{"meta":{"query_hash":"703d8249fc35","filters":{"venue":"Music Theory Online"},"cohort_total":112,"direct_labels_cover":0,"predictions_cover":112,"exported":112,"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/703d8249fc35","api":"https://metacan.xera.ac/api/v1/cohort?venue=Music+Theory+Online"},"results":[{"id":"W1481750681","doi":"10.30535/mto.19.1.3","title":"Radiohead’s “Pyramid Song”","year":2013,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Neuroscience and Music Perception","field":"Neuroscience","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 British Columbia","funders":"","keywords":"Ambiguity; Active listening; Pyramid (geometry); Aesthetics; Rhythm; Dynamics (music); Sociology; Visual arts; Art; Psychology; Communication; Linguistics; Philosophy; Mathematics; Pedagogy","score_opus":0.047159966122027434,"score_gpt":0.2751600956589719,"score_spread":0.22800012953694448,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1481750681","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.21201932,0.0010351691,0.019185765,0.0061098607,0.0011668354,0.000099599994,0.00019258237,0.00056384585,0.7596271],"genre_scores_gemma":[0.82173395,0.0005872482,0.0078094495,0.0019805145,0.00037656157,0.000053581185,0.0001443481,0.00018962137,0.16712461],"study_design_codex":"design_other","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9996971,0.00006955341,0.000007874233,0.00007074783,0.00011271614,0.00004208574],"domain_scores_gemma":[0.99964297,0.00017097412,0.000024511273,0.00003505524,0.000052308125,0.00007413654],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00043819615,0.00025028124,0.00008505288,0.00054151093,0.0011500841,0.0016975534,0.0003403148,0.0006758042,0.010940594],"category_scores_gemma":[0.001314453,0.0000821588,0.00010142033,0.0002766623,0.0015455098,0.0014333992,0.00089779816,0.0008054816,0.0018386487],"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":[0.00060384365,0.00013692508,0.004472869,0.00048347545,0.000028938812,0.0029710792,0.108094305,0.0004994643,0.027839849,0.33118355,0.16461074,0.35907492],"study_design_scores_gemma":[0.000025714877,0.00023611286,0.008589678,0.00011452024,0.00001633979,0.0033596866,0.018975815,0.0007531598,0.004739097,0.009546777,0.95360136,0.000041762218],"about_ca_topic_score_codex":0.0024328295,"about_ca_topic_score_gemma":0.005811746,"teacher_disagreement_score":0.010940594,"about_ca_system_score_codex":0.00051235995,"about_ca_system_score_gemma":0.00027978705,"threshold_uncertainty_score":0.036599874},"labels":[],"label_agreement":null},{"id":"W1512589837","doi":"10.30535/mto.19.1.5","title":"Beyond Homage and Critique? Schubert’s Sonata in C minor, D. 958, and Beethoven’s Thirty-Two Variations in C minor, WoO 80","year":2013,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Musicology and Musical Analysis","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":"Appropriation; Minor (academic); Originality; Literature; Musical; Art; Musical analysis; Philosophy; Piano sonata; MOZART; Humanities; Art history; Psychology; Linguistics","score_opus":0.018541869681319854,"score_gpt":0.2447899186538822,"score_spread":0.22624804897256234,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1512589837","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.34444043,0.017057832,0.007770711,0.029170308,0.0011588716,0.00007565451,0.00007392961,0.00009237897,0.6001598],"genre_scores_gemma":[0.9714086,0.00094340474,0.0008610631,0.00082951004,0.00016458111,0.00004777472,0.000019883317,0.0000567911,0.025668418],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99812764,0.00089389394,0.000051350984,0.00027717277,0.00036354052,0.00028642153],"domain_scores_gemma":[0.99923265,0.00034749447,0.000090554735,0.000106058396,0.000098409924,0.00012488558],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014257256,0.0005168287,0.0003242621,0.0016531015,0.005350057,0.0065119215,0.001050692,0.0017385002,0.0021941974],"category_scores_gemma":[0.0040495964,0.00022866359,0.00019798703,0.0010892344,0.02496995,0.0049640536,0.0031987652,0.0026742571,0.00035740907],"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":[0.000043155833,0.00001499465,0.0005887603,0.0000385913,0.000004619023,0.0001991646,0.13598748,0.000062182575,0.00068057573,0.8425862,0.0041596987,0.015634604],"study_design_scores_gemma":[0.00003303771,0.00006408566,0.0042216387,0.00031762652,0.000013635571,0.00034445562,0.11731763,0.00024185583,0.0012585222,0.21822102,0.6579038,0.00006268691],"about_ca_topic_score_codex":0.01254785,"about_ca_topic_score_gemma":0.020396931,"teacher_disagreement_score":0.01254785,"about_ca_system_score_codex":0.005058587,"about_ca_system_score_gemma":0.0015983857,"threshold_uncertainty_score":0.03670281},"labels":[],"label_agreement":null},{"id":"W1520450641","doi":"10.30535/mto.17.1.9","title":"Models and Music Theory","year":2011,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Neuroscience and Music Perception","field":"Neuroscience","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":"Depiction; Assertion; Subject (documents); Epistemology; Music theory; Cognitive science; Computer science; Psychology; Musical; Art; Philosophy; Visual