.0021563293,0.0000330184,0.00044256734,0.017182717,0.92705446,0.0525502],"study_design_scores_gemma":[5.447844e-7,0.0000016964298,0.00028779107,0.000024838982,4.561113e-7,0.00005118806,0.0005496606,0.0000058246774,0.000072145995,0.00013651674,0.99886656,0.000002834944],"about_ca_topic_score_codex":0.43818778,"about_ca_topic_score_gemma":0.7050277,"teacher_disagreement_score":0.43818778,"about_ca_system_score_codex":0.010288413,"about_ca_system_score_gemma":0.008621965,"threshold_uncertainty_score":0.8712745},"labels":[],"label_agreement":null},{"id":"W4386649875","doi":"10.5040/9781501389221.0019","title":"Canadian Music Hall of Fame and Ingénue ’s Twenty-Fifth Anniversary","year":2023,"lang":"hu","type":"other","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art history; Art","score_opus":0.022706732755465683,"score_gpt":0.18285150477022669,"score_spread":0.16014477201476102,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4386649875","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0026387456,0.0031796335,0.00019023441,0.029204803,0.010575314,0.00010342668,0.0055912714,0.00040941132,0.9481071],"genre_scores_gemma":[0.0033966124,0.0004033725,0.00007829158,0.0010310189,0.0001874669,0.000012681324,0.00029025058,0.000045274668,0.9945551],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987601,0.000031401487,0.000011972524,0.0000635658,0.00060974824,0.0005232379],"domain_scores_gemma":[0.9978236,0.00005320608,0.000026519208,0.000051340234,0.0008216949,0.0012236972],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00070890086,0.0008532677,0.0005185879,0.0015279375,0.0153312115,0.0068107015,0.0013386965,0.004126145,0.36551377],"category_scores_gemma":[0.0021743092,0.00036215843,0.00068222324,0.0014651555,0.0017490766,0.001268301,0.0035011922,0.0035009074,0.066371165],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013686346,0.000010409858,0.00018385905,0.00001877103,0.0000021803692,0.000036822905,0.00007370669,0.000025020105,0.000038202368,0.004741091,0.98587024,0.008986102],"study_design_scores_gemma":[0.0000041596777,0.000002991672,0.0016259477,0.000026672671,0.0000015406227,0.0000112256785,0.00037980458,0.000024531768,0.000039642156,0.00037852666,0.9974968,0.000008104158],"about_ca_topic_score_codex":0.9431146,"about_ca_topic_score_gemma":0.99046093,"teacher_disagreement_score":0.36551377,"about_ca_system_score_codex":0.02601688,"about_ca_system_score_gemma":0.07531742,"threshold_uncertainty_score":0.9050176},"labels":[],"label_agreement":null},{"id":"W4386864657","doi":"10.4324/9781003310204-2","title":"“Might as Well Just Stay Up Here”","year":2023,"lang":"en","type":"book-chapter","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History; Psychology","score_opus":0.07272821698837068,"score_gpt":0.21804906916744884,"score_spread":0.14532085217907817,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4386864657","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005295346,0.007227372,0.0014503237,0.019805592,0.0028688493,0.000033705895,0.00006982844,0.00015551521,0.9630934],"genre_scores_gemma":[0.06155282,0.003331848,0.0006641509,0.004634229,0.00045703223,0.000038937942,0.000053556785,0.00014927237,0.9291181],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99950695,0.00019355648,0.0000060811476,0.00006126053,0.00009691276,0.00013532331],"domain_scores_gemma":[0.9997993,0.00004317036,0.000012698878,0.00001410714,0.000054013817,0.000076656885],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004422733,0.0005991412,0.00022931358,0.00033635713,0.006552227,0.004223977,0.00052517344,0.0010469143,0.034481116],"category_scores_gemma":[0.00082592067,0.0002170749,0.00019154689,0.0003500351,0.003622775,0.005098287,0.0018448479,0.003941642,0.014936214],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003419529,0.000036408892,0.0006125095,0.00011392246,0.0000046200857,0.00020184353,0.03275793,0.00004007492,0.0003665047,0.29819307,0.6208797,0.046759173],"study_design_scores_gemma":[0.0000012203734,0.000007873318,0.00022627889,0.00004094446,9.688388e-7,0.00008082145,0.0068681636,0.000014115172,0.000062257925,0.001554081,0.9911402,0.0000032646926],"about_ca_topic_score_codex":0.01802699,"about_ca_topic_score_gemma":0.06534122,"teacher_disagreement_score":0.034481116,"about_ca_system_score_codex":0.002242085,"about_ca_system_score_gemma":0.0016129545,"threshold_uncertainty_score":0.11535078},"labels":[],"label_agreement":null},{"id":"W4386928269","doi":"10.1080/17411912.2023.2230498","title":"Across the Pacific: the strategic citizenship of Chinese musicians","year":2023,"lang":"en","type":"article","venue":"Ethnomusicology Forum","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"Social Sciences and Humanities Research Council of Canada; Center for East Asian Studies, Stanford University; Wolf Humanities Center","keywords":"Ethnomusicology; Musical; Citizenship; Sociology; Negotiation; Ethnography; Mainland China; China; Generosity; Music education; Gender studies; Media studies; Pedagogy; Political science; Visual arts; Law; Social science; Anthropology; Politics; Art","score_opus":0.06242760552336161,"score_gpt":0.27717767264312,"score_spread":0.2147500671197584,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4386928269","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.981727,0.000076719974,0.000068612026,0.0008349095,0.000009616662,0.000006120387,0.000004431457,0.0000024606506,0.01727013],"genre_scores_gemma":[0.99829274,0.00007669826,0.00002980662,0.00011610762,0.0000030660876,0.0000028135194,0.0000046706214,0.0000015982287,0.0014724248],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99947137,0.00013954806,0.00001188712,0.000061147744,0.00006242494,0.00025361232],"domain_scores_gemma":[0.9995653,0.000060423452,0.00006777665,0.000034193406,0.00005327537,0.00021905212],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007471919,0.00022448227,0.00015237683,0.0007541641,0.010765996,0.003382579,0.0005372889,0.00048786897,0.0024618567],"category_scores_gemma":[0.0010375244,0.0001716041,0.00014810824,0.0010661108,0.006640468,0.0018236294,0.003063523,0.0010565931,0.00013052998],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003844949,0.000044904915,0.062797606,0.000023717268,0.000015573089,0.0014509364,0.902556,0.00006077425,0.00091468747,0.015097858,0.0012438871,0.015755638],"study_design_scores_gemma":[0.0000052799137,0.00003925692,0.04222034,0.000032988297,0.000019114479,0.00021886943,0.9412238,0.00024202943,0.00029733925,0.002063713,0.013620145,0.000017243938],"about_ca_topic_score_codex":0.12587953,"about_ca_topic_score_gemma":0.17616035,"teacher_disagreement_score":0.12587953,"about_ca_system_score_codex":0.002873047,"about_ca_system_score_gemma":0.0046431636,"threshold_uncertainty_score":0.25029367},"labels":[],"label_agreement":null},{"id":"W4386940203","doi":"10.7202/1105867ar","title":"The Shortest Distance Between Gamelan and Electronics: Creating a “nexus of understanding” at Martin Bartlett’s Summer Intensives (Vancouver, 1986–1992)","year":2023,"lang":"en","type":"article","venue":"Intersections Canadian Journal of Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"The arts; Visual arts; Indonesian; Electronic music; Nexus (standard); Electronic dance music; Dance; Identity (music); History; Event (particle physics); Performing arts; Art; Art history; Media studies; Sociology; Engineering; Aesthetics; Linguistics","score_opus":0.05731123533864136,"score_gpt":0.2216585314113014,"score_spread":0.16434729607266005,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4386940203","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.25695005,0.022270989,0.0070507205,0.12681323,0.0015948486,0.00008244711,0.00010874574,0.00011480758,0.58501416],"genre_scores_gemma":[0.79841214,0.009129746,0.0035550352,0.0077938596,0.00019349184,0.000052156352,0.00008080584,0.00020501642,0.18057781],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99892956,0.00045990708,0.000016651711,0.00014419663,0.00020880759,0.00024094421],"domain_scores_gemma":[0.9989753,0.00030262358,0.000047308553,0.000038268798,0.00012521211,0.000511394],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012690623,0.00039336027,0.00027243368,0.0008475439,0.027669597,0.0109730605,0.0009047959,0.0012496819,0.007842892],"category_scores_gemma":[0.0016268379,0.00035890832,0.00012378584,0.0008008181,0.015843851,0.0029992426,0.0038380001,0.0046642213,0.0009812855],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000106479514,0.00009411609,0.004729123,0.00016096846,0.000010669395,0.0011330525,0.64698386,0.00018384593,0.001326213,0.10792334,0.13261415,0.10473416],"study_design_scores_gemma":[0.000007893385,0.000016512908,0.004236672,0.00020904842,0.0000039098727,0.00020354165,0.32743666,0.0000683638,0.00039337628,0.0076162196,0.6597906,0.000017206165],"about_ca_topic_score_codex":0.3449972,"about_ca_topic_score_gemma":0.74612266,"teacher_disagreement_score":0.65500283,"about_ca_system_score_codex":0.012834323,"about_ca_system_score_gemma":0.010192723,"threshold_uncertainty_score":0.6859782},"labels":[],"label_agreement":null},{"id":"W4387183746","doi":"10.1007/978-3-031-22488-1_17","title":"Marcusean Pathways for Queer Agency Through Sonic Conceptions of Noise in the Twenty-First Century","year":2023,"lang":"en","type":"book-chapter","venue":"Critical political theory and radical practice","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Queer; Agency (philosophy); Politics; Resistance (ecology); Power (physics); Hegemony; Sociology; Democracy; Aesthetics; Political science; Gender studies; Social science; Law; Art","score_opus":0.06953415852770467,"score_gpt":0.30523663763970454,"score_spread":0.23570247911199987,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4387183746","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.015480924,0.0069399714,0.0068994816,0.023760058,0.0004127927,0.000025284447,0.000047324094,0.000034782497,0.9463995],"genre_scores_gemma":[0.76421076,0.0029571294,0.0015410185,0.0029742036,0.00047499404,0.0000794667,0.000023793242,0.00007560481,0.22766298],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9982337,0.00096488115,0.00003127886,0.00021193919,0.00025432726,0.0003038698],"domain_scores_gemma":[0.9988065,0.0007538368,0.000081185186,0.000099899866,0.00014171904,0.00011686854],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019812898,0.00059533725,0.0002677219,0.0009058495,0.011554544,0.01024705,0.001061178,0.0033019516,0.011719169],"category_scores_gemma":[0.003661718,0.00024481426,0.00024003812,0.0009200559,0.05811135,0.0066903345,0.003515044,0.0053469976,0.00096945907],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000038493704,0.000002964102,0.000021899243,0.000005485111,5.428205e-7,0.000010141797,0.008449649,0.000039119077,0.000021746775,0.9888313,0.0014208476,0.0011925129],"study_design_scores_gemma":[0.000014667579,0.000014365073,0.000292319,0.000105666506,0.0000049914534,0.000050487142,0.017944386,0.00014712822,0.00019179514,0.70615333,0.27506605,0.000014692176],"about_ca_topic_score_codex":0.02464136,"about_ca_topic_score_gemma":0.042664267,"teacher_disagreement_score":0.02464136,"about_ca_system_score_codex":0.008520535,"about_ca_system_score_gemma":0.006140222,"threshold_uncertainty_score":0.061821043},"labels":[],"label_agreement":null},{"id":"W4387219963","doi":"10.1177/02557614231188127","title":"The many ways of Puerto Rican community music","year":2023,"lang":"en","type":"article","venue":"International Journal of Music Education","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Indigenous; Promotion (chess); Music education; Musical; Community building; Sociology; Political science; Public relations; Visual arts; Pedagogy; Art","score_opus":0.10342910278282637,"score_gpt":0.27983351982497906,"score_spread":0.1764044170421527,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4387219963","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.864573,0.0016483706,0.0013644377,0.005025859,0.00004516654,0.00009304555,0.00005660887,0.00002575734,0.12716779],"genre_scores_gemma":[0.991778,0.0005674626,0.00070465606,0.00037562076,0.000008621157,0.000044643028,0.000012270465,0.000007804381,0.00650097],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.999295,0.00045071758,0.000011543389,0.00005728581,0.00007752263,0.00010783602],"domain_scores_gemma":[0.9997552,0.00006754315,0.000044376724,0.000037083093,0.000035878602,0.00005995359],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009869307,0.00019025488,0.000118734286,0.00066977035,0.0046589607,0.0018226512,0.00042963686,0.00036807172,0.0031216862],"category_scores_gemma":[0.001335654,0.00009673184,0.000082856124,0.000853636,0.0028148592,0.0008431508,0.0032583058,0.0005018773,0.00016039633],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008496999,0.000052234147,0.027564228,0.00020289297,0.00002200779,0.0018607315,0.7582064,0.00013147465,0.0044892346,0.05516918,0.005176567,0.14704011],"study_design_scores_gemma":[0.000014943061,0.000049757506,0.07967401,0.00029346868,0.000020345193,0.00065570045,0.70096844,0.0002714306,0.0008111442,0.0047337934,0.21247913,0.000027868184],"about_ca_topic_score_codex":0.070913546,"about_ca_topic_score_gemma":0.19287698,"teacher_disagreement_score":0.070913546,"about_ca_system_score_codex":0.002346098,"about_ca_system_score_gemma":0.0015375972,"threshold_uncertainty_score":0.14100158},"labels":[],"label_agreement":null},{"id":"W4387226752","doi":"10.1558/prbt.31812","title":"Marshall, L., and D. Laing, eds. 2015. Popular Music Matters: Essays in Honour of Simon Frith","year":2017,"lang":"en","type":"article","venue":"Perfect Beat","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université du Québec à Montréal","funders":"","keywords":"Frith; Honour; History; Media studies; Art history; Sociology; Art; Philosophy; Archaeology","score_opus":0.02692270569303522,"score_gpt":0.23484672045633068,"score_spread":0.20792401476329544,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4387226752","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000397384,0.8944869,0.0009024162,0.04642102,0.0067201033,0.000014588147,0.00025861413,0.00009862737,0.05070032],"genre_scores_gemma":[0.011647698,0.806674,0.0016157196,0.0043136035,0.007973438,0.00007439469,0.00030565853,0.00021259632,0.16718283],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990312,0.0002963313,0.00006889781,0.00010731293,0.00039939504,0.00009683569],"domain_scores_gemma":[0.9975107,0.0012923323,0.000283165,0.00010697827,0.00046343025,0.00034342293],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020284061,0.0019463873,0.0009874607,0.0033626487,0.002669297,0.006742668,0.0015420509,0.0032142806,0.039239064],"category_scores_gemma":[0.0061640297,0.0009226886,0.0005628853,0.0039899014,0.0025928556,0.009064503,0.002692832,0.0030209136,0.027340239],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000030470183,0.0000094835805,0.00014566584,0.00057389267,0.000007939031,0.00005122933,0.0019167721,0.00006570428,0.000143988,0.0069157984,0.8754254,0.11471364],"study_design_scores_gemma":[0.0000043300474,0.0000058866913,0.000655129,0.0012858894,0.000009048294,0.00007129452,0.0013437205,0.000023419427,0.000087666,0.004926075,0.9915764,0.00001118889],"about_ca_topic_score_codex":0.02051015,"about_ca_topic_score_gemma":0.05224546,"teacher_disagreement_score":0.039239064,"about_ca_system_score_codex":0.0050495258,"about_ca_system_score_gemma":0.0045488854,"threshold_uncertainty_score":0.13126779},"labels":[],"label_agreement":null},{"id":"W4387255244","doi":"10.5040/9798216038320","title":"The Words and Music of Alanis Morissette","year":2015,"lang":"en","type":"book","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Context (archaeology); Musical; Reading (process); Perspective (graphical); Appeal; Popular music; Visual arts; Media studies; Art; Literature; Aesthetics; Psychology; Sociology; History; Political science; Law","score_opus":0.03653642263142277,"score_gpt":0.1928978862306195,"score_spread":0.15636146359919673,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4387255244","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.021497894,0.10161199,0.0027850964,0.12362414,0.015119089,0.000050722596,0.0001834814,0.00024821624,0.7348793],"genre_scores_gemma":[0.25218302,0.048495907,0.0032137898,0.026987754,0.00575519,0.0001298912,0.00015161466,0.00045310205,0.6626297],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988005,0.0004692782,0.000031592663,0.00016707911,0.00041916253,0.00011242158],"domain_scores_gemma":[0.99923205,0.00026581335,0.00007948418,0.00003602573,0.00022909451,0.00015759602],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007985207,0.00068868685,0.00024432316,0.0005686184,0.0062797978,0.004999819,0.00049254677,0.0014268272,0.0077278926],"category_scores_gemma":[0.002391524,0.00033385406,0.00017634132,0.00062053464,0.004938189,0.0031668623,0.001798446,0.0035973233,0.004375279],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004924409,0.000014369193,0.00084540714,0.00016534985,0.0000061734386,0.00060653116,0.046660658,0.00006996294,0.0010851956,0.08653342,0.8077753,0.056188412],"study_design_scores_gemma":[6.37183e-7,0.0000061271185,0.00040272417,0.00008064679,0.0000010560791,0.0002947769,0.0056296666,0.000014148088,0.00009421473,0.00089245604,0.9925774,0.0000060620223],"about_ca_topic_score_codex":0.015010121,"about_ca_topic_score_gemma":0.026157187,"teacher_disagreement_score":0.015010121,"about_ca_system_score_codex":0.0032134815,"about_ca_system_score_gemma":0.0018210487,"threshold_uncertainty_score":0.029845476},"labels":[],"label_agreement":null},{"id":"W4387337157","doi":"10.26522/ssj.v17i3.4072","title":"Transformation Towards Social Justice: Artistic Amalgams Seen Through a Hip-Hop Pedagogical Lens","year":2023,"lang":"en","type":"article","venue":"Studies in Social Justice","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Social justice; Transformation (genetics); Social transformation; Lens (geology); Sociology; Economic Justice; Through-the-lens metering; Aesthetics; Political science; Art; Social change; Law and economics; Law; Optics","score_opus":0.2975706208144503,"score_gpt":0.4036901429449822,"score_spread":0.10611952213053188,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4387337157","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.23881336,0.0040652147,0.02343777,0.035982616,0.0029920905,0.00018108028,0.00007011518,0.00044662147,0.6940111],"genre_scores_gemma":[0.9363075,0.0009400593,0.004846585,0.0024146924,0.0004907769,0.00007175604,0.00002746039,0.00021904329,0.054682128],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9956897,0.0027970152,0.000060807604,0.0002440106,0.000712384,0.00049609115],"domain_scores_gemma":[0.99776685,0.0011650226,0.00013944099,0.00026246192,0.00016057168,0.00050572475],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003837916,0.0006942777,0.000346906,0.0020290154,0.013024756,0.017616136,0.0016691072,0.0023899158,0.005882847],"category_scores_gemma":[0.0049037207,0.00024524037,0.00052964705,0.0011188122,0.037856508,0.0047716023,0.012574494,0.0061017307,0.00069279486],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000034905544,0.00009515125,0.00073409657,0.00013033346,0.000008580608,0.0007623207,0.61855024,0.00030999826,0.0010109367,0.34698632,0.01175979,0.019617327],"study_design_scores_gemma":[0.000025686622,0.00009201182,0.0014086565,0.0003059325,0.00001540584,0.0009674327,0.339602,0.0011824534,0.0010201932,0.08108172,0.5742626,0.000035939855],"about_ca_topic_score_codex":0.0026923951,"about_ca_topic_score_gemma":0.00542078,"teacher_disagreement_score":0.017616136,"about_ca_system_score_codex":0.004112567,"about_ca_system_score_gemma":0.002471499,"threshold_uncertainty_score":0.02983892},"labels":[],"label_agreement":null},{"id":"W4387459033","doi":"10.3390/rel14101273","title":"Publishing Privileges the Published: An Analysis of Gender, Class, and Race in the Hymnological Feedback Loop","year":2023,"lang":"en","type":"article","venue":"Religions","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Ottawa","funders":"Lilly Endowment; Eli Lilly and Company","keywords":"Publishing; Race (biology); Power (physics); History; Musical; Worship; Sociology; Prejudice (legal term); Gender studies; Media studies; Law; Literature; Political science; Art","score_opus":0.06768702821902395,"score_gpt":0.25529784053578464,"score_spread":0.1876108123167607,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4387459033","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.98202914,0.00039081622,0.0003982208,0.00079902867,0.000025732053,0.00003209848,0.000108936474,0.000016030568,0.016199911],"genre_scores_gemma":[0.99744606,0.00018324766,0.00023913659,0.00008883532,0.000060191298,0.000042294978,0.00007315963,0.00002631394,0.0018408984],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9923528,0.0034511595,0.00048560172,0.00059312925,0.0021539284,0.00096337486],"domain_scores_gemma":[0.9219286,0.047674343,0.016046202,0.0027572075,0.007689792,0.00390389],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.010105649,0.0002656071,0.0004584896,0.005390831,0.0053039724,0.0092191165,0.0013383834,0.00074483413,0.008200908],"category_scores_gemma":[0.054416046,0.00030806803,0.00030291968,0.0048284107,0.006299434,0.009297539,0.005868011,0.0012522963,0.00082909415],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002734753,0.00021253566,0.3105529,0.00019297752,0.000047402023,0.0006008515,0.62671256,0.00008562337,0.0013938191,0.010256273,0.0019615027,0.047710072],"study_design_scores_gemma":[0.000018177254,0.00012907754,0.48316693,0.00026569996,0.000041359937,0.00028008615,0.49087682,0.0003369378,0.0005806571,0.0026824984,0.021578545,0.000043178326],"about_ca_topic_score_codex":0.0073179584,"about_ca_topic_score_gemma":0.009713319,"teacher_disagreement_score":0.994696,"about_ca_system_score_codex":0.0030559958,"about_ca_system_score_gemma":0.002473337,"threshold_uncertainty_score":0.053444445},"labels":[],"label_agreement":null},{"id":"W4387539811","doi":"10.1080/03007766.2023.2263331","title":"Sensing Vinyl: Ritual, Memory, Materiality","year":2023,"lang":"en","type":"article","venue":"Popular Music & Society","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Materiality (auditing); Affordance; Sociocultural evolution; Sociology; Pledge; Aesthetics; Media studies; Visual arts; Art; Psychology; Political science; Law; Anthropology","score_opus":0.06465883354223481,"score_gpt":0.23752232822004674,"score_spread":0.17286349467781192,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4387539811","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4427947,0.010910111,0.019582031,0.010390189,0.00073423114,0.000044823977,0.00017903432,0.00024232562,0.51512253],"genre_scores_gemma":[0.978425,0.0010637604,0.0013110902,0.00044824075,0.000078698526,0.000012555779,0.000027900825,0.000056442062,0.018576222],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9995049,0.00023911243,0.000013384311,0.00006165044,0.000104932566,0.00007603875],"domain_scores_gemma":[0.99974006,0.00010912287,0.000043521184,0.000048073554,0.000021139045,0.00003817248],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00067885267,0.00031882038,0.00017707577,0.0006016103,0.0024457588,0.0055803643,0.0005470645,0.00066003186,0.005273689],"category_scores_gemma":[0.0014890004,0.00014634112,0.0001581624,0.000583097,0.010466567,0.0041248184,0.003989509,0.0010141935,0.00039417014],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004417967,0.000050600527,0.0048955423,0.0005391921,0.000043860073,0.0015972147,0.2790205,0.00040855442,0.015333809,0.5438631,0.016940858,0.13686502],"study_design_scores_gemma":[0.000041469975,0.0002245599,0.008863096,0.0006898868,0.000032056487,0.0028655152,0.23502794,0.0007422051,0.0068162736,0.067372665,0.67722076,0.00010348366],"about_ca_topic_score_codex":0.0021693583,"about_ca_topic_score_gemma":0.0027001577,"teacher_disagreement_score":0.0055803643,"about_ca_system_score_codex":0.0010707868,"about_ca_system_score_gemma":0.0004455549,"threshold_uncertainty_score":0.01764226},"labels":[],"label_agreement":null},{"id":"W4387703701","doi":"10.1386/jpme_00115_1","title":"Any Sound You Can Imagine: Then and now","year":2023,"lang":"en","type":"article","venue":"Journal of Popular Music Education","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Relation (database); Active listening; Digital audio; Consumption (sociology); Popular music; Music technology; Sound (geography); Computer science; Multimedia; Sociology; Visual arts; Art; Telecommunications; Music education; Communication; Social science; Acoustics","score_opus":0.03308732213172813,"score_gpt":0.24724281279872837,"score_spread":0.21415549066700024,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4387703701","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0060010497,0.05125793,0.00421739,0.098036356,0.047034994,0.000038386293,0.00017100216,0.0004191116,0.79282373],"genre_scores_gemma":[0.058343124,0.02811503,0.0039015352,0.01868516,0.008069496,0.000056604284,0.00016797947,0.00036552138,0.8822956],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992774,0.0001440457,0.00002739349,0.00010185801,0.00033626432,0.00011300079],"domain_scores_gemma":[0.9993736,0.00012633769,0.00003825402,0.000060056747,0.00018478079,0.00021694589],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008209453,0.0006869481,0.0004278141,0.0007243852,0.0040593627,0.010425484,0.0007877057,0.0023078828,0.052726764],"category_scores_gemma":[0.0028225644,0.00029535167,0.0004456836,0.0008232602,0.0050483905,0.012835314,0.003178689,0.0042247097,0.024307933],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000084396,0.00004976578,0.00081006647,0.00039921608,0.000013331884,0.00033223713,0.012781641,0.00006159969,0.001307105,0.14825238,0.6487687,0.18713959],"study_design_scores_gemma":[0.0000025941679,0.000010592269,0.00020797983,0.0001125465,0.0000026681973,0.00018922862,0.003068815,0.000016059004,0.00012032244,0.004503071,0.9917591,0.000007045079],"about_ca_topic_score_codex":0.0025609182,"about_ca_topic_score_gemma":0.006293918,"teacher_disagreement_score":0.052726764,"about_ca_system_score_codex":0.0012603604,"about_ca_system_score_gemma":0.0011687757,"threshold_uncertainty_score":0.17638856},"labels":[],"label_agreement":null},{"id":"W4387830876","doi":"10.1353/soh.2023.a909889","title":"King’s Vibrato: Modernism, Blackness, and the Sonic Life of Martin Luther King Jr by Maurice O. Wallace (review)","year":2023,"lang":"en","type":"article","venue":"The Journal of Southern History","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Modernism (music); Art history; Art; Summons; Sermon; Miller; Philosophy; History; Theology; Law","score_opus":0.025172226116951087,"score_gpt":0.19625068923486957,"score_spread":0.1710784631179185,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4387830876","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000036158875,0.9956793,0.000014279069,0.0028105907,0.00092352665,0.0000013750702,0.0000073323813,0.0000022847096,0.00052504515],"genre_scores_gemma":[0.0010948521,0.9911293,0.000046413785,0.0029164706,0.002156057,0.000009547366,0.00003011821,0.000005512023,0.0026116848],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994635,0.0001379304,0.000050135626,0.00008608799,0.00021011326,0.000052203355],"domain_scores_gemma":[0.9990522,0.00037648747,0.00018889643,0.00002026703,0.0002545169,0.000107567044],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009614835,0.0009840928,0.0010996615,0.001666906,0.0005797634,0.0024011482,0.0008374051,0.0015180229,0.0069251405],"category_scores_gemma":[0.0029903557,0.00038424373,0.0004860434,0.0026198593,0.0012469628,0.0026255196,0.0013427014,0.0031249586,0.0028649252],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000049737635,0.00002051838,0.00026505638,0.014587622,0.00009084243,0.000091229726,0.0006315865,0.000114787304,0.00026035195,0.0044627925,0.7007901,0.2786354],"study_design_scores_gemma":[0.00000709122,0.000018045555,0.0010511164,0.009954105,0.00003808491,0.00029289137,0.00025397193,0.000016161253,0.000045792593,0.00076176214,0.9875452,0.000015778553],"about_ca_topic_score_codex":0.007520312,"about_ca_topic_score_gemma":0.008102379,"teacher_disagreement_score":0.007520312,"about_ca_system_score_codex":0.0015592359,"about_ca_system_score_gemma":0.0035605815,"threshold_uncertainty_score":0.023166895},"labels":[],"label_agreement":null},{"id":"W4388232881","doi":"10.1007/978-3-031-15313-6_4","title":"Street Cred and Locker Room Glances","year":2023,"lang":"en","type":"book-chapter","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"University of Illinois at Urbana-Champaign; Universitetet i Bergen; University of Alberta","keywords":"Foregrounding; Gender studies; Masculinity; Sociology; Distancing; Human sexuality; Power (physics); Identity (music); Aesthetics; Art; Coronavirus disease 2019 (COVID-19)","score_opus":0.04934510882629407,"score_gpt":0.19653149283794366,"score_spread":0.14718638401164957,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4388232881","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0014810303,0.0020639128,0.0003867948,0.0031630674,0.0006640103,0.000008911024,0.000053668035,0.00006829978,0.9921103],"genre_scores_gemma":[0.033068076,0.0014963252,0.0002613123,0.0010789026,0.00024287627,0.000012701775,0.000036426736,0.000111628244,0.9636918],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99981695,0.00005846637,0.000003668135,0.000025325173,0.00006603936,0.000029580835],"domain_scores_gemma":[0.9998349,0.000061568666,0.0000073948336,0.00001968581,0.000032969412,0.0000434256],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00026197868,0.0003996497,0.00014634279,0.001209744,0.0051520583,0.0042942776,0.00038889586,0.0010014371,0.09659283],"category_scores_gemma":[0.00084394886,0.00021532357,0.00020604768,0.00076846464,0.0027632879,0.002469674,0.0019202782,0.0021986638,0.015916508],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000030427505,0.000027318385,0.00023910799,0.00006770766,0.0000023618304,0.00039746254,0.011268465,0.00009533289,0.0004463855,0.41652513,0.5214654,0.049434938],"study_design_scores_gemma":[9.0931024e-7,0.000002714673,0.00011842655,0.000056524525,6.995807e-7,0.00006636098,0.0020400884,0.000025677768,0.00008267608,0.005041011,0.9925627,0.000002175453],"about_ca_topic_score_codex":0.012492181,"about_ca_topic_score_gemma":0.0387279,"teacher_disagreement_score":0.09659283,"about_ca_system_score_codex":0.0018379776,"about_ca_system_score_gemma":0.00086686225,"threshold_uncertainty_score":0.3231352},"labels":[],"label_agreement":null},{"id":"W4388340707","doi":"10.1093/oso/9780198166986.003.0007","title":"The Brass Band in the Antipodes: The Transplantation of British Popular Culture","year":2000,"lang":"en","type":"book-chapter","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Amateur; Popular culture; Antipodes; Musical; Emigration; History; Immigration; Media studies; Art; Literature; Geography; Sociology; Archaeology","score_opus":0.017818790963573927,"score_gpt":0.18648016754600133,"score_spread":0.1686613765824274,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4388340707","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18171036,0.009207275,0.00031170217,0.0053869965,0.00049594213,0.000013668718,0.00004114959,0.000033705415,0.8027992],"genre_scores_gemma":[0.8348513,0.0057721646,0.00023996993,0.0010648179,0.000097801894,0.000012484091,0.000030762527,0.000053334254,0.15787725],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99944407,0.00019137427,0.000014187786,0.000058558377,0.00015220395,0.0001397211],"domain_scores_gemma":[0.99963856,0.00014227997,0.000023146586,0.000033453878,0.00009591925,0.00006663099],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00051631755,0.0002111571,0.00018109214,0.0010648784,0.005199846,0.0053680753,0.00048653732,0.000820588,0.008252059],"category_scores_gemma":[0.0007815988,0.00014659837,0.00008289152,0.0019330381,0.0048211967,0.0015079468,0.0015541834,0.0012913954,0.00091124524],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017562136,0.000083682,0.004575109,0.00027481432,0.00001338589,0.0016630294,0.3748917,0.00013091434,0.0015853997,0.38746887,0.0697818,0.15935573],"study_design_scores_gemma":[0.000007987037,0.000031160787,0.008151415,0.00024844008,0.0000062507456,0.00039079352,0.07247968,0.00010696989,0.00027455966,0.0033021793,0.9149866,0.000013932921],"about_ca_topic_score_codex":0.17124178,"about_ca_topic_score_gemma":0.38476732,"teacher_disagreement_score":0.17124178,"about_ca_system_score_codex":0.0063644177,"about_ca_system_score_gemma":0.002194495,"threshold_uncertainty_score":0.34049004},"labels":[],"label_agreement":null},{"id":"W4388342716","doi":"10.1093/oso/9780195125108.003.0045","title":"Jazz in Canada and Australia","year":2000,"lang":"en","type":"book-chapter","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Jazz; Swing; Musical; Witness; History; Face (sociological concept); Performance art; Art history; Visual arts; Art; Sociology; Law; Political science; Social science","score_opus":0.04021364223496934,"score_gpt":0.17644534373016524,"score_spread":0.1362317014951959,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4388342716","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08102342,0.040944,0.0003365034,0.01899178,0.001078772,0.000040387513,0.00038197907,0.000100323254,0.85710275],"genre_scores_gemma":[0.42684954,0.033442564,0.00063034904,0.00329785,0.00022945678,0.000024585022,0.0002901257,0.00008138464,0.5351541],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9994282,0.00004203159,0.000013929506,0.000052301177,0.00023074358,0.00023266247],"domain_scores_gemma":[0.9993649,0.00005252669,0.00002755583,0.000016101925,0.00030095744,0.00023805536],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00035894563,0.00030118437,0.0002145305,0.0019032774,0.009423315,0.005389869,0.00076983165,0.0009754141,0.017391229],"category_scores_gemma":[0.00077649567,0.00019255439,0.00015091452,0.0037718175,0.0031910676,0.0011195397,0.002182568,0.0012985243,0.0013427269],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007263622,0.000052242027,0.007376664,0.00076113077,0.000020510079,0.0025562502,0.11625277,0.0004973589,0.001780018,0.33793294,0.28496647,0.24773104],"study_design_scores_gemma":[0.0000020990506,0.000006323538,0.010559366,0.00018395283,0.000004616813,0.00023539706,0.016644621,0.000060085844,0.000114458584,0.001106706,0.9710715,0.000010779344],"about_ca_topic_score_codex":0.97234523,"about_ca_topic_score_gemma":0.99214524,"teacher_disagreement_score":0.044162564,"about_ca_system_score_codex":0.044162564,"about_ca_system_score_gemma":0.060815386,"threshold_uncertainty_score":0.3204233},"labels":[],"label_agreement":null},{"id":"W4388350667","doi":"10.1093/oso/9780195178616.003.0013","title":"Anyone with a Modem","year":2005,"lang":"en","type":"book-chapter","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dictation; Quarter (Canadian coin); Sight; Visual arts; History; Media studies; Art; Art history; Sociology; Computer science; Archaeology","score_opus":0.030312188991489405,"score_gpt":0.1616523084835922,"score_spread":0.13134011949210278,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4388350667","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0012614351,0.0021521316,0.0012194796,0.003580246,0.0015342128,0.000016780097,0.00008713469,0.00037028096,0.9897782],"genre_scores_gemma":[0.011231019,0.0009188585,0.00036859507,0.001398675,0.0003724253,0.000012462746,0.00003568684,0.000119345896,0.9855429],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99967504,0.000063241714,0.000007524293,0.00006504642,0.00013366248,0.000055457942],"domain_scores_gemma":[0.99959356,0.000081720544,0.000016462498,0.00007887679,0.00012877234,0.00010059317],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00034603383,0.0005648039,0.00025403043,0.0007459103,0.0028932928,0.0047486215,0.0006966538,0.0012761555,0.234888],"category_scores_gemma":[0.0012476305,0.000227289,0.00023237488,0.00050214113,0.0011922102,0.006427393,0.0024161094,0.0022428764,0.09412529],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024334196,0.000033702305,0.0002953315,0.00008765045,0.000002902314,0.00024439424,0.0044475743,0.000032317974,0.00055606605,0.09765888,0.76839614,0.12822075],"study_design_scores_gemma":[9.586041e-7,0.000006795036,0.00007823243,0.00006300947,0.0000010256241,0.00016552805,0.0005296441,0.000028264792,0.000078466226,0.0020004585,0.99704474,0.0000028922311],"about_ca_topic_score_codex":0.0022648908,"about_ca_topic_score_gemma":0.0040839636,"teacher_disagreement_score":0.234888,"about_ca_system_score_codex":0.0008088097,"about_ca_system_score_gemma":0.00071905926,"threshold_uncertainty_score":0.78577864},"labels":[],"label_agreement":null},{"id":"W4388354293","doi":"10.1093/oso/9780195304497.003.0120","title":"Where’s Waldo? (JVC 2002)","year":2006,"lang":"en","type":"book-chapter","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Jazz; Nothing; Art history; History; Art; Performance art; Ticket; Media studies; Sociology; Philosophy","score_opus":0.025767573898387092,"score_gpt":0.17445846087750397,"score_spread":0.14869088697911687,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4388354293","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0046209903,0.0074860337,0.00029922763,0.0652354,0.02425495,0.0001023457,0.0037501522,0.0007307028,0.8935202],"genre_scores_gemma":[0.009444334,0.0011259126,0.00011971716,0.010729864,0.0014084267,0.00004871546,0.0009444221,0.00024965746,0.97592896],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995946,0.00003264416,0.000015817088,0.00005843776,0.00016563262,0.00013286242],"domain_scores_gemma":[0.99947923,0.000046588862,0.000023780609,0.000028893963,0.00017689336,0.00024450963],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00050716597,0.0003829985,0.00023619705,0.00077011925,0.004414692,0.006949025,0.0006775887,0.0030446576,0.24256893],"category_scores_gemma":[0.0018460345,0.00025742553,0.00019309328,0.0009792042,0.00048405598,0.0024169981,0.0018320376,0.002568766,0.079857066],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00000982699,0.0000096590475,0.00015008434,0.000018807717,5.080201e-7,0.00008036394,0.00009110658,0.0000073731785,0.00007960383,0.0018539096,0.9857146,0.011984201],"study_design_scores_gemma":[0.00000154137,0.0000021204025,0.00054271467,0.000027736287,3.6435787e-7,0.000017670824,0.00014206512,0.000008645168,0.00002458342,0.00008544299,0.9991443,0.000002791654],"about_ca_topic_score_codex":0.0412096,"about_ca_topic_score_gemma":0.103470825,"teacher_disagreement_score":0.24256893,"about_ca_system_score_codex":0.002585809,"about_ca_system_score_gemma":0.002626159,"threshold_uncertainty_score":0.8114739},"labels":[],"label_agreement":null},{"id":"W4388498287","doi":"10.25071/2561-5467.1127","title":"Blue Jacket Blues: Lost Recordings of Johnny Cash at the Naval War College – Live in ’75","year":2023,"lang":"en","type":"article","venue":"The Northern Mariner / Le marin du nord","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"U.S. Naval War College; U.S. Navy","keywords":"Blues; History; Art history; Art; Lyrics; Cash; Prison; Humanities; Literature; Archaeology","score_opus":0.020881068577472416,"score_gpt":0.1997425417352627,"score_spread":0.1788614731577903,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4388498287","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6668964,0.005966594,0.0032406878,0.026098926,0.014573698,0.0002141769,0.004550054,0.00073209906,0.27772743],"genre_scores_gemma":[0.72210795,0.0034942941,0.0030187548,0.006487443,0.0038877043,0.00013983574,0.002088057,0.00097260845,0.25780335],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995639,0.00007782294,0.000009602314,0.000052457744,0.00020194899,0.000094216964],"domain_scores_gemma":[0.99948776,0.00009966378,0.00003064459,0.000031562286,0.00015711435,0.00019316882],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00046405641,0.00056406175,0.00033395496,0.0008635396,0.0046731825,0.0022056985,0.0004940272,0.0010076981,0.00879324],"category_scores_gemma":[0.0019589607,0.00019200513,0.00014683984,0.00069127727,0.0013301008,0.0008901542,0.0020405953,0.0020332644,0.0022711698],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0006563783,0.00019241482,0.009339676,0.00042847672,0.00004927071,0.011702042,0.23716527,0.00027839214,0.012095979,0.0053666383,0.62584955,0.096876],"study_design_scores_gemma":[0.000014926279,0.00009636141,0.03080219,0.00047801842,0.000016196078,0.0018554276,0.1510533,0.00029745756,0.0013664609,0.00064133236,0.81332105,0.000057306734],"about_ca_topic_score_codex":0.021532696,"about_ca_topic_score_gemma":0.12154053,"teacher_disagreement_score":0.021532696,"about_ca_system_score_codex":0.0011104341,"about_ca_system_score_gemma":0.00067188015,"threshold_uncertainty_score":0.042814672},"labels":[],"label_agreement":null},{"id":"W4388523797","doi":"10.1007/s10964-023-01873-9","title":"Trajectories of Goth Music Preferences in Adolescence and Psychological Adjustment in Adulthood","year":2023,"lang":"en","type":"article","venue":"Journal of Youth and Adolescence","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université de Montréal; Université du Québec à Montréal","funders":"","keywords":"Psychology; Moderation; Health psychology; Young adult; Preference; Developmental psychology; Mental health; Mainstream; Social psychology; Public health; Medicine","score_opus":0.07110011244180123,"score_gpt":0.2560257380476463,"score_spread":0.18492562560584505,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4388523797","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9989768,0.00017275984,0.0000168147,0.00007563452,0.0000053378612,0.000004825659,0.00014990395,0.000002409912,0.0005954564],"genre_scores_gemma":[0.99879587,0.00017434162,0.000038427726,0.000020701358,0.000003392032,0.000006913307,0.00022781325,0.000001830049,0.00073073764],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.9997217,0.000030256895,0.000018120641,0.00004860104,0.000037317663,0.00014396154],"domain_scores_gemma":[0.998838,0.000076821285,0.00030544153,0.000039662806,0.00014619606,0.00059394457],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00049050775,0.00019608185,0.00028896492,0.00094653806,0.0010972406,0.0016933299,0.00037487314,0.0006378192,0.0026321271],"category_scores_gemma":[0.0020921524,0.00029499285,0.0004858859,0.00095697335,0.00041060286,0.00096661015,0.0013561732,0.0011834432,0.00047286772],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008748852,0.00010416475,0.99440515,0.00000764214,0.00002177504,0.00008142549,0.0017207244,0.00003252402,0.00020455672,0.0001115626,0.00012786324,0.0030950303],"study_design_scores_gemma":[8.8219065e-7,0.00003087515,0.9972946,0.0000055927007,0.0000042666156,0.00003939855,0.002341053,0.000028912777,0.000029663106,0.000025746327,0.00019618637,0.000002827526],"about_ca_topic_score_codex":0.044688385,"about_ca_topic_score_gemma":0.080437005,"teacher_disagreement_score":0.044688385,"about_ca_system_score_codex":0.00062744034,"about_ca_system_score_gemma":0.00065277604,"threshold_uncertainty_score":0.08885652},"labels":[],"label_agreement":null},{"id":"W4388764642","doi":"10.1353/mwr.2023.a912201","title":"Gordon Lightfoot: A Regionalist Retrospective","year":2023,"lang":"en","type":"article","venue":"Middle West review","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Blues; Musical; State (computer science); Art history; Appalachia; Manifesto; Art; History; Folk music; Visual arts; Law; Political science","score_opus":0.08329066866266681,"score_gpt":0.24401732014532757,"score_spread":0.16072665148266074,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4388764642","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.012889448,0.050945885,0.0011153717,0.442117,0.014415562,0.00007455981,0.00075909635,0.00018557432,0.47749743],"genre_scores_gemma":[0.12549835,0.021285567,0.00062994356,0.17576945,0.0049115364,0.00012767196,0.00037926112,0.00058613555,0.6708121],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9967554,0.0010235821,0.00007681553,0.000594401,0.00064617494,0.0009036742],"domain_scores_gemma":[0.99798965,0.00043345167,0.00013052631,0.0001764299,0.00074617506,0.00052372756],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0032894677,0.0005461216,0.00042046615,0.0014070073,0.018001005,0.010888084,0.0027065766,0.006329294,0.024056962],"category_scores_gemma":[0.0059481305,0.0007070057,0.0003763931,0.0027943368,0.006404294,0.006498624,0.004700284,0.009884511,0.0049089356],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022802738,0.000016632577,0.0005716686,0.00008147243,0.0000066457665,0.00050457346,0.01215221,0.00006662307,0.00028111084,0.0753271,0.902544,0.008425111],"study_design_scores_gemma":[8.151657e-7,0.0000020464845,0.0003570745,0.000059585986,0.0000016118731,0.000046630397,0.004360107,0.000004554063,0.000031619362,0.00038597838,0.99474406,0.0000059906915],"about_ca_topic_score_codex":0.27917302,"about_ca_topic_score_gemma":0.383783,"teacher_disagreement_score":0.27917302,"about_ca_system_score_codex":0.015474293,"about_ca_system_score_gemma":0.013692653,"threshold_uncertainty_score":0.5550961},"labels":[],"label_agreement":null},{"id":"W4388782498","doi":"10.1525/jpms.2023.35.4.146","title":"Contributors’ Notes","year":2023,"lang":"en","type":"article","venue":"Journal of Popular Music Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"St. Francis Xavier University","funders":"California State University, Fullerton; University of Washington; Rijksuniversiteit Groningen; University of Southern California","keywords":"Punk; Icon; Citation; Popular music; Popular culture; Scholarship; Insider; Media studies; Visual arts; Art; Sociology; Library science; Art history; Computer science; Political science","score_opus":0.1618086070923958,"score_gpt":0.30026635710306426,"score_spread":0.13845775001066846,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4388782498","genre_codex":"other","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"editorial","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00077179546,0.0067907185,0.00210098,0.053892843,0.13257563,0.00027881187,0.0047821794,0.0010207846,0.79778636],"genre_scores_gemma":[0.003977613,0.002602373,0.0011040494,0.0064355014,0.008445905,0.00021604418,0.0019108909,0.0004738087,0.97483385],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99654657,0.0003918869,0.00020576522,0.0007079611,0.0017767148,0.0003710919],"domain_scores_gemma":[0.99050844,0.0013838088,0.0003257709,0.0011780398,0.0052111163,0.0013927921],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.002706224,0.0007388752,0.000864813,0.0030348112,0.0048609753,0.00731792,0.002683113,0.002372395,0.4888229],"category_scores_gemma":[0.017518803,0.00042663977,0.0006151452,0.0032769626,0.0010955449,0.003960904,0.0035978514,0.0037887946,0.3157053],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000007783961,0.000008112833,0.000044963348,0.000039142247,9.822471e-7,0.000027516175,0.0001229937,0.000013751285,0.000042463595,0.008607178,0.969625,0.021460114],"study_design_scores_gemma":[8.59266e-7,0.0000014590173,0.00003935699,0.000034226538,3.5538616e-7,0.000012732008,0.00006317506,0.000005204949,0.000019121395,0.0004908009,0.99933136,0.0000014055446],"about_ca_topic_score_codex":0.004884745,"about_ca_topic_score_gemma":0.007385837,"teacher_disagreement_score":0.4888229,"about_ca_system_score_codex":0.0032365094,"about_ca_system_score_gemma":0.005839939,"threshold_uncertainty_score":0.72913206},"labels":[],"label_agreement":null},{"id":"W4389045787","doi":"10.31452/bcj9.trajkoski.berlin","title":"The shifting spaces of Janet Cardiff and George Bures Miller’s ‘Berlin Files’by Aneta Trajkoski","year":2023,"lang":"en","type":"article","venue":"Burlington Contemporary Journal","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"George (robot); Miller; Art history; Art; STELLA (programming language); Sociology","score_opus":0.030726496189589243,"score_gpt":0.21711217781520492,"score_spread":0.18638568162561567,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4389045787","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.23238812,0.015490384,0.0064082565,0.120626494,0.0050573964,0.00008334837,0.00030256895,0.00031572412,0.6193277],"genre_scores_gemma":[0.7877611,0.0030286608,0.0020203118,0.0061970092,0.00043679625,0.000040612034,0.00004823244,0.00038969037,0.20007764],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9962669,0.0009352149,0.00006249372,0.00042290788,0.0013589363,0.00095365406],"domain_scores_gemma":[0.9977756,0.0007850372,0.00014839033,0.0002048298,0.0004328868,0.0006531781],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026363453,0.0006771404,0.00034950656,0.002486609,0.03352006,0.013475273,0.0016679998,0.0035833216,0.012018329],"category_scores_gemma":[0.005548291,0.00054260966,0.00026385166,0.0024163418,0.042599607,0.005193316,0.0060088877,0.0059304587,0.0011324509],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000077990415,0.000024067076,0.0008880526,0.000064587795,0.0000059101762,0.0007565808,0.3717248,0.00018131397,0.0012503655,0.48810285,0.09813142,0.038791977],"study_design_scores_gemma":[0.0000046800405,0.000011265498,0.0015958931,0.00014526962,0.0000038039605,0.00033921815,0.105864346,0.000050790724,0.00034042695,0.0052499594,0.8863487,0.000045721747],"about_ca_topic_score_codex":0.76914376,"about_ca_topic_score_gemma":0.900035,"teacher_disagreement_score":0.76914376,"about_ca_system_score_codex":0.03565892,"about_ca_system_score_gemma":0.0258825,"threshold_uncertainty_score":0.46443158},"labels":[],"label_agreement":null},{"id":"W4389336356","doi":"10.5325/hungarianstud.50.1-2.0249","title":"Ádám Havas. <i>The Genesis and Structure of the Hungarian Jazz Diaspora</i>","year":2023,"lang":"en","type":"article","venue":"Hungarian Studies Review","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Jazz; Diaspora; Mainstream; Historiography; Jazz dance; Popular music; Sociology; Literature; Aesthetics; Gender studies; History; Art; Art history; Political science; Law","score_opus":0.06264164832736677,"score_gpt":0.25868675933869295,"score_spread":0.19604511101132618,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4389336356","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.091135,0.20086612,0.005194489,0.16394764,0.012277662,0.0000763221,0.00024291148,0.00017801221,0.5260818],"genre_scores_gemma":[0.65551555,0.02560733,0.0018067878,0.019327747,0.001505579,0.00005875447,0.000086019565,0.0001251408,0.2959671],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997441,0.00009047468,0.000008798976,0.000041785603,0.000056834542,0.00005789551],"domain_scores_gemma":[0.9998852,0.00003281063,0.000016970856,0.0000059215213,0.000025869198,0.000033305685],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003132092,0.00027606735,0.0001413306,0.00032839604,0.0030704981,0.0027900415,0.00039835737,0.00082788,0.004320202],"category_scores_gemma":[0.00061394507,0.00014395591,0.000099713565,0.0004000636,0.0030963745,0.0029115223,0.0015860043,0.0015063178,0.0011000428],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009519664,0.00003896778,0.0030960713,0.00022199501,0.000014157736,0.00079409755,0.049516454,0.0000846079,0.0010469939,0.41244543,0.4613307,0.07131528],"study_design_scores_gemma":[0.0000044077356,0.000014399921,0.0033854023,0.00015628857,0.0000042138154,0.0004383301,0.01368318,0.00006738043,0.000415588,0.011094417,0.9707263,0.0000101813475],"about_ca_topic_score_codex":0.006499049,"about_ca_topic_score_gemma":0.010283908,"teacher_disagreement_score":0.006499049,"about_ca_system_score_codex":0.0013627737,"about_ca_system_score_gemma":0.0007447525,"threshold_uncertainty_score":0.014452517},"labels":[],"label_agreement":null},{"id":"W4389370015","doi":"10.32920/24759765","title":"Liberation on the Dance Floor: Collective Dance and Queer Politics in Canada","year":2023,"lang":"en","type":"preprint","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Queer; Dance; Politics; Gender studies; Lesbian; Concert dance; Parade; Privilege (computing); Modern dance; Sociology; Contemporary dance; Political science; Visual arts; Art; Law","score_opus":0.04844689661678527,"score_gpt":0.20152411850710716,"score_spread":0.15307722189032189,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4389370015","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.51425797,0.012549995,0.0008480381,0.08855222,0.00057984865,0.00009482087,0.00078513846,0.00006765803,0.38226438],"genre_scores_gemma":[0.93785506,0.0030423268,0.00028957086,0.0030610093,0.000051714836,0.000023819597,0.00012901594,0.000051563205,0.05549595],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99728537,0.0003824053,0.000029880232,0.00025914,0.000533749,0.0015094107],"domain_scores_gemma":[0.99756336,0.00045588502,0.00015539535,0.00007976404,0.00045393838,0.0012916342],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016055737,0.0003290137,0.000428586,0.001590355,0.04596513,0.010709867,0.0013594093,0.0021059858,0.014219465],"category_scores_gemma":[0.0027711685,0.0003155515,0.00030822813,0.0037188758,0.017784512,0.0021610444,0.0045927996,0.004097366,0.0003933916],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001420188,0.00007039895,0.024133688,0.00022898839,0.000043822853,0.001330311,0.48481497,0.00070517656,0.0006654632,0.3427339,0.0912213,0.05391003],"study_design_scores_gemma":[0.000020795,0.000019865884,0.052565817,0.00032851347,0.0000295494,0.00014581138,0.44862002,0.0004582092,0.00032785386,0.006504325,0.49088195,0.00009729096],"about_ca_topic_score_codex":0.99824214,"about_ca_topic_score_gemma":0.99946564,"teacher_disagreement_score":0.21296224,"about_ca_system_score_codex":0.21296224,"about_ca_system_score_gemma":0.17407307,"threshold_uncertainty_score":0.9128522},"labels":[],"label_agreement":null},{"id":"W4389370028","doi":"10.32920/24759777","title":"Affective Interruptions: Political Collectivity in Halftime","year":2023,"lang":"en","type":"preprint","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Temporality; Lyrics; Musical; Politics; Queer; Narrative; Aesthetics; Rhythm; Psychology; Sociology; Visual arts; Literature; Art; Psychoanalysis; Political science; Law","score_opus":0.11107717594839,"score_gpt":0.28897416208431026,"score_spread":0.17789698613592025,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4389370028","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.685517,0.0018131098,0.012492735,0.0045163697,0.00045218016,0.000042639138,0.00015055196,0.00014872463,0.29486668],"genre_scores_gemma":[0.9942948,0.00018780751,0.00034388917,0.00022570198,0.000097696764,0.000017414097,0.00003118636,0.00005142693,0.004750135],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985253,0.0007956531,0.000027584245,0.00015117032,0.00027203624,0.00022831587],"domain_scores_gemma":[0.9983393,0.0006518132,0.00041200954,0.00018259829,0.00013809161,0.0002761955],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00088261394,0.00030216397,0.00023791956,0.0007127112,0.005561646,0.006166133,0.00059585384,0.0010101103,0.006065267],"category_scores_gemma":[0.0033128855,0.00020596676,0.000285592,0.0007134927,0.009014991,0.003951545,0.0059703635,0.002442988,0.0004566155],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00030004643,0.00005065068,0.009858225,0.0001718898,0.0000484342,0.0011398153,0.81652224,0.0003053851,0.0071177725,0.13421442,0.005323788,0.024947312],"study_design_scores_gemma":[0.000025807993,0.00015746476,0.049075045,0.00023699149,0.000042737258,0.001083951,0.63795537,0.0006913253,0.002145907,0.029266903,0.279222,0.00009652995],"about_ca_topic_score_codex":0.0027313968,"about_ca_topic_score_gemma":0.0041633137,"teacher_disagreement_score":0.006166133,"about_ca_system_score_codex":0.0014608762,"about_ca_system_score_gemma":0.00052981975,"threshold_uncertainty_score":0.020290375},"labels":[],"label_agreement":null},{"id":"W4389370053","doi":"10.32920/24759756.v1","title":"Resoundingly Queer: Cover Song as Collective Return","year":2023,"lang":"en","type":"preprint","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Queer; Musical; Temporality; Context (archaeology); Aesthetics; Lament; Cover (algebra); Politics; Anthem; Sociology; Art; Visual arts; History; Literature; Gender studies; Art history; Political science; Philosophy; Law; Epistemology; Engineering","score_opus":0.07073465932427125,"score_gpt":0.2522001107883795,"score_spread":0.18146545146410825,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4389370053","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1849247,0.0035268685,0.0045041284,0.01565748,0.0016061304,0.00002978085,0.00011463646,0.00018749946,0.7894487],"genre_scores_gemma":[0.9322972,0.0009331585,0.000547143,0.001089017,0.00042105743,0.000010920159,0.000041894673,0.00013612739,0.06452345],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990139,0.0003309956,0.000010671603,0.000106507454,0.0003301085,0.0002077928],"domain_scores_gemma":[0.9992963,0.00021126632,0.00007077297,0.000074265066,0.000114664734,0.0002326373],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008985295,0.00032391137,0.00017018676,0.0006605623,0.0084282905,0.006570151,0.0004501128,0.0010752062,0.013202754],"category_scores_gemma":[0.0023818824,0.00011347153,0.0001460009,0.000545902,0.011705266,0.0031009186,0.0031150617,0.0020904348,0.0011377009],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016870048,0.0000329148,0.0030016564,0.000113214846,0.000018605608,0.0014870185,0.44467866,0.00020754404,0.0042030737,0.43862852,0.051812436,0.055647623],"study_design_scores_gemma":[0.000012577923,0.00007149403,0.008478355,0.00019217774,0.000017202085,0.00094963977,0.26320434,0.00024897698,0.0013212461,0.01710475,0.70836276,0.00003649177],"about_ca_topic_score_codex":0.053750888,"about_ca_topic_score_gemma":0.1133333,"teacher_disagreement_score":0.053750888,"about_ca_system_score_codex":0.003859371,"about_ca_system_score_gemma":0.0016225151,"threshold_uncertainty_score":0.106876016},"labels":[],"label_agreement":null},{"id":"W4389380140","doi":"10.32920/24759756","title":"Resoundingly Queer: Cover Song as Collective Return","year":2023,"lang":"en","type":"preprint","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Queer; Musical; Temporality; Context (archaeology); Aesthetics; Lament; Cover (algebra); Politics; Anthem; Active listening; Sociology; Art; Visual arts; History; Literature; Gender studies; Art history; Communication; Political science; Law; Philosophy; Epistemology; Engineering","score_opus":0.07073465932427125,"score_gpt":0.2522001107883795,"score_spread":0.18146545146410825,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4389380140","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1849247,0.0035268685,0.0045041284,0.01565748,0.0016061304,0.00002978085,0.00011463646,0.00018749946,0.7894487],"genre_scores_gemma":[0.9322972,0.0009331585,0.000547143,0.001089017,0.00042105743,0.000010920159,0.000041894673,0.00013612739,0.06452345],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990139,0.0003309956,0.000010671603,0.000106507454,0.0003301085,0.0002077928],"domain_scores_gemma":[0.9992963,0.00021126632,0.00007077297,0.000074265066,0.000114664734,0.0002326373],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008985295,0.00032391137,0.00017018676,0.0006605623,0.0084282905,0.006570151,0.0004501128,0.0010752062,0.013202754],"category_scores_gemma":[0.0023818824,0.00011347153,0.0001460009,0.000545902,0.011705266,0.0031009186,0.0031150617,0.0020904348,0.0011377009],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016870048,0.0000329148,0.0030016564,0.000113214846,0.000018605608,0.0014870185,0.44467866,0.00020754404,0.0042030737,0.43862852,0.051812436,0.055647623],"study_design_scores_gemma":[0.000012577923,0.00007149403,0.008478355,0.00019217774,0.000017202085,0.00094963977,0.26320434,0.00024897698,0.0013212461,0.01710475,0.70836276,0.00003649177],"about_ca_topic_score_codex":0.053750888,"about_ca_topic_score_gemma":0.1133333,"teacher_disagreement_score":0.053750888,"about_ca_system_score_codex":0.003859371,"about_ca_system_score_gemma":0.0016225151,"threshold_uncertainty_score":0.106876016},"labels":[],"label_agreement":null},{"id":"W4389380151","doi":"10.32920/24759777.v1","title":"Affective Interruptions: Political Collectivity in Halftime","year":2023,"lang":"en","type":"preprint","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Temporality; Lyrics; Musical; Queer; Politics; Rhythm; Narrative; Aesthetics; Psychology; Sociology; Visual arts; Literature; Art; Psychoanalysis; Political science; Law; Philosophy","score_opus":0.11107717594839,"score_gpt":0.28897416208431026,"score_spread":0.17789698613592025,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4389380151","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.685517,0.0018131098,0.012492735,0.0045163697,0.00045218016,0.000042639138,0.00015055196,0.00014872463,0.29486668],"genre_scores_gemma":[0.9942948,0.00018780751,0.00034388917,0.00022570198,0.000097696764,0.000017414097,0.00003118636,0.00005142693,0.004750135],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985253,0.0007956531,0.000027584245,0.00015117032,0.00027203624,0.00022831587],"domain_scores_gemma":[0.9983393,0.0006518132,0.00041200954,0.00018259829,0.00013809161,0.0002761955],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00088261394,0.00030216397,0.00023791956,0.0007127112,0.005561646,0.006166133,0.00059585384,0.0010101103,0.006065267],"category_scores_gemma":[0.0033128855,0.00020596676,0.000285592,0.0007134927,0.009014991,0.003951545,0.0059703635,0.002442988,0.0004566155],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00030004643,0.00005065068,0.009858225,0.0001718898,0.0000484342,0.0011398153,0.81652224,0.0003053851,0.0071177725,0.13421442,0.005323788,0.024947312],"study_design_scores_gemma":[0.000025807993,0.00015746476,0.049075045,0.00023699149,0.000042737258,0.001083951,0.63795537,0.0006913253,0.002145907,0.029266903,0.279222,0.00009652995],"about_ca_topic_score_codex":0.0027313968,"about_ca_topic_score_gemma":0.0041633137,"teacher_disagreement_score":0.006166133,"about_ca_system_score_codex":0.0014608762,"about_ca_system_score_gemma":0.00052981975,"threshold_uncertainty_score":0.020290375},"labels":[],"label_agreement":null},{"id":"W4389380179","doi":"10.32920/24759765.v1","title":"Liberation on the Dance Floor: Collective Dance and Queer Politics in Canada","year":2023,"lang":"en","type":"preprint","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Queer; Dance; Politics; Gender studies; Lesbian; Concert dance; Parade; Privilege (computing); Sociology; Modern dance; Political science; Visual arts; Art; Law","score_opus":0.04844689661678527,"score_gpt":0.20152411850710716,"score_spread":0.15307722189032189,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4389380179","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.51425797,0.012549995,0.0008480381,0.08855222,0.00057984865,0.00009482087,0.00078513846,0.00006765803,0.38226438],"genre_scores_gemma":[0.93785506,0.0030423268,0.00028957086,0.0030610093,0.000051714836,0.000023819597,0.00012901594,0.000051563205,0.05549595],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99728537,0.0003824053,0.000029880232,0.00025914,0.000533749,0.0015094107],"domain_scores_gemma":[0.99756336,0.00045588502,0.00015539535,0.00007976404,0.00045393838,0.0012916342],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016055737,0.0003290137,0.000428586,0.001590355,0.04596513,0.010709867,0.0013594093,0.0021059858,0.014219465],"category_scores_gemma":[0.0027711685,0.0003155515,0.00030822813,0.0037188758,0.017784512,0.0021610444,0.0045927996,0.004097366,0.0003933916],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001420188,0.00007039895,0.024133688,0.00022898839,0.000043822853,0.001330311,0.48481497,0.00070517656,0.0006654632,0.3427339,0.0912213,0.05391003],"study_design_scores_gemma":[0.000020795,0.000019865884,0.052565817,0.00032851347,0.0000295494,0.00014581138,0.44862002,0.0004582092,0.00032785386,0.006504325,0.49088195,0.00009729096],"about_ca_topic_score_codex":0.99824214,"about_ca_topic_score_gemma":0.99946564,"teacher_disagreement_score":0.21296224,"about_ca_system_score_codex":0.21296224,"about_ca_system_score_gemma":0.17407307,"threshold_uncertainty_score":0.9128522},"labels":[],"label_agreement":null},{"id":"W4389728045","doi":"10.25071/1708-6701.40476","title":"Sampling, Biting, and the Postmodern Subversion of Hip Hop by Jim Vernon (Book)","year":2023,"lang":"en","type":"article","venue":"CAML Review / Revue de l ACBM","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Subversion; Postmodernism; Documentation; Sociology; History; Art; Media studies; Art history; Visual arts; Literature; Computer science; Political science; Law; Politics","score_opus":0.033946530597195324,"score_gpt":0.24163368637097396,"score_spread":0.20768715577377864,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4389728045","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00053889916,0.8245985,0.0009721829,0.10849732,0.038502924,0.000049841194,0.000046759797,0.000037991675,0.026755707],"genre_scores_gemma":[0.015689727,0.7009213,0.0023120553,0.1160204,0.031064454,0.00022702028,0.000091721246,0.00013392817,0.13353941],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9964,0.0014761064,0.00016744199,0.00030196033,0.0015014579,0.0001529922],"domain_scores_gemma":[0.9939831,0.0034123291,0.00035584424,0.00029172018,0.0017229007,0.00023418658],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0055085663,0.00036415394,0.00050779723,0.0017863511,0.0019047672,0.0033224407,0.0010145386,0.0020904348,0.005875072],"category_scores_gemma":[0.014832255,0.00037051886,0.00026143648,0.0017924092,0.0057715005,0.0035435979,0.001657983,0.0035893058,0.0021792722],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020283445,0.000008390206,0.000113325375,0.0006344353,0.0000075560147,0.000056228735,0.00067381817,0.000024889749,0.00017769275,0.021080328,0.84681547,0.13038753],"study_design_scores_gemma":[0.000002642074,0.000008696137,0.00037645354,0.0008609312,0.0000046469795,0.000101835765,0.0003286509,0.000009103831,0.00007905228,0.0028510056,0.9953694,0.000007427135],"about_ca_topic_score_codex":0.013526504,"about_ca_topic_score_gemma":0.035803452,"teacher_disagreement_score":0.013526504,"about_ca_system_score_codex":0.0021713534,"about_ca_system_score_gemma":0.0043548457,"threshold_uncertainty_score":0.029132485},"labels":[],"label_agreement":null},{"id":"W4389763414","doi":"10.25071/1708-6701.40475","title":"Community Music at the Boundaries by Lee Willingham (Ed.) (Book)","year":2023,"lang":"en","type":"article","venue":"CAML Review / Revue de l ACBM","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Visual arts; Art; Psychology","score_opus":0.04788114728682442,"score_gpt":0.24174781794578645,"score_spread":0.19386667065896204,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4389763414","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000070438655,0.9441606,0.000094414056,0.014138657,0.01470522,0.00001695782,0.000056070396,0.000037389607,0.02672031],"genre_scores_gemma":[0.0016897727,0.85429126,0.00037028623,0.015641838,0.011124708,0.00006765227,0.00017945764,0.00005170411,0.11658338],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991605,0.0001595751,0.00006130796,0.000095800635,0.00044710684,0.000075594624],"domain_scores_gemma":[0.9985353,0.00046251388,0.00010862558,0.000044978922,0.0006150403,0.00023349818],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010391814,0.00094099226,0.00078460947,0.0023828312,0.0013931646,0.0044628363,0.0010200212,0.0025045958,0.03639258],"category_scores_gemma":[0.00380255,0.0006144146,0.00049310795,0.0029961944,0.00090137887,0.0032444166,0.0017739877,0.002897329,0.024442129],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009644386,0.0000067741703,0.000026204387,0.00088744983,0.000004376662,0.000032955926,0.00008938346,0.000016143438,0.00004464059,0.0015344803,0.9231356,0.074212424],"study_design_scores_gemma":[0.0000027284302,0.000003823364,0.00012665639,0.0011298932,0.0000045387724,0.00007272571,0.00008113193,0.0000030304197,0.000012922191,0.0004125297,0.99814653,0.0000034604257],"about_ca_topic_score_codex":0.015005527,"about_ca_topic_score_gemma":0.048726354,"teacher_disagreement_score":0.03639258,"about_ca_system_score_codex":0.0017490435,"about_ca_system_score_gemma":0.0058171987,"threshold_uncertainty_score":0.12174529},"labels":[],"label_agreement":null},{"id":"W4389947868","doi":"10.33424/futurum451","title":"The heroines of heavy metal: how are female artists challenging genre norms within the music industry?","year":2023,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Social Sciences and Humanities Research Council","funders":"","keywords":"Art; Aesthetics; Psychology; Literature; Visual arts","score_opus":0.07892365841063213,"score_gpt":0.22608462756433487,"score_spread":0.14716096915370275,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4389947868","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.76304656,0.006891788,0.0010619088,0.066204235,0.0017000517,0.000048069047,0.000065762775,0.000049854698,0.16093174],"genre_scores_gemma":[0.9589795,0.0024517875,0.0002420282,0.005123759,0.00035482965,0.000023283426,0.000034359648,0.000055198474,0.03273525],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99609333,0.0020080584,0.00006181498,0.0003429837,0.00080731075,0.00068636105],"domain_scores_gemma":[0.994994,0.0020195202,0.00077393814,0.00023849773,0.00063189375,0.0013422102],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004029298,0.00035533326,0.00042590368,0.0010379782,0.011111807,0.011385065,0.0011832515,0.0021643764,0.0069179893],"category_scores_gemma":[0.013112124,0.00040046696,0.00021585039,0.00074153556,0.009943195,0.004036419,0.0034778013,0.00338911,0.0014564985],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014490726,0.00010334655,0.021983359,0.00009649453,0.00001960856,0.0013963699,0.8806624,0.000027691558,0.00083009223,0.012764396,0.029094482,0.052876823],"study_design_scores_gemma":[0.000012249648,0.000053077863,0.011214125,0.00013880173,0.0000062072154,0.000595649,0.90935403,0.000060142807,0.00015774489,0.0016035237,0.07678675,0.00001780538],"about_ca_topic_score_codex":0.013565321,"about_ca_topic_score_gemma":0.03172753,"teacher_disagreement_score":0.013565321,"about_ca_system_score_codex":0.0025837277,"about_ca_system_score_gemma":0.0019089037,"threshold_uncertainty_score":0.02697277},"labels":[],"label_agreement":null},{"id":"W4389968058","doi":"10.5429/694","title":"Introduction: Popular Music Performance","year":2014,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Performing arts; Prosumer; Aesthetics; Meaning (existential); Popular music; Perspective (graphical); Sociology; Psychology; Visual arts; Art; Engineering","score_opus":0.021108266160028977,"score_gpt":0.17557804141729244,"score_spread":0.15446977525726346,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4389968058","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.014453062,0.022960113,0.0022643465,0.073207,0.072249494,0.00009745136,0.0011425011,0.00031745422,0.8133086],"genre_scores_gemma":[0.20769635,0.02146355,0.0014516574,0.02314112,0.08680835,0.00018480323,0.001538856,0.00061952265,0.6570958],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99880874,0.00026808257,0.000058795595,0.00023655994,0.0004750407,0.00015275352],"domain_scores_gemma":[0.9983152,0.00058961456,0.00014390508,0.00014261225,0.00043196257,0.0003767411],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001011289,0.00061876734,0.00038479836,0.0017926849,0.0034039307,0.00665217,0.00088704994,0.0019756933,0.055761747],"category_scores_gemma":[0.0034241749,0.00015473386,0.00027120943,0.0021183165,0.0031341638,0.00406256,0.0033667518,0.0029629446,0.011452752],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000053874275,0.000038453843,0.0010419805,0.0005602575,0.0000061443407,0.000139943,0.010207992,0.000051044703,0.00052189676,0.08635859,0.8275914,0.07342843],"study_design_scores_gemma":[0.0000020415935,0.000021263344,0.002172141,0.0002568593,0.0000025943762,0.00015530617,0.0029930228,0.000040915947,0.00010508862,0.0027538682,0.99148965,0.0000072261105],"about_ca_topic_score_codex":0.0028904015,"about_ca_topic_score_gemma":0.005089974,"teacher_disagreement_score":0.055761747,"about_ca_system_score_codex":0.0016591178,"about_ca_system_score_gemma":0.0012231458,"threshold_uncertainty_score":0.18654168},"labels":[],"label_agreement":null},{"id":"W4389975069","doi":"10.5429/630","title":"Contemporary Carioca: Technologies of mixing in a Brazilian Music Scene","year":2013,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":12,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Mixing (physics); Contemporary classical music; Art; Media studies; Visual arts; Art history; History; Sociology; Musical; Physics","score_opus":0.04237322073055323,"score_gpt":0.20466305344579971,"score_spread":0.1622898327152465,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4389975069","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.062264293,0.024677891,0.011008553,0.017723175,0.00079602504,0.00014180398,0.00012996592,0.00028224336,0.88297606],"genre_scores_gemma":[0.732695,0.015829256,0.012155745,0.0021638435,0.00041843535,0.00022843354,0.00013277135,0.00044432117,0.23593219],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9987783,0.0005817468,0.000033678054,0.00015784506,0.0002375515,0.00021085473],"domain_scores_gemma":[0.99929273,0.00028159,0.000052318777,0.00012405218,0.000096083975,0.0001531405],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019047862,0.0007927434,0.00038926862,0.0016441795,0.008735027,0.010356182,0.0010303063,0.0023495283,0.016973801],"category_scores_gemma":[0.0029771437,0.000332519,0.00041929045,0.0022486944,0.009536406,0.006637902,0.0056669274,0.0020119145,0.0015434517],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007467573,0.00006106643,0.00081035047,0.00037705898,0.0000073406627,0.00059323665,0.17155612,0.00013034028,0.004513539,0.6282514,0.026271665,0.16735323],"study_design_scores_gemma":[0.0000066989323,0.00003773639,0.0024887633,0.00038173463,0.00001540473,0.00059578184,0.062264338,0.00019047981,0.00080967083,0.015500868,0.91768086,0.000027753726],"about_ca_topic_score_codex":0.036665905,"about_ca_topic_score_gemma":0.06909736,"teacher_disagreement_score":0.036665905,"about_ca_system_score_codex":0.005348804,"about_ca_system_score_gemma":0.0033927439,"threshold_uncertainty_score":0.072905004},"labels":[],"label_agreement":null},{"id":"W4389975230","doi":"10.5429/561","title":"How did popular music come to mean música popular? &lt;br&gt;http://dx.doi.org/10.5429/2079-3871(2011)v2i1-2.3en","year":2012,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University; Université Laval","funders":"","keywords":"Popular music; Legitimacy; Confusion; Popular culture; Sociology; Field (mathematics); Latin Americans; Aesthetics; Media studies; Art; Visual arts; Political science; Psychology; Law","score_opus":0.05558152120581485,"score_gpt":0.22589473647166708,"score_spread":0.17031321526585222,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4389975230","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07323519,0.014217559,0.0042451737,0.051844086,0.0019390074,0.00004033811,0.00040307327,0.00012816467,0.85394734],"genre_scores_gemma":[0.85872746,0.0066559073,0.002083769,0.0032012279,0.00062972464,0.00004596883,0.00016383978,0.00021044348,0.12828164],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9989889,0.00048369227,0.00004938288,0.00012602919,0.00024514296,0.00010682818],"domain_scores_gemma":[0.9989304,0.00039307875,0.00021447337,0.00013910365,0.0001874547,0.00013555386],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016522125,0.00023956895,0.00025755982,0.0016716134,0.0031081676,0.009228739,0.00050562376,0.0015692412,0.026587361],"category_scores_gemma":[0.0033185994,0.00014729449,0.0001481598,0.0027182966,0.008292998,0.005158608,0.00197116,0.0013364264,0.0050734184],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008587748,0.000058458,0.015921164,0.00041494047,0.000019713298,0.00065993634,0.083685935,0.000067247674,0.0012320254,0.66401756,0.061107654,0.17272942],"study_design_scores_gemma":[0.000012713213,0.000050040446,0.032801088,0.000911499,0.000013569654,0.0009816055,0.12845233,0.0002367284,0.0009218926,0.0659297,0.7696472,0.000041650732],"about_ca_topic_score_codex":0.01246234,"about_ca_topic_score_gemma":0.025615102,"teacher_disagreement_score":0.026587361,"about_ca_system_score_codex":0.0029335178,"about_ca_system_score_gemma":0.0013230521,"threshold_uncertainty_score":0.0889436},"labels":[],"label_agreement":null},{"id":"W4389977253","doi":"10.5429/635","title":"The Cultural Capital Project: Radical Monetization of the Music Industry","year":2013,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Monetization; Music industry; Consumption (sociology); Commodification; Cultural capital; Commodity; Sociology; Business; Public relations; Economics; Political science; Music education; Economy; Social science; Finance","score_opus":0.03154182948276875,"score_gpt":0.2101468627327238,"score_spread":0.17860503324995503,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4389977253","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.19354752,0.0028656542,0.023893693,0.034537196,0.00047576084,0.000086653185,0.00002610741,0.00011102672,0.7444563],"genre_scores_gemma":[0.98042595,0.0006878259,0.0021171654,0.0012756882,0.0001399858,0.000055597553,0.0000067882543,0.00002660836,0.015264291],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99558204,0.0024446126,0.0000754435,0.00040044409,0.00077671395,0.00072072266],"domain_scores_gemma":[0.9968495,0.0013494974,0.00035008005,0.0007566923,0.00015911159,0.000535079],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0051285075,0.00039643573,0.00031140665,0.0017016424,0.010372258,0.014791341,0.0013725242,0.0023966932,0.0033539317],"category_scores_gemma":[0.0057351007,0.00030970213,0.0002874372,0.0014456951,0.06080598,0.010885536,0.014987298,0.004116795,0.0003446629],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009049239,0.000013334988,0.00022696055,0.000013278529,0.0000019539302,0.00006151258,0.011197485,0.0000740191,0.00007478906,0.97899437,0.00080435956,0.008528938],"study_design_scores_gemma":[0.00003424946,0.000089808804,0.0021394435,0.00021049601,0.00001460909,0.00028638242,0.02988357,0.0009851506,0.001179221,0.7556821,0.20946579,0.000029180155],"about_ca_topic_score_codex":0.00395318,"about_ca_topic_score_gemma":0.0054236217,"teacher_disagreement_score":0.014791341,"about_ca_system_score_codex":0.006329111,"about_ca_system_score_gemma":0.008805097,"threshold_uncertainty_score":0.045921087},"labels":[],"label_agreement":null},{"id":"W4390599638","doi":"10.1017/9781009363433.002","title":"Ping-Pong and Its Discontents","year":2023,"lang":"en","type":"book-chapter","venue":"Cambridge University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Ping pong; Ping (video games); Sound (geography); Aesthetics; Narrative; Visual arts; History; Art; Advertising; Engineering; Literature; Acoustics; Business; Computer science; Simulation; Computer security","score_opus":0.10097887151883167,"score_gpt":0.1832323584364991,"score_spread":0.08225348691766743,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4390599638","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.011524572,0.012123132,0.0010742983,0.005885925,0.001024479,0.000010472207,0.000017246086,0.000062135696,0.9682777],"genre_scores_gemma":[0.2918357,0.012173762,0.00091803423,0.0023106884,0.0010225591,0.000030622246,0.00003296526,0.00012859794,0.691547],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99951863,0.0001443524,0.000009046855,0.00006238212,0.00021240131,0.000053172436],"domain_scores_gemma":[0.99969375,0.00017336528,0.000014732661,0.000048825736,0.00003778444,0.000031492353],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00055559695,0.00035114773,0.00013939368,0.00060778763,0.0033659935,0.0040241177,0.00066064164,0.0010922571,0.010609044],"category_scores_gemma":[0.0013901363,0.00013451425,0.00011536841,0.00092113035,0.008433309,0.0028222746,0.0021723588,0.0029185587,0.0014068232],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000029471552,0.000016148526,0.00014776926,0.00008913654,0.0000019971112,0.00022165137,0.015068356,0.00012804888,0.00036786558,0.87146896,0.041384615,0.07107596],"study_design_scores_gemma":[0.0000037177117,0.000021282542,0.00031182825,0.00008493335,0.0000016135926,0.00027785037,0.0022877923,0.00007665212,0.00026112807,0.031944502,0.964724,0.0000047474905],"about_ca_topic_score_codex":0.003459892,"about_ca_topic_score_gemma":0.005417776,"teacher_disagreement_score":0.010609044,"about_ca_system_score_codex":0.003305456,"about_ca_system_score_gemma":0.0012775833,"threshold_uncertainty_score":0.03549075},"labels":[],"label_agreement":null},{"id":"W4390599641","doi":"10.1017/9781009363433.001","title":"Introduction","year":2023,"lang":"en","type":"book-chapter","venue":"Cambridge University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Phonograph; Tonality; Art; Visual arts; Key (lock); Aesthetics; Period (music); Sound (geography); Modernism (music); Music technology; Active listening; Musical; Prism; Literature; Sociology; Music education; Acoustics; Communication; Computer science","score_opus":0.03464087720751712,"score_gpt":0.16768859262369862,"score_spread":0.1330477154161815,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4390599641","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0012008358,0.005438864,0.0035830168,0.00796123,0.0053295456,0.00014306945,0.0016929195,0.00060219585,0.97404826],"genre_scores_gemma":[0.009182672,0.0055685975,0.0030520745,0.004070836,0.001461431,0.00016112538,0.0022414476,0.0002971318,0.9739647],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99902964,0.00012971454,0.000049315757,0.00025371838,0.00041215212,0.00012541935],"domain_scores_gemma":[0.9993481,0.00011924194,0.000037069614,0.00008261515,0.00028131093,0.00013167712],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00067125226,0.0007371173,0.00057927036,0.0009999151,0.0022344093,0.005461968,0.0017911318,0.002675398,0.41693124],"category_scores_gemma":[0.002514496,0.00026734028,0.0005146153,0.0011612672,0.00096039317,0.0037964247,0.0033215329,0.002228941,0.23636647],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000046999296,0.00006778854,0.00050272094,0.00040215335,0.0000051075695,0.00024237286,0.0015894942,0.00015523346,0.00055930886,0.13205531,0.67523885,0.18913463],"study_design_scores_gemma":[0.0000014870535,0.000008299878,0.00013696036,0.00009846011,7.701316e-7,0.00008056298,0.00019014353,0.000016424625,0.000043189222,0.003065637,0.99635565,0.0000023990135],"about_ca_topic_score_codex":0.0023721894,"about_ca_topic_score_gemma":0.0030738367,"teacher_disagreement_score":0.41693124,"about_ca_system_score_codex":0.0018870978,"about_ca_system_score_gemma":0.0021083592,"threshold_uncertainty_score":0.83167684},"labels":[],"label_agreement":null},{"id":"W4390627593","doi":"10.1515/9781894725422-002","title":"Foreword","year":2018,"lang":"en","type":"book-chapter","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Philosophy","score_opus":0.04740222640807167,"score_gpt":0.18665083115661077,"score_spread":0.1392486047485391,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4390627593","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005338751,0.005761847,0.0013639532,0.027939495,0.10802198,0.00029730482,0.0048571024,0.001109434,0.85011494],"genre_scores_gemma":[0.0023188603,0.002958274,0.0005710619,0.0077249794,0.015630059,0.00012297409,0.0028117716,0.00083687686,0.9670252],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99884194,0.00014038077,0.00008942807,0.000194345,0.0006010883,0.0001328921],"domain_scores_gemma":[0.99573624,0.0006331816,0.00021121428,0.0003569498,0.002358173,0.0007042981],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00094756536,0.0008759938,0.00078591227,0.0023959328,0.0030910082,0.006148238,0.0017096073,0.0023948469,0.6251706],"category_scores_gemma":[0.0072893123,0.00036044914,0.00059272296,0.002266934,0.0009281244,0.0037989612,0.002947614,0.0036969958,0.5746698],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011751793,0.000009285322,0.000034058234,0.00009104318,0.0000012285419,0.000029877952,0.000077768345,0.000010566214,0.000120477984,0.0035593975,0.9752235,0.020831015],"study_design_scores_gemma":[0.0000013429051,0.0000031779243,0.00007277259,0.000054236338,4.6543684e-7,0.000020154981,0.00006166613,0.000004993158,0.0000305719,0.00039291635,0.999356,0.0000016097734],"about_ca_topic_score_codex":0.0055230907,"about_ca_topic_score_gemma":0.0075948494,"teacher_disagreement_score":0.3748294,"about_ca_system_score_codex":0.002501762,"about_ca_system_score_gemma":0.0032459495,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4390904617","doi":"10.1177/11033088231218854","title":"What My Music <i>Says</i> About Me: Re-evaluating the ‘Badge’ Function of Music in the Context of Streaming","year":2024,"lang":"en","type":"article","venue":"Young","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Frith; Identity (music); Context (archaeology); Musical; Representation (politics); Presentation (obstetrics); Function (biology); Point (geometry); Psychology; Sociology; Advertising; Aesthetics; Visual arts; Art; History; Linguistics; Politics","score_opus":0.06427857941141281,"score_gpt":0.26148459581964534,"score_spread":0.19720601640823254,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4390904617","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9761994,0.0017414396,0.0015900348,0.0024704956,0.00015358075,0.000041990086,0.000024805526,0.000009834208,0.017768385],"genre_scores_gemma":[0.9967122,0.00096976175,0.00049919036,0.00031534352,0.000031253,0.000020143862,0.000012218558,0.000018640832,0.0014212766],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9929147,0.0052217096,0.00022939393,0.0003232136,0.0007393203,0.00057166466],"domain_scores_gemma":[0.98977953,0.0072297296,0.0008883344,0.00049404206,0.00096205494,0.00064622896],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.017652309,0.000481128,0.00048301084,0.0019487954,0.0075519965,0.008004335,0.00109242,0.0010383278,0.0018979685],"category_scores_gemma":[0.018740738,0.00037285406,0.00033344975,0.0010072149,0.017451206,0.0072721285,0.0059983903,0.0022305949,0.00024306779],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023142358,0.0000074169584,0.0041262717,0.000066283326,0.000004243033,0.0001935226,0.98798347,0.000010699157,0.00029773486,0.0019949982,0.00013909535,0.00515313],"study_design_scores_gemma":[0.0000024171009,0.000027876238,0.004107209,0.00011563363,0.000008154636,0.00014622576,0.9886889,0.000028189961,0.0002469583,0.00063213654,0.005988197,0.000008132913],"about_ca_topic_score_codex":0.016003251,"about_ca_topic_score_gemma":0.033965386,"teacher_disagreement_score":0.017652309,"about_ca_system_score_codex":0.0051995865,"about_ca_system_score_gemma":0.0035086314,"threshold_uncertainty_score":0.09335542},"labels":[],"label_agreement":null},{"id":"W4390973875","doi":"10.1386/ghhs_00057_1","title":"Canada","year":2022,"lang":"en","type":"article","venue":"Global Hip Hop Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"The Scarborough Hospital; University of Toronto","funders":"","keywords":"Situated; Politics; Sociology; Geography; Political science; Computer science","score_opus":0.042788073323777556,"score_gpt":0.22932750840586735,"score_spread":0.1865394350820898,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4390973875","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008604404,0.0035682651,0.0007525618,0.008839908,0.0011486518,0.000087481,0.013333256,0.00043789667,0.96322775],"genre_scores_gemma":[0.021318065,0.0021401094,0.0006494305,0.0019395591,0.000042023963,0.000020365307,0.003278659,0.00012807206,0.9704837],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99938273,0.000017350292,0.0000139703525,0.0000890968,0.00029973572,0.00019712264],"domain_scores_gemma":[0.99902177,0.000035867124,0.000022579728,0.00002917868,0.00058629946,0.00030430238],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002375014,0.00043415636,0.0003326436,0.0012358198,0.008121451,0.0039692298,0.00069794763,0.0008175642,0.21881995],"category_scores_gemma":[0.0009110386,0.00023691134,0.00024773215,0.0030588256,0.0006178136,0.00067198614,0.0013673843,0.000897306,0.041097775],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000058290796,0.000021684886,0.0042751315,0.00018173615,0.000011620086,0.00053579663,0.00061940175,0.0001751933,0.0007058924,0.030020326,0.87187,0.09152493],"study_design_scores_gemma":[0.000004877038,0.0000061234036,0.0042154086,0.00005789812,0.000004657023,0.00010261801,0.0008687286,0.000078301346,0.00017273222,0.00046644747,0.99400973,0.000012513539],"about_ca_topic_score_codex":0.9715579,"about_ca_topic_score_gemma":0.9938014,"teacher_disagreement_score":0.21881995,"about_ca_system_score_codex":0.01909435,"about_ca_system_score_gemma":0.053565584,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4390983391","doi":"10.51644/9781771124850-001","title":"List of Illustrations","year":2021,"lang":"en","type":"book-chapter","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.057498771218974926,"score_gpt":0.1973484390034079,"score_spread":0.13984966778443297,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4390983391","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000250801,0.002952213,0.00032429793,0.00062804227,0.0013166271,0.00012186644,0.0030621826,0.00024393904,0.9911],"genre_scores_gemma":[0.0008681589,0.0020222398,0.00032316704,0.00012738981,0.00009028345,0.00003947895,0.0010137332,0.0000855288,0.99543],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99981433,0.000018404018,0.0000067588094,0.000022785089,0.00010012359,0.00003756522],"domain_scores_gemma":[0.9996594,0.000053082287,0.00001038151,0.00002038347,0.00020787174,0.000048976835],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00017970987,0.0009552736,0.00061117165,0.0036054696,0.0032108373,0.0029877196,0.0012590003,0.0007407403,0.5596537],"category_scores_gemma":[0.0009260914,0.00031444427,0.00035418404,0.0059580323,0.00059920794,0.001482582,0.0010391284,0.0010593028,0.27481267],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008507455,0.00001253066,0.00003339435,0.000110486806,8.111372e-7,0.00003859862,0.00009062397,0.000060679817,0.00013494384,0.011479322,0.9516135,0.036416613],"study_design_scores_gemma":[0.0000013571365,0.0000015189587,0.00017989568,0.00005318386,7.985746e-7,0.000022299595,0.00006815117,0.00002243661,0.000026386913,0.00052709476,0.9990947,0.0000022018335],"about_ca_topic_score_codex":0.2555582,"about_ca_topic_score_gemma":0.47758302,"teacher_disagreement_score":0.4403463,"about_ca_system_score_codex":0.003931764,"about_ca_system_score_gemma":0.004567857,"threshold_uncertainty_score":0.6281005},"labels":[],"label_agreement":null},{"id":"W4390996934","doi":"10.1386/ghhs_00064_2","title":"Mapping the global hip hop nation at 50: Introducing the ‘Hip Hop Atlas’ Special Issue","year":2022,"lang":"en","type":"article","venue":"Global Hip Hop Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"Arts and Humanities Research Council","keywords":"Borough; Narrative; History; Gender studies; Media studies; Sociology; Literature; Art","score_opus":0.05587042489024853,"score_gpt":0.25178242471454715,"score_spread":0.19591199982429863,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4390996934","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.012249139,0.09292346,0.0027313607,0.22409077,0.46841145,0.00017053555,0.00169306,0.00042216608,0.19730806],"genre_scores_gemma":[0.10965139,0.20364223,0.009012265,0.057055317,0.3492564,0.0006605849,0.0044800774,0.0018172039,0.2644245],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989875,0.00031731222,0.00008648368,0.000111013775,0.00037573604,0.00012197618],"domain_scores_gemma":[0.9944652,0.0033203096,0.0003515528,0.00018181393,0.00088169903,0.00079951534],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026407398,0.000717055,0.00049831235,0.0061079334,0.0039196834,0.014651231,0.0012521311,0.0026242076,0.013985914],"category_scores_gemma":[0.0051083174,0.00040628505,0.00046420842,0.005339347,0.0035600404,0.007934108,0.004584369,0.0040266505,0.0031849863],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012254784,0.00002560042,0.0010734189,0.000475537,0.000006987348,0.00026641876,0.011729707,0.000056977893,0.00022899284,0.020466154,0.92289025,0.04276774],"study_design_scores_gemma":[7.4900964e-7,0.000008150029,0.0013545313,0.00030605664,0.0000026012665,0.00008273895,0.0056026517,0.000019971601,0.000046348032,0.00080455246,0.9917641,0.000007462159],"about_ca_topic_score_codex":0.0034723815,"about_ca_topic_score_gemma":0.009925602,"teacher_disagreement_score":0.014651231,"about_ca_system_score_codex":0.002403755,"about_ca_system_score_gemma":0.0032029904,"threshold_uncertainty_score":0.0467875},"labels":[],"label_agreement":null},{"id":"W4391017175","doi":"10.17742/image29674","title":"Activism in the Arts: I’ve Got U Under My Skin: AIDS &amp; Classical Music","year":2022,"lang":"en","type":"article","venue":"Imaginations Journal of Cross-Cultural Image Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Classical music; The arts; Visual arts; Art; Sociology; Musical","score_opus":0.08733799591441196,"score_gpt":0.3715273813901553,"score_spread":0.28418938547574335,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391017175","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2389429,0.020327214,0.0015914498,0.14185832,0.0056440015,0.00005561888,0.000062418105,0.000052373427,0.5914658],"genre_scores_gemma":[0.95148927,0.0033577117,0.00029503898,0.010882395,0.0010762906,0.000023499604,0.000018020677,0.000056529774,0.032801222],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99812835,0.0010965581,0.00002511591,0.00012733546,0.00022033426,0.0004022798],"domain_scores_gemma":[0.9981768,0.00095946254,0.00012150513,0.00008310844,0.00014633258,0.0005127548],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0032858255,0.00058346114,0.00025720205,0.0013980045,0.014609436,0.011696312,0.0007737678,0.0038573183,0.00792967],"category_scores_gemma":[0.0035545959,0.00024200154,0.00026535804,0.0007319692,0.032917313,0.0068970155,0.0068270676,0.008553752,0.0007965037],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013671095,0.00018506765,0.0014607018,0.00018141544,0.000018640632,0.00060018245,0.74079794,0.00005016515,0.0010299397,0.17677082,0.040074967,0.038693417],"study_design_scores_gemma":[0.000028238395,0.00005760434,0.0020970309,0.00040148938,0.000016342068,0.0005654817,0.72587425,0.000067127,0.0005618664,0.014726519,0.25558525,0.000018876075],"about_ca_topic_score_codex":0.0062889243,"about_ca_topic_score_gemma":0.010517235,"teacher_disagreement_score":0.014609436,"about_ca_system_score_codex":0.0028391827,"about_ca_system_score_gemma":0.0023868526,"threshold_uncertainty_score":0.026527405},"labels":[],"label_agreement":null},{"id":"W4391191978","doi":"10.1515/9781787446601","title":"Musical Journeys: Performing Migration in Twentieth-Century Music","year":2019,"lang":"en","type":"book","venue":"Boydell and Brewer eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Musical; Visual arts; Art; History","score_opus":0.026761845817254732,"score_gpt":0.19072884325280945,"score_spread":0.1639669974355547,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391191978","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6783753,0.013509719,0.0013913934,0.01264958,0.00107072,0.000057865847,0.00006582811,0.00008805037,0.29279158],"genre_scores_gemma":[0.951141,0.003766351,0.0005942295,0.00065138174,0.00013334249,0.000029584915,0.000033758854,0.000043925622,0.043606367],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99913365,0.00042908065,0.000027972193,0.0000654253,0.00011283991,0.00023104125],"domain_scores_gemma":[0.9993661,0.00022456908,0.00009251372,0.000038723556,0.00005030843,0.00022778663],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012180378,0.0003578303,0.00022968445,0.0010315159,0.012347765,0.0054719807,0.00069132604,0.0013108647,0.004771763],"category_scores_gemma":[0.0019637528,0.00021653125,0.00022305262,0.0012102368,0.010574579,0.0032203957,0.0053485427,0.0014735262,0.0005646739],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000735512,0.000035768273,0.0031168736,0.00012676214,0.000007718541,0.0014474517,0.9159378,0.000047824455,0.00060668925,0.038945265,0.008083387,0.031570967],"study_design_scores_gemma":[0.0000109991515,0.000053591448,0.01013881,0.00018515385,0.0000048117677,0.00086460804,0.8253497,0.000039322593,0.00015322401,0.0023056148,0.16087927,0.000014873479],"about_ca_topic_score_codex":0.013587857,"about_ca_topic_score_gemma":0.048357084,"teacher_disagreement_score":0.013587857,"about_ca_system_score_codex":0.0026220744,"about_ca_system_score_gemma":0.0012896765,"threshold_uncertainty_score":0.027017534},"labels":[],"label_agreement":null},{"id":"W4391195249","doi":"10.51644/9781771121514-001","title":"Acknowledgements","year":2015,"lang":"en","type":"book-chapter","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.10653874974765842,"score_gpt":0.23079939760634904,"score_spread":0.12426064785869062,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391195249","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0014281208,0.006994967,0.010120169,0.04526611,0.06957139,0.0006263802,0.025643738,0.003355028,0.83699405],"genre_scores_gemma":[0.0051214406,0.0031871311,0.0055496255,0.009184572,0.004826622,0.00042238794,0.015056435,0.0021608933,0.9544909],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99627244,0.00055735157,0.00022611703,0.00051963417,0.0021621196,0.00026234562],"domain_scores_gemma":[0.98613584,0.0015576521,0.00042699085,0.0011832556,0.008799034,0.0018972358],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.003259187,0.0007795179,0.00084370613,0.002979324,0.0021821961,0.004683443,0.0021382193,0.0015239523,0.5257837],"category_scores_gemma":[0.019676682,0.00032132963,0.00067358074,0.0026200237,0.00078032876,0.002938916,0.0038545486,0.0026454297,0.4654847],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028003882,0.000011608453,0.00013629356,0.0001806287,0.0000026868154,0.0000867473,0.0002893425,0.000041099454,0.0002551861,0.0084111625,0.95303375,0.037523434],"study_design_scores_gemma":[0.0000019039824,0.0000024817862,0.00009599388,0.000069014386,0.0000010625806,0.000046695375,0.00011711708,0.000010473422,0.00003999419,0.00074090087,0.99887186,0.000002465142],"about_ca_topic_score_codex":0.00410064,"about_ca_topic_score_gemma":0.0056558177,"teacher_disagreement_score":0.5257837,"about_ca_system_score_codex":0.002959357,"about_ca_system_score_gemma":0.0033761489,"threshold_uncertainty_score":0.676412},"labels":[],"label_agreement":null},{"id":"W4391475003","doi":"10.1080/01439685.2024.2310387","title":"Breaks in the Air: The Birth of Rap Radio in New York City","year":2024,"lang":"en","type":"article","venue":"Historical Journal Of Film Radio and Television","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université Laval","funders":"","keywords":"Media studies; Art; Sociology","score_opus":0.033682646942071785,"score_gpt":0.21770242572444856,"score_spread":0.18401977878237677,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391475003","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.29243746,0.02967509,0.0008493172,0.24756329,0.010201094,0.00013758491,0.00040053073,0.0001855749,0.41855007],"genre_scores_gemma":[0.66002864,0.013674564,0.0005249389,0.029070364,0.0025521794,0.0002760843,0.00018692008,0.00042238858,0.293264],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9979234,0.00076879765,0.000043568103,0.00021379565,0.0003263662,0.0007241048],"domain_scores_gemma":[0.99614066,0.0013092209,0.00028871518,0.00017657054,0.00053182413,0.0015529763],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0028939026,0.00040516455,0.0004172509,0.001301103,0.021643315,0.0112399915,0.0011878704,0.0042989776,0.022280639],"category_scores_gemma":[0.0046663936,0.00084429915,0.00019537286,0.0012631658,0.008626294,0.005673321,0.007911082,0.011180446,0.00237928],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011805871,0.000096239804,0.0051961374,0.00012974773,0.000021469294,0.00221521,0.64626414,0.00004672232,0.00081568613,0.032132633,0.2630482,0.049915742],"study_design_scores_gemma":[0.00001156865,0.000034167024,0.0074325213,0.0003542444,0.000012599997,0.0003004954,0.27936384,0.000035053676,0.00014662683,0.0007202401,0.7115468,0.0000418254],"about_ca_topic_score_codex":0.28308013,"about_ca_topic_score_gemma":0.544368,"teacher_disagreement_score":0.28308013,"about_ca_system_score_codex":0.007715145,"about_ca_system_score_gemma":0.007990735,"threshold_uncertainty_score":0.56286484},"labels":[],"label_agreement":null},{"id":"W4391593272","doi":"10.32920/25175171.v1","title":"The instruction is to tell someone: uses of disclosures of gender-based violence post #metoo","year":2024,"lang":"en","type":"preprint","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University; Centre for Social Innovation; York University","funders":"","keywords":"Narrative; Silence; Subjectivity; Sociology; Patriarchy; Power (physics); Gender studies; Active listening; Aesthetics; Media studies; Art; Literature; Epistemology","score_opus":0.039470327401928545,"score_gpt":0.24234794978836355,"score_spread":0.202877622386435,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391593272","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9715134,0.0010903964,0.0024105706,0.003258999,0.0001256323,0.00007144455,0.0001317967,0.00007967706,0.02131809],"genre_scores_gemma":[0.9924076,0.00065872585,0.0010154553,0.00039759267,0.00005190714,0.0000961159,0.00005422031,0.000059283884,0.005259146],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.98786455,0.00938234,0.0004228377,0.0004976462,0.0012502398,0.0005822786],"domain_scores_gemma":[0.9781004,0.016747005,0.0023939887,0.0011520737,0.0008197558,0.00078664214],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.007689205,0.0004143335,0.00044748516,0.0016878141,0.006606052,0.0063763005,0.001097643,0.0019784227,0.0031383708],"category_scores_gemma":[0.037818927,0.00048225038,0.00026752948,0.0012913457,0.0077314037,0.004717939,0.010825973,0.0021915764,0.0005442221],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000055114164,0.000017925759,0.0027716013,0.0000954201,0.000005937895,0.00048536467,0.9793115,0.000021600601,0.0007233133,0.001862789,0.00052766997,0.014121733],"study_design_scores_gemma":[0.000005073638,0.00012093303,0.006179952,0.00033070918,0.000012316278,0.0011910886,0.9581384,0.00011888636,0.0010487534,0.00097280636,0.031853642,0.000027508511],"about_ca_topic_score_codex":0.0017443375,"about_ca_topic_score_gemma":0.0030129391,"teacher_disagreement_score":0.007689205,"about_ca_system_score_codex":0.0013976482,"about_ca_system_score_gemma":0.0011068422,"threshold_uncertainty_score":0.04066491},"labels":[],"label_agreement":null},{"id":"W4391618208","doi":"10.32920/25175171","title":"The instruction is to tell someone: uses of disclosures of gender-based violence post #metoo","year":2024,"lang":"en","type":"preprint","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University; Centre for Social Innovation; York University","funders":"","keywords":"Narrative; Silence; Subjectivity; Sociology; Patriarchy; Gender studies; Power (physics); Active listening; Media studies; Aesthetics; Art; Literature","score_opus":0.039470327401928545,"score_gpt":0.24234794978836355,"score_spread":0.202877622386435,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391618208","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9715134,0.0010903964,0.0024105706,0.003258999,0.0001256323,0.00007144455,0.0001317967,0.00007967706,0.02131809],"genre_scores_gemma":[0.9924076,0.00065872585,0.0010154553,0.00039759267,0.00005190714,0.0000961159,0.00005422031,0.000059283884,0.005259146],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.98786455,0.00938234,0.0004228377,0.0004976462,0.0012502398,0.0005822786],"domain_scores_gemma":[0.9781004,0.016747005,0.0023939887,0.0011520737,0.0008197558,0.00078664214],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.007689205,0.0004143335,0.00044748516,0.0016878141,0.006606052,0.0063763005,0.001097643,0.0019784227,0.0031383708],"category_scores_gemma":[0.037818927,0.00048225038,0.00026752948,0.0012913457,0.0077314037,0.004717939,0.010825973,0.0021915764,0.0005442221],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000055114164,0.000017925759,0.0027716013,0.0000954201,0.000005937895,0.00048536467,0.9793115,0.000021600601,0.0007233133,0.001862789,0.00052766997,0.014121733],"study_design_scores_gemma":[0.000005073638,0.00012093303,0.006179952,0.00033070918,0.000012316278,0.0011910886,0.9581384,0.00011888636,0.0010487534,0.00097280636,0.031853642,0.000027508511],"about_ca_topic_score_codex":0.0017443375,"about_ca_topic_score_gemma":0.0030129391,"teacher_disagreement_score":0.007689205,"about_ca_system_score_codex":0.0013976482,"about_ca_system_score_gemma":0.0011068422,"threshold_uncertainty_score":0.04066491},"labels":[],"label_agreement":null},{"id":"W4391623907","doi":"10.5406/19452349.41.1.06","title":"Moments","year":2023,"lang":"en","type":"article","venue":"American Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.04553162357400333,"score_gpt":0.22136018730675727,"score_spread":0.17582856373275393,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391623907","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0039042213,0.006025892,0.0033695158,0.031783383,0.027103188,0.0001716657,0.0011884201,0.00080151414,0.92565215],"genre_scores_gemma":[0.031052584,0.0028866564,0.001910796,0.011969304,0.0036484892,0.00015365751,0.00091930776,0.0005911579,0.94686806],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99853456,0.00039506433,0.000050617495,0.00027322333,0.00040487412,0.00034172952],"domain_scores_gemma":[0.998387,0.0001509002,0.00010929897,0.00016095799,0.00038149196,0.0008104501],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00093669724,0.0008472549,0.0004001094,0.0007515197,0.008117368,0.008073482,0.0014820512,0.0023221415,0.30713186],"category_scores_gemma":[0.0043478343,0.00032902093,0.0005754401,0.00081827544,0.0017970153,0.0042678816,0.008033762,0.0045671044,0.15104178],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000101837504,0.00004353051,0.000383755,0.00023532749,0.0000066897805,0.00051792816,0.005981491,0.000063147854,0.0006675639,0.05727115,0.86725295,0.06747458],"study_design_scores_gemma":[0.0000023348416,0.000009474885,0.00012549401,0.00007066521,9.524108e-7,0.00014485614,0.0016229975,0.000010521852,0.00006605619,0.0013620849,0.9965803,0.0000042988154],"about_ca_topic_score_codex":0.0023980034,"about_ca_topic_score_gemma":0.006544629,"teacher_disagreement_score":0.30713186,"about_ca_system_score_codex":0.0026695381,"about_ca_system_score_gemma":0.0021727579,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4391623908","doi":"10.5406/19452349.41.1.02","title":"What's at Stake? Considering the Case for “Asian American Jazz”","year":2023,"lang":"en","type":"article","venue":"American Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Jazz; History; Genealogy; Art; Art history","score_opus":0.0675187373379154,"score_gpt":0.24969855887252443,"score_spread":0.18217982153460904,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391623908","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10543917,0.0047403867,0.0006072088,0.7213539,0.004057623,0.000048063423,0.000040939423,0.000033567634,0.16367917],"genre_scores_gemma":[0.72460765,0.0032268632,0.00039755096,0.24064088,0.0015939213,0.00013381879,0.000035132984,0.000104461964,0.029259827],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9846748,0.006093866,0.00041484152,0.0010921189,0.0016160448,0.0061083804],"domain_scores_gemma":[0.9837847,0.0031962544,0.001331005,0.00054790196,0.0018344149,0.009305814],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.012429755,0.0005073125,0.000618513,0.0015510308,0.051692456,0.023170404,0.0031377487,0.0155019015,0.015836723],"category_scores_gemma":[0.015095141,0.0005775597,0.0006923843,0.002000107,0.029896868,0.017588908,0.015606656,0.02891353,0.0020902974],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000720975,0.00015213893,0.01175228,0.0001430792,0.00003072867,0.009835618,0.5795574,0.000028841268,0.00055745716,0.2606862,0.12048967,0.01669452],"study_design_scores_gemma":[0.000011271507,0.000016612217,0.0032250772,0.0004946939,0.000014417192,0.0018892641,0.76097536,0.000043417236,0.00012476453,0.013113046,0.22003356,0.000058535763],"about_ca_topic_score_codex":0.067950614,"about_ca_topic_score_gemma":0.11000179,"teacher_disagreement_score":0.067950614,"about_ca_system_score_codex":0.0076458557,"about_ca_system_score_gemma":0.01535619,"threshold_uncertainty_score":0.1351102},"labels":[],"label_agreement":null},{"id":"W4391706197","doi":"10.51644/9781554588923-019","title":"Mapping Canada’s Music: A Life’s Task","year":2013,"lang":"en","type":"book-chapter","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Task (project management); Psychology; Computer science; Economics; Management","score_opus":0.03703424211837795,"score_gpt":0.15705503982445626,"score_spread":0.12002079770607832,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391706197","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.018936729,0.052295525,0.012103608,0.06677224,0.0030709319,0.00012977958,0.0043776575,0.0006051503,0.84170836],"genre_scores_gemma":[0.25700146,0.051344827,0.029904045,0.008892091,0.00052678597,0.00013320176,0.0038592215,0.0011477633,0.6471906],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990374,0.00008813866,0.000021439479,0.00009919577,0.00050373026,0.00025009763],"domain_scores_gemma":[0.9988985,0.00014146754,0.000026350352,0.00005613506,0.00067765877,0.00019993872],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009835501,0.0008308435,0.0005022685,0.004423151,0.012040515,0.010359525,0.0015719397,0.0017250126,0.01752372],"category_scores_gemma":[0.0025122927,0.000424962,0.0003918936,0.009649565,0.0042302473,0.0032299703,0.0021926016,0.0025024978,0.0018026968],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000029108467,0.000021313806,0.003120988,0.00026982042,0.000031634117,0.00021893713,0.010240558,0.0009187478,0.0007116751,0.13109212,0.5101058,0.34323937],"study_design_scores_gemma":[0.0000023232594,0.0000043086966,0.0039193397,0.00027520332,0.000013062883,0.000094970674,0.014290573,0.00023770549,0.00029598133,0.009100393,0.9717382,0.000027800193],"about_ca_topic_score_codex":0.9919098,"about_ca_topic_score_gemma":0.9968317,"teacher_disagreement_score":0.054426283,"about_ca_system_score_codex":0.054426283,"about_ca_system_score_gemma":0.14733309,"threshold_uncertainty_score":0.39489216},"labels":[],"label_agreement":null},{"id":"W4391792495","doi":"10.30535/mto.29.4.2","title":"Female Subjectivities in the Words, Music, and Images of Progressive Metal","year":2023,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":14,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Ottawa","funders":"","keywords":"Art; Literature; Visual arts","score_opus":0.04164769333410856,"score_gpt":0.24433051507996778,"score_spread":0.20268282174585922,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391792495","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.673647,0.0018447322,0.0061645494,0.003478418,0.0002156338,0.00003719862,0.00006488712,0.0000601729,0.31448746],"genre_scores_gemma":[0.985022,0.0002674433,0.00036073045,0.00016733381,0.000030009884,0.000010756391,0.000016628617,0.000033249387,0.0140918335],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.998857,0.00054609764,0.000037887898,0.00017114184,0.00023530144,0.00015253539],"domain_scores_gemma":[0.99950933,0.00027346815,0.00007199764,0.00005525333,0.000045806097,0.000044256107],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012155414,0.0005012488,0.0002428952,0.0011627659,0.005518271,0.0056427945,0.00050708454,0.0009902178,0.0036127556],"category_scores_gemma":[0.0017096269,0.0001591855,0.000202194,0.00061671203,0.014772681,0.0030631283,0.0036032367,0.001479182,0.0005061479],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006115889,0.000016436159,0.003176792,0.00012887738,0.000010316066,0.00063450576,0.79191256,0.00010564951,0.0047907415,0.17746906,0.0017668362,0.01992703],"study_design_scores_gemma":[0.000010209415,0.000101947,0.00980398,0.00027721992,0.000021228934,0.0013185256,0.739051,0.00030898393,0.0037213182,0.018050585,0.22730431,0.000030692325],"about_ca_topic_score_codex":0.0028557708,"about_ca_topic_score_gemma":0.005137902,"teacher_disagreement_score":0.0056427945,"about_ca_system_score_codex":0.0019955395,"about_ca_system_score_gemma":0.00072928093,"threshold_uncertainty_score":0.0144786835},"labels":[],"label_agreement":null},{"id":"W4391829082","doi":"10.7202/1108766ar","title":"La danse hip-hop autogérée à travers le prisme des rapports sociaux : entre résistance et reproduction","year":2024,"lang":"fr","type":"article","venue":"Recherches féministes","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Political science; Sociology","score_opus":0.11491283239363677,"score_gpt":0.3063037873106471,"score_spread":0.19139095491701036,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391829082","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9256633,0.0018040607,0.0011302026,0.0054821502,0.00011635623,0.00003148269,0.000043920147,0.00001890806,0.06570975],"genre_scores_gemma":[0.98540825,0.0005574667,0.00020682014,0.0002680321,0.00001378649,0.000015374602,0.000011938975,0.000010893922,0.013507535],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9973617,0.0013452105,0.00005658923,0.0002289618,0.00022135623,0.000786116],"domain_scores_gemma":[0.9975551,0.0008699609,0.00041816104,0.00017886102,0.00032628808,0.0006517244],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020091035,0.0004499333,0.00038108806,0.0010699262,0.011289112,0.005492191,0.00085286895,0.0011620605,0.009014076],"category_scores_gemma":[0.0032344256,0.00026029412,0.00022265803,0.0009751154,0.014649199,0.002470272,0.0055180043,0.0018652944,0.0006563147],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000052206302,0.00007060603,0.01757027,0.00010274655,0.000016684435,0.0015142895,0.9073573,0.00007797351,0.00063271256,0.046432015,0.001828328,0.024344882],"study_design_scores_gemma":[0.00000869827,0.000076781624,0.024581643,0.0002897791,0.00001800899,0.00082716066,0.8784775,0.000113016446,0.00029936712,0.0037418555,0.09153689,0.000029293818],"about_ca_topic_score_codex":0.07306919,"about_ca_topic_score_gemma":0.11904044,"teacher_disagreement_score":0.07306919,"about_ca_system_score_codex":0.0063528973,"about_ca_system_score_gemma":0.00582455,"threshold_uncertainty_score":0.14528775},"labels":[],"label_agreement":null},{"id":"W4391862776","doi":"10.51644/9780889206663-011","title":"In the Great Midwestern Hardware Store: The Seventies Triumph in English-Canadian Rock Music","year":2006,"lang":"en","type":"book-chapter","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer science; Archaeology; History; Computer hardware","score_opus":0.0319433804110783,"score_gpt":0.18188060419304242,"score_spread":0.1499372237819641,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391862776","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.09484869,0.012877482,0.0005111273,0.030060362,0.0012312523,0.000037192836,0.00035429018,0.00008691032,0.85999274],"genre_scores_gemma":[0.3867882,0.0057979845,0.0005066307,0.0029839035,0.00013955403,0.00001933067,0.00013621913,0.00014198507,0.6034862],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986524,0.00008686143,0.000021361739,0.00011994733,0.0004533289,0.00066612504],"domain_scores_gemma":[0.9992392,0.00008391549,0.000036856865,0.000025854235,0.00027167052,0.00034253913],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008750007,0.0004711636,0.00026486994,0.0013917444,0.024646185,0.010197338,0.0011995992,0.0016022451,0.029763633],"category_scores_gemma":[0.0017149461,0.0004294149,0.00020379118,0.0034448744,0.010334613,0.0031688907,0.0031357447,0.0035010006,0.0022827499],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001831349,0.00004136314,0.0054971036,0.00018666546,0.000011259392,0.00073158316,0.3305469,0.00017246227,0.0007798741,0.28187573,0.25307444,0.12689957],"study_design_scores_gemma":[0.000005922133,0.0000140698885,0.012229892,0.0002273133,0.0000076132983,0.00010677711,0.17169519,0.000037541784,0.00017758692,0.002439409,0.81303144,0.000027233578],"about_ca_topic_score_codex":0.97832644,"about_ca_topic_score_gemma":0.9966947,"teacher_disagreement_score":0.0433291,"about_ca_system_score_codex":0.0433291,"about_ca_system_score_gemma":0.07029117,"threshold_uncertainty_score":0.31437612},"labels":[],"label_agreement":null},{"id":"W4391863300","doi":"10.51644/9780889206663-014","title":"\"It’s My Nature\": The Discourse of Experience and Black Canadian Music","year":2006,"lang":"en","type":"book-chapter","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sociology","score_opus":0.024315943034471432,"score_gpt":0.20615062001325624,"score_spread":0.1818346769787848,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391863300","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.118946634,0.010561431,0.001246748,0.06853719,0.0012344684,0.00003710028,0.00015321208,0.000068526104,0.7992147],"genre_scores_gemma":[0.8205242,0.0032836818,0.0007055392,0.006164616,0.0001758568,0.000037630944,0.00005139029,0.00015797051,0.1688992],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99725443,0.0007227869,0.000030069199,0.00021520548,0.00063144404,0.0011459808],"domain_scores_gemma":[0.99790776,0.00066732574,0.00009961314,0.00007198545,0.00061462505,0.0006387376],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0025612155,0.0009707378,0.0006642583,0.0029170422,0.063065566,0.019672891,0.002250985,0.004169195,0.016434181],"category_scores_gemma":[0.004660557,0.0004719329,0.00037554262,0.0043119583,0.046922773,0.0053035724,0.0057498673,0.00743584,0.00086016266],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000049515125,0.000019310164,0.00084231235,0.00006646766,0.000007686754,0.0001946299,0.5193974,0.000078639954,0.00024812328,0.4303133,0.0314583,0.017324418],"study_design_scores_gemma":[0.000012513748,0.000014117204,0.0035361608,0.0004047703,0.000027264954,0.00012186859,0.5523095,0.00013771853,0.00024120432,0.026583444,0.41654462,0.00006684767],"about_ca_topic_score_codex":0.98495734,"about_ca_topic_score_gemma":0.99197245,"teacher_disagreement_score":0.09421556,"about_ca_system_score_codex":0.09421556,"about_ca_system_score_gemma":0.10027063,"threshold_uncertainty_score":0.6835849},"labels":[],"label_agreement":null},{"id":"W4391968582","doi":"10.51644/9781554588824-006","title":"The Canadian Concert-Party Experience","year":2012,"lang":"en","type":"book-chapter","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Political science","score_opus":0.06612829293877233,"score_gpt":0.20682893987457104,"score_spread":0.1407006469357987,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391968582","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.01899455,0.0064496337,0.00024037453,0.010407301,0.0007482481,0.000017600363,0.00022855101,0.000043161355,0.96287066],"genre_scores_gemma":[0.26920694,0.007236768,0.00035712743,0.0019163599,0.00012761126,0.000025592346,0.00017288061,0.0001090258,0.72084767],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982704,0.00021092084,0.000019631065,0.00012634612,0.0006261011,0.0007466491],"domain_scores_gemma":[0.9991487,0.000096758915,0.000019872363,0.000027052562,0.0002585728,0.00044900645],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009407749,0.00083833165,0.00045278866,0.0017253056,0.042046454,0.013700511,0.0017653797,0.0024329545,0.052723583],"category_scores_gemma":[0.00186484,0.00040502113,0.00038076105,0.0046402183,0.0076888627,0.0028024698,0.003474626,0.0040527056,0.003089373],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009239303,0.00005600512,0.0017337039,0.00013967438,0.000013724487,0.0006835579,0.10839635,0.00024918583,0.0004071868,0.4071667,0.402562,0.07849952],"study_design_scores_gemma":[0.0000029939906,0.000004477673,0.002084823,0.000066102584,0.0000042084835,0.00007153381,0.035915457,0.000036227655,0.000068688365,0.0013829096,0.9603445,0.000018096172],"about_ca_topic_score_codex":0.9915245,"about_ca_topic_score_gemma":0.9982749,"teacher_disagreement_score":0.11059918,"about_ca_system_score_codex":0.11059918,"about_ca_system_score_gemma":0.104474865,"threshold_uncertainty_score":0.802457},"labels":[],"label_agreement":null},{"id":"W4392230293","doi":"10.1111/aman.13963","title":"Introduction","year":2024,"lang":"en","type":"article","venue":"American Anthropologist","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History","score_opus":0.017724923324510256,"score_gpt":0.2600334884986322,"score_spread":0.24230856517412197,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4392230293","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006897416,0.011274543,0.0014519473,0.039174013,0.33477095,0.00021441787,0.003915486,0.0014572949,0.60705173],"genre_scores_gemma":[0.0024434128,0.005780246,0.00067500497,0.010516034,0.05495126,0.00012647144,0.003012478,0.00082438876,0.9216707],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978866,0.00021830291,0.00016475712,0.00048277923,0.0010009675,0.00024655845],"domain_scores_gemma":[0.9968352,0.0004869511,0.00015042991,0.00040956674,0.001280967,0.0008368866],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0014866791,0.0013802437,0.0012042027,0.0020704898,0.0022720874,0.009933474,0.0021197957,0.003893326,0.6064132],"category_scores_gemma":[0.006688915,0.0005001473,0.0010538392,0.0016490017,0.0009701027,0.005743612,0.004128732,0.0038080814,0.44954988],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014866813,0.000020668575,0.0000952973,0.00012325087,0.000002663432,0.000034160243,0.00005000119,0.000020018671,0.000095056224,0.0032327485,0.9579922,0.03831907],"study_design_scores_gemma":[0.0000021054911,0.000005993137,0.00011614715,0.0000693895,9.163887e-7,0.000028447857,0.000033372504,0.000009069783,0.000022431728,0.00048651404,0.99922323,0.000002370502],"about_ca_topic_score_codex":0.0013784047,"about_ca_topic_score_gemma":0.0019019906,"teacher_disagreement_score":0.3935868,"about_ca_system_score_codex":0.0016543233,"about_ca_system_score_gemma":0.0033507436,"threshold_uncertainty_score":0.5614038},"labels":[],"label_agreement":null},{"id":"W4392544833","doi":"10.1525/jpms.2024.36.1.164","title":"Review: <i>Record Cultures: The Transformation of the U.S. Recording Industry</i>, by Kyle Barnett","year":2024,"lang":"en","type":"article","venue":"Journal of Popular Music Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"McGill University","funders":"","keywords":"Transformation (genetics); Engineering; History; Chemistry","score_opus":0.055775805650926186,"score_gpt":0.28314028231622523,"score_spread":0.22736447666529905,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4392544833","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000065947745,0.9048631,0.0001764197,0.04095006,0.042849284,0.00018424731,0.00043549782,0.000083427796,0.010392055],"genre_scores_gemma":[0.0012527446,0.9115699,0.0002630269,0.04589973,0.018576354,0.00035957395,0.0007093647,0.000072718685,0.021296587],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9962251,0.0007346932,0.0005407174,0.00035105884,0.0019310621,0.00021740385],"domain_scores_gemma":[0.9795378,0.004805105,0.0017171274,0.00045990612,0.012339377,0.0011407465],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003929348,0.0014433593,0.002634934,0.005231057,0.0012922579,0.005425304,0.0029894204,0.004441686,0.030937023],"category_scores_gemma":[0.023883805,0.00094560237,0.0012430104,0.0056849825,0.00191884,0.005322169,0.0019711629,0.0053397752,0.027616259],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011618405,0.0000033998538,0.00002881628,0.0030862095,0.000020416446,0.0000223069,0.000028366276,0.000010442836,0.000028591647,0.00021903054,0.96522695,0.03131379],"study_design_scores_gemma":[0.000019058405,0.000023346258,0.00033038357,0.009860783,0.00004292032,0.00014392853,0.00008740745,0.000011379317,0.000033457127,0.00027321093,0.98915464,0.000019528941],"about_ca_topic_score_codex":0.007163074,"about_ca_topic_score_gemma":0.012037595,"teacher_disagreement_score":0.030937023,"about_ca_system_score_codex":0.00442229,"about_ca_system_score_gemma":0.00915276,"threshold_uncertainty_score":0.103494644},"labels":[],"label_agreement":null},{"id":"W4392569868","doi":"10.7202/1109670ar","title":"Le métissage de la scène théâtrale montréalaise : (trans)formations de l’ethos de la citoyenneté culturelle","year":2024,"lang":"fr","type":"article","venue":"Lien social et Politiques","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Université du Québec à Montréal","funders":"","keywords":"Ethos; Citizenship; Sociology; Aesthetics; Art; Political science; Law","score_opus":0.013428289015428882,"score_gpt":0.28137069187410296,"score_spread":0.2679424028586741,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4392569868","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.47556075,0.0023832538,0.00362315,0.012191878,0.00053550565,0.00011317616,0.00020186511,0.000050885283,0.50533956],"genre_scores_gemma":[0.9283228,0.0006556144,0.00067020085,0.00031128663,0.000040295643,0.000028339413,0.000044905904,0.00003701123,0.06988947],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99858,0.00051932695,0.000014608228,0.00014586198,0.00029665287,0.00044360015],"domain_scores_gemma":[0.9991818,0.00018216859,0.000080186415,0.00007229496,0.00021495782,0.00026859864],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012211691,0.0003943479,0.00024255177,0.0008193393,0.015268755,0.006909804,0.0008194885,0.0009667644,0.016929558],"category_scores_gemma":[0.002087112,0.00023614864,0.00027119752,0.0011514977,0.012718618,0.0017932036,0.0045664087,0.0022263275,0.0006058614],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014607584,0.00005871222,0.010278799,0.00018635018,0.00003066925,0.001511663,0.61354107,0.00043332882,0.004916596,0.29608065,0.013718068,0.05909813],"study_design_scores_gemma":[0.000018821765,0.000094530886,0.038900774,0.00023293827,0.000021241303,0.00035924817,0.34003854,0.00021398441,0.0014508641,0.005012573,0.61358577,0.00007075217],"about_ca_topic_score_codex":0.74487805,"about_ca_topic_score_gemma":0.88863945,"teacher_disagreement_score":0.25512195,"about_ca_system_score_codex":0.023417285,"about_ca_system_score_gemma":0.022069847,"threshold_uncertainty_score":0.5132488},"labels":[],"label_agreement":null},{"id":"W4392661986","doi":"10.4000/ideas.17360","title":"Claude Chastagner, Des barrios aux bayous. Musique populaire et identités aux États-Unis","year":2024,"lang":"fr","type":"article","venue":"IdeAs","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Musée de la Civilisation","funders":"","keywords":"Humanities; Art; Political science","score_opus":0.0392955861856231,"score_gpt":0.2844180844468756,"score_spread":0.2451224982612525,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4392661986","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.012813274,0.188637,0.0016109324,0.54902214,0.0075376946,0.00002838391,0.00021153557,0.00016942514,0.23996963],"genre_scores_gemma":[0.308336,0.069991834,0.0018468759,0.092187695,0.0054817,0.00013001142,0.0001755079,0.00041919484,0.52143115],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988422,0.0005151441,0.000019353023,0.0001984312,0.0002644464,0.00016043293],"domain_scores_gemma":[0.9986111,0.00073144573,0.00011767252,0.00005742672,0.0002357331,0.0002466756],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014583513,0.00058340974,0.00027220885,0.0015723761,0.008990661,0.0063477126,0.0007224273,0.002958668,0.012902569],"category_scores_gemma":[0.003771613,0.00031014415,0.00015838834,0.0015421661,0.007940033,0.0052037295,0.002249403,0.0051440746,0.0025174075],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000055188044,0.000018296678,0.0014305315,0.00015738713,0.000009300095,0.00024799522,0.045612272,0.000070957125,0.0003504824,0.39860857,0.5165694,0.03686963],"study_design_scores_gemma":[0.0000056479566,0.000006283841,0.0016666211,0.0002208073,0.000002737685,0.00008436698,0.009516837,0.000027199278,0.000105586936,0.009562503,0.9787891,0.000012270857],"about_ca_topic_score_codex":0.11679906,"about_ca_topic_score_gemma":0.1539089,"teacher_disagreement_score":0.11679906,"about_ca_system_score_codex":0.0057820934,"about_ca_system_score_gemma":0.0037904456,"threshold_uncertainty_score":0.23223841},"labels":[],"label_agreement":null},{"id":"W4392674316","doi":"","title":"Approche socio-historique d’une contre-culture : la culture hip-hop","year":2007,"lang":"fr","type":"article","venue":"HAL (Le Centre pour la Communication Scientifique Directe)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Centre Hospitalier Universitaire de Sherbrooke","funders":"","keywords":"Computer science; Sociology","score_opus":0.013426290461156691,"score_gpt":0.20880878622315224,"score_spread":0.19538249576199554,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4392674316","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.029442834,0.029397815,0.02560706,0.3095664,0.009309485,0.00012608952,0.00021124924,0.0001084817,0.59623057],"genre_scores_gemma":[0.8076206,0.020011162,0.016581383,0.016145742,0.0037266256,0.0002877179,0.00021786256,0.00020439723,0.13520446],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99680734,0.0019043538,0.00011393605,0.00024157023,0.000534132,0.0003986221],"domain_scores_gemma":[0.99520916,0.0021678577,0.00026275334,0.00039092638,0.0015301578,0.0004390892],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.007819654,0.0006701103,0.00038775234,0.0037810542,0.0068302923,0.011296353,0.0015697253,0.004746529,0.013661403],"category_scores_gemma":[0.009004777,0.00030706462,0.00040267175,0.0030874705,0.014582038,0.008981294,0.0043170936,0.0057780766,0.001210095],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018750443,0.000024425726,0.0010577798,0.00010554757,0.000008318364,0.00018651222,0.02950355,0.00017828905,0.00011062071,0.92804676,0.014369892,0.026389474],"study_design_scores_gemma":[0.000016516056,0.00002420571,0.002842752,0.0008502111,0.000026106354,0.00026383248,0.050909176,0.0006870756,0.00038573839,0.20200689,0.7419526,0.000034913777],"about_ca_topic_score_codex":0.043812327,"about_ca_topic_score_gemma":0.056048177,"teacher_disagreement_score":0.043812327,"about_ca_system_score_codex":0.013285966,"about_ca_system_score_gemma":0.016414747,"threshold_uncertainty_score":0.09639686},"labels":[],"label_agreement":null},{"id":"W4392814228","doi":"10.1080/03007766.2024.2327866","title":"Small Venues: Precarity, Vibrancy and Live Music","year":2024,"lang":"en","type":"article","venue":"Popular Music & Society","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Whiting; Precarity; Media studies; Art; Sociology; Visual arts; Gender studies; Fishery; Fish <Actinopterygii>","score_opus":0.06271828772957085,"score_gpt":0.21608131987583498,"score_spread":0.15336303214626412,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4392814228","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.022031851,0.09802389,0.010197797,0.12216467,0.021514794,0.00008335272,0.00016023828,0.00015729776,0.72566617],"genre_scores_gemma":[0.48942417,0.065675735,0.00652806,0.048060343,0.015265564,0.00021046185,0.00019758826,0.00044247988,0.37419552],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9991042,0.0004589628,0.000020950347,0.00006895997,0.00017020716,0.00017672821],"domain_scores_gemma":[0.99938965,0.0003248377,0.0000443128,0.00002753224,0.000054047687,0.0001595992],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00068556814,0.0005551547,0.0003063409,0.000678742,0.0050471956,0.005375443,0.00079687877,0.0025438454,0.020065835],"category_scores_gemma":[0.001301429,0.00021263276,0.00027427103,0.0008157483,0.009182407,0.0075765387,0.005356621,0.005285303,0.0027528165],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008062609,0.00005065552,0.0011207737,0.00040343349,0.000007971507,0.00048715956,0.028782766,0.00012896943,0.00039259277,0.62240964,0.26198426,0.08415118],"study_design_scores_gemma":[0.000004334766,0.000035295772,0.0009854147,0.00033605698,0.0000022059774,0.00047185426,0.013111894,0.000057110243,0.00012785067,0.02846841,0.95638025,0.000019417073],"about_ca_topic_score_codex":0.005133719,"about_ca_topic_score_gemma":0.023033896,"teacher_disagreement_score":0.020065835,"about_ca_system_score_codex":0.0013771266,"about_ca_system_score_gemma":0.00080502854,"threshold_uncertainty_score":0.06712693},"labels":[],"label_agreement":null},{"id":"W4392836000","doi":"10.30535/mto.10.2.2","title":"Authenticity, Appropriation, Signification","year":2004,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":7,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Ottawa","funders":"","keywords":"Appropriation; Narrative; Intertextuality; Musical; Style (visual arts); Theme (computing); Literature; Art; Lyrics; Storytelling; Aesthetics; Linguistics; Philosophy","score_opus":0.03796023778972736,"score_gpt":0.21469417084865217,"score_spread":0.17673393305892482,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4392836000","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.26607382,0.0057029063,0.014062528,0.009177356,0.00058272795,0.00005634788,0.000054599706,0.000069393005,0.70422035],"genre_scores_gemma":[0.98677677,0.00097563374,0.0010410208,0.0002199472,0.00016800384,0.000023388786,0.000020110889,0.0000417313,0.010733472],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99606735,0.0019625598,0.00010775766,0.00043799003,0.00094159174,0.000482748],"domain_scores_gemma":[0.9970661,0.0015988321,0.0004097685,0.00050284376,0.00020408382,0.00021830946],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0032834809,0.00055662816,0.00039997097,0.0013724563,0.0066820877,0.010382791,0.0009942831,0.0014825311,0.0034997233],"category_scores_gemma":[0.0055715092,0.00020547422,0.00027477174,0.0013625524,0.0393829,0.0064537227,0.008138327,0.0026147582,0.00043274142],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000045427427,0.000026670641,0.0017026272,0.00014439438,0.00000811696,0.00082343805,0.39407727,0.00010094493,0.0010162606,0.57903,0.0018005758,0.021224355],"study_design_scores_gemma":[0.00002230791,0.00013133725,0.0062553165,0.000498141,0.000026095615,0.0025499044,0.3053605,0.00031445234,0.0018197084,0.13477819,0.5482048,0.000039203762],"about_ca_topic_score_codex":0.0016228588,"about_ca_topic_score_gemma":0.0017861564,"teacher_disagreement_score":0.010382791,"about_ca_system_score_codex":0.0030097323,"about_ca_system_score_gemma":0.0014600147,"threshold_uncertainty_score":0.021837294},"labels":[],"label_agreement":null},{"id":"W4392836223","doi":"10.30535/mto.11.3.2","title":"Feeling the Style","year":2005,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Ottawa","funders":"","keywords":"Blues; Feeling; Musical; Subjectivity; Expression (computer science); Lyrics; Style (visual arts); Musical expression; Jazz; Tribute; Gesture; Art; Psychology; Aesthetics; Literature; Visual arts; Linguistics; Art history; Philosophy; Social psychology; Epistemology","score_opus":0.033308707365381086,"score_gpt":0.21837208704091035,"score_spread":0.18506337967552927,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4392836223","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.049560785,0.0008120444,0.008973713,0.011885436,0.0026396555,0.00006407311,0.00014829915,0.0002814293,0.9256345],"genre_scores_gemma":[0.6089614,0.00083490537,0.0035319868,0.0062959697,0.00096259924,0.00007550258,0.0001740045,0.00046625914,0.3786974],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986553,0.00033360775,0.000040902098,0.0002104148,0.0005630756,0.00019654888],"domain_scores_gemma":[0.99905986,0.00008784375,0.00009163079,0.00013905457,0.0003056548,0.0003161083],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008800594,0.00062342576,0.00022964286,0.00066811754,0.0025848327,0.0057087834,0.00045729306,0.0009554168,0.021688808],"category_scores_gemma":[0.003166271,0.00015653901,0.00040022575,0.0003366736,0.005439941,0.003305805,0.0036931478,0.0025504709,0.0064578303],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017260677,0.000081364095,0.008294924,0.00024640706,0.00008603881,0.0011620048,0.2840802,0.00020597703,0.024242915,0.35970658,0.14947385,0.1722472],"study_design_scores_gemma":[0.000027348102,0.00012154021,0.009147887,0.00019383953,0.000030675248,0.001272033,0.06241903,0.00022068305,0.0011834204,0.020786708,0.9045172,0.00007967899],"about_ca_topic_score_codex":0.0031515888,"about_ca_topic_score_gemma":0.0050572264,"teacher_disagreement_score":0.021688808,"about_ca_system_score_codex":0.0011313473,"about_ca_system_score_gemma":0.0006201252,"threshold_uncertainty_score":0.07255632},"labels":[],"label_agreement":null},{"id":"W4392929540","doi":"","title":"La culture hip-hop sous le regard des institutionnels : entre normes et déviance","year":2006,"lang":"fr","type":"article","venue":"HAL (Le Centre pour la Communication Scientifique Directe)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Centre Hospitalier Universitaire de Sherbrooke","funders":"","keywords":"Humanities; Political science; Philosophy","score_opus":0.014115528179405746,"score_gpt":0.2026579341073277,"score_spread":0.18854240592792193,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4392929540","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.68190765,0.0037618508,0.0010160194,0.036060948,0.00051332,0.000017718356,0.00004774558,0.000027024016,0.2766476],"genre_scores_gemma":[0.99418074,0.00032195722,0.0000576281,0.000475861,0.00006349092,0.000006531667,0.000004768127,0.000009467606,0.004879578],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99481094,0.0028347117,0.00012829318,0.00029099634,0.00085519365,0.0010799171],"domain_scores_gemma":[0.9940764,0.002423291,0.0008791431,0.00026173965,0.0009147014,0.0014446513],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0039442396,0.0002718144,0.00032382185,0.0013640918,0.009817258,0.012915456,0.00078889483,0.0017387434,0.004384984],"category_scores_gemma":[0.009850828,0.00018015938,0.00013223174,0.0016205612,0.027698515,0.0031281568,0.0053013186,0.005374477,0.0003495479],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006452755,0.00008202165,0.012223499,0.000050585884,0.00001898335,0.00056498195,0.58371896,0.00009455303,0.00038953708,0.3786165,0.005145559,0.0190303],"study_design_scores_gemma":[0.00001864833,0.0000904186,0.03356607,0.00024092091,0.000020422049,0.0005416695,0.82651204,0.00017541164,0.0004503932,0.03164406,0.10668652,0.000053393444],"about_ca_topic_score_codex":0.02672481,"about_ca_topic_score_gemma":0.026298057,"teacher_disagreement_score":0.02672481,"about_ca_system_score_codex":0.0053717652,"about_ca_system_score_gemma":0.005883609,"threshold_uncertainty_score":0.053138494},"labels":[],"label_agreement":null},{"id":"W4393026468","doi":"10.1177/00961442241237983","title":"Sounding Sidewalks: Historicizing and Theorizing This Medial Zone","year":2024,"lang":"en","type":"article","venue":"Journal of Urban History","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Depth sounding; Geology; Sociology; Oceanography","score_opus":0.028806746684249294,"score_gpt":0.1974237867781265,"score_spread":0.1686170400938772,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4393026468","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3441605,0.004748391,0.046010517,0.0065815854,0.0003743953,0.00010669812,0.00006804717,0.0000864728,0.59786344],"genre_scores_gemma":[0.98273855,0.0012234582,0.0032638377,0.00016740937,0.0000430248,0.000029449806,0.000023869976,0.00003581436,0.012474692],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99906343,0.0005471233,0.000022467339,0.000117746815,0.00013564498,0.000113571055],"domain_scores_gemma":[0.99926823,0.00040180775,0.00007418483,0.00009274722,0.00007562174,0.000087383916],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013513429,0.00047706967,0.0002533534,0.0022957854,0.005653731,0.0076587,0.0013972498,0.001677146,0.0076935133],"category_scores_gemma":[0.0023759222,0.0003482759,0.00021102768,0.0019042497,0.032097343,0.0075294324,0.0050275787,0.0019081315,0.00075562415],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000030055375,0.000015096831,0.0017615965,0.00008896286,0.0000036083634,0.00036848523,0.19392991,0.0003960269,0.0004945476,0.78516275,0.0006752481,0.017073775],"study_design_scores_gemma":[0.000015673633,0.00013751262,0.0046099145,0.0010042497,0.000023447532,0.0008898806,0.58343023,0.0016241577,0.001349811,0.2005804,0.20629221,0.0000424951],"about_ca_topic_score_codex":0.006324539,"about_ca_topic_score_gemma":0.022237731,"teacher_disagreement_score":0.0076935133,"about_ca_system_score_codex":0.0034977314,"about_ca_system_score_gemma":0.0023267737,"threshold_uncertainty_score":0.025737345},"labels":[],"label_agreement":null},{"id":"W4393250670","doi":"10.1145/3627611.3627617","title":"Ombra Musici II: Classical Music Performance and Public Space","year":2023,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"Universitas Brawijaya","keywords":"Space (punctuation); Computer science; Public space; Engineering; Architectural engineering","score_opus":0.05915054981120782,"score_gpt":0.19830474752394048,"score_spread":0.13915419771273266,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4393250670","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7275976,0.0013125645,0.0019336569,0.0029185961,0.00026016167,0.000060922936,0.00016528525,0.00008495272,0.26566625],"genre_scores_gemma":[0.98080057,0.00043064993,0.00041047626,0.00013111698,0.00006419511,0.00003396535,0.000055011933,0.000031017902,0.01804306],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99953246,0.0001763814,0.000009959578,0.00005901274,0.00008955735,0.00013255296],"domain_scores_gemma":[0.99946207,0.0002040536,0.00011152812,0.000046704077,0.0000383728,0.00013730353],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005977844,0.0003771141,0.00018649675,0.00061687955,0.0049538985,0.005085605,0.00063844223,0.0009925191,0.014784268],"category_scores_gemma":[0.0014221151,0.00014904072,0.00017337032,0.00078207295,0.0047536725,0.002286912,0.003507998,0.0010753768,0.00060099876],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0009558425,0.0006105807,0.035615284,0.00078517554,0.000052099578,0.0036925396,0.6975766,0.00086118205,0.01277787,0.063564844,0.028063674,0.15544444],"study_design_scores_gemma":[0.000026666856,0.00027808602,0.06854188,0.0003659125,0.00002437413,0.0010609295,0.7404926,0.0003226439,0.00196647,0.0025861617,0.18429078,0.00004348699],"about_ca_topic_score_codex":0.006929996,"about_ca_topic_score_gemma":0.022810055,"teacher_disagreement_score":0.014784268,"about_ca_system_score_codex":0.0017726287,"about_ca_system_score_gemma":0.00071963965,"threshold_uncertainty_score":0.049458325},"labels":[],"label_agreement":null},{"id":"W4393290555","doi":"10.58837/chula.jucr.5.1.5","title":"In Their Own Voices: Immigrant Musickers in a Changing City","year":2012,"lang":"en","type":"article","venue":"Journal of Urban Culture Research","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Memorial University of Newfoundland","funders":"","keywords":"Immigration; Sociology; Political science","score_opus":0.11166297258762464,"score_gpt":0.3179099486549499,"score_spread":0.20624697606732528,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4393290555","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9806598,0.0006962382,0.00016986587,0.0041075647,0.0001835746,0.00003793789,0.000030148492,0.000021754922,0.014093064],"genre_scores_gemma":[0.985336,0.00066657364,0.00020873151,0.0014645556,0.00005145574,0.000028900304,0.000030313755,0.000029395029,0.012184041],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99659926,0.001268643,0.000052226893,0.00023275382,0.00047758486,0.0013694923],"domain_scores_gemma":[0.9977373,0.0004707532,0.00018785088,0.00009047339,0.00028688074,0.0012268384],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002776397,0.00072801573,0.00071092305,0.0019176113,0.044855148,0.011732315,0.0026184507,0.0029685772,0.006400985],"category_scores_gemma":[0.0035227037,0.00064924516,0.00044989143,0.002379854,0.017466461,0.0037618987,0.013010903,0.0048598316,0.000592051],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020162555,0.000017222363,0.0034807387,0.000020572366,0.0000038572653,0.000917903,0.98911285,0.000012285025,0.00022373353,0.00075281924,0.001360979,0.0040768967],"study_design_scores_gemma":[9.1879343e-7,0.000005992063,0.00082300446,0.000011310167,0.000002474882,0.000088475535,0.9952005,0.000007811533,0.000024200854,0.000033432585,0.0037970892,0.0000046644295],"about_ca_topic_score_codex":0.5654972,"about_ca_topic_score_gemma":0.82011557,"teacher_disagreement_score":0.5654972,"about_ca_system_score_codex":0.012480722,"about_ca_system_score_gemma":0.014387352,"threshold_uncertainty_score":0.87412333},"labels":[],"label_agreement":null},{"id":"W4393863407","doi":"10.1007/978-3-031-47823-9_12","title":"Enduring Attachments: On the Temporalities of Punk","year":2024,"lang":"en","type":"book-chapter","venue":"Palgrave studies in the history of subcultures and popular music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia, Okanagan Campus; University of British Columbia","funders":"","keywords":"Temporalities; Punk; Art; Aesthetics; Sociology; Political science; Art history; Law","score_opus":0.17085015754825675,"score_gpt":0.2723604619521969,"score_spread":0.10151030440394013,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4393863407","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10176651,0.00367111,0.0017637789,0.009119699,0.0004334032,0.000025482772,0.00007276389,0.00005501628,0.8830922],"genre_scores_gemma":[0.9563253,0.000794479,0.00041011273,0.0008913892,0.000060384482,0.000024956273,0.00002358913,0.00010295077,0.041366886],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9966085,0.0018207689,0.00006022662,0.00033044248,0.00042162384,0.0007584874],"domain_scores_gemma":[0.99675924,0.0013128861,0.0003813825,0.00035964776,0.00052441977,0.0006624787],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003562988,0.00029957606,0.00039240782,0.0013962148,0.022925932,0.015448794,0.0016677586,0.0024054376,0.016979594],"category_scores_gemma":[0.011937172,0.0005575914,0.00022636616,0.0028837908,0.02595402,0.015952272,0.012016864,0.008040398,0.0014846248],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000080748694,0.000035153847,0.0015203641,0.00004118415,0.0000043606024,0.0004641704,0.33019626,0.000042468426,0.00009554967,0.64187586,0.008316921,0.01732701],"study_design_scores_gemma":[0.000017535902,0.000043519274,0.008920796,0.0006128379,0.000012320082,0.00062622677,0.47560912,0.00019960455,0.00017689339,0.13495746,0.37877038,0.000053295356],"about_ca_topic_score_codex":0.02559231,"about_ca_topic_score_gemma":0.058791596,"teacher_disagreement_score":0.02559231,"about_ca_system_score_codex":0.008131059,"about_ca_system_score_gemma":0.004142487,"threshold_uncertainty_score":0.058995247},"labels":[],"label_agreement":null},{"id":"W4394596549","doi":"10.47854/k2g2ag96","title":"Ethnographie ponctuelle","year":2024,"lang":"en","type":"article","venue":"Anthropen","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Dalhousie University","funders":"","keywords":"Ethnography; Sociology; Aesthetics; Art; Anthropology","score_opus":0.03703388711777523,"score_gpt":0.24756031383539503,"score_spread":0.2105264267176198,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4394596549","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1583957,0.011798053,0.1854085,0.011620365,0.0059327246,0.011798411,0.015635215,0.0015717704,0.5978393],"genre_scores_gemma":[0.54282856,0.014297875,0.18818434,0.005490043,0.0022601057,0.029332383,0.0076864185,0.001210952,0.20870931],"study_design_codex":"design_other","study_design_gemma":"qualitative","domain_scores_codex":[0.9885526,0.007530091,0.00041541926,0.00095720397,0.002097983,0.00044678836],"domain_scores_gemma":[0.991392,0.005590595,0.00032724653,0.0011548898,0.0012329343,0.00030242273],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.010925846,0.00079762324,0.0007490184,0.004489058,0.0037509669,0.004667949,0.0008270429,0.0011710726,0.03210352],"category_scores_gemma":[0.017423885,0.0004475016,0.0005996959,0.003931409,0.0035033205,0.003509063,0.004201498,0.003997357,0.0034469],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005304719,0.0004210491,0.003753557,0.0022313723,0.000068906724,0.0033958086,0.15810849,0.0012176973,0.011008455,0.35059986,0.09208118,0.3765831],"study_design_scores_gemma":[0.000050610994,0.00007044166,0.0039255754,0.00058093754,0.0000077404975,0.0009311241,0.01991962,0.00033208012,0.0016593717,0.013681027,0.9588082,0.00003329891],"about_ca_topic_score_codex":0.00865188,"about_ca_topic_score_gemma":0.006519861,"teacher_disagreement_score":0.03210352,"about_ca_system_score_codex":0.0035098954,"about_ca_system_score_gemma":0.00483214,"threshold_uncertainty_score":0.10739696},"labels":[],"label_agreement":null},{"id":"W4394700659","doi":"10.1162/comj_e_00660","title":"Sound