{"meta":{"query_hash":"244d66926fab","filters":{"venue":"Journal of the American Musicological Society"},"cohort_total":15,"direct_labels_cover":0,"predictions_cover":15,"exported":15,"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/244d66926fab","api":"https://metacan.xera.ac/api/v1/cohort?venue=Journal+of+the+American+Musicological+Society"},"results":[{"id":"W2035216697","doi":"10.1525/jm.2008.61.3.609","title":"Review: Understanding the Women of Mozart's Operas by Kristi Brown-Montesano","year":2008,"lang":"en","type":"article","venue":"Journal of the American Musicological Society","topic":"Musicology and Musical Analysis","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"MOZART; Icon; Opera; Citation; Art history; History; Art; Literature; Library science; Computer science","score_opus":0.06713429346932531,"score_gpt":0.24754557867160543,"score_spread":0.18041128520228011,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2035216697","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":[0.000027717582,0.98583615,0.000025868516,0.00804833,0.0048270854,0.000011719697,0.000032286098,0.0000063972548,0.0011844034],"genre_scores_gemma":[0.0007188688,0.9807457,0.000076837154,0.009158282,0.0055310484,0.00005352131,0.00007945789,0.000008752424,0.0036275976],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980926,0.0005105208,0.00021893723,0.00022426431,0.00081801706,0.0001357016],"domain_scores_gemma":[0.9932674,0.0028441686,0.00079808023,0.00011677303,0.0025277133,0.00044591477],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0025477295,0.0015033674,0.0021198853,0.005309941,0.0009424045,0.003549194,0.002026526,0.0030179434,0.012008912],"category_scores_gemma":[0.0130886845,0.000681511,0.0008319193,0.0068694944,0.0016567821,0.0044055576,0.0016618075,0.003905278,0.0054622325],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000287162,0.0000057811344,0.00006772203,0.0061414195,0.00004439359,0.0000466173,0.00012237596,0.000026880685,0.00006631274,0.0005875822,0.92861354,0.06424871],"study_design_scores_gemma":[0.000024610175,0.000027723769,0.0008190302,0.017721912,0.00010050076,0.00038249916,0.0002884492,0.0000142182225,0.000046930185,0.000686076,0.9798636,0.000024440766],"about_ca_topic_score_codex":0.009288136,"about_ca_topic_score_gemma":0.017885564,"teacher_disagreement_score":0.012008912,"about_ca_system_score_codex":0.0040687076,"about_ca_system_score_gemma":0.007442097,"threshold_uncertainty_score":0.04017377},"labels":[],"label_agreement":null},{"id":"W2272173613","doi":"10.1525/jams.2013.66.3.771","title":"Queer Encounters in the Music of Billy Strayhorn","year":2013,"lang":"en","type":"article","venue":"Journal of the American Musicological Society","topic":"Theater, Performance, and Music History","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":"Centre for Interdisciplinary Research in Music Media and Technology","funders":"","keywords":"Queer; Jazz; Liminality; Art; Aesthetics; Musical; Identity (music); Human sexuality; Literature; Visual arts; Sociology; Gender studies","score_opus":0.026639270887670666,"score_gpt":0.20748483171212004,"score_spread":0.18084556082444936,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2272173613","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":[0.8847102,0.004032081,0.0009978606,0.010137807,0.00047151762,0.000034264092,0.000054399155,0.000054313932,0.09950764],"genre_scores_gemma":[0.9794795,0.00073643815,0.00022141321,0.00062223466,0.00011752541,0.0000112362495,0.00001372096,0.000038740836,0.01875918],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988398,0.00057580066,0.00002567403,0.00010744381,0.00016691115,0.00028434218],"domain_scores_gemma":[0.9987902,0.000663451,0.00014502057,0.000057332167,0.000075009084,0.00026897827],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014839139,0.00031720774,0.0003198311,0.0011752163,0.01769046,0.0052