arts","score_opus":0.14375679990901952,"score_gpt":0.2826603529017907,"score_spread":0.13890355299277118,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1520450641","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.021630239,0.0070180995,0.13946855,0.041662246,0.0008193416,0.00007848314,0.00014581035,0.00017689417,0.7890004],"genre_scores_gemma":[0.9229682,0.004577788,0.03126258,0.0038389745,0.0006824033,0.00024322582,0.0001636124,0.000110449,0.03615275],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9981744,0.0010075417,0.000055262324,0.00025482636,0.00037188886,0.0001361805],"domain_scores_gemma":[0.9979845,0.0011481942,0.00018008161,0.00030989837,0.00021527473,0.00016191935],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021175877,0.0006910266,0.00044406572,0.0022693358,0.0022100033,0.0056240913,0.0015363495,0.0025586283,0.009420008],"category_scores_gemma":[0.004590422,0.00022777927,0.0006728772,0.0013115797,0.017705811,0.006710347,0.0023196342,0.0024012886,0.0015507288],"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":[0.0000023182756,0.0000020800717,0.0000468685,0.000011622484,0.0000015315037,0.000009695642,0.00027314638,0.00028869108,0.000011685255,0.99705255,0.0008174799,0.0014821733],"study_design_scores_gemma":[0.0000046347027,0.000004019755,0.00005970612,0.00002753871,0.0000014452154,0.000027139002,0.00030177776,0.0013826366,0.000021083997,0.9805088,0.017657606,0.0000037224481],"about_ca_topic_score_codex":0.00471935,"about_ca_topic_score_gemma":0.0043252506,"teacher_disagreement_score":0.009420008,"about_ca_system_score_codex":0.005327779,"about_ca_system_score_gemma":0.001985765,"threshold_uncertainty_score":0.038655877},"labels":[],"label_agreement":null},{"id":"W1523120598","doi":"10.30535/mto.20.2.7","title":"Genus, Species and Mode in Vicentino’s 31-tone Compositional Theory","year":2014,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Musicology and Musical Analysis","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":"Mode (computer interface); Chromatic scale; Tone (literature); Art; Genus; Gamut; Musical; Musical tone; Literature; Mathematics; Zoology; Computer science; Biology; Pitch (Music); Combinatorics; Artificial intelligence","score_opus":0.024128434820543134,"score_gpt":0.24270180334574348,"score_spread":0.21857336852520035,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1523120598","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.05362298,0.004205211,0.0365459,0.005381165,0.0006877478,0.00004813648,0.00007753228,0.00007873334,0.8993526],"genre_scores_gemma":[0.9438298,0.0018085919,0.011894366,0.0009927457,0.00044319738,0.00009817785,0.00005992484,0.00007991316,0.040793266],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99921596,0.0003632119,0.000026015437,0.00014030242,0.0001745872,0.00007987043],"domain_scores_gemma":[0.9996625,0.00015468402,0.000028481327,0.000066394015,0.000048192753,0.000039786733],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001287097,0.0006419778,0.00025330993,0.0017272942,0.0037170136,0.0037073707,0.000710319,0.00088310987,0.0046297004],"category_scores_gemma":[0.0017860587,0.00020802268,0.000292603,0.00086965284,0.013759295,0.0045910757,0.0026637462,0.0017505852,0.0007170058],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016868402,0.0000033007568,0.00019306834,0.0000176071,0.0000015639446,0.00004619402,0.005067749,0.00007519147,0.00018532175,0.98675066,0.0009793213,0.0066631646],"study_design_scores_gemma":[0.000017296974,0.000038970746,0.002099517,0.00016881416,0.000014647015,0.00031672296,0.006327474,0.0007713567,0.0003536542,0.70058376,0.28928357,0.000024231065],"about_ca_topic_score_codex":0.003065879,"about_ca_topic_score_gemma":0.005569481,"teacher_disagreement_score":0.0046297004,"about_ca_system_score_codex":0.0017779557,"about_ca_system_score_gemma":0.0007211486,"threshold_uncertainty_score":0.015487909},"labels":[],"label_agreement":null},{"id":"W1525384503","doi":"10.30535/mto.18.1.7","title":"Looking Beyond the Score","year":2012,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":10,"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":"McMaster University","keywords":"Gesture; Musical; Affordance; Rhythm; Active listening; Duration (music); Movement (music); Psychology; Cognitive psychology; Key (lock); Musical development; Communication; Computer science; Aesthetics; Visual arts; Art; Artificial intelligence","score_opus":0.06357253487352811,"score_gpt":0.29407006121307305,"score_spread":0.23049752633954496,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1525384503","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11531277,0.010795494,0.04238109,0.015376596,0.0031711552,0.000056961322,0.00035542884,0.00052419835,0.81202644],"genre_scores_gemma":[0.82203996,0.006958783,0.015002708,0.0040811254,0.0013237477,0.00005499574,0.0002440099,0.00046918483,0.14982551],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99932766,0.00017683061,0.000028626131,0.00017196347,0.00022742798,0.00006753203],"domain_scores_gemma":[0.9993936,0.00020017158,0.000053854135,0.000110879315,0.00013767421,0.00010379607],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005803497,0.00060332025,0.00036700338,0.0008378524,0.0016152329,0.006542841,0.00065305363,0.0011840125,0.028222237],"category_scores_gemma":[0.0036898665,0.00015900255,0.00031870673,0.0004394643,0.0045267725,0.006601748,0.0032201908,0.0019126858,0.005142189],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00032539302,0.00006834627,0.0052044694,0.00079389487,0.000061652274,0.0012681615,0.051328667,0.00048955897,0.02950733,0.5143726,0.028398357,0.36818162],"study_design_scores_gemma":[0.000026620643,0.00039290587,0.014320823,0.0007063516,0.000055344044,0.0020816198,0.03171739,0.0008845472,0.005508666,0.15514223,0.7890748,0.000088689194],"about_ca_topic_score_codex":0.001528235,"about_ca_topic_score_gemma":0.00243081,"teacher_disagreement_score":0.028222237,"about_ca_system_score_codex":0.00076870044,"about_ca_system_score_gemma":0.0006574644,"threshold_uncertainty_score":0.0944128},"labels":[],"label_agreement":null},{"id":"W1525466759","doi":"10.30535/mto.19.2.4","title":"Renaissance