and Video Anthology: Program Notes","year":2022,"lang":"en","type":"article","venue":"Computer Music Journal","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sound (geography); Computer science; Multimedia; Computer graphics (images); Speech recognition; Acoustics","score_opus":0.048438386795659226,"score_gpt":0.23433983945665823,"score_spread":0.185901452660999,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4394700659","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0014755311,0.0050989394,0.0048182397,0.015222933,0.21364321,0.00067282416,0.009676447,0.003166331,0.7462256],"genre_scores_gemma":[0.00706508,0.0031302064,0.0020689953,0.004192831,0.053598728,0.0006237343,0.006742572,0.0032473805,0.9193304],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99911314,0.00010154033,0.000042696272,0.00014782304,0.00048699678,0.00010784529],"domain_scores_gemma":[0.997736,0.00054499257,0.000102811224,0.00026772238,0.0007663798,0.0005821637],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0010058978,0.0010026194,0.00057569105,0.0023174381,0.0024765967,0.0060177427,0.0013654018,0.0015911199,0.43554],"category_scores_gemma":[0.005377379,0.0004336098,0.0004789716,0.002469553,0.00073261297,0.0031179697,0.0030446374,0.0036280954,0.23010615],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020624653,0.000016170237,0.000015438727,0.000055999175,7.1717267e-7,0.00003166785,0.000056251814,0.000014032021,0.00022538567,0.0014737546,0.98153496,0.016554888],"study_design_scores_gemma":[0.0000043401205,0.000009756353,0.00011168911,0.000042229545,5.595541e-7,0.000025648935,0.0000498269,0.000017473796,0.00006739085,0.00029346766,0.9993748,0.0000028262828],"about_ca_topic_score_codex":0.0023939256,"about_ca_topic_score_gemma":0.004554879,"teacher_disagreement_score":0.43554,"about_ca_system_score_codex":0.0018901376,"about_ca_system_score_gemma":0.0012930909,"threshold_uncertainty_score":0.8051337},"labels":[],"label_agreement":null},{"id":"W4394834231","doi":"10.1353/chy.2024.a925059","title":"A Hippie in Alabama, and: Why Am I Making This Noise","year":2024,"lang":"en","type":"article","venue":"Christianity & Literature","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Thou; Art history; Art; Theology; Philosophy","score_opus":0.015921179512074654,"score_gpt":0.2235417879616684,"score_spread":0.20762060844959374,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4394834231","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008989662,0.023053681,0.0012240227,0.4601194,0.048034083,0.00009216338,0.0003433799,0.0012750735,0.45686853],"genre_scores_gemma":[0.025313346,0.0049231793,0.00060565636,0.055307228,0.0023028662,0.000044771925,0.00011260192,0.00031883267,0.9110716],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99921346,0.00011343775,0.000019923407,0.0001446401,0.00022214356,0.00028638382],"domain_scores_gemma":[0.99817955,0.00009690596,0.00008063207,0.00004675036,0.00064733025,0.00094884704],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006475179,0.0007309285,0.00037618165,0.00058938685,0.015798656,0.0064002904,0.00069978915,0.0046638697,0.1696899],"category_scores_gemma":[0.002359966,0.00039245762,0.0003004221,0.0004985404,0.0023618112,0.003610549,0.0032091145,0.00571605,0.060433146],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025056283,0.000036125464,0.00092851993,0.000050407943,0.0000042162483,0.0002914275,0.002454617,0.000017788978,0.000661555,0.0025446229,0.9724267,0.020558901],"study_design_scores_gemma":[0.000002334063,0.000010127625,0.00091120554,0.00009936594,0.0000031093682,0.00014005497,0.0070452075,0.000008906354,0.00011759241,0.0002551431,0.9913974,0.000009655188],"about_ca_topic_score_codex":0.09481141,"about_ca_topic_score_gemma":0.18649451,"teacher_disagreement_score":0.1696899,"about_ca_system_score_codex":0.0036854865,"about_ca_system_score_gemma":0.0058981245,"threshold_uncertainty_score":0.5676693},"labels":[],"label_agreement":null},{"id":"W4394891137","doi":"10.56367/oag-042-11408","title":"Reshaping the discourse on women’s voices in metal music","year":2024,"lang":"en","type":"article","venue":"Open Access Government","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Ottawa","funders":"","keywords":"Scholarship; Singing; Popular music; Media studies; Sociology; Gender studies; Visual arts; Art; Political science; Law; Management","score_opus":0.10170611650118004,"score_gpt":0.3439691196082997,"score_spread":0.24226300310711962,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4394891137","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.38677192,0.021329109,0.002952123,0.26545107,0.002121958,0.000033770248,0.00006253636,0.00008886166,0.3211887],"genre_scores_gemma":[0.9789437,0.00266446,0.0002848387,0.0062104734,0.0004194919,0.000015915019,0.000014858498,0.000076247474,0.011369993],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9885103,0.007198241,0.00022756786,0.00066578964,0.001844864,0.0015532674],"domain_scores_gemma":[0.9869889,0.009691914,0.000682778,0.0007022563,0.00080337975,0.0011308065],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.014337468,0.00069864205,0.0006359763,0.003447863,0.026959978,0.021250695,0.0019279463,0.006347027,0.006169591],"category_scores_gemma":[0.012810977,0.0004192313,0.00041417396,0.0023304005,0.06410261,0.018047012,0.013810664,0.0073404037,0.00086475204],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004956694,0.00001353398,0.0006572621,0.00008390967,0.0000068764693,0.0002523738,0.86853194,0.000038606824,0.00061278755,0.10981659,0.0061363704,0.013800249],"study_design_scores_gemma":[0.000009798368,0.000028228653,0.0011209121,0.0004412808,0.0000100468515,0.00016149718,0.7900519,0.00005767598,0.00050407264,0.015560247,0.19203441,0.000019894665],"about_ca_topic_score_codex":0.025357535,"about_ca_topic_score_gemma":0.03755106,"teacher_disagreement_score":0.026959978,"about_ca_system_score_codex":0.016379923,"about_ca_system_score_gemma":0.0063271676,"threshold_uncertainty_score":0.118845224},"labels":[],"label_agreement":null},{"id":"W4394975689","doi":"10.1353/soh.2024.a925481","title":"The Rise and Fall of Paramount Records: A Great Migration Story, 1917–1932 by Scott Blackwood (review)","year":2024,"lang":"en","type":"article","venue":"The Journal of Southern History","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History","score_opus":0.018454409391479173,"score_gpt":0.20049423309951322,"score_spread":0.18203982370803407,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4394975689","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000055544355,0.9962513,0.000007157366,0.0019366873,0.0011916669,0.0000038353683,0.0000399033,0.000002082142,0.00051188795],"genre_scores_gemma":[0.000754676,0.9945868,0.000026464133,0.0025883373,0.0010026043,0.000014297884,0.000096699914,0.0000036875044,0.0009263642],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991744,0.00017368718,0.00013637387,0.00011453556,0.00032728404,0.0000736794],"domain_scores_gemma":[0.9975968,0.0008095759,0.0004515861,0.00004047935,0.0008547462,0.0002468762],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014458046,0.0008650924,0.0013299101,0.0030208216,0.00066400674,0.0022761088,0.0011898152,0.0017180542,0.008795182],"category_scores_gemma":[0.0049179676,0.00051173865,0.0005710092,0.0054826117,0.0011293079,0.0027260182,0.0014271819,0.0027449904,0.0035056267],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007155186,0.000016858396,0.00045605548,0.034798294,0.00010496751,0.00022420076,0.00071014685,0.00004265538,0.000111078705,0.0007752954,0.69538546,0.2673034],"study_design_scores_gemma":[0.000024254843,0.000035949346,0.003570931,0.03632333,0.00012125584,0.00072599214,0.001002152,0.0000101089845,0.00004914054,0.00016846879,0.95793754,0.000030831237],"about_ca_topic_score_codex":0.02143608,"about_ca_topic_score_gemma":0.03614152,"teacher_disagreement_score":0.02143608,"about_ca_system_score_codex":0.0016858942,"about_ca_system_score_gemma":0.0054552113,"threshold_uncertainty_score":0.042622626},"labels":[],"label_agreement":null},{"id":"W4395087390","doi":"10.1017/9781108891349.014","title":"American Sound","year":2024,"lang":"en","type":"book-chapter","venue":"Cambridge University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Mount Allison University","funders":"","keywords":"Sound (geography); History; Geology; Oceanography","score_opus":0.03080550386082595,"score_gpt":0.18078861693262435,"score_spread":0.1499831130717984,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4395087390","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.004113433,0.0038043563,0.0010625507,0.0022519224,0.00094257056,0.000005156778,0.000019201025,0.000039774517,0.9877609],"genre_scores_gemma":[0.20482635,0.008128957,0.002113147,0.0040709646,0.0007371807,0.000026908405,0.00006235592,0.00010464813,0.77992946],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99974483,0.00004903145,0.0000064892247,0.0000610775,0.00009228455,0.00004636081],"domain_scores_gemma":[0.99987173,0.000028576074,0.00000759557,0.000018004734,0.000042381096,0.000031572363],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002937823,0.00033067752,0.00015464978,0.0006345344,0.0023599076,0.0027080753,0.00035664067,0.0006377535,0.023124374],"category_scores_gemma":[0.00059679645,0.00010893284,0.00011020059,0.0005407087,0.0021895284,0.0019104887,0.0015102805,0.0015723918,0.004660106],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000039924096,0.000022544533,0.00063340476,0.000069238835,0.0000037782777,0.00009771824,0.0055723335,0.000036160684,0.00083206943,0.83526206,0.071409,0.08602187],"study_design_scores_gemma":[0.000002954848,0.000013343519,0.00066157064,0.000050719445,0.00000259893,0.00016721741,0.0014607313,0.000035194542,0.00015988275,0.01582229,0.9816202,0.0000032233597],"about_ca_topic_score_codex":0.006683361,"about_ca_topic_score_gemma":0.019683668,"teacher_disagreement_score":0.023124374,"about_ca_system_score_codex":0.0015467375,"about_ca_system_score_gemma":0.0008296631,"threshold_uncertainty_score":0.07735872},"labels":[],"label_agreement":null},{"id":"W4395087409","doi":"10.1017/9781108891349.013","title":"Popular Music","year":2024,"lang":"en","type":"book-chapter","venue":"Cambridge University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Mount Allison University","funders":"","keywords":"Computer science","score_opus":0.0395399409046298,"score_gpt":0.17198612397746252,"score_spread":0.13244618307283273,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4395087409","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005602523,0.006245865,0.00040588022,0.0015932242,0.0010241836,0.00001109592,0.0000899613,0.00008909367,0.9899804],"genre_scores_gemma":[0.0066503147,0.003121531,0.0002493497,0.00057602185,0.00032077584,0.00000882113,0.000059746806,0.000080647544,0.98893285],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995179,0.000055824887,0.00001482712,0.00011077653,0.00023509453,0.00006563059],"domain_scores_gemma":[0.9997099,0.000056906036,0.00001481709,0.000036909485,0.000107770364,0.00007374807],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002520579,0.0005660542,0.0003063269,0.0011919054,0.0027375384,0.0052047907,0.0006123101,0.0009926661,0.1597797],"category_scores_gemma":[0.00096511334,0.00022608532,0.00018700672,0.0013425536,0.0014105297,0.0035564173,0.0018561691,0.0015607888,0.060216255],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002935073,0.000023499311,0.00019669354,0.00017596135,0.0000028023692,0.000087949935,0.0014205985,0.00006794339,0.00091917365,0.257537,0.5817507,0.15778834],"study_design_scores_gemma":[8.3387215e-7,0.0000031289733,0.000090792186,0.000029208451,4.6375607e-7,0.000058309895,0.0001405367,0.000014848808,0.000049580027,0.002350725,0.9972601,0.000001478166],"about_ca_topic_score_codex":0.0065086465,"about_ca_topic_score_gemma":0.021445194,"teacher_disagreement_score":0.1597797,"about_ca_system_score_codex":0.0027425534,"about_ca_system_score_gemma":0.0014023567,"threshold_uncertainty_score":0.53451633},"labels":[],"label_agreement":null},{"id":"W4395087418","doi":"10.1017/9781108891349.023","title":"The <i>Young People’s Concerts</i>","year":2024,"lang":"en","type":"book-chapter","venue":"Cambridge University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Mount Allison University","funders":"","keywords":"History; Psychology","score_opus":0.021910619388421596,"score_gpt":0.16958698415693152,"score_spread":0.14767636476850993,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4395087418","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.003445378,0.047301225,0.0009377025,0.005900348,0.002953441,0.00003347991,0.00013732981,0.000108750326,0.9391824],"genre_scores_gemma":[0.020673342,0.016185274,0.00042012904,0.0016227947,0.00035703322,0.00002778413,0.00008165268,0.00007753904,0.9605545],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997737,0.000037665963,0.0000069210655,0.000028667599,0.00008907133,0.00006405394],"domain_scores_gemma":[0.9998424,0.000032174423,0.000012385078,0.000009441958,0.00004256585,0.00006102355],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002899659,0.00043118326,0.0001456409,0.0005894767,0.002096194,0.0037932969,0.0003755739,0.0007714766,0.039058063],"category_scores_gemma":[0.0005453983,0.00020817883,0.00017471635,0.00078647345,0.0011436163,0.0019606778,0.001429998,0.0016761003,0.017547322],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003313841,0.000029142759,0.00065746065,0.00031373216,0.0000037088334,0.00020216125,0.0061745285,0.00006215586,0.0010664915,0.15364635,0.64528537,0.19252574],"study_design_scores_gemma":[0.0000010775758,0.0000052108094,0.0003195384,0.00007670004,5.970153e-7,0.00006114693,0.00051379774,0.000008101667,0.00010369639,0.0016905838,0.9972178,0.0000017930205],"about_ca_topic_score_codex":0.01795003,"about_ca_topic_score_gemma":0.04522812,"teacher_disagreement_score":0.039058063,"about_ca_system_score_codex":0.0021004744,"about_ca_system_score_gemma":0.0021808862,"threshold_uncertainty_score":0.1306622},"labels":[],"label_agreement":null},{"id":"W4395093636","doi":"10.51473/rcmos.v1i5.2021.86","title":"TRAJETÓRIA DE ELIS REGINA NA MÚSICA BRASILEIRA","year":2024,"lang":"pt","type":"article","venue":"RCMOS - Revista Científica Multidisciplinar O Saber","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Regina","funders":"","keywords":"Trajectory; Geography; History; Physics","score_opus":0.03250671667215198,"score_gpt":0.27702828082171754,"score_spread":0.24452156414956555,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4395093636","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.42769104,0.01026598,0.0032967157,0.0031609437,0.0003310425,0.00010618763,0.000519271,0.00026184772,0.5543669],"genre_scores_gemma":[0.90795696,0.0037918384,0.0018237565,0.00030900823,0.00006578813,0.000030690877,0.00018205302,0.00006749615,0.085772365],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99844307,0.00026192467,0.00005822166,0.00021311655,0.0007871567,0.0002365816],"domain_scores_gemma":[0.99808073,0.00041661694,0.00033303318,0.00028893971,0.00064947485,0.0002312318],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001857783,0.000450213,0.00029547472,0.003131141,0.0037674769,0.004868189,0.0005386781,0.0006604774,0.015704984],"category_scores_gemma":[0.0036834122,0.00026624702,0.00030427487,0.0027492428,0.0033814749,0.0011503865,0.002174573,0.00091146707,0.0014692912],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00037550446,0.00011544972,0.07242675,0.00095280004,0.00007661759,0.0024502166,0.12685306,0.00058440625,0.018899107,0.078578316,0.01866116,0.6800267],"study_design_scores_gemma":[0.00002436987,0.0002144656,0.36800745,0.0012867937,0.000093062336,0.003010272,0.088329524,0.00036510476,0.0035518587,0.006047063,0.5289901,0.00007994537],"about_ca_topic_score_codex":0.12746768,"about_ca_topic_score_gemma":0.31530637,"teacher_disagreement_score":0.12746768,"about_ca_system_score_codex":0.004308702,"about_ca_system_score_gemma":0.0035499022,"threshold_uncertainty_score":0.25345147},"labels":[],"label_agreement":null},{"id":"W4395102445","doi":"10.29327/269579.6.2-11","title":"LAROYÊ SAMBA: OS VALORES CIVILIZATÓRIOS AFRO-BRASILEIROS DO SAMBA LAROYÊ SAMBA: THE AFRO-BRAZILIAN CIVILIZING VALUES OF SAMBA","year":2023,"lang":"pt","type":"article","venue":"Revista Em Favor de Igualdade Racial","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Discovery Air (Canada)","funders":"","keywords":"Humanities; Art","score_opus":0.03251767674867587,"score_gpt":0.2714621180842729,"score_spread":0.23894444133559703,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4395102445","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.593011,0.034608047,0.001647724,0.030195983,0.00026395102,0.000059873102,0.00036461942,0.000060269882,0.3397885],"genre_scores_gemma":[0.9825517,0.0034950827,0.00039337046,0.00037014682,0.000021008178,0.000013475167,0.00004794377,0.000008139794,0.013099157],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994918,0.00025608344,0.000012337549,0.000050153216,0.000076111166,0.000113432885],"domain_scores_gemma":[0.99962807,0.00011759874,0.00004900202,0.000033180022,0.00010759867,0.000064610045],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000676398,0.00035281226,0.00019577528,0.001629124,0.0051541,0.002756187,0.00033700708,0.0006648391,0.0074181943],"category_scores_gemma":[0.0014194767,0.00015127053,0.00012481179,0.003257736,0.0035922318,0.0015510146,0.0016612239,0.00077938644,0.00041679238],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000919366,0.00003446436,0.030216593,0.00059591053,0.000023844026,0.0014783168,0.3827166,0.00020172328,0.003599994,0.4029527,0.015089405,0.16299844],"study_design_scores_gemma":[0.000005600872,0.000040868617,0.091015495,0.00077271694,0.000025388874,0.0008466919,0.2510071,0.00013165717,0.00080157974,0.012897324,0.64242417,0.00003146706],"about_ca_topic_score_codex":0.17254227,"about_ca_topic_score_gemma":0.32771075,"teacher_disagreement_score":0.17254227,"about_ca_system_score_codex":0.005560802,"about_ca_system_score_gemma":0.0036688226,"threshold_uncertainty_score":0.34307593},"labels":[],"label_agreement":null},{"id":"W4395659881","doi":"10.33137/ijournal.v9i2.43219","title":"“Knowing these stories”","year":2024,"lang":"en","type":"article","venue":"The iJournal Student Journal of the Faculty of Information","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History","score_opus":0.030428009993889994,"score_gpt":0.27055872460588104,"score_spread":0.24013071461199104,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4395659881","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.063198075,0.010614618,0.0103178425,0.07736854,0.004801428,0.00013112155,0.000599126,0.00024647007,0.8327229],"genre_scores_gemma":[0.77641225,0.007583796,0.0045065386,0.017628238,0.0016923156,0.00018026763,0.0008581858,0.00029388044,0.19084455],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9948613,0.0030710292,0.000114429095,0.00043833314,0.0008274676,0.0006874726],"domain_scores_gemma":[0.996802,0.0011460526,0.00028776677,0.0004019259,0.00035391023,0.0010083138],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023925377,0.00092727406,0.000424231,0.0015632556,0.011346417,0.010662702,0.0013477562,0.002915208,0.029314958],"category_scores_gemma":[0.009720486,0.00030359506,0.00050579273,0.0013268718,0.015781265,0.015248049,0.010449691,0.0059472118,0.0052650487],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005425747,0.00004829705,0.0019343063,0.00024697956,0.000023402015,0.001879314,0.5179364,0.00008738129,0.0005475668,0.30306298,0.117279276,0.056899875],"study_design_scores_gemma":[0.0000021434676,0.0000137132165,0.000439533,0.0001936048,0.0000055511387,0.0009475447,0.17021164,0.000038213755,0.00016767632,0.02164221,0.806325,0.0000131748975],"about_ca_topic_score_codex":0.0036305096,"about_ca_topic_score_gemma":0.0073733567,"teacher_disagreement_score":0.029314958,"about_ca_system_score_codex":0.0024327103,"about_ca_system_score_gemma":0.001747636,"threshold_uncertainty_score":0.09806836},"labels":[],"label_agreement":null},{"id":"W4395674871","doi":"10.18287/2542-0445-2024-30-1-161-166","title":"Ideology of rap music and its linguistic representation in the lyrics of English song discourse","year":2024,"lang":"en","type":"article","venue":"Vestnik of Samara University History pedagogics philology","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"McGill University","keywords":"Lyrics; Linguistics; Ideology; Representation (politics); Sociology; Literature; Art; Philosophy; Politics; Political science","score_opus":0.1055171426413588,"score_gpt":0.26344550979583,"score_spread":0.15792836715447117,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4395674871","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.62488437,0.005448277,0.008189205,0.0038086101,0.0002579181,0.00005811134,0.00013442057,0.00006394498,0.35715523],"genre_scores_gemma":[0.99320567,0.00054925156,0.00061080325,0.00005444061,0.0000823796,0.00001547166,0.000035425386,0.000020168092,0.005426342],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9980697,0.0012997055,0.00007351306,0.000111310415,0.000283501,0.00016224045],"domain_scores_gemma":[0.9982161,0.0011430634,0.0002731414,0.00007803751,0.00019864885,0.00009109035],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016108971,0.00025125267,0.00016009806,0.0031152645,0.003443642,0.0054832334,0.00034131538,0.000619036,0.003506753],"category_scores_gemma":[0.0030894144,0.00016543148,0.00011794686,0.0014305495,0.007898225,0.0017752977,0.0020204056,0.0010324277,0.0004194613],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009861022,0.000029349629,0.0044378727,0.0002047521,0.000010424273,0.000611957,0.69351065,0.00014895266,0.0037338394,0.2623479,0.0017249093,0.0331408],"study_design_scores_gemma":[0.000021707896,0.00021391656,0.058838047,0.00084810384,0.000027933389,0.0017627387,0.61552864,0.0013721599,0.0029806774,0.027771391,0.2905638,0.00007095089],"about_ca_topic_score_codex":0.0022934305,"about_ca_topic_score_gemma":0.0029799629,"teacher_disagreement_score":0.0054832334,"about_ca_system_score_codex":0.0021594851,"about_ca_system_score_gemma":0.00068823114,"threshold_uncertainty_score":0.015668273},"labels":[],"label_agreement":null},{"id":"W4396664094","doi":"10.1386/fspc_00260_1","title":"When East meets West: The politicization of kei pou (qipao) or cheongsam in Hong Kong","year":2024,"lang":"en","type":"article","venue":"Fashion Style & Popular Culture","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"POU domain; Political science; Geography; History; Biology","score_opus":0.036015157575080725,"score_gpt":0.2426366579720026,"score_spread":0.20662150039692187,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4396664094","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.95935833,0.00019727243,0.00013460292,0.00070111104,0.00005499781,0.000011215386,0.000022089049,0.000004194366,0.03951625],"genre_scores_gemma":[0.99395764,0.00012163386,0.000046099474,0.0000853913,0.0000054668803,0.000003095269,0.000009031716,0.0000062457675,0.005765491],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.999668,0.00013781004,0.000009875479,0.00004126407,0.000030176601,0.00011290016],"domain_scores_gemma":[0.9997818,0.000051565843,0.000045033914,0.00001948168,0.000030116122,0.000072006966],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005862896,0.00019345815,0.00013237353,0.00032858958,0.0061334656,0.0024522278,0.0002576927,0.0003480107,0.0022367046],"category_scores_gemma":[0.0005174574,0.00018849869,0.00010443279,0.00063587783,0.0063718557,0.001016629,0.0011215311,0.00094284496,0.00018633659],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010431203,0.000038031343,0.04344756,0.00009224786,0.000017457762,0.0029029278,0.8856083,0.00013207017,0.002453224,0.04905961,0.0040077125,0.012136524],"study_design_scores_gemma":[0.0000058905903,0.00005146424,0.09577086,0.000079050245,0.000016373164,0.0004664654,0.8358007,0.00025666316,0.00071603997,0.0009818363,0.065825835,0.000028925511],"about_ca_topic_score_codex":0.097778924,"about_ca_topic_score_gemma":0.21984482,"teacher_disagreement_score":0.097778924,"about_ca_system_score_codex":0.004744432,"about_ca_system_score_gemma":0.0023982397,"threshold_uncertainty_score":0.19441956},"labels":[],"label_agreement":null},{"id":"W4396683398","doi":"10.57049/nts.255","title":"Hiphop Suomessa","year":2019,"lang":"fi","type":"book","venue":"Verkkojulkaisuja /","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"University of Illinois at Urbana-Champaign; University of Cambridge; Helsingin Yliopisto; York University; Princeton University; University of Minnesota; Suomalainen Tiedeakatemia; University of Oxford; Harvard University","keywords":"Geography; Forestry","score_opus":0.02580415655388729,"score_gpt":0.19766714689110954,"score_spread":0.17186299033722224,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4396683398","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07941338,0.00431915,0.0043237302,0.0021620148,0.0013726039,0.0002978227,0.0043346738,0.0015566009,0.90222],"genre_scores_gemma":[0.05878696,0.0019075447,0.0042673405,0.00049139344,0.000089314526,0.000116245734,0.0026008661,0.00025384736,0.9314865],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99967206,0.000020750822,0.000014300088,0.00010231403,0.00013098012,0.000059596317],"domain_scores_gemma":[0.9996741,0.000034306096,0.000028420769,0.000046401095,0.00012052654,0.00009634568],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003167339,0.00062872743,0.00036446654,0.0012285735,0.0024450468,0.0017207862,0.00066243665,0.0008612818,0.22462639],"category_scores_gemma":[0.00039863808,0.00031407276,0.00039139725,0.00078731513,0.00071310624,0.001060417,0.002382779,0.0010871305,0.07617336],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0008154113,0.0005293216,0.011186695,0.0012544472,0.00005973866,0.0029056508,0.003520916,0.0003367873,0.076655455,0.03066474,0.16450581,0.707565],"study_design_scores_gemma":[0.000017164915,0.00018107102,0.010127615,0.00014139237,0.00001624528,0.0009797097,0.0011961206,0.00008323672,0.0053590103,0.00086880947,0.9810099,0.000019662],"about_ca_topic_score_codex":0.011256804,"about_ca_topic_score_gemma":0.035648793,"teacher_disagreement_score":0.22462639,"about_ca_system_score_codex":0.0013497068,"about_ca_system_score_gemma":0.002461029,"threshold_uncertainty_score":0.7514501},"labels":[],"label_agreement":null},{"id":"W4398154563","doi":"","title":"\"Satanism in metal music, reflection on religion in Infestissunam (2013 - Ghost)\"","year":2023,"lang":"en","type":"article","venue":"HAL (Le Centre pour la Communication Scientifique Directe)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université Laval","funders":"","keywords":"Reflection (computer programming); Computer science; Programming language","score_opus":0.03315431952841893,"score_gpt":0.23215736990229804,"score_spread":0.1990030503738791,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4398154563","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6755555,0.004911875,0.0005780842,0.07571151,0.0030587565,0.000054778204,0.00016862982,0.000031786083,0.23992905],"genre_scores_gemma":[0.9397812,0.0006955528,0.00015013662,0.003113818,0.00023949609,0.000020788353,0.00003771899,0.000031055304,0.055930186],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992163,0.00031910883,0.000023454008,0.00006668604,0.000099432626,0.00027495468],"domain_scores_gemma":[0.99937254,0.00025813447,0.00007630775,0.00004215674,0.0000780588,0.00017276088],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017547013,0.00028659057,0.00019930149,0.0006169054,0.016628042,0.0056400495,0.0007521653,0.00342604,0.0068505],"category_scores_gemma":[0.003594617,0.00021034147,0.00016694303,0.0009640142,0.009885571,0.0034813362,0.0046194983,0.007364302,0.00061112625],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013017326,0.00005706548,0.0032981127,0.00009108834,0.0000062368267,0.0007060221,0.7575907,0.00003339917,0.0007189173,0.19029786,0.03238068,0.014689771],"study_design_scores_gemma":[0.0000224754,0.000043714248,0.013577348,0.00024555734,0.0000074236905,0.00028468188,0.67908114,0.00008101641,0.00053337705,0.00814844,0.29795384,0.00002104688],"about_ca_topic_score_codex":0.029880328,"about_ca_topic_score_gemma":0.114893526,"teacher_disagreement_score":0.029880328,"about_ca_system_score_codex":0.0047475244,"about_ca_system_score_gemma":0.0039082095,"threshold_uncertainty_score":0.059412777},"labels":[],"label_agreement":null},{"id":"W4398249061","doi":"10.22329/jcb.v2i1.8346","title":"The Trailblazing Canadian Trio That Powered the Rockford Peaches Dynasty of 1948-50","year":2023,"lang":"en","type":"article","venue":"Journal of Canadian Baseball","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Business","score_opus":0.05659713059262757,"score_gpt":0.19409857676328462,"score_spread":0.13750144617065707,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4398249061","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.19291888,0.0043868725,0.00081488694,0.01211349,0.0013982422,0.00009271968,0.001207841,0.00013362474,0.7869334],"genre_scores_gemma":[0.4786117,0.0020560282,0.0006344798,0.0014479891,0.000100413505,0.00002603228,0.0004335591,0.000078242694,0.5166115],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994166,0.000023410881,0.00000468415,0.00006506776,0.00020644598,0.0002838229],"domain_scores_gemma":[0.999629,0.00001373332,0.000016052387,0.00001082779,0.00016034373,0.00016992488],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00033584106,0.0004264397,0.00013956193,0.0011838829,0.018021137,0.0025754906,0.00044682255,0.0005594432,0.025110522],"category_scores_gemma":[0.00070553337,0.00018842376,0.00011889722,0.0011606042,0.0028545912,0.00060399284,0.0015297448,0.0012019622,0.0018965545],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00028232342,0.000072331306,0.030953815,0.00026360273,0.00003616346,0.0013628005,0.057472233,0.00025818613,0.0030109447,0.20000035,0.5335071,0.17278014],"study_design_scores_gemma":[0.000006472999,0.000021747406,0.030402413,0.0001117799,0.0000062938134,0.00023327522,0.010542754,0.000041511372,0.0004141653,0.0007408997,0.9574602,0.000018527042],"about_ca_topic_score_codex":0.9677538,"about_ca_topic_score_gemma":0.994776,"teacher_disagreement_score":0.032246172,"about_ca_system_score_codex":0.030457357,"about_ca_system_score_gemma":0.036626257,"threshold_uncertainty_score":0.22098464},"labels":[],"label_agreement":null},{"id":"W4398758742","doi":"10.5149/northcarolina/9781469672113.003.0003","title":"Borderlands Blues, 1930–1950","year":2023,"lang":"en","type":"book-chapter","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Blues; Geography; History; Art history","score_opus":0.046764320989226664,"score_gpt":0.20409334014563518,"score_spread":0.1573290191564085,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4398758742","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.09349584,0.022931062,0.00027779373,0.0039590285,0.00057676446,0.000023209794,0.0005988314,0.000048388636,0.878089],"genre_scores_gemma":[0.44423985,0.012728369,0.00031897338,0.00095173885,0.00016254437,0.000039542527,0.00034540196,0.00007926654,0.5411343],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998803,0.000024134966,0.0000030454034,0.00002533811,0.000025510135,0.000041594954],"domain_scores_gemma":[0.99990916,0.00002470034,0.000012992701,0.0000069651915,0.000017898372,0.00002831028],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002065662,0.00021345807,0.00012267797,0.0011358222,0.0034700623,0.0020344907,0.0002962188,0.0004469647,0.021325683],"category_scores_gemma":[0.00039816866,0.00019032638,0.000069502086,0.0017838521,0.0017432285,0.0013456579,0.001536681,0.0010314431,0.0019890545],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013448042,0.00005544483,0.00610791,0.0002845466,0.000010001912,0.0009225668,0.14197592,0.00017270132,0.0009839539,0.5626536,0.16024373,0.12645505],"study_design_scores_gemma":[0.0000032746998,0.000008997867,0.006792685,0.000114750925,0.0000016160126,0.000062167754,0.007902843,0.000014846763,0.00013273499,0.0019441308,0.9830194,0.000002607151],"about_ca_topic_score_codex":0.104546875,"about_ca_topic_score_gemma":0.33050963,"teacher_disagreement_score":0.104546875,"about_ca_system_score_codex":0.0063095493,"about_ca_system_score_gemma":0.0014986387,"threshold_uncertainty_score":0.20787668},"labels":[],"label_agreement":null},{"id":"W4398771283","doi":"10.1215/07990537-11131343","title":"Contributors","year":2024,"lang":"en","type":"article","venue":"Small Axe A Caribbean Journal of Criticism","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.025617178665863154,"score_gpt":0.2165383740449769,"score_spread":0.19092119537911373,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4398771283","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0007938651,0.004735555,0.0017435494,0.019109994,0.040165477,0.00021740115,0.0026182565,0.0009644371,0.9296515],"genre_scores_gemma":[0.0027736812,0.0025130599,0.0007768194,0.0029669383,0.0035907165,0.000085816864,0.0019071895,0.00037696632,0.98500884],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9975883,0.00026260974,0.000101145764,0.00045353064,0.0012895149,0.0003049154],"domain_scores_gemma":[0.99416226,0.00045029967,0.00014514761,0.00058309856,0.00322953,0.0014296294],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0015452574,0.00075762643,0.00071872637,0.0026369535,0.0029855927,0.007008234,0.0019794407,0.0021919277,0.5940554],"category_scores_gemma":[0.00872804,0.0003412121,0.00057269563,0.002537979,0.00077178655,0.0044903965,0.003831541,0.002202918,0.42991385],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000123515265,0.000013570168,0.00010991518,0.00005991112,0.0000015457078,0.000033501172,0.00008801528,0.00002448809,0.00007176819,0.0070091914,0.94578403,0.046791587],"study_design_scores_gemma":[0.0000014093997,0.0000030165963,0.00010242187,0.000044018805,6.162028e-7,0.000025750709,0.00008452178,0.000010354575,0.000022566317,0.0007663129,0.99893695,0.0000019565975],"about_ca_topic_score_codex":0.0026026107,"about_ca_topic_score_gemma":0.0041859294,"teacher_disagreement_score":0.4059446,"about_ca_system_score_codex":0.0028240695,"about_ca_system_score_gemma":0.003808747,"threshold_uncertainty_score":0.57903063},"labels":[],"label_agreement":null},{"id":"W4399089199","doi":"10.5622/illinois/9780252045417.003.0012","title":"Shall We Go for It?","year":2023,"lang":"en","type":"book-chapter","venue":"University of Illinois Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Psychology; Computer science","score_opus":0.08908628908930964,"score_gpt":0.1965823340473539,"score_spread":0.10749604495804425,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4399089199","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0047760303,0.02151808,0.0009468509,0.31914046,0.016220734,0.000044156022,0.000166923,0.00018678932,0.63699996],"genre_scores_gemma":[0.09737355,0.01324988,0.0008944872,0.0881503,0.0023777746,0.00007538478,0.00018163963,0.00029708396,0.79739994],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983259,0.00052935927,0.000030650743,0.00023514133,0.00032300808,0.000555949],"domain_scores_gemma":[0.99885905,0.00018845403,0.00006409361,0.000083584586,0.00026591032,0.00053898705],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020152174,0.00071038597,0.0004359789,0.00066834106,0.011588182,0.0093016075,0.0008960364,0.003057997,0.041240357],"category_scores_gemma":[0.004140172,0.00021222261,0.00042668026,0.0006357718,0.011334003,0.010804507,0.0044498034,0.008725434,0.0213896],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000034370285,0.00003146616,0.0007671395,0.000117276446,0.000010704299,0.0002339882,0.020025996,0.000031728254,0.00014768897,0.18486284,0.7459432,0.04779355],"study_design_scores_gemma":[0.0000030162578,0.000008507198,0.00032110623,0.00018038436,0.0000026670725,0.00012554857,0.01744087,0.000012520105,0.000040758758,0.010148238,0.97170705,0.000009286759],"about_ca_topic_score_codex":0.02741456,"about_ca_topic_score_gemma":0.052001603,"teacher_disagreement_score":0.041240357,"about_ca_system_score_codex":0.00491604,"about_ca_system_score_gemma":0.0071769394,"threshold_uncertainty_score":0.13796276},"labels":[],"label_agreement":null},{"id":"W4399135558","doi":"10.1525/jpms.2024.36.2.130","title":"Contributors’ Notes","year":2024,"lang":"en","type":"article","venue":"Journal of Popular Music Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Psychology","score_opus":0.1115154872465288,"score_gpt":0.29531968233303946,"score_spread":0.18380419508651066,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4399135558","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00065380614,0.0062319282,0.0016474696,0.051665597,0.13638008,0.00030944025,0.0053798095,0.0008064526,0.79692537],"genre_scores_gemma":[0.0039483947,0.002660933,0.0010392817,0.009249118,0.009035428,0.00029940146,0.002449702,0.00047134032,0.9708463],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9959895,0.0004092837,0.0002674955,0.0007785829,0.0020587654,0.0004963626],"domain_scores_gemma":[0.9894772,0.0015597851,0.00033680288,0.0013840883,0.006041568,0.0012005448],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.003136997,0.0008828175,0.0010273864,0.003243792,0.0055890717,0.0083395755,0.0034639107,0.0033744196,0.48745832],"category_scores_gemma":[0.02075067,0.00048414434,0.0008659575,0.0038320175,0.0012695168,0.00483068,0.0041882815,0.00454387,0.33130825],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009303222,0.000008456443,0.000045526576,0.000043768872,0.000001183045,0.0000351783,0.00010597378,0.000016920605,0.000039121922,0.009489684,0.972524,0.017680861],"study_design_scores_gemma":[0.0000011819485,0.000001817757,0.000052137508,0.000041703206,4.5453635e-7,0.000016852975,0.00006541904,0.0000057624975,0.000019998122,0.0005575819,0.9992353,0.0000018044834],"about_ca_topic_score_codex":0.0071833744,"about_ca_topic_score_gemma":0.009100199,"teacher_disagreement_score":0.48745832,"about_ca_system_score_codex":0.0036172864,"about_ca_system_score_gemma":0.0058709714,"threshold_uncertainty_score":0.7310785},"labels":[],"label_agreement":null},{"id":"W4399355880","doi":"10.1017/s1355771824000025","title":"‘To Explore the World of Sound’: Music, silence and nation-building in <i>Bing Bang Boom</i> (1969)","year":2024,"lang":"en","type":"article","venue":"Organised Sound","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Silence; Sound (geography); Boom; Computer science; Sound art; Acoustics; Aesthetics; History; Visual arts; Art; Physics; Geology","score_opus":0.0636665082248058,"score_gpt":0.250202790386623,"score_spread":0.18653628216181722,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4399355880","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.38234752,0.02934411,0.0012389745,0.076840326,0.0010648154,0.00007844919,0.0003034087,0.000060641418,0.5087218],"genre_scores_gemma":[0.94065607,0.004731778,0.00046571728,0.0040507237,0.00009917017,0.000023832958,0.000052973544,0.00005500954,0.049864683],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990594,0.0002539114,0.000011957052,0.000082880535,0.00017074952,0.0004211663],"domain_scores_gemma":[0.99941707,0.00017470495,0.00003910232,0.000022912262,0.00010945265,0.00023675662],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009923299,0.00042250002,0.00022049743,0.0011196539,0.033892635,0.010806327,0.0009831735,0.0019719442,0.004746222],"category_scores_gemma":[0.0012626275,0.00028919644,0.00019950683,0.0017419693,0.033208385,0.0027899211,0.003248524,0.0038422556,0.00032314894],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000034818553,0.000010971577,0.0022598838,0.0000744209,0.0000069979624,0.0006392001,0.91092014,0.00006047474,0.0005425548,0.046979126,0.024333084,0.014138399],"study_design_scores_gemma":[0.0000056057697,0.000010866094,0.008450164,0.00017904358,0.000008637245,0.00020286186,0.7318744,0.00003084891,0.00029821324,0.0023841832,0.256529,0.000026218235],"about_ca_topic_score_codex":0.963395,"about_ca_topic_score_gemma":0.9914697,"teacher_disagreement_score":0.963395,"about_ca_system_score_codex":0.05585527,"about_ca_system_score_gemma":0.03332066,"threshold_uncertainty_score":0.40526026},"labels":[],"label_agreement":null},{"id":"W4399478648","doi":"10.5406/19452349.41.2.07","title":"“Do You Hear Me, Though?”: Ramsey and the Politics of Black Music Inquiry","year":2023,"lang":"en","type":"article","venue":"American Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Politics; Art; Visual arts; Literature; Political science; Law","score_opus":0.05240863489414427,"score_gpt":0.2491520992726598,"score_spread":0.19674346437851553,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4399478648","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.062523656,0.020196095,0.0012785802,0.81797576,0.0028125315,0.00003990854,0.000027699862,0.000074219715,0.095071524],"genre_scores_gemma":[0.7579048,0.0072322846,0.0014241437,0.1477065,0.0018926252,0.00015740539,0.000020927606,0.00023240746,0.0834289],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.98692733,0.009833149,0.00011013013,0.0006257349,0.0012044016,0.0012993077],"domain_scores_gemma":[0.98727,0.006398,0.0007534388,0.00029964064,0.0015429616,0.0037359528],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.017719435,0.0004993632,0.0006931924,0.0018856738,0.052507658,0.015728146,0.0020004087,0.0066743856,0.01120488],"category_scores_gemma":[0.018647684,0.0006391445,0.0003084089,0.0010962401,0.04546302,0.013535097,0.010790491,0.014266119,0.0019440897],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000082257735,0.000055736713,0.001318781,0.00012366012,0.0000108275,0.00065120484,0.59911853,0.0000323424,0.00044724566,0.24165806,0.13572082,0.020780556],"study_design_scores_gemma":[0.000017495857,0.000023481072,0.0010864566,0.0006206865,0.000008216144,0.0002645927,0.64653534,0.00013373327,0.00019593004,0.046564426,0.30450067,0.000048980874],"about_ca_topic_score_codex":0.060523268,"about_ca_topic_score_gemma":0.10446737,"teacher_disagreement_score":0.060523268,"about_ca_system_score_codex":0.009995571,"about_ca_system_score_gemma":0.015408413,"threshold_uncertainty_score":0.12034196},"labels":[],"label_agreement":null},{"id":"W4399479120","doi":"10.5406/19452349.41.2.03","title":"Black Musicological World-Making in <i>Who Hears Here?</i>","year":2023,"lang":"en","type":"article","venue":"American Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Aesthetics; Literature; History; Visual arts","score_opus":0.05615150901461356,"score_gpt":0.2544269032913578,"score_spread":0.19827539427674423,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4399479120","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03239692,0.039072882,0.0031393007,0.48195666,0.021024875,0.00006326143,0.00007428244,0.00016306277,0.4221087],"genre_scores_gemma":[0.5162603,0.01970522,0.0028264914,0.10745524,0.010663578,0.00014252716,0.00007306303,0.000589008,0.34228453],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99810445,0.0011154107,0.000028573864,0.00014550945,0.0003724928,0.00023345822],"domain_scores_gemma":[0.9981629,0.0008664434,0.00012207139,0.000072731484,0.00029462206,0.00048116123],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026065265,0.00057969237,0.00029884808,0.0009489784,0.012880803,0.0096136145,0.0006308961,0.0021278437,0.009404501],"category_scores_gemma":[0.004994572,0.0002536686,0.00014591418,0.0005124789,0.012287075,0.006552388,0.0033225212,0.005630703,0.0019412948],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004086278,0.00004486349,0.00078889,0.00013642923,0.0000075861158,0.000256868,0.20842607,0.000032822016,0.0006504663,0.2428069,0.5018593,0.044949055],"study_design_scores_gemma":[0.000005258572,0.000015581229,0.00079395337,0.000312634,0.0000034661903,0.00012584685,0.09844322,0.00005591524,0.0003221415,0.019526642,0.8803804,0.000014900516],"about_ca_topic_score_codex":0.009792634,"about_ca_topic_score_gemma":0.023499664,"teacher_disagreement_score":0.012880803,"about_ca_system_score_codex":0.0025422063,"about_ca_system_score_gemma":0.0030194263,"threshold_uncertainty_score":0.03146124},"labels":[],"label_agreement":null},{"id":"W4399713395","doi":"10.32920/26046658.v1","title":"Interrogating Authenticity: Understanding East Asian Female Pop Music in the Western Cultural Sphere","year":2024,"lang":"en","type":"preprint","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University; York University","funders":"","keywords":"Period (music); Popular music; Aesthetics; Dynamics (music); Western culture; Sociology; Popular culture; Gender studies; Art; Literature; History; Pedagogy","score_opus":0.19693767276604723,"score_gpt":0.27947401546867834,"score_spread":0.0825363427026311,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4399713395","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9373778,0.0010290123,0.0024015491,0.001837045,0.00006168308,0.000031681226,0.000020692756,0.0000095699625,0.057230927],"genre_scores_gemma":[0.9957991,0.00046352448,0.00035001597,0.00023920347,0.000026405225,0.000016240969,0.000009658247,0.000010238315,0.0030855811],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99808013,0.001213966,0.00006800449,0.0001534773,0.00030344925,0.00018092156],"domain_scores_gemma":[0.9972909,0.0016981248,0.00040997818,0.00017986071,0.0002307654,0.0001904057],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0044783414,0.0005482401,0.00035656197,0.001423214,0.0052341647,0.008164535,0.0007036934,0.0009935744,0.002398316],"category_scores_gemma":[0.005099673,0.00026291775,0.00018759626,0.0012836973,0.017416572,0.005163874,0.0060617034,0.0017187675,0.00029830067],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001560425,0.000010749321,0.002098213,0.000058636513,0.0000038000137,0.00023606843,0.9828221,0.000015482654,0.0007750173,0.008659661,0.00012601765,0.0051786266],"study_design_scores_gemma":[0.0000021001222,0.00001842514,0.003679264,0.00011033419,0.0000076292818,0.0001411399,0.9835618,0.00006397582,0.0004937522,0.0018073937,0.010106828,0.000007385948],"about_ca_topic_score_codex":0.0042548436,"about_ca_topic_score_gemma":0.0052365162,"teacher_disagreement_score":0.008164535,"about_ca_system_score_codex":0.0014821712,"about_ca_system_score_gemma":0.0014884943,"threshold_uncertainty_score":0.023683965},"labels":[],"label_agreement":null},{"id":"W4399713553","doi":"10.32920/26046658","title":"Interrogating Authenticity: Understanding East Asian Female Pop Music in the Western Cultural Sphere","year":2024,"lang":"en","type":"preprint","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University; York University","funders":"","keywords":"Popular music; Period (music); Aesthetics; Popular culture; Dynamics (music); Sociology; Western culture; Gender studies; Art; Literature; History","score_opus":0.19693767276604723,"score_gpt":0.27947401546867834,"score_spread":0.0825363427026311,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4399713553","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9373778,0.0010290123,0.0024015491,0.001837045,0.00006168308,0.000031681226,0.000020692756,0.0000095699625,0.057230927],"genre_scores_gemma":[0.9957991,0.00046352448,0.00035001597,0.00023920347,0.000026405225,0.000016240969,0.000009658247,0.000010238315,0.0030855811],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99808013,0.001213966,0.00006800449,0.0001534773,0.00030344925,0.00018092156],"domain_scores_gemma":[0.9972909,0.0016981248,0.00040997818,0.00017986071,0.0002307654,0.0001904057],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0044783414,0.0005482401,0.00035656197,0.001423214,0.0052341647,0.008164535,0.0007036934,0.0009935744,0.002398316],"category_scores_gemma":[0.005099673,0.00026291775,0.00018759626,0.0012836973,0.017416572,0.005163874,0.0060617034,0.0017187675,0.00029830067],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001560425,0.000010749321,0.002098213,0.000058636513,0.0000038000137,0.00023606843,0.9828221,0.000015482654,0.0007750173,0.008659661,0.00012601765,0.0051786266],"study_design_scores_gemma":[0.0000021001222,0.00001842514,0.003679264,0.00011033419,0.0000076292818,0.0001411399,0.9835618,0.00006397582,0.0004937522,0.0018073937,0.010106828,0.000007385948],"about_ca_topic_score_codex":0.0042548436,"about_ca_topic_score_gemma":0.0052365162,"teacher_disagreement_score":0.008164535,"about_ca_system_score_codex":0.0014821712,"about_ca_system_score_gemma":0.0014884943,"threshold_uncertainty_score":0.023683965},"labels":[],"label_agreement":null},{"id":"W4399723065","doi":"10.32920/26052592.v1","title":"Rhythm as the Word: African Musical Tradition in the Digital World","year":2024,"lang":"en","type":"preprint","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Rhythm; Musical; Word (group theory); Linguistics; History; Art; Literature; Aesthetics; Philosophy","score_opus":0.04104174885941194,"score_gpt":0.2209278884564793,"score_spread":0.17988613959706734,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4399723065","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.452637,0.054859523,0.0048039523,0.035527404,0.0017662373,0.00007630082,0.00007060423,0.00003644859,0.45022252],"genre_scores_gemma":[0.96774566,0.013972896,0.0010535388,0.0022362496,0.0003758284,0.000031696778,0.000011876614,0.000020759795,0.014551493],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99914336,0.00045200632,0.00003101489,0.000088303335,0.00012304365,0.0001623199],"domain_scores_gemma":[0.9993382,0.00037883705,0.00009786995,0.000041894786,0.000053172727,0.00009002972],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015683935,0.0002674999,0.00022947499,0.0011515531,0.007542924,0.004022843,0.00038598778,0.0010146609,0.004666777],"category_scores_gemma":[0.0024287398,0.00015835557,0.000092539485,0.0019453391,0.009745349,0.005350758,0.003007471,0.002324081,0.00043989447],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007756794,0.000034680375,0.001667188,0.0003168805,0.000005369304,0.00072646193,0.46639922,0.000044411772,0.0018665504,0.4631942,0.004367158,0.061300393],"study_design_scores_gemma":[0.000019099884,0.00010569582,0.008319807,0.0017799714,0.000015457308,0.0015544557,0.27064955,0.00019961307,0.0007481391,0.040505327,0.6760703,0.00003265759],"about_ca_topic_score_codex":0.0026766008,"about_ca_topic_score_gemma":0.0044075307,"teacher_disagreement_score":0.007542924,"about_ca_system_score_codex":0.0013786277,"about_ca_system_score_gemma":0.0011767733,"threshold_uncertainty_score":0.015611947},"labels":[],"label_agreement":null},{"id":"W4399723113","doi":"10.32920/26052592","title":"Rhythm as the Word: African Musical Tradition in the Digital World","year":2024,"lang":"en","type":"preprint","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Rhythm; Word (group theory); Musical; Linguistics; History; Art; Literature; Philosophy; Aesthetics","score_opus":0.04104174885941194,"score_gpt":0.2209278884564793,"score_spread":0.17988613959706734,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4399723113","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.452637,0.054859523,0.0048039523,0.035527404,0.0017662373,0.00007630082,0.00007060423,0.00003644859,0.45022252],"genre_scores_gemma":[0.96774566,0.013972896,0.0010535388,0.0022362496,0.0003758284,0.000031696778,0.000011876614,0.000020759795,0.014551493],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99914336,0.00045200632,0.00003101489,0.000088303335,0.00012304365,0.0001623199],"domain_scores_gemma":[0.9993382,0.00037883705,0.00009786995,0.000041894786,0.000053172727,0.00009002972],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015683935,0.0002674999,0.00022947499,0.0011515531,0.007542924,0.004022843,0.00038598778,0.0010146609,0.004666777],"category_scores_gemma":[0.0024287398,0.00015835557,0.000092539485,0.0019453391,0.009745349,0.005350758,0.003007471,0.002324081,0.00043989447],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007756794,0.000034680375,0.001667188,0.0003168805,0.000005369304,0.00072646193,0.46639922,0.000044411772,0.0018665504,0.4631942,0.004367158,0.061300393],"study_design_scores_gemma":[0.000019099884,0.00010569582,0.008319807,0.0017799714,0.000015457308,0.0015544557,0.27064955,0.00019961307,0.0007481391,0.040505327,0.6760703,0.00003265759],"about_ca_topic_score_codex":0.0026766008,"about_ca_topic_score_gemma":0.0044075307,"teacher_disagreement_score":0.007542924,"about_ca_system_score_codex":0.0013786277,"about_ca_system_score_gemma":0.0011767733,"threshold_uncertainty_score":0.015611947},"labels":[],"label_agreement":null},{"id":"W4399762768","doi":"10.3138/md-67-2-rev5","title":"Jeffery Kennedy. <i>Staging America: The Artistic Legacy of the Provincetown Players</i>","year":2024,"lang":"en","type":"article","venue":"Modern Drama","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; History; Literature","score_opus":0.01653999635482726,"score_gpt":0.19929610466383366,"score_spread":0.1827561083090064,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4399762768","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0064416183,0.08083449,0.001311848,0.11951831,0.036905717,0.000037527858,0.0003558195,0.00020121642,0.75439334],"genre_scores_gemma":[0.0644199,0.01891174,0.00067483104,0.022423698,0.0047396356,0.000035375248,0.00018720681,0.0002766563,0.888331],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99968684,0.00006957745,0.000009491974,0.000051550327,0.00012021125,0.00006224921],"domain_scores_gemma":[0.99960643,0.000110924186,0.000026166465,0.000017974431,0.00012430482,0.00011422548],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00031889547,0.0005896012,0.0001732809,0.0007485375,0.0063885567,0.004705915,0.0006477979,0.0012984934,0.019584628],"category_scores_gemma":[0.0015260312,0.00023235385,0.00017133253,0.0006934049,0.0017590959,0.002531888,0.0013932136,0.0028530268,0.0050880904],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008191492,0.000004765209,0.0002241081,0.000036192985,0.0000018194593,0.000053720116,0.0034763562,0.000012174179,0.0001266556,0.011547369,0.9749005,0.009608226],"study_design_scores_gemma":[7.053919e-7,0.0000021179355,0.00047656187,0.0000793117,0.0000010457478,0.00006201272,0.0037483424,0.0000095307505,0.00008111768,0.00054906943,0.99498725,0.0000029137618],"about_ca_topic_score_codex":0.09959141,"about_ca_topic_score_gemma":0.30029234,"teacher_disagreement_score":0.09959141,"about_ca_system_score_codex":0.0027915265,"about_ca_system_score_gemma":0.0016578095,"threshold_uncertainty_score":0.19802344},"labels":[],"label_agreement":null},{"id":"W4399762986","doi":"10.5206/notabene.v17i1.17194","title":"Deconstructing Desire: Criticism of Western Romantic Narratives in Mitski's \"Your Best American Girl\" Music Video","year":2024,"lang":"en","type":"article","venue":"Nota bene","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Girl; Criticism; Romance; Narrative; Art; Gender studies; Aesthetics; Literature; Sociology; Psychology; Developmental psychology","score_opus":0.05733715774406116,"score_gpt":0.2713753883859066,"score_spread":0.2140382306418454,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4399762986","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6066022,0.0040353998,0.006738221,0.043766536,0.0009985153,0.00008048006,0.000082949686,0.00015361552,0.33754215],"genre_scores_gemma":[0.9885589,0.00056332746,0.0003894122,0.0016585592,0.00013513799,0.000043316864,0.000017742652,0.0000994131,0.008534239],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99324846,0.005038508,0.00013513885,0.00034990755,0.00067043654,0.0005576739],"domain_scores_gemma":[0.9939614,0.004127641,0.00042967123,0.0003699634,0.0005562857,0.0005550586],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0062988168,0.0009620219,0.00058528746,0.0022396266,0.01682474,0.0150708575,0.0019674327,0.0040311166,0.0021999802],"category_scores_gemma":[0.010785672,0.00064670324,0.00042310663,0.0011658558,0.039689787,0.009612284,0.010295067,0.008467614,0.000485095],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000027917808,0.000011633713,0.00038597736,0.00006168089,0.000005748844,0.0005590859,0.9038129,0.000042767133,0.0003208349,0.09046544,0.0022777356,0.0020283053],"study_design_scores_gemma":[0.000009814013,0.000017290322,0.0006973887,0.00022111465,0.000011440539,0.0004499334,0.9044428,0.00025330763,0.0004492514,0.009011872,0.08441353,0.000022384025],"about_ca_topic_score_codex":0.0082375705,"about_ca_topic_score_gemma":0.014915517,"teacher_disagreement_score":0.01682474,"about_ca_system_score_codex":0.0070337025,"about_ca_system_score_gemma":0.0026425663,"threshold_uncertainty_score":0.051033318},"labels":[],"label_agreement":null},{"id":"W4399853834","doi":"10.1093/oxfordhb/9780197551127.013.3","title":"“A Golden Age of Audio”","year":2024,"lang":"en","type":"book-chapter","venue":"Oxford University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McMaster University","funders":"","keywords":"Art","score_opus":0.03594593436385323,"score_gpt":0.17849317657926092,"score_spread":0.14254724221540768,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4399853834","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.010755394,0.020683339,0.0049816356,0.015321789,0.0022140054,0.000029777626,0.00007499765,0.00017344036,0.9457656],"genre_scores_gemma":[0.42532447,0.019821083,0.005595915,0.008219069,0.004055522,0.00008175653,0.00010431191,0.0003630539,0.5364349],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.999193,0.00028877854,0.000020987967,0.00012882585,0.00029242897,0.00007605127],"domain_scores_gemma":[0.9994155,0.00027833774,0.000031300366,0.00008898635,0.00010791097,0.000077904195],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008315884,0.0003735972,0.00021528704,0.0010382042,0.0030805904,0.0058188974,0.00046812653,0.0011311527,0.01886907],"category_scores_gemma":[0.0016658177,0.0001804174,0.00016313492,0.00068997836,0.009837995,0.0059360503,0.0026421717,0.002012992,0.002973931],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004215652,0.0000135728105,0.0002809147,0.00020606426,0.000004528995,0.00019638875,0.023418395,0.00007958567,0.0011745302,0.82550997,0.06056522,0.08850861],"study_design_scores_gemma":[0.0000036073145,0.000018941488,0.00032090856,0.0002298078,0.0000029412186,0.00021668062,0.0044919993,0.0000797509,0.00036478185,0.024870131,0.9693942,0.0000063474176],"about_ca_topic_score_codex":0.0030088397,"about_ca_topic_score_gemma":0.005607454,"teacher_disagreement_score":0.01886907,"about_ca_system_score_codex":0.0022530153,"about_ca_system_score_gemma":0.0009615119,"threshold_uncertainty_score":0.063123345},"labels":[],"label_agreement":null},{"id":"W4399854503","doi":"10.1093/oxfordhb/9780197551127.013.5","title":"The Campus Radio Music Library in the Streaming Music Era","year":2024,"lang":"en","type":"book-chapter","venue":"Oxford University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Alberta","funders":"","keywords":"Art","score_opus":0.026158914041365236,"score_gpt":0.16491259990380747,"score_spread":0.13875368586244224,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4399854503","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07937719,0.011263025,0.00074846647,0.013739125,0.00033683318,0.00003928545,0.00016261733,0.00031942365,0.89401394],"genre_scores_gemma":[0.43182686,0.01137042,0.0014250652,0.0027346304,0.00020639965,0.000027100788,0.00013729434,0.00020632803,0.5520659],"study_design_codex":"design_other","study_design_gemma":"qualitative","domain_scores_codex":[0.99882776,0.00021184962,0.000014459315,0.000059326794,0.00047082859,0.00041580407],"domain_scores_gemma":[0.99887866,0.0001825806,0.000054186607,0.00005208094,0.0003359321,0.00049656635],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007596043,0.0001948527,0.00020692399,0.0015374633,0.012051894,0.012480703,0.001320867,0.0010684977,0.035533447],"category_scores_gemma":[0.0012781126,0.00019709648,0.00012368908,0.004829504,0.005378705,0.0032849354,0.0031586494,0.0011858237,0.004092145],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000089529225,0.00010275859,0.005175223,0.00042282644,0.0000072263333,0.0013153399,0.095973164,0.00036364156,0.002101306,0.2713694,0.2868253,0.3362544],"study_design_scores_gemma":[0.0000026896814,0.000016427626,0.0044672787,0.00014537266,0.000004243113,0.00017963491,0.042790852,0.00006625443,0.00032664393,0.0014502503,0.9505357,0.000014654531],"about_ca_topic_score_codex":0.69962794,"about_ca_topic_score_gemma":0.8761757,"teacher_disagreement_score":0.69962794,"about_ca_system_score_codex":0.03007652,"about_ca_system_score_gemma":0.042814523,"threshold_uncertainty_score":0.604282},"labels":[],"label_agreement":null},{"id":"W4399878869","doi":"10.1215/00222909-10974738","title":"Expanding the Commons","year":2024,"lang":"pl","type":"article","venue":"Journal of Music Theory","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Aesthetics; CLARITY; Tonality; Banner; Commons; Hindsight bias; Sociology; Psychology; Epistemology; Musical; Linguistics; Social psychology; Political science; Literature; Philosophy; Law; Art","score_opus":0.036762874508494726,"score_gpt":0.2426928594840284,"score_spread":0.2059299849755337,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4399878869","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008967008,0.019255076,0.014663676,0.54663104,0.017125579,0.00006190715,0.00017840849,0.0004753655,0.39264193],"genre_scores_gemma":[0.44851792,0.014767019,0.009402168,0.20803298,0.014261249,0.00031565555,0.00027656252,0.00085572235,0.3035707],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9911281,0.0032928968,0.00021277972,0.0016843961,0.0021738186,0.0015078927],"domain_scores_gemma":[0.98554313,0.0056411275,0.0007444031,0.0028253868,0.0021317154,0.0031142898],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.008030965,0.000809514,0.0007895913,0.0021409255,0.013577564,0.019937187,0.0024939694,0.008181055,0.030306723],"category_scores_gemma":[0.018248152,0.0005112094,0.0011375016,0.0011991508,0.03790546,0.039001904,0.024636023,0.015160244,0.008053865],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018665434,0.000018564742,0.00020024907,0.000069303096,0.000005570012,0.000114832925,0.0071706106,0.00008578472,0.00018670857,0.8700943,0.10659267,0.015442738],"study_design_scores_gemma":[0.0000043681302,0.000012992229,0.00014792824,0.00019847802,0.000003690696,0.00010555473,0.0045843916,0.00014271465,0.00013430271,0.23263328,0.76201797,0.000014381937],"about_ca_topic_score_codex":0.0049611717,"about_ca_topic_score_gemma":0.006615766,"teacher_disagreement_score":0.030306723,"about_ca_system_score_codex":0.008208606,"about_ca_system_score_gemma":0.011052494,"threshold_uncertainty_score":0.10138613},"labels":[],"label_agreement":null},{"id":"W4400207991","doi":"10.1080/01419870.2024.2371443","title":"Deathlife: hip hop and thanatological narrations of blackness","year":2024,"lang":"en","type":"article","venue":"Ethnic and Racial Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Media studies; Sociology","score_opus":0.141330766316326,"score_gpt":0.3376691474443474,"score_spread":0.1963383811280214,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4400207991","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.39977297,0.032478224,0.004067176,0.22205998,0.018523429,0.00016676597,0.00044659452,0.0002039216,0.322281],"genre_scores_gemma":[0.88076216,0.009925062,0.0014607293,0.025799043,0.0038352807,0.0001700956,0.00012088219,0.00018655798,0.07774006],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9989085,0.00078594766,0.000017574199,0.00003147884,0.000116871786,0.000139612],"domain_scores_gemma":[0.9982827,0.0009444494,0.00020423777,0.00004586888,0.00015772882,0.00036513357],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013042028,0.00067612855,0.00037217277,0.0008343848,0.012199895,0.002780998,0.00068977126,0.002484937,0.0053446046],"category_scores_gemma":[0.0055979146,0.00020627001,0.00020926046,0.00065358565,0.0068527157,0.0020392528,0.0034911644,0.004357698,0.00080506766],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001650303,0.000048574468,0.0012788688,0.00019777873,0.000012279065,0.0020491632,0.8064357,0.000072846764,0.0013735879,0.028511457,0.14795016,0.011904503],"study_design_scores_gemma":[0.000008585628,0.00004758523,0.0025943604,0.0004017425,0.0000064138876,0.0012041803,0.6003097,0.000068753274,0.0006132476,0.0020652704,0.39265594,0.000024228993],"about_ca_topic_score_codex":0.008250229,"about_ca_topic_score_gemma":0.030399531,"teacher_disagreement_score":0.012199895,"about_ca_system_score_codex":0.00138238,"about_ca_system_score_gemma":0.0007937677,"threshold_uncertainty_score":0.017879486},"labels":[],"label_agreement":null},{"id":"W4400425273","doi":"10.29173/crossings203","title":"Forgive Me, Your Honour, For I Have Sinned","year":2024,"lang":"en","type":"article","venue":"Crossings An Undergraduate Arts Journal","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Honour; Political science; Law","score_opus":0.07155284788624316,"score_gpt":0.29901676653540227,"score_spread":0.2274639186491591,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4400425273","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.086866625,0.0103781605,0.009622756,0.252835,0.024049984,0.00019276488,0.00031542804,0.00074375235,0.6149954],"genre_scores_gemma":[0.38237056,0.003778884,0.0051901466,0.064175166,0.0030445969,0.00013538996,0.00017163424,0.00055541965,0.54057825],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9966871,0.0015289909,0.0000859979,0.00019916569,0.00096395885,0.0005348123],"domain_scores_gemma":[0.9939103,0.0013091337,0.0010129663,0.0004915881,0.0017073133,0.0015686885],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0024813937,0.0007075765,0.00051713735,0.0008416256,0.011176219,0.0047359196,0.0007868201,0.0025828357,0.03086415],"category_scores_gemma":[0.01768843,0.00034782896,0.00040582655,0.00043009376,0.007984247,0.0045036827,0.005734984,0.0076136226,0.025934666],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010269163,0.00010145479,0.00629343,0.00026786354,0.00004324677,0.0021952,0.101840176,0.000092433795,0.0013586824,0.051261324,0.73919624,0.09724724],"study_design_scores_gemma":[0.000005880957,0.00008704859,0.003146898,0.00039275535,0.0000144475125,0.00252867,0.07133305,0.00012058732,0.000561463,0.004869304,0.9168807,0.00005912897],"about_ca_topic_score_codex":0.0040016407,"about_ca_topic_score_gemma":0.011725096,"teacher_disagreement_score":0.03086415,"about_ca_system_score_codex":0.0011614154,"about_ca_system_score_gemma":0.0016579737,"threshold_uncertainty_score":0.10325086},"labels":[],"label_agreement":null},{"id":"W4400425749","doi":"10.29173/crossings281","title":"She Creates, She Controls, She Commands Respect:","year":2024,"lang":"en","type":"article","venue":"Crossings An Undergraduate Arts Journal","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Computer science; Communication; Human–computer interaction; Psychology","score_opus":0.040921641798237304,"score_gpt":0.2665428411994619,"score_spread":0.2256211994012246,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4400425749","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2582996,0.0027827336,0.010190322,0.032447185,0.0013425177,0.000037293365,0.00004450357,0.00015553167,0.69470036],"genre_scores_gemma":[0.9087386,0.00084274315,0.00070208876,0.0019527981,0.00015561761,0.000019505114,0.000017205883,0.00008288547,0.08748851],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99761236,0.0013393655,0.00005447421,0.00019510441,0.0004254999,0.00037325162],"domain_scores_gemma":[0.99887294,0.0004524631,0.00015863603,0.0001038911,0.0001435992,0.0002684424],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018882467,0.00036916515,0.0002537131,0.0006515445,0.006378703,0.006245549,0.00044839,0.001220017,0.0050065843],"category_scores_gemma":[0.0040569147,0.000194667,0.0001730283,0.00046542642,0.017696137,0.004754893,0.004319744,0.0025182243,0.0013911686],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000095797914,0.000022513626,0.00374181,0.00012391202,0.00001982904,0.00091611117,0.65082633,0.00008414641,0.003521524,0.29307187,0.013330929,0.034245245],"study_design_scores_gemma":[0.000008723203,0.00006393726,0.0019600254,0.00020475672,0.00002204691,0.00095659296,0.29848722,0.00013970656,0.0014583888,0.019386562,0.67727864,0.000033423898],"about_ca_topic_score_codex":0.0043238467,"about_ca_topic_score_gemma":0.0060231164,"teacher_disagreement_score":0.006378703,"about_ca_system_score_codex":0.0014108395,"about_ca_system_score_gemma":0.001354105,"threshold_uncertainty_score":0.016748667},"labels":[],"label_agreement":null},{"id":"W4400510496","doi":"10.14713/jjs.v15i1.270","title":"Listening to Electric Miles","year":2024,"lang":"en","type":"article","venue":"Journal of Jazz Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Jazz; Studio; Creativity; Visual arts; Active listening; Ethnomusicology; Popular music; Sound recording and reproduction; Sociology; Art; Computer science; Musical; Psychology; Communication; Management","score_opus":0.061407733065783954,"score_gpt":0.28876756285051486,"score_spread":0.2273598297847309,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4400510496","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6003007,0.0018679097,0.003783811,0.008220073,0.0006702188,0.00012365838,0.00023306011,0.00016370157,0.38463685],"genre_scores_gemma":[0.8858426,0.0013091922,0.0019950063,0.0017516128,0.00024422578,0.000069738424,0.0001324476,0.00010720902,0.108548015],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989925,0.00048238665,0.00002572725,0.00014924187,0.00019707085,0.00015309652],"domain_scores_gemma":[0.9989833,0.0005861805,0.00008936553,0.00007060441,0.000086474814,0.00018406082],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008945211,0.00037386443,0.00020796122,0.00060744106,0.005374462,0.0037277674,0.00075486087,0.0013468998,0.014207538],"category_scores_gemma":[0.0036513344,0.00016398863,0.0002133714,0.00048198702,0.0025616738,0.0018263985,0.0024443946,0.0012189135,0.0029001874],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002919452,0.00017311654,0.007974239,0.0005219305,0.000026811162,0.015485406,0.7833694,0.0002780321,0.0077916337,0.034874983,0.063857704,0.085354775],"study_design_scores_gemma":[0.000013003361,0.0001305456,0.0064219735,0.0001934398,0.000012020903,0.004410221,0.54165083,0.00014192921,0.0011783728,0.0015402304,0.4442771,0.000030269235],"about_ca_topic_score_codex":0.0037278594,"about_ca_topic_score_gemma":0.01076366,"teacher_disagreement_score":0.014207538,"about_ca_system_score_codex":0.0010893169,"about_ca_system_score_gemma":0.00043552511,"threshold_uncertainty_score":0.047528982},"labels":[],"label_agreement":null},{"id":"W4400693967","doi":"10.1111/nzg.12399","title":"Björk to Morton to Aphex Twin: Music as a positive hyperobject","year":2024,"lang":"en","type":"article","venue":"New Zealand Geographer","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McMaster University","funders":"","keywords":"Sociology","score_opus":0.015428512508061966,"score_gpt":0.22625810573659239,"score_spread":0.21082959322853043,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4400693967","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008244907,0.0204341,0.0013930587,0.7600858,0.029633256,0.000015750851,0.00004354514,0.00004850026,0.18010104],"genre_scores_gemma":[0.3382958,0.023038965,0.0014368492,0.26052815,0.024351193,0.00008407373,0.00004167909,0.00054485776,0.3516785],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9972255,0.0014488284,0.000068609574,0.00032735575,0.0006599985,0.0002696787],"domain_scores_gemma":[0.9961283,0.0022776227,0.00017240299,0.00016430096,0.00082679914,0.0004304248],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0028001626,0.00037884386,0.0004456046,0.0006366856,0.008866116,0.007431299,0.0010675356,0.0058460543,0.010744272],"category_scores_gemma":[0.009270097,0.00021685977,0.00024134482,0.0005883836,0.01760589,0.0075639817,0.0031709718,0.01117264,0.0020037023],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004965263,0.0000106228335,0.0002572693,0.00015185114,0.000006478274,0.00041610768,0.07284474,0.000039615647,0.000236697,0.37270582,0.542514,0.010767151],"study_design_scores_gemma":[0.0000054696498,0.0000079386,0.00030169482,0.00037847363,0.0000053112294,0.00013823982,0.020228272,0.000042972017,0.00013141928,0.01731713,0.9614292,0.000013851782],"about_ca_topic_score_codex":0.06823759,"about_ca_topic_score_gemma":0.1197103,"teacher_disagreement_score":0.06823759,"about_ca_system_score_codex":0.005914379,"about_ca_system_score_gemma":0.004335119,"threshold_uncertainty_score":0.13568085},"labels":[],"label_agreement":null},{"id":"W4400960270","doi":"10.4324/9781003458036-20","title":"Marking the Unmarked: Hip-Hop, the Gaze &amp; the African Body in North America","year":2024,"lang":"en","type":"book-chapter","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Gaze; Physical medicine and rehabilitation; Geography; Communication; Optometry; Anatomy; Medicine; Psychology; Psychoanalysis","score_opus":0.029525494182016793,"score_gpt":0.19753654103256027,"score_spread":0.16801104685054347,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4400960270","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3312735,0.031380378,0.0008438717,0.027243506,0.0011659375,0.000025535945,0.000036732752,0.000036487618,0.607994],"genre_scores_gemma":[0.8601096,0.0067769857,0.0004377364,0.0018369013,0.00018315346,0.000029824425,0.000012429042,0.000035543555,0.1305779],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9996859,0.00014588308,0.0000043864516,0.000034468703,0.000047987676,0.00008135127],"domain_scores_gemma":[0.99981266,0.000090116446,0.00002217063,0.000011328662,0.000022439119,0.000041306386],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00052662264,0.00027001253,0.00014472251,0.00075718865,0.010868735,0.0028162543,0.0003499545,0.0010066509,0.005800332],"category_scores_gemma":[0.000558324,0.00015191927,0.00007493564,0.00073605566,0.010738714,0.0029448003,0.003314738,0.001664288,0.0003348623],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020751018,0.000015182291,0.0008762377,0.00009599567,0.0000018265833,0.00046780918,0.81863797,0.000022027034,0.0019548335,0.13720466,0.016041156,0.024661537],"study_design_scores_gemma":[0.0000045894226,0.000022288366,0.0063353274,0.00043586394,0.000005991972,0.0003523196,0.51670223,0.000057734163,0.00061882474,0.0077313753,0.46772242,0.000011154068],"about_ca_topic_score_codex":0.12104815,"about_ca_topic_score_gemma":0.34278965,"teacher_disagreement_score":0.12104815,"about_ca_system_score_codex":0.0047106766,"about_ca_system_score_gemma":0.0030277385,"threshold_uncertainty_score":0.24068713},"labels":[],"label_agreement":null},{"id":"W4401227518","doi":"10.52230/vtof3964","title":"Nick Bollinger, Jumping Sundays: The Rise and Fall of the Counterculture in Aotearoa New Zealand","year":2024,"lang":"en","type":"article","venue":"Journal of Australian Canadian and Aotearoa New Zealand Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Counterculture; Jumping; Aotearoa; History; Art history; Political science; Geology; Law; Paleontology","score_opus":0.04176504910544037,"score_gpt":0.25505685350336194,"score_spread":0.21329180439792156,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4401227518","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0016701247,0.74898225,0.00023837289,0.14940958,0.03620563,0.00004634884,0.00012341421,0.000045349883,0.06327887],"genre_scores_gemma":[0.016988989,0.56327695,0.0005468844,0.026633082,0.011386783,0.00007094107,0.0001255503,0.00012447909,0.38084635],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99942917,0.000087771194,0.000023041404,0.00007419111,0.00030971481,0.00007611307],"domain_scores_gemma":[0.9985434,0.00041968632,0.00011437005,0.000030461108,0.0005868473,0.00030521315],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001273298,0.0005887134,0.00064104056,0.0016673687,0.0032949003,0.0045105913,0.0009873807,0.0019738795,0.022994332],"category_scores_gemma":[0.0032050554,0.00048820348,0.00029471453,0.0018293521,0.002059207,0.0057137283,0.0014558343,0.0033978652,0.0047413525],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001734642,0.0000061358123,0.000308216,0.0005055593,0.000006833305,0.00012546199,0.0017014343,0.00003460678,0.00012851799,0.0062206895,0.94629854,0.044646632],"study_design_scores_gemma":[0.0000052922455,0.0000071882137,0.0008667591,0.00062914763,0.000007515459,0.00013346,0.0016831737,0.000015144914,0.000046610487,0.00072060636,0.9958747,0.000010347001],"about_ca_topic_score_codex":0.23781556,"about_ca_topic_score_gemma":0.51071197,"teacher_disagreement_score":0.23781556,"about_ca_system_score_codex":0.0057737306,"about_ca_system_score_gemma":0.0074633094,"threshold_uncertainty_score":0.47286266},"labels":[],"label_agreement":null},{"id":"W4401367300","doi":"10.1108/978-1-83753-034-220241014","title":"Navigating Gendered Spaces: Activists' Synergies in Montreal's Electronic Music Scene","year":2024,"lang":"en","type":"book-chapter","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Université du Québec à Montréal","funders":"","keywords":"Visual arts; Electronic music; Media studies; Sociology; Gender studies; Art","score_opus":0.027431259358421226,"score_gpt":0.21991001151140258,"score_spread":0.19247875215298135,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4401367300","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.66706795,0.002537016,0.0022458655,0.017208,0.0006133516,0.0002406021,0.00032926392,0.0001717791,0.30958623],"genre_scores_gemma":[0.9487588,0.0006408752,0.00066243915,0.00073778594,0.00010451544,0.00008543311,0.00007240209,0.000087075765,0.04885071],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9966865,0.0016759607,0.000021666348,0.00022223506,0.00045162905,0.0009420265],"domain_scores_gemma":[0.9974866,0.0010043031,0.00017656192,0.000099446406,0.00021032394,0.0010227693],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0030459156,0.0007245892,0.0004227369,0.0022497869,0.03004888,0.0091371825,0.0027513115,0.0019452298,0.015210405],"category_scores_gemma":[0.0032861675,0.0003948639,0.00033625742,0.0023044639,0.016712138,0.0026226828,0.007919717,0.0023523017,0.00064078707],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000051761814,0.000060357303,0.0028952393,0.000086586326,0.0000070758406,0.0012067808,0.9305283,0.00010439066,0.0014176152,0.02271311,0.018797742,0.022131093],"study_design_scores_gemma":[0.000007341916,0.000037249356,0.0071226363,0.00012006376,0.0000069037715,0.0001665406,0.7314609,0.00012509685,0.0004249599,0.00070713635,0.25979894,0.000022167646],"about_ca_topic_score_codex":0.50484717,"about_ca_topic_score_gemma":0.82467216,"teacher_disagreement_score":0.49515283,"about_ca_system_score_codex":0.025738599,"about_ca_system_score_gemma":0.013421163,"threshold_uncertainty_score":0.9961378},"labels":[],"label_agreement":null},{"id":"W4401386424","doi":"10.1080/15295036.2024.2383185","title":"“It’s hard to be something you can’t see!”: representing Black transgender women on “The Breakfast Club” morning show","year":2024,"lang":"en","type":"article","venue":"Critical Studies in Media Communication","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Simon Fraser University","funders":"","keywords":"Transgender; Club; Sociology; Morning; Advertising; Fandom; Gender studies; Media studies; Business","score_opus":0.2429904145284212,"score_gpt":0.3577294418455814,"score_spread":0.11473902731716021,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4401386424","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.19011249,0.012178564,0.0017288933,0.4462557,0.018368471,0.00018635314,0.0001051346,0.00017035184,0.33089408],"genre_scores_gemma":[0.60726404,0.010253401,0.0012905766,0.10878923,0.0028096717,0.00027362356,0.00007940483,0.00048862945,0.26875144],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9984302,0.00092315336,0.0000153144,0.000073404524,0.00023401999,0.0003238602],"domain_scores_gemma":[0.99815935,0.00047399942,0.00010326943,0.00003441367,0.00038333551,0.0008455814],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026883152,0.00069133326,0.00030119123,0.00057158206,0.028215628,0.007047406,0.000887761,0.002552263,0.013946055],"category_scores_gemma":[0.0041781254,0.0003001032,0.00021825059,0.00037648028,0.007512959,0.0048409766,0.0040921643,0.006995272,0.0025802157],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009124772,0.00007826924,0.0013449339,0.00017995496,0.0000110769,0.00089645456,0.50665057,0.000023376271,0.0014478825,0.0123658,0.44503918,0.031871263],"study_design_scores_gemma":[0.0000060061097,0.000043630316,0.0011479798,0.00029286285,0.0000080361515,0.00029893953,0.68639356,0.000028197965,0.00050552166,0.0009285326,0.31032428,0.000022373817],"about_ca_topic_score_codex":0.031140415,"about_ca_topic_score_gemma":0.07472183,"teacher_disagreement_score":0.031140415,"about_ca_system_score_codex":0.002241205,"about_ca_system_score_gemma":0.0033696569,"threshold_uncertainty_score":0.06191832},"labels":[],"label_agreement":null},{"id":"W4401558147","doi":"10.4000/12i2o","title":"World music : un objet virtuel ?","year":2007,"lang":"fr","type":"article","venue":"Filigrane","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Musée de la Civilisation","funders":"","keywords":"Art","score_opus":0.022061820468741288,"score_gpt":0.20843328777898906,"score_spread":0.18637146731024778,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4401558147","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.040422354,0.01174401,0.008913534,0.054176103,0.0015315872,0.000020249645,0.0000705802,0.00008268213,0.883039],"genre_scores_gemma":[0.8685707,0.0077990033,0.0027221662,0.0060081584,0.0015517278,0.00004986891,0.00008401551,0.0001444653,0.11306985],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9987676,0.00058304693,0.00003452,0.00017138442,0.0002550325,0.00018836922],"domain_scores_gemma":[0.99913836,0.00033739748,0.0000927925,0.00013498473,0.00011702361,0.00017932149],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019237632,0.00041891006,0.000368375,0.00097419973,0.0048258547,0.012196517,0.00061186025,0.0018853229,0.010852818],"category_scores_gemma":[0.0026587483,0.00014593283,0.00019968192,0.0010014127,0.016856195,0.009058731,0.004303867,0.0035236496,0.0016550015],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021130205,0.000007833678,0.0006378671,0.000040672323,0.0000037014686,0.000046950725,0.007362356,0.000029085943,0.00013725797,0.9726146,0.004119163,0.014979352],"study_design_scores_gemma":[0.000017865621,0.000054731503,0.003213701,0.0002925988,0.0000089193045,0.00032698087,0.026356632,0.00026865923,0.00040184445,0.3749698,0.5940636,0.000024613326],"about_ca_topic_score_codex":0.0027326155,"about_ca_topic_score_gemma":0.00517552,"teacher_disagreement_score":0.012196517,"about_ca_system_score_codex":0.0023339454,"about_ca_system_score_gemma":0.0014580896,"threshold_uncertainty_score":0.036306262},"labels":[],"label_agreement":null},{"id":"W4401631768","doi":"10.22215/etd/2024-16142","title":"Sonic Constructions of Transhumanism: A Radiohead Case Study","year":2024,"lang":"en","type":"dissertation","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Transhumanism; Phenomenology (philosophy); Aesthetics; Materiality (auditing); Différance; Embodied cognition; Posthumanism; Cognitive science; Communication; Epistemology; Sociology; Philosophy; Psychology; Metaphysics","score_opus":0.03290015776678966,"score_gpt":0.2599675170454594,"score_spread":0.22706735927866972,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4401631768","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8604159,0.0017507174,0.0064495467,0.004858508,0.00024339197,0.00019207048,0.00009568051,0.000090502996,0.12590373],"genre_scores_gemma":[0.97016746,0.0018771641,0.0031448249,0.00081806636,0.00013381965,0.00017523869,0.00003980966,0.00008260711,0.023561053],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9960393,0.002723701,0.00008044384,0.00032304306,0.00039278268,0.00044082108],"domain_scores_gemma":[0.9964289,0.0026239885,0.00022457309,0.00030208833,0.00015250761,0.00026791485],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0032779146,0.0007192811,0.0005255989,0.0015696019,0.012377259,0.0047369716,0.0018038274,0.0033277266,0.008603387],"category_scores_gemma":[0.004894794,0.0004738541,0.0005007106,0.0011591807,0.011988488,0.0041006515,0.0062566446,0.002911435,0.0010446501],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016912766,0.00024198317,0.0034873036,0.00037284868,0.000020000849,0.0163083,0.89059293,0.00023071442,0.0025763593,0.050880015,0.005594296,0.029526167],"study_design_scores_gemma":[0.000020598278,0.00023773848,0.0020014741,0.00026144405,0.000025824549,0.007878477,0.8428873,0.00023950305,0.001326176,0.0040244567,0.14106268,0.000034467146],"about_ca_topic_score_codex":0.0049859635,"about_ca_topic_score_gemma":0.0099314805,"teacher_disagreement_score":0.012377259,"about_ca_system_score_codex":0.0026081062,"about_ca_system_score_gemma":0.0010010775,"threshold_uncertainty_score":0.028781235},"labels":[],"label_agreement":null},{"id":"W4401631957","doi":"10.22215/etd/2024-15997","title":"Anti-Rap or Anti-Black?: A Critical Examination of White Moral Panic in Response to West Coast Gangsta Rap","year":2024,"lang":"en","type":"dissertation","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Moral panic; Foregrounding; Covert; White (mutation); White supremacy; Racism; Consciousness; Sociology; Gender studies; Psychoanalysis; Aesthetics; Art; Psychology; Literature; Criminology; Philosophy","score_opus":0.03719164499271279,"score_gpt":0.28049961546407504,"score_spread":0.24330797047136224,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4401631957","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.81853557,0.0041121785,0.004072554,0.056744315,0.0019375563,0.000192664,0.00006407271,0.00007001398,0.114271075],"genre_scores_gemma":[0.98260534,0.001526974,0.0007362015,0.0074275443,0.00032211593,0.00016244341,0.000023307022,0.00008686259,0.0071092537],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.98665047,0.0098903375,0.00023967543,0.00076969113,0.0013375737,0.0011122079],"domain_scores_gemma":[0.9815513,0.013998386,0.0011642327,0.0005524251,0.0016759867,0.001057754],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.016724853,0.0009586717,0.0007171418,0.0043540024,0.028606925,0.016698062,0.0022236574,0.003878118,0.0031796847],"category_scores_gemma":[0.024409255,0.0005978101,0.00042858126,0.0018420683,0.04134572,0.0105905505,0.01277233,0.011775856,0.00034919017],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000007844751,0.000017499306,0.0003963481,0.000043379576,0.0000027659262,0.00017248713,0.9859612,0.0000091025795,0.000118154305,0.009091479,0.0013160466,0.0028636297],"study_design_scores_gemma":[0.0000011611414,0.000007406954,0.00051249063,0.000114830895,0.000002104979,0.000039047005,0.9867337,0.000023049051,0.00007527512,0.0013957431,0.011088538,0.000006619389],"about_ca_topic_score_codex":0.013651325,"about_ca_topic_score_gemma":0.023363197,"teacher_disagreement_score":0.028606925,"about_ca_system_score_codex":0.009246933,"about_ca_system_score_gemma":0.006780822,"threshold_uncertainty_score":0.08845055},"labels":[],"label_agreement":null},{"id":"W4402215477","doi":"10.7202/1110031ar","title":"The Bridge: 50 Years of Hip Hop. 2021–2022","year":2023,"lang":"en","type":"article","venue":"MUSICultures","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Hop (telecommunications); Bridge (graph theory); Engineering; History; Forensic engineering; Virology; Telecommunications; Medicine; Internal medicine","score_opus":0.03238672332945657,"score_gpt":0.22056961582663911,"score_spread":0.18818289249718254,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4402215477","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.030870818,0.09281938,0.0008131721,0.21078965,0.062268265,0.000120300814,0.0040071565,0.00026223404,0.5980491],"genre_scores_gemma":[0.10689108,0.034646098,0.0006357249,0.04253247,0.016823947,0.00015580699,0.003467739,0.00031254507,0.7945347],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993476,0.00008768572,0.000022296837,0.000045543627,0.00020519244,0.00029171654],"domain_scores_gemma":[0.9987741,0.00008755988,0.000052540767,0.000045641984,0.00019443617,0.0008457593],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010669352,0.00038772644,0.00020786388,0.000924912,0.002880892,0.0031497634,0.0004994815,0.0022803934,0.10740232],"category_scores_gemma":[0.0029981618,0.00020451743,0.0002415382,0.00088627514,0.0010336979,0.0016679316,0.0046093073,0.0028153225,0.030714804],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014515537,0.000105280094,0.0025473228,0.00013483777,0.0000093417875,0.00045374315,0.00089303456,0.00004722943,0.00017204319,0.0075644245,0.7883958,0.19953176],"study_design_scores_gemma":[0.000010919232,0.000037037775,0.008889817,0.00040664602,0.0000038345174,0.00031154644,0.0017904441,0.000017027833,0.000045291777,0.0014631294,0.987017,0.0000073366455],"about_ca_topic_score_codex":0.011266142,"about_ca_topic_score_gemma":0.04053725,"teacher_disagreement_score":0.10740232,"about_ca_system_score_codex":0.0017311252,"about_ca_system_score_gemma":0.0036317224,"threshold_uncertainty_score":0.35929656},"labels":[],"label_agreement":null},{"id":"W4402769283","doi":"10.1080/09548963.2024.2401996","title":"Mind the gap: causes and consequences of the racial gap in music funding organizations","year":2024,"lang":"en","type":"article","venue":"Cultural Trends","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Waterloo; Queen's University","funders":"Music Library Association","keywords":"Political science; Psychology; Sociology; Business","score_opus":0.10870666398938497,"score_gpt":0.2786012471956361,"score_spread":0.16989458320625114,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4402769283","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":"incentives","model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":"incentives","domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.78911865,0.0030260377,0.0023903048,0.12986444,0.00037378125,0.000064759755,0.00010754551,0.00002306769,0.07503153],"genre_scores_gemma":[0.99312085,0.0005850548,0.0003514157,0.0038249106,0.00009494325,0.000033018776,0.000016319189,0.000009904605,0.0019635467],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.980507,0.0062588467,0.0005211178,0.0012674569,0.004017328,0.0074282167],"domain_scores_gemma":[0.9691787,0.011315553,0.0060570077,0.0013346121,0.004557418,0.0075566564],"candidate_categories":["metaresearch"],"consensus_categories":[],"category_scores_codex":[0.018143103,0.00020862931,0.00039242243,0.0025318915,0.024315879,0.008252551,0.002249011,0.0026524842,0.006145092],"category_scores_gemma":[0.0563149,0.00031054628,0.00030542872,0.0029981409,0.018436141,0.0058143176,0.011204241,0.0034477613,0.00029378597],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011946422,0.00011916519,0.120851226,0.00018200575,0.00003257621,0.000986811,0.48140487,0.00033870587,0.00051281083,0.31307077,0.01464159,0.06774002],"study_design_scores_gemma":[0.00003909849,0.000068562884,0.1060311,0.0011098948,0.000050209823,0.00042259408,0.74523044,0.0005488178,0.0004645344,0.06802158,0.077948645,0.00006461972],"about_ca_topic_score_codex":0.37407234,"about_ca_topic_score_gemma":0.4330113,"teacher_disagreement_score":0.9818569,"about_ca_system_score_codex":0.021321528,"about_ca_system_score_gemma":0.054967478,"threshold_uncertainty_score":0.74379003},"labels":[],"label_agreement":null},{"id":"W4402895382","doi":"10.1080/03007766.2024.2407998","title":"“Shade Never Made Anybody Less Gay”: Taylor Swift’s Performance of Allyship and the Neoliberalization of Activism","year":2024,"lang":"en","type":"article","venue":"Popular Music & Society","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McMaster University","funders":"","keywords":"Swift; Art; Art history; Sociology; Physics; Astrophysics","score_opus":0.04115199401455777,"score_gpt":0.2237808355774095,"score_spread":0.18262884156285172,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4402895382","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16420446,0.0043641287,0.0029845512,0.29783508,0.0070296363,0.00006377275,0.0000311904,0.00013295552,0.52335423],"genre_scores_gemma":[0.819629,0.0011637444,0.0010549561,0.031387825,0.0012032039,0.00005666439,0.00001569784,0.00019760244,0.14529125],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9967854,0.0017403858,0.000038269125,0.00029189273,0.000539571,0.0006045188],"domain_scores_gemma":[0.9974362,0.0013646428,0.000114955816,0.00011576531,0.0002177834,0.0007505567],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0032601957,0.00033741104,0.00022960872,0.0005131664,0.017166216,0.0067783715,0.00079310685,0.002799344,0.0059915762],"category_scores_gemma":[0.0053485096,0.0002332806,0.0001771548,0.0003191394,0.012621234,0.0039314036,0.004820195,0.0074516237,0.0009158742],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013628032,0.0001467199,0.0007819291,0.00009621162,0.000009203768,0.0010350671,0.35375726,0.00010757582,0.002010354,0.32043093,0.27378333,0.047705073],"study_design_scores_gemma":[0.000024750389,0.0000752284,0.0010297198,0.00021670935,0.000009171515,0.00042764776,0.12765658,0.0004125423,0.0018597479,0.021055615,0.84720194,0.000030379257],"about_ca_topic_score_codex":0.010919201,"about_ca_topic_score_gemma":0.04091313,"teacher_disagreement_score":0.017166216,"about_ca_system_score_codex":0.0042353505,"about_ca_system_score_gemma":0.0036097583,"threshold_uncertainty_score":0.03072983},"labels":[],"label_agreement":null},{"id":"W4402896658","doi":"10.1515/9783839470527-012","title":"Producing Hip-Hop Culture and Identity","year":2024,"lang":"en","type":"book-chapter","venue":"transcript Verlag eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Identity (music); Sociology; Art; Aesthetics","score_opus":0.03395454551934736,"score_gpt":0.216043219295844,"score_spread":0.18208867377649662,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4402896658","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6864363,0.0014449276,0.0027054877,0.007505797,0.0002190322,0.00014840672,0.00023873925,0.00011393658,0.3011874],"genre_scores_gemma":[0.9702575,0.00064392143,0.0010666355,0.00037256101,0.000011295155,0.000020988047,0.00006261257,0.000032339398,0.027532093],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99868697,0.00032364516,0.00001767561,0.00010482969,0.00035744943,0.00050953747],"domain_scores_gemma":[0.99870527,0.000106238425,0.000080586564,0.00006395358,0.00039001036,0.0006539267],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016126635,0.00037786464,0.00021670062,0.0014514178,0.020004882,0.009723878,0.0011558128,0.000541512,0.00629628],"category_scores_gemma":[0.0017250807,0.00016781413,0.0001850764,0.0011080275,0.014571735,0.0016457747,0.005401607,0.001129472,0.0004335573],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004424092,0.00010605206,0.03511673,0.00009700915,0.00001636544,0.0010617072,0.7693983,0.00021639674,0.0018385831,0.09127832,0.023858717,0.07696756],"study_design_scores_gemma":[0.0000055902815,0.00003363362,0.028942889,0.00022613679,0.000012881931,0.000222729,0.7633673,0.00021025066,0.000856873,0.002776018,0.2033146,0.000031138665],"about_ca_topic_score_codex":0.90171707,"about_ca_topic_score_gemma":0.9547511,"teacher_disagreement_score":0.90171707,"about_ca_system_score_codex":0.032902744,"about_ca_system_score_gemma":0.040797416,"threshold_uncertainty_score":0.23872727},"labels":[],"label_agreement":null},{"id":"W4402983279","doi":"10.3138/chr.105.2.br14","title":"<i>Statesman of the Piano: Jazz, Race, and History in the Life of Lou Hooper</i>. Sean Mills, Eric Fillion, and Désirée Rochat, eds.","year":2024,"lang":"en","type":"article","venue":"Canadian Historical Review","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Piano; Race (biology); Jazz; History; Art; Gender studies; Art history; Sociology","score_opus":0.02939978728211752,"score_gpt":0.1983184507668561,"score_spread":0.1689186634847386,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4402983279","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00032456507,0.9329237,0.00011420371,0.025469393,0.0031527558,0.0000034561206,0.000050217895,0.000020053098,0.037941676],"genre_scores_gemma":[0.010408128,0.9184958,0.00028531667,0.006273609,0.0036289673,0.0000117260615,0.000101314814,0.000035947578,0.06075925],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99949396,0.00012270123,0.00002028361,0.00004402693,0.00022216458,0.00009686095],"domain_scores_gemma":[0.9993536,0.00022385703,0.000045869812,0.000018017212,0.00021810259,0.0001405572],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007637005,0.0009101033,0.00056790485,0.0025559852,0.004223638,0.005411438,0.0010695603,0.0019364725,0.01892602],"category_scores_gemma":[0.0015187265,0.00042316047,0.0003164523,0.0048362236,0.004705408,0.005980126,0.0016207071,0.002527155,0.0047592977],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000041070376,0.00001192504,0.0004571326,0.00086997374,0.0000091672555,0.00010087393,0.0046583395,0.000040976556,0.00007618735,0.022723582,0.8381219,0.13288896],"study_design_scores_gemma":[0.0000025683646,0.000003817091,0.0015645341,0.0010996477,0.0000068115373,0.000107774285,0.0045400835,0.000011626276,0.000032671567,0.0022333,0.9903914,0.000005770059],"about_ca_topic_score_codex":0.30640638,"about_ca_topic_score_gemma":0.64886516,"teacher_disagreement_score":0.30640638,"about_ca_system_score_codex":0.0077014575,"about_ca_system_score_gemma":0.013624764,"threshold_uncertainty_score":0.6092458},"labels":[],"label_agreement":null},{"id":"W4403166125","doi":"10.12794/metadc2356167","title":"Dissertation: A Performance Guide to Jake Heggie's \"Songs for Murdered Sisters\"","year":2024,"lang":"en","type":"dissertation","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Performance art; History; Psychology; Art history","score_opus":0.01887862095116785,"score_gpt":0.2785728597558364,"score_spread":0.2596942388046686,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4403166125","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0033071141,0.01754226,0.003206389,0.02113234,0.007878052,0.0007025791,0.004015742,0.0014710253,0.9407446],"genre_scores_gemma":[0.004754036,0.005949549,0.0020104551,0.0027244124,0.00079663534,0.00022535963,0.0009159398,0.00073780824,0.9818859],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999622,0.000096012656,0.0000232383,0.000039966744,0.00017121855,0.000047534882],"domain_scores_gemma":[0.99928826,0.000126511,0.0000341587,0.00004276183,0.0002756448,0.00023265762],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00079998904,0.0008410284,0.0004607014,0.0012862227,0.003185079,0.0028433276,0.0005283726,0.00074435835,0.19213243],"category_scores_gemma":[0.0017519555,0.00035466213,0.00016590238,0.0011577328,0.0006322987,0.0021091658,0.0016527371,0.0018491264,0.10690766],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009510071,0.000025528665,0.00005796668,0.000064733395,5.256998e-7,0.000025068366,0.001372426,0.000014641939,0.00028937135,0.0013063523,0.9660411,0.030792926],"study_design_scores_gemma":[0.0000021375204,0.00000650719,0.00028779425,0.00006208816,2.7817345e-7,0.00003863132,0.0006842679,0.000007349006,0.000030214946,0.0001615154,0.99871755,0.0000018110511],"about_ca_topic_score_codex":0.0066978806,"about_ca_topic_score_gemma":0.032210767,"teacher_disagreement_score":0.19213243,"about_ca_system_score_codex":0.0009281788,"about_ca_system_score_gemma":0.0022655881,"threshold_uncertainty_score":0.64274704},"labels":[],"label_agreement":null},{"id":"W4403244786","doi":"10.2139/ssrn.4946483","title":"Marshalling Mcluhan's Tetrad In Soundscape Composition: A Focus-group Approach To Music-based Research","year":2024,"lang":"en","type":"preprint","venue":"SSRN Electronic Journal","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Conestoga College","funders":"","keywords":"Marshalling; Tetrad; Composition (language); Group (periodic table); Soundscape; Focus (optics); Focus group; Computer science; Sociology; Art; Chemistry; Botany; Literature; Sound (geography); Acoustics; Biology; Programming language; Physics","score_opus":0.09090964668993941,"score_gpt":0.2851871156119267,"score_spread":0.19427746892198733,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4403244786","genre_codex":"methods","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2989186,0.0020137094,0.47775277,0.015013436,0.0005069042,0.0012083743,0.00042699237,0.000432785,0.20372657],"genre_scores_gemma":[0.8335977,0.00081802916,0.13454856,0.0014954157,0.00010265636,0.0019594647,0.00014111925,0.00030006462,0.027037],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99024194,0.006881514,0.00015376385,0.0011139753,0.0011943541,0.00041432347],"domain_scores_gemma":[0.9795746,0.015081898,0.00084818486,0.0024169292,0.0014471663,0.00063121744],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.014183636,0.0006350366,0.00060011266,0.0031323407,0.0074333064,0.006484518,0.0025920516,0.0021592611,0.012314333],"category_scores_gemma":[0.030367333,0.00048799877,0.00047933398,0.0028460016,0.0109517705,0.009239702,0.009689877,0.0020179178,0.0013700423],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015037613,0.00017913998,0.0030711696,0.00041519108,0.00003097643,0.0001712371,0.4644237,0.0004387367,0.0066755675,0.353355,0.005098974,0.16599011],"study_design_scores_gemma":[0.000102195125,0.0002336164,0.010551329,0.00071586017,0.00008362659,0.000298735,0.38548395,0.005008194,0.01198978,0.40858394,0.17685264,0.00009619562],"about_ca_topic_score_codex":0.0065023596,"about_ca_topic_score_gemma":0.012930717,"teacher_disagreement_score":0.014183636,"about_ca_system_score_codex":0.0038445082,"about_ca_system_score_gemma":0.003914682,"threshold_uncertainty_score":0.075011134},"labels":[],"label_agreement":null},{"id":"W4403480594","doi":"10.1525/jams.2024.77.2.335","title":"Alberta Hunter, Musical Qualia of Blackness, and Black Women Working Together","year":2024,"lang":"en","type":"article","venue":"Journal of the American Musicological Society","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Qualia; Musical; Aesthetics; Art; Visual arts; Philosophy; Epistemology; Consciousness","score_opus":0.0289909604783349,"score_gpt":0.23892352122033578,"score_spread":0.20993256074200087,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4403480594","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9866044,0.0003993749,0.000087856235,0.0015646198,0.000040814026,0.000008091469,0.000012281033,0.000003890862,0.011278706],"genre_scores_gemma":[0.9960735,0.00027653956,0.00012482434,0.00022610746,0.000015569665,0.000011310409,0.000009901552,0.0000057205916,0.0032565142],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985954,0.0005458526,0.000017682485,0.00013287856,0.00032393046,0.0003841877],"domain_scores_gemma":[0.9982577,0.00051932817,0.00036702116,0.00006161193,0.00021960838,0.0005748598],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022517422,0.00037475937,0.00040298683,0.0018919079,0.018146785,0.0041044136,0.00091917044,0.000946626,0.0040220385],"category_scores_gemma":[0.0034306063,0.00028180238,0.00011023297,0.0012623732,0.015885305,0.0014524196,0.0060307947,0.0016836148,0.00018704918],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023649982,0.000016590562,0.011967166,0.000017902783,0.0000041103226,0.00028300125,0.97943306,0.00001031978,0.00072073366,0.001996485,0.0006114819,0.0049154386],"study_design_scores_gemma":[8.714247e-7,0.000011516444,0.018254152,0.000033714274,0.0000024766998,0.0000624884,0.9759384,0.00001016756,0.000059741767,0.0003060008,0.0053120786,0.000008424333],"about_ca_topic_score_codex":0.22318585,"about_ca_topic_score_gemma":0.48467445,"teacher_disagreement_score":0.22318585,"about_ca_system_score_codex":0.004620871,"about_ca_system_score_gemma":0.0052433265,"threshold_uncertainty_score":0.4437735},"labels":[],"label_agreement":null},{"id":"W4403695517","doi":"10.1080/17448727.2024.2416366","title":"Sonic ontology of diasporicity: The case of Punjabi gangster music in Canada and Punjab","year":2024,"lang":"en","type":"article","venue":"Sikh Formations","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Ontology; Traditional music; Media studies; History; Sociology; Art; Literature; Philosophy; Musical; Epistemology","score_opus":0.01934727223989489,"score_gpt":0.18932003191762894,"score_spread":0.16997275967773406,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4403695517","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6683608,0.0039161784,0.0017459333,0.013236354,0.00024537428,0.00009049294,0.000098558434,0.00006261524,0.31224373],"genre_scores_gemma":[0.9894022,0.00082311226,0.00035274227,0.0005706447,0.000019290368,0.00001807094,0.000015423144,0.000020882919,0.008777633],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9976215,0.0006860033,0.000041455813,0.00017538646,0.00038542674,0.0010902114],"domain_scores_gemma":[0.99871063,0.00037838743,0.000087100765,0.00007385797,0.00023894863,0.00051103765],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001308858,0.00047075396,0.00038921146,0.0015919321,0.05344471,0.013020252,0.0019449302,0.0025783498,0.0054905787],"category_scores_gemma":[0.0022712962,0.00044378242,0.00028412623,0.003175371,0.043735106,0.0026653619,0.010271805,0.004583224,0.00026898118],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000032251595,0.000027626847,0.0035957287,0.000076797405,0.000009530336,0.0034223283,0.8438964,0.00015129872,0.00038533442,0.13660935,0.0025759237,0.009217429],"study_design_scores_gemma":[0.0000080627115,0.000011572675,0.0059004435,0.00014134296,0.000011270675,0.000733642,0.89718914,0.00011755743,0.0001437898,0.0049013877,0.09081568,0.00002616682],"about_ca_topic_score_codex":0.90733916,"about_ca_topic_score_gemma":0.9583095,"teacher_disagreement_score":0.092660844,"about_ca_system_score_codex":0.0561642,"about_ca_system_score_gemma":0.05659491,"threshold_uncertainty_score":0.40750176},"labels":[],"label_agreement":null},{"id":"W4403896221","doi":"10.1080/18125980.2024.2354178","title":"White Masters and Black Servants: A Decolonial Analysis of Winky D’s “Happy Again” Music Video","year":2024,"lang":"en","type":"article","venue":"Muziki","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McMaster University","funders":"","keywords":"White (mutation); Art","score_opus":0.024733970269792425,"score_gpt":0.2142207555111855,"score_spread":0.18948678524139306,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4403896221","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.91539085,0.0008592942,0.00122699,0.0031793101,0.00014482031,0.00005166436,0.00011240989,0.0000141094815,0.07902066],"genre_scores_gemma":[0.9857302,0.0005077373,0.00039088682,0.00032942224,0.000046364115,0.00003365793,0.00006682401,0.00003704555,0.012857881],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99865854,0.0007398979,0.000026745738,0.00008422468,0.00026919533,0.0002213899],"domain_scores_gemma":[0.99857247,0.0008716491,0.00020977943,0.000051870702,0.00014319147,0.00015104256],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001732069,0.00039751048,0.0002133482,0.002692252,0.009274215,0.0049257064,0.0005777659,0.0007631901,0.004664509],"category_scores_gemma":[0.0034413107,0.00021316195,0.00013126215,0.0018752866,0.007722004,0.0021228327,0.0032770762,0.0013692472,0.00032329035],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002483705,0.00001160894,0.002012285,0.00006245844,0.0000023312089,0.00044311234,0.97713715,0.000013324562,0.00085884175,0.012526005,0.0013539965,0.005554123],"study_design_scores_gemma":[0.0000023177201,0.000013604872,0.00643042,0.00016745001,0.0000039580464,0.00014328399,0.9432872,0.00007837744,0.00030664977,0.0006469914,0.04891327,0.000006372536],"about_ca_topic_score_codex":0.03374503,"about_ca_topic_score_gemma":0.0785333,"teacher_disagreement_score":0.03374503,"about_ca_system_score_codex":0.0052313353,"about_ca_system_score_gemma":0.0015492796,"threshold_uncertainty_score":0.06709719},"labels":[],"label_agreement":null},{"id":"W4404017823","doi":"10.59350/f79c0-v1793","title":"'I'VE WOKEN UP!': FLIGHT OF THE CONCHORDS (HBO 2007-2009) AND SUBVERTING THE 'AMERICAN DREAM'","year":2023,"lang":"en","type":"preprint","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dream; Psychology; Aeronautics; Engineering; Psychotherapist","score_opus":0.04283789218344886,"score_gpt":0.23446549935757643,"score_spread":0.19162760717412758,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4404017823","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.38631228,0.0026204295,0.0005583786,0.07459792,0.0022886284,0.00005664782,0.001966778,0.000053974654,0.5315449],"genre_scores_gemma":[0.7620234,0.001400107,0.00039275136,0.009120903,0.00026444838,0.000031907675,0.00078206765,0.00012549436,0.22585893],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.999622,0.000068667236,0.000005092504,0.0000361971,0.00009380946,0.0001742256],"domain_scores_gemma":[0.99968576,0.000030496654,0.00003283921,0.000022384378,0.00007430705,0.00015410982],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006972369,0.00015566351,0.00012767503,0.00042922894,0.009121197,0.004252547,0.00034565022,0.0010847502,0.011120451],"category_scores_gemma":[0.0011778729,0.00011451745,0.00008954825,0.0008459033,0.0030140565,0.0017048304,0.0027043251,0.0030074238,0.0016155489],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00024923077,0.0001005376,0.02319365,0.000102299025,0.000018596982,0.0006268117,0.17258295,0.000085058666,0.0005703388,0.14083213,0.5821702,0.07946819],"study_design_scores_gemma":[0.000012515599,0.000024783461,0.06754798,0.00018585312,0.000007336402,0.00012349708,0.17601332,0.000069916205,0.00039322185,0.0049205874,0.7506841,0.000016824306],"about_ca_topic_score_codex":0.39643127,"about_ca_topic_score_gemma":0.7581661,"teacher_disagreement_score":0.39643127,"about_ca_system_score_codex":0.0045736344,"about_ca_system_score_gemma":0.0054798904,"threshold_uncertainty_score":0.7882476},"labels":[],"label_agreement":null},{"id":"W4404152636","doi":"10.59962/9780774870108","title":"Drumming Our Way Home","year":2024,"lang":"en","type":"book","venue":"University of British Columbia Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Geography; History; Genealogy","score_opus":0.018811276728913345,"score_gpt":0.16034924231600783,"score_spread":0.1415379655870945,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4404152636","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0060665957,0.019319164,0.003225914,0.015871549,0.008259076,0.000056208646,0.00010939489,0.0005260392,0.9465661],"genre_scores_gemma":[0.039893158,0.007263061,0.0020689322,0.0049257106,0.0006037801,0.00004582625,0.00007633889,0.00020168493,0.94492155],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996424,0.00010643257,0.0000085166475,0.000045316523,0.0001277867,0.00006969289],"domain_scores_gemma":[0.99974924,0.000054198983,0.000010854228,0.000037507827,0.00006276337,0.00008533473],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00037636832,0.00039664662,0.00021351407,0.0006007679,0.004087334,0.0055657215,0.0005501505,0.0016623614,0.040117923],"category_scores_gemma":[0.001082542,0.00017715582,0.00023416821,0.00045958356,0.003352346,0.004677722,0.002848051,0.0024925345,0.01050325],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002759463,0.000031464508,0.0002528636,0.00015903998,0.000004851937,0.00042020425,0.030153,0.000050267194,0.0008105692,0.09390683,0.67329,0.20089336],"study_design_scores_gemma":[0.0000017784064,0.000008201214,0.00016488374,0.00011187597,0.0000015367652,0.00028304796,0.0058741877,0.000017733197,0.000115537965,0.0018038723,0.9916135,0.0000038239705],"about_ca_topic_score_codex":0.010131976,"about_ca_topic_score_gemma":0.025317019,"teacher_disagreement_score":0.040117923,"about_ca_system_score_codex":0.0018229625,"about_ca_system_score_gemma":0.0016157036,"threshold_uncertainty_score":0.13420779},"labels":[],"label_agreement":null},{"id":"W4404161960","doi":"10.14453/rdr.100","title":"‘Swansong’ and ‘ Losing Yourself’: meditations on life, death and the liminal","year":2017,"lang":"en","type":"article","venue":"RadioDoc Review","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"CBC (Canada)","funders":"","keywords":"Liminality; Witness; Eulogy; Jazz; Narrative; Begging; History; Undoing; Aesthetics; Visual arts; Art; Media studies; Sociology; Psychoanalysis; Psychology; Art history; Literature; Law; Political science","score_opus":0.08399334634596932,"score_gpt":0.28253042210471757,"score_spread":0.19853707575874824,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4404161960","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6950469,0.04236918,0.0053650592,0.042178415,0.012631762,0.00014238004,0.00013732887,0.00022393759,0.20190503],"genre_scores_gemma":[0.9407762,0.012423894,0.0028742123,0.010448215,0.002440605,0.00011343954,0.000106334206,0.0001592522,0.030657848],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989612,0.00065248495,0.000020014633,0.000083353356,0.00014817894,0.00013481788],"domain_scores_gemma":[0.9989819,0.0005178232,0.000084867825,0.00007249561,0.00006092349,0.00028189737],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014065526,0.0007381057,0.00038593865,0.000701533,0.006306142,0.00391577,0.00085077854,0.0018641034,0.0019068995],"category_scores_gemma":[0.0036800087,0.00025140218,0.00031588442,0.00037595883,0.011207463,0.003206643,0.0043363003,0.0055521387,0.00053724716],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019558323,0.00015701905,0.0011551082,0.00035214805,0.000024972582,0.0017179389,0.91120756,0.00007891154,0.0035995073,0.025109427,0.02746932,0.028932542],"study_design_scores_gemma":[0.000026911628,0.0002896323,0.008074978,0.0010334138,0.000021819693,0.0034191152,0.584214,0.00013454813,0.0014924678,0.0051527745,0.39607516,0.00006522581],"about_ca_topic_score_codex":0.0021599056,"about_ca_topic_score_gemma":0.0069733914,"teacher_disagreement_score":0.006306142,"about_ca_system_score_codex":0.0013063195,"about_ca_system_score_gemma":0.00061487884,"threshold_uncertainty_score":0.009478092},"labels":[],"label_agreement":null},{"id":"W4404267816","doi":"10.4324/9781003509899","title":"The City of Hip-Hop","year":2024,"lang":"en","type":"book","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Hop (telecommunications); Computer science; Computer network","score_opus":0.03886174893863437,"score_gpt":0.19957278996226746,"score_spread":0.1607110410236331,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4404267816","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.02515854,0.013404388,0.0010944146,0.03798922,0.0057474594,0.00002906911,0.00025436256,0.00019442411,0.91612816],"genre_scores_gemma":[0.44837606,0.013353089,0.0012841712,0.010288023,0.0016050118,0.00007305715,0.00023655611,0.00025644383,0.52452755],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989938,0.00032334134,0.000015701025,0.00008699062,0.0002568415,0.0003233062],"domain_scores_gemma":[0.9995821,0.0000917561,0.000033952834,0.000032832137,0.00009828131,0.00016105647],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00046131684,0.00037479005,0.0003255466,0.0007650218,0.012924912,0.0110334605,0.00071017107,0.0010346944,0.019905876],"category_scores_gemma":[0.0013910208,0.0002615287,0.000288787,0.0018998455,0.0076876553,0.003352357,0.006386393,0.003229347,0.0025557154],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000033423832,0.000015754384,0.0011970624,0.00015147179,0.0000075056632,0.0007769277,0.043577403,0.0002249073,0.00012128438,0.33274946,0.5807259,0.040418945],"study_design_scores_gemma":[0.000002669671,0.0000074686136,0.00083163095,0.00014479329,0.0000034500333,0.00029329464,0.022928469,0.000052249263,0.000075989316,0.00518756,0.9704624,0.000009962194],"about_ca_topic_score_codex":0.0556981,"about_ca_topic_score_gemma":0.09084851,"teacher_disagreement_score":0.0556981,"about_ca_system_score_codex":0.0069294902,"about_ca_system_score_gemma":0.008169981,"threshold_uncertainty_score":0.110747814},"labels":[],"label_agreement":null},{"id":"W4404302331","doi":"10.70484/vakki.149200","title":"Queer Temporality of Contemporary Riot Grrrl Song Lyrics: The Case of Doom &amp; Bloomby TÜLIPS","year":2016,"lang":"fi","type":"article","venue":"VAKKI Publications.","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"York University; University of Minnesota","keywords":"Temporality; Queer; Lyrics; Art; Literature; History; Sociology; Philosophy; Gender studies; Epistemology","score_opus":0.08475709872064456,"score_gpt":0.26354513200692686,"score_spread":0.1787880332862823,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4404302331","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8433633,0.0017945238,0.0004643167,0.0050116247,0.00010512371,0.00001810608,0.00021788562,0.0000187616,0.14900625],"genre_scores_gemma":[0.9883228,0.00027942407,0.00007852349,0.0003042167,0.000030414025,0.000009359048,0.000056215158,0.000037355592,0.010881673],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99906474,0.00037475838,0.000024206709,0.00018387774,0.00013553808,0.00021692786],"domain_scores_gemma":[0.99830085,0.0006903107,0.00037399287,0.00011378987,0.00023956074,0.0002814941],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014769519,0.00012134467,0.00021095929,0.0010601645,0.007421256,0.005243366,0.00079969596,0.0011572222,0.011131247],"category_scores_gemma":[0.0041540517,0.00023998643,0.00011716208,0.0011310045,0.0048513636,0.002553923,0.0025178564,0.0023161771,0.0010569663],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007238093,0.000017295186,0.012458991,0.000040786173,0.000006970469,0.0013064559,0.94961035,0.000019127383,0.0007445757,0.021133536,0.0042922217,0.010297374],"study_design_scores_gemma":[0.000010403122,0.000019597388,0.07629222,0.000106466214,0.000007589719,0.0007241885,0.8212321,0.00008629613,0.00023452062,0.0015265882,0.09973106,0.00002907789],"about_ca_topic_score_codex":0.08535886,"about_ca_topic_score_gemma":0.2667635,"teacher_disagreement_score":0.08535886,"about_ca_system_score_codex":0.0038883623,"about_ca_system_score_gemma":0.0010717803,"threshold_uncertainty_score":0.16972405},"labels":[],"label_agreement":null},{"id":"W4404327931","doi":"10.1080/13696815.2024.2415355","title":"Playing with Difference: Oyibo Lip-Sync Performances of Nigerian Popular Culture on TikTok","year":2024,"lang":"en","type":"article","venue":"Journal of African Cultural Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"Deutsche Forschungsgemeinschaft","keywords":"sync; Popular culture; History; Art; Literature; Computer science; Telecommunications","score_opus":0.05065584614809893,"score_gpt":0.26409825547866483,"score_spread":0.2134424093305659,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4404327931","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9624927,0.0006028161,0.0003528032,0.0008269236,0.00017339378,0.000028441784,0.00003258653,0.00000829993,0.035482034],"genre_scores_gemma":[0.98964757,0.0006179082,0.00031882263,0.00015840723,0.000038186372,0.00001475968,0.000024208539,0.0000260157,0.009154086],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99962723,0.00017585911,0.000009458201,0.000035587196,0.000052253454,0.000099684345],"domain_scores_gemma":[0.99967337,0.00017304427,0.00003643798,0.00001739426,0.000024272073,0.0000754062],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00076927093,0.0005426032,0.0003004493,0.00065941375,0.0073462683,0.0028586264,0.00034594827,0.0007424675,0.0046884464],"category_scores_gemma":[0.0011623722,0.00017891756,0.00014339229,0.00055849855,0.004683927,0.0016025457,0.0027582087,0.0014616909,0.00040512206],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00020930915,0.000066448214,0.0040754303,0.0002643933,0.000006973579,0.002721271,0.96353644,0.000042842294,0.00673797,0.0055056736,0.0018144152,0.015018918],"study_design_scores_gemma":[0.000004006153,0.00006482187,0.00805957,0.0002269371,0.000006445297,0.0006568231,0.96263033,0.00004755758,0.0008883312,0.00034477285,0.027059108,0.000011368713],"about_ca_topic_score_codex":0.0032548313,"about_ca_topic_score_gemma":0.020792225,"teacher_disagreement_score":0.0073462683,"about_ca_system_score_codex":0.0010157581,"about_ca_system_score_gemma":0.00052996643,"threshold_uncertainty_score":0.015684426},"labels":[],"label_agreement":null},{"id":"W4404391625","doi":"10.1093/alh/ajae101","title":"<i>Ingenious Pleasures: An Anthology of Punk, Trash, and Camp in Twentieth-Century Poetry</i>, ed. Drew Gardner","year":2024,"lang":"en","type":"article","venue":"American Literary History","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Punk; Poetry; Literature; Art; Art history; History","score_opus":0.013453922618822672,"score_gpt":0.21565348140990007,"score_spread":0.2021995587910774,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4404391625","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.015563868,0.42816812,0.0015925214,0.08620788,0.05122358,0.00011017516,0.0001921291,0.00013232762,0.41680944],"genre_scores_gemma":[0.24482682,0.19782966,0.00244101,0.012615685,0.022528566,0.00020676367,0.00023032323,0.00023879469,0.51908237],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995129,0.00023495148,0.000019261895,0.000028954575,0.00014302414,0.00006095965],"domain_scores_gemma":[0.9993868,0.00029702738,0.00005765073,0.000019462734,0.00010894863,0.00013020843],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00076437613,0.000789255,0.00035435645,0.0014515657,0.0045090946,0.004373306,0.00076198304,0.0010632986,0.0075482945],"category_scores_gemma":[0.0019778954,0.00023981922,0.0002758056,0.0015172961,0.003089949,0.002751032,0.002318202,0.0031325317,0.0012009186],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000058198915,0.000048654292,0.0003378379,0.0004706716,0.000008740388,0.00047857309,0.028120074,0.0000717643,0.00055013574,0.050256804,0.8690433,0.050555408],"study_design_scores_gemma":[0.0000054208776,0.00001441828,0.0010534031,0.00051835197,0.0000031933016,0.0002109593,0.010912804,0.000031697247,0.00014348263,0.0031719415,0.9839267,0.0000074867853],"about_ca_topic_score_codex":0.0051624975,"about_ca_topic_score_gemma":0.020568306,"teacher_disagreement_score":0.0075482945,"about_ca_system_score_codex":0.002327955,"about_ca_system_score_gemma":0.002115811,"threshold_uncertainty_score":0.025251567},"labels":[],"label_agreement":null},{"id":"W4404476435","doi":"10.1525/9780520422735","title":"Remix","year":2016,"lang":"en","type":"book","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.027942756345985937,"score_gpt":0.1744272585497255,"score_spread":0.14648450220373954,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4404476435","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0014073777,0.0013372554,0.00502588,0.007819376,0.0043608793,0.0002398031,0.009837812,0.0045124213,0.9654592],"genre_scores_gemma":[0.0067844847,0.0012365927,0.0036495563,0.0019600943,0.00056292606,0.00020002629,0.0067917225,0.0034266363,0.975388],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99780375,0.00041383255,0.00009893496,0.0003442437,0.0010150125,0.00032424182],"domain_scores_gemma":[0.996198,0.0005042292,0.00014925748,0.00072543527,0.0018649616,0.00055804756],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002350751,0.0008267573,0.0004971699,0.0025154864,0.0035422004,0.007863188,0.0021271089,0.0017165085,0.5589598],"category_scores_gemma":[0.009830126,0.00045415442,0.0005965337,0.0030824845,0.0011837087,0.0045569227,0.004866981,0.0019571437,0.28809476],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005461876,0.000018565526,0.00033544967,0.00021539682,0.0000046492005,0.0001256365,0.00085964135,0.00009050829,0.0003481662,0.028312571,0.88735884,0.082275815],"study_design_scores_gemma":[0.0000024143571,0.000002349785,0.00011292643,0.000057338846,9.603283e-7,0.00004426444,0.00018373277,0.000020104673,0.00007764755,0.0007425245,0.99875224,0.0000034810068],"about_ca_topic_score_codex":0.024716988,"about_ca_topic_score_gemma":0.05128359,"teacher_disagreement_score":0.5589598,"about_ca_system_score_codex":0.0037411547,"about_ca_system_score_gemma":0.0064551416,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4404490151","doi":"10.1186/s41257-024-00121-7","title":"Addressing the challenges and strategies for Western classical music in North America as a living heritage art form","year":2024,"lang":"en","type":"article","venue":"International Journal of Anthropology and Ethnology","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Classical music; Cultural heritage; History; Visual arts; Aesthetics; Art; Archaeology; Musical","score_opus":0.11430220706266268,"score_gpt":0.34040926572161273,"score_spread":0.22610705865895003,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4404490151","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.343701,0.0073813875,0.009753203,0.17809583,0.0011603758,0.00014142256,0.00004095889,0.0001666613,0.45955905],"genre_scores_gemma":[0.946817,0.0025049325,0.007972548,0.0074048485,0.00025083352,0.00014215545,0.000026117665,0.00004270088,0.034838967],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99855,0.0007360738,0.000034588793,0.00022343546,0.00019928273,0.00025654162],"domain_scores_gemma":[0.99841,0.000560676,0.00012406487,0.00011959022,0.0002995562,0.0004861299],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0030003195,0.00039708114,0.00026462562,0.0008234995,0.014707704,0.010102788,0.0014325209,0.0024705776,0.0070738993],"category_scores_gemma":[0.0021507025,0.00018628739,0.00015714455,0.0007388784,0.015467502,0.0045028706,0.008249051,0.0024217719,0.00060030376],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006787652,0.00014861915,0.0057584285,0.00042328428,0.000018724722,0.0010733479,0.428404,0.00036114367,0.0037835534,0.3402074,0.040082995,0.17967057],"study_design_scores_gemma":[0.000010141618,0.000033687025,0.005142113,0.00042819447,0.000013660738,0.00024600033,0.6440596,0.00043775624,0.0004879222,0.04069147,0.30842546,0.000023938966],"about_ca_topic_score_codex":0.07057527,"about_ca_topic_score_gemma":0.17523569,"teacher_disagreement_score":0.07057527,"about_ca_system_score_codex":0.0061723576,"about_ca_system_score_gemma":0.011428716,"threshold_uncertainty_score":0.14032894},"labels":[],"label_agreement":null},{"id":"W4405063828","doi":"10.1016/j.molcel.2024.11.005","title":"Silent silencers: Leave no trace","year":2024,"lang":"en","type":"letter","venue":"Molecular Cell","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Biology; TRACE (psycholinguistics); Genetics; Computational biology; Linguistics","score_opus":0.015261401017202579,"score_gpt":0.18435232334613816,"score_spread":0.16909092232893558,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4405063828","genre_codex":"commentary","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":"commentary","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00084428414,0.0022461945,0.00033456137,0.9519527,0.015459572,0.000030487165,0.000064896594,0.000052570605,0.02901477],"genre_scores_gemma":[0.0048571522,0.0005108218,0.0001358058,0.9358908,0.009538339,0.00005435572,0.000020397163,0.00004393967,0.04894841],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9910964,0.0017995982,0.0006702362,0.0012983106,0.0025726343,0.0025627415],"domain_scores_gemma":[0.98156494,0.012787535,0.0005775392,0.00059152645,0.001600601,0.0028778717],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.008854626,0.0014615182,0.0020024898,0.0009983905,0.022199186,0.017787961,0.005103529,0.20993601,0.018402936],"category_scores_gemma":[0.029622676,0.0016490765,0.0017975587,0.00057948823,0.014648527,0.012312657,0.010189535,0.13221398,0.0114559],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000057027544,0.000046718502,0.0002728877,0.000058169782,0.000024692965,0.0016209502,0.002005874,0.00004660094,0.00041162633,0.061255958,0.92446035,0.00973916],"study_design_scores_gemma":[0.00010754071,0.00005066409,0.0006395782,0.0004569075,0.000054880187,0.00070787227,0.0044436785,0.00025207165,0.0004853723,0.0673516,0.92534107,0.000108712215],"about_ca_topic_score_codex":0.036952846,"about_ca_topic_score_gemma":0.083487555,"teacher_disagreement_score":0.20993601,"about_ca_system_score_codex":0.007914926,"about_ca_system_score_gemma":0.01793667,"threshold_uncertainty_score":0.07347554},"labels":[],"label_agreement":null},{"id":"W4405098832","doi":"10.22215/etd/2024-16323","title":"Singing In Harmony: Conceptualizing Queer Feminist Musicking","year":2024,"lang":"en","type":"dissertation","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Carleton University","funders":"","keywords":"Choir; Queer; Harmony (color); Singing; Gender studies; Aesthetics; Sociology; Reflexivity; Lesbian; Ethos; Art; Visual arts; Anthropology; Political science; Acoustics","score_opus":0.03772326387899767,"score_gpt":0.25599083935728395,"score_spread":0.2182675754782863,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4405098832","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.27214667,0.012054355,0.020015849,0.021002246,0.00038769818,0.00016484765,0.00012350004,0.00007524521,0.67402965],"genre_scores_gemma":[0.98238856,0.0020231265,0.00148419,0.00067764113,0.00006635734,0.00006392474,0.0000301547,0.000037428515,0.013228612],"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9975139,0.0016569126,0.00003755496,0.000173861,0.0002539222,0.00036393112],"domain_scores_gemma":[0.9986853,0.00080850226,0.00014081299,0.000065037755,0.00011758457,0.00018268579],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003231237,0.0005157519,0.00033657716,0.002515381,0.0132596055,0.009497392,0.0013549383,0.002071486,0.0038468135],"category_scores_gemma":[0.0024696775,0.00027193414,0.00025031416,0.0022210935,0.06845544,0.0072348253,0.004736342,0.0024374141,0.00032604017],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010302734,0.0000074551417,0.0006670724,0.000038997827,0.0000024593498,0.00023305418,0.6573111,0.00007881182,0.00018001691,0.33738357,0.0007496278,0.0033375325],"study_design_scores_gemma":[0.000010356348,0.000026508405,0.0021305305,0.00028759323,0.000010417267,0.00031315128,0.7307469,0.00028035798,0.000184068,0.0803319,0.18565749,0.000020721043],"about_ca_topic_score_codex":0.10672479,"about_ca_topic_score_gemma":0.12451536,"teacher_disagreement_score":0.10672479,"about_ca_system_score_codex":0.014435894,"about_ca_system_score_gemma":0.0059341146,"threshold_uncertainty_score":0.2122072},"labels":[],"label_agreement":null},{"id":"W4405136150","doi":"10.2307/jj.22797377.6","title":"Fiddle Dance in the Fur Trade and across the Métis Homeland","year":2024,"lang":"en","type":"book-chapter","venue":"McGill-Queen's University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Fur trade; Dance; Homeland; Art; History; Visual arts; Political science; Law; Economic history","score_opus":0.02322391351972433,"score_gpt":0.1952356493202477,"score_spread":0.17201173580052337,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4405136150","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.24353954,0.0058336337,0.00029014036,0.0051114475,0.00034751144,0.000022154434,0.000112874055,0.00003556081,0.7447071],"genre_scores_gemma":[0.728446,0.0014417927,0.0003410314,0.0006142079,0.00005618058,0.000019258867,0.000051714876,0.00005781786,0.26897198],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99972004,0.00005279102,0.00000460913,0.000035771634,0.000039470684,0.00014731665],"domain_scores_gemma":[0.9999106,0.000014147879,0.000006654588,0.0000050681324,0.000014231604,0.000049305985],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00019971046,0.00025804702,0.00026599964,0.00083317433,0.011928721,0.0037531434,0.0005390332,0.00069324265,0.019146401],"category_scores_gemma":[0.00047441342,0.00018153005,0.00012867883,0.001083929,0.003935123,0.0010872601,0.0029276866,0.0014745368,0.0010014533],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003573609,0.000115859555,0.01519209,0.00023010468,0.000017254453,0.001923355,0.4367941,0.00022715381,0.0021434752,0.18220288,0.073467255,0.28732914],"study_design_scores_gemma":[0.000010630898,0.000058475012,0.05411054,0.00034874977,0.000007723204,0.0003277182,0.33539292,0.00007145416,0.00031056957,0.0036196464,0.60572666,0.000014923682],"about_ca_topic_score_codex":0.193335,"about_ca_topic_score_gemma":0.7119599,"teacher_disagreement_score":0.806665,"about_ca_system_score_codex":0.004769366,"about_ca_system_score_gemma":0.002996978,"threshold_uncertainty_score":0.38441932},"labels":[],"label_agreement":null},{"id":"W4405178434","doi":"10.4000/12vko","title":"Georgina Born (ed.), Music and Digital Media: A Planetary Anthropology","year":2024,"lang":"en","type":"article","venue":"Volume !","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Anthropology; Art; Media studies; Sociology; History","score_opus":0.015089804223412497,"score_gpt":0.19004473864732851,"score_spread":0.17495493442391602,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4405178434","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0007232847,0.89592427,0.0007117807,0.063804194,0.012872358,0.000010080694,0.00010462773,0.00006497784,0.025784466],"genre_scores_gemma":[0.012276869,0.92790383,0.0015266474,0.0072150487,0.009732799,0.000038864957,0.00010274474,0.000055921257,0.04114738],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995333,0.000151018,0.00002640469,0.000072592375,0.00017605687,0.00004055325],"domain_scores_gemma":[0.9994917,0.0002744619,0.00007951507,0.000019123898,0.00005158078,0.00008359231],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007043405,0.0016359525,0.00060388434,0.0025583107,0.0020255877,0.004070178,0.0009081617,0.0027957642,0.008482279],"category_scores_gemma":[0.0012271795,0.00066753174,0.00027100524,0.0031119846,0.002838933,0.0076286863,0.0019593374,0.0037712029,0.007416197],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000041533298,0.00002081603,0.0004075653,0.00090161705,0.000013178331,0.00022155729,0.0050844657,0.00020028962,0.00025031454,0.057024922,0.77766824,0.15816556],"study_design_scores_gemma":[0.0000036478364,0.0000062262516,0.0005740645,0.00086848176,0.0000050342346,0.00033362754,0.0011502914,0.000036086727,0.000080291145,0.01794897,0.9789822,0.000011064321],"about_ca_topic_score_codex":0.0037757093,"about_ca_topic_score_gemma":0.009229432,"teacher_disagreement_score":0.008482279,"about_ca_system_score_codex":0.0015676841,"about_ca_system_score_gemma":0.0022308636,"threshold_uncertainty_score":0.028376043},"labels":[],"label_agreement":null},{"id":"W4405240565","doi":"10.7202/1114848ar","title":"Introduction: Layers of Meaning Explored through a Productively Unstable Concept","year":2021,"lang":"en","type":"article","venue":"Intersections Canadian Journal of Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Meaning (existential); Epistemology; Sociology; Psychology; Philosophy","score_opus":0.04391205761458282,"score_gpt":0.2064733043973379,"score_spread":0.16256124678275508,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4405240565","genre_codex":"other","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"editorial","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.062436607,0.0075656176,0.11412675,0.09925755,0.003277842,0.00017805731,0.00071101316,0.0004321232,0.71201444],"genre_scores_gemma":[0.90964174,0.0020539823,0.029185144,0.005444707,0.00083223457,0.00028315975,0.00025307178,0.00055809255,0.051747758],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9977266,0.0012139783,0.000062870386,0.00031863153,0.00044121617,0.00023662928],"domain_scores_gemma":[0.99707484,0.0019074873,0.00014937717,0.00025880407,0.000423723,0.0001857147],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0025850995,0.0006871275,0.00041975075,0.0017755666,0.008809855,0.013413052,0.0014010313,0.0033894533,0.015610172],"category_scores_gemma":[0.006194376,0.00035971846,0.00054162584,0.0023626674,0.033478342,0.014519413,0.004595759,0.006265759,0.0015042144],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013053754,0.0000037811046,0.00012848931,0.00003480888,0.000002011081,0.00005197837,0.05771488,0.000032964053,0.00025719666,0.9344116,0.0046596625,0.0026896256],"study_design_scores_gemma":[0.000012916693,0.000018328286,0.0005788251,0.00031606524,0.000012899029,0.00030760697,0.061752,0.0004628472,0.00046630035,0.5597748,0.37626272,0.000034626515],"about_ca_topic_score_codex":0.013086387,"about_ca_topic_score_gemma":0.011372014,"teacher_disagreement_score":0.015610172,"about_ca_system_score_codex":0.005198839,"about_ca_system_score_gemma":0.003950873,"threshold_uncertainty_score":0.05222118},"labels":[],"label_agreement":null},{"id":"W4405310179","doi":"10.5149/northcarolina/9781469674995.003.0011","title":"Raising Sand, and the Roof","year":2023,"lang":"en","type":"book-chapter","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Raising (metalworking); Roof; Art history; Art; Engineering; Geology; Archaeology; Geography; Mechanical engineering","score_opus":0.0721278586218859,"score_gpt":0.20621445273060907,"score_spread":0.13408659410872314,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4405310179","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0022714534,0.006934099,0.0004837523,0.0057946313,0.0020120796,0.00001181895,0.000048341604,0.000091428454,0.9823523],"genre_scores_gemma":[0.07605188,0.003964277,0.0007609825,0.002183327,0.00059468916,0.000020382084,0.00006369988,0.00012794347,0.9162328],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997036,0.000086377215,0.000004924303,0.00004418828,0.000090186484,0.00007070398],"domain_scores_gemma":[0.99989545,0.000021174557,0.000005665932,0.000013093739,0.000025928768,0.000038519924],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002376695,0.00044636388,0.00019468223,0.0006501024,0.0065745874,0.0051384456,0.0004902766,0.0008874231,0.03603652],"category_scores_gemma":[0.0004879539,0.00019279581,0.00020942911,0.00049897586,0.0044922554,0.0030465515,0.002200601,0.0027598972,0.0066020824],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000026726151,0.000028499915,0.00018466175,0.0000651432,0.0000024099504,0.00023389203,0.008119138,0.00009568292,0.0002276392,0.42384747,0.51451695,0.05265182],"study_design_scores_gemma":[0.0000018247993,0.0000046871587,0.0001622074,0.00007392345,0.0000010401588,0.000065149485,0.0033663905,0.000026739766,0.000055888857,0.005852384,0.990387,0.0000026620141],"about_ca_topic_score_codex":0.025730677,"about_ca_topic_score_gemma":0.06425474,"teacher_disagreement_score":0.03603652,"about_ca_system_score_codex":0.0033247753,"about_ca_system_score_gemma":0.0026489887,"threshold_uncertainty_score":0.12055415},"labels":[],"label_agreement":null},{"id":"W4405437309","doi":"10.46692/9781529229509.017","title":"Singing Frogs, Looping the Slam","year":2024,"lang":"en","type":"other","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Singing; Art; Acoustics; Physics","score_opus":0.024618619163976705,"score_gpt":0.2034577267413711,"score_spread":0.1788391075773944,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4405437309","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.31888062,0.012129249,0.026466615,0.07597545,0.009956787,0.00026689333,0.0006256292,0.0022703812,0.5534283],"genre_scores_gemma":[0.6935829,0.0033227664,0.008046092,0.020482115,0.0006894948,0.00010921291,0.00019899763,0.0006409697,0.27292746],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984578,0.0005602974,0.000047764643,0.00025695426,0.00037442677,0.00030271904],"domain_scores_gemma":[0.9985201,0.00022804919,0.0002065738,0.00016400723,0.00026292496,0.0006184438],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001297442,0.0007645626,0.00039943977,0.0007226821,0.00976434,0.0039638737,0.00081725884,0.0019157742,0.02228852],"category_scores_gemma":[0.0053915055,0.00036351988,0.00040099485,0.0003657821,0.010709862,0.0039978414,0.0045819017,0.003498955,0.0066739996],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001778001,0.00012262704,0.015728291,0.0006207117,0.00006812021,0.0050230427,0.4108581,0.00018131355,0.01106974,0.070747055,0.33421573,0.15118757],"study_design_scores_gemma":[0.0000126351115,0.00009844266,0.006995756,0.00040289861,0.000015341868,0.0039592623,0.17617074,0.00011795985,0.00080498727,0.0048869834,0.80647814,0.000056927533],"about_ca_topic_score_codex":0.012614147,"about_ca_topic_score_gemma":0.02600739,"teacher_disagreement_score":0.02228852,"about_ca_system_score_codex":0.001584913,"about_ca_system_score_gemma":0.0016461178,"threshold_uncertainty_score":0.07456255},"labels":[],"label_agreement":null},{"id":"W4405533919","doi":"10.1017/9781009262712.008","title":"Urban Youth and Musical Worlds","year":2024,"lang":"en","type":"book-chapter","venue":"Cambridge University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Victoria","funders":"","keywords":"Musical; Visual arts; Geography; Art","score_opus":0.03132387846145035,"score_gpt":0.16767581720229188,"score_spread":0.13635193874084153,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4405533919","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.013942949,0.020225694,0.0001774147,0.005840067,0.00034421973,0.000015459258,0.00006464373,0.000031472646,0.959358],"genre_scores_gemma":[0.30410087,0.014865057,0.00017052222,0.0010422646,0.0004092235,0.00006408362,0.00008126596,0.00005802562,0.6792086],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99952924,0.00016347041,0.0000076085457,0.000034722074,0.00006637118,0.00019863227],"domain_scores_gemma":[0.9998363,0.00002422716,0.000012008627,0.0000104435985,0.00001708389,0.00009985668],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00040751934,0.00055678125,0.00038223213,0.00121735,0.008032956,0.010971306,0.0006894946,0.0011219896,0.04076203],"category_scores_gemma":[0.00046184793,0.0003145261,0.00013238426,0.002597908,0.00641482,0.0030394485,0.005560757,0.0018555941,0.003724151],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000041257965,0.00010126028,0.0012593714,0.00010467737,0.0000040204695,0.0002534158,0.049606603,0.000104194034,0.00014075621,0.77012444,0.119735815,0.05852427],"study_design_scores_gemma":[0.000007753015,0.000014810082,0.0021015874,0.00018304786,0.000003260829,0.000074395335,0.06214758,0.00004469209,0.000060398772,0.023003582,0.9123537,0.0000051593734],"about_ca_topic_score_codex":0.037341617,"about_ca_topic_score_gemma":0.13359793,"teacher_disagreement_score":0.04076203,"about_ca_system_score_codex":0.004057655,"about_ca_system_score_gemma":0.0034922264,"threshold_uncertainty_score":0.13636261},"labels":[],"label_agreement":null},{"id":"W4405534021","doi":"10.1017/9781009262712.010","title":"Singing Life: Hip Hop in the City","year":2024,"lang":"en","type":"book-chapter","venue":"Cambridge University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Victoria","funders":"","keywords":"Singing; Hop (telecommunications); Physical medicine and rehabilitation; Medicine; Acoustics; Telecommunications; Computer science; Physics","score_opus":0.04390192306279898,"score_gpt":0.18273617291524477,"score_spread":0.1388342498524458,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4405534021","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.38146576,0.024967872,0.00087270327,0.008568616,0.0015842827,0.000077928635,0.000093921466,0.000095097945,0.5822738],"genre_scores_gemma":[0.8750616,0.01156877,0.00029413134,0.00078212883,0.00031832219,0.000036864916,0.00004425955,0.000063010644,0.111830905],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99949765,0.00018970529,0.000012312349,0.000034407498,0.00008113621,0.00018478735],"domain_scores_gemma":[0.9997942,0.00005691192,0.000024312516,0.00001647397,0.000025839723,0.000082283645],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00044691074,0.0004114951,0.00031304796,0.0010742085,0.010693767,0.004380639,0.0005370445,0.0010305174,0.008230631],"category_scores_gemma":[0.00057340506,0.00032665182,0.00018041412,0.0017889232,0.0070839445,0.0016513342,0.0038703706,0.0021351206,0.0015764792],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010994635,0.00008763497,0.005133398,0.0005156422,0.000019080937,0.0024864704,0.70853335,0.00021311705,0.00237502,0.11652734,0.0515219,0.112477124],"study_design_scores_gemma":[0.000009639926,0.000107839136,0.0115345605,0.00046810048,0.000015397522,0.0012972507,0.48284638,0.00008233015,0.00051221583,0.002109835,0.5009862,0.0000302915],"about_ca_topic_score_codex":0.018739419,"about_ca_topic_score_gemma":0.06683869,"teacher_disagreement_score":0.018739419,"about_ca_system_score_codex":0.0028297107,"about_ca_system_score_gemma":0.0021785984,"threshold_uncertainty_score":0.03726071},"labels":[],"label_agreement":null},{"id":"W4405550111","doi":"10.1353/aca.2024.a947474","title":"Sonic Rematriation: An Interview with Jeremy Dutcher","year":2024,"lang":"en","type":"article","venue":"Acadiensis","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Sociology; Art; Psychoanalysis; Psychology","score_opus":0.05008443032878763,"score_gpt":0.23175669811894756,"score_spread":0.18167226779015994,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4405550111","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.23946474,0.015242663,0.0020360893,0.58594996,0.016734576,0.00035301642,0.00018786531,0.0001341539,0.13989691],"genre_scores_gemma":[0.6159638,0.009856994,0.0015514017,0.17988856,0.0026936189,0.0004997771,0.00012146761,0.0005377639,0.18888654],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99514693,0.002678475,0.00017513338,0.00033048505,0.00055955845,0.001109406],"domain_scores_gemma":[0.99439454,0.002010935,0.00032544913,0.000087398024,0.0007225633,0.0024591873],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0054297675,0.0007308397,0.0008731035,0.0014065511,0.046307206,0.00821414,0.0019843206,0.00820452,0.009122637],"category_scores_gemma":[0.013177095,0.0008007922,0.0003613092,0.0013424885,0.01075904,0.007851671,0.008886718,0.01916883,0.0015356848],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003801747,0.00006824161,0.0009293953,0.00008884999,0.000006687202,0.0041194796,0.872519,0.0000377027,0.00091196515,0.0054463646,0.10855588,0.0072783655],"study_design_scores_gemma":[0.000003947272,0.000012297927,0.00055888714,0.00009508636,0.0000017278397,0.00061383384,0.8353975,0.000014054615,0.000076697805,0.0002430956,0.16297011,0.0000126831155],"about_ca_topic_score_codex":0.049850952,"about_ca_topic_score_gemma":0.11720444,"teacher_disagreement_score":0.95014906,"about_ca_system_score_codex":0.007219402,"about_ca_system_score_gemma":0.008151829,"threshold_uncertainty_score":0.09912157},"labels":[],"label_agreement":null},{"id":"W4405603302","doi":"10.1093/oso/9780197693179.001.0001","title":"Elsie Houston","year":2024,"lang":"en","type":"book","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Trinity College","funders":"","keywords":"PICASSO; Harlem Renaissance; Art; Art history; Elite; Politics; Style (visual arts); Jazz; Performance art; History; Visual arts; Painting","score_opus":0.028174135062805597,"score_gpt":0.18506268225496963,"score_spread":0.15688854719216405,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4405603302","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008922034,0.010484565,0.00076701376,0.033781108,0.0055668983,0.00003130083,0.00040984736,0.0004832552,0.93955404],"genre_scores_gemma":[0.020023847,0.0029888756,0.0003022075,0.003568221,0.0003510598,0.000013202323,0.00009651545,0.0001384936,0.9725176],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99968946,0.000040138086,0.000008191578,0.000073005445,0.00011208787,0.000077031575],"domain_scores_gemma":[0.9995753,0.00006246431,0.00002072451,0.000024784129,0.00014943023,0.00016723553],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00028538622,0.00046138768,0.00025178742,0.00082276535,0.0037217066,0.003217787,0.00056717,0.00095950137,0.27113444],"category_scores_gemma":[0.0008998193,0.00019317651,0.00012626442,0.0004720728,0.0010926058,0.0015614354,0.002303289,0.0021543999,0.07383525],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028223581,0.00004268471,0.00075265433,0.00008237107,0.0000017283517,0.0006336003,0.0020818834,0.000060017966,0.00040325892,0.024139777,0.8913142,0.08045956],"study_design_scores_gemma":[0.000001130213,0.000006727556,0.00030867397,0.000057935154,7.222981e-7,0.00024394401,0.0012492656,0.000019698608,0.00011291692,0.00059096277,0.997405,0.0000029816163],"about_ca_topic_score_codex":0.007269788,"about_ca_topic_score_gemma":0.018245678,"teacher_disagreement_score":0.27113444,"about_ca_system_score_codex":0.0019364983,"about_ca_system_score_gemma":0.001884868,"threshold_uncertainty_score":0.90703505},"labels":[],"label_agreement":null},{"id":"W4405673764","doi":"10.1007/978-3-031-69405-9_5","title":"What Do I Hear, and How Do I Listen? Thinking with Sound on the Lachine Canal","year":2024,"lang":"en","type":"book-chapter","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Sound (geography); Acoustics; Communication; Psychology; Physics","score_opus":0.03152934907815123,"score_gpt":0.19087804381049886,"score_spread":0.15934869473234764,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4405673764","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.02379034,0.018955536,0.014400108,0.09283698,0.0036550907,0.000046417375,0.000056058165,0.00021216262,0.8460473],"genre_scores_gemma":[0.6902946,0.009356989,0.0046475036,0.016022546,0.002503975,0.000075645454,0.00004194333,0.00032139214,0.27673542],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984357,0.00085728057,0.0000217227,0.00014422652,0.00032377642,0.00021728699],"domain_scores_gemma":[0.9985122,0.00090801605,0.000059347545,0.000055737764,0.00024820145,0.00021644883],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015312443,0.00046991737,0.0003322845,0.000595688,0.004733794,0.012216168,0.00083822774,0.0024671273,0.009318588],"category_scores_gemma":[0.0055318377,0.00018058055,0.00025226898,0.0005634951,0.017888043,0.006840006,0.0027492468,0.005033799,0.0026542472],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000106678024,0.000031267682,0.0011623127,0.00022856618,0.000017439474,0.0006077957,0.23766124,0.0001703319,0.0019459109,0.5662441,0.09396608,0.09785826],"study_design_scores_gemma":[0.000014860212,0.00006465233,0.0012018901,0.00058282155,0.00001687297,0.00047010308,0.17599991,0.0002668129,0.00054650987,0.1238366,0.6969484,0.000050574206],"about_ca_topic_score_codex":0.0101760635,"about_ca_topic_score_gemma":0.012986898,"teacher_disagreement_score":0.012216168,"about_ca_system_score_codex":0.0022404492,"about_ca_system_score_gemma":0.0026223038,"threshold_uncertainty_score":0.031173766},"labels":[],"label_agreement":null},{"id":"W4405686187","doi":"10.25071/1708-6701.40502","title":"Rubymusic: A Popular History of Women's Music and Culture by Connie Kuhns","year":2024,"lang":"en","type":"article","venue":"CAML Review / Revue de l ACBM","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Popular culture; Literature; History","score_opus":0.02386151069739702,"score_gpt":0.21362116736263703,"score_spread":0.18975965666524,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4405686187","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00018492562,0.91566235,0.000081020655,0.05011263,0.022004686,0.000018558256,0.000032020325,0.000015392541,0.011888476],"genre_scores_gemma":[0.0039326157,0.89925516,0.00023138506,0.038818337,0.019258877,0.00005412875,0.00005599962,0.000050592018,0.038342927],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99798125,0.00063140236,0.00010846337,0.00019179325,0.00086977123,0.00021730161],"domain_scores_gemma":[0.9962781,0.0013880703,0.00027266052,0.000100934725,0.0014405993,0.00051959994],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023350436,0.00071776233,0.000801283,0.0050981008,0.0023819641,0.0049051214,0.0009050933,0.0024262678,0.010020266],"category_scores_gemma":[0.0067775147,0.000401152,0.00037632207,0.004095724,0.0024205567,0.0040243813,0.0029854819,0.004592961,0.004839516],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024543933,0.00001239127,0.00008237147,0.0019425028,0.000010713016,0.000079156285,0.00085534336,0.000020520958,0.00017830882,0.007578204,0.8891621,0.10005382],"study_design_scores_gemma":[0.0000019468907,0.000006239718,0.00020739254,0.0019493583,0.000004719573,0.000059801325,0.0003962101,0.0000033137503,0.000025088242,0.00041493052,0.9969261,0.0000049348373],"about_ca_topic_score_codex":0.015127958,"about_ca_topic_score_gemma":0.03962825,"teacher_disagreement_score":0.015127958,"about_ca_system_score_codex":0.0036043273,"about_ca_system_score_gemma":0.006943387,"threshold_uncertainty_score":0.033521116},"labels":[],"label_agreement":null},{"id":"W4405946722","doi":"10.4312/mz.60.2.109-122","title":"Belonging in the Mix","year":2024,"lang":"en","type":"article","venue":"Musicological Annual","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.03720333876282,"score_gpt":0.23048178684310197,"score_spread":0.19327844808028197,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4405946722","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.20241001,0.0040408876,0.0031380164,0.031790294,0.0009412703,0.000034367513,0.0000988466,0.00012900858,0.7574173],"genre_scores_gemma":[0.9332552,0.0010934945,0.00066741684,0.0020616108,0.00015482155,0.00001980076,0.00003192889,0.000146679,0.06256905],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99802196,0.00070419745,0.00003188494,0.00021476933,0.0005044854,0.0005227006],"domain_scores_gemma":[0.9987708,0.0002464667,0.00008032598,0.00013510298,0.0001931669,0.0005741759],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021368128,0.00043864394,0.00036899679,0.0017139146,0.021980371,0.017014146,0.00067387667,0.0012399259,0.013702727],"category_scores_gemma":[0.004093958,0.00022130432,0.00016027676,0.001167037,0.027247036,0.0101660155,0.0114006335,0.002861753,0.0012816216],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000048543985,0.000021796764,0.003488048,0.00004509306,0.000009609679,0.00026146416,0.41233912,0.000054420994,0.0005510954,0.53551084,0.013095817,0.034574166],"study_design_scores_gemma":[0.000005114098,0.000023778897,0.0037280712,0.00021097982,0.000013609063,0.00020067437,0.33768395,0.00015326442,0.00031228663,0.06808717,0.589552,0.000029091065],"about_ca_topic_score_codex":0.10228322,"about_ca_topic_score_gemma":0.2133451,"teacher_disagreement_score":0.10228322,"about_ca_system_score_codex":0.009770331,"about_ca_system_score_gemma":0.006804814,"threshold_uncertainty_score":0.2033757},"labels":[],"label_agreement":null},{"id":"W4406117763","doi":"10.1080/10848770.2025.2449748","title":"Speaking Words of Wisdom: The Beatles and Religion","year":2025,"lang":"en","type":"article","venue":"The European Legacy","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Philosophy; Sociology; Aesthetics; Religious studies","score_opus":0.0184390312200916,"score_gpt":0.21121889565977328,"score_spread":0.19277986443968168,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4406117763","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08524154,0.050502356,0.00072073936,0.28719515,0.0034895635,0.000013817945,0.00010023595,0.00004115712,0.57269543],"genre_scores_gemma":[0.89231455,0.015435369,0.000354863,0.025822055,0.0018929178,0.000019497997,0.00004338582,0.00006818722,0.06404922],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984201,0.0009805319,0.00003707099,0.00010724279,0.00023945938,0.00021560749],"domain_scores_gemma":[0.99673176,0.0016380384,0.00037590257,0.00015719839,0.0004708624,0.00062614016],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002112607,0.0002407489,0.00026811424,0.0010427167,0.008735317,0.010204821,0.00048306587,0.0022139044,0.010648401],"category_scores_gemma":[0.0072966516,0.00016976715,0.00010500156,0.0011746247,0.019821627,0.007864181,0.002945986,0.0046171527,0.002350816],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007065036,0.00005555409,0.0025076852,0.00013306197,0.0000107492015,0.0003887512,0.32501554,0.00005546431,0.00016308163,0.4055833,0.18793833,0.0780778],"study_design_scores_gemma":[0.000028122147,0.000035529018,0.0049925866,0.0005320291,0.0000073107904,0.00025731884,0.32964623,0.00006495153,0.00011869238,0.14951994,0.5147693,0.000028032071],"about_ca_topic_score_codex":0.007419339,"about_ca_topic_score_gemma":0.017771713,"teacher_disagreement_score":0.010648401,"about_ca_system_score_codex":0.0023234168,"about_ca_system_score_gemma":0.0029909117,"threshold_uncertainty_score":0.035622418},"labels":[],"label_agreement":null},{"id":"W4406137725","doi":"10.1080/13696815.2024.2444764","title":"Remix and Revision: Encounters between Africa and Europe in Contemporary African Popular Culture","year":2025,"lang":"en","type":"article","venue":"Journal of African Cultural Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Popular culture; African culture; History; Anthropology; Ethnology; Media studies; Gender studies; Sociology","score_opus":0.08264274864307239,"score_gpt":0.2856560832589639,"score_spread":0.20301333461589152,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4406137725","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9112444,0.0072076656,0.0004939471,0.008858388,0.0002685639,0.000021653299,0.000015585032,0.0000140957545,0.07187566],"genre_scores_gemma":[0.995465,0.0009844666,0.00008163247,0.00041204205,0.00006302939,0.000007029595,0.0000039742104,0.000015312839,0.0029677143],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99427974,0.0038289123,0.00016867743,0.00020434822,0.00033651217,0.0011818227],"domain_scores_gemma":[0.99142563,0.006281627,0.00080872077,0.00034515458,0.00040781428,0.00073098246],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.008433225,0.0005016347,0.00060433947,0.0034242917,0.02549379,0.015217227,0.001188708,0.0033425384,0.0042453147],"category_scores_gemma":[0.01573539,0.00038201376,0.00020832954,0.0036623962,0.026502816,0.009132667,0.009896339,0.004437547,0.00018362833],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025746236,0.0000062104195,0.00070988835,0.000020169693,0.0000025169825,0.00057577284,0.97610086,0.000007463706,0.000137838,0.018240903,0.00038123335,0.0037914456],"study_design_scores_gemma":[0.000004678737,0.000014101114,0.002176424,0.00014777553,0.000004706115,0.0004852194,0.9552133,0.000020248057,0.0001297276,0.0011623108,0.0406336,0.000007912642],"about_ca_topic_score_codex":0.0091849025,"about_ca_topic_score_gemma":0.015551479,"teacher_disagreement_score":0.02549379,"about_ca_system_score_codex":0.0043108365,"about_ca_system_score_gemma":0.0034531655,"threshold_uncertainty_score":0.044599652},"labels":[],"label_agreement":null},{"id":"W4406242675","doi":"10.3138/md-67-4-1335","title":"Black Queer Cosmologies, Sonic Geographies, and Embodied Entanglement in Tarell Alvin McCraney’s <i>The Brother/Sister Plays</i>","year":2024,"lang":"en","type":"article","venue":"Modern Drama","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Brother; Queer; Sister; Embodied cognition; Narrative; Materiality (auditing); Aesthetics; Art; Sociology; Gender studies; Literature; Philosophy; Epistemology; Anthropology","score_opus":0.021572453334477756,"score_gpt":0.2121559176818866,"score_spread":0.19058346434740886,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4406242675","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.38074076,0.007945981,0.009363148,0.0277698,0.000716482,0.000037857422,0.00005989855,0.00014139725,0.5732248],"genre_scores_gemma":[0.95748836,0.00087703613,0.00075099047,0.00068405725,0.00008081388,0.000015652327,0.000007538974,0.00005370766,0.040041834],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99941146,0.00033737434,0.000008227784,0.00005330661,0.00009743076,0.00009215485],"domain_scores_gemma":[0.9996196,0.00019995886,0.000046891982,0.00003510962,0.000034198394,0.000064129454],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009045377,0.00028701275,0.0001878001,0.00065815373,0.007943411,0.0047799107,0.0004144779,0.0010004019,0.005292995],"category_scores_gemma":[0.0015928539,0.00015023268,0.00011808393,0.0004246546,0.019097917,0.0027794337,0.0035023503,0.0020819027,0.00029731204],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000042590575,0.000009354926,0.000334446,0.000046025136,0.000003939456,0.000340202,0.45783776,0.00013590409,0.00090480124,0.5239061,0.0065530986,0.009885664],"study_design_scores_gemma":[0.00001392219,0.00003726123,0.001961697,0.00022606268,0.000011211253,0.0006007479,0.3711866,0.00025556804,0.0010880909,0.068079844,0.55650127,0.000037638452],"about_ca_topic_score_codex":0.023211727,"about_ca_topic_score_gemma":0.044452492,"teacher_disagreement_score":0.023211727,"about_ca_system_score_codex":0.003265971,"about_ca_system_score_gemma":0.0012225966,"threshold_uncertainty_score":0.046153247},"labels":[],"label_agreement":null},{"id":"W4406271723","doi":"10.32316/hse-rhe.2024.5347","title":"Julia Erhart, The Children's Hour","year":2025,"lang":"fr","type":"article","venue":"Historical Studies in Education / Revue d histoire de l éducation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Manitoba","funders":"","keywords":"Psychology; Art","score_opus":0.06924295573932622,"score_gpt":0.30931322387741417,"score_spread":0.24007026813808796,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4406271723","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.007562266,0.13431998,0.0013135591,0.20928253,0.005630082,0.00003927412,0.00016753803,0.00009608412,0.6415886],"genre_scores_gemma":[0.27888164,0.057281327,0.0021164212,0.046861425,0.0023321868,0.00013453049,0.000091664864,0.00031683475,0.61198395],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99860805,0.0007819576,0.00003537569,0.00012540528,0.00026536352,0.00018388066],"domain_scores_gemma":[0.99910647,0.00045113158,0.00007129587,0.00008577088,0.00011578578,0.00016945506],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001897291,0.00041996065,0.00023997453,0.00062229997,0.0081324205,0.0069703874,0.00066647044,0.0027416511,0.01211889],"category_scores_gemma":[0.0035070363,0.0002747107,0.00014654429,0.0006130292,0.012988537,0.0068674423,0.0041648853,0.004925076,0.002263385],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018073639,0.000012044945,0.00023187467,0.0001011656,0.0000037314994,0.00022804826,0.059065882,0.000028923629,0.00009448684,0.5106968,0.40090653,0.028612435],"study_design_scores_gemma":[0.0000025046315,0.0000029987493,0.00036741167,0.00018606365,0.0000013760564,0.00009057352,0.013872287,0.000009767315,0.00006338501,0.0143987145,0.9709999,0.0000050333474],"about_ca_topic_score_codex":0.03127333,"about_ca_topic_score_gemma":0.09580756,"teacher_disagreement_score":0.03127333,"about_ca_system_score_codex":0.004561612,"about_ca_system_score_gemma":0.003916955,"threshold_uncertainty_score":0.062182605},"labels":[],"label_agreement":null},{"id":"W4406271733","doi":"10.32316/hse-rhe.2024.5355","title":"Lauren Leigh Kelly and Daren Graves, eds., The Bloomsbury Handbook of Hip Hop Pedagogy","year":2025,"lang":"fr","type":"article","venue":"Historical Studies in Education / Revue d histoire de l éducation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Sociology; Psychology","score_opus":0.07148109794064832,"score_gpt":0.3227056954421628,"score_spread":0.2512245975015145,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4406271733","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00055055786,0.8998787,0.00082915515,0.020579223,0.0024847283,0.000023349121,0.00014446891,0.000086942666,0.07542281],"genre_scores_gemma":[0.012988041,0.8234645,0.0020218159,0.0043437574,0.0015657553,0.0000789203,0.00015569411,0.000098684344,0.1552829],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992655,0.00018906059,0.00006160999,0.0000767831,0.0003261149,0.00008087113],"domain_scores_gemma":[0.99899715,0.0004429863,0.000082071085,0.000051668663,0.00021798156,0.00020819892],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001252047,0.001093772,0.0006196487,0.0027753555,0.0018851983,0.0040020035,0.0012138878,0.0019136145,0.02223535],"category_scores_gemma":[0.0021844723,0.000762501,0.00027064735,0.003482286,0.0033107055,0.005507681,0.0016834763,0.002702798,0.010083321],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023876713,0.000051960207,0.000711178,0.0005429629,0.000006402253,0.000107073436,0.0034752397,0.00014162906,0.00008574211,0.022867361,0.6924525,0.27953404],"study_design_scores_gemma":[0.0000027642718,0.0000045772017,0.0010886203,0.0011935842,0.0000023919313,0.000108194086,0.0017743143,0.0000191373,0.00003414786,0.0041126222,0.9916536,0.0000061444543],"about_ca_topic_score_codex":0.05622398,"about_ca_topic_score_gemma":0.12591872,"teacher_disagreement_score":0.05622398,"about_ca_system_score_codex":0.0057962253,"about_ca_system_score_gemma":0.009448693,"threshold_uncertainty_score":0.11179346},"labels":[],"label_agreement":null},{"id":"W4406333371","doi":"10.17951/nh.2024.9.203-216","title":"The phenomenon of nostalgia in American popular music. The cases of Drake’s “Honestly, Nevermind”, Beyoncé’s “Renaissance”, and The Weeknd’s “Dawn FM”","year":2024,"lang":"en","type":"article","venue":"New Horizons in English Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"The Renaissance; Phenomenon; Art; Literature; Art history; Visual arts; Philosophy; Epistemology","score_opus":0.03119262553458947,"score_gpt":0.25444363682490495,"score_spread":0.2232510112903155,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4406333371","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.43946463,0.012220734,0.0018197743,0.035687763,0.0019533683,0.000033698878,0.00013893108,0.00011475536,0.5085663],"genre_scores_gemma":[0.9864222,0.0014930821,0.00020920887,0.0024992835,0.00066164666,0.000018230361,0.000024622668,0.000047893245,0.008623704],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9949603,0.0023253036,0.00015266395,0.0005923329,0.0013596206,0.0006098358],"domain_scores_gemma":[0.99147964,0.0046156254,0.0012564458,0.0011099206,0.00083681894,0.0007016345],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0034139093,0.00024206522,0.00027000275,0.002858208,0.018458536,0.009814437,0.0007141543,0.0021922167,0.0041734716],"category_scores_gemma":[0.011214826,0.00035303316,0.00019533896,0.0048133056,0.034268185,0.0068233283,0.0060348893,0.0049948376,0.0004214003],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005340778,0.000033250126,0.004541677,0.00015158803,0.00001589507,0.00062455476,0.7887343,0.00002695308,0.00090055616,0.15757829,0.017144434,0.030195126],"study_design_scores_gemma":[0.000016390633,0.000040876806,0.037024338,0.00044097716,0.000025153417,0.0014514964,0.41273093,0.000114935654,0.00061140355,0.022176405,0.5252933,0.000073758805],"about_ca_topic_score_codex":0.023736546,"about_ca_topic_score_gemma":0.049000412,"teacher_disagreement_score":0.023736546,"about_ca_system_score_codex":0.0050786007,"about_ca_system_score_gemma":0.002219921,"threshold_uncertainty_score":0.047196746},"labels":[],"label_agreement":null},{"id":"W4406604952","doi":"","title":"Changing Conceptualizations of Rhythm in Sri Lankan Up-Country Percussion Music","year":2018,"lang":"en","type":"article","venue":"DOAJ (DOAJ: Directory of Open Access Journals)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Percussion; Rhythm; Sri lanka; Psychology; Communication; Geography; Visual arts; History; Art; Medicine; Ancient history; South asia; Aesthetics","score_opus":0.27777420208223746,"score_gpt":0.49065752537734714,"score_spread":0.21288332329510967,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4406604952","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6992029,0.007311203,0.008239491,0.003864402,0.00016526353,0.000041537634,0.00008715597,0.000077802,0.28101015],"genre_scores_gemma":[0.99492234,0.0016138665,0.0008683441,0.00015207603,0.00004736553,0.00001709816,0.000033415654,0.0000200074,0.0023255441],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99859685,0.00062468415,0.00011447318,0.00016773179,0.00025782027,0.00023833722],"domain_scores_gemma":[0.99927133,0.0002839755,0.00010730904,0.00009743819,0.00014522001,0.00009477381],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020801786,0.00062134303,0.00028794573,0.0029478958,0.003982094,0.008478851,0.0010580961,0.0009033533,0.0019784311],"category_scores_gemma":[0.0023056704,0.0002565332,0.00035450613,0.002350144,0.023418745,0.0032740654,0.004240379,0.0022179307,0.00025378156],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000066110304,0.00002164008,0.00903719,0.00022932715,0.000026508014,0.0007025292,0.55724436,0.00048351445,0.002080267,0.40102255,0.00085073675,0.028235337],"study_design_scores_gemma":[0.000042256117,0.00023062313,0.04818299,0.00089847745,0.00008562403,0.0017660992,0.7508669,0.0013932171,0.0014197525,0.065013096,0.12993586,0.0001651966],"about_ca_topic_score_codex":0.014749596,"about_ca_topic_score_gemma":0.018105658,"teacher_disagreement_score":0.014749596,"about_ca_system_score_codex":0.005005076,"about_ca_system_score_gemma":0.0018538454,"threshold_uncertainty_score":0.036314547},"labels":[],"label_agreement":null},{"id":"W4406686437","doi":"10.7202/1115552ar","title":"“Lyricapitalism” in Nigerian Hip-Hop Subculture: Language, Cyber-Scam Representations, and the End of Sleep","year":2024,"lang":"en","type":"article","venue":"MUSICultures","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Queen's University","funders":"","keywords":"Subculture (biology); Sociology; Linguistics; Philosophy; Biology","score_opus":0.01145249071240135,"score_gpt":0.22592246470659966,"score_spread":0.21446997399419832,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4406686437","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.95786124,0.00116281,0.00053272396,0.0018858148,0.00008981331,0.000016737533,0.000008037529,0.000007417623,0.038435288],"genre_scores_gemma":[0.9975974,0.00026090664,0.00012416375,0.00012003885,0.000010259779,0.0000059509825,0.0000027388082,0.000004300991,0.0018742286],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99929976,0.00033553827,0.00003517519,0.00006043477,0.00008212037,0.00018702197],"domain_scores_gemma":[0.9994286,0.00023318255,0.00013580355,0.000052865347,0.000050957475,0.00009854775],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012574758,0.00039884125,0.00028031733,0.0010100324,0.008479785,0.0045872484,0.00042862215,0.0006352239,0.0016062098],"category_scores_gemma":[0.0012557093,0.00017455131,0.00010284034,0.00063441106,0.018266488,0.0016370354,0.003920095,0.0016102998,0.0001409113],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004208202,0.000019206784,0.006568792,0.00008155798,0.0000027704161,0.0010416871,0.93871605,0.000024520137,0.0012109069,0.040582992,0.00053439284,0.011174957],"study_design_scores_gemma":[0.0000033229185,0.0000304385,0.0049859234,0.00017881018,0.0000040256045,0.0006195075,0.9686169,0.00006316707,0.0003098137,0.0025215629,0.022657428,0.000009110769],"about_ca_topic_score_codex":0.007502279,"about_ca_topic_score_gemma":0.016152373,"teacher_disagreement_score":0.008479785,"about_ca_system_score_codex":0.002158687,"about_ca_system_score_gemma":0.002154041,"threshold_uncertainty_score":0.015662432},"labels":[],"label_agreement":null},{"id":"W4406927305","doi":"10.1386/punk_00272_5","title":"USA and Canada Punk Scholars Network Conference, DePaul University, Chicago, IL, 6–7 August 2024","year":2024,"lang":"en","type":"article","venue":"Punk & Post Punk","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Punk; Media studies; Sociology; Library science; Political science; Art; Art history; Computer science","score_opus":0.013540393664116765,"score_gpt":0.17806239717135747,"score_spread":0.1645220035072407,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4406927305","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0009998478,0.20448926,0.00025844848,0.2679668,0.10493178,0.00036232898,0.0045076925,0.00023685372,0.4162469],"genre_scores_gemma":[0.006728779,0.10948387,0.00067755836,0.055155624,0.012404295,0.00033046698,0.002984695,0.00019362682,0.8120411],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9957831,0.00035226453,0.0001725893,0.00023303521,0.002740727,0.000718353],"domain_scores_gemma":[0.98652285,0.0010148694,0.00046893753,0.00024780704,0.008171926,0.0035736626],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004850236,0.0010366831,0.00092603447,0.0055124178,0.0065045687,0.00747651,0.0024223812,0.00536028,0.15712105],"category_scores_gemma":[0.011605395,0.00069249223,0.0006735496,0.0070212143,0.0025440096,0.004187458,0.005284754,0.0043075467,0.03365661],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000064566166,0.0000063812245,0.00006556139,0.000121319244,0.0000017896851,0.000008447953,0.000028600247,0.000008655206,0.000012697263,0.00075547077,0.99085826,0.008126454],"study_design_scores_gemma":[0.0000047469316,0.0000018967446,0.00081077905,0.00028150293,0.0000033669678,0.0000065813356,0.00014982694,0.0000037835734,0.000008191034,0.00010194874,0.99862266,0.000004643886],"about_ca_topic_score_codex":0.3205151,"about_ca_topic_score_gemma":0.61701554,"teacher_disagreement_score":0.3205151,"about_ca_system_score_codex":0.019255593,"about_ca_system_score_gemma":0.094628684,"threshold_uncertainty_score":0.63729894},"labels":[],"label_agreement":null},{"id":"W4406963666","doi":"10.1386/ijcm_00111_1","title":"‘This Is My Place’: Considering the potential of place-based community music for community well-being and sustainability","year":2024,"lang":"en","type":"article","venue":"International Journal of Community Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Western University","funders":"","keywords":"Sustainability; Sociology; Environmental planning; Psychology; Environmental ethics; Aesthetics; Geography; Art; Ecology; Philosophy","score_opus":0.04138774551998589,"score_gpt":0.270112261942974,"score_spread":0.2287245164229881,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4406963666","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.53714585,0.009717149,0.010941858,0.1615059,0.00328736,0.0003704461,0.00009194306,0.00009844944,0.27684104],"genre_scores_gemma":[0.97299993,0.002787498,0.0034907174,0.0055457097,0.00024552664,0.00008144702,0.00002550249,0.000041999167,0.014781635],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99462444,0.0031486296,0.000046611054,0.00025409256,0.00071060803,0.0012156426],"domain_scores_gemma":[0.99718696,0.0011044774,0.0001427617,0.00012644463,0.00041269851,0.0010265666],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0070874463,0.00053906866,0.00033877493,0.0010495081,0.027829945,0.016044376,0.0027963652,0.0031510019,0.0058485908],"category_scores_gemma":[0.0064118695,0.0002796145,0.00039851118,0.0010685668,0.024400262,0.0067105573,0.012062635,0.0047203847,0.00046719197],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007456241,0.00007101515,0.0025186604,0.0003240515,0.000015995753,0.0016381626,0.8386134,0.00025826425,0.0015439353,0.09048791,0.015844172,0.048609886],"study_design_scores_gemma":[0.000005804849,0.000050791186,0.0014825803,0.00019825961,0.000010012829,0.00034949026,0.85948217,0.0001512679,0.00041103782,0.006876892,0.13095076,0.000030911386],"about_ca_topic_score_codex":0.16490373,"about_ca_topic_score_gemma":0.43631986,"teacher_disagreement_score":0.16490373,"about_ca_system_score_codex":0.014358676,"about_ca_system_score_gemma":0.02628405,"threshold_uncertainty_score":0.32788777},"labels":[],"label_agreement":null},{"id":"W4407141243","doi":"10.1558/isbn.9781800506077","title":"Song for Someone: The Musical Life of Kenny Wheeler","year":2025,"lang":"en","type":"book","venue":"Equinox Publishing Ltd. eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Musical; Psychology; Psychoanalysis; Cognitive science; History; Art; Visual arts","score_opus":0.04175048737443112,"score_gpt":0.22286619038554967,"score_spread":0.18111570301111854,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4407141243","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11235239,0.14936969,0.0051461696,0.37064603,0.04103896,0.00013239625,0.00042869354,0.0008696146,0.32001603],"genre_scores_gemma":[0.3398983,0.034526307,0.004137864,0.071564324,0.009363221,0.00012888035,0.00021453424,0.0010044312,0.5391622],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9974769,0.0006552023,0.000070356684,0.0003635794,0.0010899776,0.00034388455],"domain_scores_gemma":[0.99826956,0.00023736959,0.000113250426,0.00008211579,0.00037021717,0.00092740776],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021902139,0.00047527452,0.00063832087,0.0011410482,0.011325323,0.0067525296,0.0010090028,0.0014986071,0.011940456],"category_scores_gemma":[0.005354667,0.0003451364,0.00020315251,0.0006088943,0.0051916162,0.0041685477,0.0044669462,0.0046087583,0.0056762076],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010677472,0.00009749116,0.0017788544,0.00015064645,0.0000232142,0.0012862079,0.08034206,0.000057773555,0.0027381855,0.022105744,0.7909712,0.100341804],"study_design_scores_gemma":[0.0000066126863,0.000031400406,0.0018710804,0.00015921672,0.000004652965,0.0010900632,0.024068262,0.000048199683,0.00020653376,0.0011875097,0.9712919,0.000034457473],"about_ca_topic_score_codex":0.029468203,"about_ca_topic_score_gemma":0.06438851,"teacher_disagreement_score":0.029468203,"about_ca_system_score_codex":0.0029839622,"about_ca_system_score_gemma":0.0024276692,"threshold_uncertainty_score":0.058593392},"labels":[],"label_agreement":null},{"id":"W4407141389","doi":"10.1558/isbn.9781800505360","title":"Ray Brown: His Life and Music","year":2025,"lang":"en","type":"book","venue":"Equinox Publishing Ltd. eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.03904333268785676,"score_gpt":0.20055482630050397,"score_spread":0.16151149361264722,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4407141389","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0048715826,0.08032794,0.003095211,0.10169358,0.031641528,0.00004450932,0.00035009492,0.0010591943,0.7769164],"genre_scores_gemma":[0.024314333,0.017492319,0.0013409365,0.017056042,0.004908812,0.000033999557,0.00012050763,0.00046020513,0.9342728],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983663,0.00041969854,0.000036678975,0.00025010275,0.0007326709,0.00019464707],"domain_scores_gemma":[0.99824786,0.00017175538,0.00006412401,0.00008249476,0.00057704514,0.00085677684],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00082018255,0.00082698074,0.00054883695,0.0011540205,0.006943246,0.008340986,0.0007265505,0.0015564368,0.08595918],"category_scores_gemma":[0.0027168633,0.00034644658,0.00016948782,0.00088008033,0.0029627767,0.003423309,0.003890474,0.0044777887,0.060034513],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020031766,0.000018681492,0.00024486074,0.00005960055,0.0000031703078,0.00019844543,0.0035415948,0.00003565808,0.0004540274,0.01923192,0.92002666,0.056165244],"study_design_scores_gemma":[6.123267e-7,0.000004042347,0.00010688644,0.00005560988,6.184495e-7,0.00013203776,0.000902356,0.000008355992,0.00006457512,0.0005637789,0.99815637,0.000004872134],"about_ca_topic_score_codex":0.010661761,"about_ca_topic_score_gemma":0.016042765,"teacher_disagreement_score":0.08595918,"about_ca_system_score_codex":0.0035236129,"about_ca_system_score_gemma":0.0031868506,"threshold_uncertainty_score":0.28756213},"labels":[],"label_agreement":null},{"id":"W4407195216","doi":"10.1515/9780228022275","title":"Métis Music","year":2024,"lang":"fr","type":"book","venue":"McGill-Queen's University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History","score_opus":0.02440792202990218,"score_gpt":0.18996671340609153,"score_spread":0.16555879137618934,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4407195216","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0017264326,0.0065696063,0.0002623349,0.003518461,0.0011373529,0.000016842925,0.00007205608,0.000067684996,0.98662925],"genre_scores_gemma":[0.024559252,0.0033210516,0.0003037669,0.000837169,0.0005438733,0.000022996352,0.00010422547,0.0000674269,0.97024035],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996531,0.00005436921,0.000011813275,0.00006337839,0.0001610094,0.000056415414],"domain_scores_gemma":[0.9998062,0.000050508883,0.000013937154,0.000021890159,0.00005139458,0.00005605618],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00028054163,0.0004642989,0.00024664804,0.0009034963,0.0046756538,0.008052414,0.00062216347,0.0012932954,0.07426083],"category_scores_gemma":[0.0009536262,0.00019437545,0.00021310018,0.0010078052,0.0024284313,0.0035617051,0.0022113633,0.0019871907,0.01608036],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006586087,0.000030103021,0.0005991919,0.00024901945,0.0000051689976,0.00039245738,0.012672846,0.00006890301,0.00096124783,0.40705162,0.39459792,0.18330567],"study_design_scores_gemma":[0.0000018838749,0.0000056292392,0.00043782196,0.000075375945,8.7263936e-7,0.00012166099,0.0017112007,0.000020761605,0.00007958425,0.0030394332,0.9945036,0.0000021693816],"about_ca_topic_score_codex":0.009615934,"about_ca_topic_score_gemma":0.027500452,"teacher_disagreement_score":0.99038404,"about_ca_system_score_codex":0.0036282747,"about_ca_system_score_gemma":0.0013023533,"threshold_uncertainty_score":0.24842721},"labels":[],"label_agreement":null},{"id":"W4407287461","doi":"10.7202/1116734ar","title":"Black Flag, Minor Threat, and the Revival of Traditional Values in American Hardcore Punk","year":2024,"lang":"en","type":"article","venue":"Revue musicale OICRM","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Flag (linear algebra); Punk; Minor (academic); Art; Ancient history; History; Art history; Humanities; Mathematics","score_opus":0.046234471838380795,"score_gpt":0.21721070700735234,"score_spread":0.17097623516897154,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4407287461","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.89955014,0.00064909045,0.0002224754,0.011140115,0.00028726744,0.00001653766,0.000012817577,0.000017782924,0.08810386],"genre_scores_gemma":[0.97500503,0.00022532395,0.00016770318,0.0023823986,0.00003359349,0.000008278116,0.0000060651273,0.000024983972,0.022146596],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987907,0.00029813853,0.000018015891,0.00013195002,0.0002378993,0.0005233914],"domain_scores_gemma":[0.99920326,0.00012806892,0.0000724141,0.000046996887,0.0001224861,0.00042676617],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019705081,0.0003044635,0.0002823677,0.0008832647,0.02467,0.008225771,0.00068830035,0.0013740328,0.005069992],"category_scores_gemma":[0.0017318586,0.00029865722,0.00012015183,0.00088374235,0.016751025,0.0030191306,0.008214085,0.006740583,0.00036517496],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00020408219,0.00035979218,0.017341789,0.00007878912,0.000009814356,0.0015700351,0.7189825,0.00006495216,0.0018153135,0.16761908,0.02731829,0.06463552],"study_design_scores_gemma":[0.00002408269,0.00015060786,0.034579415,0.00016296601,0.0000070771853,0.0005560793,0.61763746,0.00021992806,0.0006293758,0.013594451,0.3323678,0.00007078094],"about_ca_topic_score_codex":0.043614052,"about_ca_topic_score_gemma":0.16819194,"teacher_disagreement_score":0.043614052,"about_ca_system_score_codex":0.0053659906,"about_ca_system_score_gemma":0.0037677095,"threshold_uncertainty_score":0.08672041},"labels":[],"label_agreement":null},{"id":"W4407305851","doi":"10.7560/331484","title":"The Dad Rock That Made Me a Woman","year":2025,"lang":"en","type":"book","venue":"University of Texas Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Geology; History; Psychology","score_opus":0.029623320015240703,"score_gpt":0.17619385960023734,"score_spread":0.14657053958499663,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4407305851","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06673417,0.018199515,0.0022375565,0.10998038,0.03253135,0.00014201947,0.00041665885,0.00033509565,0.76942325],"genre_scores_gemma":[0.31536373,0.0059593166,0.001013359,0.019177346,0.0037842365,0.0000951087,0.00019777547,0.00026319476,0.654146],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990914,0.00040645085,0.000026708536,0.00014959466,0.00019316791,0.00013266744],"domain_scores_gemma":[0.9993611,0.00014440619,0.00004202604,0.000038550956,0.0001498261,0.0002640101],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006851847,0.0009426882,0.00028154458,0.00055583136,0.010418682,0.003424951,0.0005257331,0.0011790876,0.015095489],"category_scores_gemma":[0.002297621,0.00021428968,0.0001883316,0.0002849061,0.0040046214,0.0028067613,0.0024167716,0.0030747617,0.0033205557],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000062634404,0.00005316838,0.0012569962,0.00022167906,0.000008793174,0.0014774862,0.24886546,0.00002428158,0.001375518,0.057368487,0.66084,0.028445596],"study_design_scores_gemma":[0.0000018901729,0.000013691154,0.00043952977,0.00012122133,0.0000022327695,0.00045868193,0.07701745,0.000011530569,0.000189884,0.0004951628,0.92124355,0.0000051268485],"about_ca_topic_score_codex":0.0062737986,"about_ca_topic_score_gemma":0.021262772,"teacher_disagreement_score":0.015095489,"about_ca_system_score_codex":0.0024142861,"about_ca_system_score_gemma":0.0013724124,"threshold_uncertainty_score":0.0504995},"labels":[],"label_agreement":null},{"id":"W4407545981","doi":"10.5771/9781442235588-73","title":"Chapter Nine. Toronto Camerata Folksong Competition","year":2014,"lang":"en","type":"book-chapter","venue":"Rowman & Littlefield Publishers eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Competition (biology); Geography; Biology; Ecology","score_opus":0.023881966458956662,"score_gpt":0.18408258103960046,"score_spread":0.1602006145806438,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4407545981","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00037005811,0.006493794,0.00017473409,0.0015100064,0.0020609612,0.000049345177,0.0020621477,0.00025984476,0.98701906],"genre_scores_gemma":[0.0009100402,0.0012090045,0.00005200898,0.00011785357,0.000093191804,0.000012335968,0.0006599798,0.00010063001,0.9968451],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996326,0.000017178356,0.0000074758304,0.000042097596,0.00021778577,0.00008275484],"domain_scores_gemma":[0.9996803,0.000018249051,0.000008795653,0.000013885743,0.00011479197,0.00016398715],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00032200827,0.0013517508,0.0007243345,0.0027462635,0.004935959,0.0077328305,0.0013922282,0.001429938,0.6209757],"category_scores_gemma":[0.0005313813,0.0005774865,0.00040915908,0.0039341305,0.00068172085,0.0018757898,0.0020289219,0.0015798166,0.26368648],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010848561,0.000007959255,0.00003000241,0.000040681698,6.066378e-7,0.00001170726,0.00004273835,0.000023436512,0.000041488936,0.0019600007,0.9747389,0.023091514],"study_design_scores_gemma":[0.0000021488256,0.0000031554289,0.00027448565,0.000043263095,6.0951305e-7,0.000008825531,0.00010862005,0.000014311651,0.00001822034,0.00033589173,0.9991874,0.0000030678373],"about_ca_topic_score_codex":0.22785808,"about_ca_topic_score_gemma":0.6811163,"teacher_disagreement_score":0.77214193,"about_ca_system_score_codex":0.007633232,"about_ca_system_score_gemma":0.008892171,"threshold_uncertainty_score":0.5406322},"labels":[],"label_agreement":null},{"id":"W4407546209","doi":"10.5771/9781442235588-71","title":"Chapter Eight. The Toronto Camerata Singers’ Guide","year":2014,"lang":"en","type":"book-chapter","venue":"Rowman & Littlefield Publishers eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History","score_opus":0.02590773143173195,"score_gpt":0.1932952195378206,"score_spread":0.16738748810608867,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4407546209","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0002803765,0.024141664,0.001444091,0.0025929427,0.001763966,0.00014493069,0.003566155,0.000945056,0.9651208],"genre_scores_gemma":[0.0010629025,0.007261768,0.0009328986,0.00042410972,0.00016564986,0.000063428444,0.0011063938,0.00029581974,0.98868704],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997317,0.000026143303,0.00001347482,0.000031565025,0.0001559046,0.00004121565],"domain_scores_gemma":[0.99960464,0.000063677515,0.000015890484,0.000032731703,0.00018992346,0.000093232135],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00040607032,0.0010658243,0.0006877938,0.0033391311,0.0022554414,0.0033969497,0.001166993,0.0011036531,0.42166543],"category_scores_gemma":[0.0013144736,0.0007461342,0.00029809115,0.003167409,0.0007320194,0.0024065787,0.0014948017,0.0016926175,0.2481627],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009187674,0.0000067801634,0.000038937487,0.00012364553,5.076943e-7,0.000029595732,0.00033807143,0.000027068458,0.00009150969,0.0054788445,0.9176875,0.07616835],"study_design_scores_gemma":[6.2949084e-7,0.0000012906414,0.00007297572,0.0000592377,3.0815872e-7,0.000023613724,0.000082235485,0.0000059314725,0.000016214297,0.0003057891,0.9994301,0.0000015695103],"about_ca_topic_score_codex":0.08236647,"about_ca_topic_score_gemma":0.3346466,"teacher_disagreement_score":0.91763353,"about_ca_system_score_codex":0.0034097538,"about_ca_system_score_gemma":0.0047943657,"threshold_uncertainty_score":0.82492405},"labels":[],"label_agreement":null},{"id":"W4407552829","doi":"10.5771/9781442231313","title":"Experiencing Rush","year":2014,"lang":"en","type":"book","venue":"Rowman & Littlefield Publishers eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Gold rush; History; Archaeology","score_opus":0.020426145618082227,"score_gpt":0.17251200484827167,"score_spread":0.15208585923018944,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4407552829","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06983751,0.007502331,0.0044444688,0.054217532,0.023665316,0.00008389168,0.00025531906,0.0008973673,0.83909625],"genre_scores_gemma":[0.28491655,0.003004035,0.001637119,0.02261246,0.003635687,0.00008349947,0.00016874821,0.0008577198,0.68308413],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9973769,0.00076944503,0.000037625476,0.0003441739,0.00063495355,0.00083703245],"domain_scores_gemma":[0.998692,0.0001329297,0.000095209536,0.00008402565,0.00020944471,0.0007863935],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001477936,0.00089577906,0.0004438273,0.0006380131,0.01436104,0.0068836086,0.0011436472,0.0024384267,0.051054038],"category_scores_gemma":[0.0032376123,0.00031917557,0.0003859464,0.0005060384,0.0070640664,0.0049620047,0.009985083,0.0057690465,0.010865992],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000075469776,0.00006144058,0.0016093134,0.00014480148,0.000014132288,0.001782754,0.2041732,0.000052244588,0.0019906405,0.06648749,0.65710014,0.06650831],"study_design_scores_gemma":[0.0000027398971,0.000025430316,0.00050823344,0.0000638233,0.0000022812235,0.0007039692,0.060137037,0.000022924516,0.000108949826,0.001228304,0.93718165,0.000014711032],"about_ca_topic_score_codex":0.010285504,"about_ca_topic_score_gemma":0.03632351,"teacher_disagreement_score":0.051054038,"about_ca_system_score_codex":0.002473437,"about_ca_system_score_gemma":0.0026161417,"threshold_uncertainty_score":0.17079276},"labels":[],"label_agreement":null},{"id":"W4407959003","doi":"10.5771/9780761848684","title":"Someone Out There Is Listening","year":2009,"lang":"en","type":"book","venue":"Hamilton eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Active listening; Psychology; Communication","score_opus":0.03670523530335102,"score_gpt":0.2106317240675621,"score_spread":0.17392648876421107,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4407959003","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.012011284,0.0073123695,0.0030559185,0.08695437,0.03491098,0.00011010695,0.00019417571,0.0009458735,0.8545049],"genre_scores_gemma":[0.049924877,0.002617341,0.0009912436,0.06654962,0.0024483823,0.0000733839,0.00016741287,0.0005640801,0.8766637],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9966337,0.0010869881,0.00006610548,0.0003834165,0.0008190671,0.0010108218],"domain_scores_gemma":[0.9954595,0.00042728247,0.00016759131,0.00020805764,0.0010267495,0.0027108581],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014900018,0.0011053692,0.00058690296,0.0010725489,0.019341676,0.010261945,0.0013525776,0.004281968,0.12410532],"category_scores_gemma":[0.0072930674,0.0005622129,0.0007551756,0.00048947835,0.005102933,0.0070915925,0.009984013,0.009858482,0.039435323],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006343903,0.00008513225,0.00082645036,0.00011137869,0.000011352265,0.0017946073,0.031222679,0.000015193978,0.0008958872,0.0075724074,0.9147271,0.042674348],"study_design_scores_gemma":[0.000005349471,0.00003122839,0.00047832867,0.00014580078,0.0000075947746,0.0009962834,0.034925908,0.000013950744,0.000141707,0.00074961386,0.9624831,0.00002115561],"about_ca_topic_score_codex":0.011666094,"about_ca_topic_score_gemma":0.030656151,"teacher_disagreement_score":0.12410532,"about_ca_system_score_codex":0.0020895456,"about_ca_system_score_gemma":0.0029708673,"threshold_uncertainty_score":0.41517365},"labels":[],"label_agreement":null},{"id":"W4407970844","doi":"10.7202/1116274ar","title":"Introduction. Music in Difficult Times: Singing, Healing, Resisting","year":2024,"lang":"en","type":"article","venue":"Circuit Musiques contemporaines","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Singing; Psychology; Art; Acoustics; Physics","score_opus":0.04244951073779637,"score_gpt":0.23104748469156053,"score_spread":0.18859797395376415,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4407970844","genre_codex":"other","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"editorial","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0063991225,0.21221603,0.0013206507,0.2130412,0.07961967,0.00008413012,0.0011579344,0.00018867657,0.48597264],"genre_scores_gemma":[0.08228928,0.11675739,0.0021653417,0.10868456,0.07408472,0.00033183827,0.0009224379,0.00023284834,0.6145316],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996251,0.00008047147,0.000022514449,0.00009135028,0.00012736583,0.000053220156],"domain_scores_gemma":[0.99916506,0.00045495265,0.000043468826,0.000023424886,0.00016157268,0.00015151317],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005266091,0.0005020162,0.00032631133,0.00088036846,0.0033363523,0.0040640826,0.00055940537,0.003365848,0.045996536],"category_scores_gemma":[0.0016677935,0.000180636,0.00017613043,0.0011505329,0.0024700323,0.002390896,0.0013781834,0.0038925626,0.010439991],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000057900932,0.00005572124,0.0007163294,0.0008259578,0.000004845161,0.000112188565,0.0086677885,0.00004832363,0.00032303957,0.08946918,0.7822851,0.11743368],"study_design_scores_gemma":[0.0000047722788,0.000019950676,0.0014666246,0.00037161235,0.0000019887466,0.00018461172,0.0023076346,0.000012489113,0.000034515066,0.0029793032,0.9926098,0.0000066567445],"about_ca_topic_score_codex":0.0067798356,"about_ca_topic_score_gemma":0.015262311,"teacher_disagreement_score":0.045996536,"about_ca_system_score_codex":0.001342009,"about_ca_system_score_gemma":0.001624735,"threshold_uncertainty_score":0.1538738},"labels":[],"label_agreement":null},{"id":"W4408046454","doi":"10.3138/seminar.61.1.6","title":"Collecting for the Basement? Colonial Sound Recordings, Academic Archives, and Contemporary Decolonization","year":2025,"lang":"en","type":"article","venue":"Seminar A Journal of Germanic Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Decolonization; Colonialism; Basement; Sound (geography); History; Archaeology; Political science; Geology; Oceanography; Law","score_opus":0.09058574329856352,"score_gpt":0.3309784276342792,"score_spread":0.2403926843357157,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4408046454","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.81052613,0.0060313824,0.0004021081,0.020700414,0.00023614762,0.000020206724,0.0002450148,0.0000453313,0.16179335],"genre_scores_gemma":[0.9913338,0.0011669592,0.00009683241,0.00037201095,0.00007652714,0.0000050054196,0.000036658326,0.000026828657,0.0068853516],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99789524,0.0008230625,0.000121129364,0.00019125073,0.00028524906,0.00068400026],"domain_scores_gemma":[0.995288,0.001892315,0.0010391433,0.0005509577,0.0007755639,0.00045403582],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0036201787,0.00020870412,0.0002718188,0.0029291052,0.006674461,0.009215424,0.00084940746,0.0009002185,0.008239628],"category_scores_gemma":[0.011638341,0.00021183628,0.00008982304,0.0063440716,0.013087066,0.005060025,0.0033562721,0.0019047263,0.0005843407],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014811325,0.000061750325,0.020164559,0.00019057808,0.000012621084,0.0005026933,0.75034535,0.00008046107,0.0010369142,0.13011488,0.014133977,0.08320814],"study_design_scores_gemma":[0.000010340156,0.000027920101,0.07401466,0.0003363851,0.000014741779,0.00019820052,0.7716374,0.00005329008,0.0004137187,0.0035154792,0.14975269,0.000025223277],"about_ca_topic_score_codex":0.06748655,"about_ca_topic_score_gemma":0.1463072,"teacher_disagreement_score":0.06748655,"about_ca_system_score_codex":0.0048514996,"about_ca_system_score_gemma":0.0050417148,"threshold_uncertainty_score":0.13418746},"labels":[],"label_agreement":null},{"id":"W4408114984","doi":"10.5771/9781461634089","title":"Punk Record Labels and the Struggle for Autonomy","year":2008,"lang":"en","type":"book","venue":"Lexington Books","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":33,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Punk; Autonomy; Political science; Advertising; Media studies; Art; History; Sociology; Art history; Law; Business","score_opus":0.03387147370816725,"score_gpt":0.19939190509438964,"score_spread":0.16552043138622238,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4408114984","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.04446862,0.0041931504,0.0017850398,0.008667317,0.0003754785,0.000020031823,0.000024581263,0.00008714049,0.9403787],"genre_scores_gemma":[0.654196,0.0032581324,0.0011518708,0.001566143,0.000297185,0.00006873583,0.000056731707,0.00013487658,0.33927026],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981578,0.00058689207,0.00003817652,0.00018314282,0.0006828544,0.00035111784],"domain_scores_gemma":[0.9988819,0.0005019645,0.00010231099,0.00014419467,0.00010713953,0.00026255532],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010583587,0.0002593372,0.00025738947,0.00052199216,0.009078724,0.006643819,0.00087438803,0.0013032872,0.0063530714],"category_scores_gemma":[0.002018695,0.00029761522,0.00014085126,0.000759364,0.020356113,0.0056652804,0.0055210427,0.0045936718,0.0012782107],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000026170956,0.000052378487,0.0006484497,0.00004950944,0.0000015723806,0.00030002615,0.119947545,0.00010312142,0.00026072693,0.793938,0.03879411,0.045878544],"study_design_scores_gemma":[0.000010419802,0.000026075937,0.0013122364,0.00014350537,0.0000014485132,0.0002745285,0.029024957,0.00009590017,0.000093651215,0.05061469,0.91838896,0.000013590047],"about_ca_topic_score_codex":0.0071255127,"about_ca_topic_score_gemma":0.013814848,"teacher_disagreement_score":0.009078724,"about_ca_system_score_codex":0.0052550416,"about_ca_system_score_gemma":0.002992641,"threshold_uncertainty_score":0.038128197},"labels":[],"label_agreement":null},{"id":"W4408211389","doi":"10.1558/pomh.27675","title":"‘A whisky for the fallen’","year":2025,"lang":"en","type":"article","venue":"Popular Music History","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Reinterpretation; Dictatorship; Musical; Masculinity; Period (music); Femininity; Narrative; Context (archaeology); Identity (music); Politics; National identity; History; Literature; Gender studies; Sociology; Art; Aesthetics; Political science; Law; Archaeology","score_opus":0.06064250229008932,"score_gpt":0.21668543587883027,"score_spread":0.15604293358874094,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4408211389","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.38647485,0.026148144,0.009587555,0.07271509,0.0029555792,0.00012046607,0.00025726645,0.00028482627,0.5014562],"genre_scores_gemma":[0.923627,0.0016964533,0.0017940201,0.0028830618,0.0002283647,0.000049472044,0.000052448297,0.00014823303,0.069520965],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978782,0.0011903482,0.000058400037,0.0002681288,0.00026890263,0.00033602782],"domain_scores_gemma":[0.9988152,0.00023543231,0.00017104576,0.0001860928,0.0003327355,0.00025960067],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0025518213,0.0005471621,0.0005470797,0.00092457054,0.013661545,0.0060314806,0.0008171545,0.0013885556,0.010441735],"category_scores_gemma":[0.0051136953,0.00027660004,0.0002878332,0.0008504413,0.014315631,0.0047901203,0.0044804043,0.0031541141,0.0013361329],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018113684,0.000027961065,0.006456043,0.00025449652,0.000022705299,0.0009271495,0.6582465,0.00007858922,0.0019372979,0.2437644,0.027215924,0.060887888],"study_design_scores_gemma":[0.000010856993,0.000082108054,0.009406924,0.00067031104,0.000011971954,0.00064708944,0.22887903,0.00014992262,0.0005238471,0.013515555,0.74606335,0.000038997732],"about_ca_topic_score_codex":0.03797822,"about_ca_topic_score_gemma":0.07532884,"teacher_disagreement_score":0.03797822,"about_ca_system_score_codex":0.004084233,"about_ca_system_score_gemma":0.0019867509,"threshold_uncertainty_score":0.075514376},"labels":[],"label_agreement":null},{"id":"W4408279584","doi":"10.1525/jrpc.2025.aa109","title":"Punk Rock Preachers, Straight Edge, and the Prophetic Imagination","year":2025,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Punk; Enhanced Data Rates for GSM Evolution; Art; Aesthetics; Philosophy; Art history; Sociology; Artificial intelligence; Computer science","score_opus":0.008778434437129444,"score_gpt":0.2191255162592752,"score_spread":0.21034708182214576,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4408279584","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.33448082,0.004010043,0.006222482,0.019960625,0.0007960615,0.000025821824,0.000010277798,0.00006963135,0.6344242],"genre_scores_gemma":[0.98503137,0.0003693027,0.0006772612,0.00073298294,0.00005999238,0.00000865947,0.000004130152,0.000021962798,0.013094323],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9969975,0.0020979373,0.000034822377,0.0001773608,0.00031438505,0.00037805768],"domain_scores_gemma":[0.99860746,0.00069094927,0.00015167332,0.00013171915,0.00013403097,0.00028424],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0024589112,0.00044288757,0.00024264937,0.00096273166,0.011943946,0.007951611,0.0007618164,0.0018191411,0.00460442],"category_scores_gemma":[0.003359703,0.00025692658,0.0001819607,0.000489764,0.050142914,0.0050757634,0.006565752,0.0042065782,0.00059206516],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000096470474,0.00006224065,0.0013902265,0.000103916456,0.0000053794847,0.00057710975,0.50290185,0.00009479196,0.00080849574,0.46086434,0.009027179,0.024067974],"study_design_scores_gemma":[0.000016357495,0.000118788266,0.0020656171,0.000300804,0.000008571462,0.00082535256,0.7014856,0.00026118822,0.00050664943,0.083332725,0.21104474,0.000033597124],"about_ca_topic_score_codex":0.0021646495,"about_ca_topic_score_gemma":0.0053012134,"teacher_disagreement_score":0.011943946,"about_ca_system_score_codex":0.0015270108,"about_ca_system_score_gemma":0.0012250977,"threshold_uncertainty_score":0.01540333},"labels":[],"label_agreement":null},{"id":"W4408317226","doi":"10.46580/cx48063","title":"A Queer Orientation to Pop: Song Form in the Music of Laura Nyro","year":2025,"lang":"en","type":"article","venue":"Context","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Queer; Orientation (vector space); Popular music; Sexual orientation; Art; Visual arts; Sociology; Gender studies; Geometry; Mathematics","score_opus":0.030932063660959557,"score_gpt":0.23845488273480944,"score_spread":0.2075228190738499,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4408317226","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.29476386,0.0040070163,0.0055427235,0.01825462,0.000617297,0.00004649191,0.00006225145,0.000048305596,0.6766573],"genre_scores_gemma":[0.96361417,0.00085003854,0.00055655517,0.0007957796,0.00011141825,0.000017864531,0.000011079262,0.000041045358,0.034002174],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992291,0.0005298972,0.000009389972,0.000060293027,0.00007632285,0.000094953895],"domain_scores_gemma":[0.9993936,0.0003230903,0.00007534154,0.00005567286,0.000058148737,0.000094218165],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00090822275,0.0002923902,0.00015708733,0.00074824115,0.008585299,0.0057081585,0.000503805,0.0008523238,0.0040476774],"category_scores_gemma":[0.0020217183,0.00014853492,0.0001754984,0.00041139565,0.025561733,0.0038567262,0.003354773,0.0022701996,0.00028755426],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000685357,0.000015175344,0.0019375457,0.00005410334,0.000004878536,0.000778448,0.6203696,0.00013577577,0.0011173346,0.35852247,0.0052617905,0.011734417],"study_design_scores_gemma":[0.000017510976,0.00006436006,0.007743995,0.00032126016,0.000013822078,0.0013519297,0.59032476,0.0003614422,0.0012941008,0.033582274,0.36487707,0.000047486057],"about_ca_topic_score_codex":0.025286995,"about_ca_topic_score_gemma":0.08396127,"teacher_disagreement_score":0.025286995,"about_ca_system_score_codex":0.0034842005,"about_ca_system_score_gemma":0.0010193562,"threshold_uncertainty_score":0.050279617},"labels":[],"label_agreement":null},{"id":"W4408576483","doi":"10.1108/jmh-09-2024-0146","title":"Storying business histories: a Canadian Alouette woman’s spiral through space and time","year":2025,"lang":"en","type":"article","venue":"Journal of Management History","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Cape Breton University","funders":"","keywords":"Spiral (railway); Space (punctuation); Sociology; Spacetime; Philosophy; Physics; Mathematics; Mathematical analysis","score_opus":0.015629761748340038,"score_gpt":0.1834029839103928,"score_spread":0.16777322216205276,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4408576483","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.74473655,0.0043560606,0.0033228088,0.046737555,0.0005715407,0.00016449888,0.000757476,0.00016902639,0.19918446],"genre_scores_gemma":[0.9452693,0.002255452,0.0016327273,0.002043938,0.00005728209,0.00004615088,0.00014042557,0.00008871059,0.048466135],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99683976,0.0009829882,0.00004456297,0.00033832525,0.0007832298,0.0010111735],"domain_scores_gemma":[0.99576616,0.0012824129,0.00026273297,0.000127742,0.0011511146,0.0014099602],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002722967,0.0008471685,0.00050152483,0.0034810698,0.057863016,0.011442823,0.0026345667,0.002753093,0.007657841],"category_scores_gemma":[0.005997936,0.00061906263,0.00030464988,0.004504677,0.02604753,0.004946725,0.0056709354,0.0045837965,0.00084588473],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023107643,0.0000079269685,0.0017716376,0.000022794913,0.0000021104408,0.0012957493,0.9733008,0.000055700548,0.00030305228,0.012594432,0.005879236,0.0047434047],"study_design_scores_gemma":[0.0000012374845,0.000009947892,0.0012047247,0.00006894401,0.000003885825,0.00042659705,0.8731631,0.00007535495,0.00023138686,0.00065101025,0.12413983,0.000023993096],"about_ca_topic_score_codex":0.9521063,"about_ca_topic_score_gemma":0.97431266,"teacher_disagreement_score":0.076590635,"about_ca_system_score_codex":0.076590635,"about_ca_system_score_gemma":0.058562536,"threshold_uncertainty_score":0.55570656},"labels":[],"label_agreement":null},{"id":"W4408618218","doi":"10.5040/9798881815059","title":"Hip-Hop en Français","year":2020,"lang":"en","type":"book","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":9,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Hop (telecommunications); Computer science; Computer network","score_opus":0.024172139155972598,"score_gpt":0.17697251193980304,"score_spread":0.15280037278383043,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4408618218","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08317425,0.07760411,0.0010872559,0.028104257,0.012903471,0.00009824567,0.0028289114,0.00037500277,0.7938246],"genre_scores_gemma":[0.34773734,0.059995074,0.001363909,0.0043518525,0.001614819,0.0001654229,0.0014831836,0.00022087467,0.58306754],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99902093,0.00020118647,0.000035225425,0.00008472856,0.0003247417,0.0003331419],"domain_scores_gemma":[0.9993642,0.000105421685,0.000056903773,0.000023853252,0.00023496267,0.00021461112],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00080962776,0.001149052,0.0003252364,0.0014237338,0.004493953,0.0049691955,0.00050012703,0.0014607114,0.04229254],"category_scores_gemma":[0.0012957791,0.00022586514,0.00042922463,0.0016869304,0.0013385249,0.0011622771,0.0016088256,0.002360541,0.005170455],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002117276,0.00018645894,0.0076549132,0.00095345464,0.000083291125,0.0034083,0.011710344,0.00085369445,0.0019050252,0.2374676,0.49065208,0.24491315],"study_design_scores_gemma":[0.000010832191,0.000018965635,0.0066320803,0.00021043228,0.0000048472193,0.00034482774,0.0024392046,0.00005212355,0.00017200175,0.00046912496,0.9896277,0.000017858583],"about_ca_topic_score_codex":0.6156623,"about_ca_topic_score_gemma":0.5281581,"teacher_disagreement_score":0.6156623,"about_ca_system_score_codex":0.012811417,"about_ca_system_score_gemma":0.008345097,"threshold_uncertainty_score":0.7732023},"labels":[],"label_agreement":null},{"id":"W4408787785","doi":"10.1111/1468-0424.12838","title":"Putting the Femme in Feminist: Trans Feminism and the ‘Male Lesbian’ in the American Second Wave","year":2025,"lang":"en","type":"article","venue":"Gender & History","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Lesbian; Feminism; Gender studies; Sociology","score_opus":0.05527020090795629,"score_gpt":0.21853418797685603,"score_spread":0.16326398706889975,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4408787785","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.35450795,0.015315688,0.0028895163,0.08929125,0.0014047049,0.000027787437,0.000033717784,0.000061187566,0.53646815],"genre_scores_gemma":[0.9593976,0.0014665305,0.00038080904,0.003432605,0.0002532349,0.000019846737,0.0000067394067,0.000027402551,0.035015225],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9977859,0.0015945536,0.000019368837,0.00009950452,0.00022530246,0.00027530733],"domain_scores_gemma":[0.99884474,0.00063571153,0.00009292248,0.000060755632,0.00013268326,0.0002331924],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0032009142,0.00035450276,0.0001835093,0.0013148072,0.0133633185,0.006823302,0.00046733697,0.0019278555,0.0050498517],"category_scores_gemma":[0.0016282278,0.00017841873,0.00011775289,0.0007875564,0.028769026,0.0031181537,0.0032649906,0.003440436,0.00027092593],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000032720895,0.000031059124,0.0016370225,0.00003688489,0.0000022488323,0.00037496377,0.5892717,0.000034836292,0.0005619543,0.38392207,0.009690207,0.014404322],"study_design_scores_gemma":[0.000006416906,0.000043229255,0.0034730881,0.0003405706,0.0000044007297,0.00043326247,0.57350796,0.00013572373,0.0005032592,0.019460205,0.4020691,0.000022816917],"about_ca_topic_score_codex":0.028405925,"about_ca_topic_score_gemma":0.06205498,"teacher_disagreement_score":0.028405925,"about_ca_system_score_codex":0.004609852,"about_ca_system_score_gemma":0.002616022,"threshold_uncertainty_score":0.056481183},"labels":[],"label_agreement":null},{"id":"W4408846984","doi":"10.7202/1116725ar","title":"Les voyages de « Despacito ». La circulation des musiques populaires à l’ère du <i>streaming</i>","year":2024,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.03154037993856292,"score_gpt":0.2381901455851247,"score_spread":0.20664976564656176,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4408846984","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3292077,0.01098185,0.0040645325,0.042662557,0.0007296881,0.00006354831,0.00028072888,0.00008677801,0.6119226],"genre_scores_gemma":[0.9339629,0.0025601173,0.00072068046,0.0021876928,0.00023653844,0.000050726012,0.000081984166,0.000100634345,0.060098767],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9973476,0.0011800798,0.00007625124,0.00045754807,0.00054862536,0.00039000166],"domain_scores_gemma":[0.9976802,0.00096296717,0.00038737897,0.00019527516,0.0003387584,0.0004354314],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023243332,0.00033310376,0.0002831468,0.0015446933,0.008146441,0.009445752,0.0005733171,0.0013103724,0.01500566],"category_scores_gemma":[0.0050492864,0.00021734145,0.00026316405,0.0022508565,0.01603946,0.0047425856,0.0055220067,0.0025914821,0.0014223855],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013814686,0.000025389754,0.011311835,0.0003205178,0.000016812808,0.00029498548,0.38015562,0.000097964905,0.0012621398,0.53519434,0.0078019677,0.0633802],"study_design_scores_gemma":[0.000024865454,0.00008173778,0.030253047,0.0007925925,0.00001628253,0.00033157322,0.26359725,0.00014788621,0.000625395,0.037755653,0.66633403,0.000039701736],"about_ca_topic_score_codex":0.029776836,"about_ca_topic_score_gemma":0.0435662,"teacher_disagreement_score":0.029776836,"about_ca_system_score_codex":0.0053369342,"about_ca_system_score_gemma":0.0054049385,"threshold_uncertainty_score":0.059207022},"labels":[],"label_agreement":null},{"id":"W4409261881","doi":"10.3828/extr.2025.6","title":"Kinship Relations and Decolonial Solidarity in Chelsea Vowel’s Métis Futurism","year":2025,"lang":"en","type":"article","venue":"Extrapolation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Kinship; Solidarity; Genealogy; Sociology; Gender studies; History; Art; Anthropology; Political science; Politics; Law","score_opus":0.015566110646690745,"score_gpt":0.2336969162458352,"score_spread":0.21813080559914444,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4409261881","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.78574914,0.0026832486,0.0014842065,0.011554941,0.00021746515,0.000019803476,0.000031312786,0.000026762076,0.1982331],"genre_scores_gemma":[0.98715776,0.00022760568,0.00012921482,0.00027179357,0.000031574837,0.0000073824312,0.0000052363857,0.000008889605,0.012160533],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99915624,0.00041583093,0.000019483054,0.00007629414,0.00011750479,0.00021451859],"domain_scores_gemma":[0.9994261,0.00026237365,0.00008246274,0.000032151704,0.000040373718,0.0001564859],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009010976,0.00022805223,0.00023410546,0.00045194497,0.0134765785,0.0044923215,0.00039403283,0.00092130416,0.0034396532],"category_scores_gemma":[0.0017340801,0.00018305214,0.0000804539,0.00033269814,0.018717235,0.0023348436,0.006118016,0.0019435661,0.00026791645],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000033513392,0.000012429934,0.0014108298,0.00004675862,0.00000266085,0.00070421107,0.90359324,0.00003385909,0.0008931081,0.08465563,0.0021891072,0.006424745],"study_design_scores_gemma":[0.000014188178,0.00008241154,0.009406849,0.00021680456,0.0000070197666,0.0011366553,0.69434965,0.0001597064,0.0008220546,0.01652758,0.27724686,0.000030210207],"about_ca_topic_score_codex":0.013374175,"about_ca_topic_score_gemma":0.047787387,"teacher_disagreement_score":0.0134765785,"about_ca_system_score_codex":0.0036733642,"about_ca_system_score_gemma":0.0013904567,"threshold_uncertainty_score":0.026652217},"labels":[],"label_agreement":null},{"id":"W4409268006","doi":"10.3390/rel16040472","title":"Fun, Trendy, Upbeat: Musical Tastes, Social Conditioning, and Contemporary Worship Music for Kids","year":2025,"lang":"en","type":"article","venue":"Religions","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Ottawa; Redeemer University","funders":"","keywords":"Musical; Worship; Psychology; Conditioning; Aesthetics; Art; Visual arts; Theology; Philosophy; Mathematics; Statistics","score_opus":0.0568289172483935,"score_gpt":0.25919544076967155,"score_spread":0.20236652352127804,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4409268006","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9953431,0.00022674615,0.00010871465,0.00010846539,0.000004832022,0.0000021218998,0.000015291527,0.0000021627047,0.0041885665],"genre_scores_gemma":[0.9990915,0.00018284605,0.00019621756,0.000037899066,0.00000443116,0.000002904632,0.000011272013,0.0000026485643,0.00047028039],"study_design_codex":"observational","study_design_gemma":"qualitative","domain_scores_codex":[0.999782,0.000057245612,0.000011346674,0.000045109104,0.000055337605,0.00004904309],"domain_scores_gemma":[0.9990202,0.00027105852,0.00042264172,0.000054444132,0.00008462054,0.0001468855],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00052925973,0.00013595022,0.00013864366,0.0004697362,0.00078367733,0.0015583067,0.00018842232,0.00029733247,0.002750982],"category_scores_gemma":[0.0018612233,0.00017560068,0.00012566194,0.00029387337,0.002425625,0.0007491059,0.0012029846,0.0005797131,0.00015923924],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022289167,0.00021445098,0.7367221,0.00028660378,0.00009087971,0.0012003774,0.20220923,0.0000895416,0.010694909,0.00504105,0.00075629057,0.042471725],"study_design_scores_gemma":[0.0000038481708,0.000087198096,0.8919813,0.000057122947,0.000021665759,0.00064933527,0.102455094,0.00003913495,0.00066344626,0.00055968243,0.0034657647,0.000016461265],"about_ca_topic_score_codex":0.0040934607,"about_ca_topic_score_gemma":0.015906831,"teacher_disagreement_score":0.0040934607,"about_ca_system_score_codex":0.00036722142,"about_ca_system_score_gemma":0.00025702186,"threshold_uncertainty_score":0.009203017},"labels":[],"label_agreement":null},{"id":"W4409273209","doi":"10.1353/vcr.2024.a956304","title":"Breathing the \"Air of Reality\" in Henry James's In the Cage","year":2024,"lang":"en","type":"article","venue":"Victorian review","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Cage; Breathing; John Cage; History; Psychoanalysis; Art; Art history; Psychology; Medicine; Anatomy; Mathematics; Performance art; Combinatorics","score_opus":0.040665067797938985,"score_gpt":0.26674616666853945,"score_spread":0.22608109887060046,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4409273209","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0008533527,0.9870357,0.00004533576,0.00309791,0.0007204955,0.000004332965,0.000007624757,0.000002051205,0.00823316],"genre_scores_gemma":[0.017745761,0.9731339,0.00007914947,0.0018714465,0.0010357823,0.000008031891,0.000013763025,0.000004934549,0.0061071664],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991297,0.0004119757,0.000051728966,0.00008383239,0.00025831847,0.000064454536],"domain_scores_gemma":[0.9994031,0.00038622037,0.00007495933,0.000020619831,0.00007235285,0.000042824784],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001362773,0.00035371367,0.0006000669,0.0012049386,0.0009479609,0.003150566,0.00056354614,0.0016060781,0.004860064],"category_scores_gemma":[0.0020134393,0.00020314727,0.00019103836,0.0016066426,0.004003922,0.002082614,0.0013357856,0.0020275714,0.0009459719],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00031354345,0.000082266575,0.00040955227,0.028417315,0.00010275068,0.0003920679,0.016222956,0.00022256165,0.0012401566,0.13944587,0.14523652,0.6679144],"study_design_scores_gemma":[0.000008679129,0.00004206868,0.00095281546,0.004611649,0.000019273126,0.00016364963,0.0015919599,0.000006267961,0.00012965941,0.001625449,0.9908386,0.000009873195],"about_ca_topic_score_codex":0.010431836,"about_ca_topic_score_gemma":0.020168304,"teacher_disagreement_score":0.010431836,"about_ca_system_score_codex":0.00255829,"about_ca_system_score_gemma":0.0029757272,"threshold_uncertainty_score":0.020742238},"labels":[],"label_agreement":null},{"id":"W4409477595","doi":"10.2979/18539.0","title":"Kid Jensen","year":2021,"lang":"en","type":"book","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.033116858524199794,"score_gpt":0.1694707947217582,"score_spread":0.1363539361975584,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4409477595","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0036019608,0.0074970475,0.0009925378,0.029714482,0.010315536,0.000063963045,0.0011249384,0.0008581941,0.9458313],"genre_scores_gemma":[0.0095965965,0.0028484121,0.0005616733,0.009080175,0.00034257094,0.00003706968,0.0004330544,0.00022255407,0.9768778],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992964,0.00008939533,0.000028503251,0.0001930729,0.00018819666,0.00020443718],"domain_scores_gemma":[0.99889755,0.00007837676,0.000051162224,0.000046603996,0.000249684,0.0006765839],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00041326057,0.0006848524,0.0003912001,0.00083854696,0.005417244,0.0041787405,0.00093756476,0.0016066135,0.48413214],"category_scores_gemma":[0.0019387383,0.0003997371,0.00027525576,0.00048318514,0.0007953653,0.002884686,0.0036122375,0.0024883163,0.21604872],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017175516,0.000022737833,0.00038591548,0.00006398835,0.0000017311868,0.00034136607,0.0005157527,0.000013377543,0.000116263196,0.0053599095,0.95931387,0.03384789],"study_design_scores_gemma":[0.0000016310423,0.00000732459,0.00027828387,0.000040162533,0.0000011633889,0.00039531692,0.0005831698,0.000005712933,0.0000358449,0.00026497926,0.99838185,0.000004511585],"about_ca_topic_score_codex":0.012976298,"about_ca_topic_score_gemma":0.045673303,"teacher_disagreement_score":0.48413214,"about_ca_system_score_codex":0.0016554489,"about_ca_system_score_gemma":0.0032762978,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4409707931","doi":"10.1080/02722011.2024.2446032","title":"Statesman of the Piano: Jazz, Race, and History in the Life of Lou Hooper","year":2024,"lang":"en","type":"article","venue":"The American Review of Canadian Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Jazz; Piano; Race (biology); Art; Gender studies; History; Art history; Literature; Sociology","score_opus":0.04849728662785738,"score_gpt":0.2523202200628288,"score_spread":0.2038229334349714,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4409707931","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.016875373,0.6252928,0.00027085867,0.23816589,0.005530411,0.000013343298,0.00015302842,0.000028702258,0.1136696],"genre_scores_gemma":[0.476217,0.35366786,0.00056162954,0.035417777,0.0035917065,0.00004227317,0.00013253932,0.00009080887,0.1302784],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991555,0.00038131553,0.000020453206,0.000055436416,0.00022557557,0.0001616385],"domain_scores_gemma":[0.9980812,0.0006911241,0.00014173746,0.00003941842,0.0005655547,0.00048108603],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019698932,0.00018630765,0.0002619387,0.0013117047,0.012360909,0.0051096627,0.00046345365,0.0009608027,0.008869934],"category_scores_gemma":[0.0042504496,0.00016469379,0.00011088025,0.0024710041,0.009925677,0.0036290693,0.0014355867,0.002088954,0.0006182182],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007970327,0.000015282012,0.0041796574,0.0006079779,0.000016653137,0.00029026336,0.08136889,0.00003678747,0.00013631833,0.095776275,0.690139,0.12735312],"study_design_scores_gemma":[0.0000062612608,0.000010590781,0.010219693,0.0017018671,0.000015491716,0.0001167714,0.08307899,0.000010842761,0.000057092428,0.0043396824,0.9004261,0.000016569811],"about_ca_topic_score_codex":0.6304879,"about_ca_topic_score_gemma":0.8908458,"teacher_disagreement_score":0.36951208,"about_ca_system_score_codex":0.009621486,"about_ca_system_score_gemma":0.02197679,"threshold_uncertainty_score":0.7433764},"labels":[],"label_agreement":null},{"id":"W4409985682","doi":"10.32396/usurj.v10i1.804","title":"\"Here Comes the Red,\" \"Beanie,\" \"Us,\" and \"Dance, Dance, Baby\"","year":2025,"lang":"en","type":"article","venue":"USURJ University of Saskatchewan Undergraduate Research Journal","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dance; Art; Visual arts","score_opus":0.03173989232689116,"score_gpt":0.25081559546897336,"score_spread":0.2190757031420822,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4409985682","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10160951,0.0054013897,0.01745991,0.041273527,0.008170588,0.00013660121,0.0003402584,0.0010511318,0.8245572],"genre_scores_gemma":[0.60565174,0.003817197,0.00895487,0.0117430715,0.00070673897,0.00011493456,0.00015744189,0.0006519014,0.36820203],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991454,0.0004531212,0.000015280986,0.00009363338,0.00014073607,0.0001517805],"domain_scores_gemma":[0.9992461,0.00017284566,0.00006408899,0.00009826777,0.00013286184,0.00028594048],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011289681,0.00092017243,0.00028605034,0.00089676754,0.009144326,0.0060368576,0.000688076,0.0012159334,0.016069138],"category_scores_gemma":[0.0022672594,0.00023275074,0.00040688773,0.00059704797,0.012753621,0.0036662368,0.0041755685,0.003970736,0.0043797763],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000113829716,0.00006164792,0.0040520485,0.00037080797,0.000030907013,0.0009828212,0.42902946,0.00012325759,0.0043924334,0.28375754,0.20933995,0.06774534],"study_design_scores_gemma":[0.000010486216,0.00006443938,0.0037643805,0.00047385765,0.000016363538,0.0009013553,0.20223173,0.0001555698,0.0010221981,0.010196418,0.78112113,0.00004213912],"about_ca_topic_score_codex":0.02270102,"about_ca_topic_score_gemma":0.062488865,"teacher_disagreement_score":0.02270102,"about_ca_system_score_codex":0.0023835984,"about_ca_system_score_gemma":0.0025072228,"threshold_uncertainty_score":0.053756654},"labels":[],"label_agreement":null},{"id":"W4410194266","doi":"10.1558/jazz.29442","title":"Shifting swing","year":2025,"lang":"en","type":"article","venue":"Jazz Research Journal","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Queen's University","funders":"","keywords":"Swing; Visual arts; Art","score_opus":0.1755036811171509,"score_gpt":0.39194326287685677,"score_spread":0.21643958175970587,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4410194266","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1974529,0.0018706206,0.006026155,0.009426105,0.0024248906,0.0000927372,0.00014961639,0.00015747081,0.7823995],"genre_scores_gemma":[0.8098687,0.0012109476,0.001303612,0.0024335177,0.0005092934,0.000040747804,0.000103181796,0.00014682458,0.18438317],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99924904,0.00017047276,0.000027909924,0.00015124584,0.00018984957,0.00021142542],"domain_scores_gemma":[0.9996146,0.000051710464,0.000038065034,0.000061585284,0.00008232663,0.00015177795],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00079353247,0.0002536398,0.00018953806,0.0009060329,0.005904152,0.0034055552,0.0004824196,0.000749675,0.027761484],"category_scores_gemma":[0.0018863586,0.00013238855,0.00029380247,0.00072877825,0.004608476,0.0028122652,0.0060916035,0.0013975698,0.0052672466],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00038074394,0.00011519762,0.012841365,0.0002792314,0.00002252778,0.0012581428,0.12679198,0.00025939124,0.0071539297,0.45674512,0.04854004,0.34561238],"study_design_scores_gemma":[0.000014286465,0.00013375016,0.011435089,0.00018526634,0.000008456915,0.00051312224,0.051127225,0.00011161972,0.00090733136,0.026796682,0.9087465,0.000020634327],"about_ca_topic_score_codex":0.0030163398,"about_ca_topic_score_gemma":0.007915409,"teacher_disagreement_score":0.027761484,"about_ca_system_score_codex":0.0022281725,"about_ca_system_score_gemma":0.00089013425,"threshold_uncertainty_score":0.09287143},"labels":[],"label_agreement":null},{"id":"W4410313962","doi":"10.32920/ifmj.v4i1-2.2034","title":"An Ethnography of Collaboration in the Production of the Polyphonic Documentary ‘Can You Feel the Heat?’","year":2024,"lang":"en","type":"article","venue":"Interactive Film and Media Journal","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Polyphony; Ethnography; Production (economics); Sociology; Linguistics; Aesthetics; Art; Literature; Anthropology; Philosophy; Economics","score_opus":0.014311796560583736,"score_gpt":0.2623310295944832,"score_spread":0.24801923303389944,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4410313962","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.94367826,0.0015405401,0.016938316,0.0029434226,0.00022560374,0.0008433617,0.00034634347,0.00012602843,0.033358157],"genre_scores_gemma":[0.98559743,0.0008357985,0.005888052,0.000563085,0.00008576461,0.0005412303,0.00013966861,0.00013379613,0.0062152096],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.968764,0.025057796,0.0007292851,0.0019051094,0.0014204567,0.0021233093],"domain_scores_gemma":[0.9487166,0.04428322,0.0014746742,0.0017939965,0.0016278105,0.0021037227],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.014704297,0.001292767,0.0011616384,0.0032376014,0.018193819,0.00779955,0.0028229293,0.0033344768,0.0053125024],"category_scores_gemma":[0.028612413,0.0010797159,0.00086736056,0.0026610682,0.017944787,0.008346191,0.010203755,0.0050359746,0.00079384143],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000029187973,0.00004559386,0.0006428499,0.00008573007,0.0000050191497,0.0009117946,0.99292374,0.00003873263,0.0005203247,0.0017450248,0.00037690884,0.0026751028],"study_design_scores_gemma":[0.000014843726,0.00009959539,0.0016704903,0.0002693891,0.000011432718,0.0007426929,0.9690475,0.00017639797,0.0006390176,0.0012677031,0.02602768,0.000033191074],"about_ca_topic_score_codex":0.0067808796,"about_ca_topic_score_gemma":0.014079213,"teacher_disagreement_score":0.018193819,"about_ca_system_score_codex":0.0043580825,"about_ca_system_score_gemma":0.0032805547,"threshold_uncertainty_score":0.07776469},"labels":[],"label_agreement":null},{"id":"W4410642354","doi":"10.14325/mississippi/9781496817518.001.0001","title":"The Life and Music of Booker \"Bukka\" White","year":2024,"lang":"en","type":"book","venue":"University Press of Mississippi eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"White (mutation); Art; Biology; Genetics","score_opus":0.024552033113893902,"score_gpt":0.16455608409826236,"score_spread":0.14000405098436847,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4410642354","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.026108323,0.0464331,0.0018449135,0.04355241,0.026646625,0.00006891476,0.00059012993,0.0004232167,0.85433245],"genre_scores_gemma":[0.05678025,0.008894406,0.000702334,0.007062822,0.0035103543,0.00004518634,0.0002656461,0.0004186204,0.92232037],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995565,0.00006729564,0.000011969028,0.000099398676,0.00017746349,0.00008747292],"domain_scores_gemma":[0.9994209,0.00010730893,0.000050335762,0.000028076945,0.00019712247,0.0001963139],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00032979317,0.00057597866,0.00025672186,0.000662205,0.004507984,0.0036594553,0.00044440135,0.0008109331,0.030385109],"category_scores_gemma":[0.0014675076,0.0002599732,0.00011286236,0.00045380607,0.0015855506,0.0022057153,0.0017522826,0.0024093438,0.014967748],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005036292,0.000019230914,0.00054337777,0.00007969001,0.00000508826,0.00030028782,0.008393224,0.00003744725,0.0015999558,0.010563179,0.9402845,0.038123686],"study_design_scores_gemma":[0.0000011698108,0.0000049145588,0.0006831931,0.000045709206,9.271933e-7,0.0001462219,0.0016047363,0.000011307879,0.00021657898,0.00022292754,0.99705756,0.00000474215],"about_ca_topic_score_codex":0.012421843,"about_ca_topic_score_gemma":0.022208907,"teacher_disagreement_score":0.030385109,"about_ca_system_score_codex":0.0013595284,"about_ca_system_score_gemma":0.0008472956,"threshold_uncertainty_score":0.10164833},"labels":[],"label_agreement":null},{"id":"W4410644270","doi":"10.14325/mississippi/9781496817518.003.0025","title":"Coast to Coast","year":2024,"lang":"en","type":"book-chapter","venue":"University Press of Mississippi eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Oceanography; Geography; Geology","score_opus":0.032455977483671815,"score_gpt":0.18136599051370253,"score_spread":0.1489100130300307,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4410644270","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00045387945,0.006057732,0.0003144381,0.0027304662,0.0016798837,0.000019510811,0.00016217052,0.00016089527,0.9884211],"genre_scores_gemma":[0.0013110609,0.0018807852,0.00017564591,0.000602597,0.000081566795,0.0000063629145,0.000066293665,0.00009536315,0.99578035],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997304,0.000024959741,0.000007986793,0.00008169612,0.00010637171,0.000048491278],"domain_scores_gemma":[0.9997533,0.00002105163,0.000010519157,0.000026743643,0.00011464543,0.000073750925],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00016847579,0.0005850493,0.00036074803,0.0012607073,0.003825961,0.0052922093,0.000723799,0.001319683,0.24664153],"category_scores_gemma":[0.0005393082,0.0002954457,0.00028954624,0.001355456,0.0011537694,0.0038555393,0.0020573558,0.003147388,0.09994195],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018710376,0.00001637145,0.00014966038,0.000115375275,0.0000017545947,0.00017395115,0.0013305461,0.000034187677,0.0003299027,0.071104854,0.8423145,0.08441028],"study_design_scores_gemma":[7.506107e-7,0.0000020357786,0.00004964301,0.000036081186,3.5029328e-7,0.00003348533,0.0001245995,0.000004285697,0.000025790807,0.0004662651,0.9992557,9.4006907e-7],"about_ca_topic_score_codex":0.054601155,"about_ca_topic_score_gemma":0.19145364,"teacher_disagreement_score":0.24664153,"about_ca_system_score_codex":0.0038610704,"about_ca_system_score_gemma":0.0032888239,"threshold_uncertainty_score":0.82509816},"labels":[],"label_agreement":null},{"id":"W4410648252","doi":"10.5040/9781978724068.ch-006","title":"A Canadian Experiment In Words-As-Music","year":2020,"lang":"en","type":"other","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Linguistics; Speech recognition; Computer science; Philosophy","score_opus":0.026849973366234393,"score_gpt":0.19585690223890848,"score_spread":0.16900692887267407,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4410648252","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4040311,0.00095075025,0.0028352856,0.0142614385,0.0013707918,0.002022895,0.015113256,0.00056889013,0.55884564],"genre_scores_gemma":[0.61811537,0.0007104533,0.0039672903,0.0065664323,0.00016412362,0.0019160209,0.006547981,0.0004546147,0.36155775],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9962584,0.0010278588,0.000080521095,0.00057793,0.0011895482,0.0008657833],"domain_scores_gemma":[0.98860395,0.0038157643,0.00044189655,0.0012582298,0.0038095738,0.0020705382],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.006585057,0.001124534,0.0008260428,0.00059819734,0.008699665,0.0043067634,0.0022515452,0.0025863994,0.0629584],"category_scores_gemma":[0.014052663,0.00042047922,0.00056921685,0.0016716564,0.0032037622,0.0033667712,0.0016917951,0.0035053787,0.009775149],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.03811388,0.017914226,0.020661164,0.0007438122,0.00023937148,0.0005318757,0.011771456,0.0023765496,0.009129205,0.15731856,0.56707186,0.17412804],"study_design_scores_gemma":[0.0126658715,0.0063211336,0.09690413,0.0004126691,0.00047512056,0.00019793886,0.025242548,0.005937611,0.006658462,0.038576026,0.80607486,0.00053357024],"about_ca_topic_score_codex":0.95931375,"about_ca_topic_score_gemma":0.9748233,"teacher_disagreement_score":0.0629584,"about_ca_system_score_codex":0.030177249,"about_ca_system_score_gemma":0.0518606,"threshold_uncertainty_score":0.2189523},"labels":[],"label_agreement":null},{"id":"W4410788437","doi":"10.5539/ells.v15n2p86","title":"Deconstruction of Disability Identity in Peel My Love Like an Onion","year":2025,"lang":"en","type":"article","venue":"English Language and Literature Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Deconstruction (building); Identity (music); Sociology; Aesthetics; Psychology; Philosophy; Engineering","score_opus":0.009146921073879266,"score_gpt":0.2675732481976046,"score_spread":0.2584263271237253,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4410788437","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.40093923,0.00622039,0.0031980656,0.0321209,0.0011034814,0.000042901782,0.000020902698,0.000036957415,0.5563172],"genre_scores_gemma":[0.9708601,0.0012111411,0.00042042966,0.0010522702,0.00009806062,0.000026440171,0.000007018721,0.000014562933,0.026310006],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.998243,0.0011437779,0.000029405352,0.000103724924,0.00019286422,0.00028722684],"domain_scores_gemma":[0.99930084,0.00027053698,0.000054407923,0.000054777003,0.00008219106,0.00023721793],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020466596,0.0004674724,0.0003477391,0.0014556174,0.017213115,0.008897518,0.0008047175,0.0017934887,0.0025339709],"category_scores_gemma":[0.0014793664,0.00018597308,0.00018653303,0.00048780272,0.03643359,0.003766539,0.006701038,0.0030301274,0.00028685245],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024945783,0.000043437354,0.00065010856,0.000051395753,0.0000030856102,0.0011649014,0.7021398,0.000042111325,0.00038130008,0.27978602,0.0040952144,0.0116178],"study_design_scores_gemma":[0.000009485654,0.00003627522,0.0010479167,0.00031323923,0.0000044546136,0.00070473895,0.82449645,0.00010814631,0.00025234808,0.019505663,0.15350619,0.000015183439],"about_ca_topic_score_codex":0.021487664,"about_ca_topic_score_gemma":0.042431902,"teacher_disagreement_score":0.021487664,"about_ca_system_score_codex":0.004597266,"about_ca_system_score_gemma":0.0047109895,"threshold_uncertainty_score":0.042725146},"labels":[],"label_agreement":null},{"id":"W4410827966","doi":"10.11647/obp.0428","title":"Oral Poetry","year":2025,"lang":"en","type":"book","venue":"World oral literature series","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Poetry; Oral poetry; Literature; Context (archaeology); History; Lyrics; Oral literature; Oral tradition; Perspective (graphical); Art; Anthropology; Sociology; Visual arts","score_opus":0.013459523424378188,"score_gpt":0.2078332971972706,"score_spread":0.1943737737728924,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4410827966","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0014663542,0.010955977,0.0018982152,0.0018511794,0.0019846982,0.000033319317,0.000082883904,0.00012055995,0.98160684],"genre_scores_gemma":[0.038051367,0.01320697,0.0023794353,0.0012665692,0.00124753,0.000054080265,0.00018101746,0.00019961089,0.9434134],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99938023,0.00015492273,0.000024870344,0.00007491366,0.00029179113,0.00007327354],"domain_scores_gemma":[0.9996797,0.00012333073,0.000019599624,0.000053007578,0.00007536282,0.000049185845],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004794994,0.000645092,0.00031284956,0.0017385392,0.0033799487,0.0063704127,0.00064884085,0.0009252848,0.05233147],"category_scores_gemma":[0.001682748,0.00021013779,0.00023942874,0.0015248155,0.0037227252,0.004717418,0.0025224234,0.001747172,0.017924378],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020080399,0.00003460484,0.0002136187,0.0003251015,0.000002980296,0.0002792625,0.008871746,0.00010055943,0.0006265414,0.48545128,0.29742157,0.20665261],"study_design_scores_gemma":[6.728646e-7,0.0000044195153,0.0000900152,0.00013591202,4.4791466e-7,0.00017246291,0.0010252413,0.000018017365,0.00006614158,0.0068714553,0.99161327,0.0000020236876],"about_ca_topic_score_codex":0.0010714557,"about_ca_topic_score_gemma":0.0022925755,"teacher_disagreement_score":0.05233147,"about_ca_system_score_codex":0.0011358064,"about_ca_system_score_gemma":0.0012958847,"threshold_uncertainty_score":0.17506623},"labels":[],"label_agreement":null},{"id":"W4410852657","doi":"10.1386/mms_00160_7","title":"On the road to heaviness: A retrospective of Dan Franklin’s Heavy","year":2025,"lang":"en","type":"article","venue":"Metal Music Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Aeronautics; Engineering","score_opus":0.053472197188667824,"score_gpt":0.2651161972254889,"score_spread":0.21164400003682107,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4410852657","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.12701297,0.010979088,0.0010441781,0.21045609,0.005984285,0.00004623441,0.00017287326,0.00005461489,0.6442497],"genre_scores_gemma":[0.5876419,0.0037763794,0.00040158525,0.037950985,0.0009777059,0.000049998136,0.00006090204,0.00019119034,0.36894938],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978974,0.0010229874,0.00003266197,0.00017956892,0.00047727863,0.00039009273],"domain_scores_gemma":[0.9978015,0.0009926836,0.00009394605,0.00009559754,0.00046938143,0.000546848],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002252095,0.00031621644,0.00024820573,0.00084983493,0.024672307,0.007467748,0.0010628722,0.003212304,0.011616235],"category_scores_gemma":[0.00674437,0.00031307215,0.00016729232,0.0010995012,0.015145294,0.00566033,0.0066390214,0.009845211,0.0015857008],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000068978516,0.000035717327,0.0010758439,0.00007719969,0.0000053236854,0.00083051133,0.46025306,0.000046219713,0.0004627848,0.20696144,0.3126175,0.017565371],"study_design_scores_gemma":[0.000002846531,0.000010447598,0.00053660566,0.00009163821,0.0000017778871,0.00012912515,0.1695512,0.00001297111,0.00016393117,0.0038947097,0.8255929,0.000011869474],"about_ca_topic_score_codex":0.082092166,"about_ca_topic_score_gemma":0.20957072,"teacher_disagreement_score":0.082092166,"about_ca_system_score_codex":0.0077154012,"about_ca_system_score_gemma":0.004500979,"threshold_uncertainty_score":0.16322869},"labels":[],"label_agreement":null},{"id":"W4411041328","doi":"10.1080/19401159.2025.2506204","title":"Voiceshifting, Gender, and Prolific Profiles in the Songs of 100 gecs and Alex G","year":2025,"lang":"en","type":"article","venue":"Rock Music Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Simon Fraser University","funders":"","keywords":"Art; History","score_opus":0.08803783087381918,"score_gpt":0.2787558478483377,"score_spread":0.1907180169745185,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4411041328","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.98314995,0.00027880186,0.00006062321,0.0004877657,0.00002880628,0.0000069891194,0.000028837228,0.0000038313656,0.015954422],"genre_scores_gemma":[0.99314606,0.0002091002,0.000043375785,0.00011624779,0.000017989165,0.000005877002,0.000025047611,0.0000101703845,0.006426147],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99934024,0.0001545513,0.000030375426,0.00008670782,0.0001771816,0.00021100578],"domain_scores_gemma":[0.99837697,0.0005514817,0.00024990347,0.00004697885,0.00017687227,0.0005977663],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009974849,0.00022618298,0.00022196447,0.0027768207,0.003783638,0.004148179,0.0003863756,0.00070370047,0.004201236],"category_scores_gemma":[0.004153472,0.00016340284,0.000104667364,0.001341988,0.004395394,0.0018995182,0.0023503508,0.0010778075,0.0006027929],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003679489,0.00007359048,0.078002855,0.0000650168,0.000011375193,0.0022326051,0.85909903,0.00007495445,0.0051991898,0.016594466,0.0033351344,0.034943826],"study_design_scores_gemma":[0.0000064362785,0.00012023502,0.13900596,0.00008537941,0.000006038072,0.0020257914,0.83295184,0.00007436783,0.0005266475,0.00138512,0.023771444,0.00004080076],"about_ca_topic_score_codex":0.011831041,"about_ca_topic_score_gemma":0.03406028,"teacher_disagreement_score":0.011831041,"about_ca_system_score_codex":0.0013298303,"about_ca_system_score_gemma":0.0005886716,"threshold_uncertainty_score":0.023524344},"labels":[],"label_agreement":null},{"id":"W4411121859","doi":"10.30958/ajt.12-2-1","title":"Tourism and the Counterculture Traveller: Reconsidering the Hippie Trail","year":2025,"lang":"en","type":"article","venue":"Athens Journal of Tourism","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Lethbridge","funders":"","keywords":"Counterculture; Tourism; Sociology; Aesthetics; Political science; Economic geography; Art; Geography; Art history; Law","score_opus":0.03302343503408643,"score_gpt":0.20553928350400236,"score_spread":0.1725158484699159,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4411121859","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9476011,0.0032574527,0.00029376353,0.008611347,0.00020118475,0.000019906276,0.000016717888,0.0000105516965,0.03998793],"genre_scores_gemma":[0.9855613,0.0026766604,0.00022817265,0.0010388101,0.000089650486,0.00001425833,0.000011376679,0.000013470374,0.010366337],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99918646,0.00049385254,0.000017241182,0.000041296622,0.00008497502,0.00017616723],"domain_scores_gemma":[0.99926454,0.00032227437,0.000118206546,0.000029364563,0.00006806207,0.0001976482],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001127225,0.00031186503,0.00026380864,0.0011633314,0.009112681,0.009680377,0.0007140134,0.001454968,0.0020433122],"category_scores_gemma":[0.0014019741,0.00022452122,0.0001241253,0.0009319516,0.013552909,0.0048927693,0.0033220884,0.0025793654,0.00025530078],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013274344,0.000016063705,0.0029548127,0.00004491034,0.000001976462,0.000496495,0.9792236,0.000012901913,0.00025198172,0.0118829375,0.0013512593,0.0037499133],"study_design_scores_gemma":[0.0000014487814,0.00001890235,0.001780102,0.000046167203,0.000001945568,0.0002460447,0.97274303,0.000016870994,0.00005969269,0.0005060184,0.024574941,0.0000049048904],"about_ca_topic_score_codex":0.014729763,"about_ca_topic_score_gemma":0.045592695,"teacher_disagreement_score":0.014729763,"about_ca_system_score_codex":0.0021644724,"about_ca_system_score_gemma":0.0019934534,"threshold_uncertainty_score":0.029288054},"labels":[],"label_agreement":null},{"id":"W4411284924","doi":"10.1111/jwip.12362","title":"From colonial emancipation into the fourth republic: Lessons for Ghana's collective management for musicians and their works","year":2025,"lang":"en","type":"article","venue":"The Journal of World Intellectual Property","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Ottawa","funders":"","keywords":"Emancipation; Colonialism; Political science; Sociology; History; Law; Politics","score_opus":0.0427672569795068,"score_gpt":0.2552337885450099,"score_spread":0.2124665315655031,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4411284924","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.67930704,0.012386156,0.0016084309,0.08838511,0.0004748237,0.00007683188,0.000049597922,0.000022840853,0.21768919],"genre_scores_gemma":[0.989527,0.0015246363,0.00037756725,0.0012357561,0.00003679195,0.000015588053,0.000008336,0.0000110593,0.0072633503],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99847215,0.0008578422,0.000033196695,0.00009671193,0.000094959905,0.00044507728],"domain_scores_gemma":[0.9969988,0.0016631776,0.00044489568,0.00020023694,0.0002157188,0.0004772392],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0037606712,0.00022217093,0.00023452748,0.0009109223,0.009573911,0.005285236,0.00062511186,0.0012714657,0.00671789],"category_scores_gemma":[0.0035082614,0.00017252384,0.00012227039,0.0013522911,0.021680346,0.005773304,0.004356074,0.0024782843,0.0003748935],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006183246,0.000052495252,0.0062188595,0.00017641512,0.0000049483215,0.0024411,0.6295882,0.00010854202,0.00038333217,0.30170426,0.007868144,0.05139185],"study_design_scores_gemma":[0.00001726397,0.000052134314,0.011356519,0.0009984295,0.000004758943,0.0004265704,0.61478597,0.00013774261,0.00032431266,0.035121165,0.3367582,0.000016867765],"about_ca_topic_score_codex":0.0384695,"about_ca_topic_score_gemma":0.080201946,"teacher_disagreement_score":0.0384695,"about_ca_system_score_codex":0.011788332,"about_ca_system_score_gemma":0.007408177,"threshold_uncertainty_score":0.08553076},"labels":[],"label_agreement":null},{"id":"W4411463652","doi":"10.1093/oso/9780197620885.003.0002","title":"The Ancestral Home, 1877–1932","year":2025,"lang":"en","type":"book-chapter","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Wife; Entertainment; Drummer; Art history; Genealogy; Art; Musical; Performance art; History; Visual arts; Theology; Philosophy; Archaeology","score_opus":0.030192218473158214,"score_gpt":0.19586658576119043,"score_spread":0.1656743672880322,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4411463652","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2896487,0.011157996,0.00093614537,0.0061954786,0.0007902027,0.00006265428,0.0006428274,0.00006146102,0.6905045],"genre_scores_gemma":[0.6797788,0.008524746,0.0004285138,0.0009238684,0.0002842365,0.000048229187,0.00027212276,0.000100097626,0.30963936],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996902,0.000077610996,0.000009062018,0.000054839962,0.0000803757,0.00008800552],"domain_scores_gemma":[0.99989355,0.000025717323,0.000015850768,0.000008084177,0.00003144666,0.000025354131],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00029330573,0.0002673737,0.00016656237,0.00096210436,0.0031336097,0.0016604679,0.00037310546,0.00067030324,0.014280175],"category_scores_gemma":[0.0009313608,0.0002293409,0.00007240823,0.0012722603,0.0035717478,0.0010535899,0.0018379653,0.0012750474,0.0024570054],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001769044,0.000079650265,0.0054363767,0.00028502377,0.000021820944,0.0070052743,0.17368725,0.00031389442,0.0025815119,0.47403002,0.12314935,0.21323283],"study_design_scores_gemma":[0.0000049115483,0.000036020036,0.016529987,0.00019537946,0.0000073846827,0.00074881315,0.013148732,0.000033916192,0.00088365603,0.0039291973,0.96446854,0.000013424373],"about_ca_topic_score_codex":0.06237814,"about_ca_topic_score_gemma":0.16143496,"teacher_disagreement_score":0.06237814,"about_ca_system_score_codex":0.0056869425,"about_ca_system_score_gemma":0.0015337119,"threshold_uncertainty_score":0.12403011},"labels":[],"label_agreement":null},{"id":"W4411604434","doi":"10.1093/oxfordhb/9780197612507.013.0033","title":"Dreaming Disability Musical Futurities","year":2025,"lang":"en","type":"book-chapter","venue":"Oxford University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Musical; Psychology; Cognitive science; Art; Visual arts","score_opus":0.02685919882018425,"score_gpt":0.1821802446875814,"score_spread":0.15532104586739715,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4411604434","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.02891438,0.02501583,0.004385964,0.056381553,0.0031720502,0.000036461042,0.000046201672,0.00009172654,0.8819558],"genre_scores_gemma":[0.6738674,0.016993292,0.0022413102,0.0071844426,0.0012994051,0.00007186831,0.00006218343,0.00007759672,0.29820246],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988343,0.00056546915,0.000025136502,0.000091605565,0.00028832103,0.0001952136],"domain_scores_gemma":[0.9993155,0.00032912102,0.000039491675,0.00007419244,0.00007073,0.0001708381],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015619916,0.0005635784,0.00035680408,0.0015348158,0.007388928,0.00779952,0.0008781897,0.002600249,0.0122005725],"category_scores_gemma":[0.0021819917,0.00021046022,0.0003423504,0.00055100035,0.020605784,0.010965389,0.007431601,0.005388814,0.0020604548],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011908643,0.000016478638,0.00013451096,0.000056355144,0.0000018374758,0.00025165497,0.0375331,0.000060934606,0.00015469364,0.9219457,0.019173393,0.020659337],"study_design_scores_gemma":[0.0000061149235,0.000025896748,0.00025620795,0.0004693754,0.0000031619784,0.0005976087,0.058461472,0.000120868586,0.00024985892,0.15581474,0.78397816,0.000016514074],"about_ca_topic_score_codex":0.0024416556,"about_ca_topic_score_gemma":0.004671841,"teacher_disagreement_score":0.0122005725,"about_ca_system_score_codex":0.0035909622,"about_ca_system_score_gemma":0.0021403998,"threshold_uncertainty_score":0.040814936},"labels":[],"label_agreement":null},{"id":"W4411654484","doi":"10.28914/atlantis-2025-47.1.9","title":"Love as a Risk-Averse Event; the Sanitization, Dichotomization, and Liberation of Romance in “Hang the DJ”","year":2025,"lang":"en","type":"article","venue":"Atlantis Journal of the Spanish Association for Anglo-American Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia, Okanagan Campus; University of British Columbia","funders":"","keywords":"Hang; Romance; Event (particle physics); History; Psychoanalysis; Art; Psychology; Computer science; Physics","score_opus":0.008571360666426123,"score_gpt":0.2475982708341668,"score_spread":0.2390269101677407,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4411654484","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.299715,0.0053251307,0.006705889,0.029944321,0.0012229114,0.000058245052,0.000059790513,0.000060253475,0.65690845],"genre_scores_gemma":[0.97647786,0.00080243277,0.00050825364,0.000961974,0.00037029225,0.000020068903,0.000011541253,0.000026204205,0.020821383],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.998047,0.0013818146,0.000020220356,0.00012204372,0.00027227725,0.00015664418],"domain_scores_gemma":[0.9991798,0.00034020297,0.00015500619,0.00010819265,0.000052772957,0.00016411276],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019821876,0.00029296867,0.00026982365,0.00050503056,0.0071060644,0.007304189,0.0005079354,0.0012629981,0.0018992905],"category_scores_gemma":[0.0028114857,0.00014481474,0.0001466659,0.00037341862,0.025158403,0.0028902132,0.0031329782,0.0035854385,0.00026413836],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000080546815,0.000049618535,0.0011923732,0.00005729218,0.0000074767745,0.0005300771,0.2102409,0.00010449429,0.00051550404,0.7650832,0.01231134,0.009827164],"study_design_scores_gemma":[0.000049278104,0.00011896273,0.0066272216,0.0002334786,0.000015683976,0.001587132,0.18045433,0.0006930176,0.0015911255,0.13427141,0.674318,0.00004031185],"about_ca_topic_score_codex":0.0022051611,"about_ca_topic_score_gemma":0.0036803074,"teacher_disagreement_score":0.007304189,"about_ca_system_score_codex":0.0030232698,"about_ca_system_score_gemma":0.0010930873,"threshold_uncertainty_score":0.021935463},"labels":[],"label_agreement":null},{"id":"W4411993701","doi":"10.15353/cjds.v14i1.1218","title":"Review of Black Disability Politics by Sami Schalk","year":2025,"lang":"en","type":"article","venue":"Canadian Journal of Disability Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Politics; Gender studies; Sociology; Political science; Law","score_opus":0.04634183372686696,"score_gpt":0.28461907245252277,"score_spread":0.23827723872565582,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4411993701","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00013299896,0.9440625,0.000032568532,0.043432966,0.005543683,0.000003412152,0.00003821733,0.000004103597,0.0067495573],"genre_scores_gemma":[0.0034990048,0.95721364,0.000075024494,0.025012271,0.005773449,0.000021550752,0.000060009756,0.000019367571,0.008325684],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986481,0.00046103747,0.00007544217,0.00011830432,0.00052457215,0.00017251239],"domain_scores_gemma":[0.99428177,0.0031952765,0.00040097837,0.00009601039,0.001593377,0.00043262218],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0032287885,0.00064304116,0.0010876465,0.0042079003,0.0027141953,0.004051545,0.0010159827,0.002667628,0.008781864],"category_scores_gemma":[0.0069932607,0.0004496786,0.0003766045,0.0060458137,0.0025839957,0.0037166697,0.0022404427,0.0042138207,0.0039263056],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018783492,0.000009608191,0.00010258506,0.0018999826,0.000013186642,0.0000529364,0.0006197347,0.000040802013,0.000024741512,0.008780652,0.91717046,0.071266524],"study_design_scores_gemma":[0.0000026661237,0.000005465994,0.00044051898,0.0045473413,0.000007729864,0.00006814665,0.00057739863,0.0000071190734,0.000014748995,0.0008707611,0.9934515,0.000006706682],"about_ca_topic_score_codex":0.028229218,"about_ca_topic_score_gemma":0.06507474,"teacher_disagreement_score":0.028229218,"about_ca_system_score_codex":0.0056079673,"about_ca_system_score_gemma":0.011083125,"threshold_uncertainty_score":0.056129813},"labels":[],"label_agreement":null},{"id":"W4412122609","doi":"10.1080/17511321.2025.2530026","title":"‘Karma is the guy on the Chiefs … ’: contextualizing putting lipstick on a pigskin and the Taylor Swift and Travis Kelce romance","year":2025,"lang":"en","type":"article","venue":"Sport Ethics and Philosophy","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"St. Francis Xavier University","funders":"","keywords":"Karma; Swift; Romance; Art history; Art; History; Sociology; Literature; Archaeology","score_opus":0.05335289624963489,"score_gpt":0.2567605410988671,"score_spread":0.20340764484923218,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4412122609","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.72375935,0.0039856313,0.002189731,0.035699952,0.00068798277,0.000045557637,0.000045828372,0.00003486618,0.23355116],"genre_scores_gemma":[0.99087816,0.00063010084,0.0002086822,0.0017812873,0.00006382829,0.000016119522,0.000010492645,0.000048494137,0.006362992],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9929819,0.0053102355,0.000064445434,0.0004007502,0.00045742243,0.00078533567],"domain_scores_gemma":[0.99701834,0.0018551947,0.00028435767,0.00012251142,0.00024461997,0.0004750605],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0050826888,0.00055612787,0.0005542865,0.0017219104,0.029362375,0.013802489,0.0017615956,0.0034120574,0.0050695497],"category_scores_gemma":[0.005848011,0.00054391637,0.0002334664,0.0012762357,0.0581315,0.009123111,0.009288061,0.0074295155,0.00058352953],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011359321,0.000017390314,0.0007587781,0.000024852341,0.0000021963124,0.00032670234,0.959219,0.000016651325,0.00014026296,0.035929378,0.0018488792,0.0017045795],"study_design_scores_gemma":[0.0000030325655,0.000010463074,0.0009754797,0.00010572673,0.000002530034,0.00011159782,0.9608288,0.00003341698,0.00007155344,0.00280127,0.035048082,0.000008053815],"about_ca_topic_score_codex":0.050899643,"about_ca_topic_score_gemma":0.12634982,"teacher_disagreement_score":0.050899643,"about_ca_system_score_codex":0.01052343,"about_ca_system_score_gemma":0.0053084777,"threshold_uncertainty_score":0.10120678},"labels":[],"label_agreement":null},{"id":"W4412468413","doi":"10.1177/13591835251359892","title":"The flamboyance of things: Handmade material culture in new-wave carnival in New Orleans","year":2025,"lang":"en","type":"article","venue":"Journal of Material Culture","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Dalhousie University","funders":"Social Sciences and Humanities Research Council of Canada; Dalhousie University","keywords":"Miller; Aesthetics; Sociology; Dialectic; Popular culture; Sociality; Ethnography; Visual arts; Media studies; Materiality (auditing); Art; Anthropology; Epistemology","score_opus":0.015303716751849473,"score_gpt":0.21279391738793194,"score_spread":0.19749020063608247,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4412468413","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9604087,0.00071535655,0.0007907563,0.0016226489,0.000096995456,0.000031810057,0.000028902548,0.000016626329,0.03628824],"genre_scores_gemma":[0.9916089,0.0003418102,0.000435432,0.00028162633,0.00002088368,0.000021161753,0.000017279464,0.000026979034,0.0072458037],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9981583,0.0009164205,0.000046436457,0.00021659363,0.0003360223,0.0003262286],"domain_scores_gemma":[0.9976388,0.0011617607,0.00021635562,0.0001769606,0.00023211769,0.0005739628],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0027866634,0.00035348276,0.00039095292,0.0013006,0.016234348,0.009064596,0.001221411,0.0010530755,0.0037448637],"category_scores_gemma":[0.0041123326,0.0005024552,0.00023417934,0.00075085036,0.021755377,0.0043453663,0.009664651,0.0032230923,0.00022205211],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002906019,0.000026314456,0.0022865764,0.000060397113,0.000007786027,0.00049050717,0.9850937,0.000046614958,0.00075660733,0.004361193,0.00078529405,0.006055838],"study_design_scores_gemma":[0.0000019808074,0.000020925378,0.0050669396,0.000075223565,0.000003828888,0.00018734066,0.96818537,0.00004110484,0.00026907964,0.0005729803,0.025556248,0.000018993593],"about_ca_topic_score_codex":0.055295244,"about_ca_topic_score_gemma":0.1822777,"teacher_disagreement_score":0.055295244,"about_ca_system_score_codex":0.0063431365,"about_ca_system_score_gemma":0.002881674,"threshold_uncertainty_score":0.10994673},"labels":[],"label_agreement":null},{"id":"W4412470667","doi":"10.21083/csieci.v16i1.8137","title":"Musicalligraphics","year":2025,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Psychology","score_opus":0.09412246700683638,"score_gpt":0.3903722505025085,"score_spread":0.2962497834956721,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4412470667","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.029465538,0.012781203,0.0045548445,0.015882451,0.005359855,0.000045600034,0.00013784104,0.00023759648,0.93153524],"genre_scores_gemma":[0.4924164,0.0056145405,0.0024810021,0.0031057307,0.0018728909,0.000074715565,0.00016239705,0.00033531658,0.49393687],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99924374,0.0002542248,0.00002759859,0.0001420313,0.00025757623,0.00007487408],"domain_scores_gemma":[0.9995459,0.00018652326,0.000046401605,0.00005479958,0.00007250638,0.00009388287],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006994052,0.0003649023,0.00016528311,0.00066635484,0.0036351627,0.0046759266,0.00050405867,0.0008517644,0.021269701],"category_scores_gemma":[0.002322263,0.00008357945,0.00012021624,0.00054910354,0.004644109,0.0019969703,0.0024501511,0.0017609675,0.0032156678],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010940543,0.000036350128,0.0011059509,0.0003597959,0.0000076537235,0.00043594118,0.0687439,0.00017129915,0.0034832929,0.6172272,0.1478523,0.16046694],"study_design_scores_gemma":[0.0000029765968,0.000021409845,0.0006439765,0.00015054608,0.0000014753165,0.00017484017,0.0071146213,0.00005242349,0.00063452066,0.007447706,0.983751,0.00000441361],"about_ca_topic_score_codex":0.002104399,"about_ca_topic_score_gemma":0.0040033306,"teacher_disagreement_score":0.021269701,"about_ca_system_score_codex":0.0019020566,"about_ca_system_score_gemma":0.0010693418,"threshold_uncertainty_score":0.07115424},"labels":[],"label_agreement":null},{"id":"W4412470772","doi":"10.21083/csieci.v16i1.7195","title":"Crossing Bar Lines: The Politics and Practices of Black Musical Space by James Gordon Williams","year":2025,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Musical; Bar (unit); Politics; Space (punctuation); Sociology; Art history; Art; Visual arts; Political science; Physics; Law; Philosophy; Linguistics","score_opus":0.05729288442986775,"score_gpt":0.37126781984874974,"score_spread":0.313974935418882,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4412470772","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.007444627,0.27481994,0.0018821189,0.43237805,0.025279067,0.000038363778,0.000036828205,0.000081116035,0.25803992],"genre_scores_gemma":[0.21724309,0.20913185,0.0018921301,0.09065556,0.0306571,0.00015722403,0.000049314185,0.0004245881,0.44978914],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99512047,0.002439166,0.00008107928,0.00039394834,0.0015667777,0.0003985978],"domain_scores_gemma":[0.9953916,0.0029718895,0.00033250698,0.00014887335,0.0007350529,0.00042003914],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0034363302,0.0005385751,0.00050151383,0.0016343582,0.008468331,0.008227292,0.0012427629,0.005003559,0.007969147],"category_scores_gemma":[0.007864464,0.00047518118,0.00025959424,0.0013628665,0.0103759,0.008283839,0.0033208383,0.0059979814,0.0022033134],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000050834624,0.00003103513,0.00023556655,0.000338594,0.000009386875,0.00021152571,0.028804213,0.00012503056,0.00035877636,0.29113692,0.6423588,0.036339443],"study_design_scores_gemma":[0.0000035558476,0.000009326566,0.00031380725,0.0005552654,0.0000034098914,0.000045628192,0.0073091183,0.000032030446,0.00010692691,0.014790065,0.97681636,0.000014425886],"about_ca_topic_score_codex":0.022960415,"about_ca_topic_score_gemma":0.03720473,"teacher_disagreement_score":0.022960415,"about_ca_system_score_codex":0.005131075,"about_ca_system_score_gemma":0.003887886,"threshold_uncertainty_score":0.04565358},"labels":[],"label_agreement":null},{"id":"W4412551149","doi":"10.1111/ijal.12826","title":"Accented Epidermal Thinking: How Vocal Accent Reinforces the Visibility of Race","year":2025,"lang":"en","type":"article","venue":"International Journal of Applied Linguistics","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Stress (linguistics); Race (biology); Psychology; Visibility; Linguistics; Cognitive psychology; Communication; Sociology; Geography; Gender studies; Philosophy","score_opus":0.01953330757152762,"score_gpt":0.26425802969950685,"score_spread":0.24472472212797922,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4412551149","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7551454,0.00019941453,0.014988414,0.0019099116,0.00016468833,0.00002183176,0.000019601655,0.000067675355,0.22748314],"genre_scores_gemma":[0.9961123,0.00004319243,0.0014021212,0.000116975774,0.000011500742,0.0000061991404,0.0000042887928,0.000021592641,0.0022818407],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9989575,0.00058596476,0.00001635859,0.000119943375,0.0002154427,0.000104790415],"domain_scores_gemma":[0.99777716,0.001306342,0.0002823194,0.00026007736,0.00020159165,0.00017240483],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016037861,0.00023742557,0.00013644932,0.00049871363,0.0015832266,0.003583143,0.0005166895,0.00056355714,0.005176642],"category_scores_gemma":[0.004254783,0.00017070555,0.00023850916,0.00023988301,0.0076905834,0.0021827507,0.0030209178,0.0013029681,0.00027708148],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004746435,0.00021835256,0.016685832,0.0003204924,0.00004653388,0.0019851425,0.40331453,0.0010896955,0.09503573,0.39683694,0.0028232008,0.081168994],"study_design_scores_gemma":[0.00012943793,0.0009198472,0.089548446,0.0007745913,0.0002544154,0.0025541629,0.36759788,0.0064600636,0.053961936,0.345685,0.1318798,0.00023438082],"about_ca_topic_score_codex":0.0009168193,"about_ca_topic_score_gemma":0.0011195329,"teacher_disagreement_score":0.005176642,"about_ca_system_score_codex":0.0006744839,"about_ca_system_score_gemma":0.00054459495,"threshold_uncertainty_score":0.017317593},"labels":[],"label_agreement":null},{"id":"W4412731597","doi":"10.1080/14927713.2025.2527067","title":"‘I am not the only one fighting demons’: qualitative insights on a veteran songwriting organization’s social outcomes","year":2025,"lang":"en","type":"article","venue":"Leisure/Loisir","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Psychology; Qualitative research; Social psychology; Psychotherapist; Sociology; Anthropology","score_opus":0.0545059869954938,"score_gpt":0.2885129049159666,"score_spread":0.2340069179204728,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4412731597","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.98392636,0.00028311534,0.0018572168,0.0038145976,0.000050639777,0.00012261285,0.0001771481,0.000018318973,0.009749969],"genre_scores_gemma":[0.99558675,0.00040307533,0.00071139896,0.00049258064,0.000016853222,0.00015983856,0.000058038167,0.000025964295,0.002545467],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9933854,0.005066656,0.00014606454,0.00024054106,0.0004909692,0.00067044137],"domain_scores_gemma":[0.9895075,0.008127858,0.00057569105,0.00020033463,0.0007979518,0.00079070986],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.011539017,0.0005047866,0.0005437313,0.0018064702,0.008114598,0.0044455193,0.0014633504,0.0010611012,0.0033773507],"category_scores_gemma":[0.014339274,0.00037905594,0.00026904707,0.0014328395,0.009839839,0.004506733,0.0050309147,0.0025282335,0.00028042772],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008535624,0.000013624677,0.000989783,0.000052710348,0.0000014489452,0.00021384124,0.99514693,0.000016818649,0.00026811342,0.0011449498,0.0003347023,0.001808583],"study_design_scores_gemma":[8.386407e-7,0.0000074985633,0.00051895453,0.00004500777,0.0000010017765,0.00005013798,0.9969228,0.00002549481,0.00008844061,0.00018956608,0.002146686,0.000003537034],"about_ca_topic_score_codex":0.012019763,"about_ca_topic_score_gemma":0.023172837,"teacher_disagreement_score":0.012019763,"about_ca_system_score_codex":0.0043465625,"about_ca_system_score_gemma":0.0047785044,"threshold_uncertainty_score":0.061024845},"labels":[],"label_agreement":null},{"id":"W4413057506","doi":"10.1177/00020397251355274","title":"Beyond Entertainment Fixation: Hip-Hop Culture as an Alternative Tool for Social Activism in Postcolonial Nigeria","year":2025,"lang":"en","type":"article","venue":"Africa Spectrum","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"York University","keywords":"Oppression; Sociology; Politics; Gender studies; Law; Political science","score_opus":0.015619623584508172,"score_gpt":0.2528841921722711,"score_spread":0.23726456858776293,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413057506","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.90183157,0.0027462684,0.0006237127,0.0018460217,0.00020325389,0.000027849488,0.000016400123,0.000007682839,0.092697255],"genre_scores_gemma":[0.9943567,0.00053441606,0.00017131168,0.00011187348,0.000024435472,0.000007942181,0.0000047181147,0.0000044549474,0.0047841105],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99942446,0.0003221609,0.000015304495,0.000034640187,0.000064012274,0.00013952196],"domain_scores_gemma":[0.99929726,0.00036425598,0.0001116289,0.000050557846,0.000041797808,0.00013441856],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00096709974,0.0003263032,0.00016910153,0.00097517855,0.0061881994,0.0039789877,0.0003965285,0.00072177016,0.003084091],"category_scores_gemma":[0.0014334059,0.00013477051,0.00009088122,0.0006181994,0.007267548,0.0014965251,0.0028968428,0.0011009234,0.00018161107],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010727828,0.00007037334,0.013078802,0.00032600373,0.000006302281,0.0022982596,0.87034845,0.000055729175,0.002759048,0.054863334,0.0019744062,0.05411208],"study_design_scores_gemma":[0.0000056668177,0.0000758695,0.018558657,0.00060973526,0.000007809454,0.001135595,0.893024,0.000094218725,0.0008808594,0.0026454767,0.08295101,0.000011034721],"about_ca_topic_score_codex":0.0023429606,"about_ca_topic_score_gemma":0.00881507,"teacher_disagreement_score":0.0061881994,"about_ca_system_score_codex":0.0012625518,"about_ca_system_score_gemma":0.000979411,"threshold_uncertainty_score":0.010317326},"labels":[],"label_agreement":null},{"id":"W4413190810","doi":"10.7202/1119051ar","title":"Sean Mills, Eric Fillion, and Désirée Rochat (eds.), Statesman of the Piano: Jazz, Race, and History in the Life of Lou Hooper, Montréal, McGill-Queen’s University Press, 2023, 280 p., ISBN 9780228018803","year":2022,"lang":"fr","type":"article","venue":"Les Cahiers de la Société québécoise de recherche en musique","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"McGill University","funders":"","keywords":"Queen (butterfly); Jazz; Piano; Race (biology); Art; History; Art history; Sociology; Gender studies; Biology; Zoology","score_opus":0.030767234699900416,"score_gpt":0.23988384502207039,"score_spread":0.20911661032216997,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413190810","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00042191785,0.9389958,0.00064629567,0.017111458,0.0049625356,0.000026993546,0.00035649617,0.00012783878,0.037350703],"genre_scores_gemma":[0.0042864163,0.8033197,0.0011808544,0.0029092974,0.0022069935,0.000056780013,0.0005369166,0.00014077441,0.18536232],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993382,0.00010001112,0.000034181532,0.00009865055,0.0003470733,0.00008192015],"domain_scores_gemma":[0.99870765,0.00039379924,0.00010152226,0.000033332515,0.00053127087,0.00023246967],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012571872,0.0018270132,0.0012997153,0.0020398952,0.0019527375,0.004550946,0.0012744537,0.002026735,0.07479122],"category_scores_gemma":[0.0018663877,0.00095033424,0.00052252406,0.005106052,0.0014693289,0.0052991495,0.0014294112,0.002595022,0.040575907],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000032343603,0.0000105226545,0.0002092649,0.0007122311,0.0000067336446,0.00004393543,0.0009356527,0.000047570313,0.000148643,0.0013878782,0.875914,0.12055118],"study_design_scores_gemma":[0.000005066248,0.0000052824576,0.0011251105,0.000767968,0.0000091982665,0.00011531914,0.0010005585,0.000030217101,0.000053953718,0.0005021149,0.9963742,0.000011115116],"about_ca_topic_score_codex":0.26144925,"about_ca_topic_score_gemma":0.42264605,"teacher_disagreement_score":0.26144925,"about_ca_system_score_codex":0.0051526474,"about_ca_system_score_gemma":0.010150352,"threshold_uncertainty_score":0.5198549},"labels":[],"label_agreement":null},{"id":"W4413199158","doi":"10.3102/ip.25.2210960","title":"Aesthetic Aspects of Hip-Hop Culture (Poster 6)","year":2025,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Brock University","funders":"","keywords":"Computer science; Hop (telecommunications); Computer network","score_opus":0.015689810153379273,"score_gpt":0.20731427050333487,"score_spread":0.1916244603499556,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413199158","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11971383,0.0049286545,0.0015485917,0.012911862,0.0049652285,0.000053967462,0.00010808422,0.00008081998,0.8556889],"genre_scores_gemma":[0.73566335,0.0029040587,0.0014626565,0.0015007049,0.0021845044,0.000043949156,0.00006402283,0.00013510414,0.25604177],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997484,0.000063641084,0.0000043483733,0.000013944498,0.00009716069,0.00007260121],"domain_scores_gemma":[0.99984217,0.00004036184,0.000011206956,0.0000106312455,0.000033321216,0.00006221703],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00037875396,0.0003149504,0.00011794754,0.00069532194,0.0029465954,0.004096755,0.00028719287,0.0007089812,0.04896223],"category_scores_gemma":[0.00079600024,0.000098405864,0.00020165798,0.0005375681,0.0025108375,0.0005956639,0.0021209882,0.0014167656,0.0019819585],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0007564573,0.0004018898,0.0066260463,0.0011572168,0.000045681336,0.005118058,0.08263183,0.0007238474,0.019148992,0.23173456,0.25823033,0.39342508],"study_design_scores_gemma":[0.000064300504,0.0003361535,0.037967872,0.0009023979,0.000037988673,0.011591242,0.14830525,0.00035335278,0.0047382526,0.032622755,0.76301616,0.0000643742],"about_ca_topic_score_codex":0.0013048309,"about_ca_topic_score_gemma":0.004330003,"teacher_disagreement_score":0.04896223,"about_ca_system_score_codex":0.0007073854,"about_ca_system_score_gemma":0.00052508013,"threshold_uncertainty_score":0.163795},"labels":[],"label_agreement":null},{"id":"W4413341458","doi":"10.5204/mcj.3183","title":"They Not like Us","year":2025,"lang":"en","type":"article","venue":"M/C Journal","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.021154214332809545,"score_gpt":0.2095068803358753,"score_spread":0.18835266600306577,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413341458","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.004417092,0.006014017,0.0011280348,0.12279236,0.036952507,0.00012597653,0.0012382466,0.0010343456,0.8262973],"genre_scores_gemma":[0.016234726,0.0022507238,0.0004986059,0.046549104,0.0030041866,0.00007438646,0.0005303883,0.00035443148,0.93050337],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986701,0.00035892523,0.000042204436,0.0002135172,0.00038827397,0.0003269666],"domain_scores_gemma":[0.9981427,0.000180872,0.000089232104,0.00011543969,0.0005356653,0.0009360327],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0009414945,0.000825567,0.0005739316,0.0005961026,0.0067731733,0.009214275,0.0008364246,0.003099358,0.38941818],"category_scores_gemma":[0.0050261407,0.00027388873,0.0004283156,0.0004845945,0.0019816924,0.006988468,0.0055224337,0.0053616376,0.27691117],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010203692,0.0000183938,0.0002545633,0.000042262207,0.00000221504,0.0001030619,0.0018723495,0.000006320469,0.00006873055,0.0066775423,0.96470433,0.0262399],"study_design_scores_gemma":[0.0000016919062,0.0000062233826,0.00014401233,0.00005920877,9.765217e-7,0.00013990018,0.0019150712,0.0000047041653,0.000022753053,0.0007016603,0.9969995,0.000004314208],"about_ca_topic_score_codex":0.0033823492,"about_ca_topic_score_gemma":0.0069168853,"teacher_disagreement_score":0.38941818,"about_ca_system_score_codex":0.0012789018,"about_ca_system_score_gemma":0.0020586427,"threshold_uncertainty_score":0.87092084},"labels":[],"label_agreement":null},{"id":"W4413423901","doi":"10.1515/9783111351209-013","title":"16712 Music Scenes and Music Zones: Cultivating the Independent Venue Ecosystem as a Talent Catalyst","year":2025,"lang":"en","type":"book-chapter","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Ecosystem; Geography; Environmental resource management; Environmental science; Ecology; Biology","score_opus":0.03161348702022368,"score_gpt":0.19863171959369055,"score_spread":0.16701823257346687,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413423901","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.006435558,0.004122231,0.0012778324,0.0021684454,0.00044281824,0.000029774596,0.00001892518,0.000043380653,0.9854612],"genre_scores_gemma":[0.14806114,0.005763214,0.0034992883,0.0014915004,0.0003147328,0.00006845301,0.00007794041,0.00013951209,0.84058416],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998091,0.0000642126,0.0000029050443,0.000024761359,0.00006284278,0.0000363349],"domain_scores_gemma":[0.9998982,0.000024486408,0.0000061696906,0.0000074036147,0.000013731596,0.000050030503],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002513432,0.00032255947,0.00012934956,0.0007023903,0.0032443872,0.005617556,0.0005752205,0.00076836394,0.017955251],"category_scores_gemma":[0.00025361564,0.00014454102,0.00018162614,0.00081902585,0.0037606908,0.0033897755,0.0030218398,0.0016833649,0.0032312816],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001360196,0.00005367943,0.00040787688,0.00013988095,0.0000027922122,0.00017278429,0.012173055,0.0001914778,0.00045536837,0.8205803,0.1029301,0.062879086],"study_design_scores_gemma":[0.0000037582806,0.0000158292,0.0008199631,0.00014886612,0.0000029921707,0.00015767362,0.0062832762,0.00016407865,0.00023462827,0.020771645,0.97139084,0.0000064581654],"about_ca_topic_score_codex":0.004073775,"about_ca_topic_score_gemma":0.024695732,"teacher_disagreement_score":0.017955251,"about_ca_system_score_codex":0.0030176095,"about_ca_system_score_gemma":0.0020469401,"threshold_uncertainty_score":0.060066283},"labels":[],"label_agreement":null},{"id":"W4413534738","doi":"10.64628/aam.7h5rhweq3","title":"Taylor Swift is ready for her history to be rewritten","year":2024,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Brock University","funders":"","keywords":"Swift; Art; History; Computer science; Programming language","score_opus":0.10535170743716138,"score_gpt":0.2542859470710815,"score_spread":0.1489342396339201,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413534738","genre_codex":"commentary","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":"commentary","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005943775,0.012669634,0.0006438762,0.41606465,0.40877602,0.000018610717,0.00009613295,0.000095682204,0.16104108],"genre_scores_gemma":[0.009021072,0.00624134,0.0005313207,0.10284526,0.041317835,0.000035972513,0.000077984434,0.00031757547,0.8396116],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978655,0.00039169815,0.00012760506,0.00018671027,0.0011130183,0.00031543846],"domain_scores_gemma":[0.99505275,0.0019466609,0.00020492489,0.00026366205,0.0018524433,0.00067947607],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021172392,0.0006108514,0.0008773074,0.0011816724,0.0056018257,0.008001911,0.0011577411,0.00537733,0.053334534],"category_scores_gemma":[0.018247228,0.00039139108,0.00038468794,0.0010266198,0.004435715,0.0066346927,0.0030620424,0.013143006,0.027939806],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000108483355,0.0000045010124,0.000022180784,0.000039988783,0.0000011134213,0.00007645927,0.00037962056,0.000012167255,0.000058260408,0.023840327,0.96682346,0.008731115],"study_design_scores_gemma":[8.9425055e-7,0.000002144684,0.000033085314,0.000043591186,7.753728e-7,0.000020218517,0.00040099781,0.000006756833,0.000022610606,0.0015099009,0.99795616,0.00000283904],"about_ca_topic_score_codex":0.01328711,"about_ca_topic_score_gemma":0.03815463,"teacher_disagreement_score":0.053334534,"about_ca_system_score_codex":0.0043892115,"about_ca_system_score_gemma":0.0061052945,"threshold_uncertainty_score":0.1784218},"labels":[],"label_agreement":null},{"id":"W4413550996","doi":"10.64628/aam.jpd49a3ek","title":"‘I Dream of Jeannie’ left us with enduring stereotypes","year":2019,"lang":"en","type":"preprint","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Dream; Psychology; Art","score_opus":0.023552241171270052,"score_gpt":0.1950660391221324,"score_spread":0.17151379795086236,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413550996","genre_codex":"other","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.05173471,0.0031961391,0.007909735,0.18688901,0.0064102504,0.000022947208,0.00017859506,0.00019434163,0.74346423],"genre_scores_gemma":[0.68435496,0.0011195133,0.0021689576,0.04172243,0.002051481,0.0000540147,0.00009982576,0.00070191635,0.26772696],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99648005,0.00179132,0.00007464699,0.0005215978,0.00071963435,0.00041280297],"domain_scores_gemma":[0.99709916,0.0010686114,0.00027115954,0.00038459944,0.00063412753,0.000542383],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003820772,0.0005915835,0.00041989618,0.0011592999,0.011075712,0.012255495,0.0007001611,0.0036951185,0.018576203],"category_scores_gemma":[0.010319602,0.00028725446,0.00022788941,0.001073722,0.020730123,0.010477383,0.0047802716,0.009818107,0.00411113],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004040755,0.0000109179855,0.0007396527,0.000025920977,0.000007128412,0.00019074885,0.13268188,0.00002878806,0.0002507987,0.77896523,0.08002073,0.007037753],"study_design_scores_gemma":[0.000012583766,0.000008340412,0.0006874797,0.000112051945,0.00000461655,0.00037830483,0.09316875,0.00010643574,0.00023933587,0.10112164,0.8041245,0.000035980636],"about_ca_topic_score_codex":0.010486726,"about_ca_topic_score_gemma":0.019485218,"teacher_disagreement_score":0.018576203,"about_ca_system_score_codex":0.0031857237,"about_ca_system_score_gemma":0.0013448847,"threshold_uncertainty_score":0.062143624},"labels":[],"label_agreement":null},{"id":"W4413679184","doi":"10.64628/aam.xkrrydy7w","title":"Get Back: The Beatles rocked the rooftop 50 years ago","year":2019,"lang":"en","type":"preprint","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Queen's University","funders":"","keywords":"Art","score_opus":0.03825448596904858,"score_gpt":0.21100861469031273,"score_spread":0.17275412872126417,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413679184","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.034189064,0.016268838,0.002258851,0.2366313,0.039120812,0.000026813352,0.0016009092,0.0005623948,0.66934097],"genre_scores_gemma":[0.15304588,0.003967082,0.00089719135,0.023139756,0.0058197994,0.000017452572,0.0006501142,0.0009908681,0.81147194],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99919516,0.00019147336,0.00001696657,0.0001455761,0.00022752928,0.00022333646],"domain_scores_gemma":[0.9991726,0.00016266623,0.00003939801,0.00012829664,0.00015218687,0.00034476232],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009352147,0.000598955,0.0003838866,0.00096700346,0.00922577,0.01144374,0.00047857477,0.0035985354,0.10958976],"category_scores_gemma":[0.00468553,0.00028415982,0.00034235595,0.0013075568,0.0040218155,0.007026612,0.0038526778,0.006246754,0.02556523],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016714894,0.00002597119,0.0008578625,0.00007964095,0.000020219479,0.0004667958,0.012449533,0.000063807194,0.00043981892,0.07217048,0.8708711,0.042387657],"study_design_scores_gemma":[0.000005228429,0.000007685029,0.0013239349,0.00009725638,0.000004216646,0.00012701715,0.006719611,0.0000304747,0.00015271566,0.0069005364,0.9846187,0.000012546727],"about_ca_topic_score_codex":0.013186201,"about_ca_topic_score_gemma":0.036514286,"teacher_disagreement_score":0.10958976,"about_ca_system_score_codex":0.0024457588,"about_ca_system_score_gemma":0.00093689095,"threshold_uncertainty_score":0.36661428},"labels":[],"label_agreement":null},{"id":"W4413701996","doi":"10.64628/aai.yuet5w79r","title":"U2’s continuing quest for authenticity","year":2015,"lang":"en","type":"preprint","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McMaster University","funders":"","keywords":"Aesthetics; Art","score_opus":0.09155814735595089,"score_gpt":0.264123102790901,"score_spread":0.17256495543495012,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413701996","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.12206197,0.0011839757,0.012740324,0.034799498,0.0009104799,0.000027998616,0.00017775148,0.00018675119,0.82791126],"genre_scores_gemma":[0.93677056,0.0003186295,0.0037731926,0.001974305,0.0001405783,0.000033671382,0.00010313145,0.00014970276,0.056736212],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9970613,0.0013307016,0.000061175415,0.0004201108,0.0006099666,0.0005166047],"domain_scores_gemma":[0.9958443,0.0014849636,0.00018254836,0.0008298895,0.00085668307,0.0008016685],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003866791,0.0003866273,0.00033236813,0.0010438677,0.011099485,0.0123434635,0.0009688977,0.0037737675,0.02012121],"category_scores_gemma":[0.0114021115,0.0002338897,0.00024889366,0.0014976064,0.008217478,0.008962766,0.0077362624,0.0034914545,0.0040605464],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000067310655,0.0000138750875,0.0010768854,0.000027884265,0.0000035812518,0.00023994187,0.025579067,0.000089143905,0.00051592855,0.92494386,0.02040898,0.027033582],"study_design_scores_gemma":[0.0000126436835,0.000029739887,0.0012260242,0.000091780006,0.000004868126,0.00053631776,0.042035688,0.0010033863,0.0012347613,0.27227628,0.68151814,0.000030355504],"about_ca_topic_score_codex":0.008026742,"about_ca_topic_score_gemma":0.010391722,"teacher_disagreement_score":0.02012121,"about_ca_system_score_codex":0.0025542476,"about_ca_system_score_gemma":0.0031096085,"threshold_uncertainty_score":0.06731218},"labels":[],"label_agreement":null},{"id":"W4414002469","doi":"10.1017/9781009351812","title":"Liberation on the Dance Floor","year":2025,"lang":"en","type":"book","venue":"Cambridge University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Dance; Liberation; Visual arts; Art; Chemistry","score_opus":0.02646599737762767,"score_gpt":0.1685318066293676,"score_spread":0.14206580925173992,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4414002469","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.04178325,0.0046675927,0.0006625552,0.005221659,0.0005456001,0.00001986626,0.00004449108,0.000076332,0.9469787],"genre_scores_gemma":[0.28146064,0.0025206003,0.0006503147,0.00087352196,0.00021524231,0.000031465115,0.000053424523,0.00012481742,0.71407],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9996264,0.00010033673,0.000007566511,0.000045442386,0.00009224626,0.0001280639],"domain_scores_gemma":[0.99986243,0.000023266379,0.000010252121,0.000027356462,0.000018460049,0.000058248464],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003053737,0.00034335582,0.00018636983,0.0006539059,0.006277593,0.005019723,0.00047519457,0.0007176833,0.028978817],"category_scores_gemma":[0.00044517874,0.0001571369,0.00021366395,0.0006329435,0.006839702,0.0016956878,0.0049054427,0.0021468624,0.0035631303],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010956568,0.0000731794,0.0013484799,0.00020801433,0.00001151978,0.00056178705,0.08483663,0.0003302914,0.0014576324,0.6143606,0.12962255,0.1670797],"study_design_scores_gemma":[0.000013565847,0.000027719969,0.001469335,0.00017576695,0.000004052639,0.00011923842,0.018816479,0.00009622081,0.00050597853,0.011239107,0.9675259,0.000006650889],"about_ca_topic_score_codex":0.010338325,"about_ca_topic_score_gemma":0.042836748,"teacher_disagreement_score":0.028978817,"about_ca_system_score_codex":0.003494678,"about_ca_system_score_gemma":0.002116663,"threshold_uncertainty_score":0.096943855},"labels":[],"label_agreement":null},{"id":"W4414004526","doi":"10.1386/punk_00300_5","title":"‘Punk on display’, Punk Scholars Network USA and Canada 3rd Annual Conference, The Punk Rock Museum, Las Vegas, NV, USA, 2–3 March 2025","year":2025,"lang":"en","type":"article","venue":"Punk & Post Punk","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of British Columbia","funders":"","keywords":"Punk; Las vegas; Boulevard; Media studies; Art history; Art; Geography; Sociology; Archaeology","score_opus":0.013708249454185313,"score_gpt":0.21118034568899327,"score_spread":0.19747209623480796,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4414004526","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0022688808,0.22211479,0.0004570047,0.1356991,0.059463006,0.0002781807,0.0026514446,0.0005144695,0.57655317],"genre_scores_gemma":[0.018101303,0.11604647,0.0011918362,0.046257906,0.009361895,0.00019804355,0.0038689917,0.0005417941,0.80443174],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9959889,0.00041021442,0.00013053675,0.00023185716,0.0026170032,0.0006215308],"domain_scores_gemma":[0.99169004,0.00061762123,0.00026394168,0.0002457053,0.004799496,0.0023832377],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0033155726,0.00070851925,0.00072441867,0.0023404565,0.006338327,0.008332598,0.002513746,0.0028386926,0.15419316],"category_scores_gemma":[0.010176755,0.0006339605,0.0005255658,0.004316923,0.003031015,0.0052916547,0.0053333794,0.0038550338,0.024968859],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008891997,0.000006709235,0.00008415736,0.0001928151,0.000001553143,0.000010784599,0.00010410079,0.000007821891,0.000028014021,0.00095220195,0.97855616,0.020046918],"study_design_scores_gemma":[0.0000034616562,0.0000040000045,0.0011884101,0.0002977684,0.0000021097346,0.000015921703,0.00036103395,0.0000034454322,0.000014206506,0.00007652366,0.9980274,0.000005693775],"about_ca_topic_score_codex":0.4605804,"about_ca_topic_score_gemma":0.784786,"teacher_disagreement_score":0.5394196,"about_ca_system_score_codex":0.013193644,"about_ca_system_score_gemma":0.047945343,"threshold_uncertainty_score":0.9157991},"labels":[],"label_agreement":null},{"id":"W4414007066","doi":"10.36939/cjis/vol1no1/art3","title":"“There’s People who Need to Hear my Words”: How Hip-Hopping, Queer Métis Youth See Themselves","year":2025,"lang":"en","type":"article","venue":"The Canadian Journal of Indigenous Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Manitoba","funders":"","keywords":"Queer; Sociology; Gender studies","score_opus":0.03512227639682703,"score_gpt":0.22604631659436542,"score_spread":0.1909240401975384,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4414007066","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9653526,0.0014257606,0.0014870962,0.006206478,0.00015527006,0.00006363308,0.00008161918,0.000046188696,0.025181303],"genre_scores_gemma":[0.99335504,0.000574967,0.00038651278,0.0006727044,0.000024177043,0.000030163172,0.00003036434,0.000027223814,0.00489896],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9977144,0.0013590137,0.00005044302,0.00015312653,0.00021314429,0.00050991913],"domain_scores_gemma":[0.9978421,0.0010891145,0.0003071981,0.0000694637,0.00023192531,0.00046015644],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0033113144,0.00045349012,0.0003411163,0.0010234651,0.011619148,0.0075447275,0.0011157135,0.0015848473,0.004059361],"category_scores_gemma":[0.0065866546,0.0003841377,0.00029852512,0.0009552904,0.015054977,0.0049487203,0.004749992,0.0031685806,0.00062904024],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000057789316,0.0000053200456,0.0013566758,0.000017534125,0.0000018010488,0.0002796666,0.9951681,0.000004375583,0.00021659322,0.00075706217,0.00031519958,0.0018718919],"study_design_scores_gemma":[7.054327e-7,0.0000040167306,0.0008256989,0.000028477036,0.0000020708305,0.000097474665,0.995637,0.0000064814976,0.000042894026,0.00013154607,0.0032195766,0.00000402524],"about_ca_topic_score_codex":0.088811,"about_ca_topic_score_gemma":0.16945498,"teacher_disagreement_score":0.911189,"about_ca_system_score_codex":0.0041951085,"about_ca_system_score_gemma":0.004383933,"threshold_uncertainty_score":0.17658812},"labels":[],"label_agreement":null},{"id":"W4414007103","doi":"10.36939/cjis/vol1no1/art13","title":"Joe's Speakeasy","year":2025,"lang":"en","type":"article","venue":"The Canadian Journal of Indigenous Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Métis National Council","funders":"","keywords":"Art","score_opus":0.04605502184513899,"score_gpt":0.2477501599165421,"score_spread":0.2016951380714031,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4414007103","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.026420962,0.0071244133,0.0014658216,0.16502239,0.024171492,0.00008013173,0.00035835194,0.0005578952,0.77479845],"genre_scores_gemma":[0.097000144,0.0020146295,0.00044423898,0.02655378,0.0013637114,0.000040225248,0.00012338483,0.00043505148,0.87202495],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992907,0.00015597053,0.000011291767,0.000078489385,0.00029310596,0.0001704654],"domain_scores_gemma":[0.9986099,0.00019851126,0.00005173027,0.000060049897,0.0005116347,0.00056802266],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00074737245,0.0004095579,0.0003040339,0.00048533853,0.013159944,0.0047990917,0.00053943414,0.0017960969,0.056098577],"category_scores_gemma":[0.005238596,0.00019812695,0.00023686077,0.00036226667,0.0024800284,0.0028446312,0.0030527448,0.0058640875,0.012745867],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002736924,0.00002325974,0.0007334598,0.00005519114,0.0000044438584,0.0009295963,0.04345878,0.000011975782,0.0007378319,0.011236805,0.9251809,0.017600471],"study_design_scores_gemma":[0.0000012833873,0.000007837147,0.00065823016,0.000047334055,0.000001828907,0.00034653046,0.022176607,0.000013005895,0.00013922989,0.0003582893,0.9762418,0.000008031757],"about_ca_topic_score_codex":0.039924126,"about_ca_topic_score_gemma":0.08659071,"teacher_disagreement_score":0.96007586,"about_ca_system_score_codex":0.0013776729,"about_ca_system_score_gemma":0.0019284455,"threshold_uncertainty_score":0.18766844},"labels":[],"label_agreement":null},{"id":"W4414091702","doi":"10.3998/mpub.14485683","title":"Lavender Sounds","year":2025,"lang":"en","type":"book","venue":"University of Michigan Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Queer; Lesbian; Conversation; Sexual identity; Active listening; Identity (music); Queer theory; Politics","score_opus":0.02535197044002049,"score_gpt":0.1612123879472581,"score_spread":0.1358604175072376,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4414091702","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000805384,0.0010159612,0.0010578262,0.0042431625,0.0014885133,0.000062138526,0.0007724076,0.000715104,0.98983955],"genre_scores_gemma":[0.0034485897,0.0005270211,0.00041994074,0.0006917778,0.00011192231,0.000027692231,0.00021523818,0.0003038731,0.99425393],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99892455,0.00009302158,0.000029492236,0.00018800306,0.00061543734,0.00014942752],"domain_scores_gemma":[0.9987907,0.00022925925,0.000049900842,0.00013595719,0.0004870045,0.00030730836],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00067215745,0.0007612304,0.00030048285,0.0014269956,0.004061472,0.0073369723,0.0012690575,0.0022139023,0.5709833],"category_scores_gemma":[0.0026652631,0.000517746,0.0003356276,0.0009319125,0.0015984898,0.0034848268,0.003832145,0.0029656715,0.20957085],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000412467,0.000021057735,0.00023235091,0.00008884113,0.0000019163422,0.00020631102,0.0007039467,0.000099721634,0.00071105384,0.01981424,0.8858599,0.09221938],"study_design_scores_gemma":[0.0000019627194,0.0000036157094,0.00016806339,0.000034151344,4.915805e-7,0.00005397772,0.00026475155,0.00003254524,0.00013346142,0.0003510666,0.9989511,0.000004944757],"about_ca_topic_score_codex":0.0353931,"about_ca_topic_score_gemma":0.078540675,"teacher_disagreement_score":0.5709833,"about_ca_system_score_codex":0.0026786064,"about_ca_system_score_gemma":0.0030558868,"threshold_uncertainty_score":0.61194026},"labels":[],"label_agreement":null},{"id":"W4414138410","doi":"10.17265/2159-5526/2025.04.001","title":"“He Yells at Me Three Times: Stay in Your Car!”: Rap Culture, Black Identity and Reception of the Message of Police Brutality in Quebec City","year":2025,"lang":"en","type":"article","venue":"Sociology Study","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Police brutality; Ethnography; Ideology; Participant observation; White (mutation); Politics; Social movement; Identity (music); Racial profiling; Identity politics","score_opus":0.046724660153531224,"score_gpt":0.29789141825894055,"score_spread":0.25116675810540934,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4414138410","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9783353,0.000335017,0.00018638719,0.0046642125,0.000073173775,0.00003002152,0.00013680442,0.000014142968,0.016224995],"genre_scores_gemma":[0.99208224,0.00023102306,0.000118206895,0.00055909663,0.000017637105,0.000026275577,0.00005026879,0.000022508368,0.006892686],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9978362,0.0010215647,0.00002843355,0.00015222351,0.00034291667,0.00061864086],"domain_scores_gemma":[0.99641454,0.0010424348,0.0005371294,0.00009942804,0.0010310499,0.0008753979],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002343847,0.0005827014,0.00042423623,0.0018851857,0.031667512,0.0061394037,0.0019191214,0.0015493134,0.0063850046],"category_scores_gemma":[0.0048440485,0.00034636073,0.00022152174,0.0016891927,0.010879099,0.0015800747,0.003248845,0.0025591345,0.0005250761],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004340017,0.00003103203,0.008533541,0.000021515996,0.000007653072,0.00036771075,0.98110986,0.000027884555,0.0006033329,0.00081905426,0.0035721587,0.004862847],"study_design_scores_gemma":[0.000002023965,0.000016195869,0.018390741,0.000053169526,0.000004990841,0.000076888115,0.97018087,0.000047669488,0.00012086398,0.000055890796,0.01103349,0.000017064809],"about_ca_topic_score_codex":0.9423414,"about_ca_topic_score_gemma":0.9773588,"teacher_disagreement_score":0.057658613,"about_ca_system_score_codex":0.029271217,"about_ca_system_score_gemma":0.01595132,"threshold_uncertainty_score":0.2123785},"labels":[],"label_agreement":null},{"id":"W4414145124","doi":"10.54254/2753-7064/2025.lc26705","title":"Body