369507,0.0005346832,0.0012486088,0.0066146404],"category_scores_gemma":[0.002652035,0.00024824028,0.00011162242,0.0007750756,0.012341905,0.002876783,0.004232373,0.0030603223,0.00052627764],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008689591,0.00002399466,0.001773631,0.00004122581,0.0000051472407,0.0012294526,0.955981,0.000032395586,0.0014150912,0.024957273,0.00584071,0.008613129],"study_design_scores_gemma":[0.0000097378415,0.000057623896,0.009962416,0.0001448695,0.000005815125,0.0011290569,0.73974055,0.00007114258,0.0005947312,0.0022823594,0.24597348,0.000028164617],"about_ca_topic_score_codex":0.018171772,"about_ca_topic_score_gemma":0.0698803,"teacher_disagreement_score":0.018171772,"about_ca_system_score_codex":0.0030122832,"about_ca_system_score_gemma":0.0010578335,"threshold_uncertainty_score":0.036132038},"labels":[],"label_agreement":null},{"id":"W2275687740","doi":"10.1525/jams.2010.63.3.652","title":"Review: Imposing Harmony: Music and Society in Colonial Cuzco by Geoffrey Baker","year":2010,"lang":"en","type":"article","venue":"Journal of the American Musicological Society","topic":"Latin American 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":"Harmony (color); Colonialism; Harmony (Music); Art; Aesthetics; Art history; History; Literature; Visual arts; Archaeology; Musical","score_opus":0.015822615612031226,"score_gpt":0.22785187180253325,"score_spread":0.21202925619050203,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2275687740","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":[0.00002913114,0.98635155,0.000031289208,0.0054834285,0.006558322,0.000015017409,0.000039079594,0.000008054078,0.0014841419],"genre_scores_gemma":[0.0006137277,0.9808292,0.00007303626,0.008776144,0.0056232684,0.000046603436,0.00009590131,0.000008487659,0.0039336155],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985611,0.0003438139,0.00020227542,0.00018490775,0.0005994509,0.000108491],"domain_scores_gemma":[0.99569476,0.0016589419,0.0005628258,0.000092196446,0.0016526349,0.00033862333],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013012593,0.0016715984,0.0026809615,0.0041539907,0.00095442793,0.003023435,0.0019228688,0.0034468325,0.012821527],"category_scores_gemma":[0.008120152,0.0007526299,0.0008128463,0.006919525,0.0017223769,0.003955069,0.0015704355,0.0041046455,0.008088705],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028127588,0.00000779765,0.00006223701,0.0077569466,0.000043810967,0.00007887329,0.000064200874,0.00003428618,0.00007240319,0.0005188701,0.9067446,0.08458787],"study_design_scores_gemma":[0.000022857133,0.00002991125,0.0007352468,0.013240333,0.00007270878,0.0006317287,0.00015481353,0.000016002585,0.000038917908,0.0005378588,0.9844971,0.0000225939],"about_ca_topic_score_codex":0.008379332,"about_ca_topic_score_gemma":0.013896099,"teacher_disagreement_score":0.012821527,"about_ca_system_score_codex":0.0028249694,"about_ca_system_score_gemma":0.006822194,"threshold_uncertainty_score":0.042892277},"labels":[],"label_agreement":null},{"id":"W2296807114","doi":"10.1525/jams.2004.57.1.193","title":"Review: The Garland Encyclopedia of World Music. Vol. 3, The United States and Canada by Ellen Koskoff","year":2004,"lang":"en","type":"article","venue":"Journal of the American Musicological Society","topic":"Musicology and Musical Analysis","field":"Arts and Humanities","cited_by":0,"is_retracted":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; Encyclopedia; Citation; Folklife; Download; History; Library science; Art history; Art; Media studies; World Wide Web; Computer