Improvisation and Musicology","year":2013,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Musicology and Musical Analysis","field":"Arts and Humanities","cited_by":21,"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":"Improvisation; The Renaissance; Art; Musicology; Art history; Visual arts; Literature","score_opus":0.02914499880460109,"score_gpt":0.21357306460152128,"score_spread":0.1844280657969202,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1525466759","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.12336661,0.02520716,0.0073490106,0.014655981,0.0013548668,0.00002823891,0.000051274405,0.00013812518,0.82784873],"genre_scores_gemma":[0.9409165,0.006255171,0.001077416,0.00047500475,0.00063461263,0.000014719627,0.00002125977,0.00005377309,0.05055158],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99800676,0.0011407597,0.00006224079,0.00026073403,0.00031218314,0.00021740959],"domain_scores_gemma":[0.99815565,0.0009937043,0.00015592773,0.00024697327,0.00028698132,0.00016083108],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003015196,0.00043986074,0.0002598208,0.0014750165,0.0029750934,0.005661065,0.00070517475,0.0010624693,0.012842263],"category_scores_gemma":[0.004213675,0.0001355469,0.00022596808,0.0011064078,0.016202468,0.004681809,0.0026330587,0.0019469323,0.0011528993],"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":[0.000034995894,0.000026282225,0.0015280236,0.00015811968,0.0000149367925,0.0002438583,0.08153584,0.00024238671,0.0005490356,0.87165165,0.0026260456,0.041388765],"study_design_scores_gemma":[0.000020697058,0.00009718216,0.013367008,0.00027997978,0.00001744575,0.000626974,0.049223125,0.00052716857,0.0009864202,0.15334757,0.78146183,0.000044705605],"about_ca_topic_score_codex":0.013446087,"about_ca_topic_score_gemma":0.026191073,"teacher_disagreement_score":0.013446087,"about_ca_system_score_codex":0.0041266875,"about_ca_system_score_gemma":0.0017947262,"threshold_uncertainty_score":0.042961657},"labels":[],"label_agreement":null},{"id":"W1529680098","doi":"10.30535/mto.19.1.1","title":"Tripartite Structures in Schoenberg’s<i>A Survivor from Warsaw</i>","year":2013,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Musicology and Musical Analysis","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":"Omnipresence; Art; Key (lock); The Holocaust; George (robot); Philosophy; Theology; Art history; Computer science","score_opus":0.030084608436777564,"score_gpt":0.21723523722432664,"score_spread":0.18715062878754907,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1529680098","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.19415563,0.0035012532,0.012677887,0.012965985,0.0004937921,0.000084890555,0.00031773013,0.00013465465,0.7756682],"genre_scores_gemma":[0.8833742,0.0007236199,0.0027068018,0.0008978077,0.00009218756,0.00005411247,0.00017013699,0.000095027055,0.111886114],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99947006,0.00021731533,0.000020455042,0.00008150235,0.00010616162,0.000104492115],"domain_scores_gemma":[0.9996538,0.00010918548,0.000060471637,0.000041525807,0.00007656632,0.000058416474],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00040798265,0.00030520544,0.00012311274,0.0010532576,0.007760066,0.0051923203,0.00042857535,0.0009482151,0.0069009126],"category_scores_gemma":[0.0011217294,0.00024992164,0.00012866939,0.0010136135,0.010057177,0.0035030043,0.002002952,0.0015163234,0.0012456836],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004952619,0.000009814722,0.0003704248,0.000035429282,0.0000054395764,0.0003350825,0.099027,0.00009939507,0.0006570518,0.8726538,0.01454397,0.012213118],"study_design_scores_gemma":[0.000025150695,0.0000310879,0.0038376448,0.000120526856,0.000011067376,0.00066667376,0.06568849,0.0003446232,0.0010266956,0.21361277,0.71460295,0.000032408967],"about_ca_topic_score_codex":0.02215053,"about_ca_topic_score_gemma":0.051276315,"teacher_disagreement_score":0.02215053,"about_ca_system_score_codex":0.005069011,"about_ca_system_score_gemma":0.0015710756,"threshold_uncertainty_score":0.044043183},"labels":[],"label_agreement":null},{"id":"W1574474200","doi":"10.30535/mto.20.2.1","title":"Formal Functions of Metric Dissonance in Rock Music","year":2014,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":143,"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":"Cognitive dissonance; Metric (unit); Categorization; Psychology; Computer science; Artificial intelligence; Social psychology; Engineering","score_opus":0.03968969716205366,"score_gpt":0.27339045346011975,"score_spread":0.23370075629806608,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1574474200","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4221409,0.0032472243,0.41049922,0.001600847,0.00021552116,0.00010633346,0.0004048036,0.00026613983,0.16151905],"genre_scores_gemma":[0.97381616,0.00022381228,0.023546781,0.000070593094,0.00006944737,0.00005123273,0.000099282384,0.00004466123,0.00207812],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.997463,0.0010599325,0.00022968843,0.00036009002,0.00069875503,0.00018857312],"domain_scores_gemma":[0.99238986,0.004619887,0.0007962566,0.0011134899,0.0007851545,0.00029524727],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0025237987,0.00047333154,0.0003432581,0.0031566236,0.0015202384,0.0033523776,0.0007062915,0.00056744064,0.0045997654],"category_scores_gemma":[0.