as Weapon: Trauma, Space and Identity Alchemy of Migrant Youth in Hip-Hop Dance","year":2025,"lang":"en","type":"article","venue":"Communications in Humanities Research","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Identity (music); Dance; Context (archaeology); Colonialism; Power (physics); Habitus; Social identity theory; Choreography; Foregrounding","score_opus":0.23958727968688473,"score_gpt":0.40888383142743107,"score_spread":0.16929655174054634,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4414145124","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9967629,0.00030276566,0.00009679196,0.00032104595,0.000017497157,0.000008528572,0.000017029912,0.0000036263891,0.0024698775],"genre_scores_gemma":[0.99836975,0.00025623981,0.00008181564,0.000066067165,0.0000056759472,0.000007963891,0.00001655879,0.000004153479,0.0011916737],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99925,0.0002690141,0.00002800364,0.000078011435,0.0001293171,0.0002455639],"domain_scores_gemma":[0.9994987,0.00011359638,0.00013460321,0.000035468478,0.00004922546,0.00016832481],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008984135,0.0003919123,0.00045067843,0.00094796624,0.004933182,0.0036119747,0.0006909585,0.00090508594,0.0030019959],"category_scores_gemma":[0.0016608546,0.0003631697,0.00030835747,0.00062651775,0.0074703214,0.0010769633,0.005225286,0.00147928,0.00021552693],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005232459,0.00008008476,0.06662162,0.00010332789,0.000015200729,0.0012884598,0.91810733,0.000048760165,0.000954603,0.0017567828,0.000509996,0.010461566],"study_design_scores_gemma":[0.0000027652477,0.00006702291,0.047450837,0.00007535574,0.000010318014,0.000536282,0.94789004,0.00002681997,0.00015623069,0.0002844862,0.0034907286,0.000009204958],"about_ca_topic_score_codex":0.032845475,"about_ca_topic_score_gemma":0.08296598,"teacher_disagreement_score":0.032845475,"about_ca_system_score_codex":0.0024113539,"about_ca_system_score_gemma":0.001949598,"threshold_uncertainty_score":0.06530857},"labels":[],"label_agreement":null},{"id":"W4414195377","doi":"10.3138/uhr-2024-0013","title":"“Culture as a Precursor to Augmented Trade Relations”: Indonesian Musics, Multicultural Festivals, and Vancouver’s Changing Transpacific Identity, 1984–1986","year":2025,"lang":"en","type":"article","venue":"Urban History Review","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Simon Fraser University","funders":"","keywords":"Indonesian; The arts; Multiculturalism; Hegemony; Politics; Ideology; Globalization; Cultural policy","score_opus":0.02465218001590676,"score_gpt":0.23582399409722074,"score_spread":0.21117181408131397,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4414195377","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.77345973,0.0013692788,0.00023509895,0.0047262693,0.00011524381,0.000034584922,0.00005841409,0.000012009883,0.21998936],"genre_scores_gemma":[0.960866,0.00069752935,0.00013770121,0.00036740254,0.000019209618,0.000013351926,0.000039643804,0.000011867626,0.037847295],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989159,0.00023305227,0.000030930212,0.00009743884,0.00026014063,0.0004624947],"domain_scores_gemma":[0.99878544,0.00017211144,0.000096068725,0.000059671594,0.00028050307,0.000606216],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000978138,0.00028191417,0.00015897192,0.0011185261,0.023716936,0.011791942,0.0009108342,0.00083357457,0.004971188],"category_scores_gemma":[0.0018743317,0.0002873865,0.00009485798,0.0019867434,0.008644771,0.0015621367,0.0045736926,0.0024298723,0.00034437468],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00024145133,0.00021605364,0.05270949,0.00016562278,0.00002671617,0.002376614,0.7259343,0.0003270209,0.0014440706,0.057271812,0.019392628,0.13989423],"study_design_scores_gemma":[0.000016994412,0.00004408827,0.11366403,0.00012461412,0.000009919193,0.00029966029,0.5933496,0.00015125895,0.0006602613,0.0020189201,0.28962,0.00004074346],"about_ca_topic_score_codex":0.7717689,"about_ca_topic_score_gemma":0.93437403,"teacher_disagreement_score":0.22823107,"about_ca_system_score_codex":0.025497843,"about_ca_system_score_gemma":0.014133684,"threshold_uncertainty_score":0.4591503},"labels":[],"label_agreement":null},{"id":"W4414498786","doi":"10.1080/01411896.2025.2554536","title":"“Socially Distanced Since 1978”: Music Theory, Race, and Ethnic Studies","year":2025,"lang":"en","type":"article","venue":"Journal of Musicological Research","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Ethnic group; Ethnic studies; Cultural studies","score_opus":0.3596703498806326,"score_gpt":0.4430745702232468,"score_spread":0.08340422034261419,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4414498786","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.49620643,0.050472755,0.0011465579,0.111884266,0.0012065171,0.000025733223,0.00006427888,0.000011117208,0.33898228],"genre_scores_gemma":[0.98955405,0.0029566833,0.00013000683,0.0023392648,0.00031206736,0.000012469273,0.000011089746,0.0000083490295,0.0046760384],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9967163,0.0018417317,0.0000604788,0.00031151436,0.00040934767,0.0006605913],"domain_scores_gemma":[0.9959065,0.002100876,0.0005405071,0.00020974077,0.00039220968,0.00085013104],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0052537527,0.0002800459,0.00045518504,0.0031656765,0.013142765,0.008212967,0.001336495,0.0018227622,0.0040213377],"category_scores_gemma":[0.006306757,0.0001292683,0.00022744833,0.0032678281,0.03995992,0.0075751115,0.004843835,0.0030099356,0.00016693825],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000039866878,0.000060662842,0.006197047,0.000080259364,0.000014054805,0.00015807284,0.25748527,0.00009982449,0.00011077787,0.69694257,0.0045899367,0.034221575],"study_design_scores_gemma":[0.000024248344,0.00007653025,0.03334518,0.0010203954,0.00003280785,0.0002146831,0.54117274,0.00031756362,0.00027148298,0.16174257,0.26173264,0.00004919793],"about_ca_topic_score_codex":0.1725591,"about_ca_topic_score_gemma":0.2582473,"teacher_disagreement_score":0.1725591,"about_ca_system_score_codex":0.0144224465,"about_ca_system_score_gemma":0.010792059,"threshold_uncertainty_score":0.34310937},"labels":[],"label_agreement":null},{"id":"W4414788539","doi":"10.1080/15332640.2025.2560947","title":"Dark times &amp; starry eyes: Substance use themes in the Weeknd’s discography","year":2025,"lang":"en","type":"article","venue":"Journal of Ethnicity in Substance Abuse","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Dalhousie University; University of Calgary","funders":"","keywords":"Narrative; Substance use; Thematic analysis; Lyrics; Romance; Content analysis; Coping (psychology); Discography","score_opus":0.04935561733514529,"score_gpt":0.26970310885583293,"score_spread":0.22034749152068764,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4414788539","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9276666,0.001504496,0.001178341,0.0077195955,0.00033209164,0.000041905816,0.0001609785,0.000037706264,0.06135829],"genre_scores_gemma":[0.9755112,0.0007165454,0.0007380001,0.0005719482,0.0000585667,0.00003280129,0.000053784024,0.00005842946,0.022258595],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99860233,0.0006786201,0.000048243397,0.000117069736,0.00033220268,0.00022149335],"domain_scores_gemma":[0.9976119,0.0013046815,0.00022785371,0.00014468809,0.00023253704,0.00047845737],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021282346,0.00024931546,0.00031080097,0.0016005009,0.010801353,0.0052027004,0.00088805537,0.00089562545,0.004037073],"category_scores_gemma":[0.0040396084,0.00024660642,0.00023501614,0.0010876454,0.0095286,0.0023801043,0.004770486,0.0020326558,0.000382445],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000048391837,0.000022112486,0.0050353906,0.000101653044,0.0000050932535,0.0013484388,0.9664973,0.000028330107,0.0012757696,0.006355928,0.005586907,0.01369468],"study_design_scores_gemma":[0.0000033149229,0.000026125857,0.008771651,0.0002204236,0.000005458757,0.001339401,0.8843409,0.0000742145,0.0009071868,0.0009519062,0.1033372,0.000022185588],"about_ca_topic_score_codex":0.027760524,"about_ca_topic_score_gemma":0.079637185,"teacher_disagreement_score":0.027760524,"about_ca_system_score_codex":0.0049945153,"about_ca_system_score_gemma":0.003022975,"threshold_uncertainty_score":0.055197895},"labels":[],"label_agreement":null},{"id":"W4415304425","doi":"10.18733/cpi29778","title":"“Punk Mi Bai”: The Iligan City Hardcore Punk Movement","year":2025,"lang":"","type":"article","venue":"Cultural and Pedagogical Inquiry","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Punk; Collective identity; Mainstream; Social movement; Subculture (biology); Ideology; Movement (music); Ethnography; Identity (music)","score_opus":0.6121649325829108,"score_gpt":0.4186307687322465,"score_spread":0.1935341638506643,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4415304425","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.93283623,0.0004934199,0.00042016213,0.0014102764,0.00012662889,0.00005934094,0.00003004283,0.000028982311,0.06459486],"genre_scores_gemma":[0.9763422,0.000346316,0.00063902396,0.0005946238,0.000030447552,0.000055695687,0.000058113637,0.00003194225,0.021901604],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9996623,0.00011320441,0.000005602194,0.000059598355,0.000041372197,0.00011799697],"domain_scores_gemma":[0.9998311,0.000045877943,0.000029250203,0.00002131497,0.000015277365,0.00005729938],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00052296056,0.00030762222,0.00025280373,0.00048093792,0.008551172,0.0021824653,0.0007061519,0.00075643824,0.005709796],"category_scores_gemma":[0.0005338521,0.00029667298,0.0001559156,0.0007276402,0.004780916,0.0015934759,0.0050904783,0.0021025885,0.00047336222],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002910539,0.00028057623,0.020591533,0.00049495965,0.000016899818,0.0051485235,0.84877086,0.00016087173,0.008755912,0.02376484,0.013069228,0.078654744],"study_design_scores_gemma":[0.000018247874,0.0002997471,0.09959313,0.00022637073,0.000018494587,0.0023963994,0.71940726,0.00029096406,0.0011748782,0.0013099829,0.17520107,0.00006352549],"about_ca_topic_score_codex":0.009705185,"about_ca_topic_score_gemma":0.038628664,"teacher_disagreement_score":0.009705185,"about_ca_system_score_codex":0.0019175729,"about_ca_system_score_gemma":0.0011701755,"threshold_uncertainty_score":0.019297361},"labels":[],"label_agreement":null},{"id":"W4415304449","doi":"10.18733/cpi29777","title":"The Emergence of a Heavy Metal Scene in Iligan City: An Oral History","year":2025,"lang":"","type":"article","venue":"Cultural and Pedagogical Inquiry","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"University of Alberta","keywords":"Mainstream; Oral history; History of music; Key (lock)","score_opus":0.6512089917078506,"score_gpt":0.43183863028288355,"score_spread":0.21937036142496708,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4415304449","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7692963,0.003928017,0.0005351245,0.00241314,0.0003534187,0.00008636719,0.00014460665,0.000037041777,0.22320606],"genre_scores_gemma":[0.9422721,0.0023434423,0.0004818257,0.00036241952,0.00010057099,0.000030254652,0.00016283421,0.00005222976,0.054194383],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9997303,0.00007111778,0.000007155342,0.000039997383,0.000044560937,0.00010690481],"domain_scores_gemma":[0.9998497,0.000046301906,0.000018113818,0.000012463024,0.000028461296,0.000044914774],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007025322,0.0003583261,0.00026556253,0.0014783414,0.009081634,0.0033695241,0.00055934215,0.0009294195,0.0073859417],"category_scores_gemma":[0.00047396228,0.00036680192,0.00013629589,0.0011624746,0.004832443,0.0016636092,0.0031676076,0.0018849551,0.00068498944],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00020252222,0.00013468879,0.012049323,0.0007044862,0.000011948383,0.004509559,0.8392613,0.00010413602,0.0074463696,0.044138893,0.01459907,0.076837696],"study_design_scores_gemma":[0.000007671492,0.00010951686,0.038116977,0.00049606897,0.000019134366,0.0014268397,0.60527825,0.00009648751,0.0013452871,0.0005276954,0.3525348,0.000041279018],"about_ca_topic_score_codex":0.0255407,"about_ca_topic_score_gemma":0.11238409,"teacher_disagreement_score":0.0255407,"about_ca_system_score_codex":0.003762274,"about_ca_system_score_gemma":0.001762185,"threshold_uncertainty_score":0.05078411},"labels":[],"label_agreement":null},{"id":"W4415400747","doi":"10.22148/001c.144809","title":"Tug-of-War of Emotion: Measuring and Modeling Sentiment Cycles in Chinese-Language Pop Song Lyrics, 1967-2023","year":2025,"lang":"en","type":"article","venue":"Journal of Cultural Analytics","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Popular music; Term (time); Sound recording and reproduction","score_opus":0.03933005308812216,"score_gpt":0.26311685740249796,"score_spread":0.2237868043143758,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4415400747","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.99431384,0.00013382861,0.004109126,0.000099042394,0.000009303777,0.000020075202,0.0003776871,0.00003542769,0.00090184546],"genre_scores_gemma":[0.9978523,0.000055643275,0.0012974609,0.000009641451,0.000007159535,0.000018780009,0.00041576914,0.0000048257552,0.00033838645],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.99991727,0.000019375739,0.0000052558203,0.000028632754,0.000013284657,0.000016204203],"domain_scores_gemma":[0.9998079,0.000085572414,0.0000395169,0.000011930937,0.000033132994,0.00002193751],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00045343395,0.0003959081,0.0002098931,0.00061627076,0.00025815528,0.00054172496,0.00032260315,0.00026623256,0.0004686132],"category_scores_gemma":[0.0011782949,0.00015555133,0.00044824166,0.000489884,0.00029510987,0.00035389327,0.00029241698,0.0002964355,0.0001332739],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004512319,0.00017396697,0.5669625,0.00017597651,0.00021310021,0.00039727706,0.0012907229,0.3486925,0.010675983,0.0027291242,0.0025197368,0.06571794],"study_design_scores_gemma":[0.0000064739475,0.00004737487,0.11807827,0.000008450112,0.000022076665,0.000024262803,0.00022372277,0.8800746,0.00065295974,0.0003392219,0.0005104068,0.000012227371],"about_ca_topic_score_codex":0.060798172,"about_ca_topic_score_gemma":0.050798208,"teacher_disagreement_score":0.060798172,"about_ca_system_score_codex":0.00082072004,"about_ca_system_score_gemma":0.00048351663,"threshold_uncertainty_score":0.12088859},"labels":[],"label_agreement":null},{"id":"W4415580724","doi":"10.5040/9798765110553","title":"Hip-Hop Style and Identity in Toronto","year":2025,"lang":"","type":"book","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Performative utterance; Identity (music); Style (visual arts); Indigenous; Narrative; Negotiation; Agency (philosophy); Ethnography","score_opus":0.016897372264810653,"score_gpt":0.24422630745929086,"score_spread":0.22732893519448022,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4415580724","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.40537518,0.008872601,0.00041360705,0.0055121505,0.0004381301,0.00004078569,0.00038729023,0.00004695425,0.5789132],"genre_scores_gemma":[0.91161835,0.0036881864,0.00019501064,0.000194704,0.00004227524,0.000014284606,0.00012680232,0.000030402965,0.08409006],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99958616,0.0000622747,0.0000107169735,0.000038219416,0.0001479187,0.00015474715],"domain_scores_gemma":[0.9996427,0.000047216705,0.00004021364,0.000026041645,0.00006244064,0.000181445],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00028801244,0.00040171284,0.00018487868,0.0010886053,0.010385177,0.005244834,0.00069953385,0.00050981744,0.009357336],"category_scores_gemma":[0.0006422548,0.00017784227,0.0001916024,0.002614399,0.009329547,0.0008717771,0.003602884,0.0010271994,0.0005104642],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008172046,0.000026940297,0.01133297,0.00020967856,0.000016945982,0.0013195688,0.7432486,0.0003483507,0.00085286255,0.14885713,0.048938483,0.044766847],"study_design_scores_gemma":[0.000012386281,0.000037412214,0.057344295,0.00037251096,0.000027543318,0.0005579704,0.5073719,0.00024354056,0.0004374534,0.0031556056,0.43040437,0.000035074936],"about_ca_topic_score_codex":0.9126946,"about_ca_topic_score_gemma":0.97360367,"teacher_disagreement_score":0.08730543,"about_ca_system_score_codex":0.050133895,"about_ca_system_score_gemma":0.016797142,"threshold_uncertainty_score":0.3637486},"labels":[],"label_agreement":null},{"id":"W4415667347","doi":"10.55016/ojs/muj.v3i1.80961","title":"Queer Pop Stardom","year":2025,"lang":"","type":"article","venue":"The Motley Undergraduate Journal","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Waterloo","funders":"","keywords":"Queer; Femininity; Popular culture; Vision; Lesbian; Queer theory; Heteronormativity; Feminism; Closet","score_opus":0.015293125362671241,"score_gpt":0.22865480173670927,"score_spread":0.21336167637403802,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4415667347","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1306263,0.0027588876,0.0018605785,0.01927283,0.0010924418,0.00003806346,0.000109596775,0.00014553677,0.8440957],"genre_scores_gemma":[0.62384695,0.0019025356,0.0007569196,0.0028690905,0.00029260005,0.00002127152,0.00005888033,0.000114190625,0.37013754],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995117,0.00020110476,0.0000066800453,0.000057103814,0.00010225041,0.00012119746],"domain_scores_gemma":[0.9995709,0.00007466731,0.0000322027,0.000049722978,0.00007461136,0.00019793029],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008183838,0.00027371437,0.00012769451,0.00053411623,0.008581395,0.0049365656,0.00034832238,0.00062947144,0.020893736],"category_scores_gemma":[0.0012801602,0.00008985867,0.000107297376,0.00041541376,0.0037564684,0.002039183,0.0029273287,0.0015253955,0.0024761858],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012784399,0.000070485905,0.003594512,0.0001479596,0.000010042472,0.0011400545,0.14789705,0.00014931032,0.002072009,0.5259222,0.19943585,0.119432785],"study_design_scores_gemma":[0.000005023804,0.000032522865,0.0020314148,0.000080252954,0.0000027618,0.00042546503,0.05688828,0.000093680355,0.00041439253,0.0069370167,0.9330786,0.000010611241],"about_ca_topic_score_codex":0.010894057,"about_ca_topic_score_gemma":0.03679956,"teacher_disagreement_score":0.020893736,"about_ca_system_score_codex":0.0020754663,"about_ca_system_score_gemma":0.0013145336,"threshold_uncertainty_score":0.06989646},"labels":[],"label_agreement":null},{"id":"W4415811678","doi":"10.3390/arts14060133","title":"Melomaniacs: How Independent Musicians Influence West Hollywood’s Cosmopolitanism","year":2025,"lang":"en","type":"article","venue":"Arts","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Amherst College; York University; DePaul University","keywords":"Cosmopolitanism; Ethnography; Meaning (existential); Musicality; Musical; The arts; Feeling; Creativity; Expression (computer science)","score_opus":0.017524539556463492,"score_gpt":0.21438252822044798,"score_spread":0.1968579886639845,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4415811678","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9426388,0.00016789965,0.00036326313,0.0007010779,0.000029023062,0.000012949204,0.0000094747165,0.000007879883,0.056069646],"genre_scores_gemma":[0.9949485,0.000055188786,0.00007717109,0.00008820984,0.0000050293656,0.000003863319,0.0000040922005,0.000010871608,0.0048071286],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99878126,0.00042517454,0.000023318747,0.00015979375,0.00015868063,0.00045167623],"domain_scores_gemma":[0.99869126,0.0004651,0.00017219404,0.00008191398,0.00011428645,0.00047525717],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013348355,0.0002344298,0.00022551737,0.0009918999,0.008417275,0.006977384,0.0007969756,0.00045195056,0.0063931593],"category_scores_gemma":[0.0023289488,0.00021982046,0.00010940317,0.0006820074,0.011071486,0.0019558,0.0046179504,0.0013133278,0.00026329354],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012635716,0.0000798849,0.025337322,0.000045719866,0.000016370655,0.00075236434,0.9233714,0.000060552695,0.0016368458,0.023611085,0.0023255618,0.022636598],"study_design_scores_gemma":[0.0000086763,0.0000337621,0.03970617,0.00006812169,0.000015598482,0.00013293071,0.9044088,0.00011772629,0.00048649937,0.0028026532,0.052199032,0.000019979017],"about_ca_topic_score_codex":0.039539747,"about_ca_topic_score_gemma":0.14077953,"teacher_disagreement_score":0.039539747,"about_ca_system_score_codex":0.0034819995,"about_ca_system_score_gemma":0.00219851,"threshold_uncertainty_score":0.07861924},"labels":[],"label_agreement":null},{"id":"W4415968089","doi":"10.1121/2.0002189","title":"Exploring sound installation reactivity: Acoustic niches in public space","year":2025,"lang":"en","type":"article","venue":"Proceedings of meetings on acoustics","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Centre for Interdisciplinary Research in Music Media and Technology","funders":"","keywords":"Sound (geography); Public space; Space (punctuation); Key (lock)","score_opus":0.1015853363939212,"score_gpt":0.24003412365762075,"score_spread":0.13844878726369955,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4415968089","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9800956,0.000110158,0.010701871,0.00013044373,0.00002155174,0.00005552775,0.000048300793,0.00012448883,0.008712184],"genre_scores_gemma":[0.9964365,0.00003920587,0.002742217,0.00002704061,0.000007878841,0.000034796907,0.00002396593,0.000033530243,0.00065500254],"study_design_codex":"qualitative","study_design_gemma":"observational","domain_scores_codex":[0.99833363,0.00073465455,0.00004103432,0.0002862242,0.00038752324,0.00021697758],"domain_scores_gemma":[0.9970392,0.0018231521,0.00035974637,0.0003177086,0.00022702513,0.00023314456],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017239166,0.00043381486,0.0002829236,0.0007440843,0.0010656497,0.003233809,0.00075678836,0.0009245049,0.003145097],"category_scores_gemma":[0.0059163137,0.00031044293,0.00037810585,0.0004822026,0.0026962943,0.0019715626,0.003106029,0.00070542376,0.0003147208],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0028216036,0.0011100159,0.12625386,0.0016122414,0.0002307321,0.0027189387,0.33791375,0.010952178,0.30638584,0.016765581,0.0022642964,0.19097096],"study_design_scores_gemma":[0.00013434983,0.0032489893,0.60313004,0.00041755542,0.0003035452,0.0022464017,0.26311192,0.026414916,0.04404793,0.017900396,0.038637035,0.00040680246],"about_ca_topic_score_codex":0.0012050965,"about_ca_topic_score_gemma":0.0025539135,"teacher_disagreement_score":0.003233809,"about_ca_system_score_codex":0.0007788775,"about_ca_system_score_gemma":0.00047537303,"threshold_uncertainty_score":0.010521412},"labels":[],"label_agreement":null},{"id":"W4416006759","doi":"10.5465/amproc.2025.11999abstract","title":"Enhancing Visibility and Opportunities for Latin Canadian Artists in the Music Industry","year":2025,"lang":"en","type":"article","venue":"Academy of Management Proceedings","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Latin Americans; Visibility; Identity (music); Music industry; Representation (politics); Face (sociological concept)","score_opus":0.08279457751352205,"score_gpt":0.2611727638263526,"score_spread":0.1783781863128306,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4416006759","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.75390583,0.0014018981,0.0011593738,0.012116958,0.00029725925,0.00010124632,0.00024104743,0.000073289906,0.23070303],"genre_scores_gemma":[0.9727869,0.0009608096,0.0012794744,0.001060937,0.000029105693,0.000028933222,0.000105803054,0.000031754207,0.023716262],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9977149,0.0003382514,0.000031115967,0.0001344049,0.0006360598,0.0011452921],"domain_scores_gemma":[0.99568415,0.0003238457,0.00022696819,0.000095407784,0.0009314867,0.0027381063],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020127257,0.00028326776,0.00024999934,0.0019797666,0.020429958,0.0100871865,0.0010539091,0.00073742296,0.017628048],"category_scores_gemma":[0.0048356475,0.0002174955,0.00026010882,0.0019475465,0.003866538,0.0016796059,0.007123533,0.0012584626,0.00087327574],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003802112,0.00032817555,0.1849995,0.0005196752,0.00005259183,0.0019492254,0.34220466,0.00040418364,0.006565236,0.03136737,0.067328535,0.36390066],"study_design_scores_gemma":[0.000028120374,0.000088081615,0.13224825,0.00047601326,0.000046003617,0.00027806775,0.55588955,0.00034141974,0.00072533573,0.001955355,0.30783725,0.00008659752],"about_ca_topic_score_codex":0.953772,"about_ca_topic_score_gemma":0.9891523,"teacher_disagreement_score":0.04622799,"about_ca_system_score_codex":0.02644909,"about_ca_system_score_gemma":0.07913861,"threshold_uncertainty_score":0.19190252},"labels":[],"label_agreement":null},{"id":"W4416321410","doi":"10.5406/21567417.69.3.04","title":"Shopping and Chopping: How Everyday Sounds Come Alive in Sinophone Toronto","year":2025,"lang":"en","type":"article","venue":"Ethnomusicology","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Racialization; Identity (music); Musical; Everyday life; Relation (database)","score_opus":0.02263027303252259,"score_gpt":0.2337582699754784,"score_spread":0.2111279969429558,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4416321410","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9630228,0.0006110773,0.0004034343,0.001413173,0.000064899905,0.000025470197,0.000119207536,0.00002453576,0.034315307],"genre_scores_gemma":[0.9886109,0.00048823445,0.00022977055,0.00024840308,0.000015842092,0.000015200041,0.00004692706,0.000036407335,0.010308362],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9982822,0.0007360894,0.000036791418,0.00020582363,0.00021280683,0.0005263922],"domain_scores_gemma":[0.99848336,0.00067371136,0.000119355864,0.00010614819,0.00017446918,0.00044288518],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011950446,0.0007786905,0.00056118076,0.001801443,0.025445074,0.008499131,0.0013902355,0.001586326,0.006771319],"category_scores_gemma":[0.0023537984,0.0005428598,0.0003236484,0.002707116,0.018480351,0.0026921507,0.0063649276,0.0022874463,0.00048959104],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013762889,0.000006167866,0.0016687883,0.000018414146,0.0000019639767,0.000437225,0.99469745,0.000009327279,0.00032322347,0.00082013675,0.0004119879,0.001591624],"study_design_scores_gemma":[9.5049734e-7,0.0000070732544,0.003073698,0.000027856127,0.0000028735865,0.00006253693,0.98696613,0.0000137048655,0.000083853665,0.00008057094,0.009673005,0.000007845187],"about_ca_topic_score_codex":0.68658906,"about_ca_topic_score_gemma":0.89791775,"teacher_disagreement_score":0.31341094,"about_ca_system_score_codex":0.017385649,"about_ca_system_score_gemma":0.00900017,"threshold_uncertainty_score":0.6305133},"labels":[],"label_agreement":null},{"id":"W4416321416","doi":"10.5406/21567417.69.3.10","title":"A Survey of Traditional Music from the North American Traditions Collection","year":2025,"lang":"en","type":"article","venue":"Ethnomusicology","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Queen's University","funders":"","keywords":"Ballad; Repertoire; Traditional music; Style (visual arts); Popular music; Feature (linguistics); Performance art; Cape","score_opus":0.13543808585179917,"score_gpt":0.24235855719996177,"score_spread":0.1069204713481626,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4416321416","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.71166074,0.046102855,0.0015236754,0.004998327,0.0005161909,0.00048063626,0.03475535,0.00012972081,0.19983244],"genre_scores_gemma":[0.666842,0.09441905,0.007892932,0.0047289846,0.0018001109,0.0020123548,0.085507244,0.00029243954,0.13650492],"study_design_codex":"design_other","study_design_gemma":"observational","domain_scores_codex":[0.99791986,0.000303772,0.00016896028,0.00021878853,0.001201524,0.00018710566],"domain_scores_gemma":[0.9959239,0.0007595988,0.00057813275,0.00032131458,0.0019355034,0.00048146545],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001488719,0.00026414893,0.00031899702,0.010309225,0.0025558916,0.0016040121,0.00084411376,0.00033173597,0.015478268],"category_scores_gemma":[0.002698928,0.0003129862,0.00016169081,0.014505589,0.0007672811,0.0015265617,0.0017501327,0.0006333065,0.0032113881],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00020671546,0.00017412417,0.17078017,0.0032380265,0.00009334997,0.0006242615,0.07111502,0.00007569883,0.006718881,0.0035970337,0.20145926,0.5419175],"study_design_scores_gemma":[0.000005994024,0.000048729886,0.7350441,0.0004835784,0.000011991483,0.00033337693,0.02459504,0.000040456867,0.0002342307,0.000166703,0.23901777,0.000018078044],"about_ca_topic_score_codex":0.07068746,"about_ca_topic_score_gemma":0.25213438,"teacher_disagreement_score":0.9293125,"about_ca_system_score_codex":0.001384055,"about_ca_system_score_gemma":0.0022501787,"threshold_uncertainty_score":0.14055204},"labels":[],"label_agreement":null},{"id":"W4416422946","doi":"10.1108/978-1-83662-624-420251004","title":"Touring in the Serious Pursuits in Art and Entertainment","year":2025,"lang":"en","type":"book-chapter","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Calgary","funders":"","keywords":"Jazz; Amateur; Entertainment; Tourism; Studio; The arts; Jazz dance; Musical","score_opus":0.01647239904167146,"score_gpt":0.18784187849130882,"score_spread":0.17136947944963735,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4416422946","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0018279628,0.010910556,0.0003525561,0.0013063295,0.0008439969,0.00002145546,0.000057820183,0.00006318873,0.9846161],"genre_scores_gemma":[0.011005815,0.007856708,0.0005214713,0.0011697827,0.00024974946,0.000017238348,0.000076696066,0.00006345745,0.97903913],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998956,0.000030568517,0.0000025715449,0.000016289938,0.000032817825,0.000022202792],"domain_scores_gemma":[0.9999349,0.000015673115,0.0000042052916,0.0000063048765,0.000010050855,0.000028941258],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00009651228,0.00053436396,0.0002002707,0.00051816663,0.0021233219,0.0037447568,0.00031653047,0.00070828025,0.047839075],"category_scores_gemma":[0.00016957543,0.00017192184,0.00020911885,0.0008387919,0.0014761939,0.002285532,0.0016757621,0.0016498696,0.013044834],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003047213,0.000064399224,0.0003517972,0.00036044652,0.000005496391,0.00023543557,0.009384493,0.0002174353,0.0008520328,0.24828555,0.63170755,0.10850492],"study_design_scores_gemma":[0.0000011001308,0.00000627674,0.0003803488,0.0001116568,9.328981e-7,0.00009641321,0.0013936086,0.000022488635,0.000031350257,0.0019790358,0.99597496,0.0000019252386],"about_ca_topic_score_codex":0.0071018,"about_ca_topic_score_gemma":0.029455809,"teacher_disagreement_score":0.047839075,"about_ca_system_score_codex":0.0011104901,"about_ca_system_score_gemma":0.0012055351,"threshold_uncertainty_score":0.16003764},"labels":[],"label_agreement":null},{"id":"W4416711408","doi":"10.18061/emr.6598","title":"Title Pending 6598","year":2025,"lang":"","type":"article","venue":"Empirical Musicology Review","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Melody; Representativeness heuristic; Constraint (computer-aided design); Interval (graph theory); Corpus linguistics; British National Corpus","score_opus":0.07601355704440245,"score_gpt":0.36876135504435875,"score_spread":0.2927477979999563,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4416711408","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0009169073,0.0031937398,0.0006867053,0.004046945,0.023535274,0.00035936732,0.006645019,0.00081023574,0.9598057],"genre_scores_gemma":[0.0015716767,0.0013501563,0.00018855174,0.0006522245,0.0011088435,0.000055518973,0.0022464897,0.00024283942,0.99258375],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985102,0.00013060238,0.00016963389,0.00030333546,0.00070508703,0.00018113108],"domain_scores_gemma":[0.9936387,0.0008154128,0.00025396253,0.0007076157,0.0033480162,0.0012363236],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0017845469,0.00090055953,0.00094866246,0.0024653594,0.0024667378,0.008631446,0.001488685,0.0024110258,0.923212],"category_scores_gemma":[0.008468639,0.0005492087,0.0006714573,0.0029393826,0.0009167036,0.0039943038,0.0031615442,0.0017043971,0.86435413],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000782039,0.000048366102,0.00026899608,0.00060367037,0.00000874905,0.00012259629,0.00008080587,0.00003250592,0.00101641,0.0040200255,0.83565646,0.15806317],"study_design_scores_gemma":[0.0000070933884,0.000018150262,0.00034194635,0.00011851835,0.0000024708152,0.000039703067,0.000052208852,0.0000143707375,0.000083089835,0.00017005294,0.9991485,0.000003950408],"about_ca_topic_score_codex":0.0030777184,"about_ca_topic_score_gemma":0.0045015113,"teacher_disagreement_score":0.07678801,"about_ca_system_score_codex":0.0013757338,"about_ca_system_score_gemma":0.0033322272,"threshold_uncertainty_score":0.10952878},"labels":[],"label_agreement":null},{"id":"W4416713576","doi":"10.1558/pomh.34221","title":"Yanto Browning, Music Production in the Music City: The Undersong of Place","year":2025,"lang":"","type":"article","venue":"Popular Music History","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Production (economics); Popular music; Music Geography; Music industry; Music; Sound production; Musicology","score_opus":0.07045436719189707,"score_gpt":0.22405992314727993,"score_spread":0.15360555595538286,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4416713576","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0009568975,0.83256644,0.0006032379,0.053751446,0.0060123173,0.000024090265,0.0003470065,0.0000851353,0.105653375],"genre_scores_gemma":[0.02560196,0.6690416,0.0009457396,0.009762727,0.0022203878,0.000088764114,0.0002797927,0.00018549249,0.2918736],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99940515,0.00016199125,0.000035157504,0.00008859947,0.00020539084,0.000103781924],"domain_scores_gemma":[0.9994305,0.00016213632,0.000053667034,0.000021984195,0.00017897066,0.00015283257],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006524228,0.0013375692,0.00057526655,0.0013444838,0.006393062,0.005438713,0.0014051234,0.003704786,0.042274967],"category_scores_gemma":[0.0010120552,0.00076971314,0.00028331907,0.0040394664,0.003864863,0.009378868,0.002993226,0.0031620837,0.012898992],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000448615,0.000012307968,0.00034675587,0.00056466425,0.0000053064095,0.00013692486,0.005150266,0.00006194353,0.00015742726,0.026791872,0.907516,0.0592117],"study_design_scores_gemma":[0.000006043446,0.0000045142915,0.0014318109,0.0004865701,0.0000038388694,0.000065384775,0.0048200567,0.000019313866,0.00007905473,0.0030545064,0.99001616,0.000012720963],"about_ca_topic_score_codex":0.2145444,"about_ca_topic_score_gemma":0.45645675,"teacher_disagreement_score":0.2145444,"about_ca_system_score_codex":0.005925548,"about_ca_system_score_gemma":0.008177562,"threshold_uncertainty_score":0.42659128},"labels":[],"label_agreement":null},{"id":"W4416851597","doi":"10.4337/9781035323227.00009","title":"Infrastructures of desire: The countercultural commons of Toronto's queer punk and rave scenes","year":2025,"lang":"","type":"book-chapter","venue":"Edward Elgar Publishing eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Punk; Queer; Government (linguistics); Commons","score_opus":0.02001758194360589,"score_gpt":0.20957187391878684,"score_spread":0.18955429197518095,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4416851597","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.027747978,0.0055576563,0.0012455857,0.03572144,0.00037422025,0.00002875584,0.00019193818,0.00009776774,0.92903465],"genre_scores_gemma":[0.8058008,0.0020559179,0.00038596848,0.0017991104,0.000118684846,0.00004314983,0.000056615947,0.00022267377,0.18951711],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99818546,0.0007163009,0.000023131639,0.00014004095,0.00029281442,0.000642302],"domain_scores_gemma":[0.99830437,0.0007181356,0.00012093716,0.00017059478,0.00017412427,0.00051186804],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001327253,0.00070842745,0.0003670487,0.0014617306,0.027951302,0.02094278,0.0012583042,0.003289729,0.025917303],"category_scores_gemma":[0.0036081998,0.00057928474,0.00029002034,0.002796784,0.05351891,0.0073688836,0.007210505,0.005320309,0.0013225003],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019996252,0.0000049636665,0.00025175305,0.000027032489,0.0000026440086,0.000168676,0.13452026,0.000098594865,0.00007848435,0.8241007,0.035164475,0.005562405],"study_design_scores_gemma":[0.0000151278455,0.000011893499,0.0022228705,0.00018387391,0.000009712173,0.00010663038,0.22323604,0.00014877279,0.00014509214,0.0609408,0.7129462,0.000033022974],"about_ca_topic_score_codex":0.83982813,"about_ca_topic_score_gemma":0.9384803,"teacher_disagreement_score":0.16017187,"about_ca_system_score_codex":0.07215331,"about_ca_system_score_gemma":0.03431453,"threshold_uncertainty_score":0.52351135},"labels":[],"label_agreement":null},{"id":"W4416930611","doi":"10.1525/jrpc.14.1.006b","title":"Review: Traces of the Spirit: Religious Dimensions of Popular Music, by Robin Sylvan","year":2006,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Ethnography; Field (mathematics); Government (linguistics); Indigenous; Agency (philosophy)","score_opus":0.011799933204430343,"score_gpt":0.21512908440567327,"score_spread":0.20332915120124292,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4416930611","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00009804585,0.91870904,0.0000490395,0.05814971,0.022252966,0.000009658919,0.000039346476,0.000007016158,0.0006852571],"genre_scores_gemma":[0.0020995531,0.88487613,0.0001580787,0.052891184,0.056008175,0.000030282734,0.0000679728,0.000017933988,0.0038507136],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991247,0.00026315043,0.00012333588,0.0001609312,0.0002471256,0.00008065948],"domain_scores_gemma":[0.9954334,0.0023057517,0.00031986923,0.00010090417,0.0013810596,0.00045903647],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022560486,0.0011955929,0.0016400317,0.0028626253,0.001349976,0.0038891118,0.0015251813,0.004250555,0.0033584693],"category_scores_gemma":[0.008846661,0.00061029615,0.0005124474,0.0033456262,0.002736553,0.004492725,0.002190585,0.006739031,0.002251332],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000828543,0.000011352743,0.00011079086,0.0025753004,0.000037755242,0.000063675136,0.00017711626,0.000036873436,0.00011538349,0.0009922718,0.95186186,0.04393483],"study_design_scores_gemma":[0.000054089975,0.000045488985,0.0015151864,0.004191651,0.00007613825,0.00044253384,0.00046618626,0.000041359974,0.00009216383,0.0017849641,0.9912607,0.000029640896],"about_ca_topic_score_codex":0.009529504,"about_ca_topic_score_gemma":0.020165984,"teacher_disagreement_score":0.009529504,"about_ca_system_score_codex":0.0017875438,"about_ca_system_score_gemma":0.0037004836,"threshold_uncertainty_score":0.018948078},"labels":[],"label_agreement":null},{"id":"W4416930646","doi":"10.1525/jrpc.16.1.006e","title":"Review: The Gospel According to the Beatles, by Steve Turner","year":2007,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Gospel; Subject (documents); Christianity; Context (archaeology)","score_opus":0.017395340877418987,"score_gpt":0.244539847530669,"score_spread":0.22714450665325003,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4416930646","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000054439173,0.8608607,0.000043352968,0.075426705,0.0627637,0.000015408228,0.000061411316,0.000010070752,0.0007642631],"genre_scores_gemma":[0.0012070538,0.7630511,0.000101488215,0.12412579,0.1068149,0.000044759163,0.000094393836,0.000024038622,0.0045365854],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99809915,0.00055141764,0.0002810593,0.00028997086,0.0006153738,0.00016309538],"domain_scores_gemma":[0.9928524,0.0029618484,0.0007086033,0.00018244878,0.002472567,0.00082207925],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0035883256,0.0016234161,0.0027734227,0.0030514535,0.0016273165,0.005866634,0.0022349302,0.007860562,0.004783451],"category_scores_gemma":[0.016302593,0.0008025576,0.00096610235,0.003804261,0.0031903805,0.005684829,0.0027684907,0.009123649,0.00427647],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000038519778,0.0000052189553,0.000033148695,0.0019932599,0.000023225959,0.00003644636,0.00004694041,0.000016934977,0.000040074712,0.00037947312,0.97658396,0.02080273],"study_design_scores_gemma":[0.00006104689,0.000028484932,0.00049437355,0.0051787007,0.00006417641,0.0002690324,0.0001787174,0.000022536873,0.000039331662,0.00080139935,0.9928396,0.00002264617],"about_ca_topic_score_codex":0.007520771,"about_ca_topic_score_gemma":0.016043872,"teacher_disagreement_score":0.007860562,"about_ca_system_score_codex":0.0033499093,"about_ca_system_score_gemma":0.006036686,"threshold_uncertainty_score":0.024305463},"labels":[],"label_agreement":null},{"id":"W4417095053","doi":"10.59350/vs2bw-yq823","title":"BIEBER FEVER","year":2012,"lang":"","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Screaming; KISS (TNC); Atmosphere (unit)","score_opus":0.04121498986535924,"score_gpt":0.20316744165527448,"score_spread":0.16195245178991524,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4417095053","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0042736055,0.0046724593,0.00036671618,0.038284488,0.00958843,0.000050063074,0.00080491,0.0005672558,0.9413921],"genre_scores_gemma":[0.006740111,0.0007613965,0.00011362342,0.0027583425,0.0002387144,0.000008164643,0.00010576918,0.000109564004,0.9891642],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994555,0.000049078393,0.000015186417,0.0000915116,0.00021058058,0.00017827467],"domain_scores_gemma":[0.99940443,0.000025691092,0.000025433419,0.000034166256,0.00023216067,0.00027817785],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00045032223,0.000621479,0.00034863118,0.0005720578,0.007794921,0.0040352116,0.0005403403,0.0022193464,0.50610304],"category_scores_gemma":[0.0015505429,0.00029947842,0.0003074082,0.0003925008,0.0009026702,0.0023418965,0.0023644597,0.0038723107,0.20321847],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003689721,0.000012671761,0.00032079773,0.000027188738,0.000001841719,0.00029660398,0.00052872824,0.000009580192,0.00042371824,0.003331304,0.9706115,0.024398996],"study_design_scores_gemma":[0.0000018430903,0.000007666526,0.0007969504,0.000038116093,6.6052877e-7,0.000203777,0.0008084605,0.000008489874,0.00007958043,0.00014303102,0.9979074,0.0000041441817],"about_ca_topic_score_codex":0.035506804,"about_ca_topic_score_gemma":0.11689894,"teacher_disagreement_score":0.50610304,"about_ca_system_score_codex":0.0020018409,"about_ca_system_score_gemma":0.001888511,"threshold_uncertainty_score":0.7044841},"labels":[],"label_agreement":null},{"id":"W4417134361","doi":"10.18848/2326-9960/cgp/v21i01/77-98","title":"Small Town Artillery Under Fire: Music Venues as Contested Spaces","year":2025,"lang":"","type":"article","venue":"The International Journal of Social Political and Community Agendas in the Arts","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Alberta","funders":"Universidad San Jorge","keywords":"Small town; Artillery; Key (lock); Placemaking","score_opus":0.11144468654338598,"score_gpt":0.30827044207545723,"score_spread":0.19682575553207127,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4417134361","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7552489,0.002351855,0.003811786,0.0056925723,0.0006185098,0.00013358072,0.0001104116,0.000072431656,0.23195994],"genre_scores_gemma":[0.9906991,0.00049975805,0.00058745383,0.00015874548,0.00005770798,0.00003105018,0.000022327691,0.000022274735,0.007921631],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99459827,0.0036501635,0.00005581419,0.00022640347,0.00044085825,0.0010284395],"domain_scores_gemma":[0.99701726,0.0013489834,0.0002498844,0.00014821463,0.00012015041,0.0011155796],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026430793,0.0003828424,0.00036779357,0.0012590884,0.019579751,0.017025284,0.0020783194,0.00187705,0.009305514],"category_scores_gemma":[0.003958213,0.0003239534,0.00030066853,0.0014661744,0.01923809,0.0053563183,0.011385982,0.0023869697,0.0005432555],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00021918632,0.00012344372,0.005044294,0.00033647422,0.000019344812,0.0026758749,0.7992186,0.00043421166,0.0011172859,0.14710876,0.007812691,0.035889763],"study_design_scores_gemma":[0.000010752631,0.0000654394,0.0027772053,0.00022971093,0.000008672673,0.00040323392,0.8922535,0.00016598024,0.00026105656,0.005100165,0.09869653,0.000027699409],"about_ca_topic_score_codex":0.012220116,"about_ca_topic_score_gemma":0.059634496,"teacher_disagreement_score":0.019579751,"about_ca_system_score_codex":0.0050089676,"about_ca_system_score_gemma":0.004145214,"threshold_uncertainty_score":0.03634274},"labels":[],"label_agreement":null},{"id":"W4417291808","doi":"10.25071/1708-6701.40522","title":"Statesman of the Piano: Jazz, Race, and History in the Life of Lou Hooper. Sean Mills, Eric Fillion, and Désirée Rochat, eds.","year":2025,"lang":"","type":"article","venue":"CAML Review / Revue de l ACBM","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Vancouver Community College","funders":"","keywords":"Documentation; Biography; Cultural history","score_opus":0.019803657980950837,"score_gpt":0.2184759309682203,"score_spread":0.19867227298726947,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4417291808","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00007036932,0.9806697,0.000030928844,0.009396909,0.0029259475,0.0000034133411,0.000010707903,0.000004243663,0.006887821],"genre_scores_gemma":[0.002426793,0.96815836,0.00010227554,0.0060492638,0.0042626173,0.000016427222,0.000036443962,0.000011542552,0.018936288],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99890625,0.00037875405,0.00007405308,0.000112967864,0.0004245118,0.0001034905],"domain_scores_gemma":[0.9976453,0.0009647011,0.00021311367,0.000048493665,0.00082718534,0.00030120785],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015562514,0.00069203466,0.00091389107,0.0027452663,0.0020224622,0.0055119763,0.0008826404,0.0026540274,0.019191094],"category_scores_gemma":[0.005301063,0.0004787103,0.00042178333,0.0042020325,0.002125483,0.004936732,0.0017603039,0.0027351375,0.0056675454],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000037436494,0.000016722577,0.00023282996,0.0037978431,0.000022129467,0.000088898814,0.0012877518,0.000031055155,0.00010321988,0.011550502,0.7404585,0.24237318],"study_design_scores_gemma":[0.0000036961953,0.000009907572,0.0006619079,0.0036129914,0.000014412723,0.00009512244,0.0010674128,0.000004528876,0.000019077977,0.0011974031,0.99330854,0.0000050515555],"about_ca_topic_score_codex":0.021138867,"about_ca_topic_score_gemma":0.069540896,"teacher_disagreement_score":0.021138867,"about_ca_system_score_codex":0.003265054,"about_ca_system_score_gemma":0.0076795835,"threshold_uncertainty_score":0.06420058},"labels":[],"label_agreement":null},{"id":"W4417382098","doi":"10.5040/9798216408826","title":"Moving Pictures","year":2023,"lang":"","type":"book","venue":"Rowman & Littlefield eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Expansive; Antithesis; Nothing; Power (physics); Gloom; Key (lock); Rendering (computer graphics); Point (geometry)","score_opus":0.033795646513897784,"score_gpt":0.21238372868917169,"score_spread":0.1785880821752739,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4417382098","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0007124144,0.00071307475,0.0067934725,0.0031560995,0.0075859046,0.00022158808,0.0042687934,0.0075716404,0.968977],"genre_scores_gemma":[0.006477714,0.00070495467,0.004466088,0.0021152785,0.0016551678,0.00015023901,0.004337876,0.003750492,0.9763421],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99911517,0.00011486984,0.000040516923,0.00014135984,0.0004354443,0.0001527035],"domain_scores_gemma":[0.9981889,0.00025618804,0.00006231713,0.00030119097,0.00081846124,0.00037287798],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00074210396,0.0013077267,0.00046349716,0.0019244032,0.0031067939,0.0058815065,0.0019378704,0.0022418427,0.743724],"category_scores_gemma":[0.0042111785,0.0005412695,0.0008784729,0.0016500171,0.0008545964,0.0060288403,0.004145722,0.002788026,0.4913165],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000038080518,0.0000138833675,0.000061398,0.00008601857,0.0000017607077,0.00009126987,0.00026485906,0.000034568606,0.00049615867,0.007999605,0.948076,0.04283643],"study_design_scores_gemma":[0.000004275576,0.0000063772454,0.00010786334,0.000026187752,0.0000012161056,0.00006933246,0.00013398498,0.00003816125,0.000111886315,0.0006168969,0.9988772,0.000006528129],"about_ca_topic_score_codex":0.008188855,"about_ca_topic_score_gemma":0.018850477,"teacher_disagreement_score":0.743724,"about_ca_system_score_codex":0.0016703393,"about_ca_system_score_gemma":0.0014853213,"threshold_uncertainty_score":0.36554658},"labels":[],"label_agreement":null},{"id":"W4417385467","doi":"10.5040/9798216404361","title":"Jason Molina","year":2017,"lang":"","type":"book","venue":"Rowman & Littlefield eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Genius; Style (visual arts); Mythology; Poetry; Ballad; Musical; Opera","score_opus":0.041898225085562284,"score_gpt":0.2233833123477246,"score_spread":0.1814850872621623,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4417385467","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008288327,0.024512108,0.001266122,0.033924468,0.022830727,0.00005549561,0.00032190196,0.00063357095,0.9081673],"genre_scores_gemma":[0.02616104,0.005511063,0.0006864953,0.009176639,0.0019955682,0.000034976285,0.00012908605,0.00033761942,0.9559675],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996613,0.00004845658,0.000012181721,0.00008907532,0.00013946109,0.000049564555],"domain_scores_gemma":[0.9997329,0.0000430001,0.000023257773,0.000021802782,0.00009807075,0.00008097897],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00036833005,0.00058557285,0.00020591117,0.0006982863,0.0029911576,0.0030991707,0.00044128762,0.0007057475,0.06188927],"category_scores_gemma":[0.0011744044,0.00020425279,0.00015754047,0.0003288008,0.0008014945,0.0023369452,0.0019112717,0.0017060189,0.02826645],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003633239,0.000016621445,0.00035231674,0.00012882276,0.0000023275281,0.00022942135,0.0026870463,0.000023285615,0.0011545721,0.035369404,0.9001252,0.05987463],"study_design_scores_gemma":[8.1785595e-7,0.0000048013085,0.00016223815,0.000048160407,7.647569e-7,0.00010259161,0.00046413683,0.000013202007,0.00012960982,0.00033707812,0.9987344,0.0000022331906],"about_ca_topic_score_codex":0.0023999196,"about_ca_topic_score_gemma":0.0070966138,"teacher_disagreement_score":0.06188927,"about_ca_system_score_codex":0.0010414554,"about_ca_system_score_gemma":0.0008745423,"threshold_uncertainty_score":0.20704019},"labels":[],"label_agreement":null},{"id":"W4417527900","doi":"10.55383/iadc2025.28","title":"Features of the performing technique of bass guitarist geddy lee","year":2025,"lang":"","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Bass (fish); Guitar; Musical; Singing; Notice; Violin","score_opus":0.009157865843026705,"score_gpt":0.20893469842444873,"score_spread":0.19977683258142204,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4417527900","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.04474813,0.011199457,0.020492122,0.024250489,0.004858083,0.00016146868,0.00031663728,0.0013661281,0.89260745],"genre_scores_gemma":[0.1979349,0.0043494753,0.02614338,0.006752609,0.0006703853,0.00008498375,0.00018251737,0.00061452924,0.7632673],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995988,0.000070694136,0.000009880042,0.00010139563,0.0001473807,0.0000718046],"domain_scores_gemma":[0.999864,0.000016695638,0.0000062807185,0.0000104340725,0.000030712843,0.0000717773],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00035484848,0.00061924965,0.00018741765,0.0007518195,0.0026228863,0.0016230921,0.00054811727,0.00058758917,0.0148112895],"category_scores_gemma":[0.0004774111,0.00018583323,0.0002200954,0.00020591512,0.0022578537,0.00075529545,0.0023120532,0.0017297429,0.0065989713],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00040140335,0.00013481252,0.003227876,0.0003842461,0.000019590141,0.0038182351,0.014875244,0.00026961527,0.027802588,0.12036833,0.5487939,0.2799041],"study_design_scores_gemma":[0.000012984188,0.00008830696,0.002820688,0.000101471975,0.000005467916,0.0029412224,0.0028722836,0.0001690025,0.0012678296,0.0026185557,0.9870728,0.000029372097],"about_ca_topic_score_codex":0.0069209416,"about_ca_topic_score_gemma":0.024857258,"teacher_disagreement_score":0.0148112895,"about_ca_system_score_codex":0.0008461746,"about_ca_system_score_gemma":0.00095827226,"threshold_uncertainty_score":0.049548686},"labels":[],"label_agreement":null},{"id":"W4658079","doi":"","title":"The Halifax Pop Explosion: Music Scenes, Sloan, And The Case For A Halifax Sound","year":2013,"lang":"en","type":"article","venue":"˜The œSoviet journal of developmental biology","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sound (geography); Sound design; Aeronautics; Visual arts; History; Art; Engineering; Acoustics","score_opus":0.04144528599275815,"score_gpt":0.22802821266439846,"score_spread":0.1865829266716403,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4658079","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.79310477,0.0032054689,0.00061423675,0.016085608,0.0002572979,0.000026861475,0.000046787103,0.000038748127,0.18662022],"genre_scores_gemma":[0.9885638,0.00057829905,0.00015091544,0.00071623403,0.00002752482,0.0000107868755,0.000016873293,0.000026065965,0.009909456],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9977914,0.0009050557,0.00003379193,0.000199545,0.00024065799,0.0008295866],"domain_scores_gemma":[0.99929655,0.00018193446,0.00008544061,0.000058584585,0.0000800196,0.00029748926],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015686915,0.00040695543,0.00029801982,0.0013918092,0.031246193,0.0150345545,0.0009386274,0.0016736264,0.0033009774],"category_scores_gemma":[0.0014187131,0.00037237047,0.00025441582,0.0014109644,0.032348033,0.0039824233,0.009111132,0.004299743,0.00038613428],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009692498,0.000050244133,0.007738379,0.00009483171,0.00001290972,0.0020466868,0.7815464,0.00012439185,0.00088251755,0.17940131,0.011373535,0.016631847],"study_design_scores_gemma":[0.000010243691,0.00002607258,0.011693744,0.0001459952,0.000009313921,0.00041434442,0.82728463,0.00005996536,0.00027648828,0.004334361,0.15572181,0.000023091647],"about_ca_topic_score_codex":0.11606872,"about_ca_topic_score_gemma":0.28927478,"teacher_disagreement_score":0.8839313,"about_ca_system_score_codex":0.011704643,"about_ca_system_score_gemma":0.005762552,"threshold_uncertainty_score":0.23078626},"labels":[],"label_agreement":null},{"id":"W469781814","doi":"","title":"Research Guides: [FAS] Music 97c: Music History and Repertory: Music in Cross-Cultural Perspective: United States & Canada","year":2010,"lang":"en","type":"libguides","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Perspective (graphical); Music history; Music Geography; Popular music; Music; History; Visual arts; Art; Music education","score_opus":0.09682849998686262,"score_gpt":0.3059862254110765,"score_spread":0.2091577254242139,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W469781814","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005646219,0.0029965043,0.0019164839,0.010012411,0.0017255881,0.0026706306,0.39586705,0.0014329928,0.5777322],"genre_scores_gemma":[0.021679334,0.0059768963,0.0051536746,0.002014412,0.00030048462,0.0038150072,0.117527984,0.00080411934,0.8427281],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99843746,0.00010667902,0.000112761074,0.00015533317,0.0009201167,0.00026760853],"domain_scores_gemma":[0.97471195,0.0015838299,0.00043394224,0.0005144049,0.021358049,0.001397723],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002324048,0.00080974016,0.00091411016,0.0077427193,0.0073513957,0.0061762114,0.002393157,0.0011787349,0.17959929],"category_scores_gemma":[0.013671275,0.00070304726,0.00042104354,0.02434352,0.0014837782,0.0026788013,0.0017769961,0.0020912318,0.05300228],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021470933,0.000027116086,0.0009856122,0.00021617666,0.0000018454348,0.000014000306,0.00075850775,0.000053447293,0.000055759654,0.0022956035,0.96846396,0.027106566],"study_design_scores_gemma":[0.000023313161,0.00001600801,0.0230973,0.00067911466,0.000013971053,0.000023034525,0.0063568777,0.00012100195,0.00021920448,0.0011931392,0.96823466,0.000022314354],"about_ca_topic_score_codex":0.9557646,"about_ca_topic_score_gemma":0.9765474,"teacher_disagreement_score":0.17959929,"about_ca_system_score_codex":0.021921534,"about_ca_system_score_gemma":0.0907563,"threshold_uncertainty_score":0.60081947},"labels":[],"label_agreement":null},{"id":"W4928671","doi":"10.1038/230598a0","title":"Canadian Campus Radio and the Shaping of Sounds and Scenes","year":2012,"lang":"en","type":"dissertation","venue":"Nature","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"Social Sciences and Humanities Research Council of Canada; Faculty of Arts and Sciences","keywords":"Promotion (chess); Taste; Radio broadcasting; Mandate; Radio program; Population; Local community; Geography; Broadcasting (networking); Public relations; Sociology; Advertising; Political science; Media studies; Telecommunications; Engineering; Computer science; Business; Psychology; Law","score_opus":0.011266776393244702,"score_gpt":0.2108152073633614,"score_spread":0.1995484309701167,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4928671","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.23711124,0.003921029,0.0027218596,0.01096478,0.0005264547,0.000086221306,0.00061224116,0.00021232126,0.74384373],"genre_scores_gemma":[0.92011094,0.0021241028,0.0013980215,0.0008902796,0.000055182354,0.000032187738,0.00017855687,0.00015577572,0.07505487],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9975305,0.0004437607,0.00003162371,0.00035305537,0.0007950863,0.0008459986],"domain_scores_gemma":[0.9974106,0.00043588973,0.00014223673,0.0001694437,0.0010134494,0.00082833966],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014339165,0.0006449091,0.00039930615,0.0027690518,0.035045017,0.01336486,0.0021027245,0.0012710782,0.022978911],"category_scores_gemma":[0.0045296764,0.0004509492,0.00036572927,0.0046663075,0.020700235,0.0027565723,0.005540477,0.002235179,0.0013377997],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00021759671,0.000049336457,0.018570675,0.00028031756,0.000032293487,0.0015937346,0.5267881,0.00055139535,0.0025138517,0.28473154,0.060189232,0.104481846],"study_design_scores_gemma":[0.000012093216,0.000021097281,0.020928632,0.00019193647,0.000026958756,0.00024495728,0.300559,0.00023613859,0.00040820896,0.0041631437,0.6731311,0.0000766988],"about_ca_topic_score_codex":0.989094,"about_ca_topic_score_gemma":0.996784,"teacher_disagreement_score":0.11347009,"about_ca_system_score_codex":0.11347009,"about_ca_system_score_gemma":0.080459595,"threshold_uncertainty_score":0.823287},"labels":[],"label_agreement":null},{"id":"W50113461","doi":"","title":"Chemikal Underground: \"post independent\" rock and pop in Scotland?","year":2011,"lang":"en","type":"article","venue":"Queen Margaret University Publications Repository (Queen Margaret University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Fandom; Popular music; Media studies; Art history; History; Sociology; Visual arts; Art","score_opus":0.01701470174792032,"score_gpt":0.16230588897697484,"score_spread":0.1452911872290545,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W50113461","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.67677236,0.008166312,0.00022549243,0.0881394,0.0016583294,0.000027881546,0.00025503512,0.000047951173,0.22470735],"genre_scores_gemma":[0.9644631,0.0016272254,0.000048257625,0.003246743,0.00031154303,0.000009203649,0.000051112638,0.00003197498,0.030210877],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99816006,0.00034476953,0.00003427917,0.00010548019,0.00034185426,0.0010135872],"domain_scores_gemma":[0.9983376,0.00033688347,0.00027397694,0.00008923387,0.0002464677,0.00071581284],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001737734,0.0003963008,0.00045396184,0.002154605,0.014881877,0.00919906,0.0013804539,0.0019696343,0.015459235],"category_scores_gemma":[0.0042543085,0.00027941598,0.00024605097,0.0027183173,0.012860278,0.0041919863,0.006579641,0.002341912,0.0010819766],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004788624,0.00010832022,0.02241596,0.00030271054,0.000025496702,0.0038467036,0.6046745,0.000060973023,0.00051766064,0.19010955,0.1081633,0.06929594],"study_design_scores_gemma":[0.000031252865,0.00010688626,0.053964518,0.0002606245,0.000015978101,0.0004150086,0.60145444,0.00004958803,0.0001279089,0.0036129924,0.3399125,0.000048302318],"about_ca_topic_score_codex":0.2743527,"about_ca_topic_score_gemma":0.58670235,"teacher_disagreement_score":0.2743527,"about_ca_system_score_codex":0.011776799,"about_ca_system_score_gemma":0.009851335,"threshold_uncertainty_score":0.5455116},"labels":[],"label_agreement":null},{"id":"W565068330","doi":"10.46428/ejail.41.15","title":"Afternoons in the Quarter","year":2014,"lang":"en","type":"article","venue":"Ellipsis A Journal of Art Ideas and Literature","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Quarter (Canadian coin); History; Archaeology","score_opus":0.00736319036882278,"score_gpt":0.18635458167756333,"score_spread":0.17899139130874056,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W565068330","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.014466454,0.0014160384,0.00072480633,0.027901197,0.03707131,0.00009124378,0.0012905245,0.0006262843,0.91641206],"genre_scores_gemma":[0.04390354,0.00029299577,0.00037417127,0.0034213332,0.002041607,0.000031358955,0.00052490813,0.00037647082,0.9490336],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99905807,0.0001721297,0.000032683125,0.00016143001,0.00024370555,0.00033209068],"domain_scores_gemma":[0.99873227,0.00008968162,0.000047531725,0.00011951388,0.00032733424,0.0006837287],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0010290581,0.0005455142,0.00068548386,0.0010238781,0.01305114,0.006811482,0.0009300621,0.002345373,0.33543944],"category_scores_gemma":[0.0028540876,0.00039774508,0.00057679834,0.0012081929,0.0012543472,0.0033306838,0.003995277,0.0056701256,0.079021536],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00025869225,0.00009474375,0.00093887956,0.000059390866,0.000010144654,0.00045819982,0.00413745,0.000029892557,0.0005882198,0.03660938,0.9273492,0.029465662],"study_design_scores_gemma":[0.000010645369,0.000021816375,0.0010606704,0.00002908233,0.000002366419,0.00004404781,0.0046967287,0.000017775348,0.0000945289,0.0016478548,0.9923679,0.000006581805],"about_ca_topic_score_codex":0.01069281,"about_ca_topic_score_gemma":0.039609108,"teacher_disagreement_score":0.33543944,"about_ca_system_score_codex":0.0027330949,"about_ca_system_score_gemma":0.0018394418,"threshold_uncertainty_score":0.94791496},"labels":[],"label_agreement":null},{"id":"W570594514","doi":"","title":"Black, blanc, beur : rap music and hip-hop culture in the francophone world","year":2002,"lang":"en","type":"book","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":123,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"French; Musical; Dance; Art; Art history; Colonialism; Humanities; Aesthetics; Anthropology; Sociology; Geography; Literature; Archaeology","score_opus":0.030110170430034604,"score_gpt":0.1842385172101391,"score_spread":0.15412834678010448,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W570594514","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.044664036,0.19007346,0.000440081,0.092822365,0.0050047804,0.000051496212,0.00025880555,0.00009181926,0.6665931],"genre_scores_gemma":[0.28808096,0.04620833,0.00037645845,0.007829399,0.0016393254,0.000043172597,0.00014455956,0.00009198803,0.6555858],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99976796,0.000065453416,0.000005573869,0.000024739096,0.000071027804,0.000065267974],"domain_scores_gemma":[0.9997216,0.00009526408,0.00002091473,0.000009112551,0.0000862381,0.0000668358],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004915004,0.0004625595,0.00024867852,0.0012117403,0.0058351485,0.0045837113,0.00044860007,0.0013123519,0.013478765],"category_scores_gemma":[0.0008471855,0.00016306197,0.00013357747,0.0020612227,0.0025652703,0.0018167115,0.0007216178,0.0014113756,0.00093556184],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003871612,0.000036334233,0.0020704104,0.0002165512,0.0000074881245,0.00029976858,0.060587246,0.00012446809,0.0002546958,0.09784769,0.7253046,0.11321199],"study_design_scores_gemma":[0.0000036497472,0.000011805518,0.007736754,0.00032597684,0.0000046037662,0.00014322088,0.026808847,0.00005791378,0.00008260934,0.0019340381,0.9628786,0.000011884559],"about_ca_topic_score_codex":0.48731685,"about_ca_topic_score_gemma":0.6923263,"teacher_disagreement_score":0.48731685,"about_ca_system_score_codex":0.009071067,"about_ca_system_score_gemma":0.0052630263,"threshold_uncertainty_score":0.9689607},"labels":[],"label_agreement":null},{"id":"W572109317","doi":"","title":"Music and protest","year":2012,"lang":"en","type":"book","venue":"Ashgate eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Popular music; Lyrics; Politics; Musical; Irony; Human rights; Punk; Art; Popular culture; Art history; History; Sociology; Humanities; Gender studies; Media studies; Political science; Literature; Law","score_opus":0.0455899136179889,"score_gpt":0.17383337297321869,"score_spread":0.1282434593552298,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W572109317","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.012211194,0.111584105,0.0001828309,0.050694197,0.008878887,0.000046991277,0.00034362279,0.000053052594,0.81600505],"genre_scores_gemma":[0.39198646,0.09454216,0.00039606172,0.021398688,0.023769269,0.00016290606,0.0007151242,0.00012451837,0.46690476],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993018,0.00022179843,0.000025311328,0.000070794355,0.00021133498,0.00016906958],"domain_scores_gemma":[0.99940133,0.00019254998,0.00008083925,0.00003746518,0.000085377884,0.00020227695],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003334062,0.00049064617,0.00027918885,0.0018858784,0.004529079,0.0072610965,0.0007007956,0.0018419096,0.0728437],"category_scores_gemma":[0.00202171,0.0001385777,0.00023561988,0.001906261,0.0030074553,0.002549537,0.003434887,0.0017057639,0.0066093197],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000092881375,0.00017590036,0.00245062,0.00058565894,0.0000144593,0.00030254814,0.01635694,0.00012060551,0.00034829037,0.21708238,0.6011406,0.16132909],"study_design_scores_gemma":[0.0000060914817,0.00002012701,0.0033847815,0.0005834915,0.0000025611523,0.00015127093,0.0066712466,0.00001370709,0.00003932096,0.0065757497,0.98254573,0.0000058353157],"about_ca_topic_score_codex":0.005626953,"about_ca_topic_score_gemma":0.008967371,"teacher_disagreement_score":0.0728437,"about_ca_system_score_codex":0.0027529371,"about_ca_system_score_gemma":0.0015518367,"threshold_uncertainty_score":0.24368644},"labels":[],"label_agreement":null},{"id":"W572774948","doi":"","title":"DJ culture in the mix : power, technology, and social change in electronic dance music","year":2013,"lang":"en","type":"book","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":13,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dance; Music industry; Electronic dance music; Musical; Performativity; Digitization; Popular music; Music technology; Politics; Visual arts; Art; Media studies; Sociology; Political science; Engineering; Music education; Telecommunications; Gender studies","score_opus":0.025518540360718822,"score_gpt":0.20614282560469674,"score_spread":0.18062428524397792,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W572774948","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.064250015,0.013859737,0.0009337299,0.0067793387,0.00065547065,0.000027844168,0.00003739867,0.000043917127,0.9134125],"genre_scores_gemma":[0.5515806,0.0133802565,0.00084886496,0.0019249141,0.00060783845,0.00006767341,0.000061046245,0.00013308736,0.4313958],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99927133,0.0002780737,0.000019979343,0.00007503777,0.0002761719,0.000079481164],"domain_scores_gemma":[0.9996118,0.00023960372,0.000025116251,0.00002824917,0.000026063795,0.000069121656],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00062660134,0.00027226232,0.00026446747,0.0010261588,0.0061148503,0.010996434,0.0005699777,0.00077398657,0.0090936525],"category_scores_gemma":[0.001195364,0.00017176585,0.00015804873,0.0022865345,0.0075415075,0.004846458,0.004577374,0.0015773147,0.00080537226],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000053987565,0.00008181576,0.0015315657,0.00029343166,0.000012936444,0.00037368428,0.29234368,0.00014519315,0.00089619245,0.5397522,0.051209256,0.11330602],"study_design_scores_gemma":[0.000010221059,0.00003190034,0.0042208447,0.00027952017,0.000011366045,0.00033843418,0.12418584,0.00015983167,0.0003771067,0.02671622,0.8436535,0.000015234649],"about_ca_topic_score_codex":0.0035692323,"about_ca_topic_score_gemma":0.012462311,"teacher_disagreement_score":0.010996434,"about_ca_system_score_codex":0.0034264943,"about_ca_system_score_gemma":0.0012550224,"threshold_uncertainty_score":0.030421257},"labels":[],"label_agreement":null},{"id":"W584600052","doi":"","title":"Continuum encyclopedia of popular music of the world","year":2003,"lang":"en","type":"book","venue":"Continuum eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":126,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Jazz; Blues; Funk; Popular music; Art; Music; Call and response; Jazz dance; Rock music; Musical; Swing; Art history; Literature; Visual arts; Music history; Dance; Music education; Concert dance","score_opus":0.020117179735451414,"score_gpt":0.18257082949247347,"score_spread":0.16245364975702206,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W584600052","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0013583065,0.028380899,0.0008401381,0.0010585896,0.0049524633,0.00016040388,0.013534912,0.0012068057,0.9485074],"genre_scores_gemma":[0.006257647,0.020868367,0.0010411376,0.0013100771,0.002625923,0.00016329669,0.01052774,0.00075940444,0.9564464],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997209,0.00002967312,0.000025356427,0.000042179356,0.00013138299,0.00005059829],"domain_scores_gemma":[0.999423,0.00010095425,0.000049538285,0.00006944144,0.00024266979,0.0001143956],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00020707754,0.0012756513,0.0006387027,0.0046437364,0.0011650249,0.0047495505,0.00078972935,0.0005356815,0.50976014],"category_scores_gemma":[0.0012191898,0.00026953826,0.00023995899,0.0073947357,0.0003881192,0.0028823458,0.0024123748,0.0008458021,0.32642445],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004216805,0.00003224118,0.00024707077,0.0005109728,0.00000471803,0.000090561225,0.00021651971,0.00003653955,0.00054156414,0.002396144,0.83747786,0.15840362],"study_design_scores_gemma":[0.0000031974166,0.0000061594797,0.00081660657,0.00018679719,0.000001826652,0.00009120105,0.00017687357,0.000014167458,0.000038180377,0.00029817643,0.9983633,0.000003605527],"about_ca_topic_score_codex":0.0029472583,"about_ca_topic_score_gemma":0.007224862,"teacher_disagreement_score":0.50976014,"about_ca_system_score_codex":0.00058688736,"about_ca_system_score_gemma":0.0010328345,"threshold_uncertainty_score":0.6992676},"labels":[],"label_agreement":null},{"id":"W587838952","doi":"","title":"Un homme d’honneur. The Three Burials of Melquiades Estrada de Tommy Lee Jones The Three Burials of Melquiades Estrada de Tommy Lee Jones","year":2006,"lang":"fr","type":"article","venue":"Ciné bulles","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities; Mathematics","score_opus":0.025478446112586036,"score_gpt":0.2165391799553019,"score_spread":0.19106073384271585,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W587838952","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.015336523,0.044907335,0.00053696486,0.48321453,0.09544446,0.00004318744,0.00029204183,0.00010364388,0.36012137],"genre_scores_gemma":[0.06143155,0.0049910117,0.0002654944,0.058399193,0.0049290205,0.000030949563,0.000057512872,0.00010984132,0.8697854],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993488,0.00014124154,0.000015208999,0.00007714609,0.0001581521,0.0002593656],"domain_scores_gemma":[0.9990963,0.00010927059,0.00007044095,0.000044816345,0.00016148562,0.00051774003],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00091252674,0.00044203535,0.00028681662,0.00030042784,0.008965147,0.003217455,0.0004360242,0.0030928056,0.045987412],"category_scores_gemma":[0.0028027778,0.0003556791,0.00021950337,0.000228535,0.0023415333,0.002298685,0.0041448404,0.00783388,0.008138343],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006054714,0.000024303597,0.00074353727,0.00007102941,0.0000058401547,0.000682838,0.0085866265,0.00002028917,0.0005734914,0.042767484,0.9125388,0.033925246],"study_design_scores_gemma":[0.000001646992,0.000004505514,0.00035295132,0.00003067664,6.596803e-7,0.000108259155,0.0020360313,0.0000025277043,0.000033718734,0.00042203403,0.9970041,0.0000028326283],"about_ca_topic_score_codex":0.026135836,"about_ca_topic_score_gemma":0.08595268,"teacher_disagreement_score":0.045987412,"about_ca_system_score_codex":0.0021189556,"about_ca_system_score_gemma":0.0018049756,"threshold_uncertainty_score":0.15384316},"labels":[],"label_agreement":null},{"id":"W589198331","doi":"","title":"Global Pop, Local Language","year":2003,"lang":"en","type":"book","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":166,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Popular music; Punk; Popular culture; Swahili; Media studies; Ethnomusicology; Music history; Sociology; Literature; History; Linguistics; Art; Musical","score_opus":0.013098247641208606,"score_gpt":0.19283946215722034,"score_spread":0.17974121451601174,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W589198331","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0076925918,0.013726474,0.00037087785,0.014893746,0.0016790759,0.000043960983,0.000443431,0.00011705144,0.96103275],"genre_scores_gemma":[0.25804153,0.01807748,0.00083087914,0.019522425,0.0017127687,0.0002510832,0.0008098312,0.0005624217,0.70019156],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99920976,0.00030060494,0.000026899337,0.000148323,0.00016194166,0.00015234848],"domain_scores_gemma":[0.9995459,0.000080033606,0.000036667436,0.00006108387,0.00012280724,0.00015345958],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00062420225,0.00073173066,0.00046767542,0.0015953236,0.0035354882,0.010809895,0.0009867667,0.0012132515,0.06817094],"category_scores_gemma":[0.0015783799,0.00021979425,0.00021137364,0.0039640674,0.004176217,0.006124006,0.0070218756,0.002172302,0.013991801],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003522545,0.00005141344,0.0023606569,0.0006682455,0.0000131862835,0.00084671704,0.06423906,0.00017371775,0.0005276274,0.3684757,0.44781387,0.11479457],"study_design_scores_gemma":[0.0000030468307,0.000008521211,0.0010842179,0.00015894303,0.0000024850744,0.00010852191,0.018851278,0.000020254802,0.000024654524,0.0039834557,0.97575015,0.0000044403773],"about_ca_topic_score_codex":0.007615399,"about_ca_topic_score_gemma":0.0109732775,"teacher_disagreement_score":0.06817094,"about_ca_system_score_codex":0.0027134109,"about_ca_system_score_gemma":0.0033973355,"threshold_uncertainty_score":0.22805452},"labels":[],"label_agreement":null},{"id":"W590200945","doi":"10.1017/cbo9781107358287","title":"Music and Ethical Responsibility","year":2014,"lang":"en","type":"book","venue":"Cambridge University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":119,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Quest University Canada","funders":"","keywords":"Musical; Improvisation; Aesthetics; Meaning (existential); Negotiation; Sociology; Music and emotion; Philosophy of music; Psychology; Music history; Art; Visual arts; Social science","score_opus":0.03412142602033015,"score_gpt":0.18898018582856468,"score_spread":0.15485875980823455,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W590200945","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005177431,0.051783275,0.003979875,0.104716234,0.0028598951,0.00003281207,0.000020071106,0.0000390271,0.8313914],"genre_scores_gemma":[0.4947747,0.043430135,0.0042330045,0.050361548,0.0043735723,0.00018297072,0.00004672145,0.00014475956,0.4024527],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99498785,0.002848512,0.00013905315,0.00039896867,0.0011431734,0.0004824709],"domain_scores_gemma":[0.99763846,0.0014260932,0.00018752282,0.0001947626,0.0002756097,0.0002776156],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00333558,0.0004941443,0.00032324597,0.00088787137,0.0076999483,0.009624812,0.00076992624,0.0051996163,0.008363732],"category_scores_gemma":[0.005969011,0.00024798338,0.00036306411,0.0007408935,0.037374757,0.008932196,0.005545361,0.0055984,0.0015269455],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000046471787,0.000007470609,0.00008931693,0.000034878114,0.0000017260857,0.00006818255,0.0067374064,0.00006573017,0.000050827854,0.95186085,0.027118078,0.013960764],"study_design_scores_gemma":[0.0000059117583,0.000013365149,0.00029357575,0.0003865251,0.0000028200611,0.00024542533,0.00594082,0.00010947623,0.00009887146,0.46244988,0.5304407,0.000012494751],"about_ca_topic_score_codex":0.004683645,"about_ca_topic_score_gemma":0.00609971,"teacher_disagreement_score":0.009624812,"about_ca_system_score_codex":0.0055273403,"about_ca_system_score_gemma":0.005733554,"threshold_uncertainty_score":0.040103912},"labels":[],"label_agreement":null},{"id":"W60019447","doi":"10.15173/nexus.v14i1.173","title":"Is There Life After The Dead? Deadheads and the Death of Jerry Garcia","year":2000,"lang":"en","type":"article","venue":"NEXUS The Canadian Student Journal of Anthropology","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Garcia; Subculture (biology); Cyberspace; Sociology; Art history; Humanities; History; Art; The Internet","score_opus":0.022499366604080844,"score_gpt":0.25683665960203805,"score_spread":0.23433729299795722,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W60019447","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4038475,0.077833384,0.0015985885,0.26334888,0.010978564,0.00006785305,0.00010757387,0.00012937913,0.24208824],"genre_scores_gemma":[0.90513897,0.013063666,0.00034131936,0.01744489,0.0010262422,0.000022436427,0.000030298062,0.00007007716,0.06286217],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9984295,0.00075341074,0.000023659473,0.00013463784,0.00028593573,0.00037288584],"domain_scores_gemma":[0.9988997,0.00031088325,0.00016229581,0.00005488828,0.00019132678,0.00038090357],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019710644,0.00049450045,0.00039469733,0.0008452768,0.018992428,0.0056406646,0.0007430101,0.0018076082,0.0029495556],"category_scores_gemma":[0.004125136,0.00025216895,0.00020441547,0.00041939455,0.01372248,0.0033577194,0.0036936882,0.005622774,0.00063013536],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022826012,0.00006918065,0.0045500263,0.00022404379,0.000036914542,0.0046169325,0.572352,0.0001457732,0.0010249781,0.09571321,0.26305142,0.05798723],"study_design_scores_gemma":[0.000012386726,0.000076034135,0.0048475047,0.00036091922,0.000017029686,0.0014658892,0.48164076,0.000065445645,0.00034935636,0.0082336245,0.5028816,0.00004947386],"about_ca_topic_score_codex":0.03629988,"about_ca_topic_score_gemma":0.0860813,"teacher_disagreement_score":0.03629988,"about_ca_system_score_codex":0.0050879843,"about_ca_system_score_gemma":0.001833846,"threshold_uncertainty_score":0.07217717},"labels":[],"label_agreement":null},{"id":"W600532298","doi":"","title":"Waging Heavy Peace: A Hippie Dream","year":2012,"lang":"en","type":"book","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":12,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Memoir; Contemplation; Dream; Art; Art history; Musical; Literature; History; Theology; Philosophy; Psychology","score_opus":0.03574184584983833,"score_gpt":0.19350783448582962,"score_spread":0.15776598863599128,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W600532298","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.014399735,0.05661941,0.0018288882,0.3107547,0.031664383,0.000052862746,0.0002476719,0.0004410671,0.5839912],"genre_scores_gemma":[0.12864259,0.026702136,0.0016558698,0.08679232,0.011018706,0.000065763226,0.00015760348,0.00072087324,0.74424416],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99871325,0.00038468675,0.000025825108,0.000114562,0.00038730624,0.00037438294],"domain_scores_gemma":[0.9984956,0.00022550763,0.000085258056,0.00010121612,0.00020577949,0.0008867071],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017690345,0.000620695,0.00038486198,0.001042241,0.02001855,0.013463303,0.00095950824,0.004180995,0.013878723],"category_scores_gemma":[0.0029099581,0.00045708322,0.00035581412,0.0006768971,0.012846127,0.011281083,0.007980214,0.011523261,0.007746607],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007615649,0.000056897756,0.00036708164,0.00016127744,0.000009305025,0.000590331,0.04471327,0.000059864567,0.00048194575,0.16616343,0.7554202,0.03190028],"study_design_scores_gemma":[0.000004581029,0.000008916282,0.0001524778,0.00015678119,0.0000020603388,0.00025655888,0.016733123,0.000022038883,0.00010878035,0.0075325263,0.9750107,0.0000114404165],"about_ca_topic_score_codex":0.0130137885,"about_ca_topic_score_gemma":0.027809229,"teacher_disagreement_score":0.02001855,"about_ca_system_score_codex":0.0033584693,"about_ca_system_score_gemma":0.0052648266,"threshold_uncertainty_score":0.04642898},"labels":[],"label_agreement":null},{"id":"W600829355","doi":"","title":"Rap Music and the Poetics of Identity by Adam Krims (review)","year":2001,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Poetics; Identity (music); Literature; Art; Aesthetics; Sociology; Poetry","score_opus":0.01204278254751293,"score_gpt":0.18061353850360484,"score_spread":0.16857075595609192,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W600829355","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000079589045,0.9929467,0.000013613521,0.005301068,0.0008964179,0.0000018115426,0.000008095167,0.0000011224506,0.00075160584],"genre_scores_gemma":[0.0017507551,0.9924434,0.000043493626,0.002075655,0.002204848,0.000006948217,0.000015033948,0.0000015233092,0.0014583373],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994777,0.00021234136,0.00003715973,0.000055196073,0.00016202928,0.000055599172],"domain_scores_gemma":[0.9983535,0.00092508295,0.00014937202,0.000035310193,0.0003557768,0.00018102358],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001258655,0.00069641316,0.0013143347,0.0022764478,0.0011255072,0.0027111368,0.00069245946,0.0022601902,0.004284638],"category_scores_gemma":[0.003398303,0.00043304515,0.00026372995,0.004602832,0.0030251688,0.0025556134,0.0017428476,0.0021090202,0.0012152154],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001460978,0.0000428631,0.0005454121,0.011640287,0.00009851778,0.00024166457,0.0015883142,0.00017518332,0.0001440491,0.010041083,0.63737094,0.33796564],"study_design_scores_gemma":[0.00002836826,0.000039423943,0.0019815415,0.0051381,0.000056618548,0.0005652039,0.0010177718,0.000024077068,0.000045435358,0.0022878626,0.9887947,0.000020910822],"about_ca_topic_score_codex":0.028779257,"about_ca_topic_score_gemma":0.06575386,"teacher_disagreement_score":0.028779257,"about_ca_system_score_codex":0.0019450458,"about_ca_system_score_gemma":0.0053390763,"threshold_uncertainty_score":0.0572235},"labels":[],"label_agreement":null},{"id":"W601576136","doi":"10.5860/choice.51-2573","title":"Assimilate: a critical history of industrial music","year":2013,"lang":"en","type":"article","venue":"Choice Reviews Online","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":16,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History","score_opus":0.2195867404943833,"score_gpt":0.29399602795928004,"score_spread":0.07440928746489675,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W601576136","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.015649103,0.06035782,0.0020235793,0.034205846,0.003502935,0.00003593526,0.00006905754,0.00010219629,0.8840534],"genre_scores_gemma":[0.6620993,0.03895335,0.0015116115,0.008778853,0.008258878,0.00011851955,0.000105295614,0.0002981813,0.27987596],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9973506,0.0014365619,0.000062702115,0.00027221162,0.0006149943,0.00026298693],"domain_scores_gemma":[0.9983164,0.001128849,0.000110552755,0.00012053389,0.00017696312,0.00014668966],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018095381,0.0008081806,0.00042285136,0.003769179,0.010857606,0.013596666,0.0012549913,0.0031621454,0.019646708],"category_scores_gemma":[0.0053083966,0.0002631171,0.00022696632,0.0026987854,0.022835746,0.00691002,0.00394293,0.004073955,0.0019820791],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000555493,0.000027551187,0.00035195635,0.00020943185,0.0000064446763,0.00025020904,0.07811513,0.00014864544,0.00014097056,0.8064899,0.066028304,0.048175804],"study_design_scores_gemma":[0.0000069248704,0.00001809962,0.0005107178,0.00045020747,0.0000026169291,0.00015502724,0.019165931,0.00010183236,0.00013965981,0.05227278,0.9271652,0.000010960337],"about_ca_topic_score_codex":0.009463525,"about_ca_topic_score_gemma":0.013509,"teacher_disagreement_score":0.019646708,"about_ca_system_score_codex":0.010903896,"about_ca_system_score_gemma":0.0027442547,"threshold_uncertainty_score":0.07911366},"labels":[],"label_agreement":null},{"id":"W606478016","doi":"","title":"Book Review: All About the Beat","year":2013,"lang":"en","type":"article","venue":"Scholars Commons (Wilfrid Laurier University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Wilfrid Laurier University","funders":"","keywords":"Beat (acoustics); Acoustics; Physics","score_opus":0.019304724652704816,"score_gpt":0.19415953462702948,"score_spread":0.17485480997432468,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W606478016","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00039109983,0.34612378,0.0005410863,0.12789904,0.27639547,0.00016639165,0.0011445975,0.0006299914,0.24670856],"genre_scores_gemma":[0.0018975633,0.08507011,0.00026743734,0.037628315,0.07402772,0.00012781525,0.00065173494,0.00026733303,0.80006194],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985006,0.00020139164,0.000077402074,0.00013210256,0.00094750075,0.00014112625],"domain_scores_gemma":[0.9945174,0.0010297901,0.00038767408,0.00028953407,0.0026841648,0.0010914238],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014336087,0.0010485357,0.0021213414,0.0040122117,0.0016843732,0.0075498633,0.0018480081,0.006136091,0.19930449],"category_scores_gemma":[0.0075035538,0.00065987837,0.0007757502,0.004760174,0.0011602544,0.003336977,0.0017720128,0.003892156,0.18283924],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000006040458,0.000004956823,0.000011961682,0.00012913259,0.0000021068427,0.00001092418,0.0000050610897,0.000008836416,0.000017948083,0.00017076009,0.98271894,0.016913313],"study_design_scores_gemma":[0.000006624549,0.0000064768146,0.000105301224,0.00024230334,0.0000043479918,0.000034377197,0.000015089091,0.000007843811,0.000015868827,0.00021158595,0.9993462,0.0000039300203],"about_ca_topic_score_codex":0.0055618463,"about_ca_topic_score_gemma":0.019270593,"teacher_disagreement_score":0.19930449,"about_ca_system_score_codex":0.002751504,"about_ca_system_score_gemma":0.0050842734,"threshold_uncertainty_score":0.66673994},"labels":[],"label_agreement":null},{"id":"W610551100","doi":"","title":"White riot : punk rock and the politics of race","year":2011,"lang":"en","type":"book","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":37,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Punk; White (mutation); Appeal; Lyrics; Politics; Art; Art history; Subject (documents); Race (biology); History; Literature; Sociology; Gender studies; Law; Political science","score_opus":0.02494900364246131,"score_gpt":0.1772120528220455,"score_spread":0.1522630491795842,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W610551100","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.010459868,0.004288417,0.0001298038,0.0049108625,0.00046803118,0.0000074173686,0.000012676274,0.000024327946,0.97969866],"genre_scores_gemma":[0.3758866,0.0029980522,0.00016730149,0.0034700704,0.00036724826,0.000044898912,0.000023479972,0.00007583418,0.6169665],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991167,0.00031638268,0.000008850673,0.00010488511,0.00019843974,0.00025480607],"domain_scores_gemma":[0.9996468,0.00008765477,0.000041126008,0.00003336933,0.00004283714,0.0001483174],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005936909,0.00041579411,0.00031207743,0.0005984029,0.014556871,0.008909417,0.00074644,0.0011292057,0.025511896],"category_scores_gemma":[0.0012856997,0.0003192669,0.0001757268,0.001348648,0.008163847,0.0037545539,0.004878218,0.0030111235,0.0022967325],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000057373658,0.000047620804,0.0011021185,0.00011312826,0.000009186327,0.00048537008,0.05090804,0.000082501145,0.00020950216,0.6913,0.20497487,0.050710272],"study_design_scores_gemma":[0.000008392276,0.000024881245,0.0036354903,0.00016295724,0.0000038959656,0.00022966981,0.026257848,0.000048751775,0.00007269968,0.01281139,0.9567319,0.000012184028],"about_ca_topic_score_codex":0.025556235,"about_ca_topic_score_gemma":0.07462313,"teacher_disagreement_score":0.025556235,"about_ca_system_score_codex":0.00472032,"about_ca_system_score_gemma":0.002665968,"threshold_uncertainty_score":0.085345805},"labels":[],"label_agreement":null},{"id":"W612432241","doi":"","title":"Transatlantic Roots Music: Folk, Blues, and National Identities","year":2014,"lang":"en","type":"article","venue":"Journal - Association for Recorded Sound Collections","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Blues; Folk music; Wynn; History; Popular music; Musical; Meaning (existential); Art history; Literature; Sociology; Media studies; Classics; Art; Philosophy; Linguistics","score_opus":0.027595460334087364,"score_gpt":0.2290022106659117,"score_spread":0.20140675033182434,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W612432241","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.027742816,0.503429,0.001051731,0.11429291,0.0065262094,0.000027774397,0.0001811538,0.00006758979,0.34668082],"genre_scores_gemma":[0.3923674,0.26916364,0.0014095189,0.014092766,0.0053486675,0.000106327956,0.00030101108,0.00018045264,0.31703016],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99962664,0.00016085288,0.0000108381155,0.00005300153,0.00008830207,0.000060358678],"domain_scores_gemma":[0.99937505,0.0002586072,0.000066434455,0.000030712286,0.000100017,0.00016916374],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00065226643,0.00057353434,0.00033747376,0.0011489558,0.0044041607,0.008325316,0.00065247476,0.0015166114,0.010774682],"category_scores_gemma":[0.0014747152,0.00024561337,0.00012863812,0.002095448,0.0044746376,0.005213984,0.002295066,0.0027476088,0.002042587],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000065743625,0.00005190655,0.003086431,0.00069003174,0.000027285716,0.00035185044,0.14208628,0.00006248061,0.00045425651,0.1611611,0.46432948,0.22763321],"study_design_scores_gemma":[0.00000565845,0.00001724482,0.008130506,0.0010953398,0.000009016895,0.00020166632,0.09455649,0.00003591645,0.00012526882,0.019128175,0.8766794,0.000015191833],"about_ca_topic_score_codex":0.02585979,"about_ca_topic_score_gemma":0.07419207,"teacher_disagreement_score":0.02585979,"about_ca_system_score_codex":0.0026786255,"about_ca_system_score_gemma":0.0029972827,"threshold_uncertainty_score":0.051418543},"labels":[],"label_agreement":null},{"id":"W612779706","doi":"","title":"The Daddy of Rock 'n' Roll, Canada 2001, 59 minutes The Daddy of Rock 'n' Roll, Canada 2001, 59 minutes","year":2002,"lang":"fr","type":"article","venue":"Séquences : La revue de cinéma","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Geology","score_opus":0.018828270018545253,"score_gpt":0.1911731272648583,"score_spread":0.17234485724631304,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W612779706","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0031965005,0.015914626,0.00054347236,0.04769349,0.06430205,0.0010694553,0.012966326,0.0017269376,0.8525872],"genre_scores_gemma":[0.0027428349,0.001600924,0.0001359702,0.0019173574,0.001578169,0.00020503573,0.001012837,0.0002505384,0.9905563],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99900264,0.000074645926,0.000025610523,0.00011013746,0.00041402387,0.00037292897],"domain_scores_gemma":[0.99654824,0.00022981528,0.00008772492,0.000063318475,0.0011571537,0.0019137792],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0010640398,0.0017942343,0.0010449382,0.0015531442,0.017751774,0.0065300674,0.0014737564,0.005962168,0.55970687],"category_scores_gemma":[0.004544955,0.0011547789,0.0006619728,0.0017443274,0.0013212023,0.0020545637,0.0037359258,0.0050596935,0.25773382],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024309142,0.000007442425,0.000062362575,0.000023713681,7.4125785e-7,0.000034030727,0.00010839364,0.000014394258,0.000049128863,0.00020045406,0.9962986,0.003176363],"study_design_scores_gemma":[0.000011995223,0.000007716308,0.0012854008,0.000064773434,0.0000016632425,0.000015140105,0.00074277347,0.000012083609,0.000022113527,0.000060396036,0.99776924,0.000006623576],"about_ca_topic_score_codex":0.6509323,"about_ca_topic_score_gemma":0.9199042,"teacher_disagreement_score":0.55970687,"about_ca_system_score_codex":0.01419274,"about_ca_system_score_gemma":0.01906476,"threshold_uncertainty_score":0.7022468},"labels":[],"label_agreement":null},{"id":"W615921135","doi":"10.46743/2160-3715/2015.2141","title":"“Third-Wave” Coffeehouses as Venues for Sociality: On Encounters between Employees and Customers","year":2015,"lang":"en","type":"article","venue":"The Qualitative Report","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":39,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Calgary","funders":"","keywords":"Sociality; Sociology; Alienation; Face (sociological concept); Ethnomethodology; Aesthetics; Perspective (graphical); Perception; Ethnography; Social relation; Media studies; Social science; Public relations; Social psychology; Psychology; Visual arts; Anthropology; Political science","score_opus":0.35371271184445907,"score_gpt":0.4384922147151561,"score_spread":0.08477950287069702,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W615921135","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.97649014,0.00061194686,0.00095724966,0.0016294355,0.00004360841,0.000027921196,0.00003376739,0.000021595448,0.020184351],"genre_scores_gemma":[0.9972572,0.0003063033,0.00019545185,0.00019215702,0.00002373618,0.000021221875,0.000011339908,0.000017153527,0.0019754588],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99585056,0.0029547,0.00006490983,0.00022148842,0.00034715608,0.00056119595],"domain_scores_gemma":[0.9945686,0.003990604,0.0003659952,0.00029317502,0.00025238944,0.0005291861],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003399818,0.0005063086,0.00048676206,0.0011761055,0.011719998,0.008081887,0.0011940951,0.0020189648,0.0049616685],"category_scores_gemma":[0.005989924,0.00047442198,0.00032981203,0.0015080343,0.016790975,0.006430186,0.00662938,0.002407953,0.0004527399],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000041370768,0.000023469664,0.0032917303,0.00005168955,0.0000039382912,0.00050421356,0.98495066,0.000024150833,0.00040339815,0.0046921386,0.0008140696,0.005199103],"study_design_scores_gemma":[0.0000023935645,0.000030250985,0.0025555422,0.000066414235,0.000003736294,0.00017028865,0.9887279,0.000048866423,0.00017372731,0.00040119386,0.007808523,0.00001117566],"about_ca_topic_score_codex":0.008467642,"about_ca_topic_score_gemma":0.014450534,"teacher_disagreement_score":0.011719998,"about_ca_system_score_codex":0.0023495427,"about_ca_system_score_gemma":0.0016105574,"threshold_uncertainty_score":0.017980158},"labels":[],"label_agreement":null},{"id":"W616019791","doi":"","title":"In search of the truefan : populism, football and fandom in England from antiquity to the end of the twentieth century","year":2000,"lang":"en","type":"book","venue":"Library and Archives Canada (Government of Canada)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Fandom; Populism; Football; History; Media studies; Art; Sociology; Political science; Archaeology; Law; Politics","score_opus":0.005378296078158625,"score_gpt":0.14081991760903312,"score_spread":0.1354416215308745,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W616019791","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.097146876,0.28270492,0.00033306173,0.040777825,0.004042864,0.000044644665,0.00031809442,0.000042351803,0.5745894],"genre_scores_gemma":[0.40138832,0.046269655,0.00017756163,0.004830054,0.0007611143,0.000043639684,0.00010560326,0.000043432963,0.54638076],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99963117,0.00009577092,0.000011402624,0.000039323244,0.00008451078,0.0001377901],"domain_scores_gemma":[0.99967194,0.0001282664,0.00003352053,0.00000935982,0.000058048674,0.00009890867],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004669649,0.0004872067,0.0004237264,0.0016979389,0.008006122,0.0058248397,0.0006461411,0.0015701065,0.011921283],"category_scores_gemma":[0.0011764567,0.0002765431,0.00013541046,0.0022836623,0.005629707,0.0038373654,0.0027984602,0.0026012186,0.0011274924],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018091255,0.000057187903,0.004843485,0.0006593933,0.0000118896405,0.0010687271,0.5037401,0.000104702456,0.00032011527,0.22719859,0.16988167,0.09193338],"study_design_scores_gemma":[0.000012149515,0.000034278943,0.01514967,0.00097199326,0.0000057297607,0.0003422614,0.11497443,0.000023136257,0.0000723828,0.005696227,0.8627027,0.000014967809],"about_ca_topic_score_codex":0.36860037,"about_ca_topic_score_gemma":0.702013,"teacher_disagreement_score":0.36860037,"about_ca_system_score_codex":0.009569862,"about_ca_system_score_gemma":0.006655151,"threshold_uncertainty_score":0.73290974},"labels":[],"label_agreement":null},{"id":"W617758879","doi":"10.5860/choice.37-6186","title":"Key terms in popular music and culture","year":2000,"lang":"en","type":"article","venue":"Choice Reviews Online","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":153,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Key (lock); Aesthetics; Literature; Computer science; Art; Computer security","score_opus":0.057387039798061645,"score_gpt":0.2652727677618681,"score_spread":0.20788572796380644,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W617758879","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0014261468,0.061171062,0.0016580008,0.041282516,0.011489976,0.00010577523,0.001405561,0.00014510969,0.8813159],"genre_scores_gemma":[0.10615721,0.054225713,0.00363385,0.0110400105,0.022817971,0.00055745634,0.0019949663,0.0007049338,0.79886794],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99878305,0.000510351,0.0000720323,0.00016403383,0.0003014875,0.00016902758],"domain_scores_gemma":[0.99881774,0.00048185285,0.00011645475,0.000100664176,0.00029087227,0.00019239057],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00078902225,0.000957913,0.00057327637,0.002658636,0.0029714054,0.0061615533,0.0010446964,0.0019168758,0.13339715],"category_scores_gemma":[0.00349964,0.00024954687,0.0003100188,0.0053758947,0.0030008885,0.008727483,0.0026411002,0.0022304931,0.03941561],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000027491518,0.000011953844,0.00021019972,0.00027693203,0.0000023808936,0.000043813085,0.0037792714,0.000022298796,0.00011936909,0.3120118,0.63937753,0.04411688],"study_design_scores_gemma":[0.0000029656787,0.000005794867,0.0005636119,0.00027835328,0.0000011940197,0.000051927145,0.0024881153,0.000022380878,0.000031043834,0.02106255,0.9754875,0.00000450072],"about_ca_topic_score_codex":0.004061472,"about_ca_topic_score_gemma":0.0046602143,"teacher_disagreement_score":0.13339715,"about_ca_system_score_codex":0.0033510383,"about_ca_system_score_gemma":0.0012006584,"threshold_uncertainty_score":0.4462579},"labels":[],"label_agreement":null},{"id":"W622531438","doi":"","title":"Global Linguistic Flows: Hip Hop Cultures, Youth Identities, and the Politics of Language","year":2008,"lang":"en","type":"book","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":727,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Poetics; Politics; Sociology; Gender studies; History; Art; Literature; Poetry; Political science; Law","score_opus":0.01891411188656415,"score_gpt":0.21365976586521887,"score_spread":0.19474565397865473,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W622531438","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.36582577,0.01427675,0.0007119962,0.032437127,0.000504239,0.00005063513,0.0002197383,0.00009562968,0.5858781],"genre_scores_gemma":[0.9408982,0.004418039,0.00016347636,0.0009950444,0.00012042949,0.000040271636,0.000060229184,0.000059105158,0.05324522],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987801,0.00051367277,0.000027987055,0.00008398242,0.00016066304,0.00043368884],"domain_scores_gemma":[0.99917644,0.00028048124,0.000101392805,0.00003665032,0.00009555215,0.00030949805],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016454699,0.0003564923,0.0003059361,0.0016391183,0.009974558,0.01220788,0.00053458405,0.0009401319,0.01662405],"category_scores_gemma":[0.0016119367,0.00016127585,0.00013252825,0.002301415,0.009522346,0.0044861757,0.006974527,0.0017795737,0.00091437064],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004241026,0.00006347705,0.007387473,0.00016246791,0.000006223786,0.0004887105,0.5606566,0.00008848681,0.0002814152,0.34847632,0.031579863,0.05076652],"study_design_scores_gemma":[0.000006487962,0.000021311993,0.0115984455,0.0005147452,0.0000064930005,0.00015655729,0.7084602,0.00007974217,0.00034635313,0.021582521,0.25720924,0.000017887854],"about_ca_topic_score_codex":0.028463373,"about_ca_topic_score_gemma":0.044083133,"teacher_disagreement_score":0.028463373,"about_ca_system_score_codex":0.0062595685,"about_ca_system_score_gemma":0.004218337,"threshold_uncertainty_score":0.056595385},"labels":[],"label_agreement":null},{"id":"W627476077","doi":"10.25071/1913-9632.5712","title":"Vincent J. Roscigno and William F. Danaher — The Voice of Southern Labour: Radio, Music, and Textile Strikes, 1929-1934","year":2006,"lang":"en","type":"article","venue":"Left History An Interdisciplinary Journal of Historical Inquiry and Debate","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Marxist philosophy; Variety (cybernetics); Sociology; Race (biology); State (computer science); Gender studies; Class (philosophy); Human sexuality; Ethnic group; Textile; Anthropology; History; Political science; Philosophy; Law; Archaeology; Epistemology; Computer science","score_opus":0.030694573219591768,"score_gpt":0.23827679597907536,"score_spread":0.2075822227594836,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W627476077","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.098278016,0.2520796,0.0010221465,0.2581989,0.0057778303,0.000046549238,0.00032758556,0.000054719043,0.38421467],"genre_scores_gemma":[0.5479271,0.050420318,0.0004601662,0.009428738,0.004260851,0.00004282278,0.00009862939,0.000118234566,0.38724318],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999566,0.00017064104,0.000009249776,0.000050487408,0.00010743173,0.000096086784],"domain_scores_gemma":[0.9991398,0.0005345551,0.00009854268,0.000026613083,0.000083371684,0.000117185264],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013462425,0.0003634667,0.00020627964,0.0015724337,0.0057449983,0.0032812874,0.0004895749,0.0016068943,0.0069029033],"category_scores_gemma":[0.0020193001,0.00021693608,0.00011024179,0.0014486153,0.0063042925,0.0025489163,0.001911441,0.0017472918,0.00092349603],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00031116084,0.000040394145,0.0069072675,0.00037664434,0.000013311077,0.00058649405,0.22903179,0.00012927347,0.0010908403,0.18592605,0.46008247,0.115504295],"study_design_scores_gemma":[0.000010243721,0.000027148764,0.009543433,0.00047922911,0.0000058660435,0.00016768904,0.05392295,0.000025620799,0.00029560894,0.005612567,0.9298938,0.000015835674],"about_ca_topic_score_codex":0.046194926,"about_ca_topic_score_gemma":0.15958911,"teacher_disagreement_score":0.046194926,"about_ca_system_score_codex":0.0032502569,"about_ca_system_score_gemma":0.0018327545,"threshold_uncertainty_score":0.09185207},"labels":[],"label_agreement":null},{"id":"W630517907","doi":"","title":"Rush, Rock Music, and the Middle Class: Dreaming in Middletown","year":2009,"lang":"en","type":"book","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":32,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Spectacle; Middlebrow; Middle class; Gold rush; Austerity; Rock music; Musical; Front (military); Populism; History; Dialectic; Art; Aesthetics; Art history; Visual arts; Popular music; Political science; Geography; Archaeology; Philosophy; Law","score_opus":0.042435794244652485,"score_gpt":0.18008418024525166,"score_spread":0.13764838600059917,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W630517907","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.19552481,0.029951148,0.00035431556,0.0254114,0.0008243432,0.00003387133,0.00012463627,0.00012778872,0.74764764],"genre_scores_gemma":[0.59292823,0.007718251,0.0003767459,0.0019098682,0.00014290352,0.000020077108,0.00007677935,0.00007457254,0.39675263],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997036,0.000035514073,0.0000034113232,0.000023544302,0.000106209416,0.00012773664],"domain_scores_gemma":[0.9998235,0.000023873663,0.000008868005,0.000005203094,0.00002786853,0.00011077257],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00032448134,0.00026158607,0.00015851873,0.000791687,0.010155239,0.0049406663,0.00082630647,0.0008137189,0.0096018305],"category_scores_gemma":[0.00038925285,0.00014355428,0.00010893826,0.0008863845,0.0067029744,0.0016652676,0.0017008884,0.0016006534,0.0010147503],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009325295,0.000070473034,0.0050713834,0.00014437102,0.000007033999,0.0009418659,0.43831012,0.00008211834,0.0009732669,0.16484098,0.24286518,0.14659998],"study_design_scores_gemma":[0.0000071121854,0.00002100407,0.010379105,0.00017087927,0.000004965645,0.00019801654,0.28767967,0.000041685504,0.00022182403,0.0032031278,0.6980537,0.000018795796],"about_ca_topic_score_codex":0.72875315,"about_ca_topic_score_gemma":0.9333857,"teacher_disagreement_score":0.72875315,"about_ca_system_score_codex":0.011587304,"about_ca_system_score_gemma":0.009315314,"threshold_uncertainty_score":0.5456885},"labels":[],"label_agreement":null},{"id":"W639571647","doi":"10.71781/12585","title":"Présence de la musique haïtienne dans la radio locale en Haïti : enjeux et perspective","year":2009,"lang":"fr","type":"dissertation","venue":"Open MIND","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.019850330476051056,"score_gpt":0.30061366135004236,"score_spread":0.2807633308739913,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W639571647","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8973403,0.0076035983,0.0008755812,0.007070631,0.00026993305,0.000021141095,0.00022976616,0.000010608019,0.08657849],"genre_scores_gemma":[0.97998774,0.0022698455,0.00022452557,0.00027869362,0.0000781754,0.0000120053,0.00004666784,0.000010208851,0.017092248],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99956924,0.00015285917,0.000010974648,0.000061727835,0.0000576364,0.00014756284],"domain_scores_gemma":[0.9993332,0.00029971887,0.000083269486,0.00002710187,0.00014730614,0.0001092594],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010212351,0.0002517555,0.00022121657,0.0010814947,0.007651415,0.003700083,0.00064638566,0.0011666851,0.005128875],"category_scores_gemma":[0.0013914561,0.00026334627,0.00012769293,0.0014456387,0.0060577574,0.0020337792,0.0021794776,0.002025152,0.00031828953],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007175896,0.000023104978,0.023380077,0.00017453806,0.000016642241,0.00090000784,0.9271894,0.00008918172,0.0019503178,0.016495,0.0031240233,0.026585897],"study_design_scores_gemma":[0.0000024542917,0.000035648405,0.07743393,0.00023624065,0.000021279793,0.00043696733,0.820837,0.00007277859,0.00045198866,0.00051921053,0.09992751,0.000024899013],"about_ca_topic_score_codex":0.46013132,"about_ca_topic_score_gemma":0.7137968,"teacher_disagreement_score":0.46013132,"about_ca_system_score_codex":0.006672426,"about_ca_system_score_gemma":0.003872899,"threshold_uncertainty_score":0.9149061},"labels":[],"label_agreement":null},{"id":"W653503688","doi":"10.1515/9780822397540","title":"Japanoise: Music at the Edge of Circulation","year":2013,"lang":"en","type":"book","venue":"eScholarship (California Digital Library)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":42,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"University of California, Santa Barbara; University of Illinois at Urbana-Champaign; University of Oxford; York University; University of Minnesota; Princeton University; Andrew W. Mellon Foundation","keywords":"Liveness; Subjectivity; Active listening; Circulation (fluid dynamics); Noise (video); Index (typography); Enhanced Data Rates for GSM Evolution; Art; History; Literature; Art history; Visual arts; Computer science; Psychology; Engineering; Artificial intelligence; Communication; Philosophy; Image (mathematics); Epistemology; Aerospace engineering; World Wide Web","score_opus":0.024140399945571944,"score_gpt":0.17882035458872209,"score_spread":0.15467995464315015,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W653503688","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.028027503,0.04605706,0.0034244454,0.00530152,0.0021987262,0.00003334106,0.00010333067,0.00023347854,0.9146206],"genre_scores_gemma":[0.2540858,0.027090538,0.0021607124,0.0022484614,0.0011505004,0.00007012668,0.00013418836,0.00033082927,0.7127289],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997286,0.00005734577,0.0000120355135,0.000057147536,0.00008206181,0.00006268778],"domain_scores_gemma":[0.9997855,0.000056026955,0.00001716991,0.000027612261,0.00005803705,0.000055631837],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00046601042,0.0007641773,0.00031613326,0.0012641557,0.004099709,0.0073442445,0.0005666156,0.0011271697,0.006265058],"category_scores_gemma":[0.00066409813,0.00032008794,0.0002615227,0.0013944382,0.0061356025,0.0051084165,0.003162288,0.0019347416,0.0013732447],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017888921,0.00004289666,0.0021984766,0.0008362126,0.000036497346,0.0012187923,0.16846423,0.00017821643,0.0054062437,0.5409104,0.13252315,0.14800604],"study_design_scores_gemma":[0.000007715498,0.00003563693,0.002354559,0.0002606263,0.000023235838,0.0004212688,0.01709199,0.000069458234,0.00059604604,0.0074852533,0.9716324,0.000021803331],"about_ca_topic_score_codex":0.0140679665,"about_ca_topic_score_gemma":0.04325494,"teacher_disagreement_score":0.0140679665,"about_ca_system_score_codex":0.0030022783,"about_ca_system_score_gemma":0.00216983,"threshold_uncertainty_score":0.027972162},"labels":[],"label_agreement":null},{"id":"W656040785","doi":"10.5860/choice.50-2573","title":"Exploring American folk music: ethnic, grassroots, and regional traditions in the United States","year":2013,"lang":"en","type":"article","venue":"Choice Reviews Online","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Blues; Folk music; Grassroots; Singing; Ballad; Popular music; History; Population; Music history; Ethnic group; Ethnomusicology; Music education; Ethnology; Anthropology; Sociology; Art; Visual arts; Art history; Literature; Politics; Musical; Political science; Law; Demography","score_opus":0.3985486615777211,"score_gpt":0.31528103155674214,"score_spread":0.08326763002097898,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W656040785","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3312958,0.15015443,0.0009787397,0.046587545,0.0032958614,0.00007102277,0.00019530824,0.000070076196,0.46735123],"genre_scores_gemma":[0.7938861,0.09992898,0.0016845639,0.012863076,0.0010928062,0.00011914345,0.00025549228,0.00005290166,0.090116896],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99959594,0.00017791364,0.000015356278,0.000026892416,0.000105708015,0.000078206736],"domain_scores_gemma":[0.99963033,0.00016726594,0.000028924966,0.000008160537,0.000048968308,0.00011630056],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006217577,0.00028869946,0.00025091536,0.0011528917,0.0055265147,0.004789325,0.0004861965,0.0011366578,0.0043257005],"category_scores_gemma":[0.0006163777,0.00018556621,0.00019763094,0.0025758236,0.0020512617,0.0023139678,0.0020991727,0.001768995,0.0003830381],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006620352,0.00017233178,0.01451062,0.00069054245,0.000038610284,0.0015873429,0.5886255,0.00017056691,0.0021913438,0.035196327,0.123921834,0.23282878],"study_design_scores_gemma":[0.000007813922,0.000058656475,0.035868187,0.0011827381,0.000021599551,0.00040169456,0.58689386,0.00008687105,0.00014041894,0.0040297764,0.37129018,0.000018196524],"about_ca_topic_score_codex":0.03397952,"about_ca_topic_score_gemma":0.1808488,"teacher_disagreement_score":0.03397952,"about_ca_system_score_codex":0.0021270693,"about_ca_system_score_gemma":0.0021900286,"threshold_uncertainty_score":0.067563534},"labels":[],"label_agreement":null},{"id":"W68761277","doi":"","title":"Review of Naomi Cumming, \"The Sonic Self: Musical Subjectivity and Signification\"","year":2002,"lang":"en","type":"article","venue":"Recherches sémiotiques","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Subjectivity; Musical; Art; Aesthetics; Psychology; Visual arts; Epistemology; Philosophy","score_opus":0.14809108354921316,"score_gpt":0.2823821065780044,"score_spread":0.13429102302879123,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W68761277","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00004771627,0.97278476,0.0000909155,0.01789134,0.007926931,0.0000037970074,0.00003116384,0.000004831109,0.001218469],"genre_scores_gemma":[0.0008165318,0.95956516,0.0001283254,0.023351502,0.013562539,0.000016793425,0.000067627174,0.000011064128,0.002480432],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.998872,0.00028488523,0.00016197881,0.00019089683,0.00040856603,0.000081749684],"domain_scores_gemma":[0.99366295,0.0034841248,0.00030208123,0.00010896735,0.002064013,0.0003778723],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002913573,0.0010211315,0.0025399232,0.006599049,0.0015603275,0.004667601,0.0022817694,0.0044458443,0.0046878527],"category_scores_gemma":[0.01048221,0.00045953476,0.00042609454,0.009474254,0.0030866077,0.0066346354,0.0027327973,0.00451245,0.0036225752],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006288531,0.000025095622,0.00016739951,0.007221862,0.00003578678,0.00009546828,0.00064570614,0.000054019885,0.0002121944,0.00804504,0.8255563,0.15787828],"study_design_scores_gemma":[0.00000775019,0.00000834632,0.00034633654,0.0026481953,0.000020001038,0.0001152263,0.00026717997,0.000010262078,0.000049193703,0.000827606,0.9956917,0.000008199569],"about_ca_topic_score_codex":0.011557741,"about_ca_topic_score_gemma":0.028646393,"teacher_disagreement_score":0.011557741,"about_ca_system_score_codex":0.0030756898,"about_ca_system_score_gemma":0.005587214,"threshold_uncertainty_score":0.022980928},"labels":[],"label_agreement":null},{"id":"W6886020248","doi":"10.14288/1.0378947","title":"Discorder","year":2018,"lang":"en","type":"article","venue":"Open Collections","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Comedy; Feature (linguistics); Storytelling; Cover (algebra); Feature film","score_opus":0.042436268156860496,"score_gpt":0.24747016751599168,"score_spread":0.2050338993591312,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6886020248","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0009446263,0.0015516266,0.001906436,0.012305326,0.019461606,0.0002723648,0.0035435315,0.0033903767,0.9566241],"genre_scores_gemma":[0.0068316166,0.00069332356,0.00096996577,0.008481746,0.0032582746,0.00030679788,0.0021646505,0.0027040525,0.9745895],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99264646,0.00098155,0.00055442686,0.0007862422,0.004053992,0.00097743],"domain_scores_gemma":[0.982567,0.0041155084,0.0010015148,0.0046828347,0.005855514,0.0017776536],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005280375,0.0009237477,0.0009901979,0.003911649,0.0082430495,0.017194064,0.003336815,0.0043752976,0.46048275],"category_scores_gemma":[0.032642223,0.0008841605,0.0006422165,0.0031936686,0.0031036602,0.008489878,0.007914975,0.0044685476,0.30138773],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025321206,0.000009810596,0.00013981585,0.00012897365,0.0000012906407,0.000074732336,0.00034258515,0.00001795936,0.00011952709,0.015858086,0.9637819,0.019499952],"study_design_scores_gemma":[0.0000020723598,0.0000022229187,0.000062249936,0.00004186611,5.24146e-7,0.0000375488,0.00009496962,0.000011151936,0.00006420508,0.0004628898,0.9992163,0.000003979346],"about_ca_topic_score_codex":0.007940142,"about_ca_topic_score_gemma":0.013903582,"teacher_disagreement_score":0.46048275,"about_ca_system_score_codex":0.005903156,"about_ca_system_score_gemma":0.0069156107,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W6886099020","doi":"10.14288/bcs.no222.198890","title":"Rhythm of Resistance","year":2023,"lang":"en","type":"article","venue":"Open Collections","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Jazz; Context (archaeology); Racism; Resistance (ecology); Immigration; Civil rights; Variety (cybernetics)","score_opus":0.04794398773031593,"score_gpt":0.24185142239230203,"score_spread":0.1939074346619861,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6886099020","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.044447202,0.0029433225,0.003461691,0.05420211,0.004584832,0.000079251855,0.00019102638,0.00030567704,0.8897849],"genre_scores_gemma":[0.7006059,0.0017685797,0.0007372917,0.009075514,0.0007571545,0.00007276975,0.00010758682,0.00044926064,0.2864258],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9958014,0.001064897,0.00007928097,0.00060858554,0.0012808009,0.0011650653],"domain_scores_gemma":[0.9971675,0.0004398989,0.00021672042,0.0002973278,0.0007783234,0.0011001774],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022140415,0.0005958453,0.00038225928,0.0012417785,0.014800746,0.009805636,0.0012248701,0.0021503586,0.027883675],"category_scores_gemma":[0.008193906,0.00023111697,0.00033685274,0.0010129918,0.015848804,0.003771441,0.0066085774,0.0060628327,0.005880054],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012985936,0.00004551854,0.0029094855,0.00012173322,0.000020242987,0.0010639811,0.28248903,0.000111073095,0.0019772588,0.44459832,0.20553777,0.06099576],"study_design_scores_gemma":[0.000009004202,0.000023134555,0.0021338973,0.00018086804,0.000005604145,0.0003440124,0.07412026,0.00006970831,0.00022677821,0.010565002,0.9122981,0.00002370254],"about_ca_topic_score_codex":0.064706564,"about_ca_topic_score_gemma":0.07495077,"teacher_disagreement_score":0.064706564,"about_ca_system_score_codex":0.009442826,"about_ca_system_score_gemma":0.0065030647,"threshold_uncertainty_score":0.12865984},"labels":[],"label_agreement":null},{"id":"W6893746366","doi":"10.5281/zenodo.5068637","title":"Tory Lanez The New Toronto 3 (DOWNLOAD ZIP)","year":2021,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Clearing; Government (linguistics); Action (physics); New england","score_opus":0.04049844459784416,"score_gpt":0.2141053715260446,"score_spread":0.17360692692820046,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6893746366","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006930983,0.00075671537,0.0003168394,0.00074274186,0.00079451007,0.00009714652,0.019271953,0.0032742065,0.9740528],"genre_scores_gemma":[0.0013239722,0.00033873992,0.0001343041,0.00012270079,0.000056070596,0.000025419647,0.004147581,0.0011804927,0.9926708],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99974686,0.000013508902,0.0000065376767,0.000037000755,0.00012049464,0.00007555809],"domain_scores_gemma":[0.99898463,0.000039783798,0.000027339796,0.000096637166,0.0004473448,0.00040427782],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00024059975,0.0009365045,0.00052878045,0.0010655228,0.0024192652,0.003787409,0.00090044487,0.00091597106,0.8927098],"category_scores_gemma":[0.0013826407,0.00067349244,0.00039635447,0.0018313262,0.00041621964,0.0023771543,0.002322693,0.0011742634,0.79318786],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011928646,0.000004827176,0.000060055554,0.000034665525,6.360078e-7,0.000022878015,0.00006491962,0.0000087983835,0.00006394484,0.00043025913,0.9900658,0.009231261],"study_design_scores_gemma":[0.0000033476356,0.0000031586994,0.00048559165,0.000027343132,8.4394196e-7,0.000014930183,0.000095769705,0.000010289959,0.000049912487,0.00004771124,0.99925715,0.0000040340587],"about_ca_topic_score_codex":0.20128769,"about_ca_topic_score_gemma":0.4528095,"teacher_disagreement_score":0.20128769,"about_ca_system_score_codex":0.0030744036,"about_ca_system_score_gemma":0.002955894,"threshold_uncertainty_score":0.40023214},"labels":[],"label_agreement":null},{"id":"W6893843776","doi":"10.5281/zenodo.5067673","title":"Full album | Dr. Dre The Chronic Download (1992)","year":2021,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Studio; Hollywood; Lyrics; Music industry; Quarter (Canadian coin); Adventure","score_opus":0.04180281786470984,"score_gpt":0.21581359128050703,"score_spread":0.17401077341579718,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6893843776","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005516571,0.00037565394,0.00019322519,0.0013444823,0.0011450463,0.00013305832,0.013539384,0.0023942152,0.9803232],"genre_scores_gemma":[0.001579673,0.0002048847,0.00008745474,0.00037904846,0.00027461638,0.00004941909,0.004065588,0.0006454424,0.99271375],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99965155,0.000028891256,0.000017931292,0.000054889377,0.00016539187,0.00008143564],"domain_scores_gemma":[0.9985232,0.00013021035,0.000069566544,0.00013907373,0.00068101764,0.00045707147],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00034184032,0.00064722734,0.0005076956,0.0011385813,0.001847199,0.003516708,0.0007749142,0.0012172428,0.9376869],"category_scores_gemma":[0.0021847882,0.00045741792,0.00026313393,0.0014047346,0.00023647309,0.0023422653,0.0019745606,0.0012513328,0.8852919],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008663238,0.000008187676,0.00003703903,0.000017579878,2.3905508e-7,0.000008836321,0.000010291078,0.0000031441348,0.000037402762,0.00017532003,0.99121046,0.008482888],"study_design_scores_gemma":[0.000006834061,0.000007952122,0.00046308164,0.000024309302,6.04203e-7,0.000021585458,0.000037520153,0.000013800588,0.00004057337,0.00005255889,0.9993284,0.000002811884],"about_ca_topic_score_codex":0.0078658555,"about_ca_topic_score_gemma":0.015595327,"teacher_disagreement_score":0.06231308,"about_ca_system_score_codex":0.00083207234,"about_ca_system_score_gemma":0.0008810578,"threshold_uncertainty_score":0.08888197},"labels":[],"label_agreement":null},{"id":"W6893952668","doi":"10.5281/zenodo.5067026","title":"Dvsn Morning After Zip Download full^","year":2021,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Morning; Download; Evening; Standard time; Studio","score_opus":0.03613013406247706,"score_gpt":0.20489440922792182,"score_spread":0.16876427516544476,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6893952668","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00029734673,0.00021428747,0.00071418664,0.00047811106,0.0011042194,0.0001264904,0.021494808,0.011264638,0.9643058],"genre_scores_gemma":[0.0012489228,0.00021140905,0.00036815894,0.00036969362,0.00026934443,0.00006292292,0.014192953,0.00846657,0.97481006],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99964905,0.000024751022,0.00001362763,0.00005765101,0.00018097246,0.000073931245],"domain_scores_gemma":[0.99789846,0.00013980428,0.00005313558,0.0003071715,0.0009931943,0.0006081573],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00049742137,0.0009846822,0.00078679534,0.001893807,0.0019519811,0.0057151965,0.0015004206,0.0012029187,0.9448715],"category_scores_gemma":[0.0033373733,0.0007381879,0.00072045624,0.002149652,0.0003507643,0.0038944469,0.0032750554,0.0016260458,0.9411625],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017071363,0.000008618652,0.000039742485,0.000041474217,0.0000010206309,0.000012059421,0.000020048585,0.0000085505135,0.00008857127,0.0002718142,0.9866388,0.012852262],"study_design_scores_gemma":[0.000008715428,0.000007559583,0.0003103746,0.000028659619,0.0000013710945,0.000023491766,0.000033435655,0.000020836103,0.000105087776,0.00012615646,0.9993285,0.0000058350674],"about_ca_topic_score_codex":0.009121309,"about_ca_topic_score_gemma":0.01788749,"teacher_disagreement_score":0.055128515,"about_ca_system_score_codex":0.0010783108,"about_ca_system_score_gemma":0.00092667964,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W6902035816","doi":"10.6084/m9.figshare.14951883.v1","title":"Lil Wayne Ft Jadakiss And Drake Its Good Mp3 14","year":2021,"lang":"fa","type":"article","venue":"Figshare","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Download; Phone; Directory; Gold rush; Form of the Good; Lyrics","score_opus":0.05711170677147599,"score_gpt":0.2170569485191647,"score_spread":0.1599452417476887,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6902035816","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0004011145,0.0009172115,0.0043829177,0.013316859,0.0091880625,0.00015498624,0.0048440318,0.015408071,0.95138687],"genre_scores_gemma":[0.0013016532,0.00023713277,0.0010291005,0.0016788834,0.00035218033,0.000045847566,0.0013475638,0.0035025121,0.99050504],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99834657,0.00012897207,0.000056114637,0.0003631427,0.000874547,0.00023061347],"domain_scores_gemma":[0.99553114,0.0001851222,0.00010690903,0.00063467486,0.0022106722,0.0013314583],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0015153605,0.0014931095,0.0008647747,0.0019405273,0.0040691327,0.009157682,0.0024208804,0.0029727719,0.8183059],"category_scores_gemma":[0.0064436924,0.0007258578,0.0007490498,0.0011172913,0.0011835526,0.0059345844,0.0051975204,0.003549838,0.8338417],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015247712,0.0000058816568,0.000033225075,0.00002008062,9.539696e-7,0.000020906644,0.000024018304,0.00001915675,0.00009677291,0.0015351102,0.9820402,0.016188495],"study_design_scores_gemma":[0.0000025846068,0.000003264845,0.000043965207,0.000020092126,9.3883085e-7,0.000024460804,0.000035419907,0.000026054411,0.000093848634,0.0003710964,0.99937385,0.0000044889516],"about_ca_topic_score_codex":0.013748979,"about_ca_topic_score_gemma":0.03236584,"teacher_disagreement_score":0.18169409,"about_ca_system_score_codex":0.0025737677,"about_ca_system_score_gemma":0.0030859504,"threshold_uncertainty_score":0.25916457},"labels":[],"label_agreement":null},{"id":"W6904899289","doi":"10.14288/1.0049960","title":"Discorder","year":2015,"lang":"en","type":"article","venue":"Open Collections","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Indie film; Work (physics); Fashion industry; Point (geometry)","score_opus":0.09812120767110194,"score_gpt":0.2562832917232702,"score_spread":0.15816208405216825,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6904899289","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00026898624,0.00026766481,0.0009309153,0.001674431,0.0031066514,0.00017325072,0.026788905,0.0069662016,0.9598231],"genre_scores_gemma":[0.001247471,0.00019663907,0.00063727435,0.0009836013,0.00035923807,0.00017751091,0.01674818,0.003633586,0.9760165],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9965341,0.0003722623,0.0002194725,0.0003370078,0.0019510108,0.0005862074],"domain_scores_gemma":[0.9865703,0.0016762551,0.00038445962,0.0032018828,0.00638851,0.0017785735],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0028319976,0.0012114852,0.0013629346,0.0063959043,0.0051923105,0.014603732,0.0033654978,0.0022456527,0.8609252],"category_scores_gemma":[0.020074274,0.00096666126,0.0007100929,0.0053262254,0.0012974623,0.004299396,0.005255642,0.0026008044,0.83269006],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018480245,0.00000613848,0.00003207613,0.00006600331,8.050275e-7,0.000013337544,0.00003730258,0.00000958385,0.00005115734,0.0019337271,0.98527354,0.012557809],"study_design_scores_gemma":[0.000005967426,0.00000269668,0.00008317056,0.000040453848,9.132626e-7,0.000018777671,0.00005590697,0.000013980863,0.0000618894,0.0006599836,0.99905163,0.0000047975136],"about_ca_topic_score_codex":0.018452508,"about_ca_topic_score_gemma":0.03869824,"teacher_disagreement_score":0.8609252,"about_ca_system_score_codex":0.004161072,"about_ca_system_score_gemma":0.007265353,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W6912420774","doi":"10.5281/zenodo.4175080","title":"REGARDER''-Les vieux chums (2020)]EN STREAMING FILM FR COMPLET ezu","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Antithesis; Cosmopolitanism; Cultural background; Content (measure theory)","score_opus":0.05044074105900684,"score_gpt":0.22111173445150223,"score_spread":0.1706709933924954,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6912420774","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0020172813,0.0006643095,0.0015488589,0.002765848,0.0041138073,0.00024794025,0.012454912,0.0065548113,0.96963227],"genre_scores_gemma":[0.008841654,0.0007402909,0.002045446,0.0009213153,0.00063781656,0.00010073838,0.007037356,0.003657599,0.9760177],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998393,0.000012386516,0.0000047450158,0.00002089008,0.0000704854,0.000052123225],"domain_scores_gemma":[0.9994567,0.000044118766,0.000015555126,0.000044191274,0.00020388776,0.00023549661],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00025102447,0.00047475065,0.00021818171,0.00059297244,0.0018148066,0.0030384054,0.000563822,0.00076042966,0.74399066],"category_scores_gemma":[0.0012170926,0.00027851117,0.00032065666,0.0005434414,0.00022388334,0.0022310354,0.001666737,0.0014032492,0.44121778],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002322517,0.000006438844,0.000086908156,0.000049504564,0.0000010370591,0.000039060957,0.00013313856,0.000012155878,0.00038206365,0.0008698888,0.9803963,0.018000273],"study_design_scores_gemma":[0.0000064210135,0.0000063744665,0.00071606145,0.00004504246,0.0000013753303,0.00004526625,0.00017798165,0.000033698165,0.0002518806,0.00010902463,0.998602,0.0000050363897],"about_ca_topic_score_codex":0.016810652,"about_ca_topic_score_gemma":0.07389979,"teacher_disagreement_score":0.25600934,"about_ca_system_score_codex":0.00090281863,"about_ca_system_score_gemma":0.0006076779,"threshold_uncertainty_score":0.36516625},"labels":[],"label_agreement":null},{"id":"W6912514786","doi":"10.5281/zenodo.5068614","title":"Drake More Life (ZIP DOWNLOAD#) FULL.","year":2021,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Cash; Entertainment; Download; George (robot)","score_opus":0.045947646982947246,"score_gpt":0.21689510404709475,"score_spread":0.1709474570641475,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6912514786","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00046147616,0.00033286336,0.0009468588,0.0005120616,0.00039279286,0.00018792618,0.051724598,0.01933592,0.9261055],"genre_scores_gemma":[0.0024772666,0.0002950095,0.0008072734,0.0007152786,0.00014909648,0.0001614399,0.028261058,0.012951374,0.9541821],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996629,0.000032205913,0.000015114773,0.000061367224,0.00014771901,0.00008063991],"domain_scores_gemma":[0.9982981,0.00018336887,0.00006557639,0.00031628564,0.00073844043,0.00039829718],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0004288022,0.0010711154,0.00070231967,0.0016539774,0.0014363464,0.003376388,0.0014830536,0.0013588675,0.9524182],"category_scores_gemma":[0.0035806685,0.000837202,0.0006282547,0.0021813926,0.00031697104,0.0047799065,0.0036637727,0.0012626847,0.9399599],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025756415,0.000013220237,0.00005066361,0.000073098716,0.0000011659093,0.00001328406,0.000030033772,0.000010078732,0.000083437495,0.0003035816,0.980031,0.01936461],"study_design_scores_gemma":[0.000017066912,0.000012650146,0.0004331213,0.00005033443,0.0000020142106,0.000046049387,0.000056104687,0.000039435556,0.00018657705,0.00033827536,0.99880755,0.000010831704],"about_ca_topic_score_codex":0.00504608,"about_ca_topic_score_gemma":0.009044971,"teacher_disagreement_score":0.047581792,"about_ca_system_score_codex":0.00067433255,"about_ca_system_score_gemma":0.0006727146,"threshold_uncertainty_score":0.067869544},"labels":[],"label_agreement":null},{"id":"W6912517242","doi":"10.5281/zenodo.5068177","title":"(2016, zip) Drake Views Download album^&amp;","year":2021,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Hotline; Entertainment; Cash; Studio; Dance","score_opus":0.08217837798558693,"score_gpt":0.23739692665602644,"score_spread":0.1552185486704395,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6912517242","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00050729065,0.00024931744,0.0004216971,0.00068073295,0.00077140087,0.00010863116,0.1228823,0.008201065,0.8661775],"genre_scores_gemma":[0.0021549263,0.00023409267,0.00036545465,0.00037471065,0.00020470217,0.0000735821,0.045038022,0.007018951,0.9445356],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996797,0.000023762976,0.000014695618,0.000042727286,0.00016695085,0.00007221368],"domain_scores_gemma":[0.99829453,0.00012964332,0.000061103536,0.0002018303,0.000927871,0.0003850449],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00035764236,0.0007637365,0.00048317338,0.0014194105,0.0014043455,0.0043162555,0.0009968759,0.00074308296,0.91963804],"category_scores_gemma":[0.003043516,0.00053984026,0.0004405958,0.0022875366,0.0002506982,0.0037963595,0.0021958402,0.0010563643,0.89377534],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012302382,0.000003836818,0.000041500552,0.000026400547,4.7177167e-7,0.0000068237414,0.000015378126,0.000006024251,0.00003653484,0.00021841605,0.9933796,0.0062528453],"study_design_scores_gemma":[0.0000084994845,0.0000046898517,0.0005856115,0.000029574674,9.3752044e-7,0.00001778605,0.00004594567,0.000022091845,0.00008935139,0.00012952548,0.99905974,0.0000062895792],"about_ca_topic_score_codex":0.019938737,"about_ca_topic_score_gemma":0.03624957,"teacher_disagreement_score":0.08036196,"about_ca_system_score_codex":0.0011981558,"about_ca_system_score_gemma":0.00083936914,"threshold_uncertainty_score":0.11462653},"labels":[],"label_agreement":null},{"id":"W6921347298","doi":"10.7916/d8-hd14-jd30","title":"Blackwell, Bumps (Little Richard &amp; Lennon of Toronto)","year":2021,"lang":"en","type":"article","venue":"Columbia Academic Commons (Columbia University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Context (archaeology); Perspective (graphical); Face (sociological concept); Work (physics); Feature (linguistics)","score_opus":0.032391868102130926,"score_gpt":0.2034051553121251,"score_spread":0.17101328720999417,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6921347298","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0053699976,0.0366787,0.00096200866,0.041487418,0.0039554983,0.00017863454,0.0066218763,0.00085369044,0.9038922],"genre_scores_gemma":[0.00381517,0.0024009908,0.00022390977,0.00033154417,0.000057208912,0.000015589758,0.00023174714,0.00009077885,0.99283314],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993457,0.0000654375,0.000016606178,0.0001143644,0.00031868814,0.00013928415],"domain_scores_gemma":[0.9978327,0.00014864372,0.000092400755,0.00010004786,0.00093662407,0.00088952977],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009896797,0.00074888,0.0004849921,0.0014977654,0.006378168,0.005401997,0.0009283397,0.0017291163,0.29516435],"category_scores_gemma":[0.0023565579,0.0006321941,0.00021333518,0.002676284,0.0013823056,0.0018150391,0.0016434753,0.001413254,0.049802978],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021503038,0.000009542042,0.00031822725,0.00006997781,0.0000013703565,0.000049947546,0.0005083756,0.000032017866,0.00010746619,0.004573659,0.9650404,0.029267548],"study_design_scores_gemma":[0.0000031988375,0.0000046568202,0.0018856177,0.00007975874,0.0000022484405,0.00001714377,0.0008211249,0.000015863863,0.000086989705,0.00031217997,0.9967668,0.000004421971],"about_ca_topic_score_codex":0.5772733,"about_ca_topic_score_gemma":0.87158424,"teacher_disagreement_score":0.5772733,"about_ca_system_score_codex":0.009370517,"about_ca_system_score_gemma":0.020620763,"threshold_uncertainty_score":0.9874231},"labels":[],"label_agreement":null},{"id":"W6921709048","doi":"10.7916/d8-3q71-dc89","title":"Radio Unnameable (1967 February 19, BF3159)","year":2021,"lang":"en","type":"article","venue":"Columbia Academic Commons (Columbia University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"George (robot); Subject (documents); Quarter (Canadian coin)","score_opus":0.031188058635345357,"score_gpt":0.1931176113255826,"score_spread":0.16192955269023726,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6921709048","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0015297784,0.001115368,0.00020772539,0.0019389556,0.004597663,0.00008754348,0.0036802585,0.00034317275,0.98649955],"genre_scores_gemma":[0.0018919214,0.00011977466,0.000027836215,0.00029281882,0.00022135145,0.000018496572,0.00038236036,0.00004388382,0.9970017],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99965143,0.000023572597,0.000014199042,0.0000543017,0.00012325223,0.0001332639],"domain_scores_gemma":[0.9995466,0.000104211504,0.00002238931,0.00003848189,0.00019731146,0.0000909798],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00057841477,0.0008820691,0.000477399,0.002275901,0.005089155,0.0037632626,0.00096019416,0.0034128178,0.5538888],"category_scores_gemma":[0.0023906275,0.0006122791,0.0005253387,0.0012453615,0.0005356049,0.00127498,0.0013571881,0.0027424658,0.3304095],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016103568,0.000027140948,0.00017506767,0.000087891814,0.000003477704,0.00019513103,0.00023525469,0.00003478565,0.00050776015,0.009061508,0.9540851,0.035425868],"study_design_scores_gemma":[0.000012901187,0.00002424932,0.0013161283,0.00007210584,0.0000028847146,0.000028334649,0.000120576304,0.000018873468,0.000141048,0.00049650605,0.9977604,0.0000058674455],"about_ca_topic_score_codex":0.04969623,"about_ca_topic_score_gemma":0.14951521,"teacher_disagreement_score":0.5538888,"about_ca_system_score_codex":0.0020769038,"about_ca_system_score_gemma":0.0012727815,"threshold_uncertainty_score":0.63632345},"labels":[],"label_agreement":null},{"id":"W6921749949","doi":"10.7916/d8-gfwa-7211","title":"Musicians on the Music Part 1","year":2021,"lang":"en","type":"article","venue":"Columbia Academic Commons (Columbia University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Blues; Praise; Frith; Black music; Popular music; White (mutation)","score_opus":0.05554469687537163,"score_gpt":0.18287464138597337,"score_spread":0.12732994451060176,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6921749949","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.006803076,0.0034418164,0.00032850998,0.034112237,0.024338357,0.00051620277,0.0015764112,0.00034322613,0.9285402],"genre_scores_gemma":[0.006881753,0.00067709136,0.00007662378,0.0038168768,0.0023301947,0.00010597815,0.00037592914,0.00007274935,0.98566276],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99910283,0.00006484949,0.000017724604,0.00013562769,0.00023762597,0.00044137245],"domain_scores_gemma":[0.9982759,0.0000818618,0.000048362155,0.00004472854,0.0003694605,0.0011797725],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0006807931,0.0007107482,0.00039787858,0.0006625383,0.007817146,0.003582227,0.0008913327,0.0039620125,0.41373974],"category_scores_gemma":[0.0013640305,0.0004332404,0.00043026233,0.00064360676,0.00063709315,0.0013978946,0.0028777858,0.0031870415,0.15659417],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006217668,0.000056119316,0.00037441863,0.00007065916,0.0000012616542,0.000083126724,0.00023831098,0.000010953233,0.0008939258,0.000569455,0.9815801,0.016059397],"study_design_scores_gemma":[0.000011374646,0.000044807253,0.004687286,0.000077836565,0.0000019191423,0.00003793542,0.0010019225,0.000010425984,0.00022151507,0.00021124039,0.99368685,0.000006844821],"about_ca_topic_score_codex":0.009605967,"about_ca_topic_score_gemma":0.06815203,"teacher_disagreement_score":0.41373974,"about_ca_system_score_codex":0.0017265824,"about_ca_system_score_gemma":0.0038062294,"threshold_uncertainty_score":0.8362291},"labels":[],"label_agreement":null},{"id":"W6923362177","doi":"10.14288/1.0378943","title":"Discorder","year":2019,"lang":"en","type":"article","venue":"Open Collections","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Chinatown; Courtesy; Favourite; Painting; Sight; Performance art","score_opus":0.02476587857835232,"score_gpt":0.21885576110731075,"score_spread":0.19408988252895842,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6923362177","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00042964274,0.00044771572,0.0009039217,0.005420335,0.011603778,0.00044922438,0.011060667,0.0042214836,0.96546316],"genre_scores_gemma":[0.001332382,0.00017919955,0.0004292346,0.002326403,0.0009500435,0.00023961351,0.0047853948,0.0015666878,0.9881911],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9947042,0.0006615729,0.00041367105,0.0005377724,0.0029983667,0.0006843418],"domain_scores_gemma":[0.9796632,0.0029469908,0.0007254784,0.004342428,0.010357315,0.0019646608],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0036700165,0.0011430935,0.0012017305,0.0045463536,0.0065983366,0.013100794,0.0039475663,0.0033878814,0.8316166],"category_scores_gemma":[0.027456108,0.0010072202,0.0007038822,0.003435909,0.0015407813,0.0056539644,0.006133826,0.0031244028,0.7898345],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015775024,0.0000061974915,0.00003127601,0.000053535143,4.6103284e-7,0.00002580181,0.00005380591,0.000006064883,0.000057006728,0.0016165505,0.9889225,0.009211188],"study_design_scores_gemma":[0.000004181907,0.0000035544701,0.000073890275,0.000037308284,4.4996068e-7,0.00003220911,0.00008515837,0.000011790163,0.000059864364,0.00025621307,0.99943143,0.000003944072],"about_ca_topic_score_codex":0.008084276,"about_ca_topic_score_gemma":0.012215041,"teacher_disagreement_score":0.8316166,"about_ca_system_score_codex":0.00438448,"about_ca_system_score_gemma":0.0051161703,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W6923638612","doi":"10.14288/1.0050108","title":"Discorder","year":2015,"lang":"en","type":"article","venue":"Open Collections","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Favourite; Flash (photography); Event (particle physics); Work (physics)","score_opus":0.09812120767110194,"score_gpt":0.2562832917232702,"score_spread":0.15816208405216825,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6923638612","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005585866,0.0005099204,0.0036572253,0.004051945,0.005801047,0.00045644568,0.07316638,0.02647406,0.8853243],"genre_scores_gemma":[0.0030093144,0.0004559154,0.0025877866,0.0025838385,0.00086146966,0.0005436644,0.051027622,0.017314931,0.92161554],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99485224,0.0007576694,0.00054778426,0.00059315946,0.0025508099,0.00069837057],"domain_scores_gemma":[0.9804315,0.003323596,0.00066901575,0.0056712013,0.008028533,0.0018762473],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.004046932,0.0014792335,0.0018096002,0.006336183,0.005525611,0.016806034,0.0058096168,0.0029138445,0.8506906],"category_scores_gemma":[0.03413105,0.0014092891,0.00096875645,0.0061579826,0.0018470567,0.00853379,0.008240929,0.0030494859,0.84891665],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000047238875,0.000008862465,0.000044518565,0.00013155804,0.0000013458796,0.000025223637,0.00007389823,0.000014641264,0.00010791236,0.0031525067,0.9823689,0.0140234735],"study_design_scores_gemma":[0.000011540906,0.000005061258,0.000084136336,0.00007456889,0.000001284858,0.000045036824,0.00009006853,0.000028082042,0.00018698319,0.0011237051,0.99834,0.000009468614],"about_ca_topic_score_codex":0.0068776878,"about_ca_topic_score_gemma":0.008903672,"teacher_disagreement_score":0.1493094,"about_ca_system_score_codex":0.004446957,"about_ca_system_score_gemma":0.0052502602,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W6923639843","doi":"10.14288/1.0378410","title":"Discorder","year":2015,"lang":"en","type":"article","venue":"Open Collections","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Banner; Taste; Period (music); Object (grammar)","score_opus":0.09812120767110194,"score_gpt":0.2562832917232702,"score_spread":0.15816208405216825,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6923639843","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00060391583,0.00056661083,0.002797024,0.00407102,0.0047609624,0.00042027468,0.03011071,0.016142173,0.94052726],"genre_scores_gemma":[0.0028804452,0.0003976948,0.0017114072,0.0026743747,0.0005977407,0.00041789238,0.023131507,0.007851835,0.9603372],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99446106,0.00077077805,0.00045722278,0.00055965374,0.003002087,0.00074910483],"domain_scores_gemma":[0.9811708,0.0028733874,0.00065676623,0.0047253724,0.0082794735,0.0022941842],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004793681,0.0011379274,0.001284937,0.005216856,0.0066529443,0.016149933,0.004540076,0.0029094783,0.7744661],"category_scores_gemma":[0.030514944,0.0011351996,0.0006824275,0.005245339,0.0018042284,0.0063890624,0.007159042,0.0030498642,0.7368492],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004476261,0.000010991781,0.00007206885,0.00011822689,0.0000011531438,0.00003591683,0.0001355182,0.000015333138,0.000119124845,0.003747806,0.9782679,0.017431244],"study_design_scores_gemma":[0.0000063019743,0.0000036983645,0.0000710901,0.000046100362,7.0898903e-7,0.00003241812,0.00010157524,0.000018577124,0.00010334182,0.0005003823,0.9991097,0.0000060609887],"about_ca_topic_score_codex":0.014378943,"about_ca_topic_score_gemma":0.023096811,"teacher_disagreement_score":0.7744661,"about_ca_system_score_codex":0.005111884,"about_ca_system_score_gemma":0.0069643497,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W6923679538","doi":"10.14288/1.0356558","title":"Discorder","year":2017,"lang":"en","type":"article","venue":"Open Collections","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Column (typography); Prism; Cover (algebra); Agency (philosophy); Natural (archaeology)","score_opus":0.06495242191429561,"score_gpt":0.2694827868107798,"score_spread":0.20453036489648418,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6923679538","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0003701501,0.0005191016,0.0011007334,0.003751983,0.008738664,0.00028453974,0.011862654,0.005242876,0.9681293],"genre_scores_gemma":[0.0016585721,0.00028517153,0.0006700895,0.0019218628,0.0009515059,0.00022848361,0.007410265,0.0028969299,0.983977],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99548846,0.00060613913,0.0003964984,0.0004898201,0.0024289307,0.00059009227],"domain_scores_gemma":[0.98321736,0.002460983,0.00064448896,0.0042591477,0.0075313407,0.001886625],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0034341915,0.0012281915,0.0012366187,0.005315159,0.0062009306,0.016088156,0.0037474763,0.002908683,0.8158461],"category_scores_gemma":[0.026652137,0.001045997,0.0006908927,0.0045991,0.0017133917,0.0069708587,0.006781727,0.0031431182,0.77086115],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021976759,0.0000071305776,0.000037252757,0.00008142898,7.0251883e-7,0.000028105618,0.00007769437,0.000009379584,0.00007613381,0.0032575584,0.9832465,0.013156029],"study_design_scores_gemma":[0.00000437175,0.0000030804194,0.00005456816,0.000040197727,4.8683654e-7,0.000029990273,0.000074941054,0.000011549452,0.000057287107,0.00036567127,0.9993538,0.0000039845117],"about_ca_topic_score_codex":0.007120094,"about_ca_topic_score_gemma":0.011299798,"teacher_disagreement_score":0.8158461,"about_ca_system_score_codex":0.0043507046,"about_ca_system_score_gemma":0.00485059,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W6927345097","doi":"10.25949/21343314.v1","title":"The new gatekeepers: searching for bias in Spotify's curated playlists","year":2022,"lang":"en","type":"dissertation","venue":"Figshare","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Ranking (information retrieval); Ask price; Rank (graph theory); Feature (linguistics); Focus (optics); Outcome (game theory); Key (lock)","score_opus":0.14279831520321346,"score_gpt":0.3072834693635834,"score_spread":0.16448515416036996,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6927345097","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9722242,0.0013239449,0.014105161,0.0033829988,0.00020248903,0.00021225544,0.0018990698,0.0001310918,0.0065187677],"genre_scores_gemma":[0.99360764,0.0001125837,0.0021486795,0.00051747105,0.00009054011,0.000113420516,0.0006923185,0.000054807155,0.0026626044],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.9757599,0.014814477,0.0010787962,0.004189784,0.0024529719,0.0017040921],"domain_scores_gemma":[0.7651384,0.17123058,0.0380395,0.015476078,0.0068250457,0.0032903294],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.04771972,0.00054470496,0.0016616099,0.0013005164,0.0016456258,0.0042628227,0.0033192637,0.0017607228,0.013561039],"category_scores_gemma":[0.14430891,0.00038796678,0.0019724043,0.0020317787,0.0032569123,0.002752212,0.002560989,0.0033099237,0.0019418916],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0022148925,0.0004730742,0.9244109,0.00032378998,0.0016377885,0.00045389571,0.0056722797,0.0059123086,0.00058817485,0.020123782,0.010421478,0.027767668],"study_design_scores_gemma":[0.0017513005,0.0020652835,0.7629227,0.00067451235,0.0026522384,0.00037428868,0.016233014,0.10884786,0.0045657773,0.057754174,0.041870423,0.0002884222],"about_ca_topic_score_codex":0.04779804,"about_ca_topic_score_gemma":0.043034445,"teacher_disagreement_score":0.04779804,"about_ca_system_score_codex":0.0019152609,"about_ca_system_score_gemma":0.0015081163,"threshold_uncertainty_score":0.252369},"labels":[],"label_agreement":null},{"id":"W6944789359","doi":"10.20381/ruor-6279","title":"\"Copies without Originals\": Manipulation, Mediation, and Mediatization in Performance and Recording Practices","year":2012,"lang":"en","type":"article","venue":"uO Research (University of Ottawa)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Phonograph; Period (music); Mediation; Ideology; Value (mathematics); Sound recording and reproduction; Popular music","score_opus":0.10938933441743759,"score_gpt":0.30054199530103803,"score_spread":0.19115266088360044,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6944789359","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6758624,0.00389217,0.014351374,0.008318716,0.00024347859,0.00020752568,0.000054396573,0.00010058771,0.2969694],"genre_scores_gemma":[0.99020946,0.0009658667,0.0013325172,0.0002012944,0.00004980405,0.00007740981,0.000012426279,0.000044417455,0.007106759],"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.967512,0.023944817,0.000879794,0.0014343867,0.0041955817,0.0020333542],"domain_scores_gemma":[0.9771303,0.017424429,0.0018779084,0.0022232698,0.00072453765,0.0006195408],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.012125281,0.00083699153,0.0005036713,0.0030040774,0.023054564,0.016917689,0.002599768,0.0030401626,0.0060529565],"category_scores_gemma":[0.02504133,0.00063111866,0.00049920613,0.0037178332,0.0704556,0.015293617,0.014534548,0.003769186,0.0005389667],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000032114145,0.000033342447,0.0018170711,0.000107354565,0.0000062454606,0.0014657881,0.8836476,0.00007495071,0.0006036124,0.09813817,0.0007306898,0.0133430865],"study_design_scores_gemma":[0.000018785928,0.00010062131,0.0026306054,0.00073293434,0.000031946984,0.0026722734,0.8351362,0.0003167587,0.0022159293,0.016307432,0.13978061,0.000055844834],"about_ca_topic_score_codex":0.013592419,"about_ca_topic_score_gemma":0.01873208,"teacher_disagreement_score":0.023054564,"about_ca_system_score_codex":0.009677837,"about_ca_system_score_gemma":0.0054386095,"threshold_uncertainty_score":0.07021797},"labels":[],"label_agreement":null},{"id":"W6949629832","doi":"10.5281/zenodo.16695058","title":"METEOR 2.5D: An Open Geospatial Dataset of Spatiotemporal Evolution of Physical Vulnerability in UN-recognized Least Developed Countries (as of 2020) at Five-year Intervals, 1975-2030 (Part 2 of 2)","year":2025,"lang":"en","type":"dataset","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Artificial Intelligence in Medicine (Canada)","funders":"UK Research and Innovation","keywords":"Meteor (satellite); Geospatial analysis; Vulnerability (computing); Vulnerability assessment","score_opus":0.05074385600437421,"score_gpt":0.2780526271118105,"score_spread":0.2273087711074363,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6949629832","genre_codex":"dataset","genre_gemma":"dataset","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"dataset","genre_consensus":"dataset","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006825106,0.000056833913,0.00015204019,0.000036834703,0.00001517067,0.0000074341638,0.99836963,0.00017465356,0.0005049466],"genre_scores_gemma":[0.001781274,0.0000442034,0.00037803387,0.000015912905,0.0000062046074,0.000033784236,0.99742633,0.000026993257,0.000287275],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995782,0.00005701048,0.000066737295,0.00011245269,0.0001209569,0.00006473881],"domain_scores_gemma":[0.9991141,0.00014761779,0.00016355983,0.00015779125,0.00030074993,0.00011615983],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004833457,0.0011340966,0.00079396664,0.0028063636,0.0003527961,0.0012351118,0.0013370762,0.0010816158,0.011755807],"category_scores_gemma":[0.002489731,0.00033615148,0.0008440659,0.0055611474,0.00027318668,0.0007490256,0.0012752787,0.00092728605,0.010877227],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013053449,0.0000454466,0.010169431,0.00094709464,0.000115267176,0.00011958167,0.00010274243,0.0027130009,0.00039096893,0.0015554719,0.9767321,0.0069783516],"study_design_scores_gemma":[0.00019344971,0.000027955266,0.068837814,0.00032999832,0.00006310658,0.0001681796,0.00034154792,0.0030647623,0.00076702656,0.0021318875,0.9239966,0.00007755552],"about_ca_topic_score_codex":0.068489075,"about_ca_topic_score_gemma":0.09615591,"teacher_disagreement_score":0.068489075,"about_ca_system_score_codex":0.0010464296,"about_ca_system_score_gemma":0.0017085659,"threshold_uncertainty_score":0.13618088},"labels":[],"label_agreement":null},{"id":"W6949989253","doi":"10.5281/zenodo.4469087","title":"[WATCH-Free]. Stardust (2020) . DVD4K. Full.Online.FULL. Movie@Shared okn","year":2021,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Publicity; Action (physics); Salon; Shot (pellet); Sign (mathematics)","score_opus":0.04597932152808213,"score_gpt":0.2202323416016632,"score_spread":0.17425302007358107,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6949989253","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00028885776,0.00032416254,0.00068826554,0.00020563192,0.0004973212,0.00011086708,0.008440337,0.0046108435,0.9848337],"genre_scores_gemma":[0.0023246952,0.00046747443,0.0007926341,0.000344196,0.00015312621,0.00007010107,0.010234046,0.004494048,0.98111975],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99984765,0.000009886735,0.000005228928,0.000027710586,0.00007454566,0.00003493692],"domain_scores_gemma":[0.99954236,0.000035907207,0.000011887523,0.00005869609,0.00019079624,0.00016037309],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0002035034,0.00096431654,0.00053989707,0.0010637266,0.0010511115,0.0033451272,0.0011916193,0.0010518763,0.931995],"category_scores_gemma":[0.0010135266,0.0005682443,0.0006019188,0.0011886259,0.00023668332,0.0024551759,0.002083638,0.0013453517,0.88472813],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003298832,0.000012300388,0.000041116335,0.00009081635,0.0000021047438,0.000022051625,0.000025558436,0.000023272773,0.0002827622,0.0005491524,0.97498566,0.023932181],"study_design_scores_gemma":[0.00001252669,0.000009984263,0.00032929506,0.000042051353,0.0000019536487,0.00005438566,0.00002740703,0.00004396806,0.0002119109,0.00018859828,0.99907184,0.000006027655],"about_ca_topic_score_codex":0.0053563537,"about_ca_topic_score_gemma":0.011140762,"teacher_disagreement_score":0.068005025,"about_ca_system_score_codex":0.0006321845,"about_ca_system_score_gemma":0.00041147374,"threshold_uncertainty_score":0.0970009},"labels":[],"label_agreement":null},{"id":"W6950419174","doi":"10.5281/zenodo.8381467","title":"Home Sweet Home was released. It debuted inside the UK top 40 at No. 36 in its first week. In September 2005, the fourth single \"Nite Nite\" was released, featuring Leo the Lion and The Streets. Home Sweet Home went on to gain gold status in the UK, and was well reviewed across the British press.","year":2023,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Quarter (Canadian coin); Table (database); Nova scotia; White (mutation); Work (physics); Population","score_opus":0.039383347982179205,"score_gpt":0.2272194511915884,"score_spread":0.1878361032094092,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6950419174","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0023639482,0.005380514,0.00081800803,0.022968356,0.028829226,0.0001551087,0.0044435533,0.0020084372,0.93303275],"genre_scores_gemma":[0.0019154309,0.00028237925,0.00008176241,0.0010294309,0.0003885984,0.00001102935,0.00031950496,0.00029882704,0.9956729],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99847597,0.0001043836,0.00006369497,0.00016732281,0.00092822517,0.0002604219],"domain_scores_gemma":[0.9971234,0.0002697738,0.00012472887,0.00022226358,0.0013100283,0.0009497989],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0012725221,0.0009234226,0.00077638286,0.0013475689,0.0045336583,0.009724714,0.0008769555,0.004160525,0.4721434],"category_scores_gemma":[0.0042411946,0.0005234281,0.0005254922,0.0011298362,0.0013759526,0.00345823,0.002673643,0.0043696845,0.33416745],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000043980628,0.0000067825104,0.00006181542,0.000038996237,0.00000212579,0.000084537765,0.000056813213,0.000010465621,0.00025347923,0.0020538268,0.98872674,0.008660437],"study_design_scores_gemma":[0.0000032735823,0.00001341562,0.00031033703,0.000025686495,0.0000012211304,0.00003066786,0.00011281102,0.000007407071,0.00014664428,0.00012585879,0.9992151,0.0000075751354],"about_ca_topic_score_codex":0.02502094,"about_ca_topic_score_gemma":0.0971219,"teacher_disagreement_score":0.5278566,"about_ca_system_score_codex":0.0033940128,"about_ca_system_score_gemma":0.0028245556,"threshold_uncertainty_score":0.75292337},"labels":[],"label_agreement":null},{"id":"W6974227078","doi":"10.58066/gacn-b472","title":"British Columbia Blackout - No. 04","year":2023,"lang":"en","type":"article","venue":"UVic’s Research and Learning Repository (University of Victoria)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Punk; George (robot); State (computer science); Graffiti; Militant; Phoenix; Prison; Blackout","score_opus":0.030650146968549754,"score_gpt":0.2311014814335484,"score_spread":0.20045133446499863,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6974227078","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0027585365,0.00080122653,0.000083262385,0.0022296105,0.0008391058,0.000054110416,0.01561164,0.00030473288,0.9773178],"genre_scores_gemma":[0.0016663048,0.00015481979,0.000023240571,0.00018082961,0.000009671467,0.000008606355,0.0010839605,0.000056547266,0.996816],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997714,0.000011431685,0.0000065137274,0.000042304764,0.00008341333,0.00008481801],"domain_scores_gemma":[0.9993954,0.000028298376,0.00001415126,0.00005258804,0.0003571443,0.00015240832],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00023415525,0.00059168215,0.00033706782,0.0009212558,0.004731916,0.002758917,0.0008577589,0.0012821674,0.6584446],"category_scores_gemma":[0.0006312347,0.0003623518,0.00020896478,0.0015219917,0.0004942387,0.0006384684,0.00087717944,0.0011552607,0.34155563],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000031063508,0.000022043925,0.00047225354,0.0000400607,0.0000017111068,0.000053019096,0.000063639905,0.000017720668,0.00016605556,0.0013761678,0.9747559,0.023000292],"study_design_scores_gemma":[0.0000053719905,0.0000045999445,0.0025434229,0.000054571363,0.0000014682438,0.000015007254,0.00019108699,0.000021325093,0.00013616007,0.00012188745,0.9969003,0.00000480857],"about_ca_topic_score_codex":0.73065895,"about_ca_topic_score_gemma":0.9186807,"teacher_disagreement_score":0.6584446,"about_ca_system_score_codex":0.0067720986,"about_ca_system_score_gemma":0.010641506,"threshold_uncertainty_score":0.5418545},"labels":[],"label_agreement":null},{"id":"W6979955016","doi":"","title":"Aponaut Live at Darkrave 2003 11 01","year":2003,"lang":"en","type":"other","venue":"Internet Archive (Internet Archive)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Clothing; Perspective (graphical); Face (sociological concept); The Internet","score_opus":0.018440549306762765,"score_gpt":0.2088704767995949,"score_spread":0.19042992749283214,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6979955016","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006417379,0.0003450894,0.00016585557,0.00072827743,0.0005293614,0.00005267299,0.0035033629,0.000747317,0.9932862],"genre_scores_gemma":[0.0012722265,0.00010773275,0.00006784428,0.000061721745,0.000030575844,0.00001390903,0.00085749134,0.0002459235,0.9973425],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99972004,0.000020598773,0.000005008625,0.00003993854,0.00013335084,0.00008099376],"domain_scores_gemma":[0.9992495,0.000036552432,0.000019784882,0.00008329754,0.00031769436,0.00029309746],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00040033218,0.0005437658,0.00035536932,0.0009140047,0.0040835603,0.004341296,0.0009058793,0.0013283247,0.80134857],"category_scores_gemma":[0.0010023261,0.00031581154,0.00027247836,0.0013259623,0.0006156558,0.0012674103,0.0028936327,0.0016175953,0.49141327],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003228048,0.00001004473,0.00009797715,0.000032702854,0.0000010699705,0.00004023011,0.000110067835,0.00001516239,0.00010308823,0.0016526015,0.98357546,0.014329277],"study_design_scores_gemma":[0.0000047724757,0.000004888905,0.00067715294,0.000030975392,5.193471e-7,0.000016435839,0.00014738015,0.000012257405,0.000059529302,0.00015860831,0.99888414,0.0000033284764],"about_ca_topic_score_codex":0.12596834,"about_ca_topic_score_gemma":0.42759857,"teacher_disagreement_score":0.80134857,"about_ca_system_score_codex":0.0027674576,"about_ca_system_score_gemma":0.0024757064,"threshold_uncertainty_score":0.28335208},"labels":[],"label_agreement":null},{"id":"W6980922040","doi":"","title":"Database on the Hydrate Properties: the Influence of Kinetic and Thermodynamic Parameters on Formation and Stability","year":2002,"lang":"en","type":"article","venue":"NPARC","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Kinetic energy; Hydrate; Stability (learning theory); Chemical stability; Work (physics)","score_opus":0.05149733999553182,"score_gpt":0.18485470778859006,"score_spread":0.13335736779305823,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6980922040","genre_codex":"dataset","genre_gemma":"dataset","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"dataset","genre_consensus":"dataset","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0016079084,0.0008095232,0.0010909456,0.000113381655,0.00006967557,0.000056904486,0.988727,0.002157866,0.0053667272],"genre_scores_gemma":[0.0047344733,0.0013019682,0.002018686,0.00009691761,0.00003718906,0.00015586412,0.9894148,0.00034132315,0.0018986826],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99888915,0.00006834749,0.000308438,0.00018215034,0.00043014382,0.00012189848],"domain_scores_gemma":[0.99168724,0.0028913254,0.0010412568,0.0015692894,0.0021694019,0.00064142747],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013440229,0.0032141292,0.005926149,0.007595173,0.0009227637,0.0022108795,0.006339823,0.0033368135,0.17037581],"category_scores_gemma":[0.007681789,0.001078934,0.0012694703,0.014511686,0.00046792242,0.0023708132,0.0015434979,0.0013836339,0.08596941],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0026728949,0.00056523806,0.0034025419,0.025655098,0.00052738213,0.00025737603,0.00014013617,0.00279892,0.0108419005,0.0032420438,0.88667476,0.06322167],"study_design_scores_gemma":[0.0016928281,0.0004593089,0.015807863,0.0011983372,0.00075541827,0.00030410942,0.00012662823,0.004792293,0.014422905,0.005316651,0.9549174,0.00020644139],"about_ca_topic_score_codex":0.0074546747,"about_ca_topic_score_gemma":0.009414301,"teacher_disagreement_score":0.17037581,"about_ca_system_score_codex":0.00086866197,"about_ca_system_score_gemma":0.0035150878,"threshold_uncertainty_score":0.5699639},"labels":[],"label_agreement":null},{"id":"W6980935699","doi":"","title":"Del Frisco’s Restaurant Group, Inc. Announces First Quarter 2017 Results","year":2017,"lang":"en","type":"other","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Quarter (Canadian coin); Work (physics); Clothing; Government (linguistics)","score_opus":0.03486895956490282,"score_gpt":0.22367222947704019,"score_spread":0.18880326991213736,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6980935699","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0021131674,0.00048208734,0.0006802474,0.009381739,0.0069479984,0.00025066797,0.016219324,0.0018758227,0.96204895],"genre_scores_gemma":[0.002882494,0.00022363944,0.00016648996,0.0010127387,0.00044644426,0.00007944522,0.0066816444,0.0004842639,0.9880229],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9969881,0.0001546284,0.00006119636,0.00016275885,0.0019952655,0.0006380561],"domain_scores_gemma":[0.9934667,0.0004226924,0.0001167223,0.000366726,0.0039179097,0.0017091857],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0033990492,0.0009729304,0.0005298377,0.0022443284,0.0041373833,0.009947467,0.0012708355,0.0023757084,0.5321868],"category_scores_gemma":[0.0048800115,0.0004408762,0.0010072038,0.0015583207,0.00076626247,0.0027388637,0.0029719833,0.0030133286,0.40527636],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003403394,0.000038283713,0.00020598549,0.00001674448,0.0000010145029,0.000012516697,0.000015136585,0.0000132475025,0.000038137983,0.00092931127,0.9929132,0.0057824873],"study_design_scores_gemma":[0.000019458543,0.000022663547,0.0016535353,0.00003933591,0.0000037020832,0.000011712389,0.00025330737,0.000079438294,0.00026569533,0.00046838503,0.9971734,0.000009284669],"about_ca_topic_score_codex":0.03818084,"about_ca_topic_score_gemma":0.124902666,"teacher_disagreement_score":0.4678132,"about_ca_system_score_codex":0.00334739,"about_ca_system_score_gemma":0.006874646,"threshold_uncertainty_score":0.66727877},"labels":[],"label_agreement":null},{"id":"W6981507366","doi":"","title":"Enphase Energy, Inc. (NASDAQ:ENPH) Shares Purchased by Bank of Montreal Can","year":2021,"lang":"en","type":"other","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Government (linguistics); Payment; Work (physics); Debt","score_opus":0.015197765298465858,"score_gpt":0.19584441578327355,"score_spread":0.18064665048480769,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6981507366","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0004490523,0.00021723573,0.00021410802,0.00064827775,0.0002003049,0.00003927553,0.0036429614,0.00037398227,0.9942147],"genre_scores_gemma":[0.0015049715,0.000088366876,0.00006851438,0.000056644294,0.000015004578,0.0000069931393,0.0007135526,0.00011032227,0.99743575],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99967396,0.000012564016,0.000004364534,0.00004488239,0.00018297986,0.00008126189],"domain_scores_gemma":[0.9993331,0.00002322598,0.000016655895,0.000048707312,0.0004191485,0.00015917096],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00030926132,0.00083831284,0.00033814542,0.001316124,0.0030275816,0.004276198,0.00079440675,0.0011499418,0.6755434],"category_scores_gemma":[0.0008879585,0.00043052406,0.0002560831,0.0015599278,0.00060604425,0.0013278497,0.0010952924,0.0014112917,0.33707318],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025590487,0.000016912329,0.00022704079,0.00003196554,0.0000017560874,0.000035870282,0.000038986538,0.000054221273,0.00026699057,0.010016502,0.9648573,0.024426935],"study_design_scores_gemma":[0.000003883232,0.0000038353273,0.0005235751,0.000014818034,9.428626e-7,0.000010103682,0.00004915506,0.00006231555,0.00018829193,0.00030973263,0.99883014,0.0000032164032],"about_ca_topic_score_codex":0.3562457,"about_ca_topic_score_gemma":0.63319933,"teacher_disagreement_score":0.6755434,"about_ca_system_score_codex":0.0069884215,"about_ca_system_score_gemma":0.0064042397,"threshold_uncertainty_score":0.7083442},"labels":[],"label_agreement":null},{"id":"W6981772504","doi":"","title":"Faith (Halifax County, Hollister)","year":2023,"lang":"en","type":"article","venue":"WakeSpace Scholarship (Wake Forest University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Ephemeral key; Faith; The Internet; Data collection","score_opus":0.0390573438250135,"score_gpt":0.20295692763088274,"score_spread":0.16389958380586925,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6981772504","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.016739365,0.0012636975,0.00034889675,0.0017931754,0.00047096703,0.00019091027,0.010445648,0.00055385096,0.9681934],"genre_scores_gemma":[0.01124883,0.00026095813,0.00031355736,0.00025880785,0.000021967448,0.000038662693,0.0014412961,0.00006283233,0.98635304],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99989843,0.000009850832,0.0000039497777,0.000024426892,0.00003251911,0.0000307868],"domain_scores_gemma":[0.99973136,0.000022913346,0.0000108355825,0.000020848856,0.000099354555,0.000114667295],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001709533,0.00031981035,0.00013416276,0.0009881642,0.0028637322,0.0010394284,0.00046667454,0.0004375694,0.5288898],"category_scores_gemma":[0.00039813944,0.00020407622,0.00009360306,0.0008331847,0.0002225882,0.0004274694,0.0009416348,0.00054722757,0.12282656],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008705117,0.000058363636,0.0029051714,0.00007323443,0.0000017538996,0.0003178261,0.00051657367,0.000044084183,0.0007357247,0.0019918557,0.82449704,0.16877127],"study_design_scores_gemma":[0.000012108913,0.000022249555,0.014688827,0.000058834674,0.0000012093616,0.00011228853,0.0010650544,0.000025909174,0.00012319576,0.000116799456,0.9837698,0.0000036741349],"about_ca_topic_score_codex":0.08343032,"about_ca_topic_score_gemma":0.36930895,"teacher_disagreement_score":0.5288898,"about_ca_system_score_codex":0.0011148083,"about_ca_system_score_gemma":0.0013842757,"threshold_uncertainty_score":0.6719816},"labels":[],"label_agreement":null},{"id":"W6982414119","doi":"","title":"Implications of spruce budworm (Lepidoptera: Tortricidae: Choristoneura fumiferana Clem.) management for the species diversity of moths, Lepidoptera, and carabid beetles (Coleoptera: Carabidae) in the Manitoba boreal forest","year":2001,"lang":"en","type":"other","venue":"Mspace (University of Manitoba)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Ordination; Spruce budworm; Taiga; Vegetation (pathology); Species diversity; Choristoneura fumiferana; Deciduous; Quadrat; Species richness","score_opus":0.026623867633617248,"score_gpt":0.19851631960012492,"score_spread":0.17189245196650768,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6982414119","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9993716,0.0002839138,0.000036698788,0.000047884558,0.0000017879292,0.0000063940583,0.000034145265,0.0000032713638,0.00021432863],"genre_scores_gemma":[0.9991979,0.0002776047,0.00022668586,0.00004308666,0.0000022794798,0.000005672735,0.0000596791,7.1420806e-7,0.00018643613],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.9998671,0.000044629604,0.000008287967,0.000021822121,0.00003381156,0.000024228551],"domain_scores_gemma":[0.9997168,0.000038289134,0.000098021206,0.000009301864,0.000048768132,0.000088819426],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00032081845,0.0001892908,0.00010567183,0.00021080406,0.00032142305,0.00037303808,0.0001769507,0.000116730305,0.0004887876],"category_scores_gemma":[0.0003443542,0.00008144489,0.000111072324,0.00011547935,0.00025534752,0.0001233247,0.00015754919,0.00015802748,0.00005995267],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00028031765,0.0001188071,0.90740305,0.000093877556,0.0000693196,0.0003857645,0.0006161651,0.00032788166,0.07102686,0.000044750548,0.0001632956,0.019469894],"study_design_scores_gemma":[0.000006207142,0.0003136033,0.9977035,0.000007878686,0.000018660478,0.00008131888,0.00037650095,0.000094084666,0.0010533817,0.0000091858,0.00033350152,0.00000214008],"about_ca_topic_score_codex":0.066835284,"about_ca_topic_score_gemma":0.30434614,"teacher_disagreement_score":0.9331647,"about_ca_system_score_codex":0.00084055006,"about_ca_system_score_gemma":0.00076671824,"threshold_uncertainty_score":0.13289249},"labels":[],"label_agreement":null},{"id":"W6982664240","doi":"","title":"Is There an International Case for Trump’s “One-in-Two-Out” Order?","year":2017,"lang":"en","type":"article","venue":"eYLS (Yale Law School)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Constitutionality; Executive order; Order (exchange); Politics; Executive branch; State (computer science)","score_opus":0.054623945254405774,"score_gpt":0.29477004580995314,"score_spread":0.24014610055554736,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6982664240","genre_codex":"commentary","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":"commentary","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009687919,0.0040061097,0.0073416806,0.5309866,0.0048941737,0.000049605755,0.00012834033,0.00009291699,0.44281268],"genre_scores_gemma":[0.41849563,0.0047933944,0.00836938,0.48777124,0.0034121368,0.00043807854,0.00025440776,0.00042495597,0.07604079],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.98642504,0.0043445327,0.000480523,0.0026131254,0.002644702,0.0034921255],"domain_scores_gemma":[0.9888243,0.005007013,0.0012667069,0.0013854887,0.0019208997,0.0015955266],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.013671669,0.0006768087,0.00058373867,0.0014697459,0.009541717,0.017223371,0.002106936,0.011770769,0.011607282],"category_scores_gemma":[0.020797074,0.00052670046,0.0011005963,0.0020922788,0.022159832,0.014703917,0.005107336,0.024183298,0.0024375257],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017446837,0.00002538069,0.00036404803,0.000036245066,0.0000063121943,0.00006729817,0.0014147034,0.00004865219,0.00007940059,0.93966675,0.051104955,0.0071687126],"study_design_scores_gemma":[0.000046718636,0.000055328852,0.0014716185,0.00028932423,0.000018661623,0.00013019399,0.0047049597,0.00016848979,0.00046417117,0.20425011,0.788337,0.00006348991],"about_ca_topic_score_codex":0.0104529355,"about_ca_topic_score_gemma":0.01124419,"teacher_disagreement_score":0.017223371,"about_ca_system_score_codex":0.0063181,"about_ca_system_score_gemma":0.00974229,"threshold_uncertainty_score":0.07230353},"labels":[],"label_agreement":null},{"id":"W6982777607","doi":"","title":"Keenan Wire Feb 12 2014","year":2014,"lang":"en","type":"other","venue":"Bulletin of Miscellaneous Information (Royal Gardens Kew)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Key (lock); Frequency standard","score_opus":0.00718544597563923,"score_gpt":0.15989457202955568,"score_spread":0.15270912605391646,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6982777607","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00065827905,0.0005717128,0.00011322365,0.0011733874,0.0015735881,0.000031725373,0.0015848292,0.00027877075,0.99401456],"genre_scores_gemma":[0.0008391817,0.00012367853,0.000018457129,0.00009377202,0.000035207195,0.000004083691,0.00026819148,0.000055509892,0.9985619],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99967456,0.000015303158,0.00000581105,0.000047319638,0.00014517819,0.000111807865],"domain_scores_gemma":[0.9997309,0.000015427539,0.00000992748,0.00002404425,0.00013741553,0.00008229021],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0002929776,0.0005241535,0.00031052702,0.0008670313,0.0025654961,0.0033697388,0.0004501388,0.00093291636,0.5929566],"category_scores_gemma":[0.00097535964,0.00031615375,0.00019317174,0.00074722606,0.00037171395,0.00095365354,0.0017742577,0.0013467876,0.3784279],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000036792313,0.000006415258,0.00011094149,0.000043849577,0.0000011688447,0.000043607823,0.00007819067,0.000017356004,0.00017352885,0.0022366524,0.980342,0.016909452],"study_design_scores_gemma":[0.0000020639552,0.0000040641203,0.00058481266,0.00003420947,7.976904e-7,0.0000111312775,0.0001140044,0.00000807796,0.000065281674,0.000104977604,0.99906844,0.000002256551],"about_ca_topic_score_codex":0.042814672,"about_ca_topic_score_gemma":0.19986022,"teacher_disagreement_score":0.4070434,"about_ca_system_score_codex":0.0019213542,"about_ca_system_score_gemma":0.001729398,"threshold_uncertainty_score":0.580598},"labels":[],"label_agreement":null},{"id":"W6983298180","doi":"","title":"Malaysian musicians in Memphis","year":2023,"lang":"en","type":"other","venue":"Sunway Institutional Repository (Sunway University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Chose; Memphis; Thursday; Ain't; Quarter (Canadian coin)","score_opus":0.014774591811154703,"score_gpt":0.16555961781072753,"score_spread":0.15078502599957283,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6983298180","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.02673725,0.002861168,0.00027765092,0.0027616627,0.0013285558,0.00008814657,0.0029397774,0.00032026134,0.96268547],"genre_scores_gemma":[0.054180633,0.0017011387,0.00047012023,0.0006641778,0.00015543653,0.000045704313,0.00068976224,0.00013145086,0.9419616],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99978894,0.000027886255,0.000011185485,0.0000317702,0.00006194257,0.00007824609],"domain_scores_gemma":[0.9997515,0.000018326677,0.000019782497,0.000021493182,0.000054168002,0.00013464522],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00039885513,0.00062564475,0.00015940574,0.0011305371,0.0037216537,0.0028764124,0.00035833108,0.00067417027,0.19356291],"category_scores_gemma":[0.00075972057,0.00028288073,0.00013131385,0.0013294885,0.0006323194,0.0017217842,0.0016159758,0.0010127375,0.057751354],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000290408,0.00007127887,0.0064722113,0.00066179654,0.000012397969,0.0016053561,0.011724261,0.00027045084,0.0025223917,0.02894947,0.65208817,0.2953318],"study_design_scores_gemma":[0.0000050543435,0.000018335246,0.007367959,0.00023680154,0.0000020926038,0.00025310394,0.0071066823,0.0000670059,0.0006150752,0.00045422444,0.9838652,0.000008418714],"about_ca_topic_score_codex":0.019862233,"about_ca_topic_score_gemma":0.0801442,"teacher_disagreement_score":0.19356291,"about_ca_system_score_codex":0.001616693,"about_ca_system_score_gemma":0.0027462977,"threshold_uncertainty_score":0.64753246},"labels":[],"label_agreement":null},{"id":"W6983323930","doi":"","title":"Mariah's NYE flub, Hollyweed & editing tweets (The Morning Feed)","year":2017,"lang":"en","type":"other","venue":"Internet Archive (Internet Archive)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Morning; Hollywood; Sign (mathematics); Quarter (Canadian coin)","score_opus":0.02244261493270125,"score_gpt":0.22172430047987443,"score_spread":0.19928168554717318,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6983323930","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.002960501,0.0010388274,0.0021083402,0.020339621,0.01132113,0.00039162426,0.024823308,0.012677038,0.92433965],"genre_scores_gemma":[0.0061598285,0.0008021517,0.002324665,0.003838559,0.0014408681,0.00027265042,0.007899724,0.0049434216,0.9723182],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99953425,0.00008760738,0.000017289705,0.00004915243,0.00022493784,0.00008672524],"domain_scores_gemma":[0.9974026,0.0004978459,0.00012196003,0.00023843093,0.00091607874,0.00082293164],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0010922711,0.0006181676,0.0003417445,0.0015332679,0.0037092718,0.0042302916,0.0005464712,0.0012940298,0.5131092],"category_scores_gemma":[0.0077132727,0.00034971588,0.00029546657,0.0012217752,0.00048342606,0.0031915572,0.003188296,0.0019043756,0.4244035],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010680545,0.0000055759265,0.00006844972,0.000024004472,5.2471455e-7,0.000028112878,0.00025448843,0.0000033343235,0.000083005005,0.00018372836,0.9887849,0.01055322],"study_design_scores_gemma":[0.0000015548827,0.0000034431964,0.0003370155,0.00003319347,5.409843e-7,0.000019718258,0.00045283322,0.00001160401,0.00008646405,0.000115935734,0.99893326,0.000004386311],"about_ca_topic_score_codex":0.009070612,"about_ca_topic_score_gemma":0.041957136,"teacher_disagreement_score":0.4868908,"about_ca_system_score_codex":0.00091345544,"about_ca_system_score_gemma":0.0017226419,"threshold_uncertainty_score":0.6944906},"labels":[],"label_agreement":null},{"id":"W6983443384","doi":"","title":"MF027 Edward D. Ives Papers, 1871-2006","year":2021,"lang":"en","type":"article","venue":"DigitalCommons (California Polytechnic State University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Newspaper; Wife; Irish; Obituary; Performance art; German","score_opus":0.01602492584302888,"score_gpt":0.1851585549355515,"score_spread":0.1691336290925226,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6983443384","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00041759634,0.011502309,0.00017824445,0.0027542675,0.0072263842,0.00008354189,0.009701609,0.00023551728,0.9679005],"genre_scores_gemma":[0.0009316203,0.0030893188,0.00007683563,0.00015655375,0.00030648377,0.000020430876,0.0014118259,0.00006272583,0.9939441],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994685,0.000040222163,0.000037300277,0.000109875065,0.0002702523,0.00007383855],"domain_scores_gemma":[0.9994024,0.000040684907,0.000047302336,0.000056518267,0.00033224316,0.00012081955],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005604428,0.001155723,0.00056412845,0.002702483,0.0015336565,0.003975811,0.0008461673,0.0010631304,0.66928095],"category_scores_gemma":[0.0020209835,0.00038646773,0.00031789497,0.0032358938,0.00048218624,0.0019989812,0.0015151406,0.0011828425,0.5417027],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013592808,0.000007775929,0.000085120904,0.00006636737,8.199302e-7,0.000012740639,0.000026452974,0.000015356642,0.000048053975,0.0014168686,0.95617354,0.0421333],"study_design_scores_gemma":[9.234887e-7,0.000003295812,0.0002717035,0.000078522404,3.357002e-7,0.000011101079,0.000021388138,0.000003511406,0.000022268476,0.000104654064,0.9994814,9.41473e-7],"about_ca_topic_score_codex":0.018733518,"about_ca_topic_score_gemma":0.029367832,"teacher_disagreement_score":0.66928095,"about_ca_system_score_codex":0.0037716043,"about_ca_system_score_gemma":0.0022198595,"threshold_uncertainty_score":0.4717306},"labels":[],"label_agreement":null},{"id":"W6983646180","doi":"","title":"The nature of community in the Newfoundland rock underground /","year":2004,"lang":"en","type":"dissertation","venue":"eScholarship@McGill (McGill)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Casual; Rhetoric; Punk; Position (finance); Product (mathematics)","score_opus":0.02428562264062498,"score_gpt":0.2379131668647741,"score_spread":0.21362754422414912,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6983646180","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3714289,0.004078941,0.00022539544,0.018671485,0.00019201954,0.00004333593,0.00096471485,0.00007334,0.6043219],"genre_scores_gemma":[0.6953323,0.0015929439,0.00020888362,0.0007645697,0.000053141794,0.000025475669,0.00028118485,0.00006468241,0.3016769],"study_design_codex":"design_other","study_design_gemma":"qualitative","domain_scores_codex":[0.99907327,0.00011298201,0.000011777656,0.00007319517,0.00012498695,0.0006037865],"domain_scores_gemma":[0.99881727,0.00010020094,0.00014049945,0.000054093645,0.00020820867,0.0006797129],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005218101,0.00013058762,0.00017196282,0.0015299406,0.009549355,0.0048867087,0.0006537311,0.0005244799,0.03937436],"category_scores_gemma":[0.0009317056,0.00015383205,0.00011782355,0.0019878263,0.0053708637,0.0020436866,0.0033967688,0.0009530504,0.0019049685],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00035688136,0.0002134569,0.12803735,0.00040411463,0.000044816727,0.0024249896,0.18786767,0.00033347076,0.0027788237,0.13435327,0.24427104,0.2989142],"study_design_scores_gemma":[0.000013825021,0.000033935146,0.24233915,0.00033198393,0.0000127405065,0.00022504776,0.23206483,0.00011502545,0.0002253219,0.0020106628,0.522605,0.000022516004],"about_ca_topic_score_codex":0.909949,"about_ca_topic_score_gemma":0.9837647,"teacher_disagreement_score":0.090050995,"about_ca_system_score_codex":0.024055796,"about_ca_system_score_gemma":0.020386277,"threshold_uncertainty_score":0.1811626},"labels":[],"label_agreement":null},{"id":"W6986129970","doi":"","title":"An overview of case studies of contemporary native American music in Canada, the United States of America and on the web","year":2002,"lang":"en","type":"article","venue":"Acquire (CQUniversity)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Native american; Web site; The Internet; Indigenous","score_opus":0.1250427332802276,"score_gpt":0.2407956414463824,"score_spread":0.1157529081661548,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6986129970","genre_codex":"empirical","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7138625,0.04168407,0.0017135196,0.004083416,0.000322525,0.000347019,0.0010599315,0.00006983373,0.23685713],"genre_scores_gemma":[0.92999977,0.040148847,0.003191438,0.0010533589,0.00009572195,0.00016284158,0.0005854897,0.000052828716,0.02470973],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99804854,0.00054419175,0.00010664835,0.000125668,0.0005228846,0.0006521068],"domain_scores_gemma":[0.99690753,0.0014693514,0.0002600711,0.0001310415,0.000733475,0.0004985316],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015052409,0.00063307595,0.00036581996,0.008212967,0.019689903,0.005434054,0.0017582513,0.002256739,0.004988183],"category_scores_gemma":[0.0051481714,0.00037274125,0.00034890932,0.017001582,0.0050653326,0.0020786459,0.0032780154,0.001531022,0.00035119947],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015231903,0.0005287484,0.10576234,0.0020039275,0.00008668875,0.059180412,0.5850315,0.00042327552,0.0024657545,0.03869161,0.03469021,0.17098314],"study_design_scores_gemma":[0.000006117135,0.00003574525,0.060023073,0.0014195135,0.000063873566,0.018268028,0.7003803,0.00013990575,0.00089957577,0.0014953824,0.21722974,0.000038741167],"about_ca_topic_score_codex":0.6511028,"about_ca_topic_score_gemma":0.88834816,"teacher_disagreement_score":0.34889722,"about_ca_system_score_codex":0.016999774,"about_ca_system_score_gemma":0.012830505,"threshold_uncertainty_score":0.7019039},"labels":[],"label_agreement":null},{"id":"W6986144587","doi":"","title":"One Who Sings with his Tongue on Fire: Change, Continuity and Meaning in Bob Dylan's Vocal Style, 1960-1966","year":2018,"lang":"en","type":"article","venue":"La Salle University Digital Commons (La Salle University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Meaning (existential); Tongue; Phonation; Perspective (graphical); Voice Training","score_opus":0.019662797598096606,"score_gpt":0.1677876664271183,"score_spread":0.14812486882902168,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6986144587","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.20337024,0.2194866,0.0011026578,0.09846039,0.005665793,0.000065120774,0.0004950866,0.00007466518,0.47127947],"genre_scores_gemma":[0.73933357,0.044347562,0.00039518473,0.004005455,0.00091299106,0.000050626782,0.000100331126,0.00012177463,0.21073253],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9989882,0.0005369426,0.00003669083,0.000083642284,0.00021734132,0.0001371717],"domain_scores_gemma":[0.99909115,0.0003098913,0.00009792343,0.000033863034,0.00015520866,0.00031201902],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016900462,0.00032626,0.0002759605,0.0008006819,0.0076562027,0.00462965,0.00039488947,0.0009903111,0.005594953],"category_scores_gemma":[0.003231979,0.0002964106,0.00008376759,0.00080944615,0.009168601,0.0027056362,0.0024289028,0.0030187545,0.0015019566],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00021612506,0.00004128089,0.004374613,0.0002488925,0.000010428767,0.000865144,0.73468167,0.000042682164,0.0014489887,0.067933425,0.12372865,0.06640817],"study_design_scores_gemma":[0.000017387192,0.00003230203,0.016968679,0.0004533419,0.000006257658,0.0006466231,0.18586744,0.000019042627,0.00024860262,0.0018520276,0.7938608,0.000027523589],"about_ca_topic_score_codex":0.059630346,"about_ca_topic_score_gemma":0.1355503,"teacher_disagreement_score":0.059630346,"about_ca_system_score_codex":0.0051608053,"about_ca_system_score_gemma":0.0019127531,"threshold_uncertainty_score":0.11856651},"labels":[],"label_agreement":null},{"id":"W6986679627","doi":"","title":"Punk fashion in Canada: the translation of an international subculture","year":2011,"lang":"en","type":"dissertation","venue":"The Atrium (University of Guelph)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Punk; Subculture (biology); Identity (music); Clothing; Youth culture; Popular culture","score_opus":0.025408884255504253,"score_gpt":0.18888305663992852,"score_spread":0.16347417238442427,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6986679627","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5554191,0.0045970557,0.002102564,0.011611888,0.0011710955,0.00012749813,0.0006442242,0.000078456855,0.42424816],"genre_scores_gemma":[0.9712404,0.002535106,0.0012263554,0.0008776587,0.000040173658,0.00003238074,0.00016209914,0.000087024055,0.023798885],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9967225,0.0005805228,0.00011053584,0.00040486077,0.0013414125,0.0008401897],"domain_scores_gemma":[0.99544865,0.001123643,0.00018305938,0.0002630051,0.0024191637,0.00056250294],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0025966442,0.000579746,0.00039504477,0.0025905925,0.021546992,0.00941955,0.00079302903,0.0006670061,0.005591163],"category_scores_gemma":[0.006618643,0.00027713698,0.00029322883,0.00642412,0.010308009,0.001598429,0.0036909236,0.002544506,0.00037543432],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000082820865,0.000025291261,0.010757755,0.00023339242,0.00001011104,0.0014230821,0.86445284,0.00012544014,0.0011933225,0.046377886,0.014593833,0.060724143],"study_design_scores_gemma":[0.0000049896116,0.000023008184,0.031370357,0.0005310447,0.000016679629,0.0005782065,0.6974912,0.00022422547,0.0006688757,0.0015873304,0.26745415,0.000049871403],"about_ca_topic_score_codex":0.9821783,"about_ca_topic_score_gemma":0.9924238,"teacher_disagreement_score":0.085272044,"about_ca_system_score_codex":0.085272044,"about_ca_system_score_gemma":0.11001229,"threshold_uncertainty_score":0.6186949},"labels":[],"label_agreement":null},{"id":"W6986707328","doi":"","title":"@PumpUpThaVolume: Episode080 - Strong","year":2013,"lang":"en","type":"other","venue":"Bulletin of Miscellaneous Information (Royal Gardens Kew)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Choir; Grammar; George (robot); Singing; Character (mathematics)","score_opus":0.009067072629278718,"score_gpt":0.1662832144277691,"score_spread":0.1572161417984904,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6986707328","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00043146743,0.00019786552,0.00021740128,0.0010125368,0.0011479997,0.00011369344,0.01928052,0.0021842292,0.9754142],"genre_scores_gemma":[0.0029711,0.00018714678,0.00021957916,0.0005986195,0.00030902433,0.0001005602,0.0125069795,0.0035088533,0.9795982],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993686,0.000055229695,0.000024232784,0.000061392464,0.0002898939,0.00020079695],"domain_scores_gemma":[0.99859256,0.00012147855,0.000060448354,0.00019605111,0.00059226766,0.00043725254],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00056986196,0.0006050893,0.00049609883,0.0013269787,0.003190998,0.0063391468,0.0012767311,0.0016466884,0.83974665],"category_scores_gemma":[0.0032606497,0.0005276371,0.0004921725,0.0019211904,0.00037805163,0.0040784287,0.0045179324,0.0020544014,0.6490946],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011495171,0.000004760299,0.000040233477,0.000027123613,4.6026486e-7,0.00001023713,0.00005331768,0.0000032454989,0.000021162503,0.00044980293,0.99381024,0.005567796],"study_design_scores_gemma":[0.000004180792,0.0000026045968,0.0002715752,0.000025325218,5.3498974e-7,0.000011332782,0.000099891695,0.0000068435074,0.000048889808,0.00012507904,0.9994012,0.0000025672553],"about_ca_topic_score_codex":0.025328662,"about_ca_topic_score_gemma":0.06453458,"teacher_disagreement_score":0.83974665,"about_ca_system_score_codex":0.0020026127,"about_ca_system_score_gemma":0.001645766,"threshold_uncertainty_score":0.22858196},"labels":[],"label_agreement":null},{"id":"W6986709779","doi":"","title":"The promise of listening: contemporary art's karaoke","year":2017,"lang":"en","type":"dissertation","venue":"eScholarship@McGill (McGill)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"Social Sciences and Humanities Research Council of Canada; McGill University","keywords":"Scholarship; Amateur; Field (mathematics); Active listening; Mode (computer interface); Politics; Singing; Portrait","score_opus":0.036029227878940695,"score_gpt":0.23562947092378433,"score_spread":0.19960024304484364,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6986709779","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.21942784,0.019279692,0.004407863,0.028534144,0.0022793133,0.000033992776,0.00003474381,0.00013127555,0.7258712],"genre_scores_gemma":[0.9583253,0.0044202055,0.0007052385,0.0022759265,0.00078565866,0.000033702447,0.000011803298,0.00008381226,0.03335822],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9976689,0.0011262342,0.00005252003,0.00023653144,0.0005291804,0.00038655492],"domain_scores_gemma":[0.9988325,0.00078473863,0.000052760002,0.000088621025,0.000081437385,0.00015989023],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002702587,0.00046022586,0.00041746002,0.0014785707,0.0148857,0.01603354,0.0012012132,0.0033069002,0.004742228],"category_scores_gemma":[0.0032303974,0.00028886576,0.0003632239,0.0011695565,0.03436391,0.0065742885,0.00800753,0.0042987266,0.0005753779],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007938817,0.000035767258,0.0007178306,0.00026488074,0.000012234617,0.00085429486,0.67451745,0.00013720815,0.0011230581,0.28211555,0.008760147,0.03138228],"study_design_scores_gemma":[0.000016045722,0.00008735918,0.0023461492,0.0005757247,0.000022808832,0.0014114145,0.44998106,0.00020048118,0.00044417632,0.041202284,0.5036587,0.000053741438],"about_ca_topic_score_codex":0.0044684014,"about_ca_topic_score_gemma":0.0115896305,"teacher_disagreement_score":0.01603354,"about_ca_system_score_codex":0.0033873874,"about_ca_system_score_gemma":0.0015823744,"threshold_uncertainty_score":0.02457738},"labels":[],"label_agreement":null},{"id":"W6986967729","doi":"","title":"Same Form, Slightly Different Function: Senegalese Cumulative Songs as Contrasted to their Canadian and European Counterparts.","year":2012,"lang":"en","type":"article","venue":"Americanae (AECID Library)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Ethnic group; Narrative; Government (linguistics)","score_opus":0.014841178623588228,"score_gpt":0.1824375115014889,"score_spread":0.16759633287790068,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6986967729","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7258349,0.0013264817,0.0012230692,0.0009691429,0.00023249937,0.00002218904,0.0025205049,0.00014793873,0.2677233],"genre_scores_gemma":[0.97901183,0.00027814592,0.00054871873,0.00010212539,0.000016163283,0.000010421599,0.0006175577,0.00014284407,0.01927225],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998381,0.000032549353,0.000006810552,0.000027952356,0.00004124953,0.00005328158],"domain_scores_gemma":[0.9992748,0.00015501515,0.00005976201,0.00007059814,0.00031338807,0.00012640028],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002451146,0.00027517337,0.0001510598,0.0013355184,0.0013313169,0.0019529762,0.0002883144,0.00027205033,0.01997157],"category_scores_gemma":[0.0019713663,0.000096486234,0.0001030861,0.002323451,0.0016106141,0.00079843885,0.0007107462,0.00053891557,0.0027861015],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.004539919,0.00011954353,0.12015399,0.001037123,0.00020593539,0.0032973224,0.16113706,0.0006853452,0.16319366,0.07793208,0.056014583,0.41168335],"study_design_scores_gemma":[0.000029795414,0.000119022065,0.8129198,0.00015571341,0.00006361224,0.0015198538,0.06946674,0.00025859204,0.0041425386,0.002459591,0.10880915,0.000055566143],"about_ca_topic_score_codex":0.17752233,"about_ca_topic_score_gemma":0.39024118,"teacher_disagreement_score":0.8224777,"about_ca_system_score_codex":0.0009289583,"about_ca_system_score_gemma":0.0009258695,"threshold_uncertainty_score":0.35297805},"labels":[],"label_agreement":null},{"id":"W6986990697","doi":"","title":"The Routledge Handbook of Progressive Rock, Metal, and the Literary Imagination","year":2025,"lang":"en","type":"book","venue":"Solent University Research Portal (Solent University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Ottawa","funders":"","keywords":"Fantasy; Folklore; Mythology; Literary fiction; Narrative; Literary science; Popular music; Music history; Musical; Literary criticism","score_opus":0.02625126353550637,"score_gpt":0.23439913972592366,"score_spread":0.2081478761904173,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6986990697","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0007618788,0.17335759,0.0022674312,0.014315894,0.002029956,0.000055100598,0.000342479,0.00018381182,0.8066858],"genre_scores_gemma":[0.03038462,0.22505517,0.004271656,0.0043323194,0.0012120247,0.00031710954,0.00055720785,0.00047031278,0.73339957],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990195,0.00030994564,0.000070681745,0.000091132795,0.00043970684,0.000068973924],"domain_scores_gemma":[0.9985763,0.0008153301,0.00014241003,0.00013591272,0.00021861761,0.00011140123],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006985182,0.0008581717,0.0004951103,0.0020305396,0.0029866842,0.006413267,0.001012809,0.0022302798,0.036569428],"category_scores_gemma":[0.002805771,0.00053122325,0.00020704755,0.004549931,0.0055890423,0.009173614,0.002157844,0.0026504013,0.015413729],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016338909,0.000023887558,0.00014287092,0.0012676731,0.000004683413,0.00039390367,0.015851824,0.00011761446,0.00032688916,0.3328659,0.45839348,0.19059487],"study_design_scores_gemma":[7.91795e-7,0.0000017535207,0.000069914866,0.00050626695,6.0470967e-7,0.000075143595,0.0013087478,0.0000068539484,0.000026522648,0.009324344,0.98867714,0.0000020125028],"about_ca_topic_score_codex":0.009672327,"about_ca_topic_score_gemma":0.020449243,"teacher_disagreement_score":0.036569428,"about_ca_system_score_codex":0.0042551,"about_ca_system_score_gemma":0.0066164397,"threshold_uncertainty_score":0.122336864},"labels":[],"label_agreement":null},{"id":"W6987706883","doi":"","title":"UA12/2/2 2003 Talisman: About Face","year":2003,"lang":"en","type":"article","venue":"TopSCHOLAR (Western Kentucky University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Vigil; Football; Dance; Dream; French horn; Performance art; Face (sociological concept); Mount; FLAGS register","score_opus":0.023096488528966206,"score_gpt":0.18220965519942314,"score_spread":0.15911316667045694,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6987706883","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000420024,0.00095886044,0.00041247194,0.0045682574,0.00446138,0.000070772934,0.0015070282,0.0019094457,0.9856917],"genre_scores_gemma":[0.00083667575,0.0002666702,0.00010553233,0.0007259619,0.00021248861,0.000023575218,0.000387101,0.00030932188,0.99713266],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997017,0.000022577862,0.000009810328,0.00005497784,0.000111986024,0.00009891671],"domain_scores_gemma":[0.99951303,0.000022426402,0.000012267157,0.000029193725,0.00016211986,0.00026096002],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00045964622,0.00076685345,0.00041952092,0.00076045713,0.0040289024,0.006270152,0.0008932788,0.002203501,0.82009435],"category_scores_gemma":[0.0010483979,0.00033470208,0.0004335856,0.00069366954,0.0005242829,0.0020749609,0.00244384,0.0022012743,0.738224],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017236653,0.00001362272,0.00003960823,0.000022825667,6.593302e-7,0.000034432876,0.000041586492,0.000007186725,0.0001038967,0.00054947514,0.9783044,0.020865059],"study_design_scores_gemma":[0.0000024226256,0.0000038498797,0.00014287427,0.000023374865,4.320352e-7,0.000024783232,0.000080778875,0.000013517759,0.00003565897,0.000114443064,0.9995554,0.0000024376245],"about_ca_topic_score_codex":0.009981068,"about_ca_topic_score_gemma":0.030425292,"teacher_disagreement_score":0.82009435,"about_ca_system_score_codex":0.0016393953,"about_ca_system_score_gemma":0.0014620195,"threshold_uncertainty_score":0.2566135},"labels":[],"label_agreement":null},{"id":"W6989208409","doi":"","title":"Ambiguously Hip: The Tragically Hip and Canadian\\nNationalism","year":2021,"lang":"en","type":"article","venue":"Project Muse (Johns Hopkins University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Appropriation; Nationalism; Elite; National identity","score_opus":0.02606721249150357,"score_gpt":0.18980074451771392,"score_spread":0.16373353202621035,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6989208409","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.50332594,0.005741439,0.0018242854,0.04689386,0.0012001827,0.00003833844,0.00028107603,0.000074164884,0.44062066],"genre_scores_gemma":[0.98132336,0.0010723638,0.00024001767,0.0016749497,0.00006424311,0.000006296093,0.0000421715,0.000027707618,0.015549039],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980471,0.00035614488,0.000032012067,0.000170169,0.0007106074,0.0006838734],"domain_scores_gemma":[0.9986307,0.0002938034,0.00014082677,0.00008294997,0.0004103168,0.00044133977],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015653141,0.0004956637,0.0002688399,0.0018486372,0.028194021,0.008076903,0.0011324249,0.00171185,0.0067109377],"category_scores_gemma":[0.0033423256,0.00021112629,0.00022023961,0.0022228824,0.030088937,0.0021211961,0.0046876585,0.0030383768,0.00035254346],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000080191865,0.000016926251,0.0074299504,0.00015048096,0.000018747305,0.00068197865,0.7432106,0.00016389886,0.0009086539,0.19156905,0.031760287,0.024009112],"study_design_scores_gemma":[0.000009907772,0.000021162803,0.013762161,0.0002780391,0.00002309777,0.00047649493,0.62079877,0.00015572384,0.0003626327,0.006068333,0.35796297,0.00008070083],"about_ca_topic_score_codex":0.944158,"about_ca_topic_score_gemma":0.9695953,"teacher_disagreement_score":0.055841982,"about_ca_system_score_codex":0.04935669,"about_ca_system_score_gemma":0.037633132,"threshold_uncertainty_score":0.35810953},"labels":[],"label_agreement":null},{"id":"W6989338762","doi":"","title":"Approached By A God - Approached By A God [2006] (LOSSLESS)","year":2006,"lang":"en","type":"other","venue":"Internet Archive (Internet Archive)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Wish; Style (visual arts); The Internet; Melody; Musical; Upload; Fandom; Wonder","score_opus":0.01724963791512833,"score_gpt":0.1974753186009877,"score_spread":0.18022568068585937,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6989338762","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0049199257,0.00204638,0.0038157867,0.004770523,0.0031661976,0.00009776922,0.0038185786,0.0026050108,0.97475976],"genre_scores_gemma":[0.023047283,0.0013113949,0.0047980817,0.0017536809,0.0002866767,0.000059160935,0.0029895438,0.0022609946,0.96349317],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99905485,0.00013279499,0.000042722986,0.000116271076,0.0005215672,0.00013180116],"domain_scores_gemma":[0.9986914,0.000081934144,0.000054326643,0.00024036563,0.0005168476,0.00041520246],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0010028492,0.00046962674,0.00026222182,0.0012055115,0.005951622,0.0069082174,0.00074650545,0.001013982,0.19793303],"category_scores_gemma":[0.0031550333,0.00040817383,0.0002942437,0.0017711071,0.0016047698,0.005286457,0.0040961113,0.0022291713,0.087773986],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003405978,0.00002223905,0.0005308188,0.00006464965,0.0000028675618,0.00008003778,0.0028139455,0.000018193165,0.00025481285,0.01859624,0.8973594,0.080222785],"study_design_scores_gemma":[0.0000014518582,0.000004155554,0.0005000094,0.000038909682,8.1140377e-7,0.000104449646,0.00052698696,0.0000115720295,0.000100746234,0.0003619527,0.9983438,0.0000051388142],"about_ca_topic_score_codex":0.026333343,"about_ca_topic_score_gemma":0.09573389,"teacher_disagreement_score":0.802067,"about_ca_system_score_codex":0.0020098742,"about_ca_system_score_gemma":0.0029931448,"threshold_uncertainty_score":0.66215193},"labels":[],"label_agreement":null},{"id":"W6989613532","doi":"","title":"Billy Taylor's Jazz at the Kennedy Center with guest Ali Ryerson","year":2000,"lang":"en","type":"other","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Jazz; Center (category theory); Front (military); Jazz dance; Muhammad-Ali","score_opus":0.014391401742727196,"score_gpt":0.17010382255677436,"score_spread":0.15571242081404718,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6989613532","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.001449007,0.0014413818,0.00017738144,0.005733385,0.00220367,0.000036432055,0.0005190992,0.00027584424,0.9881639],"genre_scores_gemma":[0.0041071726,0.0004344462,0.00008176135,0.00056725217,0.00011462026,0.000009267058,0.00014982813,0.00011506164,0.99442047],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997099,0.000031936772,0.0000068071527,0.00004621035,0.00012279201,0.000082436214],"domain_scores_gemma":[0.99946994,0.0000369476,0.000026912834,0.000035416488,0.00019197297,0.00023879598],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004440181,0.00044816348,0.00016598497,0.00060427433,0.0029907068,0.002959896,0.00046282256,0.00091634464,0.26933166],"category_scores_gemma":[0.00097176956,0.0002037933,0.000112099005,0.00065794174,0.0003593159,0.0016363995,0.0015533032,0.0015351006,0.085663065],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012573782,0.0000089021605,0.00007359203,0.000013838891,2.59842e-7,0.000049917915,0.00017138374,0.0000067832148,0.00015340574,0.0015758487,0.98859835,0.009335148],"study_design_scores_gemma":[0.0000014206431,0.000003063528,0.00066488335,0.000021928558,3.8685184e-7,0.000039809594,0.0004195963,0.000008936294,0.00008524905,0.00009984908,0.99865294,0.0000018803099],"about_ca_topic_score_codex":0.031733435,"about_ca_topic_score_gemma":0.12382145,"teacher_disagreement_score":0.26933166,"about_ca_system_score_codex":0.0016978607,"about_ca_system_score_gemma":0.0016366366,"threshold_uncertainty_score":0.9010042},"labels":[],"label_agreement":null},{"id":"W6989798995","doi":"","title":"Chapter 04: Golden Record Question and the Earthling Project","year":2021,"lang":"en","type":"article","venue":"Digital Commons - CSUMB (California State University, Monterey Bay)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"George (robot); State (computer science); Quarter (Canadian coin); Performance art","score_opus":0.024050508014814037,"score_gpt":0.19213692594552237,"score_spread":0.16808641793070833,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6989798995","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.001204287,0.007924574,0.00091624795,0.05253858,0.011888801,0.00006512422,0.0009726031,0.0002637443,0.924226],"genre_scores_gemma":[0.016584255,0.005774339,0.00056921534,0.012880343,0.004059436,0.00010350806,0.0011614651,0.00071752793,0.95814997],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9976131,0.00058865873,0.00012418833,0.00036165808,0.00087206694,0.0004403971],"domain_scores_gemma":[0.99803406,0.0006126539,0.00009594978,0.0003182043,0.00047819104,0.00046102953],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026060021,0.00066807494,0.0005243459,0.002254494,0.010709346,0.017584337,0.0019120069,0.005829243,0.2059109],"category_scores_gemma":[0.009580393,0.0003836515,0.0006533132,0.002937276,0.00531088,0.013613464,0.008968286,0.005155156,0.08079829],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010801346,0.000007796006,0.00009128289,0.00007366065,0.0000012559229,0.000066105094,0.001758058,0.000011750665,0.000029572991,0.10717547,0.8756769,0.01509746],"study_design_scores_gemma":[9.943514e-7,0.0000016495771,0.00007548146,0.00012541508,5.025589e-7,0.000031024716,0.0012160785,0.0000059205886,0.00001658658,0.0025333436,0.9959907,0.000002379345],"about_ca_topic_score_codex":0.019763405,"about_ca_topic_score_gemma":0.038265105,"teacher_disagreement_score":0.2059109,"about_ca_system_score_codex":0.00676869,"about_ca_system_score_gemma":0.0036028258,"threshold_uncertainty_score":0.6888406},"labels":[],"label_agreement":null},{"id":"W6989894085","doi":"","title":"CBCR 3 EP 2010 11 09","year":2010,"lang":"en","type":"other","venue":"Bulletin of Miscellaneous Information (Royal Gardens Kew)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Value (mathematics); Ask price; Video recording","score_opus":0.008178102129198107,"score_gpt":0.16441088510043075,"score_spread":0.15623278297123264,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6989894085","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00033742888,0.0005115619,0.00035904406,0.0010153502,0.0017503118,0.000102170896,0.003248115,0.0009763964,0.9916997],"genre_scores_gemma":[0.0006462786,0.00021550151,0.00012210429,0.00020125836,0.00007241833,0.000015660022,0.0010975918,0.00019275602,0.99743646],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991696,0.00007065051,0.000039708902,0.00014086919,0.0003993016,0.00017995085],"domain_scores_gemma":[0.9984439,0.000109221946,0.000037653477,0.0002890727,0.0007785381,0.0003416392],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0010301213,0.0008010128,0.00074351224,0.0021639892,0.0020856883,0.009856123,0.0014357667,0.003389102,0.87302977],"category_scores_gemma":[0.0029265191,0.0005007273,0.0007703034,0.0015851688,0.000687439,0.002119941,0.002820595,0.0021649925,0.8571898],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005125475,0.000044574193,0.00013734664,0.00015914555,0.000004152543,0.00006063223,0.00007167234,0.000036778958,0.0004245419,0.0041810935,0.92936414,0.065464616],"study_design_scores_gemma":[0.0000046806877,0.000010586722,0.00031611914,0.00010101473,0.0000021182066,0.000029004146,0.000054308195,0.000020116544,0.00011420353,0.00026924085,0.9990752,0.0000034227862],"about_ca_topic_score_codex":0.018063568,"about_ca_topic_score_gemma":0.038860142,"teacher_disagreement_score":0.87302977,"about_ca_system_score_codex":0.0025458145,"about_ca_system_score_gemma":0.0022714767,"threshold_uncertainty_score":0.18110764},"labels":[],"label_agreement":null},{"id":"W6989894953","doi":"","title":"A case study of the top 100 favoured songs on Apple Music platform among Malaysians based on their song track attributes / Haziq Nazhan Hamdan","year":2023,"lang":"en","type":"other","venue":"UiTM Institutional Repositories (Universiti Teknologi MARA)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Nucleofection; Hyporeflexia; Articular cartilage damage; Gestational period; Tubulopathy; Dysgeusia","score_opus":0.04392808820881403,"score_gpt":0.2078633254110444,"score_spread":0.16393523720223038,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6989894953","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9969081,0.0001252759,0.00015820762,0.0001360338,0.000007117228,0.000025238924,0.00012619294,0.0000036304818,0.002510117],"genre_scores_gemma":[0.99571073,0.00038166373,0.0006348738,0.000066504705,0.000007353502,0.000022255774,0.00006750376,0.0000048932875,0.0031042492],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.99935347,0.00020132275,0.0000491054,0.00008312582,0.00017567554,0.00013723965],"domain_scores_gemma":[0.99878544,0.00034322112,0.0002846034,0.00006935082,0.00023348186,0.0002839162],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00072832697,0.00027914706,0.00021044456,0.0015779366,0.0023066797,0.0012489989,0.00047437445,0.00049574126,0.0046912464],"category_scores_gemma":[0.0016499102,0.00020784345,0.0002522365,0.0013549118,0.0007057606,0.0009571216,0.0009133079,0.00055195735,0.0005793925],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00021054847,0.00039129364,0.7678893,0.00038764844,0.000051519626,0.02672753,0.12866472,0.00025180372,0.0063330843,0.001150451,0.0023623717,0.0655798],"study_design_scores_gemma":[0.0000071353147,0.0003343987,0.4795973,0.0001999204,0.00004758612,0.013824514,0.48846677,0.0010100036,0.0026512493,0.00024345431,0.013554969,0.000062773615],"about_ca_topic_score_codex":0.022554344,"about_ca_topic_score_gemma":0.058625516,"teacher_disagreement_score":0.022554344,"about_ca_system_score_codex":0.0011328447,"about_ca_system_score_gemma":0.00091332267,"threshold_uncertainty_score":0.044846117},"labels":[],"label_agreement":null},{"id":"W6990213851","doi":"","title":"Crap From The Past - November 12, 2004: All Canadian, All The Time - Part 2","year":2004,"lang":"en","type":"other","venue":"Bulletin of Miscellaneous Information (Royal Gardens Kew)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Midnight; Period (music); Narrative; Order (exchange)","score_opus":0.010092682123399893,"score_gpt":0.1621639613613241,"score_spread":0.1520712792379242,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6990213851","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0012678725,0.0007481715,0.00023175083,0.0025170653,0.0009256384,0.0001242309,0.01188507,0.00089383236,0.98140633],"genre_scores_gemma":[0.0016589037,0.00021659822,0.000084001105,0.00023823624,0.000028146133,0.0000097961365,0.0012157767,0.00013048643,0.996418],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995844,0.000011576523,0.000006146897,0.00003488976,0.00020751468,0.00015546978],"domain_scores_gemma":[0.99872345,0.000025022835,0.000016174703,0.000052650754,0.0007855702,0.000397094],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00031336807,0.0007256714,0.00037667737,0.0012741261,0.007662697,0.003739168,0.0008879208,0.0016121792,0.6893637],"category_scores_gemma":[0.0010342465,0.00051072915,0.00035606098,0.0021717637,0.00051435054,0.0011594876,0.0014359766,0.0015002913,0.35656723],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002228446,0.000012142525,0.00023442645,0.000039338778,0.0000013387198,0.00004880807,0.000104393526,0.000021619899,0.0001373907,0.00042046586,0.984126,0.014831837],"study_design_scores_gemma":[0.0000028972854,0.0000038057992,0.0018305682,0.000028277702,0.0000014703073,0.000017268396,0.00022801055,0.000016323338,0.000094655,0.00005377599,0.997717,0.000005934925],"about_ca_topic_score_codex":0.8042072,"about_ca_topic_score_gemma":0.96429026,"teacher_disagreement_score":0.31063628,"about_ca_system_score_codex":0.0077738576,"about_ca_system_score_gemma":0.013459732,"threshold_uncertainty_score":0.44308496},"labels":[],"label_agreement":null},{"id":"W6990353044","doi":"","title":"Derek Trucks Band Live at The Centre In Vancouver For Performing Arts, Vancouver International Jazz Festival on 2009-06-27","year":2009,"lang":"en","type":"other","venue":"Bulletin of Miscellaneous Information (Royal Gardens Kew)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Jazz; Performance art; Collectable","score_opus":0.00825245582444277,"score_gpt":0.17530500474844252,"score_spread":0.16705254892399973,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6990353044","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0028139125,0.0007247803,0.00019780746,0.0024841833,0.002605441,0.00010721488,0.003363553,0.0005731968,0.98712987],"genre_scores_gemma":[0.0011060708,0.000090755944,0.0000401732,0.00004883861,0.000019748772,0.000004944596,0.00025853567,0.000060004553,0.9983708],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996588,0.000017794797,0.000005145426,0.000046120862,0.00013457228,0.0001375648],"domain_scores_gemma":[0.9992724,0.00002332294,0.000010240561,0.000024440109,0.00026079945,0.0004087996],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0004890537,0.0008018108,0.0004793215,0.0011207542,0.008593655,0.0052013625,0.0006663345,0.0011129036,0.69613016],"category_scores_gemma":[0.0006638267,0.00044135097,0.00029253325,0.00086135685,0.00050833455,0.0011364981,0.0022096247,0.0020026984,0.40703702],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000027602002,0.000024149238,0.00027865978,0.000025430922,0.0000011269368,0.00004411999,0.00017050498,0.000013849435,0.00015504635,0.0004208805,0.98357993,0.015258743],"study_design_scores_gemma":[0.0000040099144,0.000009408352,0.0018930092,0.000042533324,0.0000012959212,0.000022511855,0.00097624393,0.000019695839,0.00011438494,0.00008126972,0.9968303,0.000005489063],"about_ca_topic_score_codex":0.15293744,"about_ca_topic_score_gemma":0.677759,"teacher_disagreement_score":0.8470626,"about_ca_system_score_codex":0.0023369296,"about_ca_system_score_gemma":0.0039888006,"threshold_uncertainty_score":0.4334334},"labels":[],"label_agreement":null},{"id":"W6990375288","doi":"","title":"Daughter of late mayor, former punk rocker seek Green nomination in Nanaimo","year":2018,"lang":"en","type":"other","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Daughter; Punk; Nomination; Cripple; Identity (music)","score_opus":0.017623653479564752,"score_gpt":0.20337422731166785,"score_spread":0.18575057383210308,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6990375288","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11859305,0.001541799,0.0003097306,0.03923252,0.0046353526,0.00018331794,0.00133433,0.00021273347,0.83395714],"genre_scores_gemma":[0.04552423,0.00045346096,0.000087513276,0.003433576,0.0003012008,0.00004109135,0.00017552408,0.00007000528,0.9499134],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998078,0.000025668221,0.0000033334386,0.00002664627,0.000041872758,0.000094815456],"domain_scores_gemma":[0.99958545,0.000017800503,0.00001428729,0.000008987889,0.000068797,0.00030469018],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00038739282,0.00032399013,0.00023905467,0.00046854373,0.00837003,0.0014965308,0.0005725842,0.0010099419,0.12796985],"category_scores_gemma":[0.0008793347,0.00015394959,0.000116170646,0.0003031702,0.0006721952,0.0012272677,0.001946958,0.0029343336,0.030314608],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001209096,0.000216081,0.014488086,0.000111436115,0.000005742827,0.0084378,0.018784547,0.000027044936,0.0009931388,0.0122676045,0.882339,0.062208556],"study_design_scores_gemma":[0.000008219051,0.00003654704,0.009100884,0.000100821315,0.0000026629764,0.0016464492,0.021265287,0.000027988419,0.00020823293,0.00044336257,0.9671513,0.000008215995],"about_ca_topic_score_codex":0.021675533,"about_ca_topic_score_gemma":0.10958606,"teacher_disagreement_score":0.9783245,"about_ca_system_score_codex":0.0010124582,"about_ca_system_score_gemma":0.001870992,"threshold_uncertainty_score":0.42810178},"labels":[],"label_agreement":null},{"id":"W6990452521","doi":"","title":"Desire Lines : Riddim an' Resistance","year":2021,"lang":"en","type":"book","venue":"E-Artexte (Artexte)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Resistance (ecology); Publishing; The arts; Key (lock); Space (punctuation); Media arts; Punk","score_opus":0.03644329063036234,"score_gpt":0.21571871120973704,"score_spread":0.1792754205793747,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6990452521","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.007876096,0.0023857101,0.0019239674,0.022354264,0.0011591947,0.000045403485,0.000068270594,0.00020265851,0.96398455],"genre_scores_gemma":[0.17533618,0.0015478926,0.0009152633,0.010558515,0.00020172517,0.000105168096,0.00006886989,0.00032593135,0.81094044],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9976968,0.0010608193,0.00004964755,0.00026792692,0.0005545606,0.000370242],"domain_scores_gemma":[0.99868625,0.0004552451,0.00007280182,0.00021132105,0.00020138048,0.0003729126],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022209203,0.00052814075,0.00040708267,0.0010556967,0.011516316,0.011196899,0.0011031128,0.0026929819,0.047751814],"category_scores_gemma":[0.0042852894,0.00032505815,0.00036377055,0.0009550879,0.011436476,0.008779225,0.008742197,0.0056107733,0.0100522125],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000039172024,0.00004445906,0.00030285836,0.0000982269,0.0000047908657,0.00033150945,0.1028686,0.00003796125,0.0002676164,0.60063237,0.24483477,0.050537724],"study_design_scores_gemma":[0.0000039370616,0.00000856357,0.000109782864,0.00007396561,0.0000014338852,0.00014143663,0.021434037,0.000039068203,0.000084425876,0.009833592,0.9682634,0.0000064328565],"about_ca_topic_score_codex":0.012459876,"about_ca_topic_score_gemma":0.023985354,"teacher_disagreement_score":0.047751814,"about_ca_system_score_codex":0.004768897,"about_ca_system_score_gemma":0.002786646,"threshold_uncertainty_score":0.15974575},"labels":[],"label_agreement":null},{"id":"W6990847409","doi":"","title":"Eric Clapton sued by musician's estate over iconic song","year":2016,"lang":"en","type":"other","venue":"Internet Archive (Internet Archive)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Lawsuit; Blues; Estate; Guitar; Real estate","score_opus":0.013839598797365927,"score_gpt":0.21379765779623514,"score_spread":0.1999580589988692,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6990847409","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.010723525,0.003017331,0.0004763464,0.034088515,0.009006059,0.000045326004,0.00022497878,0.00044695078,0.941971],"genre_scores_gemma":[0.028638406,0.0005272573,0.00012805645,0.01110932,0.00049742125,0.000009663393,0.00010147388,0.00010447159,0.9588838],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986879,0.00008354222,0.00002157792,0.00014461049,0.0006954436,0.00036699834],"domain_scores_gemma":[0.9988072,0.000094843504,0.00003853683,0.00006691886,0.0004982118,0.0004942688],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0007219686,0.00050743675,0.00022918417,0.0006445905,0.00894354,0.0051919115,0.0005879079,0.0024213812,0.1355203],"category_scores_gemma":[0.003099959,0.00024650016,0.00017429919,0.00035364792,0.0011376592,0.0016671316,0.0019157795,0.0031073536,0.03600513],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002499353,0.000013047833,0.0005880884,0.00001729515,0.000002022227,0.00032965385,0.0006762968,0.000011852473,0.000394033,0.007146075,0.9720081,0.018788429],"study_design_scores_gemma":[0.0000035948558,0.000009735833,0.00085539935,0.000032121894,0.0000015044628,0.0002148518,0.0010667548,0.00002397596,0.00021113227,0.00025822964,0.99731654,0.000006063205],"about_ca_topic_score_codex":0.08755803,"about_ca_topic_score_gemma":0.21878861,"teacher_disagreement_score":0.8644797,"about_ca_system_score_codex":0.0026614252,"about_ca_system_score_gemma":0.0028703955,"threshold_uncertainty_score":0.45336056},"labels":[],"label_agreement":null},{"id":"W6991039843","doi":"","title":"“Fashionable to be Ethnic”: Malka Marom, Yorkville Reimagined, and the CBC’s A World Of Music","year":2021,"lang":"en","type":"article","venue":"Scholarship@Western (Western University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Folk music; Folk song; Singing; Mainstream; Studio; Period (music); Folk culture; Popular music","score_opus":0.1447913501222045,"score_gpt":0.27844492635910256,"score_spread":0.13365357623689805,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6991039843","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.81787145,0.005989304,0.00025731843,0.054805644,0.00062832434,0.000043355038,0.00021304145,0.000050957868,0.120140694],"genre_scores_gemma":[0.9189994,0.0025771034,0.00022705874,0.0040893108,0.000072912946,0.00003062076,0.0000929045,0.000060280592,0.07385032],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993892,0.00012634617,0.000009489275,0.00009158707,0.00013305408,0.00025022196],"domain_scores_gemma":[0.999446,0.0000943938,0.000059196627,0.000017851497,0.00012682006,0.00025577296],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00058338913,0.0003354069,0.0002633829,0.00083649554,0.028142853,0.007699504,0.0009918053,0.0011882331,0.0068143704],"category_scores_gemma":[0.0012771022,0.00032643392,0.00013238691,0.00097368984,0.010184212,0.00300221,0.0037266326,0.0036759411,0.00074491615],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009028273,0.00003580782,0.010484198,0.00008821362,0.000008242619,0.0022866335,0.89474803,0.00003674728,0.0016308934,0.025872936,0.04675918,0.017958818],"study_design_scores_gemma":[0.0000033092222,0.000016355589,0.013496064,0.00011905328,0.0000058234837,0.00042235616,0.7841069,0.000035522295,0.00021143805,0.00041070385,0.20114775,0.000024698415],"about_ca_topic_score_codex":0.8017089,"about_ca_topic_score_gemma":0.956002,"teacher_disagreement_score":0.19829112,"about_ca_system_score_codex":0.023059892,"about_ca_system_score_gemma":0.013595349,"threshold_uncertainty_score":0.39891773},"labels":[],"label_agreement":null},{"id":"W6991334233","doi":"","title":"Gastrointestinal disorder","year":2005,"lang":"en","type":"other","venue":"University of North Texas Digital Library (University of North Texas)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Soundscape; Alcohol intake; Beauty; Gastrointestinal system; Plateau (mathematics); Work (physics)","score_opus":0.009658946234212342,"score_gpt":0.1466573201300349,"score_spread":0.13699837389582256,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6991334233","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.17578395,0.012160684,0.0017496435,0.018899268,0.00809135,0.000707284,0.02891016,0.00072115695,0.75297654],"genre_scores_gemma":[0.46042925,0.008410794,0.0017963178,0.011571428,0.0018695188,0.0001734411,0.012191648,0.00025610148,0.50330144],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998747,0.000011323079,0.000008701674,0.00002153841,0.000049250924,0.000034538887],"domain_scores_gemma":[0.99976677,0.00002697418,0.000019941324,0.000020316447,0.000087025815,0.00007898486],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00010647577,0.00031405868,0.00021210063,0.0008940818,0.0011689244,0.00047280872,0.00020477852,0.0006046324,0.034920026],"category_scores_gemma":[0.00085373974,0.00010419187,0.00020994314,0.00063127687,0.00023987753,0.00034507486,0.0004851073,0.00096304534,0.0055213524],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0008606017,0.00019450723,0.027962826,0.00052882475,0.000066123175,0.13688111,0.0052145296,0.00010525901,0.007818797,0.0025918607,0.67726254,0.140513],"study_design_scores_gemma":[0.00006444494,0.0002455725,0.15796675,0.00051319925,0.00003387018,0.13943176,0.0046054767,0.00006531158,0.0016827235,0.00036383848,0.69497246,0.00005453464],"about_ca_topic_score_codex":0.02737591,"about_ca_topic_score_gemma":0.06813013,"teacher_disagreement_score":0.034920026,"about_ca_system_score_codex":0.00070417277,"about_ca_system_score_gemma":0.000620096,"threshold_uncertainty_score":0.11681914},"labels":[],"label_agreement":null},{"id":"W6992656626","doi":"","title":"Mapping the underground soundscape : fieldwork among the subway musicians of Toronto","year":2012,"lang":"en","type":"other","venue":"OpenGrey (Institut de l'Information Scientifique et Technique)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Soundscape; Musical; Ethnography; Sound (geography); Negotiation; Space (punctuation); Built environment; Urban environment","score_opus":0.029923343525024258,"score_gpt":0.23364215784670606,"score_spread":0.2037188143216818,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6992656626","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.989193,0.0005465179,0.0006704336,0.0010350805,0.000030352101,0.00030847327,0.00045142628,0.000022946062,0.007741753],"genre_scores_gemma":[0.9893332,0.00078485685,0.0013827577,0.00031810248,0.000020447176,0.00021683356,0.000274718,0.000031396663,0.0076376167],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9978643,0.0007609554,0.00006245307,0.00030763593,0.00026716763,0.0007375383],"domain_scores_gemma":[0.9963464,0.0013484763,0.00023467063,0.00016518353,0.0006576738,0.0012476386],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001889838,0.00064928964,0.00053387653,0.0023192798,0.01642626,0.0022704026,0.0018454443,0.001043735,0.0052580955],"category_scores_gemma":[0.0037058513,0.0005867648,0.00032013527,0.0037970897,0.008528801,0.0013922759,0.0033871315,0.0014592126,0.00044681857],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000032797798,0.000032484026,0.006735162,0.00010949034,0.0000047044323,0.0010414604,0.98111904,0.000058897986,0.0019624492,0.0005227199,0.0014055354,0.0069752187],"study_design_scores_gemma":[0.0000027949695,0.000039632218,0.024249973,0.00006367689,0.0000053204863,0.00006596201,0.9657418,0.00005817658,0.00021366372,0.00007382486,0.009472888,0.000012295063],"about_ca_topic_score_codex":0.87410736,"about_ca_topic_score_gemma":0.9710941,"teacher_disagreement_score":0.12589264,"about_ca_system_score_codex":0.029556634,"about_ca_system_score_gemma":0.021055209,"threshold_uncertainty_score":0.25326806},"labels":[],"label_agreement":null},{"id":"W6992931818","doi":"","title":"Musiikin rooli Suomen ja Neuvostoliiton välisissä sotienjälkeisissä suhteissa","year":2020,"lang":"fi","type":"dissertation","venue":"Jyväskylä University Digital Archive (University of Jyväskylä)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Value (mathematics); Quarter (Canadian coin); Population","score_opus":0.012947324437382807,"score_gpt":0.1571968402243287,"score_spread":0.1442495157869459,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6992931818","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.257091,0.008249674,0.004000717,0.003095949,0.0010127795,0.00007467562,0.0011106487,0.0002204261,0.7251442],"genre_scores_gemma":[0.5087929,0.0037181766,0.003605766,0.0006390699,0.00012971133,0.00004220426,0.0012484877,0.00023158063,0.48159218],"study_design_codex":"design_other","study_design_gemma":"qualitative","domain_scores_codex":[0.99969256,0.000030856056,0.000012485487,0.00011017768,0.00008859951,0.00006535723],"domain_scores_gemma":[0.99973434,0.00004238364,0.000043762204,0.00003149213,0.00007557112,0.00007253306],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00039823566,0.00042335555,0.00024035074,0.0007855495,0.0029550185,0.0027207537,0.0005208086,0.0007216095,0.029557427],"category_scores_gemma":[0.00065079576,0.00023454828,0.0002843924,0.0008284433,0.001753468,0.0013515328,0.002276139,0.0013382821,0.007416021],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0008368247,0.00026847262,0.07496503,0.0015738315,0.000117251104,0.0037662624,0.07028937,0.000658099,0.04310927,0.20337741,0.059082545,0.54195565],"study_design_scores_gemma":[0.000007745277,0.00008496473,0.034829594,0.00026705765,0.000023233382,0.00075774686,0.009064997,0.000092151146,0.0047109253,0.004385461,0.94575185,0.000024140287],"about_ca_topic_score_codex":0.0119722495,"about_ca_topic_score_gemma":0.062897384,"teacher_disagreement_score":0.029557427,"about_ca_system_score_codex":0.002774573,"about_ca_system_score_gemma":0.002113171,"threshold_uncertainty_score":0.09887946},"labels":[],"label_agreement":null},{"id":"W6992933090","doi":"","title":"The musical influence of continental Europe in art song repertoire of Great Britain, the United States, and Canada","year":2005,"lang":"en","type":"article","venue":"University Library - University of Saskatchewan (University of Saskatchewan)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Repertoire; Musical; Period (music); Style (visual arts)","score_opus":0.005059629843693111,"score_gpt":0.13266625004361143,"score_spread":0.1276066201999183,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6992933090","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.95016795,0.0020842163,0.000062559026,0.00052476476,0.000030100053,0.0000049215723,0.00018100206,0.00000486681,0.046939645],"genre_scores_gemma":[0.9973327,0.000525159,0.000032512995,0.00010221429,0.000006281989,0.0000019224105,0.00004940752,0.000011038479,0.0019387996],"study_design_codex":"observational","study_design_gemma":"qualitative","domain_scores_codex":[0.99903846,0.00020324286,0.000037019345,0.00010618401,0.00022530148,0.0003897266],"domain_scores_gemma":[0.99745554,0.0006747502,0.00018403454,0.00007003193,0.00096230424,0.00065337133],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010626813,0.00018565576,0.00034669077,0.0029991756,0.0058224434,0.0047789994,0.0004982442,0.00044590476,0.0065054623],"category_scores_gemma":[0.0043172985,0.0001662815,0.00016507694,0.005113926,0.0028919615,0.0007191556,0.003092838,0.000647071,0.00028969924],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0016399212,0.000088295,0.45576385,0.00029106924,0.00044314837,0.0013039781,0.31466976,0.0007618909,0.008166385,0.016955063,0.011394326,0.18852232],"study_design_scores_gemma":[0.0000060617385,0.000012221168,0.90047073,0.00015171657,0.000030135707,0.0001169524,0.081551895,0.00006312574,0.00017471616,0.00022294046,0.017180547,0.000018919762],"about_ca_topic_score_codex":0.87415546,"about_ca_topic_score_gemma":0.9706571,"teacher_disagreement_score":0.12584454,"about_ca_system_score_codex":0.009413007,"about_ca_system_score_gemma":0.006517508,"threshold_uncertainty_score":0.25317127},"labels":[],"label_agreement":null},{"id":"W6993010743","doi":"","title":"Netori:Premiered by the Array Music ensemble, October 14, 2004. The Glen Gould Studio, CBC Radio, Toronto, Canada. 6 minutes","year":2005,"lang":"en","type":"other","venue":"University of Birmingham Research Portal (University of Birmingham)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Feature (linguistics); Sound (geography)","score_opus":0.0337568935306498,"score_gpt":0.21638718554006522,"score_spread":0.18263029200941544,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6993010743","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010767767,0.0030789003,0.0016843113,0.0025946281,0.00917647,0.00020339091,0.0053087156,0.0026161193,0.9742606],"genre_scores_gemma":[0.0009984865,0.00027268092,0.00020724656,0.00011860549,0.00036864076,0.000020539002,0.0008620184,0.00034007416,0.9968117],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99952936,0.000036198686,0.000011177355,0.000054917484,0.00026868258,0.00009963903],"domain_scores_gemma":[0.9993794,0.0000484675,0.00002305793,0.00003746771,0.00026927658,0.00024227996],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0008862815,0.0011207792,0.0004409365,0.0015362501,0.0023790845,0.0050443057,0.0009577592,0.0010228358,0.5619188],"category_scores_gemma":[0.0014443597,0.00044909128,0.0003126504,0.0010529556,0.000355692,0.0019892089,0.0019499172,0.0015434141,0.3786252],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000066077664,0.000008520726,0.00007220781,0.00003680829,0.0000011828745,0.000024409554,0.000051337567,0.000023436187,0.00021042119,0.00072273205,0.972063,0.026719904],"study_design_scores_gemma":[0.000005128676,0.000007235007,0.0003969856,0.00002111738,9.4858484e-7,0.000014327774,0.00006301432,0.00002645754,0.00009092278,0.00012516044,0.9992461,0.0000025782356],"about_ca_topic_score_codex":0.013846084,"about_ca_topic_score_gemma":0.08739149,"teacher_disagreement_score":0.5619188,"about_ca_system_score_codex":0.0013870986,"about_ca_system_score_gemma":0.0012239465,"threshold_uncertainty_score":0.62486964},"labels":[],"label_agreement":null},{"id":"W6994255258","doi":"","title":"Blind Man","year":2008,"lang":"en","type":"article","venue":"TopSCHOLAR (Western Kentucky University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Group (periodic table); White (mutation); Work (physics); George (robot)","score_opus":0.06156036307930907,"score_gpt":0.18497550363816287,"score_spread":0.1234151405588538,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6994255258","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.016628511,0.014041511,0.00048239256,0.04321688,0.01067056,0.00008693734,0.0010144274,0.0002606965,0.91359806],"genre_scores_gemma":[0.018756816,0.002605071,0.00011241088,0.008359836,0.0002534591,0.000019228262,0.000122073,0.00003796783,0.9697332],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996061,0.00004165952,0.000012359334,0.00007384457,0.00009921485,0.0001668405],"domain_scores_gemma":[0.9994617,0.000028029346,0.000020746831,0.000025691363,0.00014902446,0.0003148443],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00038017583,0.00050054525,0.00030262582,0.00063847203,0.009296367,0.002230684,0.00048673095,0.0013897662,0.2461565],"category_scores_gemma":[0.0012413935,0.00023603406,0.00018786351,0.00041428197,0.0009997083,0.0013593632,0.002769983,0.0015985774,0.045842312],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000043795917,0.000031766784,0.002443127,0.00003984573,0.0000022295894,0.00087138044,0.0016017148,0.000012339889,0.00027899974,0.007045781,0.9306004,0.057028566],"study_design_scores_gemma":[0.0000038360236,0.000014526068,0.0024650106,0.00008655588,0.0000016000504,0.0007175954,0.0021079206,0.0000068111403,0.00004937961,0.00039995008,0.9941415,0.0000052056944],"about_ca_topic_score_codex":0.1566595,"about_ca_topic_score_gemma":0.3308495,"teacher_disagreement_score":0.2461565,"about_ca_system_score_codex":0.0029476604,"about_ca_system_score_gemma":0.0046642707,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W6994258323","doi":"","title":"Being Underground","year":2018,"lang":"en","type":"dissertation","venue":"Spectrum Research Repository (Concordia University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Ethnography; Interview; Intersection (aeronautics); Queer; Affect (linguistics); Participant observation","score_opus":0.037602294887970074,"score_gpt":0.2595729502137127,"score_spread":0.22197065532574262,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6994258323","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.119333595,0.0012671542,0.004131936,0.011654367,0.0006339485,0.000059194022,0.00020064096,0.00013170595,0.86258745],"genre_scores_gemma":[0.7593374,0.0010577869,0.00075657316,0.0017154976,0.00012332432,0.00002854497,0.00013976263,0.00012360314,0.23671754],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99911124,0.0002004726,0.000009475712,0.00013319518,0.00022658949,0.00031901468],"domain_scores_gemma":[0.9994356,0.000075179625,0.00005576506,0.00006464259,0.0001312716,0.0002374774],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006563535,0.0003423476,0.00021322661,0.0005802833,0.008193926,0.0041476595,0.00068529864,0.00084200705,0.047800798],"category_scores_gemma":[0.0015046105,0.00015844258,0.00022805504,0.0005764812,0.012547188,0.0037262994,0.00427057,0.0014483057,0.0035982379],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006356735,0.000036717614,0.0053442013,0.00008748226,0.00001761507,0.00063844427,0.18474981,0.00020413456,0.0024813672,0.6943211,0.054677848,0.057377603],"study_design_scores_gemma":[0.000005252016,0.000040655228,0.0050361496,0.00011401834,0.000009907913,0.00020832306,0.088467084,0.000083740895,0.00033984982,0.013879466,0.8917932,0.000022408462],"about_ca_topic_score_codex":0.09477343,"about_ca_topic_score_gemma":0.14486401,"teacher_disagreement_score":0.09477343,"about_ca_system_score_codex":0.0042408705,"about_ca_system_score_gemma":0.004131709,"threshold_uncertainty_score":0.18844354},"labels":[],"label_agreement":null},{"id":"W6995084776","doi":"","title":"Khoule, Manadou","year":2008,"lang":"en","type":"article","venue":"DigitalResearch@Fordham (Fordham University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Clothing; Shot (pellet); Work (physics); World War II","score_opus":0.07217018532515046,"score_gpt":0.17256778304276227,"score_spread":0.10039759771761181,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6995084776","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.010148018,0.0072024963,0.00013875258,0.0047865766,0.0009541826,0.00009187978,0.003276131,0.000088188615,0.9733137],"genre_scores_gemma":[0.02106255,0.004366776,0.00018952046,0.0007779169,0.00004266462,0.00007601172,0.00069741794,0.00006755189,0.97271955],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998516,0.000013580876,0.00000437266,0.00003872619,0.000031838594,0.000059859325],"domain_scores_gemma":[0.99982065,0.000020902286,0.000011628261,0.000013283931,0.00005503842,0.0000784284],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00015830016,0.0006144895,0.0002442377,0.00039467117,0.005105417,0.0021025003,0.000480879,0.0006076828,0.46315062],"category_scores_gemma":[0.0005085505,0.0002747479,0.00012392284,0.0012083136,0.00043623583,0.0011215722,0.001800469,0.0014699524,0.11192032],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012415055,0.00008001594,0.004184974,0.00040041562,0.000008962064,0.0010475233,0.0033987758,0.00005305659,0.001041252,0.013456258,0.7665768,0.20962776],"study_design_scores_gemma":[0.000004971268,0.0000043789523,0.004741451,0.00008737708,0.0000012675929,0.00012248821,0.0022147573,0.000009852569,0.00007817736,0.00023569817,0.9924965,0.0000031849204],"about_ca_topic_score_codex":0.061074067,"about_ca_topic_score_gemma":0.15625632,"teacher_disagreement_score":0.5368494,"about_ca_system_score_codex":0.0016172249,"about_ca_system_score_gemma":0.0029341704,"threshold_uncertainty_score":0.76575047},"labels":[],"label_agreement":null},{"id":"W6995257633","doi":"","title":"Khoule, Manadou","year":2008,"lang":"en","type":"article","venue":"DigitalResearch@Fordham (Fordham University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Nucleofection; Pretext; Work (physics); Circumstantial evidence; Limiting; Frame (networking)","score_opus":0.07217018532515046,"score_gpt":0.17256778304276227,"score_spread":0.10039759771761181,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6995257633","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.13347118,0.027697051,0.0015325248,0.11494124,0.008778036,0.0029484571,0.021670956,0.00041218053,0.6885483],"genre_scores_gemma":[0.14154796,0.00826929,0.0009853125,0.018770905,0.00034559533,0.0026261176,0.0013351395,0.00010645822,0.8260133],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996325,0.0000675786,0.000012529705,0.000077027405,0.0000573244,0.00015307339],"domain_scores_gemma":[0.998949,0.00017731012,0.00007370804,0.000033121167,0.00041806622,0.0003487705],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005734652,0.00048513574,0.00040191604,0.0004988893,0.006562645,0.0019126631,0.0005101242,0.0010484038,0.15584697],"category_scores_gemma":[0.0018293756,0.0003844949,0.00011134561,0.0010827039,0.00062351103,0.0013166155,0.001223097,0.0024997175,0.027054854],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011762755,0.00007222129,0.004963981,0.0004892405,0.0000054197385,0.0009713059,0.022928879,0.000034393775,0.0012587277,0.0039773593,0.92146516,0.04371573],"study_design_scores_gemma":[0.000013855375,0.000010283655,0.00794249,0.00015051613,0.000001564541,0.00014041922,0.026846353,0.000027278782,0.00013313655,0.0001657989,0.96456003,0.000008283726],"about_ca_topic_score_codex":0.09666842,"about_ca_topic_score_gemma":0.1753203,"teacher_disagreement_score":0.15584697,"about_ca_system_score_codex":0.0029593348,"about_ca_system_score_gemma":0.0051389285,"threshold_uncertainty_score":0.52136004},"labels":[],"label_agreement":null},{"id":"W6995266312","doi":"","title":"United as one","year":2019,"lang":"en","type":"article","venue":"Australasian Journal of Paramedicine","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Ethos; Front (military); Track (disk drive); Quarter (Canadian coin)","score_opus":0.030646370527806357,"score_gpt":0.24287930055313092,"score_spread":0.21223293002532456,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6995266312","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0035834047,0.0027007046,0.0015541727,0.02694495,0.023566373,0.00010035694,0.00048011038,0.0011942239,0.9398757],"genre_scores_gemma":[0.0042626383,0.0003252484,0.00036225718,0.004712707,0.00048605126,0.000015187414,0.000102205064,0.00024307905,0.98949057],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99851936,0.00015701453,0.000054749096,0.0003276367,0.0005851293,0.00035611974],"domain_scores_gemma":[0.99625707,0.00013720563,0.000094365,0.00027932908,0.001076215,0.0021557005],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0011465183,0.00060260936,0.0006195723,0.0011496766,0.005956832,0.0061516706,0.00071083667,0.0030942822,0.5362239],"category_scores_gemma":[0.0048243226,0.000588845,0.0004422617,0.0006062496,0.0011145184,0.0063017574,0.0077977274,0.0049960082,0.27139255],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003587618,0.000038460388,0.00047342764,0.00004860027,0.000004728712,0.00019916096,0.0004627622,0.000013739236,0.00032830672,0.008409856,0.9291103,0.06087484],"study_design_scores_gemma":[0.0000030691476,0.000016952361,0.00050862663,0.000038112852,0.000002153913,0.00023729297,0.00032726853,0.000016118556,0.00005871755,0.0005555564,0.998228,0.000008179821],"about_ca_topic_score_codex":0.0056820423,"about_ca_topic_score_gemma":0.016096508,"teacher_disagreement_score":0.5362239,"about_ca_system_score_codex":0.0012787228,"about_ca_system_score_gemma":0.0033772562,"threshold_uncertainty_score":0.66152036},"labels":[],"label_agreement":null},{"id":"W6997358034","doi":"","title":"Where is She: Find the Women in Electronic Music Culture","year":2016,"lang":"en","type":"article","venue":"Research Online (Goldsmiths University of London)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Electronic music; Privilege (computing); Visibility; Popular music; Inclusion (mineral); Dynamics (music); Social dynamics","score_opus":0.039361950315984474,"score_gpt":0.25148731810667146,"score_spread":0.212125367790687,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6997358034","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.40899286,0.026463617,0.0032243414,0.18268695,0.0028629422,0.00006463283,0.00015784723,0.0001104805,0.37543634],"genre_scores_gemma":[0.9084948,0.007911043,0.0007237077,0.010600214,0.00032352604,0.00003475192,0.00003931784,0.0001083194,0.071764454],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99800247,0.0011287066,0.000054377982,0.0001865741,0.00021460625,0.0004132492],"domain_scores_gemma":[0.9976301,0.00097065064,0.00025339078,0.00013446077,0.00030092793,0.0007104677],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0034289393,0.00034014144,0.0004334199,0.0016461052,0.014858015,0.017047219,0.0011185446,0.002132074,0.013433967],"category_scores_gemma":[0.006565758,0.00028856902,0.00017255609,0.0024800685,0.014222787,0.016378408,0.0055105933,0.0027109783,0.0017846064],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000034583943,0.000030012343,0.0047354237,0.000101348756,0.00000775061,0.0006609727,0.88071907,0.000015342564,0.00045282787,0.05144704,0.015354401,0.04644129],"study_design_scores_gemma":[0.0000025867773,0.000012184982,0.0012563228,0.00024020486,0.000005174154,0.00026621006,0.83268934,0.000015964883,0.00014865426,0.005144218,0.16020845,0.0000106669],"about_ca_topic_score_codex":0.012444888,"about_ca_topic_score_gemma":0.01954924,"teacher_disagreement_score":0.017047219,"about_ca_system_score_codex":0.0022067209,"about_ca_system_score_gemma":0.0026358764,"threshold_uncertainty_score":0.044941068},"labels":[],"label_agreement":null},{"id":"W6998605985","doi":"","title":"After the riot : taking new feminist youth subcultures seriously","year":2004,"lang":"en","type":"dissertation","venue":"eScholarship@McGill (McGill)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Feminism; Context (archaeology); Musical; Field (mathematics); Black feminism; Cultural studies","score_opus":0.02527736438758,"score_gpt":0.21853684598018827,"score_spread":0.19325948159260828,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6998605985","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3789335,0.010611876,0.0010903039,0.14384736,0.0021601939,0.00009542095,0.000075497,0.00012565524,0.46306026],"genre_scores_gemma":[0.8755333,0.0027214473,0.00047255165,0.00866097,0.0003741453,0.00009410134,0.00002310885,0.00014540022,0.11197493],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99370086,0.0031800424,0.00010056174,0.00029077005,0.0006632972,0.0020644667],"domain_scores_gemma":[0.99658644,0.0009330255,0.0003099412,0.00025832525,0.0004408496,0.0014714109],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0065905116,0.00032803434,0.00039658122,0.0011133299,0.02252287,0.011846197,0.0015695542,0.002715883,0.0124005275],"category_scores_gemma":[0.0066105346,0.00031154056,0.00032736576,0.0011608304,0.013688158,0.0069005406,0.010005471,0.0033412105,0.0008238979],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000044220018,0.000061648156,0.007292784,0.00008073969,0.000008031511,0.0011053076,0.78063744,0.0000370841,0.00030479327,0.09822263,0.0450253,0.067180045],"study_design_scores_gemma":[0.000005526472,0.000021056943,0.0056406735,0.00015957959,0.0000042003944,0.00011368456,0.7101077,0.000022115735,0.00018161925,0.003546426,0.280189,0.000008375058],"about_ca_topic_score_codex":0.073711865,"about_ca_topic_score_gemma":0.19096306,"teacher_disagreement_score":0.073711865,"about_ca_system_score_codex":0.008669881,"about_ca_system_score_gemma":0.011607494,"threshold_uncertainty_score":0.14656562},"labels":[],"label_agreement":null},{"id":"W6998777867","doi":"","title":"Bad Mamma Jamma Live at Oldfield's on High on 2006-09-08","year":2006,"lang":"en","type":"other","venue":"Bulletin of Miscellaneous Information (Royal Gardens Kew)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"SPARK (programming language); Term (time); Quarter (Canadian coin); Subject (documents); Collectable","score_opus":0.00678729929124498,"score_gpt":0.15820608935105063,"score_spread":0.15141879005980566,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6998777867","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0031765779,0.00057832047,0.00015720753,0.0018976897,0.0018488481,0.0000645858,0.005385907,0.0008173359,0.9860736],"genre_scores_gemma":[0.0042010047,0.00026259862,0.00011687635,0.00015131169,0.00017489318,0.00001407767,0.0011569975,0.00014588144,0.99377644],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998493,0.000009003569,0.0000026481985,0.00002070267,0.000061491744,0.000056878755],"domain_scores_gemma":[0.99961567,0.000019803234,0.000013094656,0.000023997269,0.000125217,0.00020209374],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00033919973,0.00051357184,0.0002900425,0.0008878523,0.0037547518,0.0021879883,0.0005361205,0.0008840017,0.73820686],"category_scores_gemma":[0.00088454527,0.00023858856,0.0002078189,0.0008967351,0.0002643074,0.00083063653,0.0015882477,0.0012272648,0.3762849],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006281746,0.00002216625,0.000440904,0.000041495616,0.0000012149874,0.00008935751,0.00011278506,0.000010936566,0.00018121899,0.0004488754,0.9759275,0.022660838],"study_design_scores_gemma":[0.0000051675975,0.000014614051,0.0029938568,0.000045445267,0.0000011707335,0.000035190333,0.00023924794,0.000012309914,0.0000751619,0.00006801971,0.99650687,0.0000029232756],"about_ca_topic_score_codex":0.015766371,"about_ca_topic_score_gemma":0.09708584,"teacher_disagreement_score":0.73820686,"about_ca_system_score_codex":0.00085597124,"about_ca_system_score_gemma":0.00096360565,"threshold_uncertainty_score":0.37341613},"labels":[],"label_agreement":null},{"id":"W6999150524","doi":"","title":"Canadians Redefining R&amp;B: The Online Marketing of Drake, Justin Bieber, and Jessie Reyez","year":2023,"lang":"en","type":"article","venue":"Scholarship@Western (Western University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Multiculturalism; Narrative; Musical; Popular music; Ascription; Identity (music); Music industry; Music history","score_opus":0.15510444907361,"score_gpt":0.2870504759947285,"score_spread":0.13194602692111848,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6999150524","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5925827,0.007356448,0.0011691098,0.10335224,0.0007735492,0.00007411848,0.00020334042,0.00011872789,0.29436985],"genre_scores_gemma":[0.9367157,0.0039806617,0.001020603,0.008863103,0.00010854387,0.00002432668,0.000059975468,0.00009229674,0.049134735],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99716884,0.0006881507,0.00003517491,0.00022193225,0.0012542492,0.000631738],"domain_scores_gemma":[0.99581146,0.0013889266,0.0003681962,0.0001504145,0.00082630443,0.0014546232],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0033113917,0.0004184014,0.00031597356,0.0017338201,0.039488506,0.011448019,0.0014522984,0.002128732,0.0065510073],"category_scores_gemma":[0.005322669,0.00037620976,0.00019184883,0.003145969,0.017742349,0.004456225,0.003975941,0.0036316793,0.0005486332],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000059567337,0.000057013116,0.0059830863,0.00015899901,0.000009119984,0.0014203914,0.78039485,0.000118825425,0.0020190028,0.07168083,0.08836226,0.049736023],"study_design_scores_gemma":[0.0000037367047,0.000018089808,0.005976721,0.00013816818,0.000008516823,0.0002630803,0.53215283,0.00008184774,0.00044473395,0.0011144602,0.45974317,0.000054675642],"about_ca_topic_score_codex":0.91911244,"about_ca_topic_score_gemma":0.9667947,"teacher_disagreement_score":0.080887556,"about_ca_system_score_codex":0.044873692,"about_ca_system_score_gemma":0.059242573,"threshold_uncertainty_score":0.32558292},"labels":[],"label_agreement":null},{"id":"W6999237796","doi":"","title":"20190301 CFUV-FM 101.9 Victoria, BC","year":2019,"lang":"en","type":"other","venue":"Bulletin of Miscellaneous Information (Royal Gardens Kew)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Blues; Closet; Coco; Morning","score_opus":0.007427034404856748,"score_gpt":0.16486144621649562,"score_spread":0.15743441181163886,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6999237796","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0003973627,0.00010402873,0.00014368593,0.00013340393,0.00017973027,0.000033002758,0.0023828032,0.00023700087,0.99638903],"genre_scores_gemma":[0.0006706269,0.000042363565,0.000059059752,0.00002578826,0.0000059209005,0.000005136118,0.00045556377,0.000081431455,0.998654],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997968,0.000011109878,0.000005894563,0.00004359602,0.00008626918,0.0000563756],"domain_scores_gemma":[0.9994677,0.000026800692,0.000014082047,0.000037053338,0.00026416598,0.00019027523],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00021538003,0.00061294093,0.0003289378,0.0008498051,0.0028899438,0.0025123416,0.0006886389,0.0010965755,0.8884579],"category_scores_gemma":[0.000682526,0.00037870632,0.00021105584,0.0011183753,0.00030266045,0.0008995308,0.0011808121,0.0010547718,0.77312964],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004881214,0.00003836889,0.0003230704,0.000085188854,0.0000020669238,0.00006897501,0.000057111225,0.00007644637,0.000570629,0.0023338653,0.9071318,0.089263685],"study_design_scores_gemma":[0.000004470449,0.000006854822,0.00087626575,0.000040622912,6.3843316e-7,0.000024694793,0.00007614668,0.00006807549,0.000116068746,0.00015757972,0.9986259,0.0000026959217],"about_ca_topic_score_codex":0.11526886,"about_ca_topic_score_gemma":0.37519673,"teacher_disagreement_score":0.8884579,"about_ca_system_score_codex":0.0027271917,"about_ca_system_score_gemma":0.0022625893,"threshold_uncertainty_score":0.22919583},"labels":[],"label_agreement":null},{"id":"W6999404971","doi":"","title":"Coil: 2003-05-29 Canada-Montreal","year":2003,"lang":"en","type":"other","venue":"Bulletin of Miscellaneous Information (Royal Gardens Kew)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Conversation; Shot (pellet); Upload; Set (abstract data type); Phone","score_opus":0.005954433958693865,"score_gpt":0.1506858301807165,"score_spread":0.14473139622202263,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6999404971","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0014020393,0.0011370232,0.0009007965,0.0014503665,0.0022583585,0.00020107883,0.018658254,0.0028300346,0.97116214],"genre_scores_gemma":[0.0038818386,0.00056763453,0.00038461038,0.00018571946,0.00013402884,0.000037746784,0.0041254507,0.00080410636,0.9898789],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99970573,0.000010692161,0.0000040079926,0.000059801867,0.00013047873,0.00008917806],"domain_scores_gemma":[0.99926263,0.000021621574,0.000012044011,0.000052777385,0.0003666591,0.00028433453],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00037391233,0.0010390453,0.00065841124,0.0011405163,0.0038461394,0.0061759474,0.0016126588,0.0014196032,0.8076932],"category_scores_gemma":[0.00081765774,0.00043266552,0.00048595143,0.0018879718,0.00074489875,0.0014047534,0.0014341795,0.0013637657,0.45527592],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000039803905,0.000011922897,0.0001169323,0.00005084345,0.000002864168,0.000039363968,0.0000550129,0.0000544761,0.00037789787,0.0009995217,0.9867191,0.011532337],"study_design_scores_gemma":[0.000011514411,0.00000902137,0.0008926592,0.000042094718,0.0000028079191,0.000023725523,0.00012615781,0.00006094569,0.00021603209,0.00009368657,0.99851245,0.000009001637],"about_ca_topic_score_codex":0.56300735,"about_ca_topic_score_gemma":0.830378,"teacher_disagreement_score":0.8076932,"about_ca_system_score_codex":0.008608049,"about_ca_system_score_gemma":0.0075092977,"threshold_uncertainty_score":0.8791324},"labels":[],"label_agreement":null},{"id":"W6999426747","doi":"","title":"Coldplay Add Second Shows In Los Angeles, San Diego, And Vancouver On Music Of The Spheres World Tour","year":2023,"lang":"en","type":"other","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Field (mathematics); Key (lock)","score_opus":0.024823344779435336,"score_gpt":0.19746501605729264,"score_spread":0.1726416712778573,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6999426747","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0045405864,0.00086974096,0.000059598024,0.001637532,0.0006929371,0.000035590085,0.0013317014,0.00018943123,0.99064285],"genre_scores_gemma":[0.006850817,0.00026572,0.000047654194,0.00016786277,0.00006160192,0.0000145739305,0.0003818026,0.00012907287,0.99208087],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997596,0.000020894093,0.000002774277,0.000022450897,0.000079479294,0.00011485036],"domain_scores_gemma":[0.99952245,0.000026050111,0.000008255753,0.000016417303,0.000112606314,0.0003142757],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00024893758,0.00086155755,0.00038361695,0.0013233891,0.014632326,0.0066789994,0.00078869675,0.0015168209,0.39672646],"category_scores_gemma":[0.0004196327,0.00046962895,0.0002815011,0.001580626,0.00094521284,0.0012819873,0.0025563184,0.0019836975,0.064833224],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000045910623,0.00003274873,0.00080690923,0.000041010466,0.0000032127145,0.00011863478,0.000978083,0.000041095347,0.00017240843,0.0022273806,0.98090464,0.014627935],"study_design_scores_gemma":[0.000006202373,0.000007691422,0.00424355,0.00004079194,0.0000024996361,0.000024919042,0.0042865896,0.000028432369,0.00008867242,0.00014312674,0.991121,0.0000065324507],"about_ca_topic_score_codex":0.4011055,"about_ca_topic_score_gemma":0.92532265,"teacher_disagreement_score":0.5988945,"about_ca_system_score_codex":0.0048793685,"about_ca_system_score_gemma":0.0055596074,"threshold_uncertainty_score":0.8604965},"labels":[{"model":"gemma","categories":[],"domain":null,"study_design":"not_applicable","genre":"other","about_ca_system":false,"about_ca_topic":true,"confidence":"high"},{"model":"gpt","categories":["insufficient_payload"],"domain":null,"study_design":"not_applicable","genre":"other","about_ca_system":false,"about_ca_topic":false,"confidence":"high"}],"label_agreement":"split"},{"id":"W6999480323","doi":"","title":"2025.08.02 Cosmic Charlie Louisville, KY","year":2025,"lang":"en","type":"other","venue":"Internet Archive (Internet Archive)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Blues; Screaming; Nova scotia; Dream; Prudence","score_opus":0.01760553723038947,"score_gpt":0.21678027208633965,"score_spread":0.1991747348559502,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6999480323","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00009792482,0.000108572196,0.00017619795,0.00036627098,0.00027857957,0.00002178199,0.0019295622,0.00079761614,0.99622345],"genre_scores_gemma":[0.00024359947,0.00005645939,0.00006958526,0.00012204675,0.000015989259,0.000010625983,0.00056532805,0.00021135727,0.998705],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999806,0.00001569579,0.0000076221645,0.00004334143,0.0000759845,0.00005131009],"domain_scores_gemma":[0.9993765,0.000031163447,0.000017378317,0.00006224827,0.00023179468,0.0002808886],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00032927198,0.0008910613,0.0004120894,0.001103263,0.0024405771,0.0047526984,0.0006462138,0.0015865556,0.9034464],"category_scores_gemma":[0.0010736188,0.0004293298,0.00040351733,0.001046467,0.0003931601,0.002224009,0.0025125556,0.00195842,0.90155095],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011431526,0.000014776264,0.00008017394,0.000023060562,8.37927e-7,0.00002131198,0.000021448344,0.000021363157,0.000071954826,0.0021494643,0.972072,0.025512125],"study_design_scores_gemma":[0.000002190681,0.0000024378432,0.00014435813,0.000024522196,3.9841356e-7,0.000010891388,0.00003457561,0.000017883716,0.000025525766,0.00019910689,0.9995364,0.0000017246324],"about_ca_topic_score_codex":0.025616236,"about_ca_topic_score_gemma":0.08003238,"teacher_disagreement_score":0.09655362,"about_ca_system_score_codex":0.0018356038,"about_ca_system_score_gemma":0.0021695162,"threshold_uncertainty_score":0.13772202},"labels":[],"label_agreement":null},{"id":"W6999904881","doi":"","title":"The Discourse of Home Recording : Accessibility, Exclusion and Power","year":2011,"lang":"en","type":"other","venue":"Open MIND","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Université de Montréal","keywords":"Power (physics); Studio; Michel foucault; Panopticon; Ligne; Context (archaeology)","score_opus":0.06277890189529027,"score_gpt":0.2933300177485574,"score_spread":0.2305511158532671,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6999904881","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.38097465,0.009398379,0.050838966,0.040256273,0.00077979336,0.00014462772,0.00029266858,0.00024517943,0.51706946],"genre_scores_gemma":[0.9821508,0.0013142233,0.0022912233,0.00078791264,0.00031412757,0.0000872612,0.000048464066,0.00011142882,0.012894598],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.98339546,0.012552868,0.0004940714,0.00094357296,0.0018736004,0.0007404409],"domain_scores_gemma":[0.9722703,0.022893136,0.0016163016,0.001384112,0.0012112895,0.0006248905],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.007982457,0.0006243831,0.00074742513,0.0025248744,0.0069639967,0.012055323,0.0015825861,0.0030135394,0.007878946],"category_scores_gemma":[0.016663587,0.00043221161,0.00044073624,0.0024736288,0.03377749,0.012625632,0.0075332033,0.0038706833,0.0008281625],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000895336,0.000020916854,0.0017602087,0.00024026379,0.0000092996515,0.00040516167,0.65175307,0.00007948093,0.0005844301,0.3286397,0.002268987,0.014148967],"study_design_scores_gemma":[0.000060568396,0.00009637078,0.006186045,0.0015309475,0.000049532027,0.0012251773,0.543314,0.0007079191,0.0017068841,0.112254374,0.3327993,0.00006885123],"about_ca_topic_score_codex":0.009373771,"about_ca_topic_score_gemma":0.006666588,"teacher_disagreement_score":0.012055323,"about_ca_system_score_codex":0.0044880183,"about_ca_system_score_gemma":0.0025674186,"threshold_uncertainty_score":0.042215824},"labels":[],"label_agreement":null},{"id":"W6999989042","doi":"","title":"D Syfa Live at Theory August 2 2007 Pt 1","year":2007,"lang":"en","type":"other","venue":"Internet Archive (Internet Archive)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Government (linguistics); Field (mathematics)","score_opus":0.01787921900023183,"score_gpt":0.21894977191912593,"score_spread":0.20107055291889409,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6999989042","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00026073502,0.00015662039,0.00021574236,0.0025141821,0.0013277186,0.000046900026,0.0024827428,0.0005163201,0.99247897],"genre_scores_gemma":[0.0008863173,0.00005864916,0.000056774337,0.00018855257,0.00007291818,0.000012351337,0.00062241196,0.00015869076,0.99794334],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994796,0.000044341734,0.000009684011,0.0000648685,0.00026004526,0.00014147682],"domain_scores_gemma":[0.99871194,0.00006321978,0.0000270256,0.000094507624,0.00051370094,0.0005895564],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000602755,0.00076125545,0.00046462167,0.0013868951,0.005429106,0.0058716726,0.0008870169,0.002563992,0.8326727],"category_scores_gemma":[0.0016111716,0.00042378093,0.00038943085,0.0010952146,0.0008679599,0.0017543039,0.0031540273,0.0028539791,0.6320359],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011357922,0.0000067990986,0.000037148187,0.000009847514,4.6313386e-7,0.000013480304,0.00002862432,0.00001305857,0.00003761896,0.0027206254,0.9919051,0.005215962],"study_design_scores_gemma":[0.0000040633518,0.000005675532,0.00025824545,0.000020747764,6.3022327e-7,0.000011711704,0.00010198899,0.000021748718,0.00006610084,0.00043512043,0.9990711,0.0000029134837],"about_ca_topic_score_codex":0.054848123,"about_ca_topic_score_gemma":0.22679263,"teacher_disagreement_score":0.16732728,"about_ca_system_score_codex":0.0058327867,"about_ca_system_score_gemma":0.0045007695,"threshold_uncertainty_score":0.23867202},"labels":[],"label_agreement":null},{"id":"W7000034924","doi":"","title":"Driven Rush in the '90s and \"in the end\"","year":2021,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Trilogy; Wife; Reflection (computer programming); Space (punctuation); Front (military)","score_opus":0.03021961429664272,"score_gpt":0.19526536214843285,"score_spread":0.16504574785179013,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7000034924","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.015827462,0.012762283,0.0014536644,0.16585107,0.020133378,0.00006049058,0.000284722,0.00026564405,0.7833613],"genre_scores_gemma":[0.13090993,0.0040429765,0.00039307267,0.039063055,0.0014470668,0.000033501754,0.00013754044,0.00024172271,0.8237312],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985983,0.0002481582,0.00002122783,0.00011630787,0.00047748955,0.0005386156],"domain_scores_gemma":[0.9991346,0.00006448455,0.00004778822,0.00004827178,0.00024578386,0.00045905204],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010164116,0.00062859675,0.0003007637,0.00073160586,0.013625545,0.008420694,0.0007268483,0.002527857,0.024580894],"category_scores_gemma":[0.003095543,0.0002243308,0.00026149233,0.00069347123,0.008757114,0.003174813,0.003908345,0.008138616,0.008520059],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000038018054,0.00002060497,0.0009325565,0.000046702484,0.0000056155563,0.00025142613,0.020984845,0.00004110998,0.00019713081,0.20896547,0.7385226,0.029993871],"study_design_scores_gemma":[0.000002506609,0.0000067036717,0.0007354803,0.00005747113,0.0000011181623,0.000057925135,0.0076427944,0.000012535855,0.0000617853,0.0021554315,0.9892597,0.000006517821],"about_ca_topic_score_codex":0.19854793,"about_ca_topic_score_gemma":0.43872532,"teacher_disagreement_score":0.19854793,"about_ca_system_score_codex":0.008191772,"about_ca_system_score_gemma":0.008511299,"threshold_uncertainty_score":0.3947845},"labels":[],"label_agreement":null},{"id":"W7000043675","doi":"","title":"Drive-By Truckers Live at Music Farm on 2007-03-30","year":2007,"lang":"en","type":"other","venue":"Bulletin of Miscellaneous Information (Royal Gardens Kew)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Blues; State (computer science); Shut down; Alley; Quarter (Canadian coin)","score_opus":0.009232952625632727,"score_gpt":0.17200009210317072,"score_spread":0.162767139477538,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7000043675","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010668312,0.00014938139,0.00026253532,0.0007900392,0.0007809008,0.000116728545,0.004627336,0.0017449846,0.9904613],"genre_scores_gemma":[0.00079154654,0.00006969633,0.00006106855,0.000083230516,0.00003266539,0.000012951356,0.0007609101,0.00017648085,0.99801135],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997838,0.000015230369,0.0000057532193,0.00003041631,0.00008848085,0.00007645216],"domain_scores_gemma":[0.99947304,0.000025683377,0.000015689573,0.00004117627,0.0002248664,0.00021962363],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00031978203,0.00085087086,0.0004883738,0.0009923489,0.0036595613,0.0029509626,0.00088431477,0.00097035686,0.9175511],"category_scores_gemma":[0.0008944115,0.0003819129,0.0003143987,0.0011613684,0.0002616282,0.0016525751,0.0022731428,0.0010988405,0.8700822],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023588993,0.000023544717,0.00017417013,0.000025147236,5.8638045e-7,0.00003635316,0.000082824394,0.0000061493915,0.00013062355,0.00019804879,0.976274,0.02302489],"study_design_scores_gemma":[0.000005181173,0.000013262979,0.0008009521,0.000036385492,7.2482743e-7,0.000021672178,0.00034500615,0.000017529956,0.00006282241,0.000061826206,0.9986313,0.0000034057473],"about_ca_topic_score_codex":0.0083714705,"about_ca_topic_score_gemma":0.055138465,"teacher_disagreement_score":0.0824489,"about_ca_system_score_codex":0.0007279432,"about_ca_system_score_gemma":0.0009793708,"threshold_uncertainty_score":0.11760336},"labels":[],"label_agreement":null},{"id":"W7000734284","doi":"","title":"The handing-down of traditional folk songs and the creation of local culture","year":2013,"lang":"ja","type":"article","venue":"Kagoshima University Repository","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Local color; Popular culture; Folk culture; Folklore; Folk song","score_opus":0.01032526559092978,"score_gpt":0.15534629802454153,"score_spread":0.14502103243361175,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7000734284","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5047305,0.00193649,0.0012238147,0.003871894,0.000120815086,0.000021717255,0.000027310029,0.000033829492,0.4880336],"genre_scores_gemma":[0.9819787,0.000210483,0.00015706569,0.00012270553,0.000015963902,0.0000067759997,0.0000050415506,0.00001831311,0.01748492],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99844664,0.0007945887,0.000030226376,0.00018533248,0.00014448582,0.00039877268],"domain_scores_gemma":[0.99746406,0.00097483775,0.0002944138,0.00026036994,0.00034971625,0.0006566188],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001807696,0.00025221103,0.00019727171,0.0010029294,0.01139418,0.0084962305,0.0007472449,0.00072094105,0.010499519],"category_scores_gemma":[0.003342821,0.00026372718,0.0001253533,0.0010170959,0.027602965,0.0029572686,0.004332195,0.0020025384,0.0006247504],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014783043,0.000086704946,0.008820013,0.000120652345,0.000021979113,0.00086181343,0.691658,0.0002636587,0.0018726188,0.24575062,0.0047008856,0.0456952],"study_design_scores_gemma":[0.000058154626,0.00013981336,0.0411188,0.00033494557,0.000040387546,0.00056914875,0.7285994,0.0003751912,0.0019835578,0.034284707,0.19242118,0.000074643605],"about_ca_topic_score_codex":0.07209902,"about_ca_topic_score_gemma":0.17468783,"teacher_disagreement_score":0.07209902,"about_ca_system_score_codex":0.008562964,"about_ca_system_score_gemma":0.0036027934,"threshold_uncertainty_score":0.1433587},"labels":[],"label_agreement":null},{"id":"W7001410854","doi":"","title":"The Langara Voice - January 29, 2015","year":2013,"lang":"en","type":"article","venue":"Arca (British Columbia Electronic Library Network)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Headline; Flood myth; S Voice","score_opus":0.005009787780344921,"score_gpt":0.15535272432070724,"score_spread":0.15034293654036232,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7001410854","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0013917871,0.0060822195,0.00051797344,0.025581287,0.083079636,0.00019265548,0.0060111587,0.0016129946,0.8755303],"genre_scores_gemma":[0.0036427386,0.00071172416,0.00009325725,0.005399875,0.005793673,0.00007620609,0.0017735207,0.00036382076,0.9821453],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986216,0.00018795051,0.000057106638,0.00013116194,0.0007340802,0.0002680973],"domain_scores_gemma":[0.9977647,0.00044250672,0.000082221624,0.00016200785,0.0010390392,0.0005094831],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.001627745,0.00055962265,0.0006086041,0.0010087951,0.0043639233,0.010017287,0.0011181851,0.0037633036,0.32553622],"category_scores_gemma":[0.006386844,0.0004129396,0.00041171382,0.0007207594,0.0010164198,0.0025327515,0.0035568972,0.004001663,0.25929967],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000027557973,0.0000064737283,0.00006433143,0.000033885735,0.0000010321334,0.000028443363,0.000071498696,0.000008387484,0.000081586586,0.0007153529,0.9940321,0.004929354],"study_design_scores_gemma":[0.000004245854,0.000007913524,0.00043392592,0.00009829778,7.935906e-7,0.000008889306,0.00014969437,0.000017169721,0.000048671514,0.00011979741,0.9991054,0.00000520612],"about_ca_topic_score_codex":0.011399795,"about_ca_topic_score_gemma":0.044954557,"teacher_disagreement_score":0.67446375,"about_ca_system_score_codex":0.0024018749,"about_ca_system_score_gemma":0.0023423913,"threshold_uncertainty_score":0.9620407},"labels":[],"label_agreement":null},{"id":"W7001731560","doi":"","title":"The lark ascending the music of the British landscape","year":2019,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Romance; Babbling; Identity (music); Idyll; Frith; PARRY; Landscape painting; Coronation","score_opus":0.012652432787599692,"score_gpt":0.1629736562087249,"score_spread":0.1503212234211252,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7001731560","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.05581935,0.015441383,0.00071928935,0.017906139,0.002442895,0.000018193692,0.0001545383,0.00016232819,0.9073359],"genre_scores_gemma":[0.44888905,0.006187605,0.00068994117,0.0038417736,0.000413989,0.000012885767,0.00008484443,0.00016317924,0.5397168],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996506,0.000074896634,0.0000049830455,0.000037151985,0.00013038819,0.00010191781],"domain_scores_gemma":[0.9997718,0.000026471913,0.00001074417,0.000014434027,0.00006640874,0.000110183784],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00024181124,0.0002096335,0.00012611618,0.0005454336,0.006531705,0.005012474,0.00031368373,0.0005101385,0.016312728],"category_scores_gemma":[0.0007577066,0.00014136377,0.00006797192,0.0006464506,0.0026904522,0.00077807676,0.0013206594,0.0010930024,0.0027499238],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000119168835,0.00002708664,0.0041132076,0.00015658922,0.000009668545,0.0010809655,0.037214402,0.00014651087,0.0036064533,0.07767007,0.7200547,0.1558012],"study_design_scores_gemma":[0.0000031199259,0.000014145538,0.0069110445,0.00011288142,0.0000021731191,0.00023511637,0.015276687,0.000039150087,0.00013193388,0.0013370847,0.975926,0.000010623678],"about_ca_topic_score_codex":0.25540385,"about_ca_topic_score_gemma":0.6504064,"teacher_disagreement_score":0.25540385,"about_ca_system_score_codex":0.0040924847,"about_ca_system_score_gemma":0.001895505,"threshold_uncertainty_score":0.50783443},"labels":[],"label_agreement":null},{"id":"W7001802653","doi":"","title":"The legendary Horseshoe Tavern a complete history","year":2017,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Horseshoe (symbol); Horseshoe crab; Queen (butterfly); Club; Clothing","score_opus":0.10008119995942281,"score_gpt":0.21604769263172938,"score_spread":0.11596649267230656,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7001802653","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.012384185,0.03446421,0.00054502493,0.030946065,0.0078835795,0.00002259378,0.00023912596,0.00020285553,0.9133125],"genre_scores_gemma":[0.13785172,0.009008377,0.0004385526,0.0050475965,0.001805672,0.000014807179,0.00015528649,0.00017426044,0.84550375],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992756,0.00020321066,0.000017050079,0.00007493819,0.00024719382,0.00018200527],"domain_scores_gemma":[0.9994387,0.000045720288,0.00003512929,0.000064296764,0.00018513452,0.00023094723],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00044559882,0.00041230692,0.00022952334,0.00084545487,0.013281297,0.008014902,0.0005782149,0.0010440124,0.047656883],"category_scores_gemma":[0.0015498092,0.00020920658,0.00015449148,0.0009197731,0.0037305008,0.002780543,0.0035339447,0.0020900946,0.0072297757],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002642258,0.00000879001,0.0005942196,0.00007976479,0.0000041480025,0.00037363512,0.015231902,0.000020458056,0.00021715902,0.09506848,0.8334436,0.05493148],"study_design_scores_gemma":[3.1377616e-7,0.0000020683688,0.00030782362,0.000031452728,6.2783283e-7,0.000100584155,0.001732152,0.0000035239682,0.000023117702,0.00030607483,0.9974899,0.0000022824122],"about_ca_topic_score_codex":0.08773885,"about_ca_topic_score_gemma":0.2259711,"teacher_disagreement_score":0.9122611,"about_ca_system_score_codex":0.0054324334,"about_ca_system_score_gemma":0.0048650275,"threshold_uncertainty_score":0.1744563},"labels":[],"label_agreement":null},{"id":"W7001917712","doi":"","title":"Madona velkomeziříčská mezi reformací a restaurováním","year":2021,"lang":"cs","type":"other","venue":"Digital Library (University of West Bohemia)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Nucleofection; Windage; Limiting; Fusible alloy","score_opus":0.01237713040422569,"score_gpt":0.14904472676677746,"score_spread":0.13666759636255177,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7001917712","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.15378599,0.08041169,0.0056424616,0.06439275,0.0021360368,0.00018643924,0.0009815149,0.00016364775,0.6922995],"genre_scores_gemma":[0.84347934,0.025723761,0.0028404389,0.006949687,0.00077789545,0.00025416366,0.00049576344,0.00012123394,0.11935773],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9965642,0.0015114705,0.00015559349,0.0005339287,0.00077403185,0.00046079684],"domain_scores_gemma":[0.99785405,0.0009824608,0.00026748586,0.00031733117,0.00035354763,0.00022513076],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002895035,0.00042830457,0.00046917994,0.001759375,0.004069844,0.01349994,0.0009574125,0.0014881797,0.023310363],"category_scores_gemma":[0.005136043,0.00030630614,0.00044666542,0.002455996,0.0044838977,0.004953607,0.0049986523,0.0025773272,0.0032321403],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00021532083,0.00021512379,0.017178703,0.0021215908,0.000082216095,0.0004233026,0.05329682,0.0002906076,0.0015640674,0.72611326,0.047609027,0.15089008],"study_design_scores_gemma":[0.000018747136,0.00012721698,0.027474517,0.0016362806,0.000063010906,0.00022009545,0.03928081,0.00020939377,0.0012398076,0.038002618,0.89169157,0.000035907804],"about_ca_topic_score_codex":0.006012429,"about_ca_topic_score_gemma":0.012140998,"teacher_disagreement_score":0.023310363,"about_ca_system_score_codex":0.005819253,"about_ca_system_score_gemma":0.0040455847,"threshold_uncertainty_score":0.077980936},"labels":[],"label_agreement":null},{"id":"W7001935096","doi":"","title":"&lt;em&gt;Sacred Sound: Experiencing Music in World Religions.