science; Sociology; Literature","score_opus":0.014651180773929134,"score_gpt":0.21406359537607345,"score_spread":0.19941241460214432,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2296807114","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":[0.000039280094,0.9812121,0.00014805757,0.004350063,0.0077655283,0.000098331395,0.00038955055,0.00005794613,0.0059391162],"genre_scores_gemma":[0.0005125542,0.98073936,0.00031702276,0.0035859754,0.003137409,0.000120072415,0.00076760125,0.00002678766,0.010793252],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982602,0.0002569355,0.0002810347,0.00021212964,0.0008303191,0.00015942643],"domain_scores_gemma":[0.9947291,0.001110739,0.00056277943,0.0001243371,0.002894978,0.0005779954],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013913368,0.003013005,0.0041600824,0.009430492,0.00092656486,0.0044124313,0.002404233,0.0025336118,0.05577679],"category_scores_gemma":[0.0070181456,0.001041371,0.0013854456,0.014811095,0.0012745302,0.0037791582,0.0017644815,0.004456035,0.048649516],"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":[0.0000307968,0.000009967582,0.000106317624,0.008816353,0.000059446338,0.00007490759,0.000032271164,0.00005750812,0.0001433878,0.00027751768,0.8827872,0.10760427],"study_design_scores_gemma":[0.000016110886,0.000014578434,0.0007532413,0.008498018,0.00008141844,0.00040339486,0.000053389558,0.000018845323,0.000047614853,0.00035688706,0.98973536,0.00002116603],"about_ca_topic_score_codex":0.020033604,"about_ca_topic_score_gemma":0.031204425,"teacher_disagreement_score":0.9799664,"about_ca_system_score_codex":0.0044055684,"about_ca_system_score_gemma":0.010295484,"threshold_uncertainty_score":0.18659192},"labels":[],"label_agreement":null},{"id":"W2316770261","doi":"10.1525/jams.2011.64.1.51","title":"“—wie ihn uns Meister Dürer gemalt!”: Contest, Myth, and Prophecy in Wagner's Die Meistersinger von Nürnberg","year":2011,"lang":"en","type":"article","venue":"Journal of the American Musicological Society","topic":"Musicology and Musical Analysis","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":"ECW Press (Canada)","funders":"","keywords":"CONTEST; Mythology; Art; SWORD; Opera; Drama; Poetry; Painting; Art history; Literature; Purgatory; Philosophy; Theology","score_opus":0.06063171685093252,"score_gpt":0.22391968969153236,"score_spread":0.16328797284059984,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2316770261","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3063661,0.011812613,0.0042575076,0.09091893,0.0023946562,0.000032621254,0.000054479384,0.000106181535,0.5840568],"genre_scores_gemma":[0.9729595,0.0006962627,0.00021839413,0.0016649191,0.00020225353,0.000010847424,0.000008295502,0.00004538285,0.024194125],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99768126,0.0012176913,0.00003810244,0.00020593742,0.00043611715,0.00042093528],"domain_scores_gemma":[0.9993298,0.0003622891,0.00008556364,0.000042777556,0.000058327358,0.0001212636],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019199785,0.00037403588,0.00030552395,0.0007766785,0.008685522,0.008090703,0.0006568206,0.001850589,0.0022387444],"category_scores_gemma":[0.002990603,0.00021220036,0.00017169428,0.00047780533,0.022531642,0.0034602669,0.0035187737,0.0036359157,0.0005229157],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000047791284,0.000029893474,0.0005836263,0.000027550086,0.000006955291,0.0003972858,0.12246656,0.00016570253,0.00031466116,0.8298702,0.036901515,0.009188177],"study_design_scores_gemma":[0.000020484731,0.00005192618,0.0017630067,0.0002342733,0.000013073358,0.0008377433,0.1575965,0.0006094988,0.00090991176,0.10990067,0.7280048,0.000058132664],"about_ca_topic_score_codex":0.0087614665,"about_ca_topic_score_gemma":0.015919885,"teacher_disagreement_score":0.0087614665,"about_ca_system_score_codex":0.005894292,"about_ca_system_score_gemma":0.0014414623,"threshold_uncertainty_score":0.042766273},"labels":[],"label_agreement":null},{"id":"W2325003127","doi":"10.1525/jams.2016.69.1.255","title":"Review: Sheet Music Consortium","year":2016,"lang":"en","type":"article","venue":"Journal of the American Musicological Society","topic":"Digital and Traditional Archives