013282791,0.000274236,0.00052485714,0.0021196343,0.008520885,0.005185372,0.002828375,0.0012747549,0.00047064738],"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":[0.00012130414,0.000021173611,0.001967187,0.00011191283,0.00001689644,0.00016880792,0.003723788,0.0008832941,0.0055479677,0.95808893,0.00026877027,0.029079907],"study_design_scores_gemma":[0.000030725743,0.00009667783,0.011243546,0.000077549135,0.00001733462,0.0007306912,0.0029042806,0.0065510985,0.003668698,0.96458757,0.009997843,0.00009390903],"about_ca_topic_score_codex":0.0008392288,"about_ca_topic_score_gemma":0.0008491725,"teacher_disagreement_score":0.0045997654,"about_ca_system_score_codex":0.0015536782,"about_ca_system_score_gemma":0.00057959545,"threshold_uncertainty_score":0.0153877735},"labels":[],"label_agreement":null},{"id":"W1578130730","doi":"10.30535/mto.19.4.4","title":"Crossing Over with Brad Mehldau’s Cover of Radiohead’s “Paranoid Android”","year":2013,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Shakespeare, Adaptation, and Literary Criticism","field":"Arts and Humanities","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"McGill University","keywords":"Jazz; Musical; Lyrics; Art; Improvisation; Visual arts; Literature; Popular music; Aesthetics","score_opus":0.0241595879232995,"score_gpt":0.2237112280411237,"score_spread":0.1995516401178242,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1578130730","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.58654976,0.006362921,0.012261229,0.047267206,0.0017356293,0.00007867112,0.000117239964,0.00032947276,0.34529796],"genre_scores_gemma":[0.96419287,0.0008097723,0.0013190765,0.003064809,0.00045788012,0.00003163829,0.000026141512,0.000118280666,0.02997939],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983204,0.000936077,0.000022862707,0.00015309159,0.00039100953,0.00017645085],"domain_scores_gemma":[0.9986193,0.00092568446,0.00012301971,0.00011093942,0.000076203134,0.00014484746],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008455378,0.0003719369,0.00021378948,0.000764173,0.005380353,0.0035497672,0.0005234912,0.0013758057,0.0027967454],"category_scores_gemma":[0.0036277524,0.00017344423,0.00015286145,0.00040764327,0.011341871,0.002988866,0.0033103612,0.0035342756,0.00047947819],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008360346,0.000017764827,0.0015502829,0.00008415782,0.000008530383,0.0017934227,0.7913999,0.000083519786,0.0040583923,0.15085278,0.027637547,0.022430211],"study_design_scores_gemma":[0.000007418006,0.000075506076,0.0061927596,0.00023481189,0.000012555923,0.0029293504,0.32210815,0.00030856597,0.0025158266,0.009393569,0.6561685,0.00005294364],"about_ca_topic_score_codex":0.0069542658,"about_ca_topic_score_gemma":0.013389662,"teacher_disagreement_score":0.0069542658,"about_ca_system_score_codex":0.00174899,"about_ca_system_score_gemma":0.0005433951,"threshold_uncertainty_score":0.013827562},"labels":[],"label_agreement":null},{"id":"W1589362309","doi":"10.30535/mto.17.2.6","title":"Subjectivity and Structure in Milton Babbitt’s<i>Philomel</i>","year":2011,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Musicology and Musical Analysis","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":"Western University","funders":"","keywords":"Babbitt; Subjectivity; Criticism; Musical; Positivism; Art; Philosophy; Interpretation (philosophy); Aesthetics; Epistemology; Literature; Linguistics","score_opus":0.05212560979031057,"score_gpt":0.20633895504478336,"score_spread":0.15421334525447278,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1589362309","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.09716093,0.011809692,0.01164752,0.055620108,0.0013925127,0.000056851455,0.000055607998,0.00009916157,0.8221576],"genre_scores_gemma":[0.9323984,0.0017610017,0.0018544561,0.0031688074,0.00064569357,0.000091143345,0.000018509056,0.00014528098,0.05991671],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9975752,0.0016240794,0.000049705784,0.00027152483,0.00032503807,0.00015440551],"domain_scores_gemma":[0.9978161,0.0016115563,0.0001663078,0.00014901652,0.00012597334,0.00013106702],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021258136,0.0002807217,0.00022288319,0.0013293567,0.00868622,0.009741921,0.00051473355,0.0017377308,0.0038813837],"category_scores_gemma":[0.0050746873,0.000257536,0.00014573814,0.0011408526,0.030697752,0.004400209,0.0036996822,0.0036047143,0.00047014203],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000029221535,0.000011634326,0.00031288233,0.000046750112,0.0000033302272,0.00019450144,0.09311839,0.00007263886,0.0002658091,0.88205326,0.01539265,0.008498833],"study_design_scores_gemma":[0.000022066239,0.00003242977,0.0025055648,0.00046554126,0.000009345403,0.0005514188,0.054074567,0.00035552788,0.00088952016,0.3895335,0.5515249,0.000035698675],"about_ca_topic_score_codex":0.0042954134,"about_ca_topic_score_gemma":0.007629202,"teacher_disagreement_score":0.009741921,"about_ca_system_score_codex":0.0031920688,"about_ca_system_score_gemma":0.0013740276,"threshold_uncertainty_score":0.02316016},"labels":[],"label_agreement":null},{"id":"W1595349844","doi":"10.30535/mto.17.2.9","title":"What Do I Hear Now,<i>Groupwise</i>?","year":2011,"lang":"en","type":"article","venue":"Music Theory Online","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":"Art; Computer