&lt;/em&gt; by Guy L. Beck, editor","year":2008,"lang":"en","type":"article","venue":"ScholarsArchive  (Brigham Young University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Agency (philosophy); George (robot); Casual","score_opus":0.01969377236397509,"score_gpt":0.18920388675909108,"score_spread":0.16951011439511598,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7001935096","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00042708486,0.6174456,0.00077541644,0.20014468,0.119464114,0.000047256923,0.00027912596,0.00010209609,0.061314683],"genre_scores_gemma":[0.010613008,0.5931145,0.0011768021,0.044539515,0.06653687,0.00007965076,0.00037057878,0.00019026217,0.2833788],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99941397,0.00015913666,0.000053581767,0.000076343305,0.00023391147,0.00006304895],"domain_scores_gemma":[0.99855465,0.00058552984,0.000093283095,0.000043230957,0.000470079,0.00025318647],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015280385,0.0013212828,0.0007902047,0.0021119649,0.0020396372,0.0052124057,0.0012177628,0.004893512,0.022751262],"category_scores_gemma":[0.0023081913,0.0006219652,0.00044868927,0.0022383642,0.002322507,0.006993506,0.002042271,0.0040523303,0.012526133],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011539542,0.0000046316313,0.00009207406,0.00023246303,0.0000029916496,0.00007314627,0.00034434698,0.000016246535,0.0000631133,0.001646796,0.95993227,0.03758027],"study_design_scores_gemma":[0.000004347311,0.0000056163717,0.00082652294,0.0005459251,0.000004629092,0.00020380587,0.0013356328,0.000037160044,0.00006928712,0.0010667859,0.9958924,0.000007967035],"about_ca_topic_score_codex":0.03660404,"about_ca_topic_score_gemma":0.1006282,"teacher_disagreement_score":0.03660404,"about_ca_system_score_codex":0.0020942308,"about_ca_system_score_gemma":0.0027839986,"threshold_uncertainty_score":0.0761106},"labels":[],"label_agreement":null},{"id":"W7002006172","doi":"","title":"The life and music of Booker \"Bukka\" White recalling the blues","year":2024,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Blues; White (mutation); State (computer science); Imprisonment; Singing","score_opus":0.03490780113262168,"score_gpt":0.19907026977782757,"score_spread":0.1641624686452059,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7002006172","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.226698,0.03511389,0.0011032218,0.06477516,0.010452208,0.00004972295,0.00038217843,0.00019346207,0.66123223],"genre_scores_gemma":[0.40765384,0.011206429,0.0005658212,0.008361538,0.0016738457,0.000039069353,0.00014541298,0.00024223204,0.57011175],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996954,0.00007501981,0.0000060831644,0.000052428833,0.00009943287,0.000071643815],"domain_scores_gemma":[0.99963367,0.00006694052,0.000043451237,0.000011912101,0.00009599437,0.00014789609],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00043868786,0.00034431968,0.00012583412,0.0005057045,0.0076864697,0.0035322423,0.00031705777,0.000672373,0.010317357],"category_scores_gemma":[0.0011498262,0.00014163063,0.00006017473,0.00039953843,0.0031698686,0.0017761278,0.0016749797,0.0019925162,0.0023944254],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006902996,0.000046965557,0.0027896946,0.00011442693,0.0000075338194,0.00091333134,0.19842131,0.00006418561,0.0024630297,0.031093419,0.70893234,0.055084664],"study_design_scores_gemma":[0.0000024826488,0.000011795753,0.0041465024,0.00009102088,0.0000019709955,0.00024974553,0.042371955,0.000014411018,0.00038531402,0.0004873437,0.9522275,0.000009947486],"about_ca_topic_score_codex":0.033601604,"about_ca_topic_score_gemma":0.09019397,"teacher_disagreement_score":0.033601604,"about_ca_system_score_codex":0.001749977,"about_ca_system_score_gemma":0.0011441152,"threshold_uncertainty_score":0.06681204},"labels":[],"label_agreement":null},{"id":"W7002334965","doi":"","title":"Mullmusik:Tour of Europe 2001. Sound Installation. Open Ears Festival, May 7-11, 2003. Kitchener, Ontario, Canada","year":2004,"lang":"en","type":"other","venue":"University of Birmingham Research Portal (University of Birmingham)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sound (geography); Sound production; Noise (video); Field (mathematics)","score_opus":0.07177365498154863,"score_gpt":0.24682846469462033,"score_spread":0.1750548097130717,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7002334965","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0029088196,0.0054597743,0.0014026274,0.0012360048,0.0014520343,0.0000594682,0.011098189,0.0027618357,0.9736212],"genre_scores_gemma":[0.0038788596,0.0012440349,0.0006161594,0.000094297335,0.00006199665,0.000019948196,0.002446238,0.00084011443,0.99079835],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99987936,0.000011353776,0.0000043554714,0.000017125716,0.0000460886,0.00004163464],"domain_scores_gemma":[0.9998443,0.0000137398165,0.0000072871744,0.00001136135,0.00005103408,0.000072319446],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00035438093,0.0009878451,0.0005406041,0.0011831614,0.0020744256,0.0036324607,0.0006547596,0.00076663535,0.457486],"category_scores_gemma":[0.00035445392,0.0004326352,0.0003947626,0.0017979805,0.00031532356,0.0014031944,0.0013909731,0.0011480143,0.20119743],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012170512,0.000024544219,0.00030114467,0.00013911905,0.0000054845,0.00013448935,0.00027524383,0.00008468139,0.00042401935,0.0013994448,0.937327,0.059763152],"study_design_scores_gemma":[0.00000902262,0.000010316328,0.0016886741,0.00006934247,0.0000028838083,0.000044347158,0.00027752947,0.00004075983,0.00010217843,0.00016442231,0.9975858,0.0000047015474],"about_ca_topic_score_codex":0.03289267,"about_ca_topic_score_gemma":0.17237557,"teacher_disagreement_score":0.96710736,"about_ca_system_score_codex":0.001022929,"about_ca_system_score_gemma":0.0011045928,"threshold_uncertainty_score":0.77383035},"labels":[],"label_agreement":null},{"id":"W7005109979","doi":"","title":"Popmuusika kui kultuuripärand ja selle väärtustamine Eestis","year":2012,"lang":"et","type":"dissertation","venue":"DSpace repository (University of Tartu)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Quarter (Canadian coin); Context (archaeology); Data collection; Term (time)","score_opus":0.010133669367346403,"score_gpt":0.16621125113537044,"score_spread":0.15607758176802403,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7005109979","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.034301728,0.0424432,0.0029415358,0.015831959,0.005381233,0.000116301046,0.005128975,0.0017082738,0.89214677],"genre_scores_gemma":[0.09841193,0.017157098,0.0031316509,0.0010903325,0.0010174586,0.00010932567,0.0017160212,0.0011936569,0.87617254],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.99942064,0.00010574634,0.000026872114,0.00011504992,0.00022050025,0.00011109877],"domain_scores_gemma":[0.99938667,0.00014091042,0.00005163826,0.00006883765,0.00016573198,0.00018626305],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007801946,0.00064571446,0.00073915685,0.0015834987,0.002623998,0.0064975405,0.00052293635,0.000957168,0.156499],"category_scores_gemma":[0.0024220482,0.00029310305,0.00026196594,0.0016549991,0.0007781068,0.0025179437,0.00283497,0.0018957774,0.0848439],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005341632,0.00020086434,0.0027526827,0.0014922969,0.00003026904,0.0013702911,0.008386038,0.00025045467,0.0044162055,0.050774608,0.46819067,0.46160147],"study_design_scores_gemma":[0.000005635749,0.000018288427,0.0018201516,0.00029186063,0.000004375743,0.00042089,0.00095520396,0.000032949694,0.00090389466,0.0010760818,0.99446267,0.000008007035],"about_ca_topic_score_codex":0.0026864368,"about_ca_topic_score_gemma":0.0049090753,"teacher_disagreement_score":0.156499,"about_ca_system_score_codex":0.0012605956,"about_ca_system_score_gemma":0.0022179973,"threshold_uncertainty_score":0.52354133},"labels":[],"label_agreement":null},{"id":"W7006007622","doi":"","title":"Teenager on tik tok gives us proof that she is the thottiest of the tik thots","year":2020,"lang":"en","type":"other","venue":"Bulletin of Miscellaneous Information (Royal Gardens Kew)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Code (set theory); Key (lock); Argument (complex analysis); Criticism","score_opus":0.011825881037713967,"score_gpt":0.1661337276328759,"score_spread":0.15430784659516195,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7006007622","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0030104518,0.00080413185,0.0019580484,0.0063655064,0.008636056,0.00013647959,0.0032302993,0.0031975177,0.9726616],"genre_scores_gemma":[0.0077407276,0.00052560365,0.00070098205,0.0008839472,0.00041581073,0.000042491134,0.0009888458,0.0009903685,0.98771125],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996972,0.00003712935,0.000008000859,0.00004160424,0.00012223757,0.00009387997],"domain_scores_gemma":[0.9988738,0.0001385733,0.000042192514,0.00010356533,0.00028579708,0.00055614405],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00050327345,0.00082517386,0.00036155232,0.00086196564,0.004397229,0.003230689,0.0007228839,0.0012964525,0.6903369],"category_scores_gemma":[0.0031641661,0.0003391351,0.0003809217,0.0006504317,0.00082488055,0.0045611076,0.0031300827,0.0024103092,0.46662217],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003330221,0.000015486788,0.00020201037,0.000047254496,9.945104e-7,0.00018583269,0.00073328236,0.000008670152,0.00018074019,0.00291263,0.9721013,0.023578424],"study_design_scores_gemma":[0.0000021586352,0.0000073440815,0.0002095192,0.000042642263,0.0000010004142,0.00014031673,0.0005068637,0.000016173128,0.00012538508,0.00020338211,0.99874145,0.000003746914],"about_ca_topic_score_codex":0.0073044687,"about_ca_topic_score_gemma":0.027864467,"teacher_disagreement_score":0.30966312,"about_ca_system_score_codex":0.0009793377,"about_ca_system_score_gemma":0.0012715166,"threshold_uncertainty_score":0.44169682},"labels":[],"label_agreement":null},{"id":"W7006188379","doi":"","title":"String Cheese Incident Live at Kool Haus on 2003-10-13","year":2003,"lang":"en","type":"other","venue":"Bulletin of Miscellaneous Information (Royal Gardens Kew)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"String (physics); Pluto; Rollover (web design); Movement (music)","score_opus":0.009709223620748239,"score_gpt":0.17008582293801433,"score_spread":0.16037659931726608,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7006188379","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0019016952,0.0010122961,0.00035000837,0.0026710336,0.0040115016,0.0000783347,0.003395581,0.0011555064,0.985424],"genre_scores_gemma":[0.0017563397,0.00020648025,0.00007090412,0.00012235441,0.00007026323,0.00000828974,0.00066498487,0.00014556407,0.9969549],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99973255,0.00002005377,0.000006620256,0.000041228934,0.0001220618,0.00007739144],"domain_scores_gemma":[0.99962974,0.00002535397,0.000013363738,0.000028914745,0.00016466086,0.0001378935],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00030554665,0.00065026444,0.0004402009,0.0010389468,0.0036329387,0.004131882,0.0008053443,0.0014028717,0.7371543],"category_scores_gemma":[0.0011005842,0.00031087358,0.00030368567,0.00094634015,0.00031874442,0.0015489144,0.0022258265,0.0017567321,0.48921895],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000050917315,0.000012596695,0.00015115942,0.000034397588,0.000001456507,0.00011982969,0.000112641734,0.00001339103,0.00013461152,0.00086784386,0.9829044,0.015596859],"study_design_scores_gemma":[0.0000028083473,0.000009987905,0.0005265478,0.000044165856,0.0000010967209,0.000037650745,0.00026931558,0.000017958764,0.0001237806,0.00013851178,0.99882466,0.0000035937812],"about_ca_topic_score_codex":0.010227955,"about_ca_topic_score_gemma":0.04774902,"teacher_disagreement_score":0.7371543,"about_ca_system_score_codex":0.0013182429,"about_ca_system_score_gemma":0.0008333546,"threshold_uncertainty_score":0.37491745},"labels":[],"label_agreement":null},{"id":"W7008186391","doi":"","title":"Book Review: #BLACKINSCHOOL","year":2024,"lang":"en","type":"article","venue":"Journals @ The Mount (Mount Saint Vincent University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Natural (archaeology); Work (physics); Product (mathematics)","score_opus":0.016657758886125095,"score_gpt":0.21094138582403085,"score_spread":0.19428362693790577,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7008186391","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00024148647,0.53320116,0.0003480497,0.12742278,0.14180589,0.00016338904,0.0013654496,0.00027075937,0.19518097],"genre_scores_gemma":[0.002356527,0.3374145,0.00047912425,0.07437564,0.058400996,0.00020611359,0.0011117007,0.00019167796,0.5254637],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99909675,0.00011467159,0.00006483049,0.00012579997,0.00049708417,0.00010085606],"domain_scores_gemma":[0.9956605,0.0011953486,0.0002358703,0.0001779441,0.0020173853,0.0007129578],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011024437,0.00090773473,0.0013114362,0.0025508397,0.0011956414,0.0044112774,0.0021785984,0.0053733173,0.24177684],"category_scores_gemma":[0.0066152615,0.00048444554,0.00073053053,0.0029151803,0.0012205878,0.0034130742,0.0019966606,0.004405351,0.16592942],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000061016112,0.0000040036834,0.000014105875,0.00031558351,0.000002077662,0.000016519803,0.0000072124676,0.000007630711,0.000014668698,0.0003826203,0.9737781,0.025451222],"study_design_scores_gemma":[0.0000052785035,0.000003881838,0.00007409366,0.0006247913,0.0000032157602,0.00005781867,0.00001018633,0.0000034817247,0.000012235631,0.000176772,0.99902487,0.0000034017453],"about_ca_topic_score_codex":0.0092705265,"about_ca_topic_score_gemma":0.019124318,"teacher_disagreement_score":0.24177684,"about_ca_system_score_codex":0.002472889,"about_ca_system_score_gemma":0.004296937,"threshold_uncertainty_score":0.8088241},"labels":[],"label_agreement":null},{"id":"W7008585481","doi":"","title":"20191130 CFUV-FM 101.9 Victoria, BC airchecks","year":2020,"lang":"en","type":"other","venue":"Internet Archive (Internet Archive)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Cover (algebra); Host (biology); Gloom; Jargon","score_opus":0.019142303671725338,"score_gpt":0.21265558303124668,"score_spread":0.19351327935952134,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7008585481","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0003924379,0.00010673648,0.00018119176,0.00034563596,0.000542104,0.00005139238,0.0031732633,0.0005090462,0.99469817],"genre_scores_gemma":[0.00069819327,0.00003087585,0.000059383903,0.000053885884,0.000013945346,0.0000077091045,0.00071937183,0.00015278075,0.9982639],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99965525,0.000017286688,0.000008207954,0.000069124195,0.00015067647,0.00009953343],"domain_scores_gemma":[0.99887186,0.00004282292,0.000023884446,0.00007097003,0.00050529966,0.00048504394],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00032592827,0.0007218578,0.0003776352,0.00075917697,0.0035872909,0.003333691,0.00081757864,0.0016435143,0.9242656],"category_scores_gemma":[0.0010334699,0.00045373684,0.0002793707,0.0008113544,0.00034881968,0.0010674074,0.001738477,0.0013745145,0.84052277],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000043719097,0.000024370082,0.000189602,0.00004343372,0.0000012174715,0.000042417585,0.000031671567,0.000045130815,0.000317437,0.0013218542,0.96333736,0.03460182],"study_design_scores_gemma":[0.0000040587797,0.00000549289,0.00049446226,0.000021500018,4.1457034e-7,0.000016322569,0.000051240182,0.00004232198,0.00007075907,0.00008545696,0.99920577,0.000002220967],"about_ca_topic_score_codex":0.12447266,"about_ca_topic_score_gemma":0.32913727,"teacher_disagreement_score":0.12447266,"about_ca_system_score_codex":0.0033260963,"about_ca_system_score_gemma":0.0031370958,"threshold_uncertainty_score":0.2474963},"labels":[],"label_agreement":null},{"id":"W7008980945","doi":"","title":"Danser sur la musique techno : une analyse des rapports sociaux de domination et de la praxis rave dans les espaces technos à Montréal","year":2021,"lang":"fr","type":"other","venue":"Archipelago (University of Quebec in Montreal)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Context (archaeology); ESPACE; Order (exchange); Social category","score_opus":0.010274126529958282,"score_gpt":0.20810534738453637,"score_spread":0.19783122085457808,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7008980945","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.54075766,0.005734554,0.0063086534,0.013250779,0.00020703128,0.00014385903,0.0006017506,0.000092487346,0.4329032],"genre_scores_gemma":[0.9231923,0.0019399053,0.0010369117,0.00032666605,0.0000322557,0.00005706301,0.00013958529,0.00006490948,0.073210455],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99872595,0.00038258685,0.0000228268,0.00016808802,0.00034862445,0.0003519362],"domain_scores_gemma":[0.9991881,0.00024612123,0.0000964047,0.00003940877,0.00019389982,0.00023601286],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010229567,0.0006585744,0.00026519792,0.0017763695,0.010587818,0.00787961,0.0014045775,0.00080224336,0.009907769],"category_scores_gemma":[0.002075333,0.0002907787,0.00027207963,0.0040471875,0.014984897,0.0028717974,0.0035843619,0.0015557093,0.0003748762],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000069637485,0.000023962166,0.014084617,0.00018319409,0.000028441207,0.00067511474,0.67180693,0.0006551073,0.00239906,0.250057,0.010651645,0.0493652],"study_design_scores_gemma":[0.0000091229895,0.000035531124,0.08153824,0.00019574464,0.00003170229,0.0001748925,0.514767,0.00064571126,0.00054928527,0.0066521736,0.39531425,0.0000863625],"about_ca_topic_score_codex":0.9441167,"about_ca_topic_score_gemma":0.9695618,"teacher_disagreement_score":0.05588329,"about_ca_system_score_codex":0.048886612,"about_ca_system_score_gemma":0.036149986,"threshold_uncertainty_score":0.35469884},"labels":[],"label_agreement":null},{"id":"W7009220707","doi":"","title":"Drive-By Truckers Live at Riverbend Music Center on 2005-07-26","year":2005,"lang":"en","type":"other","venue":"Bulletin of Miscellaneous Information (Royal Gardens Kew)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Center (category theory); Salt lake; Quarter (Canadian coin); Launched; Panic","score_opus":0.0076166263996476245,"score_gpt":0.1634573718271713,"score_spread":0.15584074542752366,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7009220707","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005449023,0.00014547199,0.00022341822,0.00045338747,0.0005021477,0.00008262266,0.0035665939,0.0011372075,0.9933442],"genre_scores_gemma":[0.0006508655,0.00007753955,0.00006433081,0.000056722438,0.000025937128,0.000014307813,0.0007676662,0.00017356983,0.99816906],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99977833,0.000012585811,0.0000058578826,0.00004018601,0.0001077092,0.000055302262],"domain_scores_gemma":[0.9996697,0.0000139170825,0.000011401476,0.000027663542,0.00012958415,0.00014781345],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00034486258,0.0006544829,0.00038632704,0.00072160026,0.002762234,0.003115358,0.00089623284,0.00070457987,0.9310004],"category_scores_gemma":[0.0006668383,0.0003221962,0.00024376636,0.00088590157,0.00024955376,0.0012896426,0.0019527726,0.00096268527,0.8293362],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023176292,0.00001665055,0.00010047179,0.000023742015,6.987043e-7,0.000026695343,0.00003937648,0.0000075109906,0.00011074699,0.00028310347,0.97833955,0.021028295],"study_design_scores_gemma":[0.0000057260386,0.000009420172,0.00059559103,0.00002464718,6.3753413e-7,0.000012348678,0.00012954771,0.000013076269,0.00005390025,0.00004340575,0.9991092,0.0000023596876],"about_ca_topic_score_codex":0.012650165,"about_ca_topic_score_gemma":0.06844484,"teacher_disagreement_score":0.9310004,"about_ca_system_score_codex":0.0011124721,"about_ca_system_score_gemma":0.0010742797,"threshold_uncertainty_score":0.09841955},"labels":[],"label_agreement":null},{"id":"W7010205768","doi":"","title":"The Grass Is Dead Live at Thirsty Turtle on 2005-11-02","year":2005,"lang":"en","type":"other","venue":"Bulletin of Miscellaneous Information (Royal Gardens Kew)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Blues; Bass (fish); Guitar; Brother; Nova scotia; Turtle (robot); Fish <Actinopterygii>","score_opus":0.00809511443070347,"score_gpt":0.16995737147474094,"score_spread":0.16186225704403748,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7010205768","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00280347,0.00046422114,0.00014710498,0.001982392,0.0039538755,0.0001028341,0.0034069505,0.0011482475,0.98599094],"genre_scores_gemma":[0.0017045264,0.000069773865,0.000044053355,0.00013479902,0.000057205012,0.000007668265,0.0006407876,0.000075962256,0.9972652],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99985933,0.0000074720874,0.0000019119432,0.000012255548,0.00006808609,0.000050994564],"domain_scores_gemma":[0.9996568,0.000010774968,0.0000066657663,0.000020456346,0.00014860078,0.00015666404],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0002808507,0.0004008271,0.0002958076,0.00077339483,0.0022641025,0.0019264248,0.00046266333,0.00069670955,0.5964607],"category_scores_gemma":[0.00051620783,0.00015957667,0.00026505234,0.00037984454,0.00022857946,0.00045074697,0.001256396,0.00096110435,0.34144032],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004352031,0.00001459708,0.00023326346,0.000019612495,8.879387e-7,0.00006495035,0.00004801596,0.000011387651,0.00012593968,0.00030561068,0.97588,0.02325217],"study_design_scores_gemma":[0.0000063398975,0.000025336796,0.0028492305,0.000036952184,0.0000011399595,0.000022922983,0.00015422681,0.000019551182,0.00009351225,0.0000714982,0.9967163,0.0000029259627],"about_ca_topic_score_codex":0.02632354,"about_ca_topic_score_gemma":0.14218156,"teacher_disagreement_score":0.5964607,"about_ca_system_score_codex":0.0010341987,"about_ca_system_score_gemma":0.001113183,"threshold_uncertainty_score":0.5755998},"labels":[],"label_agreement":null},{"id":"W7010359903","doi":"","title":"Iggy Azalea explains her breakup with Lakers player","year":2016,"lang":"en","type":"other","venue":"Internet Archive (Internet Archive)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Azalea; Shot (pellet); Breakup; Prime time; Quarter (Canadian coin)","score_opus":0.014987502651447852,"score_gpt":0.2065760924505691,"score_spread":0.19158858979912124,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7010359903","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.011057178,0.0010617103,0.00043638702,0.019835548,0.0032132806,0.00013386422,0.00081135205,0.0008585623,0.9625921],"genre_scores_gemma":[0.016949264,0.00034690675,0.00016473033,0.0019571348,0.00027291937,0.0000496191,0.0002308309,0.00019839786,0.97983],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992932,0.00010058347,0.000018401302,0.00007943736,0.00021729119,0.00029114675],"domain_scores_gemma":[0.9990608,0.00007179704,0.00003431534,0.00003962227,0.00020847883,0.0005850827],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00070102036,0.0006458194,0.0003142225,0.00092625467,0.009974676,0.004298443,0.0005748437,0.0018657331,0.38032377],"category_scores_gemma":[0.002153789,0.0003056116,0.00037721064,0.0004529313,0.0011266153,0.0035013799,0.0033125407,0.0023517108,0.1306878],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005187183,0.00006026236,0.0012998683,0.000058349935,0.0000030028139,0.0003832177,0.005326627,0.000012173536,0.00034496436,0.0032736626,0.9637783,0.025407705],"study_design_scores_gemma":[0.0000043970927,0.000019893152,0.0016101163,0.000046020377,0.0000018960943,0.00019136064,0.007518,0.000015217896,0.00012355183,0.00015107659,0.99031234,0.0000060926322],"about_ca_topic_score_codex":0.031604104,"about_ca_topic_score_gemma":0.12897456,"teacher_disagreement_score":0.61967623,"about_ca_system_score_codex":0.0018159065,"about_ca_system_score_gemma":0.0015569282,"threshold_uncertainty_score":0.88389295},"labels":[],"label_agreement":null},{"id":"W7010474789","doi":"","title":"Honky Tonk Tuesday Live at Radio Bean on 2008-04-29","year":2008,"lang":"en","type":"other","venue":"Bulletin of Miscellaneous Information (Royal Gardens Kew)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Blues; Pilgrim; Prison; White (mutation); Nova scotia","score_opus":0.009222425359821658,"score_gpt":0.16496009202769504,"score_spread":0.1557376666678734,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7010474789","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.001941744,0.0003013251,0.0002292927,0.0012968733,0.0032151078,0.00017577983,0.003925786,0.0012322934,0.98768175],"genre_scores_gemma":[0.0007924996,0.000052622032,0.000047733207,0.00008094241,0.000060574806,0.000015939022,0.0005267339,0.00011776545,0.9983052],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998047,0.000012073183,0.0000038642197,0.000035267283,0.00006469891,0.00007946976],"domain_scores_gemma":[0.99956864,0.000017062546,0.000011045168,0.000034184977,0.00013330484,0.00023565015],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00043876463,0.0009078009,0.000564907,0.0006382737,0.0036637625,0.0026824204,0.00088444323,0.0012571837,0.8318895],"category_scores_gemma":[0.00069738214,0.0004295138,0.0004667713,0.00041376354,0.00032828117,0.0012076389,0.0023246736,0.0020100723,0.656415],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000068322435,0.000048757025,0.00027555798,0.000028051134,0.0000018668262,0.00006158483,0.00005804714,0.00001891681,0.00018536045,0.0002708082,0.98157537,0.017407345],"study_design_scores_gemma":[0.000016366788,0.000042613006,0.0026077728,0.000041992298,0.0000022968084,0.000018859357,0.000249079,0.000031801916,0.000093454364,0.000078342935,0.9968119,0.00000537687],"about_ca_topic_score_codex":0.02306094,"about_ca_topic_score_gemma":0.1353621,"teacher_disagreement_score":0.8318895,"about_ca_system_score_codex":0.0012666422,"about_ca_system_score_gemma":0.0014068875,"threshold_uncertainty_score":0.23978913},"labels":[],"label_agreement":null},{"id":"W7010811767","doi":"","title":"John Peel Tribute: Session #7","year":2006,"lang":"en","type":"other","venue":"Bulletin of Miscellaneous Information (Royal Gardens Kew)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Elegance; Gloom; Pleasure; Session (web analytics); Beauty; Musical; Poetry; Simplicity; Anecdote; Active listening","score_opus":0.007599663263449308,"score_gpt":0.16885787275106573,"score_spread":0.16125820948761643,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7010811767","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0011529243,0.001630117,0.001254223,0.03250806,0.05783101,0.00052702555,0.0025291014,0.00334242,0.89922506],"genre_scores_gemma":[0.0016459544,0.0002769486,0.00017228418,0.0036081094,0.002231644,0.00007840556,0.00044668966,0.00057074695,0.99096924],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99918586,0.00009353971,0.000022187582,0.0001592272,0.00029836516,0.0002408298],"domain_scores_gemma":[0.9977412,0.00010528642,0.000043370514,0.000104750194,0.0007559448,0.0012493371],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.001056462,0.0008644945,0.00060134055,0.0007930139,0.0043513738,0.0064487136,0.0014435711,0.003222907,0.7759546],"category_scores_gemma":[0.0028958954,0.00040260667,0.00062991166,0.00040310863,0.0005874022,0.0032556388,0.0043488396,0.00406756,0.6024707],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019639972,0.00001563525,0.000032985157,0.000022688382,6.741586e-7,0.000025806607,0.000046392524,0.000003728521,0.000093608025,0.00036888677,0.99203485,0.0073351823],"study_design_scores_gemma":[0.0000032416253,0.0000104555065,0.0001439496,0.000027204433,5.4768196e-7,0.000027681635,0.0001347184,0.000010058731,0.00004996603,0.00012942184,0.99945956,0.000003256312],"about_ca_topic_score_codex":0.005456151,"about_ca_topic_score_gemma":0.016667737,"teacher_disagreement_score":0.7759546,"about_ca_system_score_codex":0.0016729922,"about_ca_system_score_gemma":0.0022405228,"threshold_uncertainty_score":0.31957352},"labels":[],"label_agreement":null},{"id":"W7011102431","doi":"","title":"Les femmes dans l’industrie musicale canadienne francophone","year":2022,"lang":"fr","type":"other","venue":"Archipelago (University of Quebec in Montreal)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Gender identity; Inclusion (mineral); Occupational training","score_opus":0.018588075405381196,"score_gpt":0.17308411121134215,"score_spread":0.15449603580596094,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7011102431","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.968306,0.0044753156,0.00064221246,0.002640421,0.00017051374,0.00010057991,0.0019330245,0.000019037201,0.021712966],"genre_scores_gemma":[0.950229,0.004432436,0.0007777581,0.0016592804,0.000040788193,0.00014833965,0.00060389534,0.00002026506,0.04208827],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.99826187,0.0003136582,0.000050202165,0.00022114605,0.00046268894,0.000690452],"domain_scores_gemma":[0.9981426,0.00030590408,0.00018643451,0.000048992704,0.000970132,0.00034592306],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023149555,0.00050399906,0.00043016305,0.0013446215,0.0063451957,0.0026261092,0.00057984487,0.0010550579,0.0126451515],"category_scores_gemma":[0.003121676,0.00028797757,0.00048329198,0.0016379522,0.0014528559,0.00075782463,0.0013308078,0.0011049096,0.0011384337],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00044856468,0.00020687212,0.6272217,0.0007691812,0.00018493213,0.002255798,0.21038713,0.00024662964,0.0038920569,0.0026628322,0.020210674,0.13151364],"study_design_scores_gemma":[0.000015281907,0.00021555145,0.7431862,0.0008437386,0.00009748103,0.00049473566,0.17997347,0.00010044035,0.000470349,0.0001898257,0.07431632,0.000096516575],"about_ca_topic_score_codex":0.8873374,"about_ca_topic_score_gemma":0.93624175,"teacher_disagreement_score":0.11266261,"about_ca_system_score_codex":0.008868379,"about_ca_system_score_gemma":0.009339001,"threshold_uncertainty_score":0.22665215},"labels":[],"label_agreement":null},{"id":"W7011208102","doi":"","title":"MF050 Popular Music of Newfoundland Project Recording Dubs / Michael Taft & Shelley Posen","year":2024,"lang":"en","type":"article","venue":"DigitalCommons (California Polytechnic State University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Folklore; Popular music; Folk music; Popular culture; Musicology","score_opus":0.02821317407901644,"score_gpt":0.20999269887730881,"score_spread":0.18177952479829237,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7011208102","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.014387762,0.005028726,0.00026128883,0.008821935,0.000914605,0.00011055966,0.010963502,0.0004061191,0.9591056],"genre_scores_gemma":[0.008336309,0.0007935342,0.00025562092,0.00023193876,0.000041095973,0.000017917224,0.0014021547,0.00006118414,0.9888602],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994035,0.00003608924,0.000013882058,0.000059004844,0.00024790256,0.00023959125],"domain_scores_gemma":[0.9986534,0.000062197665,0.000045846376,0.00007348314,0.00077199127,0.0003930693],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00064848014,0.00041935855,0.0002154854,0.0012165282,0.0057674055,0.003232042,0.0008489414,0.0010092994,0.30314913],"category_scores_gemma":[0.0008558053,0.00039674272,0.00015943781,0.0012526512,0.0007699039,0.00087731954,0.0018146668,0.0007582493,0.042358622],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000071969254,0.00004107616,0.0014847078,0.000078022415,0.00000335356,0.000091198046,0.00026574323,0.000040991323,0.0006947387,0.0022646284,0.9258759,0.0690876],"study_design_scores_gemma":[0.000008132046,0.000013301426,0.016813088,0.000088441855,0.0000034182524,0.000038094346,0.0009522352,0.000031746924,0.0003017852,0.00006993952,0.98167163,0.000008067454],"about_ca_topic_score_codex":0.8755857,"about_ca_topic_score_gemma":0.9746919,"teacher_disagreement_score":0.8755857,"about_ca_system_score_codex":0.0131000355,"about_ca_system_score_gemma":0.018448811,"threshold_uncertainty_score":0.9939732},"labels":[],"label_agreement":null},{"id":"W7013917169","doi":"","title":"Returns","year":2007,"lang":"en","type":"dissertation","venue":"Summit (Simon Fraser University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Improvisation; Variety (cybernetics); Musical; Weaving; Work (physics)","score_opus":0.018401711138916272,"score_gpt":0.2115158179556727,"score_spread":0.19311410681675642,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7013917169","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009976119,0.0005523996,0.003106094,0.0028108975,0.0014833558,0.00013924463,0.0038468002,0.0019382961,0.9761469],"genre_scores_gemma":[0.024274273,0.0003771419,0.0015954123,0.0005503891,0.00016473894,0.00004129273,0.0020373883,0.00070540234,0.97025406],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99928844,0.00006336748,0.000031326996,0.00014131278,0.0003333214,0.00014215364],"domain_scores_gemma":[0.9995173,0.000056771383,0.000033486114,0.00010731765,0.00017993883,0.00010523602],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005780463,0.0005034563,0.00036291187,0.001089538,0.0016436707,0.004019818,0.0010048896,0.00089598267,0.35880384],"category_scores_gemma":[0.00220969,0.00020705878,0.00036846404,0.0010135362,0.00072490313,0.0020516748,0.0019851972,0.0010559391,0.17375733],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00045832555,0.0000939906,0.0017556902,0.0003379845,0.000017333403,0.00094071677,0.0020225137,0.00030553257,0.0039440547,0.10764327,0.61460704,0.26787356],"study_design_scores_gemma":[0.0000050388276,0.000021007192,0.00072375184,0.00003477325,0.0000019320028,0.00013822093,0.0003393014,0.000037221987,0.00038633,0.0015355948,0.99677086,0.0000060461375],"about_ca_topic_score_codex":0.006055504,"about_ca_topic_score_gemma":0.011305441,"teacher_disagreement_score":0.64119613,"about_ca_system_score_codex":0.0013171679,"about_ca_system_score_gemma":0.0011952262,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W7014843837","doi":"","title":"REGGAE REVOLUTION RADIO SHOW 2-10-09","year":2009,"lang":"en","type":"other","venue":"Bulletin of Miscellaneous Information (Royal Gardens Kew)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Girl; Bass (fish); Sky; German","score_opus":0.008498551334635144,"score_gpt":0.16554449243612696,"score_spread":0.1570459411014918,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7014843837","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0023277155,0.00056798547,0.00014416462,0.0014136396,0.002085967,0.00010164503,0.0015919121,0.0006457532,0.9911212],"genre_scores_gemma":[0.0050416663,0.00018158194,0.00011431803,0.00040030348,0.00019620906,0.00003777571,0.0009348884,0.00021322191,0.99288005],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996698,0.00001747357,0.0000038905014,0.000056907764,0.00008423458,0.00016767344],"domain_scores_gemma":[0.9998186,0.000015818308,0.000006381222,0.000024275809,0.00006747855,0.000067405985],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00039256067,0.0010555519,0.00042512405,0.00053002633,0.0030302424,0.0021110584,0.0007866252,0.0017089506,0.6152031],"category_scores_gemma":[0.0005091131,0.00043122313,0.000616754,0.0003008549,0.0003630714,0.00088467036,0.002249606,0.0024563195,0.35006097],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017832634,0.00006513479,0.00043737667,0.00005292412,0.000005185468,0.00018905161,0.00009219415,0.000035108842,0.00085401273,0.0012425451,0.97705096,0.019797081],"study_design_scores_gemma":[0.000023271365,0.000036726848,0.0021045592,0.000028329472,0.0000034702232,0.00006133212,0.00018695206,0.000030520572,0.00020196746,0.00009779473,0.9972186,0.0000062955314],"about_ca_topic_score_codex":0.017155519,"about_ca_topic_score_gemma":0.08276185,"teacher_disagreement_score":0.38479692,"about_ca_system_score_codex":0.0012151587,"about_ca_system_score_gemma":0.0009163871,"threshold_uncertainty_score":0.5488661},"labels":[],"label_agreement":null},{"id":"W7014913094","doi":"","title":"Rethinking metal aesthetics: complexity, authenticity, and audience in Meshuggah's «I» and «Catch Thirtythr33»","year":2009,"lang":"en","type":"other","venue":"Library and Archives Canada (Government of Canada)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Taste; Variety (cybernetics); Audience reception; Resistance (ecology); Audience response","score_opus":0.011917102772023007,"score_gpt":0.15371392246849885,"score_spread":0.14179681969647584,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7014913094","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9187703,0.00056433165,0.0019709717,0.0039879247,0.00012069728,0.000031200252,0.00002095577,0.000023198952,0.074510366],"genre_scores_gemma":[0.9954205,0.00009671749,0.0003384729,0.00014762783,0.00003188109,0.00001068924,0.000005862339,0.00001798235,0.003930123],"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99774337,0.0013038216,0.000050482504,0.0002143771,0.00043957465,0.00024836278],"domain_scores_gemma":[0.99623674,0.00247352,0.00033606795,0.0002334433,0.00033045944,0.0003897594],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004247579,0.00040582032,0.00032005712,0.0020521416,0.015870754,0.010010499,0.00076817255,0.0014033052,0.0026233343],"category_scores_gemma":[0.005813717,0.00030709594,0.00021681118,0.0015384847,0.02706266,0.0042899633,0.0056300247,0.0029944968,0.0001695415],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000043677715,0.000013647659,0.003371498,0.000039376602,0.0000030449373,0.00036228044,0.9681709,0.000032217973,0.0009584959,0.019327065,0.00081262365,0.00686509],"study_design_scores_gemma":[0.000004795117,0.00002865955,0.007915559,0.00009925992,0.0000061973114,0.00034148482,0.9509128,0.00017180206,0.00056291424,0.0033517962,0.036583282,0.000021435675],"about_ca_topic_score_codex":0.02950252,"about_ca_topic_score_gemma":0.058627766,"teacher_disagreement_score":0.02950252,"about_ca_system_score_codex":0.006738856,"about_ca_system_score_gemma":0.0019273647,"threshold_uncertainty_score":0.05866158},"labels":[],"label_agreement":null},{"id":"W7015025849","doi":"","title":"\"Retro influences in the digital age: From the circus to early cinema, the visual identity of the band Avatar\"","year":2023,"lang":"en","type":"article","venue":"HAL (Le Centre pour la Communication Scientifique Directe)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université Laval","funders":"","keywords":"Identity (music); Narrative; Visual culture; Visual communication; Visual media; Perception","score_opus":0.02098302176740143,"score_gpt":0.22290371060377095,"score_spread":0.20192068883636952,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7015025849","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1893168,0.007762115,0.0027583158,0.013012703,0.0013264035,0.000024119152,0.000083949846,0.000084522304,0.78563106],"genre_scores_gemma":[0.9531375,0.0015567176,0.00041206545,0.0008890823,0.00041676217,0.000014366335,0.0000299938,0.00011241396,0.043431114],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9990728,0.0005128618,0.00001936351,0.00013275305,0.00014786486,0.0001142305],"domain_scores_gemma":[0.9984308,0.000765715,0.0001544778,0.00010303649,0.00022271402,0.00032331108],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015184936,0.00045679507,0.0001660714,0.0014994579,0.0072865733,0.014492529,0.00069748616,0.0013145123,0.01457075],"category_scores_gemma":[0.0047917073,0.00019406063,0.00014089195,0.0008391924,0.010481101,0.0062208152,0.0035527202,0.0027305994,0.0012687371],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017033647,0.000036151352,0.00231485,0.0001252738,0.000008628401,0.00039257685,0.5338903,0.00004127929,0.0016760458,0.40776074,0.014229665,0.039354216],"study_design_scores_gemma":[0.000019165167,0.00007016193,0.0066172793,0.00044933532,0.000029842173,0.0010213344,0.2916597,0.00017144399,0.0015337018,0.02168784,0.67671144,0.000028710765],"about_ca_topic_score_codex":0.007466337,"about_ca_topic_score_gemma":0.009167487,"teacher_disagreement_score":0.01457075,"about_ca_system_score_codex":0.002196954,"about_ca_system_score_gemma":0.0011114706,"threshold_uncertainty_score":0.048743963},"labels":[],"label_agreement":null},{"id":"W7015081258","doi":"","title":"[Review of] Encyclopedia of World Pop Music, 1980-2001","year":2004,"lang":"en","type":"article","venue":"UKnowledge (University of Kentucky)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Encyclopedia; Certification; Chart; Popular music; Work (physics); World wide","score_opus":0.02584190413099953,"score_gpt":0.19150266850566566,"score_spread":0.16566076437466615,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7015081258","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0008906484,0.8525997,0.0006897503,0.010147969,0.017587457,0.000220391,0.022768665,0.0003637097,0.09473175],"genre_scores_gemma":[0.003699573,0.86734396,0.0013858534,0.006523558,0.0036960496,0.0002732006,0.018717661,0.0001543448,0.09820587],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99957234,0.00005637708,0.00010129658,0.00005296106,0.0001785676,0.00003838516],"domain_scores_gemma":[0.9979334,0.0004053936,0.00029419133,0.000078704565,0.0011071156,0.0001812958],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006037347,0.00096559717,0.00081692415,0.012410984,0.00073179795,0.0034240643,0.0011688243,0.0006949241,0.06989987],"category_scores_gemma":[0.0042865225,0.00041094352,0.00041084757,0.023775313,0.00059351465,0.003112677,0.001427748,0.0009996612,0.033356223],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000026049811,0.000013264651,0.00026689394,0.007067546,0.000016039428,0.00006655377,0.00014059273,0.000029527846,0.00009884079,0.00071939896,0.780371,0.21118437],"study_design_scores_gemma":[0.0000031047953,0.0000057690536,0.0017542474,0.0033033723,0.000011087971,0.000102617065,0.00011592771,0.0000047893504,0.000018518367,0.000100720215,0.99457425,0.0000055749883],"about_ca_topic_score_codex":0.020022595,"about_ca_topic_score_gemma":0.05120969,"teacher_disagreement_score":0.06989987,"about_ca_system_score_codex":0.0014517916,"about_ca_system_score_gemma":0.0052507627,"threshold_uncertainty_score":0.23383838},"labels":[],"label_agreement":null},{"id":"W7015090316","doi":"","title":"Rhymesayers Entertainment: The Establishment of Minnesota Hip-Hop","year":2020,"lang":"en","type":"dissertation","venue":"Arizona State University Library Digital Repository (Arizona State University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Style (visual arts); Funk; Introspection; Active listening; Downtown; Twin cities; Quarter (Canadian coin)","score_opus":0.0070963234272175355,"score_gpt":0.14557045408914046,"score_spread":0.13847413066192293,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7015090316","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.83925486,0.00048924424,0.002166077,0.0024650546,0.00034739793,0.00005484334,0.00016746951,0.00015559014,0.15489954],"genre_scores_gemma":[0.9577271,0.00025741654,0.0014688269,0.00032038146,0.00004871442,0.000021581112,0.00008905644,0.00008186569,0.039985098],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9995975,0.00015058616,0.000007874012,0.00007274264,0.0000891361,0.00008214437],"domain_scores_gemma":[0.99951506,0.00008100249,0.000040612424,0.00003864193,0.00007083729,0.0002538107],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000556949,0.0002480283,0.00008087033,0.00029178173,0.004054975,0.0024162703,0.00037734388,0.00033848843,0.00687477],"category_scores_gemma":[0.00074154825,0.00015842052,0.000096622876,0.00027380727,0.0025791188,0.0010044115,0.0027095939,0.00086908875,0.0006899386],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00039160563,0.00014258319,0.048157603,0.0002688948,0.000022471106,0.0035374304,0.64587283,0.0003832105,0.015233311,0.042557675,0.08537253,0.15805975],"study_design_scores_gemma":[0.000012246242,0.00021765918,0.05290679,0.00021407125,0.000020713433,0.00093628286,0.34522128,0.00047700087,0.003050371,0.0008329283,0.59606045,0.000050250303],"about_ca_topic_score_codex":0.04428607,"about_ca_topic_score_gemma":0.29667193,"teacher_disagreement_score":0.04428607,"about_ca_system_score_codex":0.0027326623,"about_ca_system_score_gemma":0.0020332248,"threshold_uncertainty_score":0.088056624},"labels":[],"label_agreement":null},{"id":"W7015414291","doi":"","title":"Silver Angel and Apollo X: A Glimpse into Nadina Mackie Jackson's Canadian Bassoon Concerto Project","year":2017,"lang":"en","type":"dissertation","venue":"IUScholarWorks (Indiana University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Apollo; Concerto; Performance art; Collectable","score_opus":0.018652169823267683,"score_gpt":0.21383631202226128,"score_spread":0.1951841421989936,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7015414291","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.014598816,0.0100543,0.0031953244,0.105731644,0.010662698,0.0004545742,0.0038827062,0.00088484125,0.85053515],"genre_scores_gemma":[0.06251677,0.011035144,0.006340538,0.008528027,0.0009023705,0.00022816894,0.001953445,0.0007592897,0.9077363],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9976284,0.00019926408,0.000026083226,0.00013794829,0.0014365935,0.0005716865],"domain_scores_gemma":[0.9962388,0.00013407109,0.0000427565,0.0001042657,0.0012188752,0.002261258],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0028133793,0.0006199548,0.00028777227,0.0013792897,0.01174734,0.005631793,0.001195806,0.0009998787,0.07243336],"category_scores_gemma":[0.0032830145,0.00035609407,0.00024216865,0.0022495987,0.0030706588,0.0023123194,0.004017314,0.0032439767,0.012587681],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000039579652,0.000019964442,0.0004687208,0.000049340466,0.0000016338936,0.00007870431,0.004000212,0.000024431802,0.0003209409,0.014182188,0.9373175,0.04349683],"study_design_scores_gemma":[0.0000027513938,0.000004943656,0.0009132814,0.000056247092,6.885093e-7,0.000021193498,0.003776273,0.000009511796,0.00006189145,0.00030076609,0.9948454,0.000006970456],"about_ca_topic_score_codex":0.8787657,"about_ca_topic_score_gemma":0.95290864,"teacher_disagreement_score":0.1212343,"about_ca_system_score_codex":0.027605679,"about_ca_system_score_gemma":0.07166928,"threshold_uncertainty_score":0.24389648},"labels":[],"label_agreement":null},{"id":"W7015590947","doi":"","title":"Transcontinental Blues","year":2015,"lang":"en","type":"article","venue":"Digital Commons @ Butler University (Butler University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Taboo; Blues; Quarter (Canadian coin); Adventure; Metaphor; Aphorism; Shot (pellet); Style (visual arts); Ridiculous","score_opus":0.04243689206618571,"score_gpt":0.16397716738511953,"score_spread":0.12154027531893383,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7015590947","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00191514,0.0045673633,0.00035775034,0.0099501135,0.005059177,0.000013651467,0.00013805625,0.00013431064,0.97786456],"genre_scores_gemma":[0.023278244,0.0026268621,0.00022994106,0.005654406,0.0005470475,0.00001535761,0.00010194994,0.0001855939,0.9673605],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992949,0.0001284366,0.000022020848,0.0001340828,0.00021210562,0.00020838057],"domain_scores_gemma":[0.9993661,0.000063562344,0.000025327856,0.00010932721,0.00015829821,0.00027733334],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00063703425,0.00058397185,0.00028510747,0.00062192493,0.0071822354,0.006890646,0.00089133007,0.0017561327,0.240111],"category_scores_gemma":[0.0017138403,0.00018558002,0.00023469684,0.00092838967,0.004057994,0.0034285805,0.00758256,0.0037946322,0.087694086],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002835392,0.00003219042,0.0004889246,0.00016928163,0.000005239853,0.0007189753,0.007514152,0.00004346119,0.0007073138,0.16445598,0.7218242,0.10401191],"study_design_scores_gemma":[4.7197264e-7,0.0000018739726,0.00013409754,0.000034243672,3.5835248e-7,0.00010045606,0.0007285544,0.0000029086948,0.000030293573,0.0011083249,0.99785703,0.000001302588],"about_ca_topic_score_codex":0.008556013,"about_ca_topic_score_gemma":0.021180853,"teacher_disagreement_score":0.240111,"about_ca_system_score_codex":0.0020851525,"about_ca_system_score_gemma":0.0033429214,"threshold_uncertainty_score":0.80325127},"labels":[],"label_agreement":null},{"id":"W7016072929","doi":"","title":"Urban Music Governance : What Busking Can Teach Us about Data, Policy and Our Cities","year":2025,"lang":"en","type":"book","venue":"BiblioBoard Library Catalog (Open Research Library)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Corporate governance; Politics; Power (physics); Urban planning; Perspective (graphical); Public policy; Government (linguistics); Urban politics; Resistance (ecology)","score_opus":0.1067924593464419,"score_gpt":0.3107996582667079,"score_spread":0.20400719892026603,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7016072929","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008555229,0.039728243,0.007842045,0.53044415,0.0029864751,0.000062766194,0.00015703787,0.00021282023,0.41001126],"genre_scores_gemma":[0.5244266,0.07510869,0.009282974,0.10001843,0.005401358,0.00045940577,0.00038688094,0.0005890247,0.28432667],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9968952,0.0017366074,0.00007812564,0.00025149854,0.00058218697,0.00045638677],"domain_scores_gemma":[0.99645776,0.0020840904,0.0001677989,0.0005367235,0.0003359661,0.0004176923],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005012947,0.00036382882,0.00047994507,0.0012850796,0.008194883,0.021113386,0.0011186593,0.0031410588,0.009953358],"category_scores_gemma":[0.010278954,0.0004404868,0.00037394228,0.0031234806,0.022681747,0.0177103,0.0048787016,0.005468803,0.0018512039],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000063685193,0.000013812699,0.00039764872,0.00010170893,0.000004406837,0.00006021826,0.0127923,0.00016363824,0.00005024821,0.8883675,0.07200413,0.026038088],"study_design_scores_gemma":[0.0000058227292,0.000007497818,0.0006764096,0.00044308993,0.0000048293577,0.000040990235,0.011963126,0.00016921177,0.000108417575,0.2060203,0.7805482,0.000012045626],"about_ca_topic_score_codex":0.030046552,"about_ca_topic_score_gemma":0.04203837,"teacher_disagreement_score":0.030046552,"about_ca_system_score_codex":0.008762572,"about_ca_system_score_gemma":0.009336204,"threshold_uncertainty_score":0.063577175},"labels":[],"label_agreement":null},{"id":"W7017211498","doi":"","title":"Accordion Noir 2012-09-11: Frequency Swaptacular","year":2012,"lang":"en","type":"other","venue":"Internet Archive (Internet Archive)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Nova scotia; Majesty; Blues; Soul; Sound (geography); George (robot); World War II","score_opus":0.02082694301909155,"score_gpt":0.21523160129072352,"score_spread":0.19440465827163197,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7017211498","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010061949,0.00052608014,0.0009931413,0.0030220787,0.017621016,0.00016669619,0.0060131685,0.0045766784,0.9660749],"genre_scores_gemma":[0.004449598,0.0001879477,0.00039239883,0.001463554,0.0019424632,0.00009295784,0.0026006508,0.0024069985,0.9864634],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99867564,0.00012157513,0.00004063373,0.00015865886,0.0006768899,0.00032656582],"domain_scores_gemma":[0.99785525,0.00016742958,0.00006721283,0.00029725034,0.0011655265,0.00044735774],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0015732169,0.00076553115,0.00048442243,0.0012926088,0.0029366016,0.00640821,0.001095749,0.002418842,0.67648077],"category_scores_gemma":[0.0047011087,0.00041381308,0.0004456666,0.0010014996,0.0005672,0.0025934698,0.0021737795,0.0033700704,0.5536443],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006456575,0.000016284457,0.000075125776,0.000025687184,0.0000011042468,0.000021075242,0.000040883097,0.000022041319,0.00024260381,0.00248947,0.9852739,0.011727181],"study_design_scores_gemma":[0.00000571199,0.000006931179,0.00022834685,0.000014463351,5.213561e-7,0.000012090117,0.00002739952,0.000023309065,0.0000846034,0.00012822995,0.999464,0.0000044436856],"about_ca_topic_score_codex":0.015362658,"about_ca_topic_score_gemma":0.02733772,"teacher_disagreement_score":0.67648077,"about_ca_system_score_codex":0.0018036753,"about_ca_system_score_gemma":0.0014443658,"threshold_uncertainty_score":0.4614609},"labels":[],"label_agreement":null},{"id":"W7017505690","doi":"","title":"ArchipelSamplePack 1","year":2004,"lang":"en","type":"other","venue":"Bulletin of Miscellaneous Information (Royal Gardens Kew)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sample (material); Nice; Table (database); Work (physics)","score_opus":0.010390940907111916,"score_gpt":0.17085773888373929,"score_spread":0.16046679797662736,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7017505690","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.001641456,0.00045161383,0.0019836612,0.0007653237,0.0011547224,0.0003123868,0.0720344,0.0067152358,0.9149412],"genre_scores_gemma":[0.0025596977,0.00030622573,0.0014308403,0.00024417564,0.00014447916,0.00020181613,0.037836146,0.0030730555,0.9542035],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991549,0.00008411095,0.000042139603,0.00012394592,0.00046663487,0.0001281441],"domain_scores_gemma":[0.9979407,0.00023431025,0.000061707775,0.00041911536,0.0010079184,0.0003362661],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000943648,0.0007818189,0.00054894073,0.0044217966,0.0021535258,0.0046070395,0.0011921085,0.00092787587,0.792292],"category_scores_gemma":[0.0038306145,0.0006887206,0.000573849,0.004651839,0.00036806817,0.0022189443,0.0025021893,0.0013792358,0.6311536],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000056128792,0.000023087181,0.00020816881,0.00008792225,0.0000018949648,0.00003064338,0.00009477847,0.000028460996,0.00017239657,0.0018775761,0.9558309,0.041588083],"study_design_scores_gemma":[0.000004503609,0.000005723701,0.00075014535,0.00003091404,9.885968e-7,0.000033051812,0.00006399702,0.000018509665,0.0001351169,0.0002794462,0.9986727,0.0000048251554],"about_ca_topic_score_codex":0.018890098,"about_ca_topic_score_gemma":0.03655976,"teacher_disagreement_score":0.207708,"about_ca_system_score_codex":0.0017001219,"about_ca_system_score_gemma":0.0020053526,"threshold_uncertainty_score":0.29627025},"labels":[],"label_agreement":null},{"id":"W7018405347","doi":"","title":"Derrick Carter Live at Footwork Toronto 4 17 2010","year":2010,"lang":"en","type":"other","venue":"Internet Archive (Internet Archive)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"George (robot); Craft; Key (lock); Table (database)","score_opus":0.015271663114250591,"score_gpt":0.20972187195361652,"score_spread":0.19445020883936592,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7018405347","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0008526273,0.0011305801,0.00010842648,0.0024973636,0.0013758253,0.000050913888,0.0045960015,0.00028870744,0.98909956],"genre_scores_gemma":[0.0010901465,0.0002600701,0.000024941897,0.00008262493,0.00004083305,0.0000057465795,0.00051360973,0.000058554768,0.9979235],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997836,0.000009581846,0.0000032703597,0.000030324516,0.00009430096,0.00007905514],"domain_scores_gemma":[0.9993788,0.00001697009,0.000015443668,0.000023506998,0.00024934183,0.0003158403],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00023237997,0.00075003336,0.00030280766,0.00091829075,0.0041864603,0.0025364442,0.0005280992,0.0008196731,0.7192566],"category_scores_gemma":[0.00047539367,0.00027166802,0.00015743432,0.001379561,0.00045606738,0.0011619925,0.0021061262,0.0011241437,0.4115571],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00000735225,0.0000035754076,0.00008511262,0.000013977596,3.4709387e-7,0.00001712976,0.00006764086,0.00000943352,0.000044625198,0.00047144617,0.9915918,0.0076875105],"study_design_scores_gemma":[0.0000016037214,0.0000023712205,0.0007102833,0.000024899462,5.357162e-7,0.000011825163,0.00031096363,0.000009312088,0.000041382533,0.0000588697,0.9988256,0.000002215357],"about_ca_topic_score_codex":0.3347242,"about_ca_topic_score_gemma":0.7848978,"teacher_disagreement_score":0.7192566,"about_ca_system_score_codex":0.004196304,"about_ca_system_score_gemma":0.004438101,"threshold_uncertainty_score":0.6655518},"labels":[],"label_agreement":null},{"id":"W7019145286","doi":"","title":"Feel Good '40s Musical Back By Popular Demand","year":2009,"lang":"en","type":"article","venue":"DigitalCommons@CalPoly","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Entertainment; Musical; The arts; Prosperity; Active listening; Ticket; Performing arts","score_opus":0.020254173686831828,"score_gpt":0.20469810884954323,"score_spread":0.1844439351627114,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7019145286","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0072096335,0.00042952798,0.0005603843,0.017210161,0.003846768,0.00003192847,0.00030618737,0.0004711143,0.96993434],"genre_scores_gemma":[0.047185477,0.0005399252,0.00033755705,0.0064954106,0.0018748331,0.000039637187,0.00035185358,0.00058971747,0.94258577],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978399,0.00020909765,0.000042590695,0.00023762205,0.0010776895,0.0005930552],"domain_scores_gemma":[0.9978861,0.00013143108,0.000064495245,0.00018577951,0.0005014636,0.0012307601],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0013592397,0.00060332945,0.0003956587,0.00095846294,0.0068223267,0.013573528,0.0006675422,0.0019373795,0.34230056],"category_scores_gemma":[0.0039208825,0.00042218983,0.0004947188,0.00077500613,0.0022386676,0.0050780033,0.008484397,0.004751356,0.10334927],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000645347,0.000059758433,0.00059734186,0.00005165909,0.0000070618185,0.00021126906,0.002319213,0.000036690235,0.0011175456,0.018005658,0.9417098,0.03581948],"study_design_scores_gemma":[0.000008941122,0.000019822242,0.0009877653,0.00002709679,0.000001987586,0.00005372174,0.002286993,0.000033035478,0.000091009344,0.00064714823,0.9958335,0.000008907504],"about_ca_topic_score_codex":0.005918897,"about_ca_topic_score_gemma":0.022412723,"teacher_disagreement_score":0.34230056,"about_ca_system_score_codex":0.0019635193,"about_ca_system_score_gemma":0.0014110268,"threshold_uncertainty_score":0.9381284},"labels":[],"label_agreement":null},{"id":"W7019221815","doi":"","title":"Fathers, Sons, and Hippies: Changes in American Blues in the 1960s and its Connection to the Counterculture","year":2023,"lang":"en","type":"dissertation","venue":"UWSpace (University of Waterloo)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Regional Municipality of Waterloo","funders":"","keywords":"Blues; Counterculture; Jazz; Popularity; Popular music; Call and response; White (mutation); Sexual revolution","score_opus":0.017572770068312364,"score_gpt":0.19875579627608553,"score_spread":0.18118302620777316,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7019221815","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.95031726,0.002012296,0.00007228211,0.0034971067,0.00017925243,0.0000057750867,0.00007371885,0.0000054405336,0.04383693],"genre_scores_gemma":[0.9800914,0.0016295675,0.000057717945,0.0005663589,0.000097105905,0.000006378484,0.000047117224,0.000011035999,0.017493388],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9994615,0.00015946385,0.000014882238,0.00008808782,0.00013142382,0.00014462895],"domain_scores_gemma":[0.99901736,0.00021067624,0.00023591019,0.00002379822,0.00020739301,0.00030488754],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009305537,0.0001300245,0.00010590739,0.0010258685,0.0040416424,0.0021389124,0.00031506273,0.00039161913,0.006213479],"category_scores_gemma":[0.0017067678,0.0001512548,0.00005440489,0.0012257268,0.0024884488,0.0017828275,0.0017925474,0.0010415134,0.0003057731],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00020271035,0.0001321436,0.18562084,0.00012090543,0.000013240264,0.0020678397,0.6798079,0.00004203059,0.00157357,0.03254193,0.0148688005,0.08300809],"study_design_scores_gemma":[0.00000834579,0.00007754071,0.29369783,0.00013459458,0.0000065162976,0.00039854535,0.47740486,0.000036808393,0.00033950823,0.0007745287,0.22710423,0.000016720105],"about_ca_topic_score_codex":0.07325484,"about_ca_topic_score_gemma":0.19592144,"teacher_disagreement_score":0.07325484,"about_ca_system_score_codex":0.002821883,"about_ca_system_score_gemma":0.0014839937,"threshold_uncertainty_score":0.14565688},"labels":[],"label_agreement":null},{"id":"W7019389193","doi":"","title":"French Popular Music Policies : The Cultural Dimension in Question","year":2012,"lang":"fr","type":"article","venue":"theses.fr (ABES)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Popular music; Popular culture; Perspective (graphical); The Imaginary; Context (archaeology)","score_opus":0.04777616836502244,"score_gpt":0.25701595347854395,"score_spread":0.2092397851135215,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7019389193","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.25126904,0.016566861,0.0029161132,0.0629337,0.00036180578,0.000028680442,0.00036682235,0.00012546436,0.6654314],"genre_scores_gemma":[0.958274,0.002224021,0.00039104413,0.0022558083,0.00017910391,0.000022449574,0.00005827076,0.00003195954,0.03656336],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99676275,0.0013292716,0.00008023309,0.0003023343,0.00081603014,0.00070938235],"domain_scores_gemma":[0.9964696,0.0018544329,0.00037590083,0.00020119161,0.0008420538,0.00025678103],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002998209,0.00031073194,0.0002772326,0.002144953,0.0055369814,0.009140098,0.0006657918,0.001914275,0.014797416],"category_scores_gemma":[0.0062057516,0.00020647307,0.00022901817,0.0026510959,0.00445038,0.0027218524,0.001534546,0.0013803304,0.00087780075],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010389533,0.000027959317,0.0074556824,0.000228158,0.000043827484,0.0003844936,0.03473922,0.0004610176,0.00072756375,0.87748027,0.014220534,0.0641273],"study_design_scores_gemma":[0.00003302458,0.00007731069,0.045662485,0.00051559217,0.000043174652,0.0002678137,0.041681934,0.0004995523,0.0007007721,0.022770638,0.8877031,0.000044498967],"about_ca_topic_score_codex":0.16635844,"about_ca_topic_score_gemma":0.16128036,"teacher_disagreement_score":0.16635844,"about_ca_system_score_codex":0.018806214,"about_ca_system_score_gemma":0.0075447415,"threshold_uncertainty_score":0.33078027},"labels":[],"label_agreement":null},{"id":"W7019444322","doi":"","title":"Hidden Curriculum: The Radical Youth Punk Pedagogy of Propagandhi, A Case Study 1992-2017","year":2023,"lang":"en","type":"other","venue":"eScholarship (California Digital Library)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Punk; Curriculum; Politics; Hidden curriculum; Performativity; Multitude; Critical pedagogy","score_opus":0.035389300220758764,"score_gpt":0.2401508629015405,"score_spread":0.20476156268078174,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7019444322","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9567682,0.00056365854,0.0011859058,0.0023899227,0.00009127542,0.00013367178,0.000086908185,0.000030199211,0.03875018],"genre_scores_gemma":[0.98910975,0.0004735444,0.00053434103,0.00029917102,0.000024716492,0.000058277656,0.000036610843,0.000025492764,0.009438024],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99744993,0.0011800815,0.000057924946,0.0002067369,0.00040296942,0.0007023925],"domain_scores_gemma":[0.99828124,0.0008528923,0.00014487689,0.00012310054,0.00016449174,0.0004334673],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026902067,0.00041985835,0.00041961047,0.0014683931,0.026036782,0.00416124,0.0017462207,0.0018044792,0.0040502925],"category_scores_gemma":[0.00513702,0.0005212198,0.0002678475,0.0019869136,0.0103468755,0.002725199,0.0043709753,0.0038401005,0.00041723525],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002541174,0.00017266227,0.006021172,0.0001175649,0.0000036095585,0.0039512403,0.9614652,0.00006223689,0.00039389773,0.011412009,0.0025639923,0.013810994],"study_design_scores_gemma":[0.0000057063953,0.00007342872,0.008956995,0.00014166273,0.0000063908537,0.0012945066,0.93238986,0.000105108884,0.00034086697,0.00091214647,0.055758543,0.0000147891715],"about_ca_topic_score_codex":0.10359368,"about_ca_topic_score_gemma":0.28666654,"teacher_disagreement_score":0.10359368,"about_ca_system_score_codex":0.011124206,"about_ca_system_score_gemma":0.009267444,"threshold_uncertainty_score":0.20598137},"labels":[],"label_agreement":null},{"id":"W7019480660","doi":"","title":"Grand Traverse Band of Ottawa and Chippewa Indians – Glen Arbor Sun","year":2022,"lang":"en","type":"other","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Traverse; Cheyenne; Field (mathematics)","score_opus":0.011270998479091314,"score_gpt":0.1771957663627764,"score_spread":0.16592476788368507,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7019480660","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.011021838,0.0006418079,0.00011897801,0.0013841492,0.0006379689,0.00008817334,0.0023450514,0.00022408723,0.983538],"genre_scores_gemma":[0.005995092,0.0001572006,0.00009599999,0.00014270275,0.000022873455,0.000015814512,0.00034860612,0.00006456965,0.9931572],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99973303,0.000009643992,0.000003245764,0.000035857007,0.00005776113,0.00016042205],"domain_scores_gemma":[0.99952567,0.000021106574,0.000014942017,0.000027775892,0.00015890009,0.00025164423],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001643576,0.0007355809,0.00020017526,0.0008643117,0.008066676,0.0026015183,0.0008079946,0.001231769,0.3748201],"category_scores_gemma":[0.0004561511,0.00037994358,0.00022326135,0.00092957716,0.0008542772,0.0007859291,0.0023722562,0.0014326758,0.08205267],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013344482,0.0000697888,0.0040282877,0.00010879728,0.0000067805386,0.00041821122,0.0014895784,0.00009632876,0.0012882986,0.009172149,0.90944904,0.07373933],"study_design_scores_gemma":[0.0000038542626,0.000008743676,0.008025405,0.00003691202,0.0000019903512,0.00006212159,0.0017388761,0.000021886108,0.00018427729,0.0001668903,0.9897426,0.000006431222],"about_ca_topic_score_codex":0.60979724,"about_ca_topic_score_gemma":0.9168603,"teacher_disagreement_score":0.60979724,"about_ca_system_score_codex":0.004752267,"about_ca_system_score_gemma":0.010799997,"threshold_uncertainty_score":0.89174324},"labels":[],"label_agreement":null},{"id":"W7019627886","doi":"","title":"Icenrye's Geocaching Videozine - Episode 10","year":2005,"lang":"en","type":"other","venue":"Bulletin of Miscellaneous Information (Royal Gardens Kew)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Surprise; Noise (video); Event (particle physics); Cache; Subject (documents)","score_opus":0.007427947918798315,"score_gpt":0.17043523242836203,"score_spread":0.16300728450956373,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7019627886","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0113754,0.0005260137,0.0011235124,0.0042534824,0.00066740107,0.00037585318,0.022958733,0.003948504,0.95477116],"genre_scores_gemma":[0.0484944,0.000521127,0.0015688721,0.0011656154,0.00013668783,0.0001485389,0.029736713,0.0012315304,0.91699654],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99937075,0.000020497804,0.000011969326,0.00003589074,0.00031957874,0.00024138029],"domain_scores_gemma":[0.99879104,0.00008667778,0.000034039233,0.00010407098,0.00063182134,0.00035232975],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005082515,0.00029392634,0.00027977,0.0009868841,0.003437934,0.0028901086,0.00096903706,0.0010503733,0.15750419],"category_scores_gemma":[0.0023771464,0.0002253031,0.000109283894,0.0019020955,0.00037603805,0.0012677164,0.0014649321,0.0014667552,0.026718272],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000041597687,0.000024862933,0.00095220195,0.000033413842,0.0000011065467,0.00006895334,0.0004099498,0.00007553136,0.00029022188,0.0011467679,0.9738013,0.023154028],"study_design_scores_gemma":[0.0000061147807,0.000007274117,0.003251594,0.000025104859,9.1129385e-7,0.000031847543,0.00072209246,0.00013211826,0.0002460137,0.0001046996,0.9954672,0.000005035929],"about_ca_topic_score_codex":0.5987885,"about_ca_topic_score_gemma":0.8980904,"teacher_disagreement_score":0.5987885,"about_ca_system_score_codex":0.005974372,"about_ca_system_score_gemma":0.005801825,"threshold_uncertainty_score":0.80714864},"labels":[],"label_agreement":null},{"id":"W7020196691","doi":"","title":"Iowa Music Showcase - Episode 12: Lipstick Homicide Retrospective, Part 1 of 3","year":2015,"lang":"en","type":"other","venue":"Bulletin of Miscellaneous Information (Royal Gardens Kew)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Homicide; Joke; Lipstick; Style (visual arts); Feud; Shot (pellet)","score_opus":0.014982484413080786,"score_gpt":0.1738061115117203,"score_spread":0.1588236270986395,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7020196691","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.033422727,0.0035099098,0.0010065082,0.024647161,0.009119276,0.00052235066,0.014142285,0.0009826479,0.91264725],"genre_scores_gemma":[0.07912984,0.0033652235,0.00074863585,0.008872337,0.0017498288,0.0005084887,0.008332552,0.000834961,0.89645815],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993856,0.00011517498,0.000027825074,0.00006375287,0.00023792683,0.00016965588],"domain_scores_gemma":[0.9990301,0.00013581014,0.000060855,0.000069990056,0.0004168703,0.00028639467],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00067528564,0.0005068644,0.00031152333,0.0008680778,0.004459937,0.0022993411,0.0006510101,0.0014302989,0.20538197],"category_scores_gemma":[0.003308436,0.00035755546,0.00021882841,0.0010520247,0.0005523596,0.0012850949,0.0022007413,0.0031326578,0.058982644],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000027073924,0.000028288605,0.0011294499,0.000055416884,0.0000021025323,0.0003949835,0.0020387112,0.000008686367,0.00013826747,0.00080303795,0.98094696,0.014426962],"study_design_scores_gemma":[0.0000038941184,0.00002274876,0.0076218536,0.00020764988,0.0000024304459,0.00048203184,0.0079924455,0.000022586111,0.00020039549,0.0001241586,0.9833086,0.000011079566],"about_ca_topic_score_codex":0.029068563,"about_ca_topic_score_gemma":0.12237034,"teacher_disagreement_score":0.20538197,"about_ca_system_score_codex":0.0015846881,"about_ca_system_score_gemma":0.0010891545,"threshold_uncertainty_score":0.68707114},"labels":[],"label_agreement":null},{"id":"W7020244069","doi":"","title":"Keenan Wire June 11 2014","year":2014,"lang":"en","type":"other","venue":"Bulletin of Miscellaneous Information (Royal Gardens Kew)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Frequency standard; Radio broadcasting; Key (lock)","score_opus":0.006509704062043953,"score_gpt":0.16084036157527642,"score_spread":0.15433065751323247,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7020244069","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000583035,0.00060536497,0.00012434622,0.0010973745,0.0015441246,0.00003404793,0.0014164705,0.00028913954,0.99430615],"genre_scores_gemma":[0.0006863312,0.00013117054,0.000019428253,0.00007582893,0.00003770222,0.0000040124287,0.00024671436,0.00005351416,0.9987452],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996778,0.000016310605,0.0000057374277,0.00004796432,0.00014330007,0.00010900156],"domain_scores_gemma":[0.999713,0.000015536356,0.000010666124,0.000024576519,0.00014150041,0.00009480547],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00030902523,0.0005761854,0.0003061132,0.00082676724,0.0025690747,0.0031204415,0.0004502184,0.00090326736,0.63880944],"category_scores_gemma":[0.00088838127,0.0003194295,0.00018793662,0.0007233543,0.00035529042,0.00095548335,0.0018360618,0.0012687637,0.40597293],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003195904,0.0000065207414,0.000086164175,0.00004010998,9.570515e-7,0.000035995457,0.00006866188,0.000014193604,0.00016512178,0.0019355278,0.9820254,0.015589363],"study_design_scores_gemma":[0.000001724288,0.000003859065,0.00043113023,0.000029488572,6.223708e-7,0.000009816414,0.00009806669,0.0000068939953,0.000054160562,0.00008463879,0.9992778,0.0000018836912],"about_ca_topic_score_codex":0.036186136,"about_ca_topic_score_gemma":0.18351115,"teacher_disagreement_score":0.36119056,"about_ca_system_score_codex":0.0016716056,"about_ca_system_score_gemma":0.0017480596,"threshold_uncertainty_score":0.5151945},"labels":[],"label_agreement":null},{"id":"W7022070740","doi":"","title":"Silvery Sleep","year":2002,"lang":"en","type":"article","venue":"Digital Commons @ Butler University (Butler University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Francophone University Association","funders":"","keywords":"Subject (documents); Sleep (system call); Word (group theory); TRIPS architecture; Sudden death","score_opus":0.02862061566958249,"score_gpt":0.141517600882142,"score_spread":0.1128969852125595,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7022070740","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.003724066,0.0027930147,0.000504375,0.012385492,0.009534827,0.00008894278,0.0030804477,0.0013257714,0.9665631],"genre_scores_gemma":[0.0049645626,0.00064373965,0.0001453173,0.0016622178,0.00041443325,0.000023708713,0.00068818795,0.0003349436,0.9911227],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996351,0.00003014098,0.000012558963,0.00007856857,0.00014344983,0.000100217585],"domain_scores_gemma":[0.999092,0.000059866863,0.000039485218,0.00009653563,0.00031234827,0.00039966035],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0004542406,0.0005337409,0.00043625393,0.00076111074,0.0040655513,0.003272326,0.000871269,0.0010975129,0.57729906],"category_scores_gemma":[0.0021134436,0.0003020312,0.00035396495,0.00054442516,0.00063851074,0.0017582714,0.0037323867,0.002250999,0.33077747],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006419779,0.000014362749,0.00033618364,0.00004374123,0.0000024281328,0.00010924463,0.00044953745,0.0000070744727,0.00019844474,0.0016794926,0.9628329,0.034262326],"study_design_scores_gemma":[0.0000037957884,0.0000073149695,0.0008334795,0.000043593303,7.7155767e-7,0.000046200115,0.00052518037,0.000005087354,0.000040920342,0.00021393565,0.9982768,0.0000029090306],"about_ca_topic_score_codex":0.010001292,"about_ca_topic_score_gemma":0.049970306,"teacher_disagreement_score":0.57729906,"about_ca_system_score_codex":0.0009087447,"about_ca_system_score_gemma":0.0013010789,"threshold_uncertainty_score":0.6029316},"labels":[],"label_agreement":null},{"id":"W7024498102","doi":"","title":"Sara Kopamees interviews Bombardier for Canadian Industry magazine","year":2015,"lang":"en","type":"other","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Fashion industry","score_opus":0.0666646101753429,"score_gpt":0.24623828689427898,"score_spread":0.1795736767189361,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7024498102","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.007472123,0.0037957428,0.00014205015,0.062372472,0.0021965443,0.00012878083,0.0035706349,0.00012784082,0.9201938],"genre_scores_gemma":[0.0126265995,0.001118762,0.000073738185,0.0058553643,0.00013712536,0.00003569904,0.0003012257,0.00006811205,0.9797834],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984224,0.000114152426,0.000022381475,0.000095223244,0.0005968715,0.00074896164],"domain_scores_gemma":[0.99690515,0.00040742493,0.000056152163,0.000065273336,0.0015559753,0.0010099647],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013069336,0.00066275016,0.00042078432,0.0023224507,0.02873235,0.006759329,0.0009607455,0.004372839,0.15264636],"category_scores_gemma":[0.004014924,0.00045578863,0.0003117527,0.0030200935,0.0019400498,0.0027450102,0.0023392509,0.0039435145,0.017960304],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001239441,0.000014100591,0.00039692994,0.0000239017,0.000001209012,0.00009792036,0.0022112397,0.000016936483,0.000060585047,0.0053799506,0.98480505,0.0069798436],"study_design_scores_gemma":[0.0000025312183,0.0000027714839,0.0024433818,0.000043699703,0.0000018691912,0.000019338473,0.008565927,0.000017041406,0.00005710636,0.00025594296,0.98858124,0.000009217045],"about_ca_topic_score_codex":0.93717754,"about_ca_topic_score_gemma":0.98656285,"teacher_disagreement_score":0.15264636,"about_ca_system_score_codex":0.034133155,"about_ca_system_score_gemma":0.07601621,"threshold_uncertainty_score":0.51065296},"labels":[],"label_agreement":null},{"id":"W7026844723","doi":"","title":"Band Encounters of Canada Geese Banded in Ottawa, 1987 - 2011","year":2024,"lang":"en","type":"article","venue":"Digital Commons - University of South Florida (University of South Florida)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Fishing; Population; Ectotherm; Government (linguistics)","score_opus":0.013404094424290866,"score_gpt":0.15193789074904257,"score_spread":0.1385337963247517,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7026844723","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9871334,0.0007062784,0.00008744214,0.00063666346,0.000040901232,0.00002773556,0.0012009647,0.000008464758,0.010158118],"genre_scores_gemma":[0.9606663,0.0008440485,0.00031380204,0.0003623162,0.000011118799,0.000026870994,0.0011124184,0.000014932074,0.036648277],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.9994135,0.000061214334,0.000022251701,0.000075815944,0.00014957655,0.00027765872],"domain_scores_gemma":[0.99821067,0.00012635517,0.00018078808,0.00005571934,0.00063248485,0.00079401466],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003847776,0.0002373726,0.00032283174,0.0010035636,0.009417926,0.0022147347,0.001109166,0.0009693017,0.0057386695],"category_scores_gemma":[0.0015834951,0.00030043212,0.00021552629,0.00193669,0.0019862659,0.0007776361,0.0022979851,0.0012452981,0.00086765894],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004842502,0.00011699469,0.570364,0.00023188026,0.00012250127,0.0025371225,0.3622688,0.00029651372,0.0023884277,0.002031873,0.025705693,0.033451922],"study_design_scores_gemma":[0.0000045154247,0.000046600242,0.4965882,0.00012842136,0.0000266956,0.00033882717,0.45700297,0.00011161869,0.00025018846,0.00006231759,0.045402057,0.00003760668],"about_ca_topic_score_codex":0.9874241,"about_ca_topic_score_gemma":0.99867624,"teacher_disagreement_score":0.018576663,"about_ca_system_score_codex":0.018576663,"about_ca_system_score_gemma":0.020044101,"threshold_uncertainty_score":0.1347838},"labels":[],"label_agreement":null},{"id":"W7027237047","doi":"","title":"1977 Calgary Studio Demos Medley","year":2024,"lang":"en","type":"other","venue":"Bulletin of Miscellaneous Information (Royal Gardens Kew)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Studio; Drummer; Session (web analytics); STELLA (programming language); Sound (geography)","score_opus":0.010002113913696363,"score_gpt":0.1767085501395321,"score_spread":0.16670643622583572,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7027237047","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010063756,0.0015846696,0.00015572654,0.001557428,0.001677144,0.000048863025,0.001091329,0.00024470594,0.99263376],"genre_scores_gemma":[0.0010775627,0.00036525592,0.000076695316,0.00011085151,0.00004137915,0.0000047841227,0.00017322667,0.000048240618,0.9981021],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99968183,0.00002265504,0.000010612574,0.00006836905,0.00013159453,0.00008497921],"domain_scores_gemma":[0.99942327,0.00002645986,0.00001710878,0.000038432874,0.000187542,0.0003071768],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000385464,0.0010339057,0.00035515917,0.0015411099,0.005379207,0.0036344877,0.0008256697,0.0011877883,0.7131193],"category_scores_gemma":[0.0008100607,0.0005027039,0.0002127378,0.001071276,0.0005855274,0.0011137489,0.0027488947,0.0017325858,0.37253264],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003477876,0.000016960583,0.0002033845,0.000047798272,0.0000011068057,0.00020742715,0.00015811996,0.000045919875,0.00023051472,0.0019919623,0.9448793,0.052182652],"study_design_scores_gemma":[0.0000024168826,0.0000048561074,0.00064751244,0.0000367059,4.854364e-7,0.000035889614,0.00022329521,0.000015280733,0.00006260018,0.00012167195,0.99884677,0.0000025723655],"about_ca_topic_score_codex":0.07865556,"about_ca_topic_score_gemma":0.33575088,"teacher_disagreement_score":0.28688067,"about_ca_system_score_codex":0.0031235206,"about_ca_system_score_gemma":0.0028405625,"threshold_uncertainty_score":0.40920043},"labels":[],"label_agreement":null},{"id":"W7027815609","doi":"","title":"Dictaphonia Microcassette Compilation Volume 1","year":2009,"lang":"en","type":"other","venue":"Bulletin of Miscellaneous Information (Royal Gardens Kew)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Volume (thermodynamics); Download; The Internet; Style (visual arts); Web site","score_opus":0.006778700052503406,"score_gpt":0.16066497451732548,"score_spread":0.15388627446482206,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7027815609","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.014063752,0.007885533,0.0062460545,0.0014523203,0.007995429,0.000592302,0.02885337,0.0040756296,0.92883563],"genre_scores_gemma":[0.030793704,0.0040981304,0.007535164,0.00043897156,0.0010409828,0.00031026622,0.019741004,0.0021682456,0.93387353],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99971956,0.00002077652,0.000021109301,0.0000659063,0.0001493193,0.000023340943],"domain_scores_gemma":[0.9996026,0.00007364451,0.000023881801,0.00008215779,0.00015476845,0.00006300038],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00024418902,0.0008035023,0.0003521929,0.0024597333,0.0015268392,0.0014415159,0.0005226917,0.0003332143,0.16573673],"category_scores_gemma":[0.0007808428,0.00027093032,0.00022846136,0.0013777557,0.0004573789,0.00086444267,0.001665048,0.00093556225,0.08416132],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016600353,0.000037659163,0.0005327947,0.0006824483,0.000006202344,0.00053566566,0.0007923465,0.00016014249,0.014138662,0.0066596135,0.63633573,0.3399526],"study_design_scores_gemma":[0.0000021851802,0.000016582782,0.0015105781,0.000071191425,0.0000019003306,0.00032419572,0.00006715848,0.000016793014,0.0010273244,0.00023073459,0.99672604,0.000005246656],"about_ca_topic_score_codex":0.0046651866,"about_ca_topic_score_gemma":0.013448352,"teacher_disagreement_score":0.83426327,"about_ca_system_score_codex":0.0008562743,"about_ca_system_score_gemma":0.00093104894,"threshold_uncertainty_score":0.5544446},"labels":[],"label_agreement":null},{"id":"W7027895235","doi":"","title":"Distribution ambiances magnétiques etcetera and constellation records: DIY record labels and the Montreal experimental music scene","year":2018,"lang":"en","type":"dissertation","venue":"eScholarship@McGill (McGill)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"McGill University","funders":"","keywords":"Constellation; Distribution (mathematics); German","score_opus":0.021525546232574407,"score_gpt":0.22316523090510654,"score_spread":0.20163968467253213,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7027895235","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.19745809,0.0023700069,0.0016968199,0.027253805,0.0005905535,0.00009222463,0.0067105223,0.00040840745,0.7634195],"genre_scores_gemma":[0.6450369,0.0010190675,0.0009550565,0.00054587185,0.00021667671,0.000046796387,0.0011374451,0.00032139616,0.35072076],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.99965477,0.00007072406,0.0000060038274,0.000055360433,0.0001261209,0.00008713872],"domain_scores_gemma":[0.99884903,0.00024218304,0.00010684103,0.000095023206,0.00044789532,0.0002590063],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007310919,0.00018055215,0.0001249977,0.0014999692,0.00761046,0.0038405568,0.0007210112,0.000534104,0.07740079],"category_scores_gemma":[0.0024500636,0.00019815094,0.000076095,0.0025106238,0.0033710732,0.0013125133,0.0015101394,0.0010383916,0.0032220138],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005756192,0.00012256623,0.03177978,0.0001936233,0.000017404456,0.00031151428,0.060850065,0.0006270703,0.0056307097,0.16470087,0.5336599,0.20153089],"study_design_scores_gemma":[0.000023612027,0.000051532556,0.102863304,0.00009385532,0.000008511175,0.0000456865,0.03830475,0.0002017658,0.0011814383,0.0018399634,0.8553535,0.000032018903],"about_ca_topic_score_codex":0.7989782,"about_ca_topic_score_gemma":0.9457698,"teacher_disagreement_score":0.20102179,"about_ca_system_score_codex":0.016247984,"about_ca_system_score_gemma":0.005711816,"threshold_uncertainty_score":0.40441126},"labels":[],"label_agreement":null},{"id":"W7028507721","doi":"","title":"The Gourds Live at World Cafe Live (Upstairs) on 2009-03-31","year":2009,"lang":"en","type":"other","venue":"Bulletin of Miscellaneous Information (Royal Gardens Kew)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Lament; Honeysuckle; Shit; Quarter (Canadian coin)","score_opus":0.007883084174702158,"score_gpt":0.17074862000900787,"score_spread":0.1628655358343057,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7028507721","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0019428785,0.00044203247,0.00019457357,0.0012999293,0.001099561,0.0000900887,0.008622845,0.0012080976,0.9851],"genre_scores_gemma":[0.0021585461,0.0001855282,0.00012355801,0.000119908764,0.00006146481,0.000021388048,0.0015335936,0.00022293342,0.99557304],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998549,0.000014232358,0.0000029430807,0.000018492417,0.00005889025,0.00005047041],"domain_scores_gemma":[0.99970144,0.000014882306,0.000008543346,0.00002257002,0.000117059295,0.00013545786],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0002597762,0.0005564417,0.0002813181,0.000750629,0.0028213193,0.0025125723,0.00046933515,0.0006478377,0.7946673],"category_scores_gemma":[0.0007377987,0.00020863168,0.00023807182,0.0008005946,0.00024839654,0.0014365544,0.0016017685,0.0009546348,0.59437627],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022629989,0.00001075255,0.0001966284,0.000032814463,7.2396557e-7,0.000040073362,0.00014901078,0.0000041769667,0.00009678975,0.00039685593,0.97905207,0.01999744],"study_design_scores_gemma":[0.0000017275132,0.0000064236465,0.0010674987,0.000029841223,4.1964324e-7,0.000016552422,0.00026219475,0.0000044270373,0.000042413783,0.000027552178,0.998539,0.0000019726733],"about_ca_topic_score_codex":0.01689979,"about_ca_topic_score_gemma":0.10156214,"teacher_disagreement_score":0.2053327,"about_ca_system_score_codex":0.0008778948,"about_ca_system_score_gemma":0.0006788009,"threshold_uncertainty_score":0.29288214},"labels":[],"label_agreement":null},{"id":"W7029788967","doi":"","title":"Keenan Wire - August 21 2013","year":2013,"lang":"en","type":"other","venue":"Bulletin of Miscellaneous Information (Royal Gardens Kew)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Frequency standard; Key (lock)","score_opus":0.008119823434510709,"score_gpt":0.16179715259541397,"score_spread":0.15367732916090326,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7029788967","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000629903,0.00065004145,0.00011433885,0.000891112,0.0009234789,0.000032260505,0.0016373451,0.00030318383,0.9948183],"genre_scores_gemma":[0.00070959906,0.00014344604,0.000018831197,0.000058001075,0.00002132288,0.0000037890225,0.00024137954,0.000052300053,0.9987513],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99975663,0.000011067619,0.0000046645123,0.00003364909,0.00010793905,0.000085973086],"domain_scores_gemma":[0.9997687,0.0000137808065,0.000008534538,0.000020348094,0.00011266134,0.00007597834],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0002574334,0.0005809767,0.000296699,0.0007416228,0.002322842,0.0031458014,0.0004466765,0.00093354326,0.6358148],"category_scores_gemma":[0.0007256967,0.0003074891,0.00018366352,0.00075932645,0.0003475164,0.0009975424,0.0016283947,0.0011371776,0.40086168],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000034638182,0.000007791721,0.00010291437,0.000048846778,0.0000010322151,0.00004124074,0.00009036664,0.000017658296,0.00017440967,0.0021922183,0.97761106,0.019677775],"study_design_scores_gemma":[0.000002227754,0.0000041264975,0.0006019039,0.000034826604,6.828909e-7,0.000012762444,0.0001379754,0.000008389402,0.00006351509,0.000110996465,0.99902034,0.0000022169957],"about_ca_topic_score_codex":0.048378296,"about_ca_topic_score_gemma":0.24165526,"teacher_disagreement_score":0.3641852,"about_ca_system_score_codex":0.0017901132,"about_ca_system_score_gemma":0.0018462763,"threshold_uncertainty_score":0.519466},"labels":[],"label_agreement":null},{"id":"W7029800293","doi":"","title":"Labajalg Läänemaa lõõtspillimängijate repertuaaris : stiil ja selle kihistused","year":2025,"lang":"et","type":"dissertation","venue":"DSpace repository (University of Tartu)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Relation (database); Subject (documents); Quarter (Canadian coin)","score_opus":0.010392080241175125,"score_gpt":0.17031139826199093,"score_spread":0.1599193180208158,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7029800293","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2720176,0.0105754575,0.00092436984,0.0068284497,0.0008431354,0.000048173013,0.00063699065,0.00015051535,0.7079754],"genre_scores_gemma":[0.4753658,0.003234221,0.0010001258,0.00080512837,0.00018837016,0.00002672704,0.00036219033,0.00013571337,0.5188818],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997205,0.000038288985,0.00000777394,0.00004337585,0.00009340225,0.0000965759],"domain_scores_gemma":[0.99973327,0.0000489424,0.000044425375,0.000021260916,0.000069776506,0.000082353596],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00038305233,0.0003728733,0.00019029497,0.0008303765,0.0054778615,0.0033409107,0.0004169215,0.0007008814,0.038574927],"category_scores_gemma":[0.00064982765,0.00026328853,0.00016994093,0.0008914142,0.002236361,0.001850233,0.0025107875,0.0016617412,0.005755298],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0007113807,0.0001725509,0.043602116,0.0012449794,0.00005270326,0.005264632,0.19650249,0.00018983126,0.016935192,0.17706048,0.14572796,0.4125357],"study_design_scores_gemma":[0.000004423538,0.00004436206,0.02067218,0.00019123923,0.0000084268295,0.0005718319,0.02407366,0.000027568682,0.0009858293,0.0011180335,0.9522855,0.0000169386],"about_ca_topic_score_codex":0.029274786,"about_ca_topic_score_gemma":0.15753572,"teacher_disagreement_score":0.038574927,"about_ca_system_score_codex":0.0034387622,"about_ca_system_score_gemma":0.0018408877,"threshold_uncertainty_score":0.12904602},"labels":[],"label_agreement":null},{"id":"W7030103385","doi":"","title":"Mike Mizwinski Live at Blind Pig Pub on 2012-01-13","year":2012,"lang":"ceb","type":"other","venue":"Bulletin of Miscellaneous Information (Royal Gardens Kew)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Staring; Barrel (horology); Dead body; Exposition (narrative)","score_opus":0.012346411674486349,"score_gpt":0.17784108204289562,"score_spread":0.16549467036840926,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7030103385","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.001452331,0.00035298074,0.0010225629,0.0026377037,0.0032247873,0.000094258576,0.0020480088,0.0028979455,0.9862694],"genre_scores_gemma":[0.0009807408,0.00006210295,0.0001760944,0.00022343537,0.00007744744,0.000010293663,0.000256188,0.000239022,0.9979746],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998275,0.000011301432,0.0000035762735,0.00003628698,0.00006600821,0.000055310782],"domain_scores_gemma":[0.99958664,0.000019341163,0.000009437004,0.000040147315,0.00012395218,0.00022049123],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0003834104,0.0005979406,0.00030688726,0.0005102015,0.0021455358,0.0018974798,0.0005620661,0.0010218828,0.8498293],"category_scores_gemma":[0.0006976171,0.0003042267,0.00026928034,0.00032594474,0.000314414,0.0011572139,0.0023369507,0.0012049829,0.72219133],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000029968907,0.00001371811,0.0001210309,0.000015159648,5.467628e-7,0.000052532952,0.00004414215,0.0000063366324,0.00036014052,0.00051274325,0.9704179,0.028425677],"study_design_scores_gemma":[0.000003162886,0.0000145831145,0.00045652344,0.000015201933,5.859752e-7,0.000040566065,0.00008538323,0.0000144254955,0.0001342305,0.0000918172,0.99914086,0.000002627973],"about_ca_topic_score_codex":0.0028477653,"about_ca_topic_score_gemma":0.019349804,"teacher_disagreement_score":0.15017068,"about_ca_system_score_codex":0.00057100866,"about_ca_system_score_gemma":0.00059856265,"threshold_uncertainty_score":0.2142002},"labels":[],"label_agreement":null},{"id":"W7030267145","doi":"","title":"The Mood Cultivation Project Live at 6th Annual Thanksgathering @ Ziggy's on 2004-11-26","year":2004,"lang":"en","type":"other","venue":"Bulletin of Miscellaneous Information (Royal Gardens Kew)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Mood; Dew; Quarter (Canadian coin); Face (sociological concept)","score_opus":0.009031125129888523,"score_gpt":0.17823230082743582,"score_spread":0.1692011756975473,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7030267145","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.002624216,0.0006446985,0.001265017,0.0051252856,0.003993507,0.00022326426,0.006725082,0.0050085043,0.9743905],"genre_scores_gemma":[0.0038016818,0.00020238824,0.0005143511,0.00032632062,0.000113290705,0.0000944598,0.0019258694,0.0008398897,0.9921818],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996197,0.00008663155,0.000008359906,0.000052768108,0.00013135039,0.00010121823],"domain_scores_gemma":[0.9988954,0.00005680639,0.000020644688,0.00010610453,0.00029730378,0.00062377506],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0011560401,0.00051736715,0.0003219702,0.00055290904,0.003097006,0.0052226395,0.00065183116,0.0007312267,0.6040534],"category_scores_gemma":[0.0019498587,0.00029275115,0.00030592325,0.0005248702,0.00039131386,0.0016270927,0.0029939644,0.0012468618,0.38689685],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015824384,0.000019126466,0.00006525776,0.000011367959,7.447206e-7,0.0000095666755,0.000114445116,0.0000029827854,0.000058363392,0.00058673206,0.9793457,0.019769922],"study_design_scores_gemma":[0.00000782192,0.00001590259,0.00072671496,0.000023304308,0.00000120181,0.000013432135,0.0003569703,0.0000119672795,0.0000775563,0.00025436596,0.99850744,0.0000033335225],"about_ca_topic_score_codex":0.005049001,"about_ca_topic_score_gemma":0.020129738,"teacher_disagreement_score":0.6040534,"about_ca_system_score_codex":0.0008626826,"about_ca_system_score_gemma":0.0015065244,"threshold_uncertainty_score":0.56476974},"labels":[],"label_agreement":null},{"id":"W7030275531","doi":"","title":"Metallica 1/15/1985 The Spectrum - Montreal, QC, Canada","year":2025,"lang":"en","type":"other","venue":"Internet Archive (Internet Archive)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Spectrum (functional analysis); Noise (video); Work (physics)","score_opus":0.010764784684747647,"score_gpt":0.1890625754990178,"score_spread":0.17829779081427016,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7030275531","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0011814642,0.00047660575,0.0006822516,0.00076860323,0.00038459455,0.00017609382,0.007521276,0.0011383641,0.9876708],"genre_scores_gemma":[0.0011511733,0.00010144022,0.00020302921,0.000071065726,0.000012694578,0.000014343074,0.00094954134,0.00024110038,0.9972556],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993679,0.00002372077,0.000012584773,0.00012907003,0.0002985858,0.00016821163],"domain_scores_gemma":[0.9987858,0.000059684593,0.0000284951,0.00013246115,0.0007277961,0.00026582566],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00059527735,0.00092987786,0.00068039255,0.0016087681,0.0053670695,0.0051588425,0.0012516946,0.0021300095,0.7405881],"category_scores_gemma":[0.001234989,0.00062114233,0.0005806136,0.0019472352,0.00090554956,0.0010987772,0.0012993377,0.0016447847,0.45641217],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008037216,0.000051832965,0.00039110935,0.0000675709,0.0000053090616,0.00008477618,0.000067210734,0.00022069014,0.00068385823,0.010583908,0.9421531,0.045610264],"study_design_scores_gemma":[0.000019119172,0.000012485737,0.001507767,0.00005703425,0.0000029520727,0.000016058493,0.00005905987,0.00024924058,0.00030759352,0.00057431054,0.9971855,0.000008782301],"about_ca_topic_score_codex":0.71817297,"about_ca_topic_score_gemma":0.8588548,"teacher_disagreement_score":0.7405881,"about_ca_system_score_codex":0.010869197,"about_ca_system_score_gemma":0.014122281,"threshold_uncertainty_score":0.5669735},"labels":[],"label_agreement":null},{"id":"W7033431454","doi":"","title":"Re-civilizing the land, conservation and postwar reconstruction in Ontario, 1939-1961","year":2001,"lang":"en","type":"other","venue":"Library and Archives Canada (Government of Canada)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Government (linguistics); Work (physics); Agency (philosophy); Exposition (narrative)","score_opus":0.0072522687331752584,"score_gpt":0.1286839354646873,"score_spread":0.12143166673151203,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7033431454","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.62494606,0.0049167853,0.00045792735,0.015538331,0.00022930116,0.00023527152,0.0045663198,0.00004138187,0.34906864],"genre_scores_gemma":[0.74655,0.003353366,0.00042109753,0.0007577157,0.00003903132,0.000073257055,0.0009885252,0.000042713145,0.24777427],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99901044,0.000058262416,0.00002666461,0.000060651426,0.00028141358,0.00056252826],"domain_scores_gemma":[0.9989096,0.00009787539,0.00011144787,0.00007026007,0.00039895813,0.0004119321],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006178398,0.00021111986,0.000249128,0.0012017128,0.014095963,0.0028614402,0.0011179369,0.00092531566,0.010719567],"category_scores_gemma":[0.0026129521,0.00029365686,0.00019551057,0.004130601,0.004840914,0.0010294851,0.0031719063,0.0013431931,0.0005144594],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005008833,0.00013566097,0.16133164,0.0005494393,0.00007439218,0.0037200581,0.44949394,0.0015872413,0.0026295169,0.10594031,0.123367324,0.15066963],"study_design_scores_gemma":[0.000012939246,0.00002027859,0.26831275,0.00015825225,0.000017925207,0.00021482114,0.10920999,0.00011644666,0.00048171068,0.0017459488,0.6196811,0.000027756116],"about_ca_topic_score_codex":0.9966828,"about_ca_topic_score_gemma":0.999585,"teacher_disagreement_score":0.10494482,"about_ca_system_score_codex":0.10494482,"about_ca_system_score_gemma":0.12845117,"threshold_uncertainty_score":0.7614315},"labels":[],"label_agreement":null},{"id":"W7034704865","doi":"","title":"TRADITIONAL AND SCIENTIFIC KNOWLEDGE OF CONSTRUCTED WETLANDS FOR OIL SANDS PROCESSED WATER REMEDIATION","year":2024,"lang":"en","type":"dissertation","venue":"University Library (University of Saskatchewan)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Oil sands; Wetland; Environmental remediation; Indigenous; Traditional knowledge; Inclusion (mineral)","score_opus":0.013868865382311883,"score_gpt":0.16236260466770241,"score_spread":0.14849373928539053,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7034704865","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.45804363,0.003837936,0.0016439033,0.021441294,0.00013351321,0.00016517434,0.00022015674,0.000016446425,0.514498],"genre_scores_gemma":[0.9313121,0.0069906674,0.001767858,0.0012311502,0.000026515316,0.000044472945,0.0000845382,0.000007803083,0.058535017],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988662,0.00037187766,0.00003578112,0.00006506381,0.00042650098,0.00023468149],"domain_scores_gemma":[0.998198,0.0008051058,0.00014556583,0.00009194873,0.00048103312,0.000278522],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018450569,0.00014548087,0.00016623917,0.0009960211,0.0064225313,0.0043665697,0.000437623,0.00048212925,0.008386138],"category_scores_gemma":[0.0026534307,0.00010514074,0.00014711425,0.0015547622,0.0066892696,0.0016738886,0.0016582798,0.0012197735,0.00044723784],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000079051024,0.00032328928,0.02216699,0.00091365376,0.000015031873,0.0012225606,0.5561882,0.0004986668,0.006356231,0.09502903,0.017323049,0.29988426],"study_design_scores_gemma":[0.000010979195,0.00007059911,0.04803528,0.0012211789,0.000024559431,0.00032388463,0.6049223,0.00023508767,0.0023194465,0.0135961,0.32920927,0.000031376785],"about_ca_topic_score_codex":0.3677051,"about_ca_topic_score_gemma":0.75192404,"teacher_disagreement_score":0.6322949,"about_ca_system_score_codex":0.014280015,"about_ca_system_score_gemma":0.052825287,"threshold_uncertainty_score":0.73112965},"labels":[],"label_agreement":null},{"id":"W7034831378","doi":"","title":"Залежність рівня життя населення в Україні від політичних циклів&#13;\\n(Dependence of standards of living in Ukraine from political cycles)","year":2019,"lang":"uk","type":"other","venue":"Digital Repository of Ostroh Academy (Ostroh Academy)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Presidential system; Opposition (politics); Politics; Standard of living; Quarter (Canadian coin); Inflation (cosmology); State (computer science); Presidential election","score_opus":0.015966276455656545,"score_gpt":0.24730955464430462,"score_spread":0.23134327818864808,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7034831378","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.78891826,0.003392936,0.004114609,0.0064398805,0.00015671983,0.00003524379,0.0011912865,0.000030365507,0.1957208],"genre_scores_gemma":[0.98979974,0.00080299494,0.0005455089,0.00013155487,0.000017899883,0.000011604347,0.00012345597,0.0000066611724,0.008560567],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.9995328,0.00014937228,0.00003724587,0.00008330026,0.00011869154,0.00007858578],"domain_scores_gemma":[0.99915564,0.00028423496,0.0002518552,0.000054673077,0.00018980865,0.00006375146],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004919889,0.00007555574,0.00009189999,0.0007635855,0.0008436558,0.0018025615,0.0001529336,0.00018481875,0.003255413],"category_scores_gemma":[0.0015286825,0.00008725861,0.00018899972,0.0010279175,0.00091850414,0.0004688165,0.000773696,0.0003191835,0.00026663975],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009319547,0.000060177947,0.41647178,0.00033197796,0.00010401903,0.0009567528,0.023004573,0.0030232691,0.0015091894,0.35519418,0.013734229,0.18551658],"study_design_scores_gemma":[0.0000043630325,0.000051813953,0.853434,0.00020018997,0.0000396646,0.0003532118,0.010065436,0.0013760804,0.0015294253,0.026323704,0.10658353,0.000038544797],"about_ca_topic_score_codex":0.050586823,"about_ca_topic_score_gemma":0.052161068,"teacher_disagreement_score":0.050586823,"about_ca_system_score_codex":0.00219459,"about_ca_system_score_gemma":0.0023598773,"threshold_uncertainty_score":0.100584745},"labels":[],"label_agreement":null},{"id":"W7036205680","doi":"","title":"An Assessment of Auditors' Civil Liability towards Shareholders in Comparative Perspective with Special Reference to Islamic and Conventional Insurance Principles and Practices","year":2021,"lang":"en","type":"dissertation","venue":"Arrow@dit (Dublin Institute of Technology)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Canadian Imperial Bank of Commerce","keywords":"Damages; Shareholder; Tort; Legal liability; Corporation; Liability; Islam; Sharia; Audit","score_opus":0.059174699168931776,"score_gpt":0.3436776962812979,"score_spread":0.28450299711236615,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7036205680","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9124346,0.003330602,0.0005711707,0.0011148,0.000028047376,0.00002131194,0.000034702654,0.0000035593785,0.08246122],"genre_scores_gemma":[0.9951755,0.0018088032,0.00024218428,0.00008431465,0.000017131832,0.00000608413,0.000019452418,0.0000019412953,0.0026447533],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9976617,0.0009913614,0.00011273741,0.00011099192,0.00084434537,0.00027885646],"domain_scores_gemma":[0.99326295,0.003697357,0.0013875605,0.00016383945,0.0013013436,0.00018683822],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0033485247,0.00014838374,0.00020467682,0.005100445,0.0034657447,0.0040083416,0.0003679779,0.0006992589,0.0035799502],"category_scores_gemma":[0.0075930315,0.00012985687,0.00021455465,0.00440009,0.0031287426,0.002947969,0.0018290579,0.0006322291,0.00018113948],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013368508,0.00018609385,0.1561174,0.00074660813,0.00005475886,0.002440871,0.53531057,0.00063494226,0.0019731603,0.18562424,0.0026198078,0.1141579],"study_design_scores_gemma":[0.0000043296022,0.00027490122,0.3122625,0.0010588607,0.00005554436,0.0016070952,0.6287139,0.0005568744,0.0009985212,0.005909998,0.04853218,0.000025168116],"about_ca_topic_score_codex":0.008249261,"about_ca_topic_score_gemma":0.021527572,"teacher_disagreement_score":0.008249261,"about_ca_system_score_codex":0.0042973408,"about_ca_system_score_gemma":0.001722992,"threshold_uncertainty_score":0.031179547},"labels":[],"label_agreement":null},{"id":"W7036795520","doi":"","title":"1867 Confederation log homes","year":2002,"lang":"ca","type":"report","venue":"NPARC","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"","score_opus":0.05494481703076642,"score_gpt":0.236422737050282,"score_spread":0.18147792001951557,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7036795520","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008665046,0.00026792238,0.00029961162,0.0020257982,0.0012016819,0.00048715252,0.006185463,0.0007154805,0.98015183],"genre_scores_gemma":[0.0062684244,0.00009912697,0.00010836801,0.00019648584,0.000063682455,0.00007493944,0.0014680835,0.000064224536,0.99165666],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99832255,0.00016258535,0.000073231044,0.00015621728,0.00086492277,0.0004204593],"domain_scores_gemma":[0.9942924,0.00069332897,0.00013153125,0.00068122137,0.0033471817,0.0008543917],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0011294526,0.00047566794,0.00041357407,0.0025486057,0.0066527366,0.0032672007,0.0014249132,0.002070462,0.4779527],"category_scores_gemma":[0.006704876,0.000537585,0.00032375703,0.0012060112,0.0008533814,0.0013689088,0.0027546526,0.0018355813,0.3292449],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000092136965,0.00015102314,0.001922456,0.00007021627,0.0000038977155,0.00029741068,0.00028925555,0.000020832615,0.000567507,0.00337145,0.95366186,0.039551962],"study_design_scores_gemma":[0.000013233023,0.000035128134,0.0071890983,0.000052531796,0.000004933519,0.00010274971,0.0006159579,0.000055013432,0.0011674939,0.00028458715,0.9904687,0.000010538289],"about_ca_topic_score_codex":0.024254244,"about_ca_topic_score_gemma":0.07878512,"teacher_disagreement_score":0.97574574,"about_ca_system_score_codex":0.0019343349,"about_ca_system_score_gemma":0.0064629135,"threshold_uncertainty_score":0.74463713},"labels":[],"label_agreement":null},{"id":"W7037129566","doi":"","title":"DIX: Dead Bees label sampler #10","year":2011,"lang":"en","type":"other","venue":"Bulletin of Miscellaneous Information (Royal Gardens Kew)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Treasure; George (robot); Bit (key); Mantra; Sampling (signal processing)","score_opus":0.017422301736174255,"score_gpt":0.17701514739280574,"score_spread":0.15959284565663148,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7037129566","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0019918247,0.0006007867,0.0049243015,0.0015514173,0.003355985,0.0005428513,0.053209323,0.020246083,0.91357744],"genre_scores_gemma":[0.0033111724,0.0003782565,0.0020838976,0.0006714281,0.00042589157,0.0001603442,0.021812731,0.0054106554,0.9657457],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99949443,0.00003914785,0.00002052681,0.00009089829,0.00026183613,0.000093132454],"domain_scores_gemma":[0.99764687,0.00024122004,0.000090353016,0.0005359612,0.0009735446,0.000511975],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00079074636,0.0008469857,0.00065358845,0.0021050922,0.0024476035,0.0038228435,0.0014496974,0.0014960712,0.77878994],"category_scores_gemma":[0.002240464,0.0007184161,0.0005576613,0.0018116704,0.00044485083,0.0026615215,0.0020749904,0.0019153977,0.6837268],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006972815,0.000022912584,0.0001839978,0.000075982745,0.0000014845393,0.000019629035,0.00005662521,0.00001778501,0.00058024895,0.0007718012,0.9580312,0.04016872],"study_design_scores_gemma":[0.000009708603,0.000015598183,0.0005593411,0.000036370147,0.0000016570034,0.000023520119,0.00003975724,0.000034911645,0.00041675463,0.00014794091,0.9987081,0.000006296498],"about_ca_topic_score_codex":0.0081366375,"about_ca_topic_score_gemma":0.021972792,"teacher_disagreement_score":0.22121006,"about_ca_system_score_codex":0.0012648302,"about_ca_system_score_gemma":0.0010710771,"threshold_uncertainty_score":0.3155293},"labels":[],"label_agreement":null},{"id":"W7037190636","doi":"","title":"Développement des moyens de recherche institutionnelle pour des approches intégrées dans les pays en développement: un exemple tiré du Vietnam","year":2020,"lang":"fr","type":"other","venue":"DORA Eawag (Swiss Federal Institute of Aquatic Science and Technology (Eawag))","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Schweizerischer Nationalfonds zur Förderung der Wissenschaftlichen Forschung; International Development Research Centre; Australian Centre for International Agricultural Research; International Fine Particle Research Institute; Future 2 Foundation; Universität Basel","keywords":"Nucleofection; Filter (signal processing); Limiting","score_opus":0.08528499061811695,"score_gpt":0.2882536549695247,"score_spread":0.20296866435140776,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7037190636","genre_codex":"methods","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0590814,0.027536003,0.70245564,0.053534128,0.0013944831,0.002705293,0.0012960384,0.0025455572,0.1494515],"genre_scores_gemma":[0.25260907,0.018650645,0.67032415,0.0034855406,0.00037178284,0.001662195,0.0018510966,0.0006909988,0.050354563],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9649424,0.020700442,0.0017668622,0.0028764354,0.008151427,0.0015625],"domain_scores_gemma":[0.9428411,0.018965526,0.0026934617,0.007247789,0.024481643,0.003770576],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.057194024,0.0012311337,0.0012738524,0.0032542509,0.0041570277,0.012656008,0.003422509,0.003477112,0.012275882],"category_scores_gemma":[0.040930435,0.00083200575,0.0019295564,0.004559296,0.0026592808,0.008814608,0.005842849,0.005176883,0.0043899263],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004999273,0.0007926109,0.017101763,0.003774434,0.00038204924,0.0013945025,0.021920023,0.020994887,0.015880134,0.33035842,0.032638676,0.5542626],"study_design_scores_gemma":[0.00023086599,0.00085709454,0.012313047,0.0037294168,0.00023957642,0.0008885136,0.022394758,0.048237696,0.014764255,0.0841806,0.8119431,0.00022099161],"about_ca_topic_score_codex":0.053067897,"about_ca_topic_score_gemma":0.048817255,"teacher_disagreement_score":0.057194024,"about_ca_system_score_codex":0.011641688,"about_ca_system_score_gemma":0.0417148,"threshold_uncertainty_score":0.3024745},"labels":[],"label_agreement":null},{"id":"W7037321449","doi":"","title":"Environmental Catalysis: The Canadian Situation","year":2006,"lang":"en","type":"article","venue":"Tokyo Tech Research Repository (Tokyo Institute of Technology)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Government (linguistics); Work (physics); Agency (philosophy); Production (economics)","score_opus":0.02889464503864152,"score_gpt":0.24069781943633425,"score_spread":0.21180317439769272,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7037321449","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.047521327,0.07861477,0.0009273922,0.35077336,0.0019697642,0.00007997613,0.0015554242,0.00017065594,0.5183873],"genre_scores_gemma":[0.5963923,0.13839476,0.0030531695,0.051057868,0.00081824296,0.000081534476,0.0011693764,0.0002172837,0.20881544],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99110985,0.0005322331,0.00024231286,0.0008253063,0.0042347535,0.003055626],"domain_scores_gemma":[0.98577785,0.0010911798,0.0005003486,0.00039493068,0.008899697,0.0033359514],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0060071046,0.0008791559,0.000881891,0.006166078,0.029212661,0.018107193,0.003590551,0.0056059547,0.023184054],"category_scores_gemma":[0.009194467,0.0007044845,0.0008292505,0.013722384,0.011971375,0.0062318495,0.0065765902,0.0057064183,0.0013057472],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00054585625,0.0002933676,0.01259947,0.0015237291,0.00011576921,0.0015370426,0.011741315,0.000987256,0.0018078879,0.38335934,0.33087382,0.25461522],"study_design_scores_gemma":[0.00002962585,0.000038523045,0.012091583,0.00042428062,0.00004469408,0.00019598537,0.015532816,0.00017092517,0.0005913371,0.012512424,0.95827335,0.00009449536],"about_ca_topic_score_codex":0.9952479,"about_ca_topic_score_gemma":0.99780303,"teacher_disagreement_score":0.1898449,"about_ca_system_score_codex":0.1898449,"about_ca_system_score_gemma":0.37670928,"threshold_uncertainty_score":0.9396651},"labels":[],"label_agreement":null},{"id":"W7037423410","doi":"","title":"Estimation of evapotranspiration from a bioretention facility using a lysimeter and six predictive equations","year":2019,"lang":"en","type":"dissertation","venue":"The Atrium (University of Guelph)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Bioretention; Lysimeter; Evapotranspiration; Stormwater; Impervious surface; Hydrology (agriculture); Low-impact development","score_opus":0.033699732488420606,"score_gpt":0.21522951687656178,"score_spread":0.18152978438814116,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7037423410","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.82763845,0.00010622465,0.16529943,0.000074628544,0.000012015537,0.00023893482,0.000999566,0.00082471117,0.0048060156],"genre_scores_gemma":[0.94221,0.00011354138,0.055583682,0.000007682457,0.0000018816907,0.00013270495,0.00050905516,0.000031929598,0.0014094734],"study_design_codex":"simulation_or_modeling","study_design_gemma":"observational","domain_scores_codex":[0.99973685,0.000026372165,0.000029695902,0.000070861584,0.000112134454,0.0000241111],"domain_scores_gemma":[0.9994541,0.000238364,0.00009179992,0.000030185973,0.00016671159,0.000018889647],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00080057705,0.0004887235,0.00038999977,0.00051208335,0.00040750223,0.00067399326,0.00060939725,0.0003737037,0.000809989],"category_scores_gemma":[0.0016511644,0.00026410562,0.00048660825,0.0006639409,0.00021324368,0.00048349108,0.00027919337,0.0006044175,0.00023457536],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00043728654,0.0002623509,0.10428548,0.0002205834,0.00006696816,0.000120217686,0.00033832982,0.73998886,0.023779474,0.0012318834,0.00065102155,0.12861748],"study_design_scores_gemma":[0.000026967638,0.00009314716,0.0349153,0.000010989834,0.000035712965,0.000029255596,0.00007770936,0.9529946,0.01080221,0.00023268907,0.00075665873,0.000024795561],"about_ca_topic_score_codex":0.10117298,"about_ca_topic_score_gemma":0.09727764,"teacher_disagreement_score":0.10117298,"about_ca_system_score_codex":0.0022273,"about_ca_system_score_gemma":0.0021481323,"threshold_uncertainty_score":0.20116818},"labels":[],"label_agreement":null},{"id":"W7037445408","doi":"","title":"Doctoral studentsâ mental models of a web search engine : an exploratory study","year":2007,"lang":"en","type":"other","venue":"Library and Archives Canada (Government of Canada)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Exploratory research; Completeness (order theory); Perception; Cognition; Search engine; Mental model; Cognitive style; Exploratory search","score_opus":0.016498426659062374,"score_gpt":0.17523657195276637,"score_spread":0.158738145293704,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7037445408","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.998898,0.000028386168,0.00007418352,0.000072422496,0.0000017031327,0.00004268101,0.00001558647,0.0000010696382,0.00086591474],"genre_scores_gemma":[0.99844724,0.00012276004,0.00022876791,0.00007987111,0.0000038045623,0.00012899947,0.000038374765,0.0000014614013,0.000948772],"study_design_codex":"qualitative","study_design_gemma":"observational","domain_scores_codex":[0.99825853,0.00059884647,0.00013297443,0.00013189885,0.0005536407,0.00032425227],"domain_scores_gemma":[0.99263906,0.00253124,0.0011907113,0.00041707946,0.0015149704,0.0017069307],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0044332664,0.0003364713,0.0005248947,0.0017958604,0.0028991369,0.003873221,0.00066424784,0.0005726836,0.0017626676],"category_scores_gemma":[0.012102745,0.00046105223,0.00043351576,0.0012548902,0.0015785949,0.0016299016,0.0022395551,0.0015515626,0.00038434594],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019479041,0.0029156308,0.425826,0.00017633478,0.000033806493,0.0008307289,0.5379832,0.00015607906,0.002756691,0.0020074951,0.0008911974,0.02622798],"study_design_scores_gemma":[0.00003075718,0.0012590261,0.26340416,0.00008413266,0.000027956647,0.000728046,0.7256952,0.0008817334,0.0012691828,0.0009677789,0.005607047,0.000044991586],"about_ca_topic_score_codex":0.0038291623,"about_ca_topic_score_gemma":0.0048576733,"teacher_disagreement_score":0.0044332664,"about_ca_system_score_codex":0.0012192874,"about_ca_system_score_gemma":0.0026397891,"threshold_uncertainty_score":0.023445606},"labels":[],"label_agreement":null},{"id":"W7037487929","doi":"","title":"The Dream Cycles: Of Telephones and Bombs","year":2007,"lang":"en","type":"other","venue":"Bulletin of Miscellaneous Information (Royal Gardens Kew)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dream; Order (exchange); State (computer science); Feature (linguistics); Happening; White (mutation)","score_opus":0.00697019607276103,"score_gpt":0.17065339456216388,"score_spread":0.16368319848940285,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7037487929","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07012954,0.019064216,0.023916429,0.11084409,0.015385957,0.00018332858,0.0011636427,0.0016485543,0.75766426],"genre_scores_gemma":[0.5844353,0.009397939,0.006651089,0.022009788,0.0021231351,0.0002064394,0.0007797338,0.0019244537,0.37247214],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9967489,0.0017680393,0.00008394682,0.00031073557,0.00072423543,0.00036417227],"domain_scores_gemma":[0.99662066,0.0009569719,0.00023086403,0.00049593643,0.0006952395,0.001000274],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002097493,0.0007661796,0.0004297843,0.0011783341,0.011487068,0.012378432,0.00113222,0.0024359028,0.02623668],"category_scores_gemma":[0.009216052,0.0007534116,0.00051324954,0.0010874729,0.0099502,0.015828386,0.007593707,0.0060771476,0.006204358],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000116577205,0.000033249507,0.0013799181,0.00027567137,0.00001926429,0.00072838593,0.23142473,0.00013888555,0.00049473136,0.22617495,0.46559456,0.073619045],"study_design_scores_gemma":[0.0000071239833,0.000020083246,0.00065748557,0.00022336926,0.0000057293278,0.0007235246,0.074174985,0.00010766855,0.00017820494,0.011078724,0.9127967,0.000026334808],"about_ca_topic_score_codex":0.014639891,"about_ca_topic_score_gemma":0.021631273,"teacher_disagreement_score":0.02623668,"about_ca_system_score_codex":0.0048294556,"about_ca_system_score_gemma":0.0030163687,"threshold_uncertainty_score":0.08777046},"labels":[],"label_agreement":null},{"id":"W7037606579","doi":"","title":"The effect of chronic stress on valence learning in male and female mice","year":2021,"lang":"en","type":"dissertation","venue":"Open MIND","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Chronic stress; Valence (chemistry); Stress (linguistics); Chronic disease","score_opus":0.019818924701293445,"score_gpt":0.2634751094707146,"score_spread":0.24365618476942116,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7037606579","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9963909,0.00074333604,0.0005710057,0.00045126004,0.00012542265,0.00002265116,0.0005533728,0.00006759646,0.0010744664],"genre_scores_gemma":[0.98277587,0.0015553507,0.0015416575,0.00041705376,0.000097141856,0.00013400706,0.00046331153,0.00014888744,0.012866806],"study_design_codex":"bench_or_experimental","study_design_gemma":"bench_or_experimental","domain_scores_codex":[0.9996741,0.000043698183,0.000017605722,0.00008519489,0.00007541445,0.00010395608],"domain_scores_gemma":[0.998615,0.00018417856,0.00040116807,0.00010417457,0.00012120795,0.0005742222],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00027563734,0.00062479026,0.0005813041,0.00056942686,0.00039033603,0.000753443,0.00054810924,0.000723639,0.0035823376],"category_scores_gemma":[0.00039250415,0.00042448178,0.00042607993,0.00020775589,0.0010861673,0.00039947522,0.0004539629,0.0020715226,0.00054004014],"study_design_candidate":"bench_or_experimental","study_design_consensus":"bench_or_experimental","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00814083,0.0006261976,0.0012624203,0.00007091118,0.000033930493,0.00008078725,0.000132027,0.00006179741,0.9837968,0.00023568384,0.0003451439,0.005213486],"study_design_scores_gemma":[0.00069259125,0.009921447,0.0610805,0.000098102355,0.0001867009,0.00027813922,0.0007721983,0.00080020376,0.92245,0.00071853655,0.0029053173,0.00009628713],"about_ca_topic_score_codex":0.0011950453,"about_ca_topic_score_gemma":0.0027128805,"teacher_disagreement_score":0.0035823376,"about_ca_system_score_codex":0.00038757588,"about_ca_system_score_gemma":0.0004338337,"threshold_uncertainty_score":0.01198411},"labels":[],"label_agreement":null},{"id":"W7037657464","doi":"","title":"Epistemic Injustice in Healthcare: Reevaluating Routine Pregnancy Testing","year":2023,"lang":"en","type":"dissertation","venue":"eScholarship@McGill (McGill)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"McGill University","keywords":"Injustice; Pregnancy; Economic Justice; Argument (complex analysis)","score_opus":0.07362191386802924,"score_gpt":0.27282353489263134,"score_spread":0.1992016210246021,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7037657464","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.45489562,0.004468601,0.01594989,0.38909885,0.0008469432,0.00029135295,0.000076104996,0.00007017777,0.13430251],"genre_scores_gemma":[0.98364174,0.0006833933,0.0032177938,0.010792403,0.00009494882,0.00009456286,0.0000138392425,0.000025316196,0.0014360107],"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.93878496,0.04529027,0.0016354228,0.0018597603,0.008431666,0.0039979555],"domain_scores_gemma":[0.6735626,0.2592196,0.018692644,0.013863078,0.025355544,0.009306506],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.074246004,0.00040951045,0.0005953489,0.0023516035,0.0111088995,0.011042673,0.0048542465,0.006819952,0.0032598004],"category_scores_gemma":[0.24832028,0.00061279925,0.0006305006,0.0015971359,0.039802656,0.01382832,0.011500644,0.016087998,0.0003425306],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002655557,0.00064787513,0.08980809,0.00038800933,0.00006343648,0.0018394201,0.41561744,0.0006745817,0.0002813074,0.3518938,0.016816666,0.12170385],"study_design_scores_gemma":[0.00010545922,0.00030653106,0.058042523,0.0040522246,0.00023980981,0.002061139,0.6140148,0.0042384937,0.0011657415,0.24718195,0.06840514,0.00018618628],"about_ca_topic_score_codex":0.048211012,"about_ca_topic_score_gemma":0.07331313,"teacher_disagreement_score":0.074246004,"about_ca_system_score_codex":0.016574748,"about_ca_system_score_gemma":0.044087235,"threshold_uncertainty_score":0.39265507},"labels":[],"label_agreement":null},{"id":"W7037810311","doi":"","title":"Enbridge’s Green Push Could Use Canadian Tax Credits, CEO Says","year":2021,"lang":"en","type":"other","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Work (physics); Government (linguistics); Payment; Production (economics)","score_opus":0.05059595535756332,"score_gpt":0.1991004224301387,"score_spread":0.1485044670725754,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7037810311","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0036778082,0.0013178509,0.00056942826,0.2064182,0.011378644,0.00020699228,0.0038143245,0.00074203167,0.7718747],"genre_scores_gemma":[0.004916087,0.00023569654,0.00017105295,0.040095616,0.00028790475,0.000037207952,0.000484116,0.00010706854,0.9536653],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9972046,0.00007418308,0.00003694096,0.00015462867,0.001262371,0.0012671892],"domain_scores_gemma":[0.9959221,0.0001853055,0.000032098218,0.00009100182,0.002197334,0.0015721547],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017145191,0.00089911395,0.00040475553,0.0012656781,0.013960141,0.00731541,0.0014695814,0.01475175,0.11893017],"category_scores_gemma":[0.0044660005,0.0005301064,0.00095001055,0.0008272774,0.0014245436,0.0023506193,0.0023312788,0.009525306,0.030574119],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010741595,0.000017302322,0.00027954986,0.000008215126,0.0000018645704,0.00006027032,0.00004779862,0.00002277392,0.000083035215,0.004905034,0.98930806,0.0052554375],"study_design_scores_gemma":[0.000012415456,0.000007945065,0.0011115127,0.000019534844,0.000003401666,0.000017630546,0.00032946822,0.000083442785,0.00008903217,0.0006736873,0.9976344,0.000017503875],"about_ca_topic_score_codex":0.892265,"about_ca_topic_score_gemma":0.9691575,"teacher_disagreement_score":0.11893017,"about_ca_system_score_codex":0.016868668,"about_ca_system_score_gemma":0.070884176,"threshold_uncertainty_score":0.397861},"labels":[],"label_agreement":null},{"id":"W7038008718","doi":"","title":"2023 05 03 THE GREAT GIG IN THE SKY 2022 Pt 9","year":2023,"lang":"en","type":"other","venue":"Bulletin of Miscellaneous Information (Royal Gardens Kew)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drummer; Greenwich; Knight; MAGIC (telescope); Gospel; White (mutation); Bass (fish); Griffin; Musical; Performance art","score_opus":0.011555891354766314,"score_gpt":0.17680946251727814,"score_spread":0.16525357116251183,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7038008718","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00029017235,0.00019482736,0.00033720038,0.0004548035,0.0027539094,0.000048163263,0.0012180345,0.000839718,0.9938632],"genre_scores_gemma":[0.0008218514,0.00006197501,0.00008760856,0.00020484813,0.0000964313,0.000015402677,0.00058538874,0.00024734627,0.997879],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997253,0.000026883048,0.0000077624645,0.000057161025,0.00010056768,0.0000823319],"domain_scores_gemma":[0.9995347,0.000018576984,0.00000965719,0.00005027442,0.00013243752,0.0002544485],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00041084053,0.000649836,0.00041587674,0.0005402801,0.0012883093,0.005689696,0.000665781,0.0017882559,0.8428392],"category_scores_gemma":[0.00072946644,0.00027591473,0.00047383824,0.000508977,0.0003075448,0.0011352218,0.0023919381,0.0016029319,0.8490469],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000046700105,0.000018279914,0.00011593648,0.00004213321,0.0000019460288,0.000050527462,0.000020259296,0.000027981916,0.00031826194,0.0020825274,0.9656843,0.031591166],"study_design_scores_gemma":[0.0000045847114,0.000011161358,0.00030739963,0.00002178675,6.7049046e-7,0.000020214984,0.000041692652,0.000025891015,0.00005903452,0.0002046657,0.9993007,0.000002162214],"about_ca_topic_score_codex":0.005234244,"about_ca_topic_score_gemma":0.01112324,"teacher_disagreement_score":0.15716082,"about_ca_system_score_codex":0.0008920999,"about_ca_system_score_gemma":0.0008841067,"threshold_uncertainty_score":0.22417086},"labels":[],"label_agreement":null},{"id":"W7038010548","doi":"","title":"Gouvernementalité extractive et autodétermination au Canada: Écosystèmes normatifs et charge critique de l'inter-normativité","year":2021,"lang":"fr","type":"article","venue":"Project Muse (Johns Hopkins University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Field (mathematics); Charge (physics); Work (physics); Interpretation (philosophy); Order (exchange)","score_opus":0.01559450513570758,"score_gpt":0.22696933477067657,"score_spread":0.21137482963496898,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7038010548","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.24182335,0.008231373,0.028128287,0.083254784,0.00038407661,0.000095998636,0.00034017698,0.00014329983,0.6375987],"genre_scores_gemma":[0.9657228,0.0011041833,0.003061807,0.0011862057,0.000041538104,0.000027966438,0.000029884151,0.000053351698,0.02877222],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.994549,0.0011565571,0.00012520488,0.0007022558,0.002255365,0.0012116603],"domain_scores_gemma":[0.9939414,0.0022049563,0.00037806522,0.00058048166,0.0024226455,0.00047242382],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0052542216,0.0005574463,0.0006966495,0.0019702418,0.018047774,0.017293457,0.0024007452,0.0027273265,0.005639039],"category_scores_gemma":[0.011598368,0.00044414107,0.00046478,0.003717418,0.04587486,0.005204159,0.00541794,0.0051732888,0.00022427432],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019671072,0.000010370336,0.0018722124,0.000036965906,0.000012492811,0.00009859004,0.021472502,0.00051772874,0.0001913014,0.9609329,0.0032400384,0.011595219],"study_design_scores_gemma":[0.000049546736,0.00002751872,0.027182419,0.00044233908,0.000072328134,0.00027877392,0.100946896,0.0035283149,0.0012102027,0.4979995,0.3681327,0.00012944338],"about_ca_topic_score_codex":0.9767718,"about_ca_topic_score_gemma":0.98426163,"teacher_disagreement_score":0.10812134,"about_ca_system_score_codex":0.10812134,"about_ca_system_score_gemma":0.14660235,"threshold_uncertainty_score":0.7844789},"labels":[],"label_agreement":null},{"id":"W7038122915","doi":"","title":"Hip Hop Politics: Recognising a Southern Complexity","year":2014,"lang":"en","type":"article","venue":"City Research Online (City University London)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Framing (construction); Immigration; Portuguese; Ethnic group; Race (biology)","score_opus":0.20707765033759554,"score_gpt":0.30325304980327955,"score_spread":0.09617539946568401,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7038122915","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.12350051,0.013611926,0.0068486785,0.19315895,0.0017590312,0.00003628481,0.00006835445,0.00007287022,0.66094345],"genre_scores_gemma":[0.9535012,0.0039873277,0.0010241222,0.014424326,0.0013758932,0.000033901255,0.000024965197,0.000066741566,0.02556154],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99723756,0.0013695828,0.000061960396,0.00029820256,0.00041557543,0.0006170592],"domain_scores_gemma":[0.9978617,0.0011217478,0.00021822711,0.00016874142,0.00019336949,0.00043609954],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0041260193,0.00036407379,0.00044872775,0.002253652,0.013619427,0.0154434275,0.0010056113,0.0042230305,0.008294814],"category_scores_gemma":[0.0037438176,0.00036373863,0.00026999813,0.0020315584,0.046577156,0.009927097,0.011469326,0.006592682,0.0009200475],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009019457,0.000012694896,0.0013606135,0.000053211785,0.0000035246371,0.00040909796,0.14422657,0.00005036467,0.0001404138,0.8376397,0.0074819224,0.008612958],"study_design_scores_gemma":[0.00001008689,0.000026486581,0.003965606,0.0004954864,0.000011007113,0.00080957974,0.23144802,0.00020003307,0.00023899476,0.21129684,0.551478,0.000019902474],"about_ca_topic_score_codex":0.014580947,"about_ca_topic_score_gemma":0.017707994,"teacher_disagreement_score":0.0154434275,"about_ca_system_score_codex":0.0059278314,"about_ca_system_score_gemma":0.0058756573,"threshold_uncertainty_score":0.04300964},"labels":[],"label_agreement":null},{"id":"W7038159542","doi":"","title":"Hardcore Scm '06 - 2809","year":2013,"lang":"en","type":"other","venue":"Bulletin of Miscellaneous Information (Royal Gardens Kew)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Piano; Melody; Point (geometry); Set (abstract data type); Movement (music); HARP; Track (disk drive); Theme (computing)","score_opus":0.009149689682478979,"score_gpt":0.1619183207249085,"score_spread":0.15276863104242952,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7038159542","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010826195,0.0006682215,0.007394644,0.001561302,0.0023646518,0.00021656147,0.005819137,0.01535691,0.96553594],"genre_scores_gemma":[0.0013057872,0.00021160449,0.0013237939,0.00027841292,0.0001902813,0.000046454134,0.0034786852,0.0017613759,0.99140364],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99902415,0.0000749833,0.000040583145,0.0002561194,0.0004781581,0.00012594531],"domain_scores_gemma":[0.99732435,0.00015572613,0.000062219646,0.0004673854,0.0010512397,0.00093909056],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0013192376,0.0015560774,0.0009770576,0.0016620235,0.0017182849,0.007888345,0.0022404983,0.0023433296,0.86161375],"category_scores_gemma":[0.0027833432,0.0006768781,0.0006917449,0.0018851184,0.0005771679,0.0038402833,0.004061092,0.0017634429,0.8508453],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008678661,0.000054908895,0.00008543337,0.00009892097,0.00000466978,0.00005083214,0.000025516943,0.00012858599,0.0013288276,0.0018189346,0.90381277,0.092503816],"study_design_scores_gemma":[0.000018329014,0.00004239446,0.00026854675,0.000052308496,0.0000021658577,0.000046678048,0.000026008134,0.00033975588,0.00046560404,0.0006256223,0.99810314,0.000009371799],"about_ca_topic_score_codex":0.0048040794,"about_ca_topic_score_gemma":0.01382167,"teacher_disagreement_score":0.86161375,"about_ca_system_score_codex":0.0019902305,"about_ca_system_score_gemma":0.0020516943,"threshold_uncertainty_score":0.1973911},"labels":[],"label_agreement":null},{"id":"W7038172416","doi":"","title":"Hexindai Reports Unaudited Fourth Quarter and Fiscal Year 2018 Financial Results","year":2018,"lang":"en","type":"other","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Quarter (Canadian coin); Fiscal year; Debt; Duration (music); Work (physics)","score_opus":0.014987713790456766,"score_gpt":0.19606586812477536,"score_spread":0.1810781543343186,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7038172416","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0028368044,0.0005159193,0.00039488025,0.009581517,0.0054667722,0.00026042966,0.06956558,0.0018865374,0.90949154],"genre_scores_gemma":[0.0074837278,0.00049117877,0.00023008818,0.0012530412,0.000544552,0.00020414175,0.02451959,0.0006192237,0.96465445],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9961105,0.00019884785,0.00019638993,0.00022857232,0.0025416405,0.00072406774],"domain_scores_gemma":[0.9885838,0.0011144191,0.0007371686,0.0010967692,0.0070781084,0.0013898299],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0032050614,0.00093106396,0.0008494516,0.00538046,0.0026499664,0.010601598,0.0020901363,0.00294219,0.4887267],"category_scores_gemma":[0.016311504,0.00053274824,0.0005835902,0.004666702,0.0011357929,0.0034314496,0.003179118,0.0035939764,0.4279737],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007745166,0.00004502266,0.00046441026,0.000036205543,0.0000023108307,0.000038935857,0.000022380527,0.000034514473,0.000046399586,0.0036996542,0.987048,0.008484704],"study_design_scores_gemma":[0.00007946247,0.00003455511,0.0033115002,0.00012824342,0.0000069805874,0.00003406467,0.00020858328,0.00035055133,0.00080819346,0.0022482944,0.99276876,0.000020968213],"about_ca_topic_score_codex":0.016529897,"about_ca_topic_score_gemma":0.018602954,"teacher_disagreement_score":0.4887267,"about_ca_system_score_codex":0.0037085037,"about_ca_system_score_gemma":0.009370964,"threshold_uncertainty_score":0.72926927},"labels":[],"label_agreement":null},{"id":"W7038250984","doi":"","title":"Habiletés et connaissances pertinentes à développer en arts plastiques chez des enfants du primaire en fonction de leur âge","year":2019,"lang":"fr","type":"other","venue":"Knowledge UdeS (Institutional Deposit of the University of Sherbrooke)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Temporalities; Context (archaeology); The arts","score_opus":0.014642044768328989,"score_gpt":0.20717184288853976,"score_spread":0.1925297981202108,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7038250984","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7925337,0.016236903,0.0055616153,0.031420603,0.0014220725,0.00017612813,0.0006017536,0.00010289112,0.15194441],"genre_scores_gemma":[0.8458602,0.01106612,0.0047720405,0.0025707227,0.000149588,0.00014635766,0.00025086396,0.00007373136,0.13511035],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9968631,0.00062978565,0.00010934707,0.00032481842,0.001347829,0.00072518794],"domain_scores_gemma":[0.995316,0.00095414236,0.0005702847,0.0001304416,0.0019733263,0.001055898],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0036090228,0.00046727725,0.00040277696,0.0014540076,0.009636228,0.006293032,0.001029935,0.0015088696,0.01501977],"category_scores_gemma":[0.0064983624,0.00029532742,0.00044746234,0.0010532667,0.0055947695,0.0026782865,0.0040534367,0.0033342596,0.001804359],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006461798,0.00009382621,0.054945223,0.0005287077,0.00001752422,0.0020555283,0.7826149,0.00012885993,0.0021367501,0.014676491,0.024068514,0.118669],"study_design_scores_gemma":[0.000004120136,0.00008670762,0.115957476,0.0012545446,0.00003227925,0.002123378,0.51595783,0.0001334357,0.00097227615,0.001989238,0.3614108,0.000077906625],"about_ca_topic_score_codex":0.35054716,"about_ca_topic_score_gemma":0.7309498,"teacher_disagreement_score":0.35054716,"about_ca_system_score_codex":0.013780906,"about_ca_system_score_gemma":0.015651045,"threshold_uncertainty_score":0.6970135},"labels":[],"label_agreement":null},{"id":"W7038305475","doi":"","title":"+91-9116799099 husband wife problem solution specialist in england","year":2021,"lang":"en","type":"other","venue":"OSF Preprints (OSF Preprints)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Bengali; Wife; Kali; MAGIC (telescope); Cheating","score_opus":0.02261153900335503,"score_gpt":0.22364955075370793,"score_spread":0.2010380117503529,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7038305475","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0016536458,0.00077598635,0.0003678022,0.0110678915,0.0027575695,0.0001277987,0.0012326483,0.0009847987,0.98103195],"genre_scores_gemma":[0.001087538,0.00013609538,0.00010360979,0.0006821607,0.0000741912,0.000013076019,0.00017442608,0.00009454422,0.9976343],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999097,0.00010244414,0.0000412477,0.00019323292,0.00030750965,0.00025863416],"domain_scores_gemma":[0.9957178,0.00022812688,0.00009930529,0.00013546627,0.0012449765,0.002574231],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00058115786,0.00084491004,0.0007006774,0.0007516028,0.0030938687,0.003982654,0.0011075584,0.0028497442,0.9093057],"category_scores_gemma":[0.002141387,0.00046625105,0.00041461442,0.0006848897,0.000518298,0.0024072474,0.003900358,0.001559233,0.8172683],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028739665,0.00004420995,0.00026217062,0.00006277703,0.0000013768228,0.0001501122,0.00011927811,0.000023229873,0.00027549156,0.0005375576,0.96924365,0.029251453],"study_design_scores_gemma":[0.000009671966,0.00003045517,0.0007326856,0.000051921532,0.0000018581015,0.00015573214,0.0004916137,0.000027861784,0.00006162748,0.00011935069,0.9983126,0.000004592942],"about_ca_topic_score_codex":0.007292332,"about_ca_topic_score_gemma":0.032273926,"teacher_disagreement_score":0.09069431,"about_ca_system_score_codex":0.0019381368,"about_ca_system_score_gemma":0.002660724,"threshold_uncertainty_score":0.12936437},"labels":[],"label_agreement":null},{"id":"W7038331898","doi":"","title":"1869 House Bill 0017. An Act To Authorize The Dorchester Savings Bank, Located In The Town Of Dorchester, To Hold Real Estate.","year":2017,"lang":"en","type":"other","venue":"State Library's electronic repository (State Library of Massachusetts)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Legislature; Legislation; Legislative history; Legislative process; Work (physics); Legislative intent; Quarter (Canadian coin)","score_opus":0.01831980180070085,"score_gpt":0.2221717028724804,"score_spread":0.20385190107177953,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7038331898","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0013023033,0.00096346607,0.0002459967,0.0038832368,0.0012542702,0.00008299329,0.0064170547,0.00016427877,0.9856865],"genre_scores_gemma":[0.0053231562,0.00042747578,0.000114905735,0.00220303,0.00020557569,0.00006278135,0.001370389,0.00009246629,0.9902001],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99881065,0.00010817549,0.00006719536,0.00009828265,0.0006066113,0.0003090739],"domain_scores_gemma":[0.9993125,0.000088780886,0.00005070304,0.000048718848,0.0004132372,0.00008596211],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007430143,0.00072780316,0.0002987982,0.0010610214,0.0033072052,0.0029092084,0.0007342471,0.003013429,0.20559278],"category_scores_gemma":[0.0029982561,0.00052523654,0.0003843058,0.0011315531,0.00089731504,0.0015880791,0.0014024536,0.003567145,0.16463058],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022345985,0.0000138011665,0.00028427647,0.00003362608,0.000001696073,0.00007646238,0.00015230465,0.000028219403,0.00010385086,0.031227846,0.95967263,0.008382938],"study_design_scores_gemma":[0.000005812735,0.0000053293975,0.0012006513,0.000042275184,0.0000019009603,0.000032095446,0.00010003209,0.000019424073,0.00010763631,0.0007721305,0.99770784,0.0000048460206],"about_ca_topic_score_codex":0.09661877,"about_ca_topic_score_gemma":0.2158158,"teacher_disagreement_score":0.20559278,"about_ca_system_score_codex":0.0051064906,"about_ca_system_score_gemma":0.004621066,"threshold_uncertainty_score":0.6877763},"labels":[],"label_agreement":null},{"id":"W7038475873","doi":"","title":"HOW ARE THE FORMAL AND INFORMAL ONLINE SUPPORTS OF MENTAL HEALTH ACCESSIBLE FOR REFUGEES AND THEIR CHILDREN IN CANADA?","year":2021,"lang":"en","type":"article","venue":"Scholarship@Western (Western University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Refugee; Mental health; Government (linguistics); Variety (cybernetics); Settlement (finance); Mental health law","score_opus":0.05153825835303264,"score_gpt":0.2578534658331048,"score_spread":0.20631520748007218,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7038475873","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9809269,0.0013031685,0.00006931033,0.004997891,0.00003377046,0.00006472298,0.0005958715,0.000009832574,0.011998701],"genre_scores_gemma":[0.99275935,0.0021048244,0.000273969,0.00069829315,0.0000070004944,0.000038249753,0.00023526828,0.000010100613,0.0038730318],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99808097,0.00028520662,0.00007285212,0.00013866075,0.0004360074,0.000986297],"domain_scores_gemma":[0.99545515,0.0006850995,0.0006199235,0.000109957764,0.0010074787,0.0021223282],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015085198,0.00024188618,0.00041570197,0.0011332866,0.009675908,0.0053753764,0.0011424322,0.00055464904,0.004581589],"category_scores_gemma":[0.0060167992,0.00030496373,0.00025866306,0.0027684423,0.004064179,0.0020350486,0.003773889,0.0017051835,0.00024671084],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018897055,0.00021350637,0.36737254,0.0008614345,0.000046561774,0.0029400445,0.49941978,0.00013619907,0.00082970806,0.005251558,0.013163381,0.109576285],"study_design_scores_gemma":[0.000010017658,0.00003261938,0.21588911,0.0004895033,0.000021638534,0.00025118008,0.7534937,0.000076778575,0.00013439766,0.00018638904,0.029372841,0.000041810603],"about_ca_topic_score_codex":0.9852822,"about_ca_topic_score_gemma":0.9951067,"teacher_disagreement_score":0.04333665,"about_ca_system_score_codex":0.04333665,"about_ca_system_score_gemma":0.10306004,"threshold_uncertainty_score":0.31443083},"labels":[],"label_agreement":null},{"id":"W7038506529","doi":"","title":"Il 'genio del diritto' : da Beccaria all'utilitarismo di Bentham","year":2003,"lang":"en","type":"dissertation","venue":"eScholarship@McGill (McGill)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"McGill University","keywords":"Foundation (evidence); Economic Justice; Jeremy bentham; Philosophy of law; Administration (probate law); Administration of justice; Michel foucault","score_opus":0.028596985187310853,"score_gpt":0.22695885411985384,"score_spread":0.19836186893254298,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7038506529","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.031827826,0.09971815,0.004554186,0.24588479,0.0039226916,0.00002183746,0.00008504806,0.00008255397,0.6139029],"genre_scores_gemma":[0.6920414,0.041069794,0.00300602,0.02044346,0.0023979205,0.000065433225,0.00004410905,0.00019157722,0.24074039],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981834,0.0009598826,0.000033115048,0.00018451585,0.000443501,0.00019553378],"domain_scores_gemma":[0.9984909,0.0008163971,0.00008163025,0.0001097003,0.00029854945,0.0002027556],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015823601,0.00026394677,0.00025858858,0.00085921446,0.004086395,0.0058360505,0.00043523958,0.0013024948,0.0046409625],"category_scores_gemma":[0.0031167634,0.0002201399,0.00011242197,0.0010554132,0.00851348,0.0027431936,0.0021400952,0.0031036246,0.0008912626],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015555295,0.00001570645,0.00043665222,0.00008499584,0.0000027079248,0.000086278116,0.030131625,0.00006588301,0.00014926,0.8135515,0.103683494,0.0517764],"study_design_scores_gemma":[0.0000025369611,0.000007954514,0.0007205971,0.00014161097,0.0000022493984,0.000100595396,0.0055196085,0.00008627559,0.00009745419,0.037013266,0.9562991,0.000008660678],"about_ca_topic_score_codex":0.016374439,"about_ca_topic_score_gemma":0.02861695,"teacher_disagreement_score":0.016374439,"about_ca_system_score_codex":0.0047286674,"about_ca_system_score_gemma":0.0027348034,"threshold_uncertainty_score":0.03430897},"labels":[],"label_agreement":null},{"id":"W7038813379","doi":"","title":"Ladies sings the blues","year":2013,"lang":"sv","type":"article","venue":"KTH Publication Database DiVA (KTH Royal Institute of Technology)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Blues; Jazz; Feature (linguistics); Nova scotia","score_opus":0.024301327234291126,"score_gpt":0.22682849412011016,"score_spread":0.20252716688581904,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7038813379","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.010446925,0.0029313378,0.0021990477,0.012911782,0.014732821,0.00018254238,0.009130611,0.003974854,0.9434902],"genre_scores_gemma":[0.009410896,0.0008653434,0.00081427925,0.0010077663,0.000726513,0.000030081696,0.0017519362,0.00082845695,0.9845648],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992373,0.00009364503,0.000032177835,0.00012942265,0.00034925662,0.00015824595],"domain_scores_gemma":[0.9980299,0.00017723689,0.00008362885,0.00016895779,0.0006043242,0.0009360317],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0010331686,0.00078597857,0.00074727554,0.0017705255,0.0035582527,0.0050911787,0.00056920404,0.0010236966,0.5620205],"category_scores_gemma":[0.0031046385,0.00044578343,0.0004796704,0.0015091944,0.00062783394,0.0022226465,0.0037521059,0.001900504,0.39035526],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011954273,0.000022254166,0.0005639552,0.00010190299,0.0000053000317,0.00011842573,0.0007809958,0.000017938499,0.0006372813,0.0010895167,0.9420875,0.05445538],"study_design_scores_gemma":[0.000005634027,0.00002012217,0.001533826,0.00004883706,0.0000022781787,0.0001078402,0.0008852949,0.000015725882,0.00013151157,0.00017509,0.9970651,0.00000865542],"about_ca_topic_score_codex":0.004749787,"about_ca_topic_score_gemma":0.019306263,"teacher_disagreement_score":0.43797952,"about_ca_system_score_codex":0.0008271829,"about_ca_system_score_gemma":0.0010706583,"threshold_uncertainty_score":0.6247246},"labels":[],"label_agreement":null},{"id":"W7038957602","doi":"","title":"Keenan Wire Jan 15 2014","year":2014,"lang":"en","type":"other","venue":"Bulletin of Miscellaneous Information (Royal Gardens Kew)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Key (lock); Frequency standard","score_opus":0.006594213632563056,"score_gpt":0.16041835854134529,"score_spread":0.15382414490878224,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7038957602","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00058299745,0.0006351332,0.000117137206,0.0009929372,0.0014506469,0.000031255313,0.0016215076,0.00028863453,0.9942796],"genre_scores_gemma":[0.0007735761,0.00013274951,0.000019210003,0.00007844684,0.000033027427,0.0000044796557,0.00026149696,0.000058489197,0.9986386],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99967706,0.000015804368,0.0000065040626,0.000047127003,0.00014555537,0.00010796165],"domain_scores_gemma":[0.9997422,0.000015769505,0.000010146313,0.000023374885,0.00013120635,0.00007724133],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0002900574,0.0005433868,0.00032114555,0.0009162321,0.0025297909,0.0033969805,0.00047326164,0.0009594246,0.5972709],"category_scores_gemma":[0.0009765127,0.0003401432,0.0001889482,0.0007946781,0.00038796567,0.0010317115,0.0017996416,0.0013416345,0.39875495],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003685313,0.00000613387,0.00010234131,0.000047969057,0.0000011625602,0.000039245075,0.00008617616,0.000016964561,0.00017216823,0.0025832346,0.9788126,0.018095186],"study_design_scores_gemma":[0.0000018389535,0.0000036166227,0.0004488251,0.00003401022,6.926309e-7,0.000010352932,0.00009661363,0.000007144242,0.00005908937,0.000098113815,0.99923766,0.0000020997445],"about_ca_topic_score_codex":0.04199214,"about_ca_topic_score_gemma":0.18549383,"teacher_disagreement_score":0.4027291,"about_ca_system_score_codex":0.0018974943,"about_ca_system_score_gemma":0.0016812644,"threshold_uncertainty_score":0.5744442},"labels":[],"label_agreement":null},{"id":"W7039188155","doi":"","title":"Masculinity and knowledge in audio engineering","year":2025,"lang":"en","type":"dissertation","venue":"eScholarship@McGill (McGill)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"University of Lethbridge; Skidmore College; McGill University; City University of New York","keywords":"","score_opus":0.019441927558654933,"score_gpt":0.21399099677405248,"score_spread":0.19454906921539755,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7039188155","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.35894436,0.01924621,0.0003912626,0.012817392,0.00027244212,0.000018819941,0.000057919096,0.0000094855695,0.6082422],"genre_scores_gemma":[0.8629917,0.007891594,0.00019683459,0.00051129656,0.00013095626,0.000009522498,0.000018265966,0.000008844646,0.12824094],"study_design_codex":"design_other","study_design_gemma":"qualitative","domain_scores_codex":[0.99968004,0.00009050919,0.0000072120615,0.00004107885,0.00012032054,0.000060766964],"domain_scores_gemma":[0.99885404,0.00059381797,0.00012129629,0.000021136753,0.00017391155,0.00023573423],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00066616404,0.000107672306,0.00010949522,0.0007007629,0.0025978745,0.002217376,0.00016150576,0.00031685625,0.022047095],"category_scores_gemma":[0.0015539142,0.00009935992,0.00006363126,0.0005758694,0.0018003801,0.00078841945,0.00083124574,0.0004917755,0.0008006037],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018997688,0.0006602434,0.046684682,0.0003589313,0.00003062267,0.0009789694,0.12749329,0.00028123232,0.0037883688,0.2747471,0.055870596,0.48891607],"study_design_scores_gemma":[0.000029673613,0.00021106306,0.2829367,0.0007773004,0.00003203459,0.0009609644,0.13546537,0.00041490272,0.0016892173,0.041976225,0.5354639,0.000042714233],"about_ca_topic_score_codex":0.02032111,"about_ca_topic_score_gemma":0.05031925,"teacher_disagreement_score":0.99740213,"about_ca_system_score_codex":0.0015651709,"about_ca_system_score_gemma":0.001494436,"threshold_uncertainty_score":0.07375491},"labels":[],"label_agreement":null},{"id":"W7039745535","doi":"","title":"Music and Queer Culture: Negotiating Marginality Through Musical Discourse at Pride Toronto","year":2012,"lang":"en","type":"article","venue":"DigiNole (Florida State University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Queer; Pride; Musical; Dance; Identity (music); Power (physics); Politics; Negotiation","score_opus":0.027212009800935005,"score_gpt":0.20852116404872456,"score_spread":0.18130915424778957,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7039745535","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.69909847,0.0043714675,0.0020164335,0.020524167,0.00032512238,0.00007856389,0.00010307183,0.00004582259,0.27343687],"genre_scores_gemma":[0.99049544,0.0009501054,0.00015428405,0.000420697,0.00002720264,0.00001740675,0.000017717528,0.000013470226,0.0079036495],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99549615,0.002670292,0.00006158757,0.00026714735,0.00047703306,0.0010277799],"domain_scores_gemma":[0.9951658,0.002010262,0.0003910451,0.00018794693,0.00042069846,0.0018243295],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0033124024,0.0004957738,0.00046861384,0.0017526378,0.039548278,0.016028479,0.0013740491,0.0017040523,0.0070300098],"category_scores_gemma":[0.0058681364,0.00037104555,0.00030825753,0.0017850216,0.039491814,0.004907678,0.009521109,0.003435016,0.00037365383],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000026339756,0.000012396102,0.0035274199,0.000029197077,0.000007915042,0.0004167499,0.94864523,0.0000496249,0.00022970406,0.04153146,0.0020348527,0.0034891346],"study_design_scores_gemma":[0.0000048902057,0.000012573496,0.004639822,0.00009730238,0.000009681342,0.00007753628,0.94155943,0.00008196784,0.0001198105,0.0024997673,0.050883107,0.000014147904],"about_ca_topic_score_codex":0.6327585,"about_ca_topic_score_gemma":0.8151558,"teacher_disagreement_score":0.3672415,"about_ca_system_score_codex":0.047810275,"about_ca_system_score_gemma":0.022013081,"threshold_uncertainty_score":0.7388085},"labels":[],"label_agreement":null},{"id":"W7039944136","doi":"","title":"Musical Artists Capitalizing on Hybrid Identities: A Case Study of Drake the “Authentic” “Black” “Canadian” “Rapper”","year":2016,"lang":"en","type":"article","venue":"Scholarship@Western (Western University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Hybridity; Musical; Lyrics; Popular music; Identity (music); Violin musical styles; Construct (python library); Bricolage; Meaning (existential); Multimodality","score_opus":0.0997251063364251,"score_gpt":0.27462938408725884,"score_spread":0.17490427775083373,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7039944136","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.955385,0.0006114757,0.0015190897,0.006578361,0.0001894997,0.0001970549,0.00011137054,0.00003356673,0.03537461],"genre_scores_gemma":[0.9708166,0.0006863375,0.0022599231,0.0014428089,0.00006658199,0.000089620655,0.000056637375,0.000078065335,0.024503496],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9942907,0.002406596,0.00009690225,0.00068539736,0.0010440432,0.001476313],"domain_scores_gemma":[0.99527365,0.001889134,0.00035593845,0.00028687846,0.00047608893,0.0017183161],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003399487,0.0014188355,0.00092643115,0.0024422898,0.058395397,0.008466581,0.0046802917,0.0066264197,0.0071992395],"category_scores_gemma":[0.008062823,0.00086145743,0.0006341699,0.0025386913,0.017877633,0.004485424,0.007864427,0.008206153,0.00088614295],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007470009,0.00020263264,0.002873498,0.000100266145,0.000011054786,0.020187067,0.9521925,0.00018187411,0.0012463445,0.007828671,0.0047414824,0.01035994],"study_design_scores_gemma":[0.0000051697766,0.000041540545,0.0016320073,0.000086428125,0.000008131548,0.003112619,0.9591205,0.00020040157,0.00044275826,0.00049006863,0.034822125,0.00003822299],"about_ca_topic_score_codex":0.37366262,"about_ca_topic_score_gemma":0.7210717,"teacher_disagreement_score":0.6263374,"about_ca_system_score_codex":0.0168916,"about_ca_system_score_gemma":0.013494358,"threshold_uncertainty_score":0.74297535},"labels":[],"label_agreement":null},{"id":"W7041596981","doi":"","title":"The Heaviest Metal","year":2024,"lang":"en","type":"article","venue":"PhilPapers (PhilPapers Foundation)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Capilano University","funders":"","keywords":"Gestalt psychology; Fluency; Key (lock); Interpretation (philosophy)","score_opus":0.02235856409890616,"score_gpt":0.22409883212098908,"score_spread":0.20174026802208292,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7041596981","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08327927,0.0031839118,0.0062181894,0.015494751,0.0020115543,0.00002986992,0.00017878387,0.00013979316,0.8894639],"genre_scores_gemma":[0.7626545,0.0026708737,0.006082777,0.0046792505,0.0010854261,0.000025791369,0.00018028157,0.0003776437,0.22224346],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994141,0.000102864,0.000027255102,0.00016294031,0.00018082038,0.000111952744],"domain_scores_gemma":[0.99944454,0.00012508851,0.00006705678,0.00010598331,0.00012607596,0.00013120758],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007395553,0.00043157965,0.00022673013,0.0009513574,0.0031388944,0.0055382233,0.0006209201,0.0009725453,0.026610931],"category_scores_gemma":[0.0022616293,0.00021152869,0.00023637347,0.00064966356,0.006236712,0.0049033924,0.003524671,0.0014032191,0.0047302274],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00030230184,0.00003429639,0.0027908257,0.000353273,0.000025585961,0.0005228236,0.019315833,0.0001291154,0.005240207,0.8225788,0.04072542,0.10798148],"study_design_scores_gemma":[0.00003196635,0.00012517325,0.004220946,0.00023531933,0.000021547077,0.00092505943,0.01417194,0.00022193062,0.002535457,0.18687855,0.7906016,0.000030508785],"about_ca_topic_score_codex":0.0013860296,"about_ca_topic_score_gemma":0.002630674,"teacher_disagreement_score":0.026610931,"about_ca_system_score_codex":0.0011596787,"about_ca_system_score_gemma":0.00054190523,"threshold_uncertainty_score":0.08902246},"labels":[],"label_agreement":null},{"id":"W7041833134","doi":"","title":"Altschul, Barry","year":2008,"lang":"en","type":"article","venue":"DigitalResearch@Fordham (Fordham University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Jazz; Drummer; Ethnic group; Performance art; Dance; Harlem Renaissance","score_opus":0.06909338630219157,"score_gpt":0.1725221661002345,"score_spread":0.10342877979804292,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7041833134","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.004567305,0.031373233,0.0007931944,0.066590875,0.02394201,0.00006748224,0.0005264148,0.00032137884,0.87181824],"genre_scores_gemma":[0.008789341,0.0075819315,0.00042631876,0.00701788,0.0009320596,0.00003300259,0.00013262032,0.000112002395,0.97497493],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99919575,0.00009060694,0.000021067397,0.00018715023,0.00031967027,0.00018566637],"domain_scores_gemma":[0.9992467,0.00006683999,0.000028437487,0.000030382665,0.00017884307,0.00044887452],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0006775157,0.00072714244,0.00038914764,0.001069328,0.0067266044,0.003922809,0.00082759565,0.0017744022,0.20055793],"category_scores_gemma":[0.0018923897,0.00034376784,0.00023127656,0.00059924193,0.0018135235,0.0029008095,0.003669466,0.004897617,0.06414412],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018295987,0.000029836016,0.00032584145,0.0000439896,0.0000012613542,0.00024658864,0.0007278786,0.00002495428,0.00013421068,0.015754439,0.9061409,0.076551825],"study_design_scores_gemma":[8.997893e-7,0.000006584089,0.00023391415,0.000056553105,4.833139e-7,0.00016225474,0.0002820599,0.000009367306,0.00003591037,0.0006331718,0.99857557,0.0000032965388],"about_ca_topic_score_codex":0.017173762,"about_ca_topic_score_gemma":0.042537663,"teacher_disagreement_score":0.79944205,"about_ca_system_score_codex":0.0023489268,"about_ca_system_score_gemma":0.0044328705,"threshold_uncertainty_score":0.6709331},"labels":[],"label_agreement":null},{"id":"W7042523754","doi":"","title":"Piano Sonata, Movt. III \"Rondo\"","year":2021,"lang":"en","type":"article","venue":"Scholar Works at UT Tyler (The University of Texas at Tyler)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Piano; Piano sonata; Context (archaeology); Sonata form; Harmony (color); Movement (music); Fantasy; Violin; Sonata cycle","score_opus":0.014731106274661539,"score_gpt":0.17001628336299632,"score_spread":0.15528517708833478,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7042523754","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.018866371,0.009698576,0.000983957,0.010743078,0.006007267,0.000066251574,0.00022321322,0.0003396815,0.95307165],"genre_scores_gemma":[0.10537918,0.0024795837,0.0007181948,0.0020269672,0.0007602342,0.00006679866,0.00012996285,0.00018586924,0.8882532],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99969375,0.000061356004,0.000008915807,0.00007505117,0.00009361225,0.000067264016],"domain_scores_gemma":[0.9998796,0.000017592658,0.000011033873,0.000015740778,0.000037581645,0.0000384388],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004213453,0.0006247944,0.00016039312,0.00051743543,0.004375597,0.0036637487,0.00049390504,0.0008722171,0.024737213],"category_scores_gemma":[0.0008122645,0.00018757534,0.00020598974,0.00033489038,0.0022937853,0.0015099505,0.0018407623,0.0020544445,0.0064449687],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00028531053,0.000043215347,0.0012826913,0.00025384757,0.00000911572,0.0007570766,0.038837288,0.00005556294,0.0030206484,0.32891643,0.47769344,0.14884548],"study_design_scores_gemma":[0.0000044807794,0.000030512623,0.0007221546,0.000045098433,0.000001930656,0.00012754119,0.0038211998,0.000015707978,0.00020425036,0.0008623361,0.99416006,0.0000047331155],"about_ca_topic_score_codex":0.029627044,"about_ca_topic_score_gemma":0.09055743,"teacher_disagreement_score":0.029627044,"about_ca_system_score_codex":0.0026013462,"about_ca_system_score_gemma":0.0010489813,"threshold_uncertainty_score":0.082754195},"labels":[],"label_agreement":null},{"id":"W7042607279","doi":"","title":"Porakone, ukulele ja mölkky: Lainattavat esineet Vaara-kirjastoissa ja Helsingin kaupunginkirjastossa","year":2019,"lang":"fi","type":"other","venue":"Tampere University Institutional Repository (Tampere University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Value (mathematics); Work (physics); Quarter (Canadian coin)","score_opus":0.009689193576874417,"score_gpt":0.1556685578502257,"score_spread":0.1459793642733513,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7042607279","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0071618287,0.007357599,0.005286135,0.034716014,0.0173869,0.00017066966,0.0014226604,0.0027865856,0.92371154],"genre_scores_gemma":[0.008798801,0.001832782,0.0013135907,0.0021809747,0.0006340207,0.00002846329,0.00031041758,0.0005557976,0.98434514],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99950075,0.000053832795,0.000020196272,0.00012721452,0.0002014715,0.00009646935],"domain_scores_gemma":[0.99900454,0.00013406917,0.000038198632,0.00006695412,0.0003972831,0.00035896702],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00070939015,0.00055554084,0.00034217825,0.0006317665,0.0030313665,0.0077769556,0.00062292384,0.0017301424,0.2913561],"category_scores_gemma":[0.0016148261,0.00034380716,0.00031210599,0.0008219014,0.0009534705,0.003998544,0.003111927,0.0025820227,0.1505735],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010280025,0.00004867935,0.00077689334,0.00020461065,0.0000060270986,0.00037911173,0.002268678,0.00006255234,0.004094917,0.008980655,0.8906283,0.09244681],"study_design_scores_gemma":[0.0000019114493,0.0000076289507,0.00034761438,0.000033318873,0.0000018530662,0.000099259036,0.000578317,0.00002868338,0.00035567017,0.0002586369,0.9982817,0.0000054375746],"about_ca_topic_score_codex":0.00637947,"about_ca_topic_score_gemma":0.016688786,"teacher_disagreement_score":0.2913561,"about_ca_system_score_codex":0.001987898,"about_ca_system_score_gemma":0.001875839,"threshold_uncertainty_score":0.9746832},"labels":[],"label_agreement":null},{"id":"W70428886","doi":"","title":"In)Famous Cover Tunes of 2014","year":2014,"lang":"en","type":"article","venue":"Scholars Commons (Wilfrid Laurier University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Wilfrid Laurier University","funders":"","keywords":"Cover (algebra); Computer science; Environmental