Management","field":"Arts and Humanities","cited_by":0,"is_retracted":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; Citation; Scholarship; History; Library science; Art history; Art; Computer science; Political science; Law","score_opus":0.04589326710971991,"score_gpt":0.23325092718835552,"score_spread":0.1873576600786356,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2325003127","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":[0.0003206537,0.7982944,0.0009184031,0.092774875,0.04983564,0.0010156085,0.0046834494,0.00061363773,0.05154329],"genre_scores_gemma":[0.0034564144,0.83406955,0.0011784018,0.08803134,0.016824251,0.0014867852,0.005515868,0.00023248143,0.049204916],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9935003,0.0011255109,0.0010323523,0.0007688615,0.0029987562,0.0005742126],"domain_scores_gemma":[0.9783497,0.003548159,0.0022861648,0.001129689,0.012859046,0.0018272458],"candidate_categories":["scholarly_communication"],"consensus_categories":[],"category_scores_codex":[0.0065840776,0.0016022719,0.0039936076,0.0078024846,0.0020615002,0.008575397,0.005479815,0.007840447,0.08656542],"category_scores_gemma":[0.023286626,0.0009046014,0.0023774314,0.007977829,0.0017867466,0.005130364,0.003269994,0.0063170516,0.056542464],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010907624,0.000021021699,0.00011131737,0.022511696,0.00012531788,0.00011982756,0.000052960757,0.000037222762,0.00016829706,0.0014335234,0.83405954,0.14125016],"study_design_scores_gemma":[0.000058352598,0.00002174505,0.00032323322,0.010790261,0.00010736361,0.00015705967,0.000035217457,0.000013440873,0.00006506698,0.0005425304,0.98787063,0.000015082538],"about_ca_topic_score_codex":0.0043801484,"about_ca_topic_score_gemma":0.0068806424,"teacher_disagreement_score":0.9914246,"about_ca_system_score_codex":0.0053159026,"about_ca_system_score_gemma":0.022393908,"threshold_uncertainty_score":0.28959018},"labels":[],"label_agreement":null},{"id":"W2968682289","doi":"10.1525/jams.2019.72.2.595","title":"Review: Improvisation and Social Aesthetics, edited by Georgina Born, Eric Lewis, and Will Straw","year":2019,"lang":"en","type":"article","venue":"Journal of the American Musicological Society","topic":"Musicology and Musical Analysis","field":"Arts and Humanities","cited_by":0,"is_retracted":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; Jazz; Icon; Art; Art history; History; Visual arts; Computer science","score_opus":0.014480425828701996,"score_gpt":0.22347336594268877,"score_spread":0.20899294011398678,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2968682289","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":[0.000049123773,0.9901129,0.00007699541,0.004751465,0.004214618,0.000019429393,0.000037505182,0.000008066169,0.0007297247],"genre_scores_gemma":[0.00043188385,0.99403715,0.000115910305,0.002715634,0.0014975304,0.000045327884,0.000060203594,0.0000051929214,0.0010910657],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984787,0.00047166992,0.0002125023,0.0001634368,0.0005751181,0.000098570206],"domain_scores_gemma":[0.99593484,0.0021618588,0.0004683416,0.00008311162,0.0011033821,0.00024832765],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002427683,0.0015304922,0.003329106,0.0044730403,0.0010141486,0.004336467,0.0017254599,0.0026042962,0.006593291],"category_scores_gemma":[0.008631291,0.0009363028,0.0012845986,0.008481806,0.0016661262,0.004242314,0.0015748409,0.004955375,0.0035696812],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000969795,0.000036028563,0.00021690778,0.053967524,0.00030038165,0.00014671285,0.00039782832,0.00022882165,0.00030350624,0.0026443861,0.695597,0.24606395],"study_design_scores_gemma":[0.000039141898,0.000052413525,0.0011040785,0.029241879,0.00015692021,0.00036429724,0.00024784985,0.00005280391,0.000066117085,0.0011603286,0.96748626,0.000027892203],"about_ca_topic_score_codex":0.00627792,"about_ca_topic_score_gemma":0.011421531,"teacher_disagreement_score":0.006593291,"about_ca_system_score_codex":0.0027137527,"about_ca_system_score_gemma":0.010670824,"threshold_uncertainty_score":0.022056758},"labels":[],"label_agreement":null},{"id":"W2994979603","doi":"10.1525/jams.2019.72.3.920","title":"Review: International Music Score Library Project (IMSLP)","year":2019,"lang":"en","type":"article","venue":"Journal of the American Musicological Society","topic":"Diverse Musicological Studies","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":"Icon; Musicology; Citation; Library science; History; Art; Art history; Visual arts; Computer science","score_opus":0.10030023302073614,"score_gpt":0.256213389828064,"score_spread":0.15591315680732787,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2994979603","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":[0.00012669948,0.97823757,0.00016740401,0.008223277,0.0059378073,0.00013744354,0.0009127088,0.00012574707,0.006131285],"genre_scores_gemma":[0.0012217315,0.9733276,0.00020025964,0.013413025,0.0039636744,0.00020083152,0.001441387,0.000028798899,0.006202776],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99856347,0.00023749883,0.00023777282,0.0002523734,0.0005620603,0.00014686232],"domain_scores_gemma":[0.99677485,0.0008759872,0.00059975946,0.00012587586,0.0012431489,0.00038037702],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018053803,0.0014340114,0.0030220323,0.0050610863,0.0008916499,0.0044910377,0.0030432178,0.0034969952,0.048962396],"category_scores_gemma":[0.005745031,0.0006588067,0.0015564848,0.0059011444,0.0009156342,0.0035503998,0.0020047456,0.0040484467,0.021827716],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012813474,0.00003248593,0.00010776288,0.055194803,0.00018727069,0.00012970377,0.000055546905,0.00007014973,0.00018234366,0.0010459046,0.649117,0.29374886],"study_design_scores_gemma":[0.0001117606,0.000064922104,0.0006713875,0.020927835,0.00026155426,0.00043335737,0.00004302481,0.000028300656,0.000086104905,0.0005202868,0.97682595,0.00002553554],"about_ca_topic_score_codex":0.0025950738,"about_ca_topic_score_gemma":0.0031358255,"teacher_disagreement_score":0.048962396,"about_ca_system_score_codex":0.0024528378,"about_ca_system_score_gemma":0.006536103,"threshold_uncertainty_score":0.16379553},"labels":[],"label_agreement":null},{"id":"W2996036998","doi":"10.1525/jams.2019.72.3.912","title":"Review: Measuring Polyphony: Digital Encodings of Late Medieval Music","year":2019,"lang":"en","type":"article","venue":"Journal of the American Musicological Society","topic":"Diverse Musicological Studies","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":"Polyphony; Icon; Melody; Musicology; Guitar; Art; Citation; Computer science; Art history; World Wide Web; Visual arts; Literature; Musical","score_opus":0.08134630478013333,"score_gpt":0.23000059868029146,"score_spread":0.14865429390015814,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2996036998","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":[0.00007093697,0.99682355,0.000054774566,0.0018610045,0.00073735847,0.000020899633,0.000060352144,0.0000064291135,0.0003646957],"genre_scores_gemma":[0.0014273239,0.993679,0.00013729882,0.0034436155,0.0009237947,0.000041484487,0.00008975847,0.000005148905,0.00025267692],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9976047,0.00079035864,0.00054317835,0.00029224914,0.00067595515,0.00009353394],"domain_scores_gemma":[0.98124826,0.011836806,0.0022942657,0.00041006703,0.0038280599,0.00038252387],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0030535893,0.00074525195,0.0023497404,0.00408232,0.00064905116,0.0025573617,0.0019137857,0.002205177,0.004564198],"category_scores_gemma":[0.02409292,0.0005496096,0.0011199787,0.0050034877,0.0015185152,0.0029650526,0.0010542857,0.0022826532,0.0014880309],