science","score_opus":0.0343405123998382,"score_gpt":0.24222121126835894,"score_spread":0.20788069886852073,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1595349844","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":[0.008472407,0.038143784,0.0043879515,0.53328264,0.104331456,0.0000945636,0.00090960396,0.00087970274,0.309498],"genre_scores_gemma":[0.15204176,0.026548984,0.0038948725,0.3548079,0.049706902,0.00024586756,0.00092619914,0.001289138,0.41053835],"study_design_codex":"not_applicable","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9990871,0.000353118,0.000028025897,0.00014285269,0.00018639251,0.00020252948],"domain_scores_gemma":[0.9981229,0.00053867843,0.00013385608,0.00008383453,0.00053461845,0.000586159],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017402521,0.0009175049,0.0007816297,0.0011045656,0.007924187,0.007104298,0.0011814135,0.004746371,0.05412279],"category_scores_gemma":[0.0067610005,0.00035481516,0.000379168,0.0010969673,0.0036332877,0.010073996,0.0031350532,0.009667422,0.027408458],"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":[0.00003707626,0.000017527502,0.0005615445,0.00011346059,0.0000035961714,0.0002896906,0.020655649,0.000011291477,0.00015825941,0.011210196,0.9330346,0.033907022],"study_design_scores_gemma":[0.000005125697,0.000014741291,0.00089237065,0.00028177694,0.000003063193,0.00050709746,0.025768207,0.00004770902,0.000060552662,0.002428819,0.9699655,0.000024924957],"about_ca_topic_score_codex":0.011533254,"about_ca_topic_score_gemma":0.019721206,"teacher_disagreement_score":0.05412279,"about_ca_system_score_codex":0.0016311093,"about_ca_system_score_gemma":0.0012278669,"threshold_uncertainty_score":0.18105876},"labels":[],"label_agreement":null},{"id":"W1608716180","doi":"10.30535/mto.17.3.7","title":"Sarah Setting the Terms","year":2011,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Musicology and Musical Analysis","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 British Columbia","funders":"","keywords":"Phrase; Rhythm; Linguistics; Musical; Musical form; Phrase structure rules; Computer science; Art; Aesthetics; Literature; Philosophy; Grammar","score_opus":0.0762106777756789,"score_gpt":0.22246392809250068,"score_spread":0.1462532503168218,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1608716180","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0033267708,0.015784102,0.0100599555,0.25585788,0.031930152,0.00008673166,0.00032552998,0.00022802617,0.6824008],"genre_scores_gemma":[0.17133032,0.01095016,0.009495562,0.121067554,0.013495183,0.00034489165,0.00038784827,0.0006412803,0.6722872],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99785197,0.0007918701,0.000098544704,0.00045595146,0.00056670443,0.00023504315],"domain_scores_gemma":[0.9976393,0.00068594824,0.00012751362,0.00028689604,0.0007369278,0.00052353524],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021454438,0.0005219802,0.00042738934,0.0013277498,0.006773404,0.00690581,0.0013144817,0.003424235,0.047804702],"category_scores_gemma":[0.007998271,0.0002608521,0.00033463986,0.00082623167,0.0071606357,0.008992611,0.005688714,0.009384359,0.019865487],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002412559,0.000012949471,0.0001326872,0.000060906186,0.000002578818,0.000086751505,0.003419722,0.000028046345,0.00014139386,0.69422996,0.28323403,0.018626928],"study_design_scores_gemma":[0.000004631222,0.000009658334,0.00010534793,0.00017055326,0.0000022023753,0.00010102026,0.0020504496,0.00004391731,0.00009959039,0.050848097,0.94655734,0.0000071146046],"about_ca_topic_score_codex":0.003346221,"about_ca_topic_score_gemma":0.0049579265,"teacher_disagreement_score":0.047804702,"about_ca_system_score_codex":0.0034371745,"about_ca_system_score_gemma":0.002280911,"threshold_uncertainty_score":0.15992272},"labels":[],"label_agreement":null},{"id":"W1622451098","doi":"10.30535/mto.18.1.3","title":"Solutions to the “Great Nineteenth-Century Rhythm Problem” in Horowitz’s Recording of the Theme from Schumann’s<i>Kreisleriana</i>, Op. 16, No. 2","year":2012,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Music Technology and Sound Studies","field":"Computer Science","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 British Columbia","funders":"","keywords":"Phrase; Rhythm; Salient; Theme (computing); Set (abstract data type); Interpretation (philosophy); Toolbox; History; Linguistics; Computer science; Literature; Art; Aesthetics; Philosophy; Artificial intelligence","score_opus":0.02509603783641853,"score_gpt":0.23396127395905222,"score_spread":0.2088652361226337,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1622451098","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.24674718,0.0060993233,0.07064472,0.0352341,0.0012452055,0.000093887546,0.00008040582,0.00025980527,0.63959545],"genre_scores_gemma":[0.96316946,0.0008098668,0.005743621,0.0009063411,0.00019607582,0.000034142544,0.0000256205,0.00006281141,0.029051887],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9988525,0.00057309645,0.000039552437,0.00012743026,0.0002590638,0.00014835116],"domain_scores_gemma":[0.99952805,0.00023832888,0.000047701473,0.00007662798,0.00007395205,0.000035323286],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013286283,0.00044378435,0.00014583295,0.0007477507,0.0033217552,0.0026562398,0.00088775327,0.001183473,0.0028103562],"category_scores_gemma":[0.0022890673,0.00014361808,0.0001894488,0.00054933596,0.010839978,0.002183238,0.0021059518,0.0019818442,0.00045725665],"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":[0.000043382057,0.000011265092,0.0003631277,0.000044269473,0.0000041932985,0.00047182373,0.04735801,0.00015496885,0.0010246417,0.92855626,0.005173021,0.016795022],"study_design_scores_gemma":[0.00003726701,0.000107380234,0.0032479581,0.00032124718,0.000023209408,0.0026977966,0.09774473,0.0017369788,0.0060165757,0.3905576,0.49744713,0.00006217015],"about_ca_topic_score_codex":0.0026590114,"about_ca_topic_score_gemma":0.0063371104,"teacher_disagreement_score":0.0033217552,"about_ca_system_score_codex":0.0022505792,"about_ca_system_score_gemma":0.0009687075,"threshold_uncertainty_score":0.01632917},"labels":[],"label_agreement":null},{"id":"W1644342956","doi":"10.30535/mto.20.3.12","title":"Review