science; Engineering","score_opus":0.012744199918959108,"score_gpt":0.1793992158422828,"score_spread":0.16665501592332368,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W70428886","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0018317444,0.0059214397,0.00070811604,0.013109047,0.03952995,0.00013366254,0.0038803136,0.0006041411,0.9342816],"genre_scores_gemma":[0.0029895317,0.0005450022,0.00014130073,0.0016897967,0.0035130165,0.00004066408,0.0005111111,0.00015698158,0.99041253],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994117,0.000056811314,0.000020922547,0.00006712099,0.00032297726,0.000120396246],"domain_scores_gemma":[0.9993893,0.00013356122,0.000038208243,0.000061350824,0.00018893405,0.00018863914],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0006569878,0.0009432647,0.0004984611,0.0022195987,0.0038374327,0.006178325,0.0009988882,0.0036391942,0.3850451],"category_scores_gemma":[0.0023355957,0.00039390347,0.0005361057,0.001414178,0.00080541254,0.0026486875,0.004038191,0.002262654,0.15094522],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003283442,0.000008582712,0.000091938804,0.00005337115,0.000001807547,0.000050461636,0.000094128314,0.000014679727,0.0001509859,0.0028779362,0.98102266,0.015600633],"study_design_scores_gemma":[0.0000028070656,0.0000043871282,0.00037074462,0.000037670477,9.3936285e-7,0.000013473889,0.00010616548,0.000018044333,0.00004569444,0.00045167402,0.998946,0.0000024623198],"about_ca_topic_score_codex":0.0061527495,"about_ca_topic_score_gemma":0.037745044,"teacher_disagreement_score":0.3850451,"about_ca_system_score_codex":0.0017164669,"about_ca_system_score_gemma":0.00092793116,"threshold_uncertainty_score":0.8771585},"labels":[],"label_agreement":null},{"id":"W7042930129","doi":"","title":"2React Live at The Manx Pub on 2014-04-06","year":2014,"lang":"en","type":"other","venue":"Bulletin of Miscellaneous Information (Royal Gardens Kew)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Tribe; Kabuki; Drama; Silence; Guitar; Cannibalism","score_opus":0.007840899500983056,"score_gpt":0.1636914580175489,"score_spread":0.15585055851656585,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7042930129","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005232203,0.00028161224,0.00043238996,0.001040931,0.0019448812,0.00014078578,0.0076747914,0.0031721618,0.98478925],"genre_scores_gemma":[0.00080680207,0.0000707002,0.000112058035,0.0000928218,0.000058406684,0.000020992906,0.0016580266,0.00072909385,0.99645114],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994198,0.0000446502,0.000010798509,0.00008694344,0.00027366515,0.00016415892],"domain_scores_gemma":[0.9988757,0.000033485972,0.000019208079,0.00014764366,0.0006003006,0.00032369862],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0008018146,0.0012009523,0.0006983089,0.0011758421,0.0047481866,0.0057298094,0.001409,0.0015778051,0.8838241],"category_scores_gemma":[0.0016304284,0.0006552769,0.0006921458,0.0011615355,0.00061286,0.002274445,0.00326762,0.0019810786,0.74199724],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000042429838,0.000013707842,0.00011062054,0.000028467579,0.0000015415235,0.000022945438,0.000059647307,0.000011461777,0.00014552225,0.0011177633,0.98862946,0.009816414],"study_design_scores_gemma":[0.0000051314905,0.000008553737,0.0004184967,0.000022219885,0.0000010631018,0.00001183844,0.000080622245,0.000014128009,0.00008545612,0.000078904006,0.99927026,0.0000033675162],"about_ca_topic_score_codex":0.047603965,"about_ca_topic_score_gemma":0.17468825,"teacher_disagreement_score":0.8838241,"about_ca_system_score_codex":0.0027019214,"about_ca_system_score_gemma":0.0027374132,"threshold_uncertainty_score":0.16571075},"labels":[],"label_agreement":null},{"id":"W7043044504","doi":"","title":"2019-10-21 Screaming Females live at 123 Pleasant Street","year":2019,"lang":"en","type":"other","venue":"Bulletin of Miscellaneous Information (Royal Gardens Kew)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Screaming; New england; Quarter (Canadian coin)","score_opus":0.012216879756757499,"score_gpt":0.17594000024573397,"score_spread":0.16372312048897647,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7043044504","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0022716154,0.00008638388,0.00017118778,0.00039177877,0.00066421577,0.0001602085,0.003400306,0.00063423417,0.99222],"genre_scores_gemma":[0.0012649858,0.000040920095,0.000072777235,0.000073661155,0.000030228866,0.000020024812,0.00081668043,0.00013972943,0.99754095],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99981266,0.000011022975,0.0000035390829,0.00002275569,0.00007140937,0.00007856327],"domain_scores_gemma":[0.99933004,0.00002604343,0.000013341371,0.00003110986,0.00019710793,0.0004023449],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00025129435,0.0007928228,0.00029341003,0.0007631439,0.0026073288,0.0014658936,0.00066362805,0.0009587343,0.84993684],"category_scores_gemma":[0.00055553816,0.00045177032,0.0002641789,0.00045932125,0.00023677811,0.00089253776,0.002196444,0.0014056399,0.6891073],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000045103196,0.000058254933,0.00038643563,0.000030798186,0.0000011486385,0.00009193403,0.000057355268,0.00001899958,0.00042923822,0.00032612195,0.97063196,0.02792269],"study_design_scores_gemma":[0.000013143132,0.000033473392,0.0031266138,0.000048883074,0.0000014230691,0.000044760116,0.00030631336,0.00004258395,0.00024174256,0.00007160085,0.99606293,0.000006366365],"about_ca_topic_score_codex":0.018410796,"about_ca_topic_score_gemma":0.15653689,"teacher_disagreement_score":0.84993684,"about_ca_system_score_codex":0.000708889,"about_ca_system_score_gemma":0.001199625,"threshold_uncertainty_score":0.21404678},"labels":[],"label_agreement":null},{"id":"W7043313228","doi":"","title":"Songwriting Camps:Geschichte, Theorien und Forschungsansätze zur Fließband-Produktion von populärer Musik","year":2024,"lang":"en","type":"article","venue":"Huddersfield Research Portal (University of Huddersfield)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Centre for Interdisciplinary Research in Music Media and Technology","funders":"","keywords":"Key (lock); Music industry; Period (music); Creative work","score_opus":0.08047148938146613,"score_gpt":0.2966045730943148,"score_spread":0.21613308371284867,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7043313228","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.112964705,0.13683671,0.034565993,0.023162456,0.00086726516,0.00016721462,0.00018589477,0.000151994,0.69109774],"genre_scores_gemma":[0.90576035,0.05909176,0.009359401,0.0012951922,0.00036966417,0.00023124367,0.0001467107,0.00011659531,0.023628997],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9974336,0.001210981,0.00011475593,0.0004649992,0.0004903438,0.00028530313],"domain_scores_gemma":[0.9939904,0.004612158,0.00040607917,0.00051836524,0.00026553034,0.00020742175],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0053884787,0.0008205844,0.0005710457,0.0042469217,0.003789284,0.012290942,0.002011078,0.0028692668,0.011810098],"category_scores_gemma":[0.007846153,0.0006074735,0.00055033667,0.004051947,0.03312761,0.014067641,0.005093754,0.004283499,0.0015765482],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021139298,0.00004362351,0.0007529248,0.00035644206,0.000011656896,0.00020893905,0.03216627,0.0003712163,0.00014453447,0.92842865,0.0017310377,0.03576356],"study_design_scores_gemma":[0.0000356899,0.00007146422,0.004144628,0.0027431417,0.000019459894,0.0006394741,0.062489837,0.001670861,0.00076685246,0.68212533,0.24524511,0.000048169026],"about_ca_topic_score_codex":0.0066522043,"about_ca_topic_score_gemma":0.0075441916,"teacher_disagreement_score":0.012290942,"about_ca_system_score_codex":0.008672902,"about_ca_system_score_gemma":0.004690614,"threshold_uncertainty_score":0.06292665},"labels":[],"label_agreement":null},{"id":"W7043409439","doi":"","title":"Towards an Analytical Methodology for Vocalists' Live Movements in Extreme Metal","year":2025,"lang":"en","type":"article","venue":"Huddersfield Research Portal (University of Huddersfield)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Artificial Intelligence in Medicine (Canada); Centre for Interdisciplinary Research in Music Media and Technology","funders":"","keywords":"Gesture; Singing; Kinesthetic learning; Phonetics; Dance; Meaning (existential); Musical; Key (lock)","score_opus":0.452420809520022,"score_gpt":0.38422178575007576,"score_spread":0.06819902376994624,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7043409439","genre_codex":"methods","genre_gemma":"methods","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"methods","genre_consensus":"methods","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.15098014,0.0025377802,0.6990431,0.0063225343,0.0005063696,0.0018265232,0.00071761827,0.0003745165,0.13769133],"genre_scores_gemma":[0.61349237,0.0014474835,0.36009008,0.0010678276,0.0002483286,0.0038684132,0.00041421532,0.00038080814,0.018990498],"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9940566,0.0041295798,0.00021547865,0.0007604252,0.0005783189,0.00025971743],"domain_scores_gemma":[0.99139905,0.005746278,0.0008302061,0.0010921443,0.0007077837,0.0002244398],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.009933449,0.00089616154,0.00059375516,0.008021443,0.0045602545,0.008755381,0.0023516216,0.0016846948,0.00651306],"category_scores_gemma":[0.014413367,0.00049953145,0.00067704933,0.0039977254,0.021959547,0.0064291074,0.0073488937,0.002375279,0.00088416814],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006850346,0.00008174712,0.0071494766,0.0005620496,0.000026253238,0.00072696654,0.5110788,0.00043336043,0.0049594385,0.39556715,0.0027545423,0.07659171],"study_design_scores_gemma":[0.000044014527,0.00013109045,0.019384643,0.0015179418,0.000036419275,0.0011376456,0.53365076,0.0031753646,0.00364124,0.23812942,0.19906959,0.000081902435],"about_ca_topic_score_codex":0.0042649163,"about_ca_topic_score_gemma":0.008512924,"teacher_disagreement_score":0.009933449,"about_ca_system_score_codex":0.0030012254,"about_ca_system_score_gemma":0.0027770994,"threshold_uncertainty_score":0.052533746},"labels":[],"label_agreement":null},{"id":"W7043815333","doi":"","title":"Viisauden ja aikuisen oppimisen välinen yhteys : teoreettinen tarkastelu","year":2021,"lang":"fi","type":"other","venue":"Jyväskylä University Digital Archive (University of Jyväskylä)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Kootenay Association for Science & Technology","funders":"","keywords":"Government (linguistics); Work (physics); State (computer science); Power (physics)","score_opus":0.012583367466515701,"score_gpt":0.15471441676508504,"score_spread":0.14213104929856935,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7043815333","genre_codex":"empirical","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.44472063,0.05913685,0.03852744,0.022167142,0.0053661806,0.00044103927,0.0037675514,0.001076466,0.42479676],"genre_scores_gemma":[0.52466017,0.02437183,0.024951817,0.003444564,0.0006512029,0.00031244132,0.002718553,0.0005842441,0.41830522],"study_design_codex":"design_other","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9991716,0.00012463002,0.000047024536,0.00022921286,0.00028314296,0.00014436847],"domain_scores_gemma":[0.9991529,0.00018129763,0.0000989809,0.000075385775,0.00034133336,0.0001500604],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010087481,0.0006309421,0.0006483492,0.00076411106,0.0021057683,0.00498231,0.0006499927,0.0013359637,0.029771721],"category_scores_gemma":[0.0013407099,0.0004394119,0.0007843755,0.0006892912,0.0013243165,0.0029057707,0.0022344592,0.0027674353,0.0087577775],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0018530438,0.0006657198,0.036836673,0.0047071935,0.00033767874,0.004650697,0.020891752,0.0016786561,0.30335635,0.112649314,0.047217447,0.46515557],"study_design_scores_gemma":[0.000025318255,0.0004216614,0.030419098,0.0007235466,0.00016968533,0.0013582532,0.011720411,0.0005983996,0.07568305,0.017060205,0.8616812,0.0001392192],"about_ca_topic_score_codex":0.0050665103,"about_ca_topic_score_gemma":0.011493968,"teacher_disagreement_score":0.029771721,"about_ca_system_score_codex":0.0020401196,"about_ca_system_score_gemma":0.0028693886,"threshold_uncertainty_score":0.09959632},"labels":[],"label_agreement":null},{"id":"W7043972431","doi":"","title":"Understanding the digital music commodity","year":2010,"lang":"en","type":"dissertation","venue":"eScholarship@McGill (McGill)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Digital audio; Commodity; Music industry; Popular music; Key (lock); Indie film; Digital media; Music technology","score_opus":0.07803420391745929,"score_gpt":0.22489191763613023,"score_spread":0.14685771371867096,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7043972431","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1287635,0.018703735,0.02291252,0.030472713,0.00062253256,0.00007719506,0.0001550805,0.00006661684,0.79822606],"genre_scores_gemma":[0.9333838,0.01296279,0.007075419,0.002421863,0.00034627225,0.00009935571,0.0001135062,0.00010288696,0.043494117],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.998555,0.0006434995,0.000053789397,0.00020469874,0.00032391705,0.00021911849],"domain_scores_gemma":[0.9989235,0.00062410295,0.0001239982,0.00010374289,0.000115689196,0.000108877044],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020558585,0.00051589916,0.00027993752,0.002892256,0.0051683094,0.013846306,0.0011084017,0.0028513058,0.011630482],"category_scores_gemma":[0.0032252823,0.00031320052,0.00026994973,0.0029397728,0.02635139,0.024757665,0.0070718164,0.002785581,0.00094938575],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009059978,0.000009137413,0.00051585736,0.00006162647,0.0000016779168,0.0001612414,0.055103067,0.000079431105,0.00016197115,0.9307923,0.001234805,0.011869897],"study_design_scores_gemma":[0.0000061331552,0.000023825818,0.0015982633,0.00059286517,0.0000070034553,0.0004916014,0.14200893,0.0004813056,0.00038682067,0.34627014,0.5081175,0.00001562811],"about_ca_topic_score_codex":0.007315361,"about_ca_topic_score_gemma":0.005831059,"teacher_disagreement_score":0.013846306,"about_ca_system_score_codex":0.0074013183,"about_ca_system_score_gemma":0.003405924,"threshold_uncertainty_score":0.053700566},"labels":[],"label_agreement":null},{"id":"W7044064520","doi":"","title":"\"Watching the room where the music is happening\":&#13;\\nAn Examination of Live Streaming in the Vancouver Independent Music Scene During the Global Pandemic","year":2022,"lang":"en","type":"dissertation","venue":"Spectrum Research Repository (Concordia University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Mainstream; Thriving; Popular music; Social media; Digital media; Live streaming; Key (lock); Government (linguistics)","score_opus":0.02967373718704691,"score_gpt":0.2467473724883925,"score_spread":0.2170736353013456,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7044064520","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.814118,0.0019820533,0.00075213256,0.0152628515,0.00053440436,0.00016779112,0.00040595,0.000074098425,0.16670267],"genre_scores_gemma":[0.94349146,0.002336766,0.00063892594,0.002588636,0.00016816663,0.00011915114,0.0002811645,0.000093747476,0.050281975],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99882525,0.0005477653,0.000016960546,0.00010271118,0.00025810633,0.00024915996],"domain_scores_gemma":[0.9988385,0.00037170353,0.00011684108,0.000054490112,0.0002391274,0.00037947707],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012167385,0.00042175758,0.00028826983,0.00095447066,0.018096022,0.0059958976,0.0012639011,0.0012488657,0.0064976267],"category_scores_gemma":[0.0028910185,0.00035204136,0.00022674397,0.0011707776,0.007533438,0.0018960951,0.0038348855,0.003285624,0.0007378032],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000029656387,0.000032998632,0.0060270065,0.00012559694,0.000006455119,0.0011918199,0.9525599,0.000041038296,0.0007301729,0.002925196,0.021097964,0.01523223],"study_design_scores_gemma":[0.0000019164297,0.000018243025,0.020255223,0.00017202522,0.0000040630216,0.00020408172,0.9161006,0.000032568016,0.0001263834,0.00018388413,0.06288807,0.000012850636],"about_ca_topic_score_codex":0.34239674,"about_ca_topic_score_gemma":0.7095526,"teacher_disagreement_score":0.65760326,"about_ca_system_score_codex":0.007283446,"about_ca_system_score_gemma":0.004562188,"threshold_uncertainty_score":0.68080753},"labels":[],"label_agreement":null},{"id":"W7044156783","doi":"","title":"Way down that lonesome road Lonnie Johnson in Toronto 1965 - 1970","year":2011,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Architecture; Exhibition; Perspective (graphical); Field (mathematics)","score_opus":0.05190560497436939,"score_gpt":0.21223387324158363,"score_spread":0.16032826826721425,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7044156783","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10421936,0.10902393,0.0006144939,0.18990454,0.023859024,0.00013531004,0.0104733575,0.00023100225,0.56153905],"genre_scores_gemma":[0.11647773,0.013592041,0.00016247385,0.0032396652,0.0006009318,0.00002493752,0.0008367008,0.00009534145,0.8649702],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992073,0.000093119466,0.000024474857,0.00011127725,0.00019843692,0.00036539894],"domain_scores_gemma":[0.9989225,0.00008209556,0.00006875118,0.000029643288,0.0002683633,0.00062860834],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00043666497,0.0005234104,0.00043894656,0.0015811439,0.016723167,0.0037351751,0.0005909159,0.0016753728,0.05558882],"category_scores_gemma":[0.0017630787,0.00051994773,0.00024914416,0.003164312,0.0029775724,0.0018881686,0.003089047,0.0029441786,0.0056082094],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010691683,0.000021617048,0.0053161993,0.00022295219,0.000018823303,0.001089664,0.03832679,0.0001449403,0.00027199567,0.028280865,0.8951274,0.031071918],"study_design_scores_gemma":[0.0000030360352,0.0000073385677,0.013196977,0.00013936471,0.0000064062538,0.00005927147,0.014024522,0.00001113695,0.00011946478,0.00033344261,0.9720843,0.000014802854],"about_ca_topic_score_codex":0.93236,"about_ca_topic_score_gemma":0.9911333,"teacher_disagreement_score":0.06764001,"about_ca_system_score_codex":0.055892974,"about_ca_system_score_gemma":0.032302286,"threshold_uncertainty_score":0.4055338},"labels":[],"label_agreement":null},{"id":"W7066599581","doi":"","title":"Interview with Marlon 'Jo de Presser' Billups","year":2014,"lang":"en","type":"article","venue":"Digital Commons - Columbia College Chicago (Columbia College Chicago)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Poetry; State (computer science); Performance art; Spoken word","score_opus":0.020292530280922327,"score_gpt":0.19617210297931084,"score_spread":0.17587957269838853,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7066599581","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.083305486,0.010170835,0.0004147287,0.75011677,0.008234672,0.00016519926,0.00030542022,0.00015721718,0.14712971],"genre_scores_gemma":[0.30422428,0.0064948522,0.0003931993,0.29133293,0.0023405675,0.00044515266,0.00016655125,0.00022415575,0.3943784],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99895155,0.00042240435,0.000023991024,0.00014202078,0.0001989993,0.00026109538],"domain_scores_gemma":[0.997962,0.0005568722,0.00016922012,0.000040164334,0.00045298913,0.0008187279],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015388393,0.00037353465,0.00054780056,0.00059969956,0.009046561,0.0027852908,0.0008345124,0.0030936145,0.030581579],"category_scores_gemma":[0.0064599537,0.0006126489,0.00015317631,0.00064664165,0.0019873374,0.0020892224,0.0017154587,0.0075278543,0.0048371255],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003292828,0.0000410829,0.0012112587,0.00006575574,0.0000031784832,0.0018677063,0.04041633,0.000018936751,0.00031827544,0.0021879652,0.94755226,0.0062844073],"study_design_scores_gemma":[0.00000717709,0.00003166783,0.0035256534,0.00018115557,0.000004038919,0.0006948123,0.07962197,0.000037654892,0.00013824714,0.00023331396,0.91549903,0.000025199592],"about_ca_topic_score_codex":0.067547336,"about_ca_topic_score_gemma":0.093421556,"teacher_disagreement_score":0.067547336,"about_ca_system_score_codex":0.0038871844,"about_ca_system_score_gemma":0.003343433,"threshold_uncertainty_score":0.13430828},"labels":[],"label_agreement":null},{"id":"W7067383754","doi":"","title":"L’institutionnalisation de la scène Hip-hop underground à Montréal, ses enjeux et rapports au mainstream","year":2020,"lang":"fr","type":"dissertation","venue":"Papyrus : Institutional Repository (Université de Montréal)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Centralisation; Mainstream; Power (physics); Face (sociological concept)","score_opus":0.011291333497180308,"score_gpt":0.18655505250477056,"score_spread":0.17526371900759025,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7067383754","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.41100284,0.0021985176,0.0075967354,0.016245643,0.00045488743,0.0002616889,0.0014495985,0.0002502543,0.56053996],"genre_scores_gemma":[0.8619692,0.0008337386,0.0016794467,0.00044875254,0.00005059673,0.000075932236,0.00030576042,0.00011577311,0.13452087],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99818087,0.00037966075,0.000031136824,0.0002666208,0.0004804651,0.00066120806],"domain_scores_gemma":[0.99795556,0.00019053843,0.0001689955,0.00013861872,0.000724084,0.00082221866],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010577056,0.00055764645,0.00028769133,0.0017087751,0.015130089,0.009670924,0.001819563,0.0010179635,0.033663448],"category_scores_gemma":[0.0026757938,0.00037954628,0.00037449793,0.0026633358,0.011418,0.0031344097,0.0058069513,0.0015579803,0.0012089625],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017710064,0.000060726106,0.02728174,0.00036937158,0.000051695883,0.0016728612,0.34770513,0.0012598681,0.0046324586,0.47452214,0.057073347,0.08519353],"study_design_scores_gemma":[0.000014367333,0.000058195637,0.06473238,0.0002626589,0.00003434787,0.00022093217,0.20511648,0.0007299355,0.00095577113,0.005706731,0.7220614,0.00010678479],"about_ca_topic_score_codex":0.9441731,"about_ca_topic_score_gemma":0.9736405,"teacher_disagreement_score":0.061683893,"about_ca_system_score_codex":0.061683893,"about_ca_system_score_gemma":0.052365616,"threshold_uncertainty_score":0.44755006},"labels":[],"label_agreement":null},{"id":"W7067803562","doi":"","title":"A Musicology of Record Production - Research Creation, Gender, and Creative Reflective Practice in Project-Paradigm Music Production","year":2024,"lang":"en","type":"article","venue":"Scholarship@Western (Western University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Agency (philosophy); Musical; Studio; Creative work; Production (economics); Creative brief; Social practice; Musicology","score_opus":0.30462178224503766,"score_gpt":0.3947585329559719,"score_spread":0.09013675071093424,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7067803562","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.22558078,0.007578541,0.12711582,0.041393235,0.0007842659,0.0008724955,0.00011699217,0.00022992754,0.5963279],"genre_scores_gemma":[0.9671372,0.0013631133,0.011746699,0.0007036062,0.00014706545,0.0005143879,0.000019407744,0.00009990008,0.018268578],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9689376,0.025221959,0.00049810455,0.0018168711,0.0022681952,0.0012573977],"domain_scores_gemma":[0.9832397,0.011139205,0.0013650188,0.0023843122,0.00078649446,0.001085206],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.027590554,0.00075022824,0.00056743657,0.0032642533,0.013967829,0.018636141,0.0029328733,0.0025435148,0.005163433],"category_scores_gemma":[0.019585112,0.0005581681,0.00052307046,0.0028169733,0.08748229,0.015594221,0.012049566,0.0045209383,0.000740902],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000035661295,0.000058888465,0.0011033604,0.00014098265,0.000005034315,0.00021540455,0.40469754,0.00013609404,0.0003459055,0.57781535,0.0012577799,0.01418792],"study_design_scores_gemma":[0.00008121018,0.0002072614,0.002410395,0.00063971826,0.00001955531,0.00079670997,0.46488735,0.0009164017,0.001810234,0.26335034,0.26483727,0.000043585736],"about_ca_topic_score_codex":0.004933856,"about_ca_topic_score_gemma":0.005345565,"teacher_disagreement_score":0.027590554,"about_ca_system_score_codex":0.010488379,"about_ca_system_score_gemma":0.008921029,"threshold_uncertainty_score":0.14591455},"labels":[],"label_agreement":null},{"id":"W7067810413","doi":"","title":"The new generation of Cajun musicians","year":2015,"lang":"en","type":"dissertation","venue":"Rutgers University Community Repository (Rutgers University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Blues; Nova scotia; Jazz; White (mutation); Popular music; Country; First generation","score_opus":0.039017568780406506,"score_gpt":0.19243740307506177,"score_spread":0.15341983429465528,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7067810413","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.28501114,0.017095841,0.002913246,0.07533652,0.0041126614,0.00018263787,0.0006142463,0.0006363457,0.61409736],"genre_scores_gemma":[0.2621595,0.0062989434,0.002879752,0.02239792,0.0011932998,0.000104238345,0.00049033953,0.00016543824,0.70431054],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.99912685,0.000106174055,0.000019998319,0.00015098898,0.00022238902,0.00037364356],"domain_scores_gemma":[0.998442,0.0000767778,0.000057545163,0.0000849326,0.00039603203,0.00094287243],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00089718844,0.00037529974,0.00025890832,0.0011508168,0.007973811,0.005632092,0.00071645697,0.0010937732,0.04004989],"category_scores_gemma":[0.001371364,0.00020855293,0.00024047705,0.00076036045,0.0022966943,0.0031601603,0.0042448672,0.0023561944,0.008743396],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012328697,0.00031373228,0.02646255,0.00023811257,0.000027217502,0.0019871537,0.069679536,0.00010494068,0.0075633195,0.10801115,0.45700663,0.32848236],"study_design_scores_gemma":[0.0000053055546,0.000033250286,0.0066574723,0.00007558415,0.000004639562,0.0005057987,0.016150404,0.000049478043,0.00021749112,0.001498352,0.9747849,0.000017245562],"about_ca_topic_score_codex":0.02503293,"about_ca_topic_score_gemma":0.10551517,"teacher_disagreement_score":0.04004989,"about_ca_system_score_codex":0.002989548,"about_ca_system_score_gemma":0.003957867,"threshold_uncertainty_score":0.13398021},"labels":[],"label_agreement":null},{"id":"W7070162722","doi":"","title":"Mariposa '74","year":2010,"lang":"en","type":"book","venue":"York University Digital Library (York University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Singing; Performing arts; Schedule; Evening; Ethnic group","score_opus":0.011899331477583354,"score_gpt":0.12318740197277236,"score_spread":0.11128807049518902,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7070162722","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00041294371,0.0027113128,0.00016132752,0.0005946764,0.0015908447,0.00004482305,0.00079736626,0.0002388907,0.99344784],"genre_scores_gemma":[0.001659452,0.0014060525,0.00022451377,0.0001558444,0.0001484727,0.000034199526,0.0005204441,0.00012789103,0.9957231],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998276,0.000011233854,0.000005160311,0.000029075942,0.00010200773,0.000024837927],"domain_scores_gemma":[0.99985063,0.0000140122065,0.0000059767285,0.000021272823,0.00005394262,0.00005409779],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00020261396,0.00093753706,0.00035724282,0.0017527947,0.0026791657,0.0034476942,0.000844735,0.0006405623,0.31259257],"category_scores_gemma":[0.00058976276,0.00044699234,0.00034781106,0.0020006096,0.0006833493,0.0018273959,0.0020549577,0.001299732,0.1529402],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000143242705,0.000016801223,0.00010835055,0.000092061215,9.633727e-7,0.00004824456,0.00022576553,0.000016663147,0.00016410339,0.006576966,0.9393537,0.05338206],"study_design_scores_gemma":[7.1603284e-7,0.000002519777,0.0001872552,0.000023479572,3.299188e-7,0.000032831023,0.000039682604,0.0000045969123,0.00002245476,0.00011412737,0.99957114,9.2495634e-7],"about_ca_topic_score_codex":0.024726236,"about_ca_topic_score_gemma":0.09226089,"teacher_disagreement_score":0.31259257,"about_ca_system_score_codex":0.002282053,"about_ca_system_score_gemma":0.0027869444,"threshold_uncertainty_score":0.98050326},"labels":[],"label_agreement":null},{"id":"W7070523205","doi":"","title":"Perbandingan Efektivitas Dan Keamanan Ureterolitotomi Proksimal Terbuka Dan Laparoskopik Untuk Tatalaksana Batu Ureter: Sebuah Telaah Sistematis Dan Meta-Analisis","year":2023,"lang":"id","type":"other","venue":"Universitas Airlangga Repository (Universitas Airlangga)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Clinical efficacy; Physical activity","score_opus":0.02812372863878271,"score_gpt":0.19997101942479553,"score_spread":0.17184729078601282,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7070523205","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0056838375,0.984475,0.0021238045,0.0019055635,0.00090470293,0.0005736657,0.001406242,0.000050399674,0.0028767183],"genre_scores_gemma":[0.25720298,0.7125665,0.013411029,0.0044150325,0.0019311656,0.0037604978,0.0026444646,0.000097828495,0.0039705136],"study_design_codex":"systematic_review","study_design_gemma":"meta_analysis","domain_scores_codex":[0.9877465,0.0055086473,0.0033555138,0.0010415975,0.0020056397,0.00034211075],"domain_scores_gemma":[0.959347,0.031775072,0.004802637,0.0012677856,0.0025646703,0.0002427894],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.01570272,0.0011257408,0.003915692,0.0026267362,0.00063794653,0.004047856,0.0010356313,0.001457721,0.008150487],"category_scores_gemma":[0.043505643,0.00053503446,0.01154622,0.0027944604,0.0006317632,0.002540241,0.0010185252,0.0020977557,0.0005885308],"study_design_candidate":"meta_analysis","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.004992578,0.00013247377,0.01389621,0.6447858,0.13199322,0.0002857452,0.00062965794,0.0008141133,0.0012321793,0.0024872813,0.010707014,0.18804365],"study_design_scores_gemma":[0.0029138026,0.0017786208,0.0421827,0.25616333,0.5522792,0.0010253979,0.0010743198,0.0018258141,0.003408241,0.010734918,0.12639812,0.00021557411],"about_ca_topic_score_codex":0.0029920123,"about_ca_topic_score_gemma":0.0061181723,"teacher_disagreement_score":0.01570272,"about_ca_system_score_codex":0.0015413756,"about_ca_system_score_gemma":0.0039577563,"threshold_uncertainty_score":0.083044946},"labels":[],"label_agreement":null},{"id":"W7071104759","doi":"","title":"Review of 'Everyday Tonality: Towards a Tonal Theory of What Most People Hear', by Philip Tagg New York and Montreal: Mass Media Scholar's Press, 2009. 334 pp. ISBN 976-09760188443","year":2010,"lang":"en","type":"article","venue":"Surrey Research Insight Open Access (The University of Surrey)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Mass media; Media arts; Media theory; Key (lock)","score_opus":0.14216667751104506,"score_gpt":0.3274050022212054,"score_spread":0.18523832471016033,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7071104759","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00008572222,0.99434894,0.00012572885,0.0026918831,0.001373115,0.000002359958,0.000027140644,0.0000062931913,0.0013387145],"genre_scores_gemma":[0.0017818564,0.99074113,0.00016119592,0.0013922069,0.0029404892,0.0000089729765,0.000077606346,0.000014167793,0.0028823945],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992287,0.00021196257,0.000097816686,0.0001229969,0.00026776773,0.00007076515],"domain_scores_gemma":[0.9964449,0.00168875,0.00021670674,0.00009123977,0.001353374,0.00020520885],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002587951,0.001300846,0.002052447,0.005151956,0.0008880063,0.004625565,0.001865029,0.0017254476,0.010738156],"category_scores_gemma":[0.0059217317,0.0008282733,0.00045491458,0.007957269,0.0034949854,0.006285939,0.0020825714,0.0024900506,0.0061673312],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006954976,0.000030544932,0.00027474377,0.011131525,0.000060242786,0.0000847163,0.0008373461,0.0001755632,0.0004857155,0.006067413,0.43838203,0.5424006],"study_design_scores_gemma":[0.00000996793,0.000033241395,0.002603876,0.0053884634,0.00003895526,0.00036738717,0.0009264756,0.000052223833,0.00011804839,0.0019508223,0.988485,0.000025642927],"about_ca_topic_score_codex":0.021729939,"about_ca_topic_score_gemma":0.031193133,"teacher_disagreement_score":0.021729939,"about_ca_system_score_codex":0.0025229047,"about_ca_system_score_gemma":0.004021911,"threshold_uncertainty_score":0.04320693},"labels":[],"label_agreement":null},{"id":"W7071238885","doi":"","title":"Singer-songwriter Leonard Cohen dies at age 82","year":2016,"lang":"en","type":"other","venue":"Internet Archive (Internet Archive)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Spirituality; Human sexuality; Power (physics)","score_opus":0.02218755998840165,"score_gpt":0.22122375610686607,"score_spread":0.1990361961184644,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7071238885","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.01932176,0.010858759,0.00015830992,0.029477436,0.0046666972,0.00006825963,0.0006007088,0.00021254711,0.9346355],"genre_scores_gemma":[0.034464188,0.004055668,0.00008477013,0.007150823,0.00031842125,0.000033441796,0.00020585698,0.00008581019,0.95360094],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99949586,0.000052678155,0.00001487489,0.000056766377,0.00019091606,0.0001889524],"domain_scores_gemma":[0.99957997,0.000035001583,0.00001980908,0.000016702614,0.00013382184,0.00021474734],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006339992,0.00049602316,0.0003017126,0.00077318854,0.007900834,0.0019038708,0.0003899379,0.0012996044,0.06888277],"category_scores_gemma":[0.0020100982,0.00020001974,0.0001364587,0.0003974451,0.0009289644,0.0013718571,0.0020524198,0.0020007733,0.021583203],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000029657867,0.000013783089,0.0018738908,0.00004992369,0.0000023153134,0.0011194838,0.006064352,0.0000114590375,0.00016633597,0.0049786023,0.9449445,0.04074579],"study_design_scores_gemma":[0.0000042331667,0.000009842745,0.0024647769,0.00013229494,0.0000017483576,0.0008319189,0.009188288,0.000007019429,0.0001296185,0.0003097772,0.9869127,0.000007719312],"about_ca_topic_score_codex":0.08461812,"about_ca_topic_score_gemma":0.30171713,"teacher_disagreement_score":0.08461812,"about_ca_system_score_codex":0.0012784476,"about_ca_system_score_gemma":0.0027164952,"threshold_uncertainty_score":0.23043579},"labels":[],"label_agreement":null},{"id":"W7071419973","doi":"","title":"Rob Bowman - Review of Laurie Matheson, ed., Music in Black American Life: 1945-2020","year":2024,"lang":"en","type":"article","venue":"Indiana Magazine of History (Indiana University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Ridiculous; Frith; Performance art","score_opus":0.01643478208413021,"score_gpt":0.18289812918106654,"score_spread":0.16646334709693633,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7071419973","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000028833223,0.9600532,0.000023445356,0.019663103,0.018735508,0.000004864428,0.000044344608,0.000004780898,0.0014418955],"genre_scores_gemma":[0.00057721813,0.9489283,0.0000544264,0.022574648,0.02157328,0.000020409587,0.00008361907,0.000011271202,0.0061769225],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99900335,0.0002136577,0.00012096207,0.00015873664,0.00042754144,0.00007575282],"domain_scores_gemma":[0.9942274,0.001877734,0.00034796103,0.0000760993,0.0028249605,0.0006457829],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00269149,0.0012333838,0.0014424992,0.007825953,0.0015543832,0.004160805,0.0016526175,0.0036864583,0.013159455],"category_scores_gemma":[0.010314417,0.0006437939,0.0006339206,0.0069426973,0.00186598,0.0062334263,0.0019996264,0.0051226015,0.00807769],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018319486,0.000010104946,0.00014931502,0.0013807671,0.000013101364,0.000029151983,0.00009172445,0.000024912695,0.000021918382,0.0011081287,0.927495,0.06965755],"study_design_scores_gemma":[0.0000061671435,0.0000069762764,0.0005842254,0.0036162,0.000012338352,0.00010533627,0.00014880844,0.0000067942756,0.000015359547,0.00032922594,0.9951597,0.000008916396],"about_ca_topic_score_codex":0.029535819,"about_ca_topic_score_gemma":0.06935086,"teacher_disagreement_score":0.029535819,"about_ca_system_score_codex":0.00522427,"about_ca_system_score_gemma":0.0064163883,"threshold_uncertainty_score":0.0587278},"labels":[],"label_agreement":null},{"id":"W7071443402","doi":"","title":"The Security Blanket, May/June/July 2003, Issue 15","year":2003,"lang":"en","type":"other","venue":"Iowa Publications Online (State Library of Iowa)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Canadian Institute for Theoretical Astrophysics","keywords":"Government (linguistics); Key (lock); Focus (optics); Information security; Work (physics); Perspective (graphical)","score_opus":0.01606890440253943,"score_gpt":0.22241275587696532,"score_spread":0.20634385147442588,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7071443402","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00076413207,0.0012957975,0.00043881126,0.00630774,0.007473327,0.00028738065,0.007201464,0.0026166996,0.97361463],"genre_scores_gemma":[0.00079202297,0.00030383124,0.0000625377,0.0009933645,0.000244495,0.00006238688,0.0011226647,0.00024319344,0.9961755],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991591,0.00007823193,0.000045953046,0.00009272012,0.00041824984,0.00020582906],"domain_scores_gemma":[0.99734384,0.0004893168,0.0001322641,0.00031712448,0.001214983,0.0005025714],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0014508477,0.0017140997,0.0015503848,0.002567283,0.0043602847,0.010355468,0.0017469691,0.0054547535,0.6871526],"category_scores_gemma":[0.0061834157,0.0010867987,0.0008092738,0.0024189004,0.0010692042,0.0039493516,0.0019466913,0.0040636715,0.7053738],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021944814,0.000026143178,0.000051890667,0.000028198103,0.0000012550663,0.000012353121,0.000015631123,0.000012521283,0.000035441415,0.0005810734,0.99188644,0.0073270556],"study_design_scores_gemma":[0.000038510127,0.000031267842,0.0011411147,0.00020738816,0.000006901299,0.000025286285,0.00013894995,0.00010219229,0.00015928337,0.0006305345,0.9975061,0.000012519195],"about_ca_topic_score_codex":0.047032323,"about_ca_topic_score_gemma":0.087859966,"teacher_disagreement_score":0.6871526,"about_ca_system_score_codex":0.0031241712,"about_ca_system_score_gemma":0.0060158977,"threshold_uncertainty_score":0.44623882},"labels":[],"label_agreement":null},{"id":"W7071525501","doi":"","title":"Steven WIXQ 91.7 June 27, 2025 Part 1 \"WE'RE TOO BUSY SINGIN'...ABOUT OURSELVES!\"","year":2025,"lang":"en","type":"other","venue":"Internet Archive (Internet Archive)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Theme (computing); Funk; Performance art; MAGIC (telescope); Punk","score_opus":0.022512240287324133,"score_gpt":0.22817440647931372,"score_spread":0.2056621661919896,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7071525501","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0013722806,0.00051502354,0.00038930075,0.0026008226,0.002277288,0.00020325769,0.003498473,0.0016326335,0.9875109],"genre_scores_gemma":[0.0010303153,0.000109755856,0.00006574493,0.00022180492,0.00008149217,0.000022478092,0.00037467296,0.00017416626,0.9979196],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99965596,0.000032022206,0.000011952081,0.00006442302,0.00014160735,0.00009406304],"domain_scores_gemma":[0.9993765,0.00003968956,0.000021873217,0.000026383283,0.00028928503,0.00024629605],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00048354844,0.0009200129,0.00049547834,0.00069914956,0.0032776122,0.0030205732,0.00052458234,0.001765367,0.88366395],"category_scores_gemma":[0.001135311,0.00055466837,0.00044613265,0.0005141133,0.0003452448,0.0017094493,0.0019340282,0.001765452,0.7566238],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000047866397,0.000019767556,0.00011883427,0.000042906508,0.0000013222955,0.000049216484,0.00009801252,0.000008354536,0.00033940823,0.00044827576,0.98482054,0.014005432],"study_design_scores_gemma":[0.000006682459,0.00002043965,0.00047060603,0.00003381621,0.0000010195243,0.000028544515,0.0001851196,0.000016476586,0.00010098969,0.000058392798,0.9990742,0.0000036641727],"about_ca_topic_score_codex":0.009361597,"about_ca_topic_score_gemma":0.049456462,"teacher_disagreement_score":0.88366395,"about_ca_system_score_codex":0.0009492763,"about_ca_system_score_gemma":0.0008076448,"threshold_uncertainty_score":0.16593927},"labels":[],"label_agreement":null},{"id":"W7071643727","doi":"","title":"The Survivor’s Odyssey: K’naan’s <i>The Dusty Foot Philosopher</i> as a Modern Epic","year":2014,"lang":"en","type":"article","venue":"Project Muse (Johns Hopkins University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"EPIC; Battle; Poetry; Foot (prosody); Narrative; Mysticism; Embodied cognition","score_opus":0.023653195905653727,"score_gpt":0.19510819587305817,"score_spread":0.17145499996740443,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7071643727","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.47828543,0.008849747,0.0017943349,0.038726404,0.0018090816,0.000033007713,0.00003997527,0.000055331213,0.47040674],"genre_scores_gemma":[0.95248824,0.0014508716,0.00041610663,0.002176572,0.00011801364,0.000008922102,0.000011242136,0.000025684076,0.043304287],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99946433,0.00028865095,0.000008452596,0.00004815288,0.00008608281,0.00010429201],"domain_scores_gemma":[0.9997154,0.00006567456,0.000034257817,0.00001996934,0.00006187384,0.00010290012],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000875014,0.000281261,0.00015696918,0.00043237687,0.014828464,0.0056439047,0.0005023468,0.001214904,0.0029818097],"category_scores_gemma":[0.00090963044,0.00012706158,0.000101452926,0.0005095199,0.011662054,0.0030264794,0.0023828265,0.0024851367,0.0003655165],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007074991,0.000029546556,0.0019234346,0.00007663165,0.0000052046043,0.0010192628,0.6929039,0.000081851074,0.000707997,0.26179686,0.02395275,0.017431851],"study_design_scores_gemma":[0.0000049766936,0.000023249133,0.0016137597,0.00011639331,0.0000063095827,0.00067708635,0.502065,0.00009239953,0.0002907249,0.0075263823,0.48756778,0.00001583522],"about_ca_topic_score_codex":0.039852448,"about_ca_topic_score_gemma":0.13132675,"teacher_disagreement_score":0.039852448,"about_ca_system_score_codex":0.00598641,"about_ca_system_score_gemma":0.0037524393,"threshold_uncertainty_score":0.07924092},"labels":[],"label_agreement":null},{"id":"W7072401779","doi":"","title":"Wow! You Sing High! A Contemporary Look at the Countertenor Voice. The Phenomenon of Singing International Symposium VII. St. John, Canada.","year":2009,"lang":"en","type":"other","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Singing; Phenomenon; Presentation (obstetrics)","score_opus":0.013577797788547891,"score_gpt":0.18205548968275817,"score_spread":0.16847769189421027,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7072401779","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.016385747,0.19030592,0.0009525917,0.044746686,0.0057970807,0.000029650497,0.0003783829,0.0001367138,0.7412672],"genre_scores_gemma":[0.2115635,0.071831845,0.00059549964,0.004029043,0.001512019,0.00003349114,0.00021420767,0.00018576143,0.71003467],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998292,0.00003479854,0.000004856931,0.000019491305,0.00006605001,0.000045536333],"domain_scores_gemma":[0.9997178,0.0000765997,0.000021843181,0.00001663887,0.000086590735,0.000080495665],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00030945212,0.0003779327,0.00016131092,0.0010431956,0.0036278593,0.0037341462,0.00048803666,0.0010148247,0.0359058],"category_scores_gemma":[0.0007999399,0.00020707597,0.00011892783,0.0014746273,0.0037175189,0.0023680113,0.0010029089,0.0013693188,0.004348994],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007594562,0.00002998194,0.001705693,0.00049686304,0.000006954552,0.0008153505,0.052542973,0.00004597768,0.0013601454,0.07581223,0.63206244,0.2350454],"study_design_scores_gemma":[0.0000053341814,0.000012498342,0.009446356,0.0004134637,0.0000058659443,0.00039081112,0.037996296,0.000025899586,0.00020572382,0.0038407648,0.9476478,0.000009305205],"about_ca_topic_score_codex":0.15612489,"about_ca_topic_score_gemma":0.41257787,"teacher_disagreement_score":0.8438751,"about_ca_system_score_codex":0.0025588789,"about_ca_system_score_gemma":0.00287685,"threshold_uncertainty_score":0.31043226},"labels":[],"label_agreement":null},{"id":"W7082158821","doi":"10.11575/prism/50050","title":"Journalism for the Public Good: The Michener Awards at Fifty","year":2024,"lang":"en","type":"other","venue":"University of Calgary","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Journalism; Technical Journalism; Face (sociological concept); Democracy; Citizen journalism; Public interest","score_opus":0.023912920174087575,"score_gpt":0.1852603296999036,"score_spread":0.16134740952581603,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7082158821","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.004704609,0.047567572,0.0004828924,0.37798354,0.0385437,0.00006775741,0.00018187847,0.0002342602,0.5302338],"genre_scores_gemma":[0.04801818,0.016001234,0.00065360154,0.03874723,0.006942384,0.00005723715,0.0000980276,0.00018627117,0.8892958],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9958412,0.00068705983,0.00008504989,0.0002696346,0.0023465077,0.000770536],"domain_scores_gemma":[0.9938777,0.0009647554,0.00012828545,0.00026475612,0.0019833394,0.0027811334],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0035841286,0.0004978077,0.00039158625,0.0018415098,0.01782029,0.015969241,0.0010277873,0.004162734,0.017311448],"category_scores_gemma":[0.008150912,0.00038308505,0.00035931522,0.0018001213,0.0057673757,0.0057490254,0.0046328637,0.0043450627,0.0038980984],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001217601,0.0000132783225,0.00015476238,0.000027710186,0.0000019082868,0.000057186997,0.0011528181,0.000014336248,0.00007715559,0.04543606,0.93547416,0.017578473],"study_design_scores_gemma":[0.000002445977,0.000003998887,0.00032315427,0.000053089258,0.0000015191922,0.00003340827,0.0010376014,0.000010919902,0.00003201907,0.0018027991,0.9966929,0.0000060824973],"about_ca_topic_score_codex":0.15322192,"about_ca_topic_score_gemma":0.40388036,"teacher_disagreement_score":0.8467781,"about_ca_system_score_codex":0.018604886,"about_ca_system_score_gemma":0.022010082,"threshold_uncertainty_score":0.30466008},"labels":[],"label_agreement":null},{"id":"W7083882060","doi":"","title":"L'Empire Du Juif! [Split Demo 2004]","year":2004,"lang":"en","type":"other","venue":"Internet Archive (Internet Archive)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Pipeline (software); Black box; Noise (video); Key (lock)","score_opus":0.015970295929839076,"score_gpt":0.20810704126742427,"score_spread":0.19213674533758518,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7083882060","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0032554928,0.004079731,0.0004971756,0.0028064905,0.0024502527,0.00008689261,0.005483307,0.0008093974,0.9805313],"genre_scores_gemma":[0.016101573,0.001973555,0.00090257917,0.00041354584,0.00028898029,0.0000766844,0.003637283,0.0010826137,0.9755231],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995927,0.00003814094,0.000010468513,0.000054552947,0.00015615506,0.00014796539],"domain_scores_gemma":[0.99968886,0.00002892633,0.000013844632,0.000043702494,0.00010409005,0.00012062158],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0007922782,0.000672806,0.00057501276,0.0015462369,0.0040583294,0.0063593932,0.0009298367,0.0011228507,0.3050256],"category_scores_gemma":[0.0012551934,0.00058579195,0.00047663692,0.0016200083,0.0008853509,0.002339144,0.0020934278,0.002461433,0.06380953],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010770979,0.000022032022,0.00028552357,0.00010032679,0.000005525841,0.00006719941,0.00027286867,0.000117509546,0.00026432713,0.009764295,0.9405796,0.048413165],"study_design_scores_gemma":[0.00000796591,0.000006467075,0.001726384,0.00005359484,0.0000011107015,0.000020185542,0.00010813144,0.000028605511,0.00010790028,0.00048619282,0.9974485,0.0000049813516],"about_ca_topic_score_codex":0.122808374,"about_ca_topic_score_gemma":0.23735552,"teacher_disagreement_score":0.6949744,"about_ca_system_score_codex":0.003902452,"about_ca_system_score_gemma":0.0042514186,"threshold_uncertainty_score":0.99129665},"labels":[],"label_agreement":null},{"id":"W7084261991","doi":"","title":"Diagnostic Value of Synchronous Heart Sound Electrocardiogram in Children with Postural Tachycardia Syndrome","year":2025,"lang":"en","type":"article","venue":"DOAJ (DOAJ: Directory of Open Access Journals)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Pediatric Oncology Group","funders":"","keywords":"Supine position; Postural Orthostatic Tachycardia Syndrome; Auscultation; Electrocardiography; Heart sounds; Sound (geography); Heart rate; Photoplethysmogram","score_opus":0.06679245606724629,"score_gpt":0.42707795069106314,"score_spread":0.36028549462381687,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7084261991","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9993198,0.00028752707,0.000104173945,0.000029114046,0.000009632618,0.000009893378,0.000048535658,0.0000036944389,0.0001875707],"genre_scores_gemma":[0.9995291,0.00015562303,0.00017183057,0.000020072132,0.000014612384,0.0000089920195,0.00007122951,9.708585e-7,0.000027577396],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.99934,0.00013321728,0.00012384291,0.00012457877,0.00016275894,0.00011553407],"domain_scores_gemma":[0.9985159,0.0004524815,0.0005109137,0.000048057296,0.00015582447,0.00031689636],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00047284385,0.0005927509,0.0004917343,0.0015176205,0.00036894047,0.00042247828,0.0003046775,0.0006490759,0.0010331923],"category_scores_gemma":[0.002878526,0.00034276515,0.00037846612,0.0006000109,0.00038799745,0.00065371837,0.00053489394,0.00058997277,0.00016624315],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006108042,0.000021010077,0.99712926,0.000008880223,0.000008983855,0.0013252116,0.00007376818,0.000021233262,0.0004574034,0.0000071920063,0.000031545278,0.0008544646],"study_design_scores_gemma":[0.000017290304,0.00024890312,0.99034977,0.000015923653,0.000035503464,0.007883401,0.0006203709,0.00041215974,0.0002843398,0.000017495082,0.00010651318,0.000008347962],"about_ca_topic_score_codex":0.0012625842,"about_ca_topic_score_gemma":0.001290882,"teacher_disagreement_score":0.0015176205,"about_ca_system_score_codex":0.00022454692,"about_ca_system_score_gemma":0.00035596677,"threshold_uncertainty_score":0.0034563541},"labels":[],"label_agreement":null},{"id":"W7091413927","doi":"10.34737/x3v0x","title":"The Postnational Soundtrack: Defining the Canadian Documentary Film Score Through Identity, Space, and Compositional Practice","year":2025,"lang":"en","type":"article","venue":"WestminsterResearch (University of Westminster)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Film director; Musical; Documentary film; Documentary evidence; Film studies; Commission; Indigenous","score_opus":0.023973188479997055,"score_gpt":0.25892167342642536,"score_spread":0.2349484849464283,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7091413927","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.40367728,0.0058562565,0.011762627,0.015701324,0.0007751212,0.0002924754,0.00065769226,0.00010019987,0.561177],"genre_scores_gemma":[0.9777694,0.0016760458,0.0046008523,0.0006281864,0.00005385935,0.00012833903,0.00018341986,0.00009835469,0.014861537],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99394083,0.0021484785,0.00017458214,0.00056441105,0.0023470249,0.0008247393],"domain_scores_gemma":[0.9936253,0.0018911961,0.0004306668,0.00040458696,0.002917146,0.000731095],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005988553,0.0007787889,0.00040122276,0.0054960805,0.021486675,0.019309571,0.002170969,0.0011430194,0.004263884],"category_scores_gemma":[0.016123815,0.00031465627,0.00020970206,0.0074958554,0.03627374,0.0058086035,0.0060574072,0.0034092504,0.00026553872],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000035735142,0.000015898257,0.0050018504,0.000148556,0.0000087975695,0.0001791702,0.7905931,0.00007588975,0.0007795895,0.15607725,0.0069823363,0.040101856],"study_design_scores_gemma":[0.0000055178944,0.000023414033,0.013013858,0.00046765766,0.000022554752,0.00012782842,0.79341125,0.00020907326,0.0006735606,0.0070429617,0.18495493,0.00004738162],"about_ca_topic_score_codex":0.8565308,"about_ca_topic_score_gemma":0.9160775,"teacher_disagreement_score":0.14346921,"about_ca_system_score_codex":0.04904207,"about_ca_system_score_gemma":0.052382186,"threshold_uncertainty_score":0.3558268},"labels":[],"label_agreement":null},{"id":"W7093637315","doi":"","title":"Blind Man","year":2008,"lang":"","type":"article","venue":"TopScholar (Western Kentucky University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Group (periodic table); White (mutation); Work (physics); George (robot)","score_opus":0.061130063612559196,"score_gpt":0.1944172800290682,"score_spread":0.13328721641650898,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7093637315","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.01574876,0.0141172325,0.00046464868,0.04423847,0.010933875,0.00008323239,0.0009656384,0.00025377318,0.91319424],"genre_scores_gemma":[0.017751068,0.0026080164,0.00010963176,0.008395941,0.00025468547,0.000018349876,0.000116453804,0.000038039132,0.9707078],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99962187,0.000040051516,0.000011805338,0.0000724416,0.00009607246,0.00015774021],"domain_scores_gemma":[0.99947125,0.000027374253,0.000019901921,0.000024808103,0.00014591201,0.00031076666],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003752611,0.00049560895,0.00029470387,0.00061183196,0.009237992,0.0022307732,0.000478019,0.0013628502,0.24580973],"category_scores_gemma":[0.0012129748,0.00023519994,0.00018170306,0.0003993115,0.0009900348,0.0013807946,0.002754414,0.0016136327,0.045846935],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000040188843,0.000029477666,0.0021730505,0.000036671277,0.0000020050506,0.0007701246,0.0014971257,0.000011630053,0.00025757717,0.006622761,0.9341613,0.054397978],"study_design_scores_gemma":[0.000003625676,0.000013641829,0.0022925723,0.00008348492,0.000001482623,0.00064460805,0.0020448368,0.000006463578,0.000047079324,0.00038293007,0.9944745,0.000004850942],"about_ca_topic_score_codex":0.15267006,"about_ca_topic_score_gemma":0.3306698,"teacher_disagreement_score":0.24580973,"about_ca_system_score_codex":0.0029096042,"about_ca_system_score_gemma":0.0045347945,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W7094444331","doi":"","title":"3am Mixtape 044","year":2014,"lang":"","type":"other","venue":"Bulletin of Miscellaneous Information (Royal Gardens Kew)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Infatuation; Love story; True love","score_opus":0.007039985600725017,"score_gpt":0.16258376058814272,"score_spread":0.1555437749874177,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7094444331","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000655193,0.00015053873,0.0007999087,0.0005379193,0.0014733057,0.00021529506,0.0059624403,0.004044345,0.9861611],"genre_scores_gemma":[0.001347144,0.000078328354,0.0002303536,0.00018908079,0.00021680142,0.00012038518,0.0016808832,0.001035847,0.99510115],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999647,0.000046276014,0.000011186778,0.000035974896,0.00018335276,0.00007615362],"domain_scores_gemma":[0.9985481,0.00021224364,0.000038759303,0.00015300594,0.0006025955,0.00044527458],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0004624715,0.00076458266,0.0005993165,0.0010777233,0.0015404886,0.0036447502,0.0009983368,0.001029012,0.93882376],"category_scores_gemma":[0.0030216763,0.0005604065,0.0004055527,0.0010488953,0.00037699495,0.002093946,0.0029951122,0.0015296725,0.83767706],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000059749924,0.000025435089,0.000044138123,0.000053245516,0.0000010995607,0.000019422341,0.000045400066,0.000014262773,0.00027347257,0.0005782875,0.97535706,0.023528518],"study_design_scores_gemma":[0.000020535279,0.000029393108,0.0006381646,0.000050523933,0.00000122679,0.000023111013,0.000119109085,0.000056906927,0.00016926749,0.00026322232,0.9986212,0.0000072375333],"about_ca_topic_score_codex":0.0037655747,"about_ca_topic_score_gemma":0.011717551,"teacher_disagreement_score":0.06117624,"about_ca_system_score_codex":0.0007410093,"about_ca_system_score_gemma":0.00064986077,"threshold_uncertainty_score":0.087260485},"labels":[],"label_agreement":null},{"id":"W7096281157","doi":"","title":"Article","year":2014,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Promotion (chess); Work (physics); Order (exchange)","score_opus":0.017487068492068866,"score_gpt":0.16369265485599935,"score_spread":0.1462055863639305,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7096281157","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0018663876,0.004563399,0.0014930003,0.014490411,0.014976693,0.00016325756,0.0022386806,0.00050461886,0.9597035],"genre_scores_gemma":[0.012780642,0.0042761383,0.001176671,0.0041652443,0.002770636,0.00009421639,0.0026638873,0.00036435144,0.9717083],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984611,0.00022069986,0.0000831908,0.00031932045,0.0007075373,0.00020813086],"domain_scores_gemma":[0.9978988,0.0002546156,0.00009069755,0.00036888412,0.00086257176,0.00052449],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0012544445,0.00059431593,0.00059375656,0.0018839156,0.0029310223,0.008275299,0.001424711,0.0027299968,0.5127499],"category_scores_gemma":[0.004605286,0.00029251762,0.00072836585,0.0017421319,0.0012455371,0.004260971,0.003421974,0.0020837816,0.27385476],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000074200834,0.00008603615,0.00060813787,0.0002828678,0.000013218251,0.00021645249,0.00067996426,0.000071081064,0.00047288643,0.054180138,0.8232459,0.12006912],"study_design_scores_gemma":[0.0000039826723,0.000008951737,0.0003039263,0.00010606921,0.000002721025,0.00010090884,0.00021212174,0.000014625013,0.000094555005,0.0024279023,0.99672097,0.0000032910941],"about_ca_topic_score_codex":0.0039636707,"about_ca_topic_score_gemma":0.00578494,"teacher_disagreement_score":0.4872501,"about_ca_system_score_codex":0.0027923181,"about_ca_system_score_gemma":0.0047364812,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W7096705634","doi":"","title":"INDIE ROCK SUBCULTURE: HAMILTON AS MICROCOSM INDIE ROCK SUBCULTURE: HAMILTON AS MICROCOSM By","year":2016,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Indie film; Ethnography; Consumption (sociology); Locality; Microcosm; Narrative; Identity (music)","score_opus":0.010606813850860984,"score_gpt":0.1964532010849128,"score_spread":0.1858463872340518,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7096705634","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7429658,0.0013319155,0.0012918665,0.008620785,0.00013866917,0.00016464529,0.0002077191,0.00005809035,0.24522051],"genre_scores_gemma":[0.96393114,0.00052276306,0.00050135504,0.00050239795,0.000013955686,0.000038781473,0.000041867956,0.000033984303,0.03441379],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9988167,0.0003471197,0.000018299765,0.00014280762,0.00027101004,0.00040406152],"domain_scores_gemma":[0.9990675,0.00017317853,0.00008064963,0.0001030441,0.00015635008,0.00041930456],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005861684,0.00023621689,0.00022620759,0.0011439975,0.019900784,0.0076327156,0.0009892465,0.00074421865,0.008962085],"category_scores_gemma":[0.0011458119,0.00030370505,0.00013468188,0.0023340841,0.019218856,0.0021076167,0.0050277933,0.0008976122,0.0003964561],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000585756,0.000032211836,0.016676333,0.000080800186,0.000010497602,0.001691422,0.87304217,0.00009431529,0.0017100801,0.0691723,0.016916266,0.020515021],"study_design_scores_gemma":[0.000007667445,0.000019547044,0.022834435,0.00006825738,0.000011008653,0.00024388584,0.7345752,0.000111327005,0.00031628032,0.0020784726,0.23971167,0.00002229823],"about_ca_topic_score_codex":0.8558938,"about_ca_topic_score_gemma":0.9652484,"teacher_disagreement_score":0.14410621,"about_ca_system_score_codex":0.03313259,"about_ca_system_score_gemma":0.02151215,"threshold_uncertainty_score":0.28990972},"labels":[],"label_agreement":null},{"id":"W7097103643","doi":"","title":"Noise Music as Queer Expression","year":2013,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Queer; Aside; Criticism; Expression (computer science); Noise (video); Shot (pellet)","score_opus":0.024576100965354668,"score_gpt":0.18810041261683622,"score_spread":0.16352431165148154,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7097103643","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0272489,0.017271532,0.0020310702,0.045973323,0.0014430423,0.000023779834,0.00010128423,0.00012235026,0.9057848],"genre_scores_gemma":[0.72679526,0.0076505193,0.00051668024,0.012611252,0.0014075855,0.000042503492,0.00007269753,0.00015601939,0.2507475],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99753857,0.0013409944,0.00003859072,0.0002052641,0.0005003576,0.00037610138],"domain_scores_gemma":[0.99912673,0.00036741002,0.000090614936,0.00010184556,0.0001562291,0.00015706044],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018483564,0.0005019636,0.00024244355,0.0009440113,0.009265518,0.009708352,0.000652857,0.002338541,0.017099882],"category_scores_gemma":[0.0040334794,0.0001211308,0.00015092072,0.0009911456,0.022624582,0.0041228365,0.0031493232,0.0028745185,0.002256724],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000051437124,0.000017960985,0.00060148083,0.00006394065,0.0000069510825,0.0002831026,0.12470625,0.000079467965,0.0005427543,0.8055639,0.047879767,0.020202937],"study_design_scores_gemma":[0.000015610825,0.00002621749,0.0014032784,0.00027013413,0.000011308482,0.00030961348,0.07080652,0.00011352933,0.00045974075,0.0497245,0.8768376,0.000021899288],"about_ca_topic_score_codex":0.03775917,"about_ca_topic_score_gemma":0.042359002,"teacher_disagreement_score":0.03775917,"about_ca_system_score_codex":0.004262825,"about_ca_system_score_gemma":0.0017326948,"threshold_uncertainty_score":0.075078785},"labels":[],"label_agreement":null},{"id":"W7097230190","doi":"","title":"Black Swan Records – 1921-1924: From a Swanky Swan to a Dead Duck","year":2002,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Jazz; Demise; Black swan theory; Pace; Phonograph; Harmony (color)","score_opus":0.047596856454739794,"score_gpt":0.202093272127136,"score_spread":0.1544964156723962,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7097230190","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7489466,0.00527541,0.00031541748,0.013288054,0.0013966486,0.000040243616,0.0016777733,0.000060033824,0.22899984],"genre_scores_gemma":[0.56432575,0.0022859825,0.00042143898,0.0017627795,0.00029634565,0.000026098221,0.0010875084,0.000098906785,0.42969525],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997781,0.000025464946,0.000007723913,0.00003496355,0.000075878976,0.000077764606],"domain_scores_gemma":[0.99968505,0.000045200064,0.000063616106,0.000019346997,0.00009601853,0.0000906974],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00041865202,0.00026502935,0.00013064018,0.001212656,0.008204702,0.0015969952,0.00032291457,0.0006327272,0.01572907],"category_scores_gemma":[0.0009578536,0.00029077454,0.000079041885,0.0013659553,0.0018008488,0.0010581908,0.0015130384,0.0013346754,0.0029769582],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005672976,0.00013357673,0.06296574,0.00028864655,0.000046702004,0.007866781,0.28434083,0.00008984208,0.0062857573,0.022019096,0.3453951,0.2700006],"study_design_scores_gemma":[0.0000055966348,0.00006531872,0.102472685,0.00011740452,0.000007466746,0.00062147784,0.049968757,0.000020605536,0.0008936177,0.00035781623,0.84544855,0.000020764219],"about_ca_topic_score_codex":0.14069588,"about_ca_topic_score_gemma":0.56352866,"teacher_disagreement_score":0.14069588,"about_ca_system_score_codex":0.0033718147,"about_ca_system_score_gemma":0.0013522955,"threshold_uncertainty_score":0.27975386},"labels":[],"label_agreement":null},{"id":"W7097792489","doi":"","title":"IAPR TECHNICAL PAPER SERIES MOSTLY HARMLESS: SOCIALISTS, POPULISTS, POLICIES AND THE","year":2005,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Series (stratigraphy); Permission; Government (linguistics); Public policy","score_opus":0.0176188123157127,"score_gpt":0.21349277434772593,"score_spread":0.19587396203201324,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7097792489","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0035638693,0.07071197,0.0042435788,0.29406068,0.015288084,0.00008466123,0.0033214514,0.00043456978,0.6082912],"genre_scores_gemma":[0.14960717,0.10187071,0.006294391,0.028379718,0.015085238,0.00034770893,0.0048096785,0.001276344,0.692329],"study_design_codex":"not_applicable","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9981325,0.00082971354,0.00007261172,0.0002282017,0.00057066587,0.00016635784],"domain_scores_gemma":[0.99493694,0.0024966246,0.00031443502,0.0006177267,0.0011570922,0.00047719586],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0032607412,0.00065570604,0.00075779035,0.0024698642,0.0027110106,0.0076966956,0.000750575,0.0033534726,0.067450136],"category_scores_gemma":[0.010018658,0.00044208174,0.00039362532,0.004317493,0.0020438586,0.005735019,0.0021366584,0.003382386,0.01428875],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021560998,0.00002388484,0.000517634,0.00016535247,0.000013082832,0.00005673106,0.0005762522,0.00012623444,0.00009323483,0.11482144,0.84746665,0.036117844],"study_design_scores_gemma":[0.000009780192,0.000012050981,0.001932333,0.00062201085,0.00001130954,0.000064715394,0.0010373527,0.00012440383,0.00017613759,0.04059409,0.9554051,0.000010733319],"about_ca_topic_score_codex":0.014567546,"about_ca_topic_score_gemma":0.014645141,"teacher_disagreement_score":0.067450136,"about_ca_system_score_codex":0.0048898216,"about_ca_system_score_gemma":0.0059677805,"threshold_uncertainty_score":0.22564316},"labels":[],"label_agreement":null},{"id":"W7099554436","doi":"","title":"A VERY DOUBLE LIFE? BY","year":2009,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Spiritualism; Skepticism; Context (archaeology); Faith; Historiography","score_opus":0.023739557437667425,"score_gpt":0.19254731589063157,"score_spread":0.16880775845296414,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7099554436","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.02529499,0.017267188,0.002442563,0.20373584,0.010087176,0.00006770563,0.0002928896,0.00019512235,0.74061656],"genre_scores_gemma":[0.3843322,0.008512771,0.0015198225,0.048511837,0.0019595276,0.00009041187,0.000247267,0.00023703832,0.55458915],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99799275,0.0005314894,0.000033906705,0.00029877524,0.00047580968,0.000667382],"domain_scores_gemma":[0.998599,0.00012759464,0.000089545916,0.00013858486,0.00036746875,0.0006777726],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0013272226,0.00045976698,0.00043227818,0.0005674893,0.014326408,0.010061208,0.0007349948,0.0019501593,0.02383793],"category_scores_gemma":[0.002783031,0.00019293003,0.00026085484,0.0005681317,0.021956116,0.0068917326,0.0062365374,0.0055615036,0.0072218594],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000067757646,0.00003717199,0.0018265287,0.00011666267,0.000014466417,0.0005072854,0.07540319,0.000035592017,0.00063319877,0.49435937,0.3819508,0.045047987],"study_design_scores_gemma":[0.00000384566,0.000009741223,0.00048153297,0.00009442862,0.000002255744,0.00018474182,0.019718163,0.0000124364915,0.000079073885,0.008101361,0.9713038,0.000008487845],"about_ca_topic_score_codex":0.094962075,"about_ca_topic_score_gemma":0.15205982,"teacher_disagreement_score":0.9761621,"about_ca_system_score_codex":0.011342508,"about_ca_system_score_gemma":0.010128647,"threshold_uncertainty_score":0.18881863},"labels":[],"label_agreement":null},{"id":"W7099786174","doi":"","title":"Research Article The Nanking Atrocity: Still and Moving Images 1937–1944","year":2014,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Context (archaeology); Visual culture; Emotive; Public opinion; Original research; Multimodality; First world war","score_opus":0.054458317112916425,"score_gpt":0.2643904865704914,"score_spread":0.20993216945757498,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7099786174","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.24241106,0.009425077,0.00043926045,0.022449933,0.003697182,0.000024871464,0.00042699775,0.0000454625,0.72108],"genre_scores_gemma":[0.80057585,0.0061631505,0.00032427892,0.0014146306,0.001843828,0.000016641545,0.00019534164,0.00006686923,0.18939939],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99960333,0.00009746377,0.000011859847,0.000052967756,0.0001607211,0.00007359492],"domain_scores_gemma":[0.99933416,0.00027615292,0.00010510772,0.000066157976,0.000133948,0.000084547326],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00059785193,0.0002073344,0.0001238418,0.0012394257,0.0065623038,0.003674399,0.0003689055,0.0009061222,0.020783838],"category_scores_gemma":[0.001948267,0.00011963257,0.00010018908,0.0017112201,0.00462181,0.0022652217,0.0013711479,0.0017900987,0.0019801878],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00027145434,0.00006895963,0.0147308605,0.00043327876,0.0000289929,0.003421771,0.45901644,0.00010918165,0.0031328269,0.15993051,0.24024938,0.11860629],"study_design_scores_gemma":[0.0000035817882,0.000023622226,0.013678735,0.00018942176,0.000008509736,0.0006101666,0.07437776,0.000030350257,0.00083427527,0.0015653765,0.90866596,0.000012330829],"about_ca_topic_score_codex":0.03200945,"about_ca_topic_score_gemma":0.07345663,"teacher_disagreement_score":0.03200945,"about_ca_system_score_codex":0.0038156845,"about_ca_system_score_gemma":0.0014690924,"threshold_uncertainty_score":0.06952888},"labels":[],"label_agreement":null},{"id":"W7099842284","doi":"","title":"(AJD), Université de Montréal. The comments and suggestions of T. Bayindir-Upmann, B. De","year":2001,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Context (archaeology); Work (physics); Agency (philosophy); Subject (documents); Set (abstract data type)","score_opus":0.010922057960534203,"score_gpt":0.16192486805062217,"score_spread":0.15100281009008798,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7099842284","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.016508337,0.05492979,0.0076729213,0.056375287,0.009844248,0.000502777,0.0868935,0.003744867,0.7635283],"genre_scores_gemma":[0.036486357,0.007695809,0.0046153213,0.0011883262,0.0005152599,0.00014736156,0.0054987143,0.00045179046,0.94340104],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99858475,0.00013458893,0.00003587223,0.00037001917,0.00059729314,0.00027746314],"domain_scores_gemma":[0.9976554,0.00023967907,0.00011912435,0.00015297034,0.0009832953,0.0008494857],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0013518912,0.0012253696,0.0009306255,0.0020259144,0.00342781,0.0039180736,0.0024156095,0.0010504874,0.4429338],"category_scores_gemma":[0.0035513854,0.0004944413,0.0004937337,0.0025346712,0.0006949403,0.001438975,0.0018013408,0.0012983882,0.090327375],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00034188307,0.000096395765,0.0033020906,0.00047524335,0.000040019746,0.00069703616,0.0007284785,0.00024929637,0.0020921289,0.021271063,0.748515,0.22219136],"study_design_scores_gemma":[0.000049210765,0.000033785087,0.013235063,0.00009547892,0.000017373219,0.00021414807,0.00036151262,0.00018684135,0.0008842223,0.0014337556,0.9834541,0.00003438251],"about_ca_topic_score_codex":0.5679258,"about_ca_topic_score_gemma":0.63435984,"teacher_disagreement_score":0.5679258,"about_ca_system_score_codex":0.010984965,"about_ca_system_score_gemma":0.008307466,"threshold_uncertainty_score":0.86923754},"labels":[],"label_agreement":null},{"id":"W7100394078","doi":"","title":"9 Canadian Folk Music 47.2 (Summer 2013) “Waiting for a Train ” in Canada","year":2016,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Guitar; nobody; Point (geometry); Folk music; Singing; State (computer science)","score_opus":0.04134840135849289,"score_gpt":0.1820441723317365,"score_spread":0.14069577097324362,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7100394078","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.007570329,0.0047568236,0.0008051736,0.014591606,0.012884276,0.00013737532,0.0063694594,0.000605658,0.9522794],"genre_scores_gemma":[0.02667731,0.0020838187,0.0006012396,0.0026762988,0.0006338398,0.000036902744,0.0016165109,0.00046859836,0.96520543],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986364,0.00008106608,0.000025257666,0.00017653196,0.0006555643,0.00042515583],"domain_scores_gemma":[0.99834764,0.00004486488,0.000022632337,0.000044125823,0.0008310011,0.0007097894],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00078643067,0.00091780216,0.00050910434,0.0016210466,0.017737255,0.0074666836,0.0011075136,0.0019723554,0.30376694],"category_scores_gemma":[0.0018196199,0.00032446402,0.0004160673,0.0024814468,0.0018175098,0.0013333306,0.0025454597,0.0020067901,0.06790792],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004575938,0.000021054564,0.00085901923,0.000093744704,0.0000044465964,0.0001550366,0.0018563452,0.000040667263,0.00053598103,0.004800047,0.9628188,0.028769083],"study_design_scores_gemma":[0.000003771992,0.0000060704474,0.0026823936,0.00008768694,0.000002733917,0.00004894842,0.002416732,0.000024498902,0.00009314698,0.00014187487,0.9944794,0.000012651539],"about_ca_topic_score_codex":0.95141643,"about_ca_topic_score_gemma":0.99086505,"teacher_disagreement_score":0.30376694,"about_ca_system_score_codex":0.025229627,"about_ca_system_score_gemma":0.035210174,"threshold_uncertainty_score":0.99309194},"labels":[],"label_agreement":null},{"id":"W7100651025","doi":"","title":"PUB TYPE Reports Evaluative/Feasibility (142) Dissertations /Theses Masters Theses (042) Tests /Evaluation Instruments (160)","year":2016,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Reading (process); Reading aloud; Test (biology); Quarter (Canadian coin); Read aloud; Sample (material); Aptitude","score_opus":0.1354525876692616,"score_gpt":0.32329808934444415,"score_spread":0.18784550167518255,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7100651025","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009430011,0.00035623158,0.0027653915,0.0028055469,0.002398612,0.008284608,0.043492474,0.0022513026,0.92821586],"genre_scores_gemma":[0.02656651,0.00066213345,0.006131462,0.001112882,0.0011218865,0.0073596938,0.019674232,0.0016141013,0.93575704],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99250895,0.0013931543,0.00053405593,0.0005425724,0.00443276,0.00058859267],"domain_scores_gemma":[0.9532819,0.0076494976,0.0020395634,0.0052435375,0.026875358,0.004910135],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.011453951,0.00096243486,0.000745313,0.0039505917,0.001655881,0.0035125667,0.0012527389,0.00087669404,0.6953075],"category_scores_gemma":[0.033732884,0.00070683524,0.0007794043,0.002363785,0.00053376966,0.0017930107,0.0018588708,0.0014751055,0.47380036],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00030110084,0.0007305689,0.0028845274,0.00029120586,0.000008823022,0.000034390974,0.00016644599,0.000070324786,0.0007403566,0.0011289543,0.83680826,0.156835],"study_design_scores_gemma":[0.00023774627,0.00042381376,0.027650176,0.00037447622,0.000011647611,0.00006498419,0.000511515,0.00018322965,0.0016694032,0.00084358087,0.9679968,0.000032644923],"about_ca_topic_score_codex":0.0020018436,"about_ca_topic_score_gemma":0.002950309,"teacher_disagreement_score":0.3046925,"about_ca_system_score_codex":0.0015190273,"about_ca_system_score_gemma":0.0043896725,"threshold_uncertainty_score":0.43460685},"labels":[],"label_agreement":null},{"id":"W7103467765","doi":"","title":"White Thugs &amp; Black Bodies: A Comparison of the Portrayal of African-American Women in Hip-Hop Videos","year":2011,"lang":"","type":"article","venue":"ScholarWorks - WMU (Western Michigan University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"White (mutation); Black women; Race (biology); Negotiation; Quarter (Canadian coin); Content analysis; Narrative","score_opus":0.04162133492617769,"score_gpt":0.22224644963533832,"score_spread":0.18062511470916062,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7103467765","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9895863,0.00036604409,0.00008757252,0.00026260852,0.000021333648,0.00001902999,0.00006296458,0.000003492034,0.009590694],"genre_scores_gemma":[0.997389,0.00070449995,0.00012931516,0.00012334892,0.000015985866,0.000019371808,0.000052868872,0.000008302324,0.0015574106],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99954957,0.00023329108,0.00001679843,0.000024862013,0.00009411566,0.000081262166],"domain_scores_gemma":[0.99915135,0.0003723824,0.0002057062,0.000018901512,0.00011054027,0.00014108725],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00084290537,0.00020553928,0.00013892262,0.0020957862,0.0017257361,0.0013008082,0.00019403805,0.0003134864,0.0037041826],"category_scores_gemma":[0.0030891527,0.0001445136,0.00011818452,0.00060325785,0.0007864097,0.00079480535,0.0011689032,0.0003021274,0.00023837869],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0010929119,0.00029999638,0.16835976,0.00062786514,0.000082061866,0.002013805,0.699753,0.00007993334,0.016229574,0.002335343,0.0040035853,0.10512217],"study_design_scores_gemma":[0.000015953696,0.00019407371,0.29325968,0.000493677,0.000042262505,0.001140974,0.6867627,0.00026136002,0.0013165373,0.00018188106,0.016295934,0.000034973484],"about_ca_topic_score_codex":0.013747013,"about_ca_topic_score_gemma":0.035022836,"teacher_disagreement_score":0.013747013,"about_ca_system_score_codex":0.00046263577,"about_ca_system_score_gemma":0.0004402983,"threshold_uncertainty_score":0.027333975},"labels":[],"label_agreement":null},{"id":"W7104178436","doi":"10.7202/1121325ar","title":"Canadian Music Studies and/under the Second Trump Presidency","year":2022,"lang":"fr","type":"article","venue":"Intersections Canadian Journal of Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Toronto","funders":"","keywords":"Scholarship; Presidency; Politics; Sovereignty; Musical; Context (archaeology); Cultural studies; Conversation; Music education","score_opus":0.044093594241482535,"score_gpt":0.2199113083542679,"score_spread":0.17581771411278535,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7104178436","genre_codex":"other","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.032692485,0.024083324,0.00077109307,0.26092032,0.009573456,0.00006251062,0.0005217733,0.00011765179,0.6712574],"genre_scores_gemma":[0.5212096,0.014325498,0.0017115466,0.032697324,0.001874377,0.000083681785,0.0003169998,0.00013742888,0.42764366],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99562484,0.00041830508,0.0000634669,0.00038782237,0.0018942431,0.0016113131],"domain_scores_gemma":[0.99659795,0.00044491596,0.00009989347,0.00017243756,0.001456117,0.0012287546],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002444932,0.0004013578,0.00040849225,0.0021178427,0.022677895,0.015144255,0.0014649705,0.0044503375,0.017444348],"category_scores_gemma":[0.0054609966,0.00023582239,0.00036203535,0.002203566,0.009884872,0.0025932305,0.0042884317,0.004206474,0.0011330583],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005253032,0.000016061103,0.0019544268,0.00013964214,0.000011734922,0.00033196795,0.028403852,0.000096815515,0.00045460183,0.5064643,0.38590208,0.07617197],"study_design_scores_gemma":[0.000005208543,0.000007606936,0.0029034552,0.00015700406,0.000007854216,0.000067601286,0.013121216,0.000038702787,0.000107428314,0.005765351,0.977802,0.000016494268],"about_ca_topic_score_codex":0.9678995,"about_ca_topic_score_gemma":0.98716104,"teacher_disagreement_score":0.9191124,"about_ca_system_score_codex":0.08088759,"about_ca_system_score_gemma":0.16564815,"threshold_uncertainty_score":0.5868833},"labels":[],"label_agreement":null},{"id":"W7104262289","doi":"10.71781/4327","title":"Arcade Fire et le paradoxe de l’indie : de la scène montréalaise à la reconnaissance internationale","year":2017,"lang":"fr","type":"dissertation","venue":"Papyrus : Institutional Repository (Université de Montréal)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Indie film; Frith; Blues; Popular music","score_opus":0.009818324163521252,"score_gpt":0.19187420022895774,"score_spread":0.1820558760654365,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7104262289","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.43353167,0.008258711,0.0026103633,0.05896169,0.00033953032,0.000044821787,0.0004174827,0.000050826126,0.49578488],"genre_scores_gemma":[0.96910906,0.001687388,0.00031920552,0.0013923282,0.00005223973,0.0000183296,0.00005562349,0.000025887883,0.027339835],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99901855,0.00022365566,0.00001160334,0.00013870816,0.00017824108,0.00042920987],"domain_scores_gemma":[0.99900407,0.00029071132,0.00015335255,0.00007367935,0.00024082068,0.00023740793],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013172532,0.00023989538,0.00024637984,0.0015839458,0.011059772,0.008473148,0.0014109522,0.001300361,0.0135136265],"category_scores_gemma":[0.0025167011,0.00021027248,0.0002996669,0.002688636,0.020234564,0.003973415,0.0037500316,0.002533725,0.00038020153],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005083154,0.000015358839,0.00910759,0.00009693421,0.000016561899,0.00032922745,0.10955624,0.0002908581,0.00032496013,0.8616347,0.00793648,0.010640278],"study_design_scores_gemma":[0.00003421109,0.000044448305,0.065240875,0.00054978504,0.00004744515,0.00023177276,0.245122,0.0005439793,0.0004956484,0.05341142,0.6341851,0.000093343246],"about_ca_topic_score_codex":0.8765393,"about_ca_topic_score_gemma":0.9262204,"teacher_disagreement_score":0.12346071,"about_ca_system_score_codex":0.055641305,"about_ca_system_score_gemma":0.02542716,"threshold_uncertainty_score":0.40370786},"labels":[],"label_agreement":null},{"id":"W7104271545","doi":"10.71781/4430","title":"La dissémination du Gamelan indonésien au Canada : perspectives historiques et caractéristiques régionales à Montréal, Vancouver et Toronto","year":2021,"lang":"fr","type":"dissertation","venue":"Papyrus : Institutional Repository (Université de Montréal)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Colonial period; Historical heritage; Indigenous","score_opus":0.0038561742721585474,"score_gpt":0.16631353919966035,"score_spread":0.16245736492750182,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7104271545","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.59322524,0.03794481,0.0014672265,0.04734334,0.0006327686,0.00015572686,0.005616591,0.00016520805,0.31344908],"genre_scores_gemma":[0.8805831,0.013547074,0.0005770938,0.0014489049,0.000058549587,0.000060102157,0.0007997485,0.000096773634,0.10282867],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99823534,0.00016568684,0.000042544514,0.00021031186,0.00047803554,0.00086799543],"domain_scores_gemma":[0.9972179,0.0003572652,0.00022948773,0.00007402104,0.00139412,0.0007272765],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000999534,0.00058718777,0.00043793285,0.00436949,0.01915767,0.010431911,0.0017410218,0.0009708044,0.015874902],"category_scores_gemma":[0.002540937,0.00055332686,0.0003182449,0.013541541,0.007088547,0.0018508866,0.002995129,0.0020223602,0.0006593576],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00041753578,0.00008222813,0.1136906,0.0013197104,0.00012514794,0.0034316548,0.43690702,0.0015605587,0.0025985632,0.19037786,0.10453918,0.14494999],"study_design_scores_gemma":[0.000021585169,0.00003207745,0.18582997,0.00063309167,0.00006411542,0.00022206573,0.2180287,0.00031671868,0.0005742472,0.00121594,0.59292555,0.0001359658],"about_ca_topic_score_codex":0.99892384,"about_ca_topic_score_gemma":0.9996458,"teacher_disagreement_score":0.20665494,"about_ca_system_score_codex":0.20665494,"about_ca_system_score_gemma":0.19121814,"threshold_uncertainty_score":0.9201678},"labels":[],"label_agreement":null},{"id":"W7104297504","doi":"10.71781/4202","title":"Le goût musical favorise-t-il le déplacement social chez les adolescents en milieu scolaire?","year":2016,"lang":"fr","type":"dissertation","venue":"Papyrus : Institutional Repository (Université de Montréal)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Musical; Portrait; Dance; Social function","score_opus":0.006125163625776214,"score_gpt":0.1639518246104229,"score_spread":0.15782666098464668,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7104297504","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9761288,0.0022082324,0.00037849267,0.0048823445,0.000103881,0.000035395304,0.00012654446,0.000008708656,0.016127497],"genre_scores_gemma":[0.99030954,0.0019874494,0.0002931018,0.00053610513,0.000034597164,0.00004382042,0.000070510396,0.000010825398,0.0067140604],"study_design_codex":"qualitative","study_design_gemma":"observational","domain_scores_codex":[0.9985782,0.0004048258,0.000027548953,0.0001801834,0.00038137022,0.00042788844],"domain_scores_gemma":[0.99812585,0.0002984705,0.00033711232,0.00005302052,0.00043976583,0.00074573763],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001987551,0.0002997155,0.00043445302,0.0012944925,0.0055261925,0.006255575,0.0010209886,0.0009592871,0.00829443],"category_scores_gemma":[0.0036664456,0.00024201121,0.00033230826,0.0013296012,0.004280106,0.0019263971,0.002739928,0.0015860768,0.000552682],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011310181,0.00013209935,0.4578567,0.00029728052,0.000069597925,0.0013856422,0.46062228,0.00008101768,0.0011983679,0.011026904,0.0059522483,0.061264735],"study_design_scores_gemma":[0.000011698639,0.00009889162,0.23171474,0.00046106282,0.000050640618,0.00029283887,0.7241639,0.00009779506,0.00027367054,0.00083663873,0.04196493,0.00003326678],"about_ca_topic_score_codex":0.3275065,"about_ca_topic_score_gemma":0.6360827,"teacher_disagreement_score":0.3275065,"about_ca_system_score_codex":0.0073007727,"about_ca_system_score_gemma":0.008329222,"threshold_uncertainty_score":0.6512004},"labels":[],"label_agreement":null},{"id":"W7104437701","doi":"10.71781/21811","title":"L’institutionnalisation de la scène Hip-hop underground à Montréal, ses enjeux et rapports au mainstream","year":2020,"lang":"fr","type":"dissertation","venue":"Papyrus : Institutional Repository (Université de Montréal)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Centralisation; Mainstream; Power (physics); Face (sociological concept)","score_opus":0.011291333497180308,"score_gpt":0.18655505250477056,"score_spread":0.17526371900759025,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7104437701","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.46256536,0.0026883422,0.008848993,0.015617455,0.0004999605,0.00028768368,0.001837454,0.00027029426,0.50738436],"genre_scores_gemma":[0.89036417,0.00093775237,0.0018133067,0.00040164913,0.000054859534,0.00007863296,0.00032913825,0.00011049987,0.10591001],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99829596,0.00034645465,0.000029054278,0.00025243484,0.00048177133,0.00059432746],"domain_scores_gemma":[0.9981274,0.00017606847,0.0001493436,0.00012880487,0.0007146367,0.00070379185],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010292757,0.0005511863,0.000301857,0.0017266603,0.013795405,0.009144348,0.0017140451,0.00093224196,0.029570008],"category_scores_gemma":[0.0025602581,0.00034286221,0.0003834833,0.0027162032,0.010888084,0.0027562066,0.0053462773,0.0013960507,0.0010832781],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00020389912,0.00006412833,0.035897598,0.00048848434,0.000067622255,0.001820853,0.33327153,0.0015199556,0.0053172647,0.463806,0.056338478,0.101204105],"study_design_scores_gemma":[0.00001549992,0.00006570917,0.07781852,0.00030763206,0.000041901945,0.0002501291,0.1893354,0.0007419414,0.0010439573,0.006037973,0.724219,0.00012235042],"about_ca_topic_score_codex":0.9483884,"about_ca_topic_score_gemma":0.9769533,"teacher_disagreement_score":0.06020776,"about_ca_system_score_codex":0.06020776,"about_ca_system_score_gemma":0.055520203,"threshold_uncertainty_score":0.43683994},"labels":[],"label_agreement":null},{"id":"W7104450736","doi":"10.71781/21702","title":"Les femmes qui aiment le rap : enquête auprès d'amatrices à Montréal","year":2021,"lang":"fr","type":"dissertation","venue":"Papyrus : Institutional Repository (Université de Montréal)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Private life; The Imaginary; Volunteer work","score_opus":0.01250665779146645,"score_gpt":0.17750574951366696,"score_spread":0.1649990917222005,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7104450736","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8524368,0.0035230245,0.0010916892,0.023459693,0.0007004036,0.00011962135,0.00040302004,0.00007936071,0.118186496],"genre_scores_gemma":[0.88126284,0.0021873817,0.00073370093,0.0019633498,0.000050752133,0.00006992395,0.00010534918,0.0000476186,0.11357908],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9976949,0.00077882933,0.000034713663,0.00021206189,0.0004509019,0.00082860974],"domain_scores_gemma":[0.9979305,0.00028740926,0.00014589676,0.00007172689,0.00078695593,0.00077758665],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020422933,0.00044380297,0.00036057923,0.0007333104,0.025402233,0.0045406315,0.0015471072,0.00131461,0.01928252],"category_scores_gemma":[0.0032507866,0.00041334704,0.00033731008,0.0011261652,0.006289115,0.0015532168,0.004148414,0.0022151223,0.0011862117],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009713986,0.000069772315,0.026753874,0.00018850333,0.000029872583,0.0021068624,0.8659482,0.00013225252,0.002990082,0.012637877,0.041051958,0.047993697],"study_design_scores_gemma":[0.0000053141066,0.000062412815,0.048403587,0.00019990049,0.00002081434,0.00030510442,0.7337481,0.0000764347,0.00045483364,0.00029479715,0.21636193,0.00006675482],"about_ca_topic_score_codex":0.9234825,"about_ca_topic_score_gemma":0.9742648,"teacher_disagreement_score":0.07651752,"about_ca_system_score_codex":0.022843407,"about_ca_system_score_gemma":0.027082007,"threshold_uncertainty_score":0.16574126},"labels":[],"label_agreement":null},{"id":"W7104463581","doi":"10.71781/21817","title":"Écoute de musique et construction identitaire des jeunes à l’ère du « streaming »","year":2022,"lang":"fr","type":"dissertation","venue":"Papyrus : Institutional Repository (Université de Montréal)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Context (archaeology); Happening; Identity (music)","score_opus":0.006332668991439454,"score_gpt":0.1678767461525287,"score_spread":0.16154407716108926,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7104463581","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.47608867,0.0065161837,0.04595696,0.007127157,0.00060133747,0.00009952125,0.0001921555,0.00019174462,0.4632263],"genre_scores_gemma":[0.88491887,0.0020558129,0.013482402,0.0005155115,0.00012330954,0.00007382682,0.00016542219,0.00017697048,0.09848784],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9979786,0.0008896675,0.00007176361,0.00036163797,0.00047847308,0.00021983088],"domain_scores_gemma":[0.9978867,0.0008858799,0.00028494262,0.00028108846,0.00041799023,0.00024333209],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001751683,0.0005906499,0.00026080164,0.0016420323,0.004925604,0.0064202924,0.00071481714,0.0013032517,0.011629052],"category_scores_gemma":[0.004254397,0.00034070972,0.000405912,0.0014378827,0.0072619147,0.0049107107,0.0028712703,0.0018738895,0.0013025234],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013457154,0.000038062404,0.01619979,0.00039941308,0.000034628003,0.0008224727,0.42256597,0.00033158297,0.0047456073,0.4431077,0.0045354986,0.10708477],"study_design_scores_gemma":[0.000021348751,0.00012269786,0.047710232,0.0010359131,0.00005028681,0.0017462915,0.2598942,0.0015268271,0.0027491774,0.056596685,0.6284552,0.00009115375],"about_ca_topic_score_codex":0.018332612,"about_ca_topic_score_gemma":0.043900706,"teacher_disagreement_score":0.018332612,"about_ca_system_score_codex":0.0024921184,"about_ca_system_score_gemma":0.0022074308,"threshold_uncertainty_score":0.038903058},"labels":[],"label_agreement":null},{"id":"W7104464951","doi":"10.71781/22771","title":"Posture et éthos dans les chansons d'Alaclair Ensemble","year":2021,"lang":"fr","type":"dissertation","venue":"Papyrus : Institutional Repository (Université de Montréal)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Criticism; Meaning (existential); Identity (music)","score_opus":0.009004922830865207,"score_gpt":0.1698676104097588,"score_spread":0.1608626875788936,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7104464951","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5723438,0.003746089,0.0025829582,0.017453758,0.00046267817,0.000042986838,0.00009701296,0.00005977456,0.4032109],"genre_scores_gemma":[0.9208956,0.00043344666,0.00050229795,0.0007010652,0.000030623894,0.000017523176,0.000016596008,0.00002896974,0.07737387],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985911,0.00048163306,0.000019039764,0.00017248328,0.00031106977,0.00042462198],"domain_scores_gemma":[0.9994848,0.00011103282,0.00005562481,0.00004295525,0.0001820583,0.00012355966],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015348098,0.00032778925,0.00024856118,0.0006416925,0.011435701,0.0035244431,0.00058750657,0.0012995988,0.0053097266],"category_scores_gemma":[0.0013484771,0.00018575705,0.00014331848,0.00070691,0.013621227,0.001387253,0.0018999713,0.0023403452,0.00046674104],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000092965354,0.000029761442,0.0064795795,0.0000712186,0.000011929095,0.0009667951,0.40500236,0.00023974193,0.002350667,0.52833956,0.015885562,0.04052985],"study_design_scores_gemma":[0.00001766378,0.00008547395,0.03448077,0.00030175567,0.000014611215,0.00040350592,0.21578456,0.00031279834,0.0008314778,0.015356317,0.732339,0.000072140734],"about_ca_topic_score_codex":0.4225577,"about_ca_topic_score_gemma":0.69304955,"teacher_disagreement_score":0.4225577,"about_ca_system_score_codex":0.013301076,"about_ca_system_score_gemma":0.00842149,"threshold_uncertainty_score":0.8401963},"labels":[],"label_agreement":null},{"id":"W7104468264","doi":"10.71781/25517","title":"L'influence de la musique sur les attitudes politiques","year":2021,"lang":"fr","type":"dissertation","venue":"Papyrus : Institutional Repository (Université de Montréal)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Funk; Political correctness; Jazz; Ligne","score_opus":0.008588019027263671,"score_gpt":0.18532147311303587,"score_spread":0.1767334540857722,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7104468264","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.78079385,0.009595866,0.0048754206,0.013200092,0.0007039197,0.00009324055,0.00045195487,0.000038839135,0.19024676],"genre_scores_gemma":[0.97221404,0.0046869135,0.0015539763,0.0015616213,0.00015363986,0.00007192637,0.00013862796,0.000040958967,0.019578274],"study_design_codex":"qualitative","study_design_gemma":"observational","domain_scores_codex":[0.99527943,0.0022913658,0.0001662545,0.00046974918,0.0014004459,0.00039278707],"domain_scores_gemma":[0.98069704,0.013537223,0.0021296118,0.00057362043,0.0022068047,0.00085571187],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005441476,0.0003098687,0.0003726599,0.0012822865,0.0026925206,0.005054461,0.00056824513,0.00082097785,0.013803152],"category_scores_gemma":[0.013941604,0.00026241213,0.00046810627,0.0014580027,0.003803466,0.0022496285,0.0019384071,0.0015455658,0.0009253757],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005286342,0.00026383268,0.22989027,0.0031555898,0.0004780385,0.0010081197,0.4062886,0.00032241654,0.0055767847,0.06751221,0.008943781,0.27603173],"study_design_scores_gemma":[0.000029902672,0.0003274207,0.5663313,0.002182039,0.00023393157,0.00039231594,0.218965,0.0003923582,0.002115061,0.007648181,0.20126387,0.00011856878],"about_ca_topic_score_codex":0.047852002,"about_ca_topic_score_gemma":0.11415692,"teacher_disagreement_score":0.047852002,"about_ca_system_score_codex":0.004129997,"about_ca_system_score_gemma":0.004411734,"threshold_uncertainty_score":0.095146954},"labels":[],"label_agreement":null},{"id":"W7104977488","doi":"10.13140/rg.2.2.13453.40169","title":"FROM CHARITY TO PARTNERSHIP: HOW VANCOUVER 2010 TRANSFORMED CORPORATE SPONSORSHIP IN THE CANADIAN PARALYMPIC COMMITTEE","year":2025,"lang":"","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Government (linguistics); Work (physics); Corporate governance; Agency (philosophy)","score_opus":0.08045137224741498,"score_gpt":0.24255693152684937,"score_spread":0.16210555927943437,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7104977488","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.34711555,0.0028759288,0.0013048663,0.16958304,0.0034364108,0.00019025966,0.0003188292,0.00013653768,0.47503862],"genre_scores_gemma":[0.83514416,0.00070395117,0.00049051875,0.009044923,0.00013485734,0.00006390789,0.000093104514,0.00014824099,0.15417622],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.99093634,0.0018115107,0.000112382266,0.0005427405,0.0017452706,0.004851845],"domain_scores_gemma":[0.9812448,0.0018648839,0.00029298852,0.0002804855,0.003969649,0.012347172],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0055865464,0.00036531844,0.00036501035,0.00138619,0.053105652,0.01844441,0.0024159993,0.004475936,0.021179799],"category_scores_gemma":[0.01569973,0.000606286,0.00029630182,0.0022035376,0.010962746,0.0026271371,0.00846548,0.010904483,0.0014974339],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00021814094,0.0001460175,0.017941553,0.00016831703,0.000047060465,0.0017123043,0.28531468,0.00070981163,0.0010966462,0.15707646,0.43439397,0.10117501],"study_design_scores_gemma":[0.000026063994,0.000039172126,0.017604863,0.00017386896,0.00001940343,0.00008484548,0.24644783,0.00020074335,0.00024607437,0.0031399014,0.73193306,0.00008415623],"about_ca_topic_score_codex":0.9766173,"about_ca_topic_score_gemma":0.9962296,"teacher_disagreement_score":0.13412666,"about_ca_system_score_codex":0.13412666,"about_ca_system_score_gemma":0.19844073,"threshold_uncertainty_score":0.97316164},"labels":[],"label_agreement":null},{"id":"W7105197480","doi":"10.1525/jrpc.12.1.007b","title":"Review: Noise and Spirit: The Religious and Spiritual Sensibilities of Rap Music, edited by Anthony B. Pinn","year":2006,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Research Manitoba","funders":"","keywords":"Noise (video); Key (lock); Perspective (graphical); Power (physics)","score_opus":0.01145748073951253,"score_gpt":0.21788316789232487,"score_spread":0.20642568715281234,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7105197480","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000034081924,0.99156123,0.000023774937,0.0027131035,0.005252719,0.000004711828,0.000021959744,0.0000032173916,0.00038516943],"genre_scores_gemma":[0.00037564157,0.99293786,0.000039588762,0.0017082817,0.003993384,0.000008683767,0.000035033718,0.0000026793646,0.00089884107],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99950576,0.00012759132,0.00007608915,0.00008296598,0.00016675108,0.000040789546],"domain_scores_gemma":[0.99698347,0.001571748,0.00027544133,0.000045159235,0.0008362037,0.00028790618],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012285238,0.002026956,0.00364287,0.003843944,0.0009471925,0.0037318019,0.0024988947,0.0039825574,0.01013883],"category_scores_gemma":[0.0047575296,0.00076174166,0.0007511692,0.0058926637,0.0014543772,0.004259523,0.0016064935,0.0035626073,0.0052986243],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013795581,0.000030641168,0.00015419774,0.021030476,0.00012655626,0.0001748051,0.00019454777,0.00008801378,0.00023937064,0.0013336419,0.75349855,0.22299123],"study_design_scores_gemma":[0.00004784721,0.000057172732,0.0014445713,0.012609265,0.00016118723,0.0010892695,0.00042622007,0.00003975307,0.000100223064,0.0013267975,0.982666,0.00003173102],"about_ca_topic_score_codex":0.004620494,"about_ca_topic_score_gemma":0.011774924,"teacher_disagreement_score":0.01013883,"about_ca_system_score_codex":0.0014184592,"about_ca_system_score_gemma":0.0032365324,"threshold_uncertainty_score":0.033917785},"labels":[],"label_agreement":null},{"id":"W7105682587","doi":"10.14746/rfn.2024.25.9","title":"Lokalne konteksty globalnych utworów. Ku „autentyczności” muzyki popularnej z miejskiej perspektywy","year":2025,"lang":"pl","type":"article","venue":"Res Facta Nova Teksty o muzyce współczesnej","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"University of Cambridge; York University","keywords":"Musical; Identity (music); Amateur; Perspective (graphical); Dimension (graph theory); Order (exchange)","score_opus":0.033030280644502266,"score_gpt":0.2788781845924626,"score_spread":0.24584790394796036,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7105682587","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18690492,0.024275139,0.007935536,0.02108033,0.0008182285,0.00006802752,0.00039420655,0.0002727063,0.7582509],"genre_scores_gemma":[0.8796288,0.010265058,0.001934479,0.0013162225,0.00031155132,0.00007201406,0.00018456005,0.00020976675,0.10607767],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.999419,0.00015321944,0.000027518006,0.00014425005,0.00010340251,0.00015259022],"domain_scores_gemma":[0.9997124,0.00006970854,0.000057563735,0.000043446125,0.000047332982,0.00006954718],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00058990816,0.00045068294,0.00037876857,0.0013055134,0.0021565352,0.010524869,0.0003915501,0.0009125228,0.023975704],"category_scores_gemma":[0.00077391387,0.00028333958,0.00023227742,0.0020338846,0.0069888653,0.006333521,0.004364694,0.0021223086,0.0029724496],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012254769,0.00005449287,0.0075278156,0.0006171839,0.00004439628,0.0009789133,0.058767848,0.00025253973,0.0035466016,0.778677,0.022849146,0.12656154],"study_design_scores_gemma":[0.000016631251,0.000041555988,0.031391826,0.00045017706,0.000038397728,0.000888236,0.045271166,0.00021472137,0.0012856111,0.095693655,0.8246738,0.00003416523],"about_ca_topic_score_codex":0.0032244148,"about_ca_topic_score_gemma":0.0048552286,"teacher_disagreement_score":0.023975704,"about_ca_system_score_codex":0.002254984,"about_ca_system_score_gemma":0.0014386661,"threshold_uncertainty_score":0.08020669},"labels":[],"label_agreement":null},{"id":"W7107956494","doi":"10.5281/zenodo.17756253","title":"The Lived Politics of the Negative: Tabletop Game Designers on Punk, Practice, and Utopia","year":2024,"lang":"en","type":"article","venue":"PhilPapers (PhilPapers Foundation)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Trinity Western University","funders":"","keywords":"Flourishing; Punk; Politics; Utopia; Hegemony; Impulse (physics); Consumerism; Lived experience","score_opus":0.02418231595786587,"score_gpt":0.2461544555797736,"score_spread":0.22197213962190773,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7107956494","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7299921,0.0034199879,0.018610978,0.030902063,0.000734376,0.000200502,0.000057198526,0.00026481022,0.21581802],"genre_scores_gemma":[0.9712676,0.0010760884,0.0031603728,0.0020531018,0.00004448852,0.00011430364,0.000016677197,0.00014532002,0.02212217],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.98892444,0.009568233,0.00010140785,0.00033819128,0.0005240886,0.00054359203],"domain_scores_gemma":[0.994212,0.004562089,0.0001652017,0.00030758666,0.00023740067,0.00051572046],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.007983775,0.0009252054,0.00038249642,0.0008920468,0.009735787,0.0148330275,0.0012313256,0.0021268558,0.0065028556],"category_scores_gemma":[0.0094310045,0.00052494573,0.00025345245,0.00054061826,0.02515986,0.0070544034,0.0069781314,0.0039874823,0.0006500581],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006472227,0.000045047724,0.0009565168,0.000084077765,0.000006227917,0.00035484115,0.93931067,0.00015089997,0.0011563145,0.03044154,0.007989745,0.019439436],"study_design_scores_gemma":[0.000025794652,0.00009098397,0.0008336266,0.00026691306,0.000014657652,0.000445998,0.7924852,0.00026409392,0.0007431174,0.0082749305,0.1965151,0.000039631712],"about_ca_topic_score_codex":0.0032310698,"about_ca_topic_score_gemma":0.008387208,"teacher_disagreement_score":0.0148330275,"about_ca_system_score_codex":0.0028351762,"about_ca_system_score_gemma":0.002036771,"threshold_uncertainty_score":0.04222274},"labels":[],"label_agreement":null},{"id":"W7107962169","doi":"10.5281/zenodo.17756252","title":"The Lived Politics of the Negative: Tabletop Game Designers on Punk, Practice, and Utopia","year":2024,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Trinity Western University","funders":"","keywords":"Flourishing; Punk; Politics; Utopia; Hegemony; Impulse (physics); Consumerism; Lived experience","score_opus":0.04266319028599326,"score_gpt":0.24134427817277268,"score_spread":0.1986810878867794,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7107962169","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7645465,0.003036087,0.02069785,0.027519714,0.00066175533,0.00020212312,0.000058431873,0.0002543484,0.18302315],"genre_scores_gemma":[0.9737104,0.0009798321,0.0035521013,0.001900004,0.000040419814,0.00012003368,0.000018596385,0.00015631116,0.019522293],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9878698,0.010443499,0.00011436604,0.0003955654,0.00058161817,0.00059514097],"domain_scores_gemma":[0.9935569,0.0050820475,0.00018547608,0.00033950567,0.00027128015,0.000564775],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.008607304,0.0010220697,0.0004065913,0.000947941,0.009540645,0.01527277,0.0013387346,0.0022592333,0.005832676],"category_scores_gemma":[0.0098493025,0.0005637817,0.00028303504,0.00054794806,0.025291549,0.007217977,0.0075052087,0.0040571867,0.000652972],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007342659,0.000048348986,0.0010269589,0.000087644934,0.000006709081,0.0003887248,0.9425682,0.00016471665,0.0014124896,0.027428687,0.00714488,0.019649284],"study_design_scores_gemma":[0.00003121099,0.000096951255,0.00088309357,0.00027729943,0.00001728578,0.0005446152,0.78930056,0.0003147176,0.0008594851,0.00858234,0.19904481,0.000047633217],"about_ca_topic_score_codex":0.0030696136,"about_ca_topic_score_gemma":0.008312975,"teacher_disagreement_score":0.01527277,"about_ca_system_score_codex":0.0029420503,"about_ca_system_score_gemma":0.0020661152,"threshold_uncertainty_score":0.045520306},"labels":[],"label_agreement":null},{"id":"W7108213044","doi":"10.4000/159m3","title":"« Pomelo sound system » : une médiation matérielle dans la scène rave underground montréalaise","year":2025,"lang":"","type":"article","venue":"Volume !","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université du Québec à Montréal","funders":"","keywords":"Sound (geography); Sound system; Sound production; Sound pressure","score_opus":0.009847133274623422,"score_gpt":0.1973984501582467,"score_spread":0.18755131688362328,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7108213044","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5423038,0.0014001064,0.14978027,0.0034295525,0.00086545,0.00089052634,0.0010189143,0.0031880816,0.2971233],"genre_scores_gemma":[0.82901746,0.0005459169,0.041172422,0.00047087108,0.00006362658,0.00033402772,0.00042046,0.0004491659,0.127526],"study_design_codex":"design_other","study_design_gemma":"qualitative","domain_scores_codex":[0.9991672,0.00016078126,0.000019067471,0.00016610791,0.0003150536,0.00017182947],"domain_scores_gemma":[0.9992071,0.0002286878,0.000038586095,0.000107476655,0.00024999277,0.00016814317],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009128555,0.0007288053,0.00029011382,0.0007312636,0.0029511547,0.0040451814,0.001221634,0.0011356712,0.026502626],"category_scores_gemma":[0.0025107374,0.00040020514,0.00042667595,0.0005835068,0.0031038518,0.0018894684,0.0033163384,0.001073247,0.0023201925],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0012132038,0.00030089502,0.02055198,0.0013805202,0.00012205724,0.0067494446,0.15718019,0.0066517596,0.26503637,0.120867975,0.030905409,0.3890403],"study_design_scores_gemma":[0.0001616563,0.00084166444,0.036422458,0.00062137964,0.00023179152,0.0023275353,0.061349686,0.011774465,0.052175693,0.008671699,0.8250324,0.00038952645],"about_ca_topic_score_codex":0.18222034,"about_ca_topic_score_gemma":0.26972562,"teacher_disagreement_score":0.81777966,"about_ca_system_score_codex":0.0038348015,"about_ca_system_score_gemma":0.0063433535,"threshold_uncertainty_score":0.3623194},"labels":[],"label_agreement":null},{"id":"W7109624190","doi":"10.59350/y9k55-ftb91","title":"'O CANADA'? REPRESENTING CANADIANNESS IN 'ONE WEEK'","year":2024,"lang":"","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drummer; Subject (documents); Key (lock); Supergroup","score_opus":0.041062915230628286,"score_gpt":0.19383616883745336,"score_spread":0.1527732536068251,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7109624190","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.012126014,0.0035624194,0.00083482906,0.05317089,0.008269764,0.000051877254,0.0009609469,0.00030920256,0.920714],"genre_scores_gemma":[0.08634836,0.0017376007,0.0007389632,0.0076475074,0.00019757754,0.000012785422,0.000269921,0.00023287827,0.90281445],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99922943,0.000056702662,0.000007828419,0.00008385523,0.00022687404,0.0003952605],"domain_scores_gemma":[0.99904484,0.000020680587,0.00001853927,0.000022007549,0.00032346149,0.00057039404],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00050419534,0.00046808395,0.0002511317,0.00070785073,0.024803976,0.0071780877,0.00078019605,0.0014139835,0.11068144],"category_scores_gemma":[0.0010400658,0.00017769514,0.0002548618,0.0013067015,0.0033225715,0.0016890471,0.0024858627,0.002727246,0.00941786],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028151222,0.000010584269,0.0011189809,0.000052919684,0.0000043988866,0.0002725591,0.013532737,0.000041619256,0.00062949554,0.054582827,0.8977073,0.03201856],"study_design_scores_gemma":[9.539998e-7,0.000002447084,0.0008367798,0.000029504085,0.0000013522911,0.000033216307,0.010498339,0.0000071523446,0.00006790176,0.00029413635,0.98822135,0.000006848338],"about_ca_topic_score_codex":0.9707607,"about_ca_topic_score_gemma":0.9948454,"teacher_disagreement_score":0.11068144,"about_ca_system_score_codex":0.031336885,"about_ca_system_score_gemma":0.0449826,"threshold_uncertainty_score":0.37026632},"labels":[],"label_agreement":null},{"id":"W7110638259","doi":"","title":"What's up in Vancouver : the attempt to define the sound of the city","year":2016,"lang":"pl","type":"article","venue":"Homo Politicus (Academy of Humanities and Economics in Lodz)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sound (geography); Balmer series","score_opus":0.05904529429188678,"score_gpt":0.23107671108184855,"score_spread":0.17203141678996176,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7110638259","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.41741076,0.010907101,0.001549647,0.029045474,0.0009199252,0.0001654395,0.0004686174,0.000050592556,0.5394824],"genre_scores_gemma":[0.9282228,0.002815391,0.0008202586,0.0016913429,0.00004593488,0.000059299375,0.00016087928,0.000051632334,0.06613255],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9986136,0.0003716957,0.00004144634,0.00014127567,0.00036361036,0.00046838875],"domain_scores_gemma":[0.99863213,0.00014822693,0.000076587334,0.00005498689,0.00050513237,0.0005829178],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008366091,0.0004491465,0.00033700437,0.002841565,0.032507252,0.016187055,0.0010340845,0.0017379798,0.0057227043],"category_scores_gemma":[0.0025403232,0.00035188295,0.0001603133,0.0057497066,0.012522759,0.0018517792,0.0050905244,0.0035858254,0.00044383956],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000087093795,0.000044023738,0.03184236,0.0002828823,0.000028526974,0.0014180867,0.5870177,0.0004000069,0.0009425967,0.22499575,0.0526619,0.10027907],"study_design_scores_gemma":[0.0000057137213,0.0000196788,0.043303367,0.00040910445,0.000017370041,0.0001973824,0.6023247,0.0001603178,0.00021112342,0.005940322,0.34735084,0.000060037586],"about_ca_topic_score_codex":0.9492597,"about_ca_topic_score_gemma":0.99071586,"teacher_disagreement_score":0.0507403,"about_ca_system_score_codex":0.041810602,"about_ca_system_score_gemma":0.041719954,"threshold_uncertainty_score":0.30335855},"labels":[],"label_agreement":null},{"id":"W7112455444","doi":"","title":"Code of the switch : A study of how English takes shape in popular Swedish rap","year":2020,"lang":"sv","type":"article","venue":"DiVA (Södertörn University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Code (set theory); Islam","score_opus":0.03980497191001718,"score_gpt":0.176874436599648,"score_spread":0.13706946468963083,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7112455444","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9704542,0.00020364833,0.0004254004,0.0004286608,0.000021221613,0.000030404763,0.00010331177,0.000015214268,0.02831805],"genre_scores_gemma":[0.99085754,0.0001603857,0.00024864866,0.00019195142,0.000010619085,0.00003799328,0.0001920642,0.00007233342,0.008228378],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9964246,0.00197705,0.00012060842,0.00040902596,0.000653924,0.00041486754],"domain_scores_gemma":[0.98627883,0.008553689,0.0017593236,0.00061359006,0.001980352,0.0008141697],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0029082529,0.00027311742,0.00032534028,0.0017855315,0.0036839813,0.0066110445,0.0008147936,0.001005309,0.0061552813],"category_scores_gemma":[0.015737973,0.00040323046,0.00016452395,0.0016455703,0.003955674,0.0040284046,0.002624209,0.0019384236,0.0012383077],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006828205,0.00006054539,0.023376696,0.00005936952,0.000004909176,0.00032433134,0.9623484,0.00001955183,0.0019459167,0.002700069,0.00087470975,0.008217196],"study_design_scores_gemma":[0.0000125706165,0.000066090135,0.0721299,0.00010623723,0.0000090266685,0.00021473676,0.9004106,0.00023995698,0.00061872293,0.0008651123,0.025292289,0.00003485234],"about_ca_topic_score_codex":0.045362286,"about_ca_topic_score_gemma":0.06516148,"teacher_disagreement_score":0.045362286,"about_ca_system_score_codex":0.0042728717,"about_ca_system_score_gemma":0.0023704558,"threshold_uncertainty_score":0.09019649},"labels":[],"label_agreement":null},{"id":"W7115816428","doi":"","title":"Sights and Sounds of Joyful Resistance: Hip Hop, TikTok, and Bi+ Women's Identities","year":2025,"lang":"en","type":"dissertation","venue":"MacSphere (McMaster University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McMaster University","funders":"","keywords":"Queer; Narrative; CONTEST; Digital media; Craft; Construct (python library); Cognitive reframing; Heteronormativity; Identity (music); Human sexuality","score_opus":0.011736750807562759,"score_gpt":0.17602780991144915,"score_spread":0.1642910591038864,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7115816428","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9335493,0.0008753275,0.00047521433,0.0013205346,0.000081895356,0.000013195552,0.000024810679,0.000014914309,0.06364481],"genre_scores_gemma":[0.99322754,0.00029258296,0.00013113127,0.00017198572,0.000014764456,0.000008379009,0.000009551505,0.000012603983,0.0061314744],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99918145,0.00039081456,0.000020478956,0.00008605451,0.00013928252,0.00018189216],"domain_scores_gemma":[0.9994624,0.00023866032,0.000092006136,0.00004313096,0.000037328373,0.00012653196],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001248927,0.00034707654,0.00029690698,0.0010566395,0.009977548,0.007943314,0.00063327356,0.0008572568,0.0059286575],"category_scores_gemma":[0.0015869311,0.00025267914,0.00015610467,0.00086655834,0.012666524,0.0032051313,0.0056987726,0.0017014957,0.00047713768],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006242822,0.00002088076,0.0038291092,0.000066020075,0.000004140236,0.00045487972,0.9745131,0.000018897543,0.0010152468,0.009093809,0.00091634673,0.01000516],"study_design_scores_gemma":[0.0000021606222,0.0000196913,0.0042799357,0.000053014974,0.0000042026118,0.0003108526,0.977276,0.000027038923,0.00020418821,0.0007143057,0.017098729,0.00000990153],"about_ca_topic_score_codex":0.009158884,"about_ca_topic_score_gemma":0.01980479,"teacher_disagreement_score":0.009977548,"about_ca_system_score_codex":0.0015063586,"about_ca_system_score_gemma":0.0010798399,"threshold_uncertainty_score":0.019833386},"labels":[],"label_agreement":null},{"id":"W7115887356","doi":"10.1525/jrpc.22.1.009d","title":"Review: Jazz Religion, the Second Line, and Black New Orleans, by Richard Brent Turner","year":2010,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Jazz; Gloom; Collectable; Ridiculous","score_opus":0.011727119841660734,"score_gpt":0.22486386977476108,"score_spread":0.21313674993310036,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7115887356","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000048605343,0.8889131,0.000021176935,0.05030304,0.059276618,0.000010087886,0.00005895286,0.0000052379455,0.0013632592],"genre_scores_gemma":[0.00084070745,0.86406934,0.00007123362,0.064693876,0.061627273,0.00003509535,0.000075407435,0.000009902422,0.008577097],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989312,0.0002309242,0.000158918,0.00018672209,0.0003663547,0.00012579268],"domain_scores_gemma":[0.99607915,0.0014484213,0.00038107796,0.00008934348,0.0013833032,0.00061873166],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0028917415,0.0016486791,0.0026517212,0.0032095173,0.0019445561,0.004961037,0.0021029278,0.0065990402,0.009502359],"category_scores_gemma":[0.009674218,0.00078324915,0.0009614263,0.0040218844,0.00232503,0.0047646468,0.0024059182,0.008882767,0.0048633446],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000031942465,0.000006863776,0.000053088264,0.0012448683,0.000018622108,0.000032333086,0.00004614861,0.0000115524235,0.000018534774,0.00047335582,0.9798813,0.018181348],"study_design_scores_gemma":[0.000051705872,0.000017267874,0.00082864333,0.0049103172,0.00005724694,0.00016814085,0.00022251284,0.000011758183,0.000017264085,0.00053077086,0.9931681,0.000016300275],"about_ca_topic_score_codex":0.034274813,"about_ca_topic_score_gemma":0.07986355,"teacher_disagreement_score":0.034274813,"about_ca_system_score_codex":0.004037928,"about_ca_system_score_gemma":0.00788833,"threshold_uncertainty_score":0.06815064},"labels":[],"label_agreement":null},{"id":"W7117280001","doi":"","title":"Dance Music: A Feminist Account of an Ordinary Culture (Tami Gadir) & Welcome to the Club: The Life and Lessons of a Black Woman DJ (DJ Paulette)","year":2025,"lang":"en","type":"article","venue":"DOAJ (DOAJ: Directory of Open Access Journals)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Dance; Black women; Black feminism; Feminism; Field (mathematics)","score_opus":0.1966682934911906,"score_gpt":0.47184623634618883,"score_spread":0.2751779428549982,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7117280001","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.026423534,0.026241,0.00059517426,0.1336072,0.0033379628,0.0000661482,0.00006359632,0.000034847475,0.80963045],"genre_scores_gemma":[0.51807714,0.014256648,0.000651201,0.029033817,0.0026595604,0.00021135717,0.000035070458,0.00025551155,0.4348196],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987337,0.0006414672,0.000015871583,0.00011488733,0.00015453955,0.0003396188],"domain_scores_gemma":[0.9989936,0.00039197385,0.000058636342,0.000030280391,0.00007688178,0.00044867522],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021484902,0.00077044073,0.00041521643,0.0012421487,0.03078565,0.012798179,0.0015398492,0.0047235694,0.018221492],"category_scores_gemma":[0.0022258507,0.00042463478,0.00021100957,0.0011479646,0.021261586,0.0065152207,0.006320779,0.008007546,0.0017061578],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000056057685,0.00008492515,0.00043464015,0.00014552909,0.0000051648744,0.00060786586,0.32406786,0.00006175255,0.0002534593,0.5092093,0.14335893,0.021714479],"study_design_scores_gemma":[0.000019044415,0.000032580116,0.0015216598,0.00035309387,0.0000055909,0.00025495316,0.2528893,0.000068225716,0.00012488329,0.024988707,0.71972346,0.000018474155],"about_ca_topic_score_codex":0.036967274,"about_ca_topic_score_gemma":0.104303986,"teacher_disagreement_score":0.036967274,"about_ca_system_score_codex":0.0059858714,"about_ca_system_score_gemma":0.0050660037,"threshold_uncertainty_score":0.07350421},"labels":[],"label_agreement":null},{"id":"W7117410988","doi":"10.12801/1947-5403.2025.17.01.16","title":"Dance Music: A Feminist Account of an Ordinary Culture (Tami Gadir) &amp; Welcome to the Club: The Life and Lessons of a Black Woman DJ (DJ Paulette)","year":2025,"lang":"","type":"article","venue":"Dancecult","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Dance; Black women; Black feminism; Feminism; Field (mathematics)","score_opus":0.03218697935102509,"score_gpt":0.26550088827351614,"score_spread":0.23331390892249104,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7117410988","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.016898964,0.022245554,0.00057684706,0.07133538,0.002618079,0.00005538268,0.000059004604,0.00003252428,0.8861783],"genre_scores_gemma":[0.4002578,0.012400622,0.00062629516,0.019682432,0.0032184003,0.00020229534,0.000036750887,0.00020653171,0.56336886],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99909866,0.00046447263,0.000013007377,0.00007802074,0.00012216171,0.00022363245],"domain_scores_gemma":[0.99933344,0.00027258793,0.00004062933,0.000023754541,0.00004728644,0.00028223707],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001428777,0.00069699314,0.00036670946,0.0012613606,0.024727799,0.012391239,0.0013491701,0.003672797,0.019964285],"category_scores_gemma":[0.0015322384,0.00036801503,0.00019835547,0.0010573479,0.019350985,0.0049745124,0.0052825464,0.0058268304,0.0016099365],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000052699997,0.00008166165,0.0004627675,0.00015157471,0.0000051053726,0.0006178002,0.24696673,0.000071066024,0.0002774457,0.57575303,0.15441091,0.021149185],"study_design_scores_gemma":[0.000017287271,0.000031673015,0.0017619762,0.00031010577,0.000004566186,0.0002692332,0.18186192,0.000082686856,0.00010553614,0.023134213,0.7924068,0.000013863464],"about_ca_topic_score_codex":0.03213236,"about_ca_topic_score_gemma":0.097973295,"teacher_disagreement_score":0.03213236,"about_ca_system_score_codex":0.0048220544,"about_ca_system_score_gemma":0.003516404,"threshold_uncertainty_score":0.06678718},"labels":[],"label_agreement":null},{"id":"W7117470392","doi":"10.1386/public_00273_1","title":"The Possible Impossibilities of Home: Afrobeats and the Refusal of Unlivability","year":2025,"lang":"en","type":"article","venue":"Public","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Queen's University","funders":"","keywords":"Colonialism; Depiction; Futures contract; Consciousness; Perception; African culture","score_opus":0.014114880702181119,"score_gpt":0.20711163049862047,"score_spread":0.19299674979643935,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7117470392","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.85060346,0.004017222,0.0021852062,0.0035682665,0.00033725405,0.000017465409,0.000026939815,0.000019784655,0.13922438],"genre_scores_gemma":[0.99508023,0.0005783009,0.00021976321,0.00011948194,0.00003960564,0.000005376361,0.0000047225567,0.000011004405,0.0039416016],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99946326,0.0003048241,0.000014931396,0.00004575936,0.000058267815,0.00011300628],"domain_scores_gemma":[0.99942386,0.00035074123,0.00006469746,0.000050080027,0.000032122516,0.00007846616],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009981818,0.00032691914,0.00026661486,0.0007508139,0.0060299174,0.004440158,0.00038181295,0.00080992724,0.0024450074],"category_scores_gemma":[0.0016556177,0.00011934203,0.00011801605,0.0005600941,0.014091411,0.0026920266,0.0022784404,0.0012593834,0.00017627154],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001307477,0.000020509144,0.0035833078,0.00017592049,0.0000063038674,0.0018853354,0.80430526,0.00010487495,0.0017255185,0.15562783,0.0025923627,0.029842073],"study_design_scores_gemma":[0.000010344946,0.000057871195,0.009327906,0.0007468544,0.00001121204,0.0016845398,0.811771,0.00022504783,0.0009110075,0.015012422,0.1602175,0.000024406902],"about_ca_topic_score_codex":0.003001859,"about_ca_topic_score_gemma":0.0072469763,"teacher_disagreement_score":0.0060299174,"about_ca_system_score_codex":0.0011278362,"about_ca_system_score_gemma":0.0005604508,"threshold_uncertainty_score":0.008183062},"labels":[],"label_agreement":null},{"id":"W7117761945","doi":"10.1163/15691624-20255611","title":"The Sonic Gaze: Jazz, Whiteness, and Racialized Listening, written by T. Storm Heter","year":2025,"lang":"","type":"article","venue":"Journal of Phenomenological Psychology","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Storm; Race (biology)","score_opus":0.019190976621553335,"score_gpt":0.2934921670853988,"score_spread":0.2743011904638455,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7117761945","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.01413329,0.28462613,0.0031951563,0.5979273,0.070032984,0.00009311826,0.00045636614,0.00012219147,0.029413555],"genre_scores_gemma":[0.1854177,0.3042035,0.005619206,0.2585794,0.099073395,0.0005452216,0.00040440072,0.00065637013,0.14550085],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995596,0.00018161895,0.000034257053,0.0000986058,0.00009552846,0.00003044405],"domain_scores_gemma":[0.9973699,0.0021585417,0.00008019396,0.000025250376,0.0002291107,0.00013703282],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011621481,0.0010160741,0.0006868525,0.0009784824,0.002365989,0.0031297957,0.0006574146,0.0030352122,0.0020347473],"category_scores_gemma":[0.005358676,0.0003680596,0.00034280453,0.00062686234,0.0030155513,0.0030979868,0.0013326628,0.0061798384,0.00088389695],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013584686,0.000037514943,0.0005344819,0.0006276732,0.000024717054,0.0010504092,0.020420149,0.00020603115,0.0011544093,0.012098118,0.91962975,0.044080853],"study_design_scores_gemma":[0.000029106817,0.00006843069,0.004060004,0.0016483226,0.00002078053,0.0021038943,0.023895618,0.00036450813,0.0006582079,0.009137354,0.95795786,0.000055992772],"about_ca_topic_score_codex":0.010697269,"about_ca_topic_score_gemma":0.016334994,"teacher_disagreement_score":0.010697269,"about_ca_system_score_codex":0.00087268476,"about_ca_system_score_gemma":0.0013060488,"threshold_uncertainty_score":0.021270037},"labels":[],"label_agreement":null},{"id":"W7120641710","doi":"","title":"From transgression to conservatism: the escalation of the extreme right in the metal scene.","year":2019,"lang":"pt","type":"dissertation","venue":"LA Referencia (Red Federada de Repositorios Institucionales de Publicaciones Científicas)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Context (archaeology); Musical instrument; Musical; Nova scotia","score_opus":0.034743739796705246,"score_gpt":0.24133487193574812,"score_spread":0.20659113213904287,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7120641710","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.33160412,0.0035900092,0.0032039145,0.042355657,0.0004103461,0.000017220682,0.000040620234,0.00005227284,0.6187259],"genre_scores_gemma":[0.9700408,0.00042948293,0.0003252939,0.0019351732,0.000075063945,0.000008477688,0.000012367768,0.000051138173,0.027122306],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9954881,0.0023879798,0.00007637039,0.00058441126,0.0007306294,0.00073244254],"domain_scores_gemma":[0.99759394,0.0007886838,0.0003699303,0.00040596168,0.00032357135,0.0005177796],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0033990894,0.0003057801,0.000287341,0.001242673,0.015297819,0.00919494,0.001058806,0.0026832114,0.010118235],"category_scores_gemma":[0.004855219,0.0002785462,0.00027344414,0.0011672048,0.044646934,0.0072916006,0.009382595,0.00362868,0.00091289723],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008098248,0.000025246542,0.0030666888,0.00004333923,0.000008616556,0.00048818847,0.32859066,0.000074688054,0.0007170327,0.6385595,0.00917223,0.019172898],"study_design_scores_gemma":[0.00003176952,0.000060680773,0.011429153,0.00027748095,0.000010983892,0.00060916966,0.31552693,0.00031245008,0.0007704089,0.23010634,0.4408176,0.000047099227],"about_ca_topic_score_codex":0.01447605,"about_ca_topic_score_gemma":0.029370619,"teacher_disagreement_score":0.015297819,"about_ca_system_score_codex":0.0057648304,"about_ca_system_score_gemma":0.0029734687,"threshold_uncertainty_score":0.041826963},"labels":[],"label_agreement":null},{"id":"W7120769096","doi":"","title":"Rio de Janeiro, Cidade da Música : the invader","year":2008,"lang":"pt","type":"article","venue":"Lume (Universidade Federal do Rio Grande do Sul)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Discovery Air (Canada)","funders":"","keywords":"","score_opus":0.03105438907163865,"score_gpt":0.20300050761774935,"score_spread":0.1719461185461107,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7120769096","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06259257,0.20782594,0.00093959103,0.1406785,0.013720472,0.00018754223,0.007427881,0.00083247677,0.565795],"genre_scores_gemma":[0.3237321,0.074501835,0.0024321598,0.010226031,0.002128507,0.00022230184,0.002717932,0.0005090714,0.58353007],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99953055,0.00007286302,0.000024098721,0.00008680444,0.00014892645,0.00013684349],"domain_scores_gemma":[0.9995365,0.00006638603,0.0000708303,0.00004416274,0.00013003692,0.00015221963],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00061750517,0.0005027432,0.00040539348,0.0010678804,0.0029333113,0.0032862271,0.00084859936,0.0023710378,0.031012924],"category_scores_gemma":[0.0017293255,0.00033816425,0.0003098616,0.0030872563,0.0012355967,0.0013657795,0.0019940624,0.0017263185,0.0034542326],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001999729,0.000054896842,0.014999642,0.0026122606,0.00006199035,0.0016924632,0.01661653,0.00027617574,0.003366003,0.15470965,0.5807406,0.22466987],"study_design_scores_gemma":[0.000003785644,0.0000046998216,0.014974692,0.00008915332,0.000004897091,0.00012857902,0.0016872584,0.0000074496456,0.00006372825,0.00032362086,0.9827071,0.0000050868293],"about_ca_topic_score_codex":0.18516344,"about_ca_topic_score_gemma":0.41949898,"teacher_disagreement_score":0.18516344,"about_ca_system_score_codex":0.005248987,"about_ca_system_score_gemma":0.008482997,"threshold_uncertainty_score":0.36817133},"labels":[],"label_agreement":null},{"id":"W7122349252","doi":"","title":"G.B. Jones : Witches","year":2024,"lang":"en","type":"book","venue":"E-Artexte (Artexte)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Queer; Portrait; Punk; Aunt; Performance art","score_opus":0.02399979511060696,"score_gpt":0.19921747133446482,"score_spread":0.17521767622385787,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7122349252","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0013008156,0.023839265,0.0003555791,0.0045833574,0.0013586186,0.000029813598,0.00016949564,0.00011860867,0.9682444],"genre_scores_gemma":[0.010748414,0.0060221134,0.00020634779,0.0012832633,0.00011431101,0.000017552578,0.00008018721,0.00007604638,0.9814518],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998858,0.000022096452,0.000002579473,0.000018127297,0.00004495402,0.000026458374],"domain_scores_gemma":[0.9999503,0.000007720823,0.0000048011384,0.0000054730885,0.00001451488,0.000017166241],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000113177695,0.00060335704,0.00013758574,0.00070929923,0.0033998631,0.003367144,0.00042825378,0.0008725709,0.058312368],"category_scores_gemma":[0.00035526752,0.0002626632,0.0001268392,0.0012955163,0.0014756204,0.0022611378,0.0013290029,0.0014431387,0.020476246],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000086736945,0.0000068812087,0.000100621284,0.000048696034,9.758586e-7,0.00011514886,0.0023790384,0.000024453395,0.00013492664,0.039443932,0.9090308,0.04870585],"study_design_scores_gemma":[5.646074e-7,0.0000011389014,0.00019279057,0.000033769633,2.8133897e-7,0.00005898398,0.0005893094,0.0000046878745,0.000031429816,0.0008721221,0.9982139,0.000001164705],"about_ca_topic_score_codex":0.028805517,"about_ca_topic_score_gemma":0.11734451,"teacher_disagreement_score":0.058312368,"about_ca_system_score_codex":0.0016575137,"about_ca_system_score_gemma":0.0013502571,"threshold_uncertainty_score":0.19507432},"labels":[],"label_agreement":null},{"id":"W7125022504","doi":"10.71781/32685","title":"La construction identitaire autour de la réception de la musique de film : une réflexion éthique par l’expérience esthétique","year":2025,"lang":"fr","type":"dissertation","venue":"Open MIND","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"The Imaginary; Musicology; Popular music","score_opus":0.012532963691798132,"score_gpt":0.28479328601274123,"score_spread":0.2722603223209431,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7125022504","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6231723,0.0023277518,0.00984865,0.010127114,0.0002736114,0.00010232793,0.0001611829,0.00005213824,0.35393494],"genre_scores_gemma":[0.96131206,0.00058066903,0.00096601405,0.00033347384,0.000041826253,0.000037436148,0.000038024733,0.000038769052,0.03665181],"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9969041,0.0015704483,0.00004825606,0.00033498518,0.000631385,0.0005108114],"domain_scores_gemma":[0.9971553,0.0010297722,0.0003482397,0.00021059666,0.0008642264,0.00039188477],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0032015,0.0004928718,0.00029021673,0.001492671,0.009996209,0.0069583505,0.0009350851,0.001064773,0.008359027],"category_scores_gemma":[0.0037128576,0.0003391425,0.00022909351,0.000947299,0.020879664,0.0028768813,0.0039438237,0.0021324067,0.0005325457],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004230718,0.000018110448,0.0063885814,0.00011383039,0.0000106555735,0.00043963047,0.9005767,0.000059838767,0.002035338,0.0739974,0.002316563,0.014001052],"study_design_scores_gemma":[0.00001293154,0.00005410892,0.04035575,0.00048860104,0.000021737493,0.00056904345,0.75181013,0.0003196402,0.0011626679,0.0059688846,0.19918254,0.000053881577],"about_ca_topic_score_codex":0.3329043,"about_ca_topic_score_gemma":0.49173,"teacher_disagreement_score":0.3329043,"about_ca_system_score_codex":0.013559139,"about_ca_system_score_gemma":0.010827919,"threshold_uncertainty_score":0.6619332},"labels":[],"label_agreement":null},{"id":"W7125177065","doi":"10.1525/jrpc.2.1.006a","title":"Review: Facing the Music: Faith and Meaning in Popular Songs, by Darrell W. Cluck, Catherine S. George, and J. Clinton McCann, Jr.","year":2002,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Providence University College and Theological Seminary","funders":"","keywords":"Meaning (existential); Faith; Public discourse; Original meaning","score_opus":0.020792474727863126,"score_gpt":0.22206192396704236,"score_spread":0.20126944923917922,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7125177065","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000040356445,0.97783077,0.00003023925,0.012806747,0.008954416,0.000008357175,0.000036411056,0.0000050612066,0.00028754977],"genre_scores_gemma":[0.0003601151,0.97965425,0.0000629985,0.008984429,0.009583399,0.000014423945,0.00005464277,0.0000049369514,0.0012807525],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990564,0.00024874776,0.00015336087,0.0001285194,0.0003430771,0.00006981804],"domain_scores_gemma":[0.99520206,0.0021685404,0.0005476566,0.000086190645,0.0014040949,0.0005914903],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002169383,0.002025239,0.0029596386,0.0036436317,0.0010566526,0.004346534,0.0026996033,0.004392376,0.0056033954],"category_scores_gemma":[0.009898251,0.00082762947,0.0009777993,0.006431648,0.0022235042,0.005947956,0.0017468361,0.005472235,0.0049456456],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011553238,0.000014715885,0.00012612081,0.008465885,0.00009479799,0.000076004704,0.0001305717,0.00005193694,0.0001266259,0.0006746368,0.91653144,0.07359181],"study_design_scores_gemma":[0.000062095125,0.000059454618,0.0013839033,0.011727781,0.00018858614,0.00078559475,0.00040610178,0.000041636526,0.00009516825,0.0013754633,0.9838374,0.000036681606],"about_ca_topic_score_codex":0.008361842,"about_ca_topic_score_gemma":0.020383816,"teacher_disagreement_score":0.008361842,"about_ca_system_score_codex":0.0020056446,"about_ca_system_score_gemma":0.0041417824,"threshold_uncertainty_score":0.018745244},"labels":[],"label_agreement":null},{"id":"W7125389808","doi":"10.54103/sss30337","title":"After Alerts","year":2025,"lang":"en","type":"article","venue":"Sound Stage Screen","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Distraction; Focus (optics); TRACE (psycholinguistics); Work (physics); Gene silencing; Internalization","score_opus":0.021089600831418948,"score_gpt":0.22833910330061138,"score_spread":0.20724950246919244,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7125389808","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0028139618,0.0023154505,0.003434873,0.021889739,0.023755237,0.0007021248,0.011607195,0.015849654,0.91763186],"genre_scores_gemma":[0.011244491,0.0019175622,0.0012877218,0.01387187,0.0048404536,0.00012614037,0.0047987658,0.0021170827,0.95979583],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986651,0.0001930019,0.00012429676,0.00015949763,0.0006603457,0.00019772566],"domain_scores_gemma":[0.9954971,0.0009078273,0.0003966486,0.000611948,0.0016532085,0.00093335763],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0011350001,0.0010284544,0.0006653189,0.0021116855,0.0020355433,0.00686279,0.0012206335,0.003600252,0.75833267],"category_scores_gemma":[0.011030697,0.00049383816,0.0007191224,0.0009765802,0.00048462034,0.005066583,0.0035548238,0.0023747492,0.62943465],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007908814,0.000033178687,0.00044181227,0.00018961912,0.0000068515446,0.00021992532,0.00012786248,0.00002272895,0.00032258668,0.0018634895,0.9471537,0.049539212],"study_design_scores_gemma":[0.0000083487785,0.000018586701,0.00045162608,0.00007624269,0.0000040840155,0.00011543514,0.00011131631,0.000029046625,0.00020767786,0.0006760609,0.99829286,0.000008705499],"about_ca_topic_score_codex":0.0024610618,"about_ca_topic_score_gemma":0.0034227236,"teacher_disagreement_score":0.75833267,"about_ca_system_score_codex":0.0007153619,"about_ca_system_score_gemma":0.0014280329,"threshold_uncertainty_score":0.3447091},"labels":[],"label_agreement":null},{"id":"W7125674268","doi":"10.7202/1122765ar","title":"Martin, Denis-Constant. 2020. Plus que de la musique… Musiques, sociétés et politique, Caraïbes, États-Unis, Afrique du Sud","year":2025,"lang":"en","type":"article","venue":"MUSICultures","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Gender relations","score_opus":0.015505773246624362,"score_gpt":0.2721876109636714,"score_spread":0.256681837717047,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7125674268","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0024396162,0.5618104,0.00094335194,0.25131327,0.030696284,0.0000412645,0.0041247206,0.00025310522,0.14837801],"genre_scores_gemma":[0.050023712,0.3053465,0.0029259054,0.02596547,0.005341405,0.00021705609,0.0031862718,0.00046273536,0.60653096],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993668,0.00009152093,0.000023938226,0.000075482356,0.00035544878,0.00008676614],"domain_scores_gemma":[0.99833834,0.00027868417,0.00015307407,0.000057937188,0.0009457228,0.00022616342],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010717956,0.00056584034,0.00033586606,0.0010421417,0.0024631289,0.0026171794,0.000664567,0.0018808874,0.041977882],"category_scores_gemma":[0.0042112423,0.0003751159,0.00020390275,0.0014604485,0.00096442405,0.0033065088,0.0011487866,0.002911511,0.017411947],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000030818777,0.0000038807234,0.00026513272,0.00020233309,0.000002973851,0.000022945462,0.00047472087,0.000013939442,0.00012385524,0.0042501087,0.9480459,0.04656339],"study_design_scores_gemma":[0.0000046287973,0.000004860756,0.0021174129,0.00029161185,0.000003827824,0.000025737094,0.00039402023,0.0000056937674,0.00008749857,0.0005295628,0.9965301,0.000005012212],"about_ca_topic_score_codex":0.06962375,"about_ca_topic_score_gemma":0.17269807,"teacher_disagreement_score":0.06962375,"about_ca_system_score_codex":0.0033100669,"about_ca_system_score_gemma":0.004633631,"threshold_uncertainty_score":0.14043003},"labels":[],"label_agreement":null},{"id":"W7125677733","doi":"10.7202/1122770ar","title":"Retro: Popular Music in Canada from the ’60s, ’70s, and ’80s","year":2025,"lang":"en","type":"article","venue":"MUSICultures","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Queen's University","funders":"","keywords":"Popular music; Popular culture; Music history","score_opus":0.014901977517888838,"score_gpt":0.17162534490679446,"score_spread":0.15672336738890563,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7125677733","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.61676294,0.017399374,0.0004930892,0.040413912,0.0016791145,0.00010812783,0.06536897,0.0003907839,0.25738364],"genre_scores_gemma":[0.7532424,0.005821935,0.00042154093,0.004067628,0.00029509937,0.0000542776,0.009387205,0.0001955829,0.22651438],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987331,0.000030508472,0.000019352201,0.00007185964,0.0005429416,0.00060218613],"domain_scores_gemma":[0.9974427,0.00011794018,0.0001513653,0.000048574668,0.0015187651,0.0007205886],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005311339,0.0003854838,0.00035284137,0.005082682,0.012892285,0.007962281,0.0012491387,0.0013343532,0.01897425],"category_scores_gemma":[0.0019794614,0.00034020678,0.00036603885,0.01095207,0.0029037031,0.00207646,0.0028263559,0.002044091,0.0019162958],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0006640068,0.00020419309,0.22920968,0.0006445778,0.00011044776,0.0017796217,0.08741017,0.0004914408,0.00103003,0.033768326,0.44815663,0.19653091],"study_design_scores_gemma":[0.0000166478,0.000030480232,0.42835048,0.00029641003,0.00002808959,0.00021862357,0.099100366,0.00013288217,0.00041561673,0.00066943286,0.47067156,0.00006952174],"about_ca_topic_score_codex":0.9976841,"about_ca_topic_score_gemma":0.99938357,"teacher_disagreement_score":0.08317049,"about_ca_system_score_codex":0.08317049,"about_ca_system_score_gemma":0.0949412,"threshold_uncertainty_score":0.60344696},"labels":[],"label_agreement":null},{"id":"W7125680781","doi":"10.7202/1122760ar","title":"Canadian Music Studies and/under the Second Trump Presidency","year":2025,"lang":"en","type":"article","venue":"MUSICultures","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Scholarship; Presidency; Sovereignty; Politics; Musical; Context (archaeology); Music education; Musicology; Cultural studies","score_opus":0.03390905892708505,"score_gpt":0.2273843155399746,"score_spread":0.19347525661288956,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7125680781","genre_codex":"other","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03477991,0.02187252,0.00079039123,0.23464078,0.008905986,0.000060381437,0.0004981131,0.000121271194,0.6983307],"genre_scores_gemma":[0.5223726,0.013247502,0.0016937457,0.028902147,0.0016743601,0.000073923125,0.00029310278,0.00013139509,0.43161124],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99592435,0.0003882914,0.0000572489,0.00035620987,0.0017801257,0.0014938371],"domain_scores_gemma":[0.9968957,0.00040112447,0.000093235816,0.0001557777,0.0013148752,0.0011392772],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022829087,0.00040737653,0.00038312774,0.002019702,0.02325129,0.014861372,0.0014062915,0.004094182,0.018466344],"category_scores_gemma":[0.0050740903,0.0002223869,0.0003540247,0.0021397523,0.009820744,0.0024848117,0.004197657,0.003948873,0.0011563088],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000055499404,0.000016634109,0.0021913901,0.00014732742,0.000012068542,0.0003458117,0.030546648,0.000104644874,0.00052067655,0.5069261,0.37542024,0.08371299],"study_design_scores_gemma":[0.0000049891837,0.00000798205,0.00307809,0.00015062632,0.000007841778,0.00007055594,0.014897381,0.000040504623,0.000120938654,0.0054281927,0.9761761,0.000016744687],"about_ca_topic_score_codex":0.96773726,"about_ca_topic_score_gemma":0.9876337,"teacher_disagreement_score":0.92210233,"about_ca_system_score_codex":0.07789769,"about_ca_system_score_gemma":0.1570716,"threshold_uncertainty_score":0.56518996},"labels":[],"label_agreement":null},{"id":"W7126019505","doi":"10.3366/tna.2025.0041","title":"“They Only Come Out at Night”: 1970s, 80s, and 90s Queer DJ Set List Ephemera as Bibliographical Evidence","year":2025,"lang":"en","type":"article","venue":"The New Americanist","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Ephemera; Queer; Phone; Collectable; Set (abstract data type); Musical","score_opus":0.03286325831403511,"score_gpt":0.27255656840346976,"score_spread":0.23969331008943465,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7126019505","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.305258,0.02421524,0.00041764972,0.014630887,0.0006595335,0.000042763226,0.002664132,0.00007278635,0.6520391],"genre_scores_gemma":[0.91979694,0.016914664,0.00018215607,0.0016128233,0.00063415273,0.000025699088,0.00084480474,0.00007929825,0.059909385],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99852103,0.0002668396,0.00007796166,0.00017506143,0.000599472,0.00035962093],"domain_scores_gemma":[0.99617636,0.0013842379,0.0008270938,0.0002663654,0.00095408404,0.0003917798],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017234497,0.00018994675,0.0002451602,0.008657132,0.010657538,0.0069191293,0.00053368823,0.0005683803,0.0144563485],"category_scores_gemma":[0.006564454,0.00022005448,0.00009092405,0.011667408,0.0093502,0.0035306346,0.0023292887,0.0020984355,0.0011898709],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001635131,0.000048460664,0.020668522,0.0005732599,0.000023481518,0.0011118917,0.559583,0.00007023549,0.00075242575,0.2658439,0.065662704,0.08549857],"study_design_scores_gemma":[0.000008669911,0.000019063595,0.06835345,0.0010182989,0.000018605177,0.000318017,0.19631767,0.000026197024,0.0006412074,0.0023225362,0.73093086,0.00002534431],"about_ca_topic_score_codex":0.29006222,"about_ca_topic_score_gemma":0.5615358,"teacher_disagreement_score":0.29006222,"about_ca_system_score_codex":0.013479127,"about_ca_system_score_gemma":0.0064999415,"threshold_uncertainty_score":0.5767478},"labels":[],"label_agreement":null},{"id":"W7126043280","doi":"10.5810/kentucky/9781985902657.003.0017","title":"Heavy Winds (2005–2006)","year":2025,"lang":"en","type":"book-chapter","venue":"University Press of Kentucky eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Ninth; Friendship; Hurricane katrina; Film director","score_opus":0.019547103944041067,"score_gpt":0.16524260817878467,"score_spread":0.1456955042347436,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7126043280","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.001668195,0.011772851,0.00017283527,0.00454723,0.008108459,0.00004706152,0.0039935834,0.0001707067,0.96951914],"genre_scores_gemma":[0.0031520373,0.0039646975,0.00012661285,0.0007556489,0.00041438377,0.000014595855,0.001551527,0.000061359955,0.9899593],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998012,0.000008985844,0.000006642435,0.000024007859,0.00011510515,0.000043991684],"domain_scores_gemma":[0.99964905,0.000015015805,0.000019933042,0.000021870881,0.00017703566,0.00011705171],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00029382936,0.00037832544,0.00013407847,0.0010071635,0.0020779555,0.0030321921,0.0006095483,0.0009249283,0.19445905],"category_scores_gemma":[0.0006056747,0.00019887171,0.00014368945,0.0015532064,0.00030417767,0.0009851754,0.0012632224,0.0010706236,0.072881214],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000130246935,0.0000060017637,0.00014158756,0.000053576718,7.2499523e-7,0.00004330536,0.0001679767,0.000017847728,0.00008219591,0.0022613967,0.95770705,0.03950533],"study_design_scores_gemma":[5.947248e-7,0.000001336483,0.00032506147,0.000027680386,1.838815e-7,0.000012620227,0.000047155532,0.000002366966,0.000013895482,0.000041374922,0.999527,7.8544184e-7],"about_ca_topic_score_codex":0.12965922,"about_ca_topic_score_gemma":0.42889595,"teacher_disagreement_score":0.19445905,"about_ca_system_score_codex":0.0036744778,"about_ca_system_score_gemma":0.003925752,"threshold_uncertainty_score":0.65053034},"labels":[],"label_agreement":null},{"id":"W7127111690","doi":"10.1017/s0261143026101305","title":"The Vinyl Revival, Gender, and Collecting Aesthetics. By Veronica Skrimsjö. London and New York: Routledge, 2026. 