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00033344442,0.00004311174,0.0005444793,0.20842591,0.0013847315,0.00014345084,0.00026037137,0.00013678127,0.0003994086,0.0017444429,0.19636393,0.5902199],"study_design_scores_gemma":[0.00014803307,0.0002552017,0.0049015204,0.122165404,0.0024316383,0.0008322141,0.00034124043,0.000082943174,0.0003611112,0.0016976534,0.86670095,0.00008204889],"about_ca_topic_score_codex":0.0030761943,"about_ca_topic_score_gemma":0.0077865836,"teacher_disagreement_score":0.004564198,"about_ca_system_score_codex":0.0016424045,"about_ca_system_score_gemma":0.00447311,"threshold_uncertainty_score":0.016149104},"labels":[],"label_agreement":null},{"id":"W2996717771","doi":"10.1525/jams.2019.72.3.876","title":"Review: Just One of the Boys: Female-to-Male Cross-Dressing on the American Variety Stage, by Gillian M. Rodger","year":2019,"lang":"en","type":"article","venue":"Journal of the American Musicological Society","topic":"Media, Gender, and Advertising","field":"Social Sciences","cited_by":0,"is_retracted":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; Queer; Variety (cybernetics); Subversion; Citation; Art history; History; Art; Sociology; Politics; Library science; Gender studies; Law; Political science; Computer science","score_opus":0.0713902498249169,"score_gpt":0.36308760067350754,"score_spread":0.2916973508485906,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2996717771","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":[0.000052116564,0.9770666,0.00002785324,0.011129128,0.010486602,0.000011337795,0.000058484573,0.000010525551,0.0011573129],"genre_scores_gemma":[0.0006026883,0.97076684,0.000044344935,0.017801022,0.008822055,0.0000209503,0.00006763769,0.000008727481,0.0018656638],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990169,0.00018322162,0.0001763306,0.00022007406,0.00031971183,0.00008366606],"domain_scores_gemma":[0.9958514,0.0013893733,0.0005018525,0.00010170762,0.0015311089,0.00062468933],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014681442,0.00091834407,0.0023531578,0.002645106,0.0010285518,0.0037908612,0.00226923,0.004017461,0.01578028],"category_scores_gemma":[0.0059995106,0.00064277527,0.0008696081,0.0046121483,0.0012793032,0.0043473328,0.0018790102,0.004318672,0.006895174],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005852567,0.000017974344,0.0001467809,0.01908385,0.00007387572,0.00011011294,0.000121293444,0.000028994671,0.00008189144,0.00049789395,0.8615379,0.11824095],"study_design_scores_gemma":[0.00002476708,0.000030433885,0.0010240128,0.021446692,0.00010088112,0.0004537372,0.00024677074,0.000017309163,0.00003396473,0.0003454933,0.9762548,0.000021271679],"about_ca_topic_score_codex":0.0075229034,"about_ca_topic_score_gemma":0.013913667,"teacher_disagreement_score":0.01578028,"about_ca_system_score_codex":0.0019761727,"about_ca_system_score_gemma":0.00489589,"threshold_uncertainty_score":0.052790284},"labels":[],"label_agreement":null},{"id":"W3133750472","doi":"10.1525/jams.2020.73.3.535","title":"Sarti's <i>Fra i due litiganti</i> and Opera in Vienna","year":2020,"lang":"en","type":"article","venue":"Journal of the American Musicological Society","topic":"Historical Influence and Diplomacy","field":"Social Sciences","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":"Trinity College","funders":"","keywords":"MOZART; Opera; Italian opera; Musical; Prestige; Art; Popularity; Art history; Appeal; History; Humanities; Literature; Law; Philosophy; Political