of Lauri Suurpää,<i>Death in</i>Winterreise:<i>Musico-Poetic Associations in Schubert’s Song Cycle</i>(Indiana University Press, 2014)","year":2014,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Musicology and Musical Analysis","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":"Poetry; Theme (computing); Context (archaeology); Literature; Art; Relation (database); History; Computer science","score_opus":0.027639651535687548,"score_gpt":0.23407238461463287,"score_spread":0.20643273307894533,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1644342956","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":[0.000047937694,0.98443985,0.000066457535,0.009838855,0.0040745856,0.0000041075195,0.000023623577,0.0000048804945,0.001499687],"genre_scores_gemma":[0.000873972,0.98015827,0.00010757788,0.009820594,0.0067911637,0.000021038943,0.00005877122,0.00001332985,0.0021552932],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987099,0.00038498073,0.00019127803,0.00018587703,0.0004468647,0.000081120066],"domain_scores_gemma":[0.9916951,0.004946254,0.000492936,0.00014500656,0.0021679332,0.00055277336],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026527706,0.00093251024,0.0018897473,0.006994493,0.0012825051,0.003991393,0.0018599348,0.0038262042,0.007334188],"category_scores_gemma":[0.011790837,0.00059415423,0.000475582,0.0069905426,0.0025874132,0.006192239,0.002032534,0.004909904,0.006716016],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003831568,0.000025007741,0.00015268763,0.009678419,0.00004729226,0.00012563515,0.0010351288,0.000070753,0.00017696778,0.0043688705,0.77363217,0.21064878],"study_design_scores_gemma":[0.0000056297736,0.000010086695,0.00058555376,0.0065181423,0.000017499646,0.00024848361,0.00035827328,0.00001218312,0.000034319542,0.00060354057,0.99159473,0.000011453564],"about_ca_topic_score_codex":0.008269223,"about_ca_topic_score_gemma":0.017458133,"teacher_disagreement_score":0.008269223,"about_ca_system_score_codex":0.0028853058,"about_ca_system_score_gemma":0.0050543244,"threshold_uncertainty_score":0.024535358},"labels":[],"label_agreement":null},{"id":"W1892729432","doi":"10.30535/mto.21.1.9","title":"Review of Brian Kane,<i>Sound Unseen: Acousmatic Sound in Theory and Practice</i>(Oxford, 2014)","year":2015,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Music Technology and Sound Studies","field":"Computer Science","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":"Sound (geography); Art; Cognitive science; Psychology; Acoustics; Physics","score_opus":0.03681488932685043,"score_gpt":0.31114831484419686,"score_spread":0.2743334255173464,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1892729432","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":[0.000022133974,0.9812143,0.00009418119,0.010564096,0.0062676724,0.0000036751533,0.000025640158,0.000007913516,0.0018005308],"genre_scores_gemma":[0.00055131264,0.97160405,0.00015716694,0.013686088,0.009297977,0.000016603599,0.00006505471,0.000019896424,0.004601944],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984687,0.0003652077,0.00021270962,0.00026489666,0.00059475814,0.00009374628],"domain_scores_gemma":[0.9934778,0.0036826816,0.0003947342,0.00014249569,0.0017700075,0.000532286],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002304304,0.0013227384,0.00203027,0.006357643,0.0012599203,0.0039868196,0.0023470302,0.0048922393,0.01625698],"category_scores_gemma":[0.009735903,0.0008682333,0.00061963813,0.007107508,0.0032527433,0.007773373,0.0020798538,0.007366181,0.013134034],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023961164,0.00001861025,0.000080265774,0.004412581,0.000020822328,0.00006381952,0.0002822288,0.00007024433,0.000069703536,0.0042395834,0.8442355,0.14648263],"study_design_scores_gemma":[0.0000046500622,0.000007740874,0.00031177982,0.0031937154,0.000008734055,0.00021700741,0.00011798557,0.0000116075025,0.000018072116,0.0007974837,0.9953003,0.000010917496],"about_ca_topic_score_codex":0.013394835,"about_ca_topic_score_gemma":0.021941394,"teacher_disagreement_score":0.01625698,"about_ca_system_score_codex":0.0041651977,"about_ca_system_score_gemma":0.005091563,"threshold_uncertainty_score":0.054385066},"labels":[],"label_agreement":null},{"id":"W1954546837","doi":"10.30535/mto.20.4.7","title":"Treading Robert Schumann’s New Path","year":2014,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Musicology and Musical Analysis","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":"University of Victoria","funders":"","keywords":"Rhythm; Poetry; Expression (computer science); Literature; Variety (cybernetics); Art; Duration (music); Wish; Simplicity; Communication; Linguistics; Psychology; Aesthetics; Philosophy; Computer science; Epistemology; Artificial