135 pp. ISBN 978-1-032-51046-0.","year":2025,"lang":"en","type":"article","venue":"Popular Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Performance art","score_opus":0.05472470901142425,"score_gpt":0.2374803710210063,"score_spread":0.18275566200958204,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7127111690","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0022720566,0.75689566,0.0018913439,0.055959195,0.010087303,0.000027491637,0.00032349536,0.0001408237,0.17240267],"genre_scores_gemma":[0.081281036,0.2864285,0.0031876436,0.009128081,0.0056482316,0.00014020542,0.0003999774,0.0009000024,0.61288625],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99871874,0.0006354966,0.00007464179,0.00017616959,0.0002813502,0.00011364345],"domain_scores_gemma":[0.99926656,0.0003630665,0.00009422694,0.0000803467,0.0000935395,0.000102261205],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00210347,0.0010385315,0.0005685193,0.0016346804,0.003870976,0.0078095933,0.0012842946,0.0021092752,0.03034076],"category_scores_gemma":[0.0035732633,0.00084368594,0.0003871202,0.0027897898,0.0078117447,0.008497693,0.0040964806,0.0030312974,0.007644926],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000056479013,0.000019788105,0.00028603736,0.00071280607,0.000011136703,0.00015604174,0.016439864,0.00009414852,0.00025751922,0.13577229,0.68015957,0.16603427],"study_design_scores_gemma":[0.0000024940232,0.0000044170006,0.000286273,0.0005813682,0.0000025254683,0.00010046846,0.005013892,0.000013282145,0.000050146806,0.01044153,0.9834979,0.0000055819514],"about_ca_topic_score_codex":0.017185017,"about_ca_topic_score_gemma":0.04326916,"teacher_disagreement_score":0.03034076,"about_ca_system_score_codex":0.0032073122,"about_ca_system_score_gemma":0.0034645856,"threshold_uncertainty_score":0.101499975},"labels":[],"label_agreement":null},{"id":"W7127243741","doi":"","title":"Challenging Canada’s Musical Mosaic","year":2025,"lang":"","type":"article","venue":"Scholarship@Western (Western University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"","score_opus":0.08037633459351076,"score_gpt":0.2681839393340783,"score_spread":0.18780760474056754,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7127243741","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.032529514,0.0044864994,0.0018965335,0.25578588,0.0052255495,0.000045667784,0.00039540482,0.0001794259,0.6994557],"genre_scores_gemma":[0.48259994,0.0019367003,0.0016084216,0.033358052,0.0006551076,0.000043212018,0.00015982143,0.0003194614,0.47931933],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9960769,0.00034574288,0.000051342624,0.0003624602,0.0013329716,0.0018305966],"domain_scores_gemma":[0.99582195,0.00034397733,0.00005660941,0.00020886751,0.0012972008,0.0022714653],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0027712714,0.00053262536,0.00040699463,0.0017101445,0.039534885,0.019876018,0.0018842454,0.0062767635,0.034527134],"category_scores_gemma":[0.005596688,0.00046842606,0.0004910326,0.0017727131,0.01695563,0.0039263763,0.008218729,0.00899381,0.0027463026],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000030597133,0.000014940079,0.0011836442,0.000025187148,0.000010651228,0.00020989071,0.009391733,0.00020356297,0.00020742869,0.59133875,0.37217915,0.02520453],"study_design_scores_gemma":[0.0000098158935,0.0000054209545,0.0015867883,0.0000669943,0.000005972156,0.000049814338,0.015948046,0.00015812677,0.000099233024,0.023238216,0.958804,0.000027621873],"about_ca_topic_score_codex":0.98452896,"about_ca_topic_score_gemma":0.9948565,"teacher_disagreement_score":0.08044326,"about_ca_system_score_codex":0.08044326,"about_ca_system_score_gemma":0.16799466,"threshold_uncertainty_score":0.58365947},"labels":[],"label_agreement":null},{"id":"W7127615083","doi":"10.5040/9798216416234","title":"Black, Blanc, Beur","year":2002,"lang":"","type":"book","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":9,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"French; Popularity; Popular music; Period (music); Subject (documents); Music history; Sound (geography); Expression (computer science)","score_opus":0.03793751683670874,"score_gpt":0.1844093927299661,"score_spread":0.14647187589325736,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7127615083","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0018928461,0.03607515,0.0011966939,0.24827154,0.07323235,0.00007071515,0.0006965145,0.00069031824,0.6378738],"genre_scores_gemma":[0.007794262,0.012102912,0.0008812163,0.042671744,0.00368448,0.000055196142,0.00020356238,0.00044595133,0.9321607],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99901724,0.00019185488,0.000034847493,0.00018451315,0.00046265856,0.000108786684],"domain_scores_gemma":[0.99839264,0.00025631316,0.00006807775,0.00008955338,0.00084091636,0.00035247905],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00088259036,0.00067608024,0.00041472097,0.0009803702,0.0055226404,0.005281309,0.0008815558,0.0025241396,0.16539234],"category_scores_gemma":[0.005061559,0.0003095014,0.00033347806,0.00088184304,0.0015107393,0.004501817,0.0024206915,0.0039053631,0.07829961],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005402829,0.0000056181825,0.00006320377,0.000036398305,7.2923797e-7,0.000023453696,0.00035476207,0.000007266808,0.000059864782,0.0037329402,0.9710744,0.024635907],"study_design_scores_gemma":[8.353818e-7,0.0000021534293,0.0001225183,0.000048180238,5.891816e-7,0.00003820122,0.00052560086,0.0000067116653,0.000030486453,0.00046189153,0.9987607,0.0000020542934],"about_ca_topic_score_codex":0.016043022,"about_ca_topic_score_gemma":0.04360383,"teacher_disagreement_score":0.16539234,"about_ca_system_score_codex":0.0021762694,"about_ca_system_score_gemma":0.0032961424,"threshold_uncertainty_score":0.5532925},"labels":[],"label_agreement":null},{"id":"W7127619950","doi":"10.1525/jrpc.6.1.006b","title":"Review: Traces of the Spirit: Religious Dimensions of Popular Music, by Robin Sylvan","year":2004,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Ethnography; Field (mathematics); Government (linguistics); Indigenous; Agency (philosophy)","score_opus":0.01448749858944585,"score_gpt":0.2241023866381532,"score_spread":0.20961488804870737,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7127619950","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00009671084,0.92307854,0.00004619031,0.055150498,0.020909281,0.000009667225,0.000039730494,0.000006748463,0.00066270976],"genre_scores_gemma":[0.0020432572,0.8901683,0.00014890758,0.051660005,0.052120656,0.000029468873,0.000066699766,0.000016884038,0.0037458204],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99913895,0.0002589617,0.00012188908,0.00015743532,0.0002411338,0.00008158607],"domain_scores_gemma":[0.9955674,0.002221091,0.0003158196,0.00009711906,0.0013469786,0.0004515078],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022147093,0.0012070461,0.0016454259,0.0028763672,0.0013628062,0.0039764773,0.001490742,0.004262847,0.00334363],"category_scores_gemma":[0.008608741,0.000621193,0.0005185365,0.003392855,0.0027193958,0.004408698,0.0021623208,0.0066988072,0.0022255734],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008600697,0.000011384151,0.00011112375,0.0026898247,0.000039257066,0.00006215242,0.00017817729,0.000038173923,0.000114034876,0.0009821669,0.95207876,0.04360895],"study_design_scores_gemma":[0.000055044085,0.000045536202,0.0015043503,0.004376302,0.000081089085,0.00041894545,0.00046962194,0.000039902883,0.00009055394,0.0017784367,0.9911103,0.000029743143],"about_ca_topic_score_codex":0.010214439,"about_ca_topic_score_gemma":0.021701453,"teacher_disagreement_score":0.010214439,"about_ca_system_score_codex":0.001871815,"about_ca_system_score_gemma":0.0038036793,"threshold_uncertainty_score":0.020309985},"labels":[],"label_agreement":null},{"id":"W7127655766","doi":"10.5040/9798216456322","title":"London, Reign Over Me","year":2020,"lang":"","type":"book","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Reign; Jazz; Britishness; Blues; Performance art; Cornish; Face (sociological concept)","score_opus":0.029347993364554667,"score_gpt":0.19281971360903138,"score_spread":0.1634717202444767,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7127655766","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0023231716,0.005924285,0.00040774987,0.046191696,0.011251718,0.00006664464,0.0012054443,0.00060079974,0.93202853],"genre_scores_gemma":[0.0023839914,0.00062158593,0.000063883126,0.0019610948,0.00020325999,0.000009800952,0.00011753065,0.00014948267,0.9944893],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992957,0.000078384524,0.000028937822,0.00017400885,0.0002576267,0.00016522218],"domain_scores_gemma":[0.9990723,0.00005190627,0.00004702224,0.00007338031,0.00025303816,0.00050229573],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00041050932,0.00091858953,0.00031376389,0.00075337116,0.0038454763,0.0062440513,0.000864628,0.0021690165,0.5540317],"category_scores_gemma":[0.0018869576,0.00039348198,0.00028361363,0.0006364189,0.0011622249,0.0037289043,0.004185536,0.0026998909,0.35495743],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016347858,0.0000056371296,0.0001595115,0.000045296187,0.0000012298839,0.00016639392,0.0008144665,0.00001174594,0.00018341879,0.002908657,0.9781367,0.017550526],"study_design_scores_gemma":[8.444586e-7,0.0000018861234,0.00012413684,0.000019064584,2.1451e-7,0.000036588866,0.0006015451,0.0000021380918,0.000018362245,0.00007113435,0.99912256,0.0000015696065],"about_ca_topic_score_codex":0.021108992,"about_ca_topic_score_gemma":0.07607607,"teacher_disagreement_score":0.5540317,"about_ca_system_score_codex":0.0031644895,"about_ca_system_score_gemma":0.0019484672,"threshold_uncertainty_score":0.6361196},"labels":[],"label_agreement":null},{"id":"W7128431104","doi":"10.1386/ijcm_00136_1","title":"Musical performance opportunities in Edmonton’s community leagues: Mapping a community music ecology","year":2025,"lang":"en","type":"article","venue":"International Journal of Community Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Alberta","funders":"","keywords":"Musical; Neighbourhood (mathematics); Community building; Community organization; Community engagement; Social capital; Music education; Sense of community; Community cohesion","score_opus":0.16454716644053294,"score_gpt":0.28485351492454464,"score_spread":0.1203063484840117,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7128431104","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9768197,0.00094916613,0.0011767751,0.0017881095,0.000028316888,0.000087932916,0.0002540815,0.00002380999,0.018872155],"genre_scores_gemma":[0.9822097,0.000648233,0.0037421526,0.00031529262,0.000017705494,0.000082453196,0.00027105713,0.000029593519,0.012683872],"study_design_codex":"qualitative","study_design_gemma":"observational","domain_scores_codex":[0.99936825,0.00017387434,0.000008931189,0.00011516903,0.00011638922,0.00021741985],"domain_scores_gemma":[0.99876803,0.00045033926,0.0001299413,0.000068692636,0.0001249831,0.0004579402],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001324823,0.0002680539,0.00024209752,0.002316069,0.005448115,0.003952108,0.0013356742,0.0009888074,0.0040976773],"category_scores_gemma":[0.0016802666,0.00046760656,0.00020925068,0.0018723567,0.003869689,0.0016290551,0.004940296,0.0011631236,0.00030377225],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00028674587,0.00026377777,0.14398235,0.00052764657,0.00006853734,0.005924419,0.67524153,0.0011554426,0.0051973797,0.018691506,0.0126554,0.13600525],"study_design_scores_gemma":[0.000015699832,0.00010833163,0.34850663,0.0005661153,0.000024043124,0.0005204066,0.56242365,0.0008718695,0.0006568919,0.0019969647,0.08425957,0.0000497873],"about_ca_topic_score_codex":0.26240578,"about_ca_topic_score_gemma":0.7531409,"teacher_disagreement_score":0.73759425,"about_ca_system_score_codex":0.005204579,"about_ca_system_score_gemma":0.005642099,"threshold_uncertainty_score":0.5217568},"labels":[],"label_agreement":null},{"id":"W7130777195","doi":"","title":"No-Go Zones","year":2007,"lang":"","type":"article","venue":"University of the Arts London Research Online (University of the Arts London)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Studio; Event (particle physics); The arts; Service (business); Exhibition; Test (biology)","score_opus":0.052309241888987716,"score_gpt":0.25506981224452774,"score_spread":0.20276057035554002,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7130777195","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.033172667,0.0011274598,0.001360593,0.0028645347,0.00095988024,0.00020940811,0.0017413223,0.00043424315,0.9581299],"genre_scores_gemma":[0.111009456,0.0005593986,0.001377455,0.0009543081,0.00007986285,0.00023520144,0.0010857692,0.0003919286,0.88430667],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991191,0.00015869435,0.000022013426,0.00012458817,0.00024208431,0.0003334404],"domain_scores_gemma":[0.99899083,0.00008203722,0.000057114023,0.00015136748,0.00012621381,0.00059231516],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006792889,0.0005378874,0.00026491945,0.0005459303,0.006215446,0.0055133854,0.0010412863,0.0012115828,0.21114686],"category_scores_gemma":[0.0017428261,0.0004243867,0.00031727276,0.00065377814,0.0019549085,0.0019553143,0.0070093293,0.00094446115,0.03874573],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000587288,0.00009165317,0.0059123784,0.001042777,0.000025375233,0.0014023022,0.053055663,0.00015951124,0.0044930982,0.11769014,0.68598795,0.12955172],"study_design_scores_gemma":[0.000008941095,0.000015439298,0.0021282907,0.000050030958,0.0000018657914,0.00007286337,0.0045436453,0.0000076081865,0.00016043591,0.0005598482,0.9924448,0.000006282974],"about_ca_topic_score_codex":0.036232285,"about_ca_topic_score_gemma":0.16679887,"teacher_disagreement_score":0.21114686,"about_ca_system_score_codex":0.0025241505,"about_ca_system_score_gemma":0.004973611,"threshold_uncertainty_score":0.70635664},"labels":[],"label_agreement":null},{"id":"W7131313341","doi":"10.7202/1122630ar","title":"Parenting with Metal: Extreme Media Literacy Between Generations","year":2025,"lang":"fr","type":"article","venue":"Intermédialités Histoire et théorie des arts des lettres et des techniques","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Cognitive dissonance; Media literacy; Literacy; Reading (process); Raising (metalworking); Value (mathematics)","score_opus":0.05452721838077349,"score_gpt":0.29307661064413654,"score_spread":0.23854939226336305,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7131313341","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.97866255,0.0007440245,0.00029846362,0.0038143075,0.00006920879,0.00003184987,0.00004971634,0.000008927386,0.016321115],"genre_scores_gemma":[0.9961894,0.0004487375,0.00013246552,0.0007689373,0.000014090872,0.000023743894,0.000021437281,0.0000081936905,0.002392907],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9965467,0.0015578682,0.00009089465,0.00036149376,0.00048941735,0.0009536945],"domain_scores_gemma":[0.9957722,0.002350904,0.00060976093,0.00016472678,0.00040143507,0.0007009509],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0041495273,0.00040170347,0.00048067395,0.0020015037,0.01544181,0.0066557783,0.0010550206,0.0015676596,0.0042406064],"category_scores_gemma":[0.011695176,0.0007798449,0.0002507867,0.0013843385,0.011194461,0.00486684,0.006103038,0.003121054,0.00027242512],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010888421,0.000009116324,0.0040985593,0.000008760998,0.0000013814271,0.0005824493,0.99206287,0.0000029933365,0.00012328064,0.00084336865,0.00026819098,0.0019881646],"study_design_scores_gemma":[0.0000016012028,0.000014396278,0.004987566,0.00003579813,0.0000030417614,0.0002685687,0.9899172,0.000008324381,0.00004908981,0.00028601452,0.004420184,0.000008180659],"about_ca_topic_score_codex":0.20683883,"about_ca_topic_score_gemma":0.2607102,"teacher_disagreement_score":0.20683883,"about_ca_system_score_codex":0.008285405,"about_ca_system_score_gemma":0.00532716,"threshold_uncertainty_score":0.41126984},"labels":[],"label_agreement":null},{"id":"W7131782044","doi":"10.5040/9798216419570","title":"Experiencing Rush","year":2014,"lang":"","type":"book","venue":"Rowman & Littlefield Publishers eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Gold rush; Musical; Rock music; Mainstream; Power (physics); Style (visual arts); Exegesis; Popular music","score_opus":0.018641144290476044,"score_gpt":0.1836513612467015,"score_spread":0.16501021695622548,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7131782044","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06329271,0.0069490126,0.0035177756,0.07584071,0.024320636,0.00008605938,0.00030718578,0.0009931856,0.82469267],"genre_scores_gemma":[0.32007316,0.0032677033,0.0014879504,0.030826755,0.0038203797,0.00009074582,0.0002278119,0.00085003086,0.63935536],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9979103,0.00054932764,0.000029020879,0.00026054555,0.00057157764,0.0006791987],"domain_scores_gemma":[0.9987417,0.0000950062,0.000081984865,0.0000628203,0.00020865684,0.000809766],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012154111,0.0007980528,0.00039243756,0.0005339732,0.013492925,0.006063226,0.0010866233,0.0023325013,0.05861987],"category_scores_gemma":[0.0025827878,0.00030257794,0.00037288948,0.00041666726,0.005822573,0.00478361,0.009842093,0.006551088,0.010472036],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000047093356,0.000042556094,0.0012240994,0.0001040282,0.000010293371,0.0016906149,0.11132853,0.000041747076,0.001424994,0.037412554,0.80199784,0.04467562],"study_design_scores_gemma":[0.0000031361037,0.000028648203,0.0005283308,0.000061301034,0.0000023793848,0.0008301258,0.054166842,0.000023437573,0.00012345321,0.0012825474,0.94293416,0.00001563183],"about_ca_topic_score_codex":0.01191706,"about_ca_topic_score_gemma":0.037929054,"teacher_disagreement_score":0.05861987,"about_ca_system_score_codex":0.0024574134,"about_ca_system_score_gemma":0.002432464,"threshold_uncertainty_score":0.19610304},"labels":[],"label_agreement":null},{"id":"W7132904944","doi":"","title":"The Hums: Feminist Listening and Gendered Affects in Music Production and Audio Engineering in Canada","year":2022,"lang":"","type":"dissertation","venue":"TSpace","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Canadian University Music Society","funders":"Social Sciences and Humanities Research Council of Canada; University of Toronto","keywords":"Power (physics); Feeling; Face (sociological concept); The arts; Active listening; Performing arts; Tone (literature); Ambivalence","score_opus":0.015931957088354477,"score_gpt":0.2220300585980051,"score_spread":0.2060981015096506,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7132904944","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.834017,0.002156274,0.0015415862,0.013273687,0.00023311656,0.000057551628,0.00032035666,0.00007182855,0.14832853],"genre_scores_gemma":[0.9760517,0.0008357027,0.00031357387,0.00090585556,0.000023183718,0.000014986831,0.00004793719,0.00006903416,0.021738036],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99471337,0.0011157447,0.00008385756,0.0006048908,0.0017575205,0.00172452],"domain_scores_gemma":[0.9944905,0.0017896482,0.00039783027,0.00020542608,0.0013732155,0.0017434127],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0036458205,0.0006277116,0.00063107203,0.002780018,0.05213785,0.013741293,0.0023637468,0.0024387224,0.0115600135],"category_scores_gemma":[0.0066284477,0.0005009214,0.00034370986,0.0038554203,0.035637856,0.002806393,0.0098092565,0.003960184,0.0005688513],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004811335,0.000020169991,0.007069282,0.00005404945,0.0000066629495,0.0006626965,0.96656656,0.00008425759,0.00083673245,0.010256012,0.0035505248,0.01084488],"study_design_scores_gemma":[0.0000030286608,0.000013309623,0.008562674,0.000104482824,0.0000065990102,0.00014711834,0.9411033,0.000089852765,0.00025664674,0.00062704046,0.049052257,0.000033764012],"about_ca_topic_score_codex":0.9804569,"about_ca_topic_score_gemma":0.9929322,"teacher_disagreement_score":0.07981313,"about_ca_system_score_codex":0.07981313,"about_ca_system_score_gemma":0.1038712,"threshold_uncertainty_score":0.5790875},"labels":[],"label_agreement":null},{"id":"W7132969553","doi":"","title":"The molecules of ritual: promoting, producing, and performing raving and clubbing in Toronto","year":2004,"lang":"","type":"dissertation","venue":"TSpace","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dance; Ethnography; Framing (construction); Conversation analysis; Discourse analysis","score_opus":0.012602793059653183,"score_gpt":0.2753486232689753,"score_spread":0.26274583020932213,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7132969553","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.897429,0.0057034935,0.0008793113,0.003015606,0.000110456494,0.0000832595,0.00031652837,0.000051015784,0.092411324],"genre_scores_gemma":[0.975637,0.0030033523,0.0008221976,0.000113843,0.000019938732,0.000021668571,0.000110811474,0.000024994946,0.020246314],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9990355,0.00028978015,0.00003478498,0.00011716431,0.00024323707,0.00027963406],"domain_scores_gemma":[0.99909174,0.0002038339,0.0001495415,0.000053438667,0.00012256147,0.00037883755],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00066425576,0.00047108633,0.00030059545,0.00090481824,0.015023763,0.0042534457,0.0009017354,0.0006635813,0.0057523106],"category_scores_gemma":[0.0015336411,0.00036211545,0.0002423063,0.0020444754,0.008818609,0.0011330843,0.003783728,0.0013190404,0.0003481997],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012111325,0.000046918154,0.017235255,0.00044504137,0.000017287784,0.0022452616,0.91979736,0.00021595444,0.0033402254,0.015368065,0.006760133,0.034407455],"study_design_scores_gemma":[0.000011293077,0.00013409051,0.12493609,0.00037233563,0.000037579528,0.00068798795,0.6999422,0.00024768902,0.0012109645,0.00076969806,0.17160104,0.000049118884],"about_ca_topic_score_codex":0.86722183,"about_ca_topic_score_gemma":0.97499543,"teacher_disagreement_score":0.13277817,"about_ca_system_score_codex":0.031590734,"about_ca_system_score_gemma":0.021782141,"threshold_uncertainty_score":0.26712018},"labels":[],"label_agreement":null},{"id":"W7133031972","doi":"","title":"Remixing Relationality: &apos;Other/ed&apos; Sonic Modernities of our Present","year":2010,"lang":"en","type":"dissertation","venue":"TSpace","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Narrative; Diaspora; Modernity; Enlightenment; Musical; Multiculturalism; Embodied cognition; Popular music; Value (mathematics)","score_opus":0.091672797843952,"score_gpt":0.35480867694851476,"score_spread":0.26313587910456276,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7133031972","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.04122928,0.004856026,0.011802569,0.014254555,0.00091161445,0.00004593519,0.000065954926,0.0002705671,0.92656356],"genre_scores_gemma":[0.77292633,0.004304939,0.0047005066,0.0012709718,0.00042565542,0.000037631566,0.00005444483,0.00046875962,0.21581067],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9985154,0.0006153848,0.000031471496,0.0001880903,0.00037909072,0.0002705374],"domain_scores_gemma":[0.9992611,0.00020662065,0.000053985517,0.0001893053,0.00010707671,0.00018193529],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002299515,0.00052546186,0.00022636508,0.0012307098,0.008929646,0.012267611,0.00091718364,0.0012110544,0.022713533],"category_scores_gemma":[0.0023082625,0.00022421531,0.000311382,0.00081406406,0.02133728,0.008038136,0.0060970215,0.0033980573,0.0016615972],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028322482,0.000029786712,0.0005172907,0.000084903746,0.0000060927623,0.00038456818,0.19191359,0.00008043141,0.001174133,0.7487673,0.0126758,0.04433777],"study_design_scores_gemma":[0.00000556997,0.000017864304,0.00082140614,0.00018000511,0.000008098178,0.00052930467,0.087585084,0.00016288088,0.00097557803,0.035384383,0.8743141,0.000015716152],"about_ca_topic_score_codex":0.01505668,"about_ca_topic_score_gemma":0.027718406,"teacher_disagreement_score":0.022713533,"about_ca_system_score_codex":0.006352987,"about_ca_system_score_gemma":0.0029917478,"threshold_uncertainty_score":0.07598436},"labels":[],"label_agreement":null},{"id":"W7133063596","doi":"","title":"The Cultural Politics of Experimental Jazz Singing","year":2025,"lang":"","type":"dissertation","venue":"TSpace","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Jazz; Singing; Musical; Screaming; Popular music; Politics; Queer; Blues; Palette (painting); Tone (literature)","score_opus":0.031075394732325286,"score_gpt":0.3177173158842613,"score_spread":0.286641921151936,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7133063596","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.84593666,0.0028630751,0.0020115436,0.013281457,0.00033842007,0.00008317173,0.000031135016,0.000047373785,0.13540718],"genre_scores_gemma":[0.98803514,0.0006574188,0.00028343507,0.00093786896,0.00006793081,0.00005581317,0.000007632441,0.000049220107,0.009905526],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9878655,0.00898199,0.00017897262,0.0008895236,0.0008246241,0.0012594778],"domain_scores_gemma":[0.99082035,0.005916774,0.0008170689,0.0006970419,0.00049437454,0.0012542963],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.010049356,0.00039418502,0.00051999534,0.001201271,0.026850648,0.010191834,0.0015397839,0.0025648663,0.0072046258],"category_scores_gemma":[0.013273239,0.0004716871,0.00023999922,0.0011196876,0.044623934,0.0044219056,0.009139929,0.005942759,0.0007743443],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000039126346,0.000040148545,0.0011974712,0.00004155111,0.000003880807,0.0002460938,0.93853426,0.000020961586,0.0009509118,0.050405994,0.0014182407,0.0071013747],"study_design_scores_gemma":[0.000008361111,0.000080123384,0.003032256,0.0001656308,0.000004604674,0.00031916978,0.89139545,0.00006692523,0.0007101918,0.003183352,0.10101131,0.00002267596],"about_ca_topic_score_codex":0.009478888,"about_ca_topic_score_gemma":0.014949466,"teacher_disagreement_score":0.026850648,"about_ca_system_score_codex":0.0062251613,"about_ca_system_score_gemma":0.002820764,"threshold_uncertainty_score":0.05314672},"labels":[],"label_agreement":null},{"id":"W7133068866","doi":"","title":"Artistic Knowledge and Performance Identity Formation in Toronto&apos;s Hip-hop Communities of Practice","year":2020,"lang":"","type":"dissertation","venue":"TSpace","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Narrative; Dialogic; Articulation (sociology); Creativity; Identity (music); Normative; TRACE (psycholinguistics); Community of practice","score_opus":0.050192581480937706,"score_gpt":0.34581801703582576,"score_spread":0.29562543555488807,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7133068866","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.96583366,0.0005392723,0.0006197398,0.0014183057,0.00004729252,0.00005265387,0.000049426388,0.000015579915,0.0314241],"genre_scores_gemma":[0.99520254,0.00015111697,0.00022816088,0.000039254195,0.0000055976097,0.000011027148,0.000017647735,0.0000056220483,0.0043390784],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99622655,0.001373793,0.00012979358,0.00039247266,0.0008784413,0.0009989783],"domain_scores_gemma":[0.9949063,0.0016829952,0.0007251102,0.00034343626,0.00048487226,0.0018572949],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0033177761,0.00040130696,0.0003687464,0.0023818598,0.020775435,0.009655542,0.0014462218,0.0010073938,0.0048402757],"category_scores_gemma":[0.007970236,0.00045006818,0.00023569741,0.0018818894,0.020096945,0.0018249474,0.010096561,0.0015074766,0.0002638997],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020583602,0.000015486754,0.004921352,0.000041966443,0.0000046334067,0.00088544085,0.9816659,0.00007019851,0.000322375,0.0039066514,0.0007800184,0.007365443],"study_design_scores_gemma":[0.0000043839573,0.000019502295,0.011735956,0.00008568589,0.0000056440454,0.00020165308,0.9652373,0.00012598085,0.00017731363,0.00068886305,0.021702526,0.000015189779],"about_ca_topic_score_codex":0.5703277,"about_ca_topic_score_gemma":0.8212726,"teacher_disagreement_score":0.4296723,"about_ca_system_score_codex":0.027047185,"about_ca_system_score_gemma":0.02523657,"threshold_uncertainty_score":0.86440545},"labels":[],"label_agreement":null},{"id":"W7133081250","doi":"","title":"Sound, Silence, Music, and Place along the Wolastoq (Saint John River)","year":2025,"lang":"","type":"dissertation","venue":"TSpace","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Ethnography; Subject (documents); Sound (geography); Indigenous; Silence; Active listening; Soundscape; Explication","score_opus":0.023049225159351167,"score_gpt":0.2564190078773434,"score_spread":0.23336978271799222,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7133081250","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9887233,0.00036853156,0.00040194395,0.0005925553,0.0000180891,0.000017429578,0.000048833725,0.000007489151,0.009821766],"genre_scores_gemma":[0.99398106,0.0005299833,0.0003937638,0.00014876832,0.000008672959,0.000020613299,0.000028645,0.00001461423,0.0048737805],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99951124,0.00022228817,0.000012642349,0.00007158732,0.000099352386,0.000082853134],"domain_scores_gemma":[0.9995987,0.00022933971,0.00003200709,0.00001610947,0.0000656453,0.000058208723],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00059331756,0.00018407656,0.00021470935,0.0003976431,0.0053129005,0.0025719686,0.00029405832,0.000463011,0.0023089994],"category_scores_gemma":[0.001024442,0.0001527625,0.00010820133,0.0006978282,0.005502136,0.0009778617,0.001472916,0.0009448738,0.00013711242],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003301341,0.000015495225,0.0067600505,0.00007202084,0.000006462809,0.0008522639,0.97205216,0.000056459172,0.0046253004,0.002961048,0.0013254704,0.011240323],"study_design_scores_gemma":[0.0000043458513,0.000055847915,0.038729817,0.000121983176,0.0000084168705,0.00043085255,0.90756357,0.00007718589,0.00097269844,0.00035050217,0.05166043,0.000024351377],"about_ca_topic_score_codex":0.14316279,"about_ca_topic_score_gemma":0.31485382,"teacher_disagreement_score":0.8568372,"about_ca_system_score_codex":0.002093679,"about_ca_system_score_gemma":0.0019466811,"threshold_uncertainty_score":0.28465897},"labels":[],"label_agreement":null},{"id":"W7133087116","doi":"","title":"Music in Canadian visual narrative -- musical collaborations in five films of Atom Egoyan and Patricia Rozema","year":2004,"lang":"","type":"dissertation","venue":"TSpace","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Narrative; Narrativity; Context (archaeology); Musical; Subject (documents); Meaning (existential); Creativity; Ideology","score_opus":0.01813878885790164,"score_gpt":0.28210346390541763,"score_spread":0.263964675047516,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7133087116","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.865953,0.0028954977,0.0009812752,0.008131868,0.000270858,0.0001113098,0.00029781315,0.00006499192,0.12129326],"genre_scores_gemma":[0.98429203,0.0010528215,0.00076319464,0.00036318233,0.000022016899,0.00002779385,0.000093092814,0.00004467051,0.013341131],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9977715,0.00074025523,0.000050400227,0.0002691086,0.0005466921,0.0006220948],"domain_scores_gemma":[0.9983682,0.00049301883,0.00014077607,0.00006789734,0.00037687845,0.0005531869],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016418471,0.000573962,0.0005107691,0.0021045944,0.033197388,0.008966659,0.0017528448,0.0016436331,0.0057276418],"category_scores_gemma":[0.004649369,0.00041443936,0.00035230792,0.002582654,0.012083622,0.0018746922,0.00451599,0.0026919395,0.00033816975],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006232162,0.000017418053,0.0025974798,0.00007155056,0.000011606665,0.0015770108,0.9691766,0.000081661725,0.0010227755,0.00934492,0.004895015,0.011141671],"study_design_scores_gemma":[0.000005728715,0.000017201291,0.009430583,0.0001267134,0.00001758152,0.00046279165,0.8597301,0.000107629436,0.0004909334,0.00051432993,0.12905599,0.000040376588],"about_ca_topic_score_codex":0.9128166,"about_ca_topic_score_gemma":0.9740397,"teacher_disagreement_score":0.087183416,"about_ca_system_score_codex":0.043793883,"about_ca_system_score_gemma":0.027516067,"threshold_uncertainty_score":0.31774837},"labels":[],"label_agreement":null},{"id":"W7134371821","doi":"","title":"Foreword","year":2015,"lang":"","type":"article","venue":"Digital Commons - East Tennessee State University (East Tennessee State University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Folkloristics; Musical; Irish; Portrait; Immigration; Face (sociological concept); Guitar; Modernization theory; Tribute","score_opus":0.03238436591354421,"score_gpt":0.17348087705100776,"score_spread":0.14109651113746355,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7134371821","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00025230242,0.005147934,0.0006663208,0.007925153,0.025482517,0.0002115927,0.0036980703,0.0011011797,0.95551485],"genre_scores_gemma":[0.00055967976,0.0015140781,0.00016009745,0.001839755,0.0022263222,0.000046218473,0.0014308493,0.0003305318,0.9918926],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99952686,0.00003926353,0.000029102783,0.00009811181,0.00024467733,0.00006204592],"domain_scores_gemma":[0.99872535,0.00016701622,0.000051040057,0.0001125266,0.00071029394,0.00023366627],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00034271923,0.001043454,0.0009480466,0.001831172,0.001806864,0.00569686,0.0015409059,0.0018549353,0.8033615],"category_scores_gemma":[0.0025787044,0.00048275653,0.0006096654,0.0026342347,0.00050204253,0.0033810074,0.002072918,0.0024787325,0.7811456],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000004576684,0.0000075673615,0.000018296512,0.000050857532,5.8651324e-7,0.000014794148,0.000014215499,0.000012017274,0.000038552327,0.00076169765,0.9773932,0.02168373],"study_design_scores_gemma":[0.0000018569509,0.0000036310246,0.00009123952,0.000052364427,4.6761474e-7,0.000020983809,0.000028992637,0.000008386349,0.00001641487,0.00023838608,0.9995353,0.000001959656],"about_ca_topic_score_codex":0.0055330545,"about_ca_topic_score_gemma":0.008375791,"teacher_disagreement_score":0.19663852,"about_ca_system_score_codex":0.0014044952,"about_ca_system_score_gemma":0.001887158,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W7134414109","doi":"","title":"Willis Conover’s Music USA: A Continuation of East-West Jazz Connections [Presentation Notes]","year":2018,"lang":"en","type":"article","venue":"University of North Texas Digital Library (University of North Texas)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Jazz; Context (archaeology); Continuation; Presentation (obstetrics); Music; Music history","score_opus":0.024199558078640517,"score_gpt":0.17118437006692297,"score_spread":0.14698481198828245,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7134414109","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.042771738,0.014510265,0.0008753541,0.21388364,0.023794908,0.00007220644,0.00018903958,0.0002505347,0.7036523],"genre_scores_gemma":[0.23100242,0.0061334465,0.0004254478,0.028063834,0.0055894307,0.00006085677,0.00009696157,0.00025618018,0.72837144],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994573,0.00010942501,0.000009983573,0.000059160444,0.0001356145,0.00022854598],"domain_scores_gemma":[0.99916124,0.000110130684,0.000050391453,0.00002966341,0.00013287095,0.0005157201],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000986856,0.00029648578,0.00015332918,0.0007571201,0.012912126,0.0054048747,0.00062965567,0.0015141007,0.028163344],"category_scores_gemma":[0.0019749505,0.00020863688,0.000117219526,0.0011669568,0.0028377618,0.003627599,0.0036405013,0.0045302957,0.0031680549],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006109314,0.000042166546,0.0009310959,0.000046635494,0.0000030703522,0.00056740997,0.018598936,0.000013723054,0.00043204243,0.07750876,0.85140777,0.05038732],"study_design_scores_gemma":[0.0000022139639,0.0000054690154,0.0009914334,0.000020024869,7.4686056e-7,0.000076677636,0.0035506764,0.0000055781425,0.00007142495,0.0005231662,0.99474984,0.0000027712847],"about_ca_topic_score_codex":0.045007966,"about_ca_topic_score_gemma":0.18244265,"teacher_disagreement_score":0.045007966,"about_ca_system_score_codex":0.0023471508,"about_ca_system_score_gemma":0.0039893254,"threshold_uncertainty_score":0.09421575},"labels":[],"label_agreement":null},{"id":"W7134424271","doi":"","title":"Blues with Stu","year":2005,"lang":"","type":"article","venue":"Digital Commons - CSUMB (California State University, Monterey Bay)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Blues; Identity (music); Narrative","score_opus":0.015472714652176733,"score_gpt":0.17644442315295483,"score_spread":0.1609717085007781,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7134424271","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0023339735,0.001842631,0.0016582991,0.023687484,0.012738385,0.00012242413,0.0006882268,0.002518442,0.9544101],"genre_scores_gemma":[0.0051537007,0.00054264464,0.00073599216,0.007156832,0.0006432018,0.00003712347,0.0002460891,0.0008926755,0.9845918],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990564,0.00012784169,0.000023490318,0.00014297299,0.00036564106,0.00028364485],"domain_scores_gemma":[0.9968918,0.00014916642,0.00007449054,0.00019011219,0.00097495416,0.0017194437],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0008259628,0.0010846318,0.0006749755,0.0013531438,0.010667432,0.006774947,0.0008122335,0.002089128,0.6015739],"category_scores_gemma":[0.0044150823,0.00050435757,0.00060098246,0.00093524094,0.0014598221,0.0049437173,0.004956233,0.0052799513,0.35593826],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019078841,0.000026240765,0.00015392946,0.0000325484,0.000001939115,0.00009751282,0.00074703246,0.000007846775,0.00018737098,0.0026303693,0.97210705,0.023989188],"study_design_scores_gemma":[0.0000022435777,0.00001089729,0.00025540634,0.000039102033,0.0000012173529,0.00010671561,0.0010388346,0.000014140657,0.00006972911,0.0003838686,0.9980715,0.000006414072],"about_ca_topic_score_codex":0.00996007,"about_ca_topic_score_gemma":0.031124376,"teacher_disagreement_score":0.6015739,"about_ca_system_score_codex":0.0013607603,"about_ca_system_score_gemma":0.0014686127,"threshold_uncertainty_score":0.56830645},"labels":[],"label_agreement":null},{"id":"W7134527856","doi":"","title":"MF050 Popular Music of Newfoundland Project Recording Dubs / Michael Taft &amp; Shelley Posen","year":2024,"lang":"","type":"article","venue":"DigitalCommons (California Polytechnic State University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Folklore; Popular music; Folk music; Popular culture; Musicology","score_opus":0.03385348806839709,"score_gpt":0.2223197022925745,"score_spread":0.18846621422417742,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7134527856","genre_codex":"other","genre_gemma":"dataset","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"dataset","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0068457136,0.0042023677,0.00023449196,0.0058576274,0.00069383316,0.00008441526,0.007414034,0.00042884855,0.97423875],"genre_scores_gemma":[0.003889811,0.00051567756,0.00016093822,0.00014045557,0.00002432776,0.000010280992,0.0007763772,0.00004981731,0.9944323],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99952555,0.000025626518,0.0000108587865,0.000060640235,0.0001999004,0.0001774458],"domain_scores_gemma":[0.99893504,0.000049166832,0.000036731697,0.00005818306,0.00062329345,0.00029767162],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000542293,0.00045872747,0.0002169305,0.0010952497,0.0053505036,0.0029640615,0.0007955369,0.0010635701,0.4218193],"category_scores_gemma":[0.00068510143,0.00042378093,0.00016893151,0.0010699924,0.0007124633,0.0008190868,0.0015640008,0.0007369203,0.080837645],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004802272,0.000027086611,0.0008256331,0.00006202151,0.0000021165592,0.00006529346,0.00015314865,0.000029169812,0.0005119879,0.0017674848,0.9377652,0.058742866],"study_design_scores_gemma":[0.0000053511553,0.000008589996,0.00890147,0.00006757218,0.0000022615345,0.000030196352,0.00047853612,0.000025401556,0.0002208038,0.000055719865,0.9901978,0.000006319831],"about_ca_topic_score_codex":0.82166076,"about_ca_topic_score_gemma":0.95815337,"teacher_disagreement_score":0.4218193,"about_ca_system_score_codex":0.010544905,"about_ca_system_score_gemma":0.013285979,"threshold_uncertainty_score":0.8247046},"labels":[],"label_agreement":null},{"id":"W7134837275","doi":"10.65968/qrqf9621","title":"Ecotones, Eco-territories and the Sonic Relationality of Space: An audio investigation of Montreal’s ‘Falaise St. Jacques’","year":2015,"lang":"","type":"article","venue":"Wi Journal of Mobile Media","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Microphone; Sound (geography); Perspective (graphical); Field (mathematics)","score_opus":0.026216304748247952,"score_gpt":0.2257247553684406,"score_spread":0.19950845062019265,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7134837275","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7589942,0.0020017447,0.0019046539,0.0055145426,0.00016933742,0.000076330216,0.0004493376,0.000051290033,0.23083846],"genre_scores_gemma":[0.9821561,0.00026108677,0.00033306362,0.00013066026,0.000027805094,0.000017246704,0.000034006163,0.00002673184,0.017013311],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9994332,0.00017107719,0.0000072265825,0.00009471036,0.00013282438,0.00016088912],"domain_scores_gemma":[0.999363,0.000217834,0.00007415182,0.000042460644,0.00015747333,0.00014507385],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006402779,0.00034264766,0.00021962333,0.0014739345,0.009721748,0.005589456,0.0010713643,0.0009115891,0.012187552],"category_scores_gemma":[0.001995058,0.00022484345,0.0001936802,0.0026453892,0.010073298,0.0019048995,0.0031002788,0.0010831977,0.0004322265],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00025989857,0.000042749805,0.023598477,0.0001772231,0.000032494183,0.003031311,0.80602497,0.000625464,0.0053735115,0.08486243,0.017205149,0.058766358],"study_design_scores_gemma":[0.000013044911,0.000045952256,0.1068174,0.0001707734,0.000020101379,0.0002412599,0.63944596,0.0002685375,0.00058261916,0.0024094628,0.24992515,0.000059768543],"about_ca_topic_score_codex":0.8322116,"about_ca_topic_score_gemma":0.95152,"teacher_disagreement_score":0.16778839,"about_ca_system_score_codex":0.013031611,"about_ca_system_score_gemma":0.007996614,"threshold_uncertainty_score":0.33755302},"labels":[],"label_agreement":null},{"id":"W7135500613","doi":"","title":"Fiddle music - the Role of Violin in the American Folk Music","year":2010,"lang":"cs","type":"dissertation","venue":"Digital Repository (National Repository of Grey Literature)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Violin; Irish; CONTEST; Czech; Folk music; Popular music; German","score_opus":0.009772816726350114,"score_gpt":0.2148096443008142,"score_spread":0.2050368275744641,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7135500613","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.20572437,0.0065206257,0.0009284273,0.010407511,0.00059889315,0.00001704325,0.000043165357,0.000029435681,0.77573055],"genre_scores_gemma":[0.9632355,0.0026240593,0.00024750116,0.0010112296,0.00014706339,0.0000059674608,0.000013964739,0.000024422434,0.032690275],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996443,0.00013408095,0.0000069259927,0.00006018828,0.00007411917,0.0000804493],"domain_scores_gemma":[0.9995801,0.00014749239,0.000032147644,0.000028424736,0.0000625986,0.00014927797],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00061796524,0.00013117232,0.00013219366,0.0007149455,0.0073390845,0.0059474455,0.0002864821,0.0005482375,0.0085910475],"category_scores_gemma":[0.0011338315,0.00010873546,0.00009309301,0.00096750894,0.006627195,0.002562747,0.0015445189,0.001873918,0.0007199997],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001809041,0.00015512487,0.008275294,0.00018550725,0.000007856114,0.0004095576,0.3204583,0.0000866821,0.0023366911,0.45140758,0.03697722,0.1795194],"study_design_scores_gemma":[0.00001699204,0.0000646109,0.033714555,0.00048408567,0.000011882102,0.00038519053,0.31349957,0.00021362232,0.0006110485,0.035634633,0.61534095,0.00002287602],"about_ca_topic_score_codex":0.0156768,"about_ca_topic_score_gemma":0.040076982,"teacher_disagreement_score":0.0156768,"about_ca_system_score_codex":0.0022308272,"about_ca_system_score_gemma":0.0018062923,"threshold_uncertainty_score":0.031171083},"labels":[],"label_agreement":null},{"id":"W7135725163","doi":"","title":"Alea iacta est. The legacy of Ancient Culture in Metal Music - A Probe into the Anglo-Saxon and Czech Production","year":2025,"lang":"cs","type":"dissertation","venue":"Digital Repository (National Repository of Grey Literature)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Czech; Lyrics; Mythology; Bachelor; Period (music); Identity (music); Musical","score_opus":0.011306255260275042,"score_gpt":0.22022297678469693,"score_spread":0.2089167215244219,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7135725163","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16755907,0.017797755,0.0023317984,0.0043642656,0.0015686539,0.00008130661,0.0024147579,0.0003346404,0.80354774],"genre_scores_gemma":[0.7267604,0.008011265,0.0018017474,0.0005382854,0.00033962904,0.000052127776,0.00096194417,0.00031868994,0.26121593],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99942374,0.00008191092,0.000036982165,0.00010016974,0.00028474076,0.000072553754],"domain_scores_gemma":[0.9994667,0.00012078239,0.00007836513,0.0000855974,0.0001834911,0.000064977874],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001058269,0.00029547838,0.00027189992,0.0016087971,0.001861216,0.0056528174,0.00043021044,0.00051882025,0.015591118],"category_scores_gemma":[0.0019448105,0.00017058871,0.00028811104,0.0019702222,0.0017090458,0.0013445773,0.0023291993,0.00084540574,0.004641231],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0008067154,0.00021654487,0.041029967,0.0026316375,0.00007627825,0.0022776425,0.06487983,0.0010660856,0.011345934,0.31284997,0.087604254,0.47521514],"study_design_scores_gemma":[0.000020045582,0.00007660872,0.062414344,0.00056996197,0.000030217967,0.00068093,0.010325921,0.00022474074,0.0017865044,0.003518141,0.9203188,0.000033843102],"about_ca_topic_score_codex":0.016068807,"about_ca_topic_score_gemma":0.027859045,"teacher_disagreement_score":0.016068807,"about_ca_system_score_codex":0.0022373898,"about_ca_system_score_gemma":0.0016719071,"threshold_uncertainty_score":0.05215746},"labels":[],"label_agreement":null},{"id":"W7136992978","doi":"10.1386/ghhs_00115_7","title":"The Nasir Jones Hiphop Fellowship at Harvard University: A decade of building knowledge, 2014–24","year":2025,"lang":"en","type":"article","venue":"Global Hip Hop Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Quarter (Canadian coin); Chapel; African american; Research center","score_opus":0.03626990183049973,"score_gpt":0.2697878091670741,"score_spread":0.2335179073365744,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7136992978","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.056495648,0.05634119,0.0006150766,0.8005112,0.008446764,0.00004303427,0.00007354944,0.000050694143,0.07742285],"genre_scores_gemma":[0.7341892,0.06613948,0.0018206645,0.06257647,0.004859015,0.00014461819,0.00012995822,0.0000958707,0.13004464],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9958503,0.0019264726,0.00009323109,0.00016316987,0.00097038655,0.0009965156],"domain_scores_gemma":[0.9890309,0.0011449342,0.00039681082,0.0003238129,0.0009421592,0.00816129],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.010933244,0.00022728377,0.00031107874,0.0010443551,0.017914878,0.009851977,0.0011180562,0.003101343,0.010275345],"category_scores_gemma":[0.0121052945,0.00021676735,0.00013474842,0.0014805355,0.014056773,0.0088749025,0.010105458,0.005422197,0.000923024],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000034682962,0.0001100422,0.002213934,0.00014472779,0.0000091408765,0.0005366334,0.15558484,0.000043734548,0.00036846468,0.12664708,0.5596638,0.15464284],"study_design_scores_gemma":[0.0000054014467,0.00003789905,0.003944392,0.0004846482,0.000001926327,0.000074069256,0.09743805,0.000020109384,0.00006636835,0.0065624984,0.8913507,0.000014010339],"about_ca_topic_score_codex":0.046117432,"about_ca_topic_score_gemma":0.13591264,"teacher_disagreement_score":0.046117432,"about_ca_system_score_codex":0.012213912,"about_ca_system_score_gemma":0.050888266,"threshold_uncertainty_score":0.09169799},"labels":[],"label_agreement":null},{"id":"W7138899800","doi":"10.7202/1123488ar","title":"Migrant Women Musicians: From Gendered Differentiations to Multisource Inequalities","year":2022,"lang":"en","type":"article","venue":"Intersections Canadian Journal of Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Inequality; Face (sociological concept); Social inequality; Thematic analysis; Immigration; Gender inequality; Musical","score_opus":0.04126321147480171,"score_gpt":0.19788513251347745,"score_spread":0.15662192103867573,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7138899800","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.95496887,0.0038938092,0.0004351875,0.0062346444,0.000082354774,0.000023056264,0.000078228746,0.0000071185473,0.034276757],"genre_scores_gemma":[0.9960771,0.0010667742,0.00013924707,0.00046171353,0.000036758214,0.000019066272,0.000019495685,0.0000056489584,0.0021740734],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9980475,0.0007833707,0.00005304807,0.000208837,0.00030817577,0.00059904484],"domain_scores_gemma":[0.9986577,0.00069826754,0.00022628497,0.000087075714,0.00012834859,0.00020225217],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0027110311,0.0002480983,0.00038967538,0.0034800891,0.0071424306,0.0051505775,0.0006202529,0.0008685783,0.005640181],"category_scores_gemma":[0.004009067,0.00018132455,0.00019823787,0.0025944505,0.008338116,0.0032888611,0.0062251757,0.0011758136,0.00019016964],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000050798863,0.0000288345,0.036521226,0.00013862502,0.000014530139,0.000560644,0.90178376,0.00002834672,0.0005087631,0.02923254,0.00134937,0.029782599],"study_design_scores_gemma":[0.0000040201026,0.000029889074,0.050020363,0.00024123157,0.000007969594,0.0001652185,0.9351447,0.000025612673,0.00009734691,0.0036993884,0.010555305,0.000008929319],"about_ca_topic_score_codex":0.055874456,"about_ca_topic_score_gemma":0.11103646,"teacher_disagreement_score":0.94412553,"about_ca_system_score_codex":0.0035258888,"about_ca_system_score_gemma":0.0030307078,"threshold_uncertainty_score":0.11109847},"labels":[],"label_agreement":null},{"id":"W7138908858","doi":"10.7202/1123494ar","title":"Renihan, Colleen, John Spilker, and Trudi Wright, eds. Sound Pedagogy: Radical Care in Music. Urbana: University of Illinois Press, 2024. 280 pages. Paperback","year":2022,"lang":"en","type":"article","venue":"Intersections Canadian Journal of Music","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Sound (geography); Panel discussion","score_opus":0.026095600029285283,"score_gpt":0.19501228905921314,"score_spread":0.16891668902992785,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7138908858","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0002143202,0.97458017,0.00042229064,0.012971866,0.002424262,0.00001147918,0.00008292462,0.000037269452,0.009255428],"genre_scores_gemma":[0.0031017603,0.9460617,0.0011079677,0.0026742313,0.002639237,0.00004763615,0.00015425358,0.000076601245,0.04413671],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989453,0.00028471087,0.00007506911,0.000121465164,0.00046240646,0.00011110325],"domain_scores_gemma":[0.9983582,0.0007970744,0.00015533135,0.000053464657,0.0004184889,0.00021749029],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019156266,0.0022859275,0.001851989,0.0030556966,0.0018959471,0.004609526,0.0022182455,0.0030126628,0.03307505],"category_scores_gemma":[0.0031064115,0.0014210565,0.00075834873,0.0044838125,0.0020500752,0.0086850785,0.0022734413,0.00420803,0.018462706],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007853264,0.00004771661,0.00033163853,0.0015841097,0.000019246243,0.0001183514,0.0021640859,0.000094968156,0.00015345665,0.0047564846,0.7708564,0.21979503],"study_design_scores_gemma":[0.000018113213,0.000019132423,0.0013923298,0.0026670648,0.000024313329,0.00033848025,0.0020949359,0.000055818702,0.00015820979,0.006398902,0.98680717,0.000025345063],"about_ca_topic_score_codex":0.021795861,"about_ca_topic_score_gemma":0.040314075,"teacher_disagreement_score":0.97820413,"about_ca_system_score_codex":0.0019805045,"about_ca_system_score_gemma":0.0043635005,"threshold_uncertainty_score":0.11064714},"labels":[],"label_agreement":null},{"id":"W7138958327","doi":"10.17811/jaclr.22886","title":"“It’s So Cold in the D\": How Detroit Rappers of the 1980-1990s Respond to Social Inequity","year":2025,"lang":"","type":"article","venue":"Journal of Artistic Creation and Literary Research","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Windsor; University of Manitoba","funders":"","keywords":"Intervention (counseling); Urban regeneration; Voice; Function (biology); Music industry; Multimodality","score_opus":0.06879602278838647,"score_gpt":0.3628315749554269,"score_spread":0.2940355521670404,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7138958327","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.93017435,0.0012765815,0.0003485764,0.009525955,0.00020404016,0.00003205311,0.000036388363,0.000019987023,0.058382075],"genre_scores_gemma":[0.9849437,0.0005640326,0.0001709607,0.0012538666,0.00007205341,0.000027005448,0.000023304276,0.000033479104,0.012911483],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9983657,0.00083829544,0.000026021873,0.00015981961,0.00016449844,0.00044569917],"domain_scores_gemma":[0.9989083,0.00043686054,0.00013449896,0.00006312465,0.00009592819,0.00036132074],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0024471658,0.0004387575,0.0003421866,0.0014983147,0.019929739,0.006552661,0.0013729929,0.0023253085,0.004607481],"category_scores_gemma":[0.0029201466,0.0003015372,0.00018075264,0.0009851271,0.01367262,0.0030703447,0.0064986553,0.0029765777,0.000449625],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000035311677,0.000021860606,0.0028963513,0.000045128283,0.0000056273525,0.00067459873,0.9769852,0.000021777934,0.00046602704,0.006689907,0.0035241751,0.008633995],"study_design_scores_gemma":[0.0000030121487,0.00002135252,0.006544685,0.000089415655,0.0000039675588,0.00022836225,0.9317287,0.0000423032,0.00016497014,0.0005543593,0.06060882,0.000010043934],"about_ca_topic_score_codex":0.037010316,"about_ca_topic_score_gemma":0.119189575,"teacher_disagreement_score":0.037010316,"about_ca_system_score_codex":0.005071041,"about_ca_system_score_gemma":0.0022081356,"threshold_uncertainty_score":0.0735898},"labels":[],"label_agreement":null},{"id":"W7139458259","doi":"","title":"<em>Sacred Sound: Experiencing Music in World Religions.</em> by Guy L. Beck, editor","year":2008,"lang":"","type":"article","venue":"ScholarsArchive  (Brigham Young University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Agency (philosophy); George (robot); Casual","score_opus":0.021331671379546585,"score_gpt":0.18781935806362468,"score_spread":0.1664876866840781,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7139458259","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00021831275,0.6969403,0.0003176847,0.14092898,0.14484003,0.000021445157,0.0001009894,0.00005971259,0.0165725],"genre_scores_gemma":[0.0045252307,0.7366165,0.000683868,0.06323211,0.13403262,0.000044424094,0.00021110459,0.000094127914,0.060559947],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991677,0.0002737031,0.00007388309,0.00006967069,0.00035107462,0.000064149935],"domain_scores_gemma":[0.9979475,0.00097290735,0.0001372764,0.00005207151,0.0006018961,0.00028833246],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015887984,0.0020379538,0.0012411446,0.003069332,0.0021990614,0.0071908087,0.0020147534,0.005494525,0.011240713],"category_scores_gemma":[0.003190758,0.0006892755,0.00066530943,0.0033372354,0.003067707,0.006816132,0.00280745,0.005962623,0.008066328],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001428564,0.0000048204633,0.00009025015,0.00033483552,0.0000065686777,0.00008062144,0.00027211578,0.000015795942,0.00004067652,0.0011371804,0.9698389,0.02816391],"study_design_scores_gemma":[0.0000060018906,0.0000069987163,0.0006101159,0.0010568885,0.000009763609,0.00041667518,0.001178879,0.00003290912,0.000045610646,0.0009489468,0.9956774,0.000009865358],"about_ca_topic_score_codex":0.021979095,"about_ca_topic_score_gemma":0.07058394,"teacher_disagreement_score":0.021979095,"about_ca_system_score_codex":0.0019525217,"about_ca_system_score_gemma":0.0027462125,"threshold_uncertainty_score":0.043702304},"labels":[],"label_agreement":null},{"id":"W7139783400","doi":"","title":"North Texas lives of musicians series","year":2009,"lang":"en","type":"book","venue":"University of North Texas Digital Library (University of North Texas)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Jazz; Brother; Biography; Bass (fish); Feeling; Performance art; Vision","score_opus":0.01238706280339491,"score_gpt":0.14542738450703768,"score_spread":0.13304032170364277,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7139783400","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0033499526,0.025756374,0.00012113485,0.016924521,0.0035605603,0.000014600793,0.00025994735,0.00011350206,0.9498995],"genre_scores_gemma":[0.012835866,0.008138698,0.00010411339,0.0013787649,0.00048100107,0.000019547444,0.000111762994,0.000046045294,0.9768842],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99978226,0.00003088741,0.000006830009,0.000036067715,0.000092619,0.000051441013],"domain_scores_gemma":[0.9998104,0.000025069163,0.000016202966,0.00001665553,0.00006001273,0.0000715854],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00021879732,0.0004509279,0.00020272758,0.0010106758,0.009290063,0.0053920276,0.0005339625,0.0008336806,0.06995884],"category_scores_gemma":[0.0005506688,0.00020253457,0.000105964966,0.0011325609,0.0016514717,0.0028195598,0.0024552855,0.0021443774,0.01291576],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009575474,0.000023843004,0.00023442939,0.000052817766,0.0000011332287,0.00014087881,0.0074179703,0.000018563407,0.0001143214,0.042767037,0.9057846,0.04343482],"study_design_scores_gemma":[4.2416562e-7,0.0000014970694,0.00026907164,0.00004327131,3.984291e-7,0.000032784574,0.0017063239,0.0000028487602,0.00001892106,0.00035914217,0.9975641,0.000001161658],"about_ca_topic_score_codex":0.04056315,"about_ca_topic_score_gemma":0.14162521,"teacher_disagreement_score":0.06995884,"about_ca_system_score_codex":0.006144911,"about_ca_system_score_gemma":0.0047048745,"threshold_uncertainty_score":0.23403561},"labels":[],"label_agreement":null},{"id":"W7143899509","doi":"10.69200/0002004118","title":"The accent of John Lennon 6 : Live performances and studio recordings","year":2018,"lang":"en","type":"article","venue":"Institutional Repositories DataBase (IRDB)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Stress (linguistics); Studio; Noise (video)","score_opus":0.02446752854576544,"score_gpt":0.23031526937808022,"score_spread":0.20584774083231477,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7143899509","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.82257545,0.003089518,0.0017396664,0.000794203,0.0006369965,0.00028338522,0.008512957,0.00018101222,0.16218677],"genre_scores_gemma":[0.809668,0.0031206177,0.0050499197,0.0003551771,0.00048719862,0.0002806825,0.009320136,0.00028074218,0.17143749],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994172,0.00011622875,0.00003980721,0.000121378915,0.00025313444,0.000052296207],"domain_scores_gemma":[0.9993007,0.0001919864,0.00008150525,0.000086954715,0.00018879015,0.00015005999],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00050560787,0.00036676836,0.00021990431,0.0011611123,0.0015342333,0.0013154697,0.00029969632,0.00039071075,0.014622037],"category_scores_gemma":[0.0015098397,0.00014590695,0.00008018705,0.001614514,0.0006670706,0.0005464324,0.001310793,0.0005572567,0.0024847502],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0011641165,0.0003978312,0.056471705,0.002313563,0.000044020446,0.011967135,0.3946894,0.00029800102,0.06981478,0.006377698,0.15111747,0.30534425],"study_design_scores_gemma":[0.000012121331,0.00023782768,0.3831743,0.00045428213,0.000019852143,0.004251351,0.08490895,0.00012837675,0.0080263065,0.00036064888,0.5183449,0.00008111281],"about_ca_topic_score_codex":0.01745733,"about_ca_topic_score_gemma":0.07854575,"teacher_disagreement_score":0.01745733,"about_ca_system_score_codex":0.00069915125,"about_ca_system_score_gemma":0.00035439242,"threshold_uncertainty_score":0.048915565},"labels":[],"label_agreement":null},{"id":"W7144126276","doi":"10.70675/c17bc045zc66dz43f7zb6a1zd29ac54a003c","title":"Les politiques publiques liées aux musiques populaires en France : la dimension culturelle en question","year":2012,"lang":"","type":"dissertation","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"The Imaginary; Chinese Dream; Politics; Context (archaeology)","score_opus":0.022945023703416587,"score_gpt":0.29624101126105357,"score_spread":0.27329598755763695,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7144126276","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.29636875,0.020538818,0.013612223,0.07879875,0.00081175915,0.00007384729,0.0003039609,0.00017257706,0.5893193],"genre_scores_gemma":[0.9447219,0.004035813,0.0014391424,0.0020309421,0.0002906689,0.0000620911,0.00006435927,0.000055496024,0.04729951],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99533135,0.0022472218,0.00010751775,0.00044803103,0.0010810685,0.000784845],"domain_scores_gemma":[0.9954786,0.0024583992,0.00063559285,0.00021364624,0.0009121378,0.00030172683],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004088019,0.0004928004,0.00034598057,0.003079612,0.009923691,0.011625287,0.0007798549,0.002471741,0.013019063],"category_scores_gemma":[0.0062883403,0.00025081896,0.0004528504,0.0026430918,0.009389751,0.005715996,0.0027848193,0.0024523851,0.0007286366],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003485762,0.00002052029,0.0047639813,0.0001752722,0.0000321627,0.00047228186,0.15784597,0.00037311326,0.0006242854,0.79328144,0.005039504,0.037336603],"study_design_scores_gemma":[0.00002029799,0.000076680124,0.031005705,0.0007325656,0.00004064682,0.0004941437,0.13642381,0.00050505315,0.00074335135,0.04911595,0.7807702,0.00007165158],"about_ca_topic_score_codex":0.12857528,"about_ca_topic_score_gemma":0.10241492,"teacher_disagreement_score":0.12857528,"about_ca_system_score_codex":0.01645066,"about_ca_system_score_gemma":0.010473483,"threshold_uncertainty_score":0.25565374},"labels":[],"label_agreement":null},{"id":"W7152359969","doi":"","title":"2020-October-01-Five Night Concert and Comedy Festival.pdf","year":2020,"lang":"","type":"article","venue":"Digital Commons - East Tennessee State University (East Tennessee State University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Comedy; Entertainment; Dance; State (computer science); Performance art","score_opus":0.017748703333826724,"score_gpt":0.16433152901606762,"score_spread":0.1465828256822409,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7152359969","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00075856637,0.00029449808,0.00045746446,0.00074566255,0.005281278,0.00024570074,0.015639003,0.003583113,0.9729946],"genre_scores_gemma":[0.0024454056,0.00020396664,0.00032781065,0.0005456083,0.00045992434,0.00014835407,0.007978622,0.0011606092,0.9867296],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999777,0.000013768613,0.000006516467,0.000030166137,0.00008512577,0.000087354485],"domain_scores_gemma":[0.99916303,0.000027911407,0.000012962506,0.000051256317,0.00023380211,0.0005109656],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0006309899,0.0008773571,0.00041505398,0.0006686762,0.0015384458,0.0045436933,0.000923591,0.0012463203,0.8751769],"category_scores_gemma":[0.0008857002,0.00034921247,0.0004916839,0.00048244323,0.00022865269,0.0018962484,0.002813061,0.0014449464,0.8430056],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000035704357,0.000018298751,0.00008487224,0.000037556918,9.085164e-7,0.000017573553,0.000020694704,0.000010138505,0.00012252026,0.00043851297,0.98483306,0.014380214],"study_design_scores_gemma":[0.000009861599,0.000010338396,0.00030987337,0.000016469869,4.5138773e-7,0.000009386504,0.000050975916,0.000012680974,0.000044670585,0.000055528533,0.9994766,0.0000031787806],"about_ca_topic_score_codex":0.0061804773,"about_ca_topic_score_gemma":0.020986492,"teacher_disagreement_score":0.12482309,"about_ca_system_score_codex":0.0007424845,"about_ca_system_score_gemma":0.00070037204,"threshold_uncertainty_score":0.17804492},"labels":[],"label_agreement":null},{"id":"W7154412459","doi":"10.3917/ving.120.0173t","title":"Bone Robert et Courage Richard A. , The Muse in Bronzeville : African American Creative Expression in Chicago, 1932-1950 , New Brunswick, Rutgers University Press, 2011, 336 p., 75 $","year":2013,"lang":"fr","type":"article","venue":"Vingtième Siècle Revue d histoire","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Courage; African american; Expression (computer science); Order (exchange)","score_opus":0.011671568418909274,"score_gpt":0.18942682582742396,"score_spread":0.1777552574085147,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7154412459","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0015311082,0.86463666,0.00037505946,0.060827367,0.009173018,0.000020814045,0.0006072473,0.000057027788,0.062771626],"genre_scores_gemma":[0.049756724,0.6231507,0.0012951895,0.02066638,0.008084092,0.0001483233,0.000566905,0.00024861045,0.29608312],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994974,0.00013339579,0.000027254828,0.00006247325,0.00020847528,0.00007095003],"domain_scores_gemma":[0.99922013,0.00045644058,0.00006862176,0.000018333014,0.00015854565,0.000077961944],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009013098,0.0014548766,0.0005123165,0.002412579,0.005133383,0.004151715,0.0013684547,0.0024295107,0.035005923],"category_scores_gemma":[0.002427324,0.00055220176,0.00026927318,0.003861184,0.002672181,0.005054722,0.0014296944,0.0029083178,0.0076965103],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004241524,0.000018373621,0.00039775157,0.0003006531,0.000008458973,0.000086561005,0.0042003286,0.00002813928,0.00010859056,0.021704884,0.9299378,0.04316605],"study_design_scores_gemma":[0.000010600834,0.000005824887,0.0025330188,0.00056526245,0.000005701279,0.00007093594,0.0041799117,0.00001355694,0.000104768755,0.0036815177,0.9888207,0.000008185559],"about_ca_topic_score_codex":0.19630654,"about_ca_topic_score_gemma":0.46205008,"teacher_disagreement_score":0.19630654,"about_ca_system_score_codex":0.0039829905,"about_ca_system_score_gemma":0.0033975453,"threshold_uncertainty_score":0.3903278},"labels":[],"label_agreement":null},{"id":"W7154584167","doi":"10.1353/mos.2023.a987220","title":"The Disappearance of Musical Futures?: Multiple Temporalities and Sonic Anachronisms in “New” Music","year":2023,"lang":"en","type":"article","venue":"Mosaic","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Temporalities; Musical; Anachronism; Popular music; Soundscape; Sound (geography)","score_opus":0.03534519303107099,"score_gpt":0.21651411424118558,"score_spread":0.18116892121011458,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7154584167","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3636323,0.0027857523,0.019770412,0.011655089,0.00094799476,0.00003389901,0.00008018743,0.0001376682,0.6009567],"genre_scores_gemma":[0.9880656,0.00027147905,0.0013720645,0.00020000456,0.00013527836,0.000012188807,0.0000148051095,0.00005267114,0.009875822],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.999329,0.00024394978,0.000021884238,0.0001232957,0.000186507,0.00009537326],"domain_scores_gemma":[0.9989178,0.00045697793,0.000135715,0.00016980787,0.0001414522,0.00017824162],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022890575,0.00018704009,0.00015791257,0.00089355843,0.0043909373,0.0062263743,0.000629356,0.0009097609,0.0079471655],"category_scores_gemma":[0.004394134,0.00022784749,0.00018233655,0.00056765974,0.014508221,0.00609296,0.0036837256,0.002067974,0.00040910507],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014710684,0.000015199052,0.0017594132,0.000064350854,0.0000071287764,0.00048821207,0.19461116,0.00011940055,0.0022576442,0.7786916,0.0021772108,0.019661482],"study_design_scores_gemma":[0.0000645025,0.0001584657,0.014563199,0.0004214799,0.00003670184,0.00293143,0.28874424,0.0014306753,0.0023439848,0.30546415,0.38374797,0.000093111885],"about_ca_topic_score_codex":0.0028159744,"about_ca_topic_score_gemma":0.005394598,"teacher_disagreement_score":0.0079471655,"about_ca_system_score_codex":0.0016990904,"about_ca_system_score_gemma":0.0008611123,"threshold_uncertainty_score":0.026585937},"labels":[],"label_agreement":null},{"id":"W7154595614","doi":"10.1353/mos.2023.a987221","title":"Six Popular Music Albums as Allegories of the Future","year":2023,"lang":"en","type":"article","venue":"Mosaic","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Popular music; Popular culture; Photography; Key (lock); Period (music)","score_opus":0.021470295246561227,"score_gpt":0.20213600466833184,"score_spread":0.18066570942177063,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7154595614","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2500418,0.0007554694,0.00076379086,0.0056637432,0.00052254804,0.00006459416,0.00010791789,0.00007471783,0.74200535],"genre_scores_gemma":[0.91398835,0.00020772943,0.0006071088,0.00033642203,0.0001483753,0.000021230917,0.00004751114,0.000062942214,0.08458029],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989832,0.00038329017,0.00003165225,0.00006703593,0.00023016885,0.00030455715],"domain_scores_gemma":[0.9988431,0.00031850778,0.000095234296,0.00015311828,0.00014335953,0.00044668015],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001753565,0.00020105708,0.00014481723,0.0018314648,0.01231294,0.009113172,0.0005970863,0.00083698943,0.016872758],"category_scores_gemma":[0.0030482046,0.00020116274,0.00013210773,0.0011865919,0.00887547,0.0037575124,0.0048589134,0.0024730607,0.00066860777],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014698599,0.000047983725,0.0031949608,0.000040298597,0.0000042290017,0.00015757944,0.08917743,0.000051157193,0.0011380457,0.8557469,0.017371621,0.032922808],"study_design_scores_gemma":[0.00003765041,0.000079405094,0.026125098,0.00018554642,0.000022097192,0.0002344406,0.2213417,0.0004482336,0.0015104221,0.046329536,0.70364463,0.00004127859],"about_ca_topic_score_codex":0.013231442,"about_ca_topic_score_gemma":0.065834,"teacher_disagreement_score":0.016872758,"about_ca_system_score_codex":0.0036555126,"about_ca_system_score_gemma":0.0020000013,"threshold_uncertainty_score":0.056445003},"labels":[],"label_agreement":null},{"id":"W7155049670","doi":"10.5817/cejcs2025-20-4","title":"\"You, me, and Mexico\" : myths and archetypes of Latin America in Canadian popular music","year":2025,"lang":"en","type":"article","venue":"The Central European journal of Canadian studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Popular music; Latin Americans; Mythology; Independence (probability theory); Music history; Admiration; Music; Music education","score_opus":0.040177664974543094,"score_gpt":0.21141992237041315,"score_spread":0.17124225739587007,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7155049670","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.24577598,0.03743592,0.0020108302,0.19195278,0.0011171642,0.00008416354,0.0003008338,0.00006483293,0.52125746],"genre_scores_gemma":[0.96667683,0.009608545,0.0005205659,0.010339557,0.0001425218,0.000047092784,0.00007484202,0.00006058892,0.012529306],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9961888,0.0010102877,0.00009194735,0.00047514486,0.00097585487,0.0012581007],"domain_scores_gemma":[0.9964055,0.0011360933,0.00026266658,0.0001747762,0.0013025422,0.00071855186],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0057818196,0.00065296714,0.0004966811,0.0050432435,0.04244104,0.020176483,0.0030089428,0.0035171912,0.0067646326],"category_scores_gemma":[0.008163071,0.00046105,0.0004264383,0.005366808,0.05272953,0.008732418,0.008905372,0.006460713,0.00035263624],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006284715,0.000026664837,0.00591323,0.00014932455,0.000021185837,0.00036601076,0.6858415,0.00009623535,0.00027888376,0.27136216,0.017692303,0.018189777],"study_design_scores_gemma":[0.000014957754,0.000008942959,0.0071768747,0.0008843202,0.00003217745,0.00015942936,0.7854529,0.00014970292,0.00011817453,0.0166863,0.18925355,0.00006258372],"about_ca_topic_score_codex":0.9716941,"about_ca_topic_score_gemma":0.9765686,"teacher_disagreement_score":0.11026846,"about_ca_system_score_codex":0.11026846,"about_ca_system_score_gemma":0.067894466,"threshold_uncertainty_score":0.8000574},"labels":[],"label_agreement":null},{"id":"W7155195173","doi":"10.7202/1124296ar","title":"Post-Quantization and Glitch in the Music of Nicole Lizée. Nicole Lizée in Conversation with Ben Duinker","year":2025,"lang":"en","type":"article","venue":"Revue musicale OICRM","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Glitch; Conversation; Pleasure; Music industry; Wizard of oz; Session (web analytics)","score_opus":0.013696014397205256,"score_gpt":0.19302985201671938,"score_spread":0.17933383761951413,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7155195173","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2940381,0.041522305,0.0030974662,0.28093687,0.014512051,0.00011085631,0.00014520003,0.00035716634,0.36527997],"genre_scores_gemma":[0.70145804,0.0075386693,0.0011093703,0.020131625,0.0025679695,0.00011250454,0.0000564695,0.0003276074,0.2666978],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986442,0.00064196624,0.000022252092,0.00015233457,0.00030834472,0.0002309131],"domain_scores_gemma":[0.9991881,0.00029653788,0.000073019655,0.000038209295,0.00014922625,0.00025487188],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014116014,0.0003860472,0.0003331193,0.00073517166,0.011096538,0.0046184985,0.0008648653,0.0022611583,0.0066184616],"category_scores_gemma":[0.005451529,0.00024369829,0.00019242555,0.0003446665,0.00693608,0.0030008743,0.0038400425,0.0051764213,0.0013506615],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00028773968,0.000072803174,0.002357369,0.0002778363,0.000028448967,0.0025451877,0.61080235,0.00013206105,0.0036350575,0.0589034,0.26404217,0.056915607],"study_design_scores_gemma":[0.0000073430692,0.00005650904,0.004060447,0.00029558135,0.000007872593,0.0011546593,0.19832589,0.00008877115,0.0008454152,0.0014590778,0.7936623,0.000036141235],"about_ca_topic_score_codex":0.023766361,"about_ca_topic_score_gemma":0.058834236,"teacher_disagreement_score":0.023766361,"about_ca_system_score_codex":0.0037374205,"about_ca_system_score_gemma":0.0013314398,"threshold_uncertainty_score":0.047256052},"labels":[],"label_agreement":null},{"id":"W7155263334","doi":"","title":"2022-March-21-Daughtry performing at ETSU Martin Center","year":2022,"lang":"","type":"article","venue":"Digital Commons - East Tennessee State University (East Tennessee State University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Spell; The arts; Center (category theory); Performing arts; Suite; Lightness; Musical; Wonder","score_opus":0.014959717232982294,"score_gpt":0.16090447569108474,"score_spread":0.14594475845810245,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7155263334","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00286014,0.00023084704,0.0003298385,0.0016281572,0.003178638,0.0001677519,0.0025815282,0.0014448437,0.98757833],"genre_scores_gemma":[0.0019605386,0.00006508556,0.00010884146,0.00031435475,0.000075277676,0.000020231057,0.0006253265,0.0001418602,0.9966884],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996313,0.000017595201,0.00000730364,0.00006404463,0.00014378307,0.00013600285],"domain_scores_gemma":[0.99951816,0.000008182602,0.000008506368,0.000020915579,0.0001397821,0.0003045343],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00038299538,0.0007379583,0.00028551221,0.000570082,0.0035809628,0.0036522783,0.00077994185,0.0011828132,0.7912964],"category_scores_gemma":[0.0005598473,0.00036177624,0.00030982055,0.0003040174,0.00035894598,0.0012075463,0.002291544,0.0014273708,0.6072475],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000029747793,0.000055402517,0.0002976827,0.000016916822,0.0000013188857,0.00005776437,0.000026490274,0.000014689364,0.00033429713,0.0006173463,0.9853763,0.013172053],"study_design_scores_gemma":[0.000006650101,0.000027728449,0.0017572358,0.000023217355,0.0000010202676,0.00003204441,0.00018000066,0.000044542878,0.00014166649,0.00008326301,0.99769765,0.000004981617],"about_ca_topic_score_codex":0.019843549,"about_ca_topic_score_gemma":0.13555609,"teacher_disagreement_score":0.20870358,"about_ca_system_score_codex":0.0015616763,"about_ca_system_score_gemma":0.0018517007,"threshold_uncertainty_score":0.29769027},"labels":[],"label_agreement":null},{"id":"W7155750461","doi":"","title":"Authenticity in HipHop: How Kendrick Lamar Is Authenticated By the HipHop Culture","year":2025,"lang":"da","type":"dissertation","venue":"VBN Forskningsportal (Aalborg Universitet)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Relation (database); Element (criminal law); Authentication (law); Theme (computing); Interpretation (philosophy); The Internet","score_opus":0.010969585111203748,"score_gpt":0.19644094923104619,"score_spread":0.18547136411984244,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7155750461","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9235639,0.001097715,0.002554884,0.0077086687,0.00021113342,0.000032455246,0.000025833835,0.000028710896,0.06477674],"genre_scores_gemma":[0.9934663,0.0002755996,0.00032477285,0.0007536533,0.000032341028,0.000010083754,0.000009971352,0.000025917396,0.00510129],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.98826337,0.007934945,0.00026992903,0.00081858545,0.001875393,0.0008377484],"domain_scores_gemma":[0.98341286,0.008991083,0.0026817992,0.0009425117,0.0021383963,0.0018333249],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0071968026,0.00039590625,0.00030875637,0.0019531688,0.016105564,0.012836377,0.0013250994,0.0023076741,0.004055534],"category_scores_gemma":[0.025320482,0.0003457247,0.00020130376,0.0013493039,0.021340027,0.007534262,0.0073122764,0.004132686,0.0007207388],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021872145,0.000016821885,0.0043205824,0.000034389635,0.0000061938576,0.000560436,0.9778757,0.000027613354,0.00034840134,0.009240548,0.0016119175,0.0059356363],"study_design_scores_gemma":[0.0000020473249,0.000017604085,0.0027975587,0.00007190475,0.0000051668926,0.00030313854,0.9662851,0.00008991867,0.00025548888,0.0014918789,0.028655434,0.000024735253],"about_ca_topic_score_codex":0.025994765,"about_ca_topic_score_gemma":0.029131904,"teacher_disagreement_score":0.025994765,"about_ca_system_score_codex":0.005138227,"about_ca_system_score_gemma":0.0031288436,"threshold_uncertainty_score":0.051686943},"labels":[],"label_agreement":null},{"id":"W7158911","doi":"","title":"Poetry on MTV? Slam and the Poetics of Popular Culture","year":2006,"lang":"en","type":"article","venue":"JCT","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Poetry; Poetics; Glory; Literature; Brother; Musical; Sentimentality; Sociology; Art; History; Law; Anthropology","score_opus":0.011508662768850745,"score_gpt":0.18387339259554808,"score_spread":0.17236472982669734,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7158911","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10598348,0.011220931,0.00073510024,0.07750631,0.0040670536,0.000034929682,0.00029206363,0.00016005943,0.8000001],"genre_scores_gemma":[0.60056406,0.0032841817,0.00031371744,0.0032101113,0.0009089462,0.000044723347,0.00011084378,0.00010820909,0.39145523],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.99974626,0.00010845374,0.0000065030117,0.000025790256,0.00005091037,0.000062088664],"domain_scores_gemma":[0.999705,0.00005904252,0.000038787704,0.000024166753,0.000048166356,0.00012486445],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00032560964,0.00033697576,0.00019583502,0.00068463315,0.0080562355,0.0051717605,0.00030954508,0.00067287526,0.01880076],"category_scores_gemma":[0.0009506412,0.00013068752,0.000080356134,0.0007684174,0.0052918005,0.003821694,0.0022776579,0.0019118903,0.0017916263],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009156261,0.00005875866,0.004342069,0.00011064188,0.000009403259,0.0006635605,0.13402538,0.00006261858,0.0010856703,0.18081519,0.6025027,0.07623254],"study_design_scores_gemma":[0.000010548726,0.000028753057,0.010170729,0.00024568205,0.0000032911116,0.00017258844,0.10444346,0.000109577064,0.00019354092,0.0041166022,0.88049084,0.000014363366],"about_ca_topic_score_codex":0.045759,"about_ca_topic_score_gemma":0.16599594,"teacher_disagreement_score":0.045759,"about_ca_system_score_codex":0.0029373108,"about_ca_system_score_gemma":0.0011296065,"threshold_uncertainty_score":0.0909853},"labels":[],"label_agreement":null},{"id":"W7161761064","doi":"10.82308/897","title":"Building a new world: Negotiating gender Identity and technology in Canada’s electroacoustic music industry","year":2022,"lang":"en","type":"dissertation","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Electroacoustic music; Music industry; Representation (politics); Identity (music); Negotiation; Articulation (sociology)","score_opus":0.029033320728834175,"score_gpt":0.24265094348721178,"score_spread":0.2136176227583776,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7161761064","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6937492,0.003960888,0.0028288066,0.02108813,0.00030240006,0.00008478067,0.00007372549,0.000028804929,0.27788317],"genre_scores_gemma":[0.9770082,0.0014918138,0.00065420987,0.0014874424,0.00001918308,0.000022740534,0.000021332176,0.00002373423,0.019271318],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99340785,0.002308639,0.00009369013,0.00046357975,0.0017913699,0.0019348733],"domain_scores_gemma":[0.99618906,0.0015444895,0.00029090466,0.00010210194,0.00068430335,0.0011891326],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005575215,0.00054711255,0.00042671463,0.0029434464,0.05642328,0.018897425,0.0017790231,0.002217643,0.005492282],"category_scores_gemma":[0.0061210836,0.0003897777,0.0003256705,0.0033647444,0.037087165,0.005714338,0.008867754,0.0030231893,0.0003681647],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020196281,0.000019123276,0.004801619,0.000030475152,0.0000047562758,0.00053925026,0.942587,0.00006154717,0.0003476694,0.036223292,0.0025277357,0.012837323],"study_design_scores_gemma":[0.000002901005,0.000010315899,0.0037466688,0.0000969341,0.000004685471,0.00011726052,0.93587446,0.0000801838,0.00015523964,0.0020413185,0.057850722,0.000019365716],"about_ca_topic_score_codex":0.93469614,"about_ca_topic_score_gemma":0.96421504,"teacher_disagreement_score":0.067372315,"about_ca_system_score_codex":0.067372315,"about_ca_system_score_gemma":0.09031266,"threshold_uncertainty_score":0.48882264},"labels":[],"label_agreement":null},{"id":"W7161777977","doi":"10.82308/17445","title":"The nature of community in the Newfoundland rock underground /","year":2004,"lang":"en","type":"dissertation","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Casual; Rhetoric; Punk; Position (finance); Product (mathematics)","score_opus":0.02434346708572261,"score_gpt":0.2496614496255854,"score_spread":0.2253179825398628,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7161777977","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8840089,0.0007529546,0.00021707315,0.004583772,0.000040395127,0.000016579897,0.00006562394,0.000018890001,0.11029577],"genre_scores_gemma":[0.99175745,0.00023030212,0.00009080883,0.00021919237,0.000010656966,0.000008538209,0.000022282926,0.000010584111,0.0076501244],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9983747,0.0003696282,0.000025727233,0.00018485349,0.00020835771,0.00083663414],"domain_scores_gemma":[0.99819666,0.0003098667,0.0002416215,0.000093072755,0.0002347128,0.00092411146],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010604378,0.00015671227,0.00023561878,0.0017919767,0.01905257,0.0087404335,0.0010470429,0.00055272545,0.005556569],"category_scores_gemma":[0.0016590055,0.00021442377,0.000119341006,0.0016522778,0.02273662,0.0023213562,0.0063482574,0.0013294708,0.00024225155],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015564548,0.00010479124,0.06177084,0.00010007425,0.00002537196,0.0015724157,0.79197055,0.00019679037,0.0014484986,0.0644711,0.016182957,0.062000956],"study_design_scores_gemma":[0.000009752147,0.00004007034,0.09153417,0.00013722398,0.000013557683,0.00021682242,0.8301684,0.00010994797,0.0001664691,0.0015305718,0.07604928,0.000023646122],"about_ca_topic_score_codex":0.81411725,"about_ca_topic_score_gemma":0.95297164,"teacher_disagreement_score":0.18588275,"about_ca_system_score_codex":0.027553272,"about_ca_system_score_gemma":0.020391287,"threshold_uncertainty_score":0.37395483},"labels":[],"label_agreement":null},{"id":"W7161819774","doi":"10.82308/47669","title":"Québec Electric: Montreal, Mutek and the global circuit","year":2011,"lang":"en","type":"dissertation","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Government (linguistics); The arts; Work (physics); Emerging markets; Digital era; Event (particle physics)","score_opus":0.017705505528211235,"score_gpt":0.1888112204606774,"score_spread":0.17110571493246615,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7161819774","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0034864452,0.07879505,0.0005033009,0.04165401,0.003979956,0.000045143173,0.0035365156,0.00025763403,0.86774194],"genre_scores_gemma":[0.017982628,0.0127588175,0.00022445133,0.0013768193,0.00022567649,0.000017034037,0.0005123768,0.00009307585,0.9668091],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.9996531,0.000025281934,0.0000065064132,0.00005853678,0.00014515805,0.00011135408],"domain_scores_gemma":[0.9995666,0.0000271089,0.000020781192,0.000024234487,0.00023039333,0.00013087018],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00029428047,0.0007435176,0.00033824553,0.0011452247,0.005928076,0.0072952462,0.00092089915,0.0013918881,0.24365865],"category_scores_gemma":[0.00082335045,0.00029755876,0.00020194912,0.0038419578,0.0021812858,0.0024829167,0.0012580156,0.0018227987,0.021870391],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024178624,0.000012448973,0.0008980764,0.00010080635,0.0000052667297,0.00010657005,0.0007976481,0.0001445551,0.00019701365,0.030496703,0.8918421,0.075374596],"study_design_scores_gemma":[0.0000022188722,0.0000014186298,0.0015675055,0.00007893674,0.0000016107101,0.000015526586,0.000672592,0.000015984553,0.000027119422,0.0004929922,0.99711967,0.0000045941388],"about_ca_topic_score_codex":0.93614084,"about_ca_topic_score_gemma":0.9828153,"teacher_disagreement_score":0.24365865,"about_ca_system_score_codex":0.030070145,"about_ca_system_score_gemma":0.02752676,"threshold_uncertainty_score":0.8151194},"labels":[],"label_agreement":null},{"id":"W7161845462","doi":"10.82308/48487","title":"B-boy (dance) cipher: an innovative knowledge community's shared activity","year":2012,"lang":"en","type":"dissertation","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Ethnography; Knowledge production; Context (archaeology)","score_opus":0.08192838842493559,"score_gpt":0.2982268099892598,"score_spread":0.21629842156432422,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7161845462","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4069971,0.0015071492,0.28286383,0.009871856,0.00069670234,0.0034299712,0.00086472306,0.0029373036,0.29083133],"genre_scores_gemma":[0.72722626,0.0005438795,0.17319512,0.00064402155,0.000083772364,0.0018017147,0.0005151187,0.00044055187,0.09554964],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99241793,0.0053232624,0.0002201481,0.0007761069,0.0009229409,0.0003396207],"domain_scores_gemma":[0.98965,0.004476785,0.00084031874,0.002242671,0.000813917,0.0019762435],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0071495078,0.00047288666,0.00039479628,0.0020497523,0.0049319416,0.006142361,0.0018123757,0.0013986742,0.012271754],"category_scores_gemma":[0.012627635,0.00036464323,0.0006061589,0.0016382664,0.006286624,0.006796347,0.011474269,0.0012486593,0.0020797204],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00042967385,0.0005344956,0.014373904,0.0015158707,0.00008683629,0.0010721188,0.3988172,0.0012048227,0.013532889,0.2088512,0.025576599,0.33400446],"study_design_scores_gemma":[0.00019971156,0.0011051404,0.014284674,0.0009847009,0.0001024787,0.0013609867,0.19523305,0.0053606867,0.007707196,0.052195232,0.7212479,0.0002181707],"about_ca_topic_score_codex":0.002876389,"about_ca_topic_score_gemma":0.0070402557,"teacher_disagreement_score":0.012271754,"about_ca_system_score_codex":0.0021361753,"about_ca_system_score_gemma":0.0062168865,"threshold_uncertainty_score":0.041053116},"labels":[],"label_agreement":null},{"id":"W7161952536","doi":"10.82308/47528","title":"\"Measure me in metered lines\": unreliable narration and the hermeneutics of narrative identity in contemporary 'Indie' song lyrics","year":2014,"lang":"en","type":"dissertation","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Lyrics; Narrative; Hermeneutics; Identity (music); Meaning (existential); Reinterpretation; Narratology; Indie film","score_opus":0.04360601158273516,"score_gpt":0.26212346084764243,"score_spread":0.21851744926490727,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7161952536","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.65672785,0.0045468253,0.05981368,0.010354258,0.00047681664,0.00013132206,0.00011452268,0.00017498298,0.26765972],"genre_scores_gemma":[0.99389476,0.00021392564,0.0016807574,0.00020452037,0.00006343025,0.000034625064,0.000018405251,0.000043997894,0.0038456614],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9943725,0.0041342364,0.00014536575,0.00041567237,0.0006822828,0.00024999972],"domain_scores_gemma":[0.99287647,0.004174829,0.0012001877,0.0007696423,0.0006306398,0.00034824215],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005446495,0.00037989378,0.00026845443,0.0015558974,0.005635016,0.009431553,0.0009076228,0.0012785541,0.0018673402],"category_scores_gemma":[0.022227464,0.00029571567,0.00021808565,0.0008788765,0.021906652,0.008473325,0.0054231538,0.0026945318,0.00032031143],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007036854,0.000015085151,0.0033380697,0.000067832036,0.000008103661,0.0002701372,0.7346917,0.00016343348,0.000769851,0.24643245,0.0013478919,0.012825071],"study_design_scores_gemma":[0.000025375884,0.00013194769,0.012724435,0.0005411661,0.000027378277,0.0009376595,0.71346486,0.0023154814,0.003023676,0.0940002,0.17273347,0.0000744213],"about_ca_topic_score_codex":0.0032664044,"about_ca_topic_score_gemma":0.0040101507,"teacher_disagreement_score":0.009431553,"about_ca_system_score_codex":0.0026575513,"about_ca_system_score_gemma":0.00097029994,"threshold_uncertainty_score":0.028804183},"labels":[],"label_agreement":null},{"id":"W7161954555","doi":"10.82308/47774","title":"Distribution Ambiances Magnétiques Etcetera and Constellation Records: DIY record labels and the Montreal experimental music scene","year":2018,"lang":"en","type":"dissertation","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Constellation; Musical; Identity (music); German; Set (abstract data type); Function (biology); Distribution (mathematics)","score_opus":0.02087965301022541,"score_gpt":0.23131367640440412,"score_spread":0.21043402339417872,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7161954555","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.38649607,0.0017953905,0.0051570656,0.008805481,0.00022380067,0.00008088126,0.0003487524,0.0001230118,0.59696954],"genre_scores_gemma":[0.95284045,0.0006942523,0.0012080462,0.00030398587,0.00006385437,0.00003525667,0.00007161916,0.000053504013,0.044729035],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.999233,0.0003076351,0.000006367943,0.00009425029,0.00017809751,0.00018066834],"domain_scores_gemma":[0.9993957,0.00019885156,0.000076504584,0.00007511571,0.00010702896,0.00014684266],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00071461755,0.00032623045,0.00014574247,0.00088485336,0.009185788,0.006846436,0.0008845533,0.0008622787,0.016413637],"category_scores_gemma":[0.0014298427,0.00021357455,0.00017392449,0.001357925,0.013697535,0.0027327207,0.0031939067,0.0013686032,0.00052395667],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017315283,0.000076143704,0.008610014,0.00017019805,0.000014925005,0.0008350616,0.27511996,0.00064478273,0.0024844916,0.6315854,0.021592809,0.058693137],"study_design_scores_gemma":[0.000026445898,0.00008167223,0.025044931,0.00019845682,0.000022806094,0.00023311231,0.2261808,0.0005909894,0.001245319,0.011829589,0.73448867,0.000057269815],"about_ca_topic_score_codex":0.40462807,"about_ca_topic_score_gemma":0.70324224,"teacher_disagreement_score":0.59537196,"about_ca_system_score_codex":0.018890873,"about_ca_system_score_gemma":0.0058059525,"threshold_uncertainty_score":0.80454576},"labels":[],"label_agreement":null},{"id":"W7161971071","doi":"10.82308/54630","title":"Pop Cycle for percussion quartet: comfort with a constant other","year":2018,"lang":"en","type":"dissertation","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Timbre; Melody; Narrative; Theme (computing); Musical; Constant (computer programming); Texture (cosmology); Identity (music)","score_opus":0.01866882047828261,"score_gpt":0.23208629814614945,"score_spread":0.21341747766786684,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7161971071","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18469074,0.0021537826,0.008431351,0.014425448,0.00094679405,0.00018790098,0.00035095218,0.00039284804,0.78842014],"genre_scores_gemma":[0.7556221,0.0016393199,0.005959623,0.0031139979,0.00016968547,0.000097389115,0.00025012132,0.00030681692,0.23284094],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988188,0.00020782613,0.000012629736,0.00012368865,0.0005115066,0.00032555687],"domain_scores_gemma":[0.99893457,0.000082742095,0.000034854285,0.000060150418,0.00022977956,0.0006577944],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00085445633,0.0004066268,0.0001761798,0.00057449535,0.012443434,0.0063345293,0.0009680557,0.000853064,0.017385403],"category_scores_gemma":[0.0019357225,0.00017907252,0.00024229288,0.0005742462,0.007199494,0.0021522688,0.0051343986,0.0017767325,0.0023580953],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00021131532,0.0001431886,0.0055283285,0.0003431488,0.000025045887,0.0017025195,0.49684837,0.00022645996,0.007950578,0.07960598,0.25668794,0.15072714],"study_design_scores_gemma":[0.000009917271,0.00004171148,0.005598478,0.00011780191,0.000008130416,0.0004312916,0.15350704,0.00008379009,0.0006615327,0.0025066468,0.837005,0.000028670478],"about_ca_topic_score_codex":0.27213413,"about_ca_topic_score_gemma":0.62841207,"teacher_disagreement_score":0.27213413,"about_ca_system_score_codex":0.007750772,"about_ca_system_score_gemma":0.012259133,"threshold_uncertainty_score":0.54110026},"labels":[],"label_agreement":null},{"id":"W7162026405","doi":"10.59236/emro.v26i12a8368","title":"Miúcha","year":2024,"lang":"","type":"article","venue":"Educational Media Reviews Online","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Appeal; Musical; Subject (documents); Nova scotia; Performance art; Nova (rocket); Feminism","score_opus":0.08608078609792259,"score_gpt":0.32354476832211254,"score_spread":0.23746398222418996,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7162026405","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0015828458,0.0016279174,0.0008616525,0.0016995666,0.0015859993,0.00018574944,0.0024351284,0.0019058536,0.9881153],"genre_scores_gemma":[0.0029427689,0.00065704895,0.0005781683,0.00036643716,0.00017911827,0.00007859635,0.0011676035,0.0006228397,0.99340725],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994166,0.00006878544,0.000024344623,0.00019431314,0.00019806571,0.000098031676],"domain_scores_gemma":[0.9993468,0.000058825248,0.000039310256,0.00012411865,0.00015643766,0.00027452264],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005704239,0.0010233641,0.0006606442,0.0015012317,0.0034901446,0.0063883145,0.0010384178,0.0014079195,0.8180919],"category_scores_gemma":[0.0014074302,0.00070997106,0.00064897013,0.0012150707,0.00056032155,0.004405152,0.005122706,0.0023011512,0.61582136],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012845345,0.00006834223,0.0003604195,0.00019155431,0.000007985952,0.00015059524,0.00041321845,0.000031877164,0.0010387629,0.008517327,0.8558773,0.13321418],"study_design_scores_gemma":[0.0000062851063,0.000014566239,0.00050963525,0.000043009764,0.0000019949305,0.000080422586,0.00011932616,0.000018799416,0.0000712943,0.00023715025,0.9988939,0.0000037094612],"about_ca_topic_score_codex":0.0030574258,"about_ca_topic_score_gemma":0.009374501,"teacher_disagreement_score":0.8180919,"about_ca_system_score_codex":0.0009040245,"about_ca_system_score_gemma":0.0011961204,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W7162033665","doi":"10.82308/51837","title":"Gender and embodiment in the contemporary Montreal swing dance community","year":2020,"lang":"en","type":"dissertation","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"ESPACE; Swing; Dance; Conversation","score_opus":0.10185464140522445,"score_gpt":0.24733374197388214,"score_spread":0.1454791005686577,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7162033665","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9269286,0.0010359343,0.00050213805,0.0016670715,0.00006542762,0.000017511067,0.000103651975,0.000018688334,0.069661014],"genre_scores_gemma":[0.9820081,0.00024886313,0.0001275543,0.00009208568,0.0000099227345,0.000006698535,0.00002561066,0.000013352855,0.017467728],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99888116,0.0002912483,0.000018008112,0.00014827761,0.0002741358,0.0003872111],"domain_scores_gemma":[0.9992397,0.00014739015,0.00011611484,0.000037685215,0.00016594293,0.00029315864],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009705843,0.0003336399,0.00036210023,0.0012878567,0.01110705,0.004526951,0.0008605463,0.0006822385,0.011447695],"category_scores_gemma":[0.0019921465,0.00022781511,0.00016780803,0.0014360545,0.009258827,0.0014027669,0.0038768784,0.0007931409,0.00036813505],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009879369,0.000024474008,0.024284549,0.00005662644,0.000015745934,0.00057125214,0.9250122,0.000090174704,0.0014844032,0.023089062,0.0028419837,0.022430789],"study_design_scores_gemma":[0.000010875485,0.00005526346,0.10742765,0.00011700815,0.000016583514,0.00019636334,0.77752703,0.00014429905,0.00035154723,0.0011771776,0.1129187,0.00005739535],"about_ca_topic_score_codex":0.8049872,"about_ca_topic_score_gemma":0.93630624,"teacher_disagreement_score":0.19501281,"about_ca_system_score_codex":0.016657228,"about_ca_system_score_gemma":0.007492819,"threshold_uncertainty_score":0.39232254},"labels":[],"label_agreement":null},{"id":"W7162039491","doi":"10.82308/40879","title":"Much more than music video : an examination of Canadian response to American paradigms","year":2001,"lang":"en","type":"dissertation","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Scholarship; Imitation; Dominance (genetics); Musical; Culture of the United States; Resistance (ecology)","score_opus":0.03207555994271856,"score_gpt":0.2424375625092398,"score_spread":0.21036200256652127,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7162039491","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5014066,0.0030879185,0.000500333,0.021407712,0.00033947206,0.00007100996,0.00031521195,0.0000285019,0.47284326],"genre_scores_gemma":[0.96996146,0.0023496782,0.00028983637,0.0035967755,0.00005115784,0.000022146054,0.00009759842,0.000038373193,0.023592949],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9965616,0.0004901665,0.000056487563,0.00026127207,0.0014672404,0.001163267],"domain_scores_gemma":[0.9940469,0.0014284708,0.00034875676,0.00013312526,0.0031405715,0.00090207515],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0028235943,0.00031923098,0.00024323075,0.0049271937,0.031307623,0.008872332,0.001438664,0.0017648712,0.0075781737],"category_scores_gemma":[0.008283333,0.00022011995,0.00024878856,0.00908849,0.008881796,0.0018963838,0.0030832186,0.002536789,0.00026361656],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015766604,0.000063519146,0.022976752,0.00022761362,0.000021105361,0.00077375595,0.73042786,0.00015022949,0.0017091841,0.14821175,0.032285333,0.06299531],"study_design_scores_gemma":[0.000008632994,0.000023627968,0.039566386,0.00022070692,0.000021989563,0.00013093986,0.6856334,0.00014726596,0.0003400152,0.0026424117,0.27121028,0.000054264026],"about_ca_topic_score_codex":0.98832476,"about_ca_topic_score_gemma":0.9958175,"teacher_disagreement_score":0.096930295,"about_ca_system_score_codex":0.096930295,"about_ca_system_score_gemma":0.08030667,"threshold_uncertainty_score":0.7032818},"labels":[],"label_agreement":null},{"id":"W7162117165","doi":"10.82308/47632","title":"Crisis? what crisis? : Anglophone musicmaking in Montreal","year":2003,"lang":"en","type":"dissertation","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Flourishing; Sociology of culture; Variety (cybernetics); Representation (politics); Relation (database); State (computer science); Musical; Mythology","score_opus":0.019436508353332053,"score_gpt":0.22651635234283163,"score_spread":0.20707984398949958,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7162117165","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9269457,0.0013565226,0.00042639003,0.00954971,0.00016148912,0.000089664594,0.00011972776,0.000027749817,0.06132312],"genre_scores_gemma":[0.98790294,0.0006697055,0.00015525655,0.00081488804,0.000023891747,0.00002097385,0.00003440966,0.000014495335,0.010363436],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990465,0.0003475209,0.000016030186,0.00009278591,0.0001618905,0.0003352642],"domain_scores_gemma":[0.99929786,0.00018896072,0.000073722746,0.000019161955,0.00012359228,0.00029670284],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00094344077,0.00025357938,0.00025369955,0.0008357542,0.01576902,0.004482625,0.0012654316,0.0010164939,0.005940436],"category_scores_gemma":[0.0022852612,0.00022789788,0.00015092504,0.0015998901,0.009733328,0.0020491262,0.003240998,0.001822267,0.00025821413],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000572617,0.000044281423,0.010602442,0.000069238566,0.000009129234,0.0017734306,0.95487213,0.00009573302,0.0009922892,0.010792611,0.0062379083,0.014453525],"study_design_scores_gemma":[0.0000042306365,0.000021798489,0.014556747,0.0000424635,0.0000050916155,0.00015117406,0.9354923,0.00010881692,0.0001455089,0.00043974965,0.0490109,0.000021362746],"about_ca_topic_score_codex":0.8525396,"about_ca_topic_score_gemma":0.9473199,"teacher_disagreement_score":0.1474604,"about_ca_system_score_codex":0.023181275,"about_ca_system_score_gemma":0.012489247,"threshold_uncertainty_score":0.29665762},"labels":[],"label_agreement":null},{"id":"W7162665614","doi":"10.59236/emro.v24i8a7844","title":"Fanny","year":2022,"lang":"","type":"article","venue":"Educational Media Reviews Online","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Narrative; Racism; Period (music); Character (mathematics); Performance art; Living room","score_opus":0.08104092489608114,"score_gpt":0.2939168333251687,"score_spread":0.21287590842908757,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7162665614","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0011397367,0.00090572063,0.00059802795,0.0018651527,0.0037647039,0.00013002318,0.0018749553,0.0013058737,0.9884157],"genre_scores_gemma":[0.0026674492,0.00033329014,0.0002716561,0.00039870135,0.00037866298,0.00004403697,0.0008236783,0.00045777668,0.9946247],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996234,0.000052849235,0.00001430534,0.00009931996,0.00013019478,0.000079815945],"domain_scores_gemma":[0.9994823,0.00005152916,0.000024565597,0.000068572896,0.00014219328,0.000230867],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00040597722,0.0008359983,0.00045408795,0.0010909629,0.0026154274,0.0042458065,0.00075002376,0.0010523018,0.8479243],"category_scores_gemma":[0.0016071239,0.00037852224,0.0003268294,0.0008807472,0.00047522606,0.003010236,0.0036287145,0.0014230798,0.5323849],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004218101,0.000015596128,0.00011652338,0.00008313419,0.0000018170351,0.00007725611,0.00032074627,0.000012945808,0.0003360865,0.0033252789,0.94012946,0.05553895],"study_design_scores_gemma":[0.0000031376273,0.000004593923,0.00018071156,0.000029709165,5.5409674e-7,0.00003625492,0.00013963268,0.000012078319,0.000046539677,0.00013100087,0.99941385,0.0000018501235],"about_ca_topic_score_codex":0.0038009696,"about_ca_topic_score_gemma":0.012353221,"teacher_disagreement_score":0.8479243,"about_ca_system_score_codex":0.00082669983,"about_ca_system_score_gemma":0.00066548097,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W7164654206","doi":"10.2307/j.ctv1z7kjmr.9","title":"The Barrie Band:","year":2022,"lang":"","type":"book-chapter","venue":"McGill-Queen's University Press eBooks","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"","score_opus":0.020058835244472818,"score_gpt":0.17962243810999629,"score_spread":0.15956360286552346,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7164654206","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.002071182,0.003253831,0.00026142813,0.002893377,0.0009820099,0.00003334238,0.0001786933,0.000073192765,0.990253],"genre_scores_gemma":[0.0074482188,0.0004555243,0.00009925811,0.00046327666,0.000060527713,0.0000147221,0.00005721475,0.000055443594,0.9913458],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99960667,0.000050014914,0.00000638882,0.00006477635,0.0001044042,0.00016777],"domain_scores_gemma":[0.99983084,0.00001501338,0.0000058730475,0.000018934,0.00003254452,0.00009681453],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00046463736,0.0005984163,0.00027591395,0.00087717315,0.008408913,0.0070227273,0.0010574643,0.0021168978,0.21269536],"category_scores_gemma":[0.00073014986,0.0004208672,0.00021937114,0.00095310796,0.0023772493,0.002564297,0.0037014296,0.0024579593,0.05691023],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009611394,0.000048212285,0.00049016305,0.000084934225,0.0000024561652,0.00017767926,0.0058312793,0.000039739138,0.00043027857,0.10498631,0.77098453,0.11682822],"study_design_scores_gemma":[0.0000024911649,0.0000049023483,0.00070092856,0.00005136791,6.953452e-7,0.000024822399,0.0018266602,0.0000070536607,0.000052249135,0.0011525617,0.99617213,0.0000042195597],"about_ca_topic_score_codex":0.07700351,"about_ca_topic_score_gemma":0.2533017,"teacher_disagreement_score":0.21269536,"about_ca_system_score_codex":0.0029738534,"about_ca_system_score_gemma":0.0030577555,"threshold_uncertainty_score":0.7115369},"labels":[],"label_agreement":null},{"id":"W7164889237","doi":"10.1080/17153379.2007.12554601","title":"Hip-Hop Japan: Rap and the Paths of Cultural Globalization.","year":2007,"lang":"en","type":"article","venue":"Pacific Affairs","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Natural (archaeology)","score_opus":0.014544869899635509,"score_gpt":0.20508427224003037,"score_spread":0.19053940234039485,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7164889237","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1965634,0.03909088,0.0027630902,0.109167315,0.0010657866,0.000046121015,0.00009853525,0.00008985899,0.65111506],"genre_scores_gemma":[0.96452224,0.0099886935,0.0010049468,0.0023536903,0.0002158673,0.000048958253,0.000021837846,0.000029347106,0.021814467],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987074,0.0007118069,0.00002554252,0.00008058905,0.000103016195,0.00037159343],"domain_scores_gemma":[0.9984276,0.00039821365,0.00017815571,0.00013350374,0.00025721127,0.0006053456],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023310725,0.0003176729,0.0002020146,0.00092753256,0.009639733,0.008288591,0.00062064885,0.00207705,0.010133864],"category_scores_gemma":[0.003407313,0.00021245342,0.00012940742,0.0013549209,0.014645456,0.00766178,0.0075585176,0.002875391,0.0006154367],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011395083,0.000087446475,0.004978167,0.000241538,0.000016268892,0.00092392025,0.21304046,0.00015113677,0.00023902585,0.64067715,0.028799294,0.11073167],"study_design_scores_gemma":[0.000025463127,0.00009412041,0.017846469,0.0008578997,0.00003670973,0.000469175,0.45364293,0.00033925753,0.0002853751,0.14556299,0.38079214,0.00004745502],"about_ca_topic_score_codex":0.01405551,"about_ca_topic_score_gemma":0.03544587,"teacher_disagreement_score":0.01405551,"about_ca_system_score_codex":0.003090939,"about_ca_system_score_gemma":0.005805413,"threshold_uncertainty_score":0.033901155},"labels":[],"label_agreement":null},{"id":"W7164924105","doi":"10.1080/17153379.2011.12559160","title":"Cries of Joy, Songs of Sorrow: Chinese Pop Music and Its Cultural Connotations.","year":2011,"lang":"en","type":"article","venue":"Pacific Affairs","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Popular music; Popular culture; China; Music","score_opus":0.04459528358886417,"score_gpt":0.21114766011278802,"score_spread":0.16655237652392385,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7164924105","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.48813784,0.06903703,0.0011009322,0.025015844,0.0018195498,0.00006160796,0.00022881501,0.000053005144,0.41454524],"genre_scores_gemma":[0.97920555,0.007443274,0.00024704522,0.0014232598,0.00060731714,0.000020963245,0.000027848806,0.000027086882,0.010997639],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99973446,0.00012524132,0.000011595954,0.00002497127,0.00006220516,0.000041529438],"domain_scores_gemma":[0.99945813,0.00028565087,0.000059115035,0.000032201588,0.00006950855,0.000095478325],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00064900104,0.0004695672,0.00024829188,0.0013310094,0.0044087423,0.0034631616,0.00045697583,0.00085556187,0.003193298],"category_scores_gemma":[0.0021013292,0.00016799103,0.00010519057,0.0017408469,0.010149145,0.0017102739,0.0016295825,0.0013542243,0.00027080247],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00042319755,0.00005023734,0.015444255,0.0009803212,0.0000701339,0.0028434992,0.6861048,0.000157356,0.003503902,0.17915256,0.0251163,0.08615346],"study_design_scores_gemma":[0.00005275707,0.00013891791,0.16771173,0.0010810271,0.00011967207,0.0024458722,0.54127806,0.00046613824,0.0011175667,0.020285955,0.26522595,0.000076379096],"about_ca_topic_score_codex":0.019846281,"about_ca_topic_score_gemma":0.042189863,"teacher_disagreement_score":0.019846281,"about_ca_system_score_codex":0.001322858,"about_ca_system_score_gemma":0.0014286218,"threshold_uncertainty_score":0.039461553},"labels":[],"label_agreement":null},{"id":"W7164925656","doi":"10.1080/17153379.2014.12557062","title":"Down: Indie Rock in the Prc.","year":2014,"lang":"en","type":"article","venue":"Pacific Affairs","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"","score_opus":0.0165491100687219,"score_gpt":0.18611593502178753,"score_spread":0.16956682495306563,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7164925656","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03344185,0.016724192,0.00013861404,0.029676748,0.0010521066,0.000036874644,0.0011044422,0.00011261066,0.9177125],"genre_scores_gemma":[0.14250849,0.0051421383,0.00015212444,0.0033252488,0.00024177655,0.000039725113,0.00034710756,0.00008286408,0.84816056],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998679,0.000019539482,0.0000037730258,0.000014553366,0.00003346194,0.000060682647],"domain_scores_gemma":[0.9999076,0.0000114297545,0.0000067467654,0.0000062052422,0.00001770876,0.000050176375],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000155357,0.0002893211,0.00012374808,0.00055515283,0.0067917784,0.004769667,0.0005803428,0.0013996869,0.071294576],"category_scores_gemma":[0.00058521633,0.00017237323,0.00014832505,0.00083752203,0.0010437195,0.0021502534,0.0025864816,0.0030472483,0.006354303],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002969909,0.00005850396,0.009028709,0.0004527778,0.000019041045,0.0030419058,0.024863685,0.000111531546,0.0015003826,0.16698182,0.6625374,0.1311073],"study_design_scores_gemma":[0.0000036090375,0.000005907106,0.008897774,0.0001119688,0.000003991554,0.00019397169,0.0096155275,0.000015610884,0.00023242774,0.0007727642,0.98014015,0.000006362786],"about_ca_topic_score_codex":0.18495862,"about_ca_topic_score_gemma":0.5071705,"teacher_disagreement_score":0.18495862,"about_ca_system_score_codex":0.0031614345,"about_ca_system_score_gemma":0.0038944136,"threshold_uncertainty_score":0.36776412},"labels":[],"label_agreement":null},{"id":"W750339559","doi":"","title":"Editors’ Note: Culture Industries and African Diaspora","year":2015,"lang":"en","type":"article","venue":"Project Muse (Johns Hopkins University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Commodification; Diaspora; Modernity; Musical; Sociology; Political science; Political economy; Media studies; Aesthetics; Gender studies; Economy; Law; Art; Economics; Visual arts","score_opus":0.03667169934149716,"score_gpt":0.208135831809288,"score_spread":0.17146413246779083,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W750339559","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00017193453,0.0056228847,0.00013968316,0.07297284,0.9132351,0.000023594475,0.0001515859,0.00006153769,0.0076208734],"genre_scores_gemma":[0.0026831697,0.010863227,0.00029750852,0.046600275,0.87986994,0.00008464644,0.00013179846,0.00016504577,0.059304368],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987379,0.00022134563,0.00014932895,0.00034139518,0.00039241128,0.00015772913],"domain_scores_gemma":[0.9935621,0.0029062259,0.0004380892,0.0003215664,0.0017537076,0.0010183248],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020241714,0.0016999008,0.0012243569,0.001751432,0.0032466422,0.0070385323,0.0026146327,0.0045162863,0.061931375],"category_scores_gemma":[0.01246939,0.000561718,0.0008021638,0.001490253,0.0015796609,0.0053478503,0.0037676343,0.007240862,0.020611346],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009331386,0.000006739399,0.000075907374,0.00011039288,0.0000024121011,0.00006321664,0.00013909327,0.000008464531,0.00004367083,0.000556337,0.99127746,0.007707059],"study_design_scores_gemma":[0.000004924671,0.0000052914784,0.0002734692,0.000164555,0.0000038002247,0.00006857913,0.00019985044,0.00002215021,0.000044091095,0.00031215855,0.99889565,0.00000537036],"about_ca_topic_score_codex":0.0020644572,"about_ca_topic_score_gemma":0.004515701,"teacher_disagreement_score":0.061931375,"about_ca_system_score_codex":0.0009017088,"about_ca_system_score_gemma":0.0019472963,"threshold_uncertainty_score":0.2071811},"labels":[],"label_agreement":null},{"id":"W75571519","doi":"","title":"Massachusetts Folk Art: New Immigrants Redefine Tradition","year":2009,"lang":"en","type":"article","venue":"Historical journal of Massachusetts","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Parade; Visual arts; History; Immigration; Sociology; Media studies; Art history; Art; Archaeology","score_opus":0.0328547246103369,"score_gpt":0.21527636031678668,"score_spread":0.1824216357064498,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W75571519","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.029715199,0.12761816,0.0013002291,0.3670196,0.08051499,0.000036163226,0.00013230236,0.00024568572,0.3934177],"genre_scores_gemma":[0.37729546,0.047307245,0.002044318,0.06038677,0.046974935,0.000095401716,0.00013586514,0.00039871375,0.46536127],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989629,0.0003880409,0.000048655846,0.000116917385,0.00031702523,0.0001664675],"domain_scores_gemma":[0.9991375,0.0002234367,0.000081713646,0.000112107635,0.00023710044,0.00020805428],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012077774,0.0004202386,0.000264926,0.00097219745,0.009748958,0.0072966823,0.0011302189,0.002657564,0.031967487],"category_scores_gemma":[0.0032035888,0.00024990996,0.00028444256,0.0008860957,0.0046341745,0.0047411476,0.0048152106,0.004019211,0.0029255855],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002410123,0.000015286896,0.0007051182,0.00024478097,0.000009035187,0.00048183525,0.058521945,0.000020956653,0.00045155323,0.08819188,0.7841068,0.06722672],"study_design_scores_gemma":[0.0000015841038,0.000005501583,0.0007386603,0.00016024041,0.0000033273614,0.00012021692,0.0066035283,0.000011824139,0.000043053158,0.001128843,0.9911795,0.0000037864731],"about_ca_topic_score_codex":0.035140473,"about_ca_topic_score_gemma":0.1640312,"teacher_disagreement_score":0.035140473,"about_ca_system_score_codex":0.005481741,"about_ca_system_score_gemma":0.002083047,"threshold_uncertainty_score":0.10694194},"labels":[],"label_agreement":null},{"id":"W760733452","doi":"","title":"Jazz, Jambalaya, and Jubilee in New Orleans: The Unique Culture That Birthed a Unique Music","year":2015,"lang":"en","type":"article","venue":"The Hymn","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Jazz; Melting pot; Population; Musical; Immigration; Creole language; History; State (computer science); Quarter (Canadian coin); Ethnology; Geography; Art history; Art; Sociology; Archaeology; Visual arts; Demography","score_opus":0.10863268992257832,"score_gpt":0.2155578385744585,"score_spread":0.10692514865188019,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W760733452","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.97027224,0.0027725634,0.000069346315,0.0039842543,0.00019318113,0.000015093858,0.00008930308,0.00000805488,0.022595977],"genre_scores_gemma":[0.9778136,0.0042640315,0.00014523347,0.0015462863,0.00009198751,0.000029526125,0.00013146577,0.000028361737,0.015949484],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99956304,0.000093916984,0.000014335394,0.000070292495,0.000095837764,0.00016269532],"domain_scores_gemma":[0.9992367,0.00010296941,0.0000864307,0.000015828078,0.00011360863,0.00044443068],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006856896,0.0002445686,0.0003348789,0.0008432407,0.012367465,0.0068824613,0.0007730434,0.0007692119,0.004033244],"category_scores_gemma":[0.0011171576,0.0002794634,0.0001467735,0.0010211563,0.003960684,0.0028046854,0.0045027533,0.002640462,0.00043657236],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010279139,0.00015243219,0.04050208,0.00021354905,0.000023853388,0.0028546373,0.90972835,0.000038336413,0.0024115976,0.0035158326,0.009917278,0.030539254],"study_design_scores_gemma":[0.0000024789767,0.000026059715,0.055563815,0.00012214147,0.0000077101395,0.00046008948,0.89597946,0.000023277185,0.00014019184,0.00012929877,0.04752475,0.000020619555],"about_ca_topic_score_codex":0.4003133,"about_ca_topic_score_gemma":0.7735466,"teacher_disagreement_score":0.4003133,"about_ca_system_score_codex":0.006883435,"about_ca_system_score_gemma":0.0066059204,"threshold_uncertainty_score":0.7959664},"labels":[],"label_agreement":null},{"id":"W765028327","doi":"","title":"There's No Place like Home: Community Choir Shallaway and the Production of Cultural Identity","year":2011,"lang":"en","type":"article","venue":"Scholarship@Western (Western University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Choir; Identity (music); Production (economics); Cultural identity; Sociology; Art; Aesthetics; Visual arts; Social science; Economics","score_opus":0.13215019234938907,"score_gpt":0.2672843245779476,"score_spread":0.13513413222855852,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W765028327","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.83008623,0.0023586513,0.0011741695,0.01223105,0.00026881302,0.000025727546,0.000027746284,0.000036735004,0.15379092],"genre_scores_gemma":[0.9874765,0.00054414786,0.00034705192,0.00053582503,0.000023770279,0.00000696869,0.000014608484,0.000020565754,0.011030555],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9986816,0.0004896494,0.000020874808,0.00014179431,0.00015002782,0.0005160983],"domain_scores_gemma":[0.9986878,0.00025396948,0.00014530514,0.00009627339,0.00015097417,0.0006656772],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016908651,0.00029535615,0.00024985636,0.00090985495,0.015975418,0.007860584,0.00090640975,0.00087222585,0.0037629926],"category_scores_gemma":[0.0015331943,0.00022222282,0.000190823,0.00059467,0.019243563,0.0044708834,0.006567705,0.0016364417,0.00027909063],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008029588,0.00013284234,0.021237865,0.00011416232,0.00001798875,0.00186684,0.8543249,0.0000959719,0.0011703316,0.05944023,0.010880696,0.050637856],"study_design_scores_gemma":[0.000008572798,0.000026337115,0.013185876,0.00016852419,0.000013859876,0.00040691695,0.91922605,0.00007147354,0.00037017805,0.0033836013,0.06311674,0.00002187054],"about_ca_topic_score_codex":0.29416937,"about_ca_topic_score_gemma":0.5469693,"teacher_disagreement_score":0.29416937,"about_ca_system_score_codex":0.01036347,"about_ca_system_score_gemma":0.007874862,"threshold_uncertainty_score":0.5849142},"labels":[],"label_agreement":null},{"id":"W789374856","doi":"","title":"“Changing the World One Song at a Time”: Interrogating Constructions of Community in Common Thread Community Chorus of Toronto","year":2011,"lang":"en","type":"article","venue":"","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Chorus; Thread (computing); History; Genealogy; Computer science; Art; Literature","score_opus":0.09987711666642535,"score_gpt":0.24856622056999508,"score_spread":0.14868910390356974,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W789374856","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5763587,0.0014459292,0.0056453017,0.012709104,0.00028922447,0.00009104045,0.00014969762,0.00010832334,0.40320268],"genre_scores_gemma":[0.99208224,0.00010036826,0.00024432054,0.00012905741,0.0000137948655,0.000015374866,0.000017006225,0.000043228447,0.0073545785],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9956989,0.0021106198,0.00010718207,0.00051164685,0.00044798988,0.0011237037],"domain_scores_gemma":[0.99512583,0.0019083385,0.00042521136,0.00037885646,0.0005644738,0.0015973812],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026210893,0.0005778003,0.00039551014,0.0018349043,0.03905138,0.011290587,0.0018764114,0.0026958468,0.006989984],"category_scores_gemma":[0.0070739263,0.00061433465,0.00032816507,0.0026052364,0.041665807,0.0058261985,0.009954556,0.0041712644,0.00044508092],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021143725,0.0000044611274,0.0010513482,0.00002044709,0.0000030988415,0.00024714603,0.9477923,0.000056016608,0.00027545902,0.04694843,0.0017226996,0.0018574335],"study_design_scores_gemma":[0.0000073808283,0.000013065281,0.0043649045,0.00008726463,0.000011484231,0.00011153325,0.9192843,0.00022003888,0.00024749571,0.0061631827,0.06946608,0.000023224484],"about_ca_topic_score_codex":0.7937938,"about_ca_topic_score_gemma":0.88869554,"teacher_disagreement_score":0.2062062,"about_ca_system_score_codex":0.049129996,"about_ca_system_score_gemma":0.019879054,"threshold_uncertainty_score":0.41484118},"labels":[],"label_agreement":null},{"id":"W79542300","doi":"","title":"\"By Pen and Plataform\": The Cultural Work of Pauline Johnson","year":2000,"lang":"en","type":"article","venue":"Essays on Canadian writing","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Art history; Sociology","score_opus":0.01659904082556326,"score_gpt":0.1920211003142627,"score_spread":0.17542205948869943,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W79542300","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008038291,0.07679378,0.00086629734,0.5925689,0.015742894,0.000040008727,0.00011566094,0.00006793717,0.30576614],"genre_scores_gemma":[0.4222578,0.05351103,0.0016061201,0.14557762,0.008131178,0.000126728,0.00008964979,0.0005056439,0.36819425],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99229187,0.0032170848,0.00014048754,0.0005971053,0.0021789588,0.001574522],"domain_scores_gemma":[0.9898347,0.0049629244,0.0003406831,0.00029916337,0.0029828039,0.0015796624],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.006076448,0.0010184621,0.0007630192,0.0030024298,0.053231414,0.020452213,0.002214894,0.0065946463,0.0071214386],"category_scores_gemma":[0.017262213,0.00050816423,0.00028385926,0.004789266,0.046624567,0.0092389155,0.0056894505,0.013050809,0.0010294336],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023759874,0.000012655266,0.000143599,0.000093331124,0.0000052399996,0.00014374945,0.09355751,0.000047981757,0.00007285416,0.28046003,0.6118279,0.013611342],"study_design_scores_gemma":[0.000004973565,0.0000030953927,0.00032031542,0.0002637665,0.0000040386935,0.000059508275,0.049975954,0.000026929,0.00007969233,0.009367137,0.9398779,0.000016615573],"about_ca_topic_score_codex":0.86297244,"about_ca_topic_score_gemma":0.919193,"teacher_disagreement_score":0.13702756,"about_ca_system_score_codex":0.06283471,"about_ca_system_score_gemma":0.08195761,"threshold_uncertainty_score":0.45589983},"labels":[],"label_agreement":null},{"id":"W826782329","doi":"","title":"A Song for Pete Seeger","year":2014,"lang":"en","type":"article","venue":"New York folklore","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Singing; Chord (peer-to-peer); Period (music); History; Art; Opera; Literature; Visual arts; Art history; Aesthetics; Computer science; Acoustics","score_opus":0.044481886620040455,"score_gpt":0.20947033343423685,"score_spread":0.1649884468141964,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W826782329","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0072758757,0.010429275,0.0026490816,0.034217447,0.064613275,0.0001953246,0.0011526938,0.003303977,0.87616307],"genre_scores_gemma":[0.012758517,0.0012671507,0.0008490251,0.0073354547,0.0034587982,0.000045607045,0.00042545848,0.0008260146,0.973034],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99953175,0.00009856676,0.000014959388,0.0000886489,0.00018449746,0.000081593236],"domain_scores_gemma":[0.99900657,0.0001428273,0.000047198988,0.000081954226,0.00028893372,0.0004325937],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005159385,0.0008437608,0.0003782825,0.00071156013,0.0026419794,0.0032606686,0.00054396846,0.0014803755,0.32543835],"category_scores_gemma":[0.0027869681,0.00027084793,0.00030478352,0.00047475108,0.00065696397,0.0022731482,0.0024634886,0.0027280878,0.2320225],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004151966,0.000018908215,0.00014317023,0.000046424484,0.000002670653,0.00014813844,0.00037295313,0.00001109046,0.00047499628,0.0008376578,0.96256095,0.03534143],"study_design_scores_gemma":[0.0000048869033,0.000018426455,0.00040245274,0.0000408027,0.0000010573063,0.00030168446,0.00045727944,0.00002407929,0.00009273647,0.00013384983,0.998516,0.000006704795],"about_ca_topic_score_codex":0.0020689256,"about_ca_topic_score_gemma":0.006075411,"teacher_disagreement_score":0.32543835,"about_ca_system_score_codex":0.00044627345,"about_ca_system_score_gemma":0.00038544467,"threshold_uncertainty_score":0.9621803},"labels":[],"label_agreement":null},{"id":"W83396422","doi":"","title":"Not quite 'no future': The persistence of punk","year":2011,"lang":"en","type":"dissertation","venue":"Summit (Simon Fraser University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Punk; Persistence (discontinuity); Data science; Art; Computer science; Art history; Engineering; Geotechnical engineering","score_opus":0.02617013454763211,"score_gpt":0.185562918348095,"score_spread":0.15939278380046287,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W83396422","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.94912446,0.0012863597,0.00046804312,0.0077387923,0.0003158797,0.000018110934,0.00005528226,0.000025417656,0.040967677],"genre_scores_gemma":[0.9890667,0.00046060633,0.00014211582,0.0007378133,0.000025021067,0.000008167148,0.000029666024,0.00003147919,0.009498525],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9967573,0.001311332,0.000071795366,0.00030211758,0.00058708026,0.0009704065],"domain_scores_gemma":[0.9965964,0.0008804095,0.00043537377,0.00017709122,0.00063917786,0.0012715645],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026181354,0.00038608568,0.0006664358,0.0010517726,0.03161818,0.009876531,0.0014926199,0.0017112773,0.0040914705],"category_scores_gemma":[0.0073718876,0.0005834511,0.00019582867,0.0010483575,0.01744448,0.0038943565,0.007342576,0.006270731,0.0005637981],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000040784627,0.000021228943,0.0061022155,0.00003999952,0.000008094799,0.0010063165,0.977715,0.000015626541,0.0003592066,0.0026103607,0.002975534,0.009105668],"study_design_scores_gemma":[0.0000018006941,0.000015213202,0.0047672424,0.000046924128,0.00000365629,0.00053018273,0.96630347,0.000019179728,0.000070756425,0.00035322199,0.027872425,0.000015913629],"about_ca_topic_score_codex":0.15065135,"about_ca_topic_score_gemma":0.31172833,"teacher_disagreement_score":0.15065135,"about_ca_system_score_codex":0.007434179,"about_ca_system_score_gemma":0.0062969932,"threshold_uncertainty_score":0.29954892},"labels":[],"label_agreement":null},{"id":"W835142393","doi":"","title":"Punk Whiz 14: State of the Pun","year":2011,"lang":"en","type":"article","venue":"Digital Commons @ Butler University (Butler University)","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Punk; Pun; State (computer science); Art; Computer science; Law; Political science; Art history; Algorithm","score_opus":0.033326615657574325,"score_gpt":0.14117451546918272,"score_spread":0.10784789981160839,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W835142393","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.013125103,0.0004918741,0.0014001424,0.006722001,0.003185611,0.000086897155,0.00090442115,0.0013363623,0.9727475],"genre_scores_gemma":[0.083790615,0.00025124074,0.001105143,0.0024276644,0.00024393483,0.00009687394,0.00066633977,0.00057260564,0.91084546],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99949384,0.0001098173,0.00001595465,0.00006833984,0.00015388743,0.00015804524],"domain_scores_gemma":[0.99943227,0.000084969346,0.000019632502,0.00004015869,0.00017769884,0.0002452894],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00074195117,0.00044964344,0.00039630366,0.00040616284,0.0068368805,0.004419136,0.0005401184,0.0014042398,0.27857965],"category_scores_gemma":[0.0022355893,0.00032761335,0.00027700752,0.00045474202,0.001399042,0.0030786258,0.0029749519,0.0031949314,0.07788445],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015762103,0.0000808646,0.0007001379,0.00007671557,0.0000043597042,0.00023628303,0.002015533,0.00005880136,0.0005169691,0.029464006,0.9230979,0.04359084],"study_design_scores_gemma":[0.000013127844,0.000049702638,0.0019736616,0.00005147656,0.000002269862,0.00007630085,0.0017870032,0.00006236082,0.00031008804,0.0032781526,0.9923798,0.000016165302],"about_ca_topic_score_codex":0.00482435,"about_ca_topic_score_gemma":0.028148107,"teacher_disagreement_score":0.27857965,"about_ca_system_score_codex":0.0016169724,"about_ca_system_score_gemma":0.0011928203,"threshold_uncertainty_score":0.93194175},"labels":[],"label_agreement":null},{"id":"W862623421","doi":"10.31542/j.muse.157","title":"Beats from the East: Transcultural Adaptation of Hip-Hop from North America to Eastern Asia","year":2014,"lang":"en","type":"article","venue":"MacEwan University Student eJournal","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Popularity; Scholarship; East Asia; Globe; China; Beijing; History; Gender studies; Geography; Political science; Sociology; Medicine","score_opus":0.024913877263020877,"score_gpt":0.18798944499277437,"score_spread":0.16307556772975348,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W862623421","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9491689,0.0008812137,0.00014953384,0.0016198759,0.00008508212,0.000015547183,0.000008028919,0.000005055833,0.04806665],"genre_scores_gemma":[0.9947125,0.0008545514,0.000112645605,0.00040714492,0.000017419485,0.000008455819,0.000006335279,0.0000060829175,0.00387493],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990682,0.0004422196,0.000047979258,0.00008891506,0.00015946921,0.00019319769],"domain_scores_gemma":[0.99875677,0.00045607318,0.00021458093,0.000121428115,0.00020873664,0.0002425013],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018283494,0.00031436843,0.00030595445,0.00081260933,0.007414818,0.0039762678,0.0006172877,0.00041111928,0.0023456416],"category_scores_gemma":[0.0021272697,0.00017999898,0.00015277212,0.0009656193,0.0059132213,0.0017621255,0.0047410154,0.0017660655,0.00019592617],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015368323,0.000020753185,0.0062162355,0.00002996821,0.000006175225,0.0005597328,0.9816945,0.000009526343,0.00060329074,0.0019797834,0.0004910392,0.008373654],"study_design_scores_gemma":[0.0000036239837,0.000027767677,0.02372563,0.00010423655,0.000010348571,0.00037009892,0.95878804,0.000029251307,0.00021278983,0.0003665171,0.01635123,0.000010481545],"about_ca_topic_score_codex":0.03138841,"about_ca_topic_score_gemma":0.10087757,"teacher_disagreement_score":0.03138841,"about_ca_system_score_codex":0.001950072,"about_ca_system_score_gemma":0.0024363503,"threshold_uncertainty_score":0.062411427},"labels":[],"label_agreement":null},{"id":"W883527450","doi":"","title":"The Canada Songs Project: Music, Musings, and Memoirs","year":2007,"lang":"en","type":"article","venue":"Canadian Folk Music / Musique folklorique canadienne","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Memoir; Art; Visual arts; History; Literature; Aesthetics","score_opus":0.0181619921100542,"score_gpt":0.1775744369155685,"score_spread":0.1594124448055143,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W883527450","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10680112,0.02994958,0.0038892787,0.05740027,0.0035660376,0.00068805384,0.09864492,0.0011536527,0.69790715],"genre_scores_gemma":[0.4528333,0.02085532,0.011584947,0.0044739023,0.001011043,0.00102902,0.039982088,0.0013727092,0.4668576],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9969932,0.00042840015,0.00006432541,0.00018761343,0.0017064422,0.00061998377],"domain_scores_gemma":[0.9943368,0.0006365241,0.00019976517,0.00031649956,0.0029566246,0.0015538755],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0035111082,0.00069538684,0.00046501087,0.00642975,0.0140151,0.011067133,0.0016523666,0.0012116537,0.028516643],"category_scores_gemma":[0.008568009,0.00037436606,0.00026869515,0.015038321,0.004870874,0.002219679,0.0034136774,0.0013859153,0.003066433],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000120356686,0.000054746335,0.007896568,0.00036119006,0.000025140393,0.00010752535,0.023891257,0.00021907744,0.00060154585,0.033251677,0.79079455,0.14267646],"study_design_scores_gemma":[0.00001758464,0.000007819541,0.025506837,0.00026856383,0.000016552642,0.000037554815,0.04417818,0.00012250114,0.0003373702,0.0018692487,0.92760813,0.000029679164],"about_ca_topic_score_codex":0.98293674,"about_ca_topic_score_gemma":0.9947395,"teacher_disagreement_score":0.043841477,"about_ca_system_score_codex":0.043841477,"about_ca_system_score_gemma":0.087156445,"threshold_uncertainty_score":0.31809372},"labels":[],"label_agreement":null},{"id":"W903817244","doi":"","title":"Paramount's Rise and Fall: The Roots and History of Paramount Records","year":2013,"lang":"en","type":"article","venue":"Journal - Association for Recorded Sound Collections","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Blues; History; Management; Law; Sociology; Art history; Political science; Economics","score_opus":0.022710648380522516,"score_gpt":0.21262217988778698,"score_spread":0.18991153150726447,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W903817244","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.012582079,0.35638738,0.0017409944,0.13771215,0.017958624,0.000045355762,0.00075030926,0.00023515575,0.472588],"genre_scores_gemma":[0.15051939,0.1484644,0.0020708798,0.014170977,0.008476933,0.000061016188,0.0007210806,0.0005428148,0.6749725],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99731845,0.00067340204,0.00013718934,0.00039296524,0.0010624566,0.00041560753],"domain_scores_gemma":[0.99751365,0.00063174794,0.00022246891,0.00020663795,0.0006684444,0.0007570752],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022411433,0.0005111395,0.00042337817,0.0044102157,0.010417906,0.019923322,0.0015911979,0.0027365896,0.03666667],"category_scores_gemma":[0.0068714693,0.0008663198,0.00021338524,0.009410931,0.011104091,0.01493999,0.0051698615,0.00632846,0.008908676],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005007552,0.000022633942,0.0006564299,0.00030286913,0.0000071471723,0.0002624901,0.037511274,0.000028655184,0.00026738457,0.18372352,0.6492225,0.127945],"study_design_scores_gemma":[0.0000010817771,0.000004306664,0.0005379202,0.00024467875,0.0000012556018,0.00008916049,0.0034134963,0.0000047377284,0.000042609314,0.0017409162,0.99391395,0.00000589635],"about_ca_topic_score_codex":0.065606326,"about_ca_topic_score_gemma":0.105553195,"teacher_disagreement_score":0.065606326,"about_ca_system_score_codex":0.010429415,"about_ca_system_score_gemma":0.00841392,"threshold_uncertainty_score":0.13044894},"labels":[],"label_agreement":null},{"id":"W9295509","doi":"10.7202/902328ar","title":"La morale de l’histoire…","year":2010,"lang":"fr","type":"article","venue":"Circuit Musiques contemporaines","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.025789657464603828,"score_gpt":0.226290438753248,"score_spread":0.20050078128864418,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W9295509","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03185736,0.020812767,0.013430506,0.06418323,0.0048569916,0.000032233394,0.00011459325,0.00015970641,0.86455256],"genre_scores_gemma":[0.678816,0.00849998,0.0025060584,0.004553067,0.001715399,0.00004251601,0.000051316092,0.00022019113,0.30359554],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988005,0.00049942493,0.000024928655,0.00015960996,0.00036008953,0.00015545709],"domain_scores_gemma":[0.99925214,0.00035934732,0.00009133771,0.00008220907,0.00014278556,0.00007208992],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010684818,0.00041925584,0.00017853906,0.0005427436,0.0052968776,0.0075229434,0.00047476805,0.0011016327,0.007334819],"category_scores_gemma":[0.0037976222,0.00021074657,0.00015825366,0.0005701567,0.010933614,0.0033841787,0.0020819036,0.0028936742,0.0019395108],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006838818,0.000006251266,0.00076424656,0.00012565994,0.0000085837355,0.0002597462,0.03954124,0.00012186001,0.00073517876,0.85683006,0.067816556,0.033722144],"study_design_scores_gemma":[0.0000043664922,0.000009491392,0.0010032589,0.00012634147,0.0000047088656,0.00023344571,0.008266812,0.000079246965,0.00040997888,0.03227147,0.9575799,0.000010970504],"about_ca_topic_score_codex":0.009050593,"about_ca_topic_score_gemma":0.013372142,"teacher_disagreement_score":0.009050593,"about_ca_system_score_codex":0.0036425483,"about_ca_system_score_gemma":0.0022081838,"threshold_uncertainty_score":0.02642864},"labels":[],"label_agreement":null},{"id":"W947802178","doi":"10.5206/notabene.v8i1.6597","title":"Less is More, and More is Less, More or Less: The Historical Progression, Aesthetic Characteristics, and Physical Limitations of Minimalism","year":2015,"lang":"en","type":"article","venue":"Nota bene","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"The King's University","funders":"","keywords":"Minimalism (technical communication); Aesthetics; Jazz; Art; Relation (database); Repetition (rhetorical device); Order (exchange); Musical; Visual arts; Literature; Philosophy; Linguistics; Computer science","score_opus":0.14768873235951227,"score_gpt":0.2810757236736699,"score_spread":0.13338699131415763,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W947802178","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.30362418,0.019387804,0.0046291905,0.04280687,0.00088869344,0.000011810916,0.000026366195,0.000062961604,0.6285621],"genre_scores_gemma":[0.9834179,0.0018090537,0.00043919697,0.000812664,0.00021764023,0.000005953577,0.0000067170117,0.00004333226,0.013247538],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9986539,0.000752865,0.00002534101,0.00017411166,0.00025974523,0.0001339876],"domain_scores_gemma":[0.9992483,0.00039941823,0.00008291543,0.00009381885,0.000089886074,0.00008561853],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016712729,0.00016492589,0.00018137797,0.00060536445,0.0053067706,0.0058341776,0.0005341763,0.0005905891,0.001888324],"category_scores_gemma":[0.0020816212,0.00012575125,0.00008707782,0.00049093016,0.024946451,0.002896741,0.0027032387,0.0021797835,0.0002359884],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000050224902,0.000018465436,0.0009462999,0.00006461483,0.000003984388,0.00017761179,0.062201627,0.000089316476,0.00057543855,0.90185344,0.006063858,0.027955163],"study_design_scores_gemma":[0.000014575655,0.00010961055,0.009142576,0.0004602014,0.000015007305,0.0010939987,0.07470782,0.0004973999,0.0014206707,0.26912937,0.6433597,0.000049099424],"about_ca_topic_score_codex":0.005066799,"about_ca_topic_score_gemma":0.011825078,"teacher_disagreement_score":0.0058341776,"about_ca_system_score_codex":0.003324622,"about_ca_system_score_gemma":0.0010681232,"threshold_uncertainty_score":0.024122},"labels":[],"label_agreement":null},{"id":"W958428316","doi":"","title":"Resonance by Tony Tascona (review)","year":2002,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"History; Art history; Art","score_opus":0.013319659418504682,"score_gpt":0.16547953216887704,"score_spread":0.15215987275037235,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W958428316","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00006311132,0.9686734,0.000039876686,0.016821768,0.013021815,0.0000089063515,0.000038009617,0.00000807118,0.0013249617],"genre_scores_gemma":[0.0014099611,0.94337296,0.00013304589,0.025588408,0.021183014,0.000039664086,0.00008194187,0.000009131565,0.008181838],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99923885,0.0001928829,0.00010164651,0.0001184782,0.00025857222,0.0000895406],"domain_scores_gemma":[0.9976683,0.0007322299,0.0003201703,0.000074090356,0.00085254916,0.00035261488],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015486527,0.0010311784,0.001888306,0.002938638,0.0009881223,0.0023234487,0.0011400692,0.0032546858,0.011050868],"category_scores_gemma":[0.0045791343,0.0005606907,0.0006079178,0.004196047,0.0013444172,0.0020519441,0.0022703283,0.0027773133,0.0050990805],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009800623,0.000009295566,0.00011238549,0.0053206356,0.000055529366,0.000089015295,0.000111833906,0.000029359195,0.00012863977,0.00049544306,0.8717671,0.12178285],"study_design_scores_gemma":[0.000060637394,0.000032682856,0.0009185246,0.0038726816,0.00011697954,0.0004008279,0.00015686858,0.000011501783,0.00003715757,0.00029462832,0.99408406,0.000013468533],"about_ca_topic_score_codex":0.013725238,"about_ca_topic_score_gemma":0.03952263,"teacher_disagreement_score":0.013725238,"about_ca_system_score_codex":0.0020194068,"about_ca_system_score_gemma":0.004982863,"threshold_uncertainty_score":0.036968887},"labels":[],"label_agreement":null},{"id":"W95975330","doi":"10.5406/jamerfolk.127.504.0236","title":"International Country Music","year":2014,"lang":"en","type":"article","venue":"Journal of American Folklore","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Country; History; Choir; Popular music; Folio; Art history; Art; Literature; Genealogy; Visual arts","score_opus":0.014065824696583412,"score_gpt":0.2088106244541797,"score_spread":0.1947447997575963,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W95975330","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00059065124,0.0022681062,0.00020756364,0.0014070058,0.003700162,0.00003994178,0.0013507099,0.00034228966,0.9900935],"genre_scores_gemma":[0.0030074767,0.0012176685,0.00023739887,0.0006307931,0.0005160582,0.000027639084,0.0012713652,0.0002724487,0.99281913],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994765,0.000034878478,0.000020791884,0.00011835662,0.00021630668,0.00013323929],"domain_scores_gemma":[0.99952507,0.000034307395,0.000024745685,0.000065243716,0.00016801954,0.00018256377],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0004497986,0.0010434625,0.00045785288,0.0021082447,0.0032798748,0.008077503,0.00070468296,0.0013122545,0.6006639],"category_scores_gemma":[0.0017210583,0.00037755404,0.00038681735,0.0024098172,0.0005619282,0.0034503709,0.003748582,0.002993415,0.3833521],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000034007782,0.000017841787,0.00021382952,0.000100114135,0.0000024022843,0.000058529753,0.000290845,0.000013334415,0.00025732128,0.010739102,0.9094935,0.0787791],"study_design_scores_gemma":[0.0000018823728,0.0000044226003,0.0003565617,0.000034537497,5.989564e-7,0.000036980076,0.00016974033,0.0000059025815,0.000031275646,0.00016257692,0.99919385,0.0000018105762],"about_ca_topic_score_codex":0.0058334284,"about_ca_topic_score_gemma":0.016736995,"teacher_disagreement_score":0.6006639,"about_ca_system_score_codex":0.0012843852,"about_ca_system_score_gemma":0.0013875538,"threshold_uncertainty_score":0.56960446},"labels":[],"label_agreement":null},{"id":"W976033949","doi":"10.31542/j.muse.156","title":"'Something Inaudible': Roland Barthes' Concept of Listening and Literary Music","year":2014,"lang":"en","type":"article","venue":"MacEwan University Student eJournal","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"MacEwan University","funders":"","keywords":"MOZART; Active listening; Narrative; Harmony (color); Literature; Reading (process); Art; Philosophy of music; Rhythm; Aesthetics; Visual arts; Music history; Psychology; Linguistics; Philosophy; Musical; Communication","score_opus":0.01285344357922229,"score_gpt":0.18513586526313566,"score_spread":0.17228242168391336,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W976033949","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.02408337,0.038805597,0.0038420698,0.085399024,0.00312321,0.000020439553,0.000021484051,0.00007481884,0.8446299],"genre_scores_gemma":[0.87152106,0.011725885,0.0010053281,0.014712233,0.004008507,0.00007905671,0.000015719117,0.0001133828,0.09681881],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99689555,0.002104059,0.000042326814,0.00018431876,0.00048422368,0.00028950296],"domain_scores_gemma":[0.9973442,0.0018238412,0.00024140664,0.00013051856,0.00019034254,0.00026977385],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021804858,0.00052385405,0.00037406708,0.0012509443,0.0077272523,0.010481151,0.0013254478,0.0040563717,0.003215862],"category_scores_gemma":[0.0056316135,0.00018899323,0.00020227327,0.00072280434,0.040524475,0.008215915,0.0035181118,0.004959061,0.00097045995],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000031872703,0.0000169023,0.00011098831,0.000054525146,0.0000023498512,0.00029378213,0.055736512,0.000046207155,0.00013571147,0.91309494,0.020527603,0.009948578],"study_design_scores_gemma":[0.000024543888,0.000049107697,0.00059539557,0.0005948839,0.000008544429,0.00068302976,0.044007815,0.00016117051,0.00022188184,0.31536794,0.63825786,0.000027807944],"about_ca_topic_score_codex":0.0066132564,"about_ca_topic_score_gemma":0.006097114,"teacher_disagreement_score":0.010481151,"about_ca_system_score_codex":0.0033990312,"about_ca_system_score_gemma":0.0017685267,"threshold_uncertainty_score":0.02466178},"labels":[],"label_agreement":null}]}