science","score_opus":0.03819363370505272,"score_gpt":0.3101091763676262,"score_spread":0.27191554266257345,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3133750472","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.17220816,0.01859682,0.0029361737,0.014363093,0.008484028,0.00004267237,0.00021198633,0.0004295899,0.7827274],"genre_scores_gemma":[0.73917806,0.0025830138,0.00093109976,0.0010361237,0.0013579346,0.00002126513,0.00019212352,0.0006647896,0.2540355],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99887544,0.0003244926,0.00004949556,0.00016467633,0.0003955661,0.00019024938],"domain_scores_gemma":[0.999418,0.00013467876,0.000081979844,0.000070352704,0.000094307936,0.00020062005],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012745915,0.00024811842,0.00022883329,0.001351774,0.0030548193,0.005704531,0.0006165736,0.0007943518,0.017809125],"category_scores_gemma":[0.00228844,0.00021954712,0.00020820701,0.0011859129,0.0030745731,0.0017589679,0.0040492713,0.0022227808,0.00405046],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00032333154,0.00012700714,0.0031220317,0.0004389842,0.000025759204,0.001795346,0.065611765,0.00053365785,0.0062791607,0.41106844,0.35685405,0.15382046],"study_design_scores_gemma":[0.0000074768923,0.000052848354,0.0054902653,0.00023667376,0.0000051096135,0.0005099114,0.005825145,0.00011162184,0.0011641772,0.00506173,0.9815149,0.000020245623],"about_ca_topic_score_codex":0.0018793474,"about_ca_topic_score_gemma":0.0042664474,"teacher_disagreement_score":0.017809125,"about_ca_system_score_codex":0.0025101416,"about_ca_system_score_gemma":0.00068183977,"threshold_uncertainty_score":0.059577465},"labels":[],"label_agreement":null},{"id":"W3200349413","doi":"10.1525/jams.2021.74.2.449","title":"<i>Class, Control, and Classical Music</i>, by Anna Bull","year":2021,"lang":"en","type":"article","venue":"Journal of the American Musicological Society","topic":"Diverse Music Education Insights","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":"Icon; Musical; Music education; Citation; Music history; Popular music; Art; Visual arts; Sociology; History; Media studies; Law; Political science; Computer science","score_opus":0.03323726557360164,"score_gpt":0.23033453920393152,"score_spread":0.19709727363032986,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3200349413","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":[0.021458186,0.1626295,0.0009034639,0.7220245,0.006773729,0.000028849165,0.00012305226,0.0000622317,0.08599651],"genre_scores_gemma":[0.60665923,0.0845261,0.0021213393,0.17313133,0.014991214,0.00020141345,0.00017380885,0.00021562788,0.11797996],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981071,0.0011028008,0.000041572857,0.00021503953,0.00035051134,0.00018304204],"domain_scores_gemma":[0.9984162,0.0009919249,0.0001479853,0.00006639427,0.00014598195,0.0002315512],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019941041,0.000556446,0.00026809762,0.0010429939,0.0065429835,0.0077211345,0.001572969,0.0023311744,0.0055982647],"category_scores_gemma":[0.0037754942,0.0002752143,0.0002496268,0.0012273308,0.012976573,0.00766264,0.0041753147,0.00517788,0.0008820208],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000065607106,0.00006675298,0.0034361114,0.00027913603,0.000019946336,0.00017665367,0.08802354,0.000098763325,0.0002650336,0.2491258,0.6067065,0.05173617],"study_design_scores_gemma":[0.00001176046,0.000032584092,0.005733456,0.0007553736,0.000011889539,0.00019271085,0.050806336,0.0002697343,0.00023391159,0.059684727,0.88222915,0.00003834573],"about_ca_topic_score_codex":0.04891131,"about_ca_topic_score_gemma":0.058899976,"teacher_disagreement_score":0.04891131,"about_ca_system_score_codex":0.0043816958,"about_ca_system_score_gemma":0.0028586008,"threshold_uncertainty_score":0.0972532},"labels":[],"label_agreement":null},{"id":"W4386553479","doi":"10.1525/jams.2023.76.2.518","title":"<i>Sound Relations: Native Ways of Doing Music History in Alaska</i>, by Jessica Bissett Perea","year":2023,"lang":"en","type":"article","venue":"Journal of the American Musicological Society","topic":"Historical Studies and Socio-cultural Analysis","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":"Icon; Indigenous; History; Media studies; Folklife; The arts; Art