intelligence","score_opus":0.03010788543899137,"score_gpt":0.22538164093513993,"score_spread":0.19527375549614856,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1954546837","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":[0.008767767,0.052075464,0.013148454,0.5505888,0.024833309,0.000038299702,0.00014141737,0.000345782,0.3500607],"genre_scores_gemma":[0.29603094,0.03526521,0.012653258,0.113303155,0.011773669,0.00009458203,0.000121704514,0.00087984686,0.5298776],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9955978,0.0017024174,0.00012479161,0.0006171624,0.0016028674,0.00035504778],"domain_scores_gemma":[0.9966813,0.0013602178,0.00014165344,0.0003752451,0.0008133693,0.0006281575],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0048892484,0.00068751205,0.00046937366,0.001301481,0.00488977,0.008247967,0.0010128659,0.0033262025,0.012209961],"category_scores_gemma":[0.009800891,0.0002519553,0.00028034352,0.00049451104,0.017213728,0.0075606857,0.004724879,0.006335709,0.006447696],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000046972073,0.000015354259,0.00024114292,0.00006551123,0.0000063839775,0.00010805261,0.0044725826,0.00010404983,0.0004986149,0.6258392,0.31963393,0.04896822],"study_design_scores_gemma":[0.0000038011938,0.000011851388,0.00012544252,0.00010189119,0.0000016259402,0.00012413487,0.0014908961,0.00008449438,0.00024881595,0.06390607,0.93388355,0.000017371818],"about_ca_topic_score_codex":0.0107347015,"about_ca_topic_score_gemma":0.02112999,"teacher_disagreement_score":0.012209961,"about_ca_system_score_codex":0.0040139765,"about_ca_system_score_gemma":0.0044756043,"threshold_uncertainty_score":0.040846348},"labels":[],"label_agreement":null},{"id":"W2177091944","doi":"10.30535/mto.20.2.3","title":"Unpacking the Box in Frescobaldi’s Ricercari of 1615","year":2014,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Renaissance Literature 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":"McGill University","funders":"","keywords":"Unpacking; Art; Philosophy; Linguistics","score_opus":0.020406817872697654,"score_gpt":0.21725610742225798,"score_spread":0.19684928954956032,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2177091944","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.026038479,0.009314505,0.0036096955,0.07078617,0.007990048,0.000061847706,0.00021477949,0.00023002386,0.88175446],"genre_scores_gemma":[0.44361886,0.0026785196,0.0026482726,0.029285371,0.0032471814,0.00010210213,0.00013966145,0.0006610148,0.5176191],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99883527,0.00058002165,0.000032358785,0.00014799391,0.00021786624,0.00018639636],"domain_scores_gemma":[0.9989876,0.0005866125,0.000043811335,0.000113228285,0.00014964234,0.00011895761],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015923938,0.00056711404,0.00032940353,0.002085329,0.009728158,0.0064174826,0.00055226043,0.003459869,0.01901848],"category_scores_gemma":[0.004990839,0.00025881603,0.00021739326,0.0016556311,0.010799753,0.0072770556,0.0032072389,0.005484978,0.0034220745],"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":[0.000058160153,0.000028690714,0.00032875783,0.00005312801,0.0000034827433,0.0002265052,0.040364373,0.000058198486,0.00024353871,0.7987731,0.14085057,0.019011445],"study_design_scores_gemma":[0.000009678774,0.000012482111,0.000558488,0.00013663058,0.0000030424928,0.000084390755,0.008224907,0.00008841638,0.00021713237,0.030745512,0.9598983,0.00002088712],"about_ca_topic_score_codex":0.023484161,"about_ca_topic_score_gemma":0.076607585,"teacher_disagreement_score":0.023484161,"about_ca_system_score_codex":0.004431909,"about_ca_system_score_gemma":0.0020118677,"threshold_uncertainty_score":0.06362313},"labels":[],"label_agreement":null},{"id":"W2196555692","doi":"10.30535/mto.21.4.6","title":"Review of Jack Boss, <i>Schoenberg’s Twelve-Tone Music: Symmetry and the Musical Idea</i> (Cambridge University Press, 2014)","year":2015,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Musicology and Musical Analysis","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":"Boss; Tone (literature); Musical; Symmetry (geometry); Art; Psychology; Philosophy; Literature; Mathematics; Geometry; Engineering","score_opus":0.0365473058177687,"score_gpt":0.2437435254604252,"score_spread":0.2071962196426565,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2196555692","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":[0.000039280472,0.9698565,0.00010423025,0.016945643,0.011798069,0.0000036114793,0.000035888996,0.000005465953,0.0012113512],"genre_scores_gemma":[0.0009344616,0.9423308,0.00015231545,0.030174062,0.02263252,0.000016514057,0.00008330723,0.000020321628,0.0036557312],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991109,0.0002200681,0.000121099634,0.00017588062,0.00030432778,0.00006767765],"domain_scores_gemma":[0.9963153,0.0019521446,0.0001958452,0.00008024259,0.0010859137,0.00037054118],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026059092,0.00090178224,0.001524176,0.0049940036,0.0011077821,0.0035869326,0.0018897877,0.0044624615,0.0065331436],"category_scores_gemma":[0.009427753,0.0005077021,0.00045527102,0.0047015464,0.0026652454,0.005523782,0.002206765,0.0052402085,0.0046957014],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000035776502,0.000018056931,0.00008080996,0.0031560354,0.000022977743,0.000050451174,0.00017189924,0.000055501318,0.00010241321,0.0053006494,0.85807914,0.13292629],"study_design_scores_gemma":[0.0000084476915,0.000008084124,0.00019950903,0.0014679796,0.000011890714,0.00012712358,0.00008189888,0.000007833734,0.00002770964,0.00088680105,0.9971625,0.000010249722],"about_ca_topic_score_codex":0.007827864,"about_ca_topic_score_gemma":0.0175307,"teacher_disagreement_score":0.007827864,"about_ca_system_score_codex":0.0023249625,"about_ca_system_score_gemma":0.0035449162,"threshold_uncertainty_score":0.021855533},"labels":[],"label_agreement":null},{"id":"W2266614852","doi":"10.30535/mto.19.1.6","title":"What