history; Art; Visual arts; Sociology; Archaeology; Computer science; Folklore","score_opus":0.06245190101462121,"score_gpt":0.23237607876292524,"score_spread":0.16992417774830404,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4386553479","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":[0.28145593,0.18943907,0.003362865,0.148088,0.012151766,0.000057736102,0.0001772297,0.0001851471,0.36508223],"genre_scores_gemma":[0.80034584,0.06215321,0.0036823996,0.01499343,0.0018654607,0.00007568579,0.000075991295,0.00013848001,0.11666951],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996166,0.00017151295,0.00001698971,0.00006661243,0.00008301777,0.00004507021],"domain_scores_gemma":[0.9995134,0.00019793383,0.000038097678,0.000022510707,0.0000895237,0.00013853052],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012133642,0.00039372436,0.00018637872,0.00081867946,0.013636952,0.0053569023,0.0005439975,0.0013744542,0.002337957],"category_scores_gemma":[0.0015183896,0.00024717065,0.00011828329,0.00085005927,0.006629204,0.004601231,0.0026924938,0.0031945156,0.00029782212],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000036054047,0.0000613771,0.003485134,0.00027106144,0.0000120006125,0.0011827525,0.8285219,0.00008998288,0.0013472195,0.05234901,0.0655094,0.047134027],"study_design_scores_gemma":[0.000001991124,0.00003001945,0.006211858,0.0007936427,0.000013539087,0.00073160103,0.42783943,0.00007338003,0.0004632492,0.0073212003,0.55649614,0.000024052988],"about_ca_topic_score_codex":0.06874977,"about_ca_topic_score_gemma":0.1893867,"teacher_disagreement_score":0.06874977,"about_ca_system_score_codex":0.0023508987,"about_ca_system_score_gemma":0.0030673905,"threshold_uncertainty_score":0.13669926},"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":"W7110080798","doi":"10.1525/jams.2025.78.3.856","title":"Music’s AI Problem, AI’s Music Problem","year":2025,"lang":"en","type":"article","venue":"Journal of the American Musicological Society","topic":"Music Technology and Sound Studies","field":"Computer Science","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Pace; Creativity; Focus (optics); Musical; Value (mathematics); Quarter (Canadian coin); Generative grammar","score_opus":0.01791721775610573,"score_gpt":0.26266007577226663,"score_spread":0.2447428580161609,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7110080798","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":[0.0008971908,0.033892307,0.0038640304,0.82165253,0.0153760575,0.000011579826,0.00010407699,0.00012316713,0.12407903],"genre_scores_gemma":[0.17314778,0.047353458,0.009675097,0.46710905,0.05842285,0.00017786656,0.0004077674,0.0006457096,0.24306047],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9970095,0.0012796598,0.00009744227,0.0005739707,0.00074817607,0.00029120172],"domain_scores_gemma":[0.9939733,0.004139379,0.00021973239,0.0003432222,0.00066202815,0.0006623357],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0036871645,0.00086394,0.00054183416,0.0012780385,0.0076379543,0.008617214,0.001572543,0.008535953,0.02331097],"category_scores_gemma":[0.015069895,0.00027621925,0.000548329,0.001220339,0.01762965,0.016252818,0.0034358776,0.0175219,0.007748498],"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":[0.000028497829,0.000017730787,0.0001444939,0.000068194735,0.000008049382,0.000064641696,0.0010955248,0.000099623074,0.00007285175,0.57231,0.40544632,0.02064411],"study_design_scores_gemma":[0.000013579135,0.000010898224,0.00015883635,0.00009965229,0.000002936554,0.00014236126,0.0010804519,0.00024392529,0.00006023059,0.31800526,0.6801675,0.000014398477],"about_ca_topic_score_codex":0.0066337776,"about_ca_topic_score_gemma":0.0061715473,"teacher_disagreement_score":0.02331097,"about_ca_system_score_codex":0.0036089453,"about_ca_system_score_gemma":0.0029397206,"threshold_uncertainty_score":0.0779829},"labels":[],"label_agreement":null}]}