Modular Analysis Can Tell Us About Musical Modeling in the Renaissance","year":2013,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Music Technology and Sound Studies","field":"Computer Science","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":"The Renaissance; Imitation; Art; Musical; Melody; Modular design; Literature; Computer science; Art history; Psychology; Programming language","score_opus":0.028121724241950526,"score_gpt":0.2466176320234989,"score_spread":0.21849590778154837,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2266614852","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":[0.37861687,0.00394956,0.462383,0.015127056,0.0003464487,0.000057437515,0.00034861293,0.0007312612,0.13843977],"genre_scores_gemma":[0.96045905,0.00078592665,0.03200107,0.0002944893,0.00012643405,0.000034507048,0.00013632503,0.00016871662,0.0059935017],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99930966,0.0002875982,0.000025369793,0.0001553368,0.00012064093,0.00010134484],"domain_scores_gemma":[0.99863595,0.00059494196,0.0002061687,0.00037316346,0.000090977905,0.00009881051],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013721276,0.0007128837,0.0005200484,0.0012072691,0.0014763486,0.0035765686,0.0009760216,0.0012920481,0.0064244485],"category_scores_gemma":[0.0053270636,0.00048154662,0.0011161424,0.0010494736,0.008641788,0.011152676,0.0019583027,0.0021570402,0.0009820337],"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":[0.00008297759,0.000018126315,0.0031733299,0.000075934004,0.000040360985,0.00015789944,0.0053532124,0.0061861062,0.0009506748,0.9608384,0.001158617,0.021964345],"study_design_scores_gemma":[0.000009819044,0.000028546732,0.0021989075,0.000058250997,0.000022993334,0.000118913194,0.0014827729,0.01857781,0.00042519523,0.9668683,0.010183268,0.000025201558],"about_ca_topic_score_codex":0.0026914133,"about_ca_topic_score_gemma":0.0031572778,"teacher_disagreement_score":0.0064244485,"about_ca_system_score_codex":0.0014448975,"about_ca_system_score_gemma":0.0005193215,"threshold_uncertainty_score":0.021491945},"labels":[],"label_agreement":null},{"id":"W2283470263","doi":"10.30535/mto.16.2.6","title":"Beethoven’s “Tempest” Exposition","year":2010,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Neuroscience and Music Perception","field":"Neuroscience","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":"McGill University","funders":"","keywords":"Exposition (narrative); Tempest; Reinterpretation; Relation (database); Confusion; Theme (computing); Movement (music); Art; Literature; Key (lock); Philosophy; Aesthetics; Psychology; Psychoanalysis; Computer science","score_opus":0.040040326984955375,"score_gpt":0.29267491647663,"score_spread":0.25263458949167467,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2283470263","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.023976117,0.011323231,0.017305396,0.022983719,0.0035276837,0.000017878183,0.00011320974,0.00014269799,0.9206101],"genre_scores_gemma":[0.7483472,0.0055953595,0.0040476546,0.0030582303,0.0010327711,0.000039583574,0.000109003755,0.00025317149,0.23751698],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9996618,0.00012699427,0.0000089959585,0.000054565775,0.000091660644,0.00005606005],"domain_scores_gemma":[0.9998442,0.00008390458,0.00001065453,0.000015221458,0.000029458079,0.000016575845],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00034400518,0.00032623357,0.00014812943,0.0005248089,0.0011820411,0.0026982184,0.0003812123,0.0011696022,0.007766531],"category_scores_gemma":[0.0014942089,0.00015671465,0.00016656858,0.00039309656,0.0039221416,0.0026837639,0.0009970118,0.0016659596,0.001089922],"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":[0.000025697022,0.000005640818,0.0000652359,0.000035748166,0.0000028754043,0.00013513416,0.006224189,0.000089877394,0.0004905738,0.9570321,0.02481635,0.011076679],"study_design_scores_gemma":[0.0000063835055,0.000014310086,0.0004306242,0.00010508138,0.0000053716176,0.0002779974,0.0029942542,0.00028134437,0.0007676589,0.1422966,0.85280806,0.0000122448755],"about_ca_topic_score_codex":0.00352578,"about_ca_topic_score_gemma":0.004906742,"teacher_disagreement_score":0.007766531,"about_ca_system_score_codex":0.0015165955,"about_ca_system_score_gemma":0.00055968104,"threshold_uncertainty_score":0.025981665},"labels":[],"label_agreement":null},{"id":"W2284881145","doi":"10.30535/mto.15.3.7","title":"“Re-narrating” Disability through Musical Performance","year":2009,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Disability Rights and Representation","field":"Social Sciences","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":"University of British Columbia","funders":"","keywords":"Musical; Assertion; Context (archaeology); Aesthetics; Performing arts; Perception; Psychology; Sociology; Dialectic; Everyday life; Social psychology; Visual arts; Art; Epistemology; History","score_opus":0.050451311303728284,"score_gpt":0.351030673939208,"score_spread":0.30057936263547974,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2284881145","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5037758,0.013892122,0.043966945,0.045475896,0.0033758595,0.00017901915,0.00025530707,0.00033743453,0.38874158],"genre_scores_gemma":[0.973866,0.0030242815,0.0037212144,0.0015683722,0.00061318435,0.00008299862,0.00007524059,0.000117340525,0.016931348],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99372345,0.004743832,0.0001160344,0.00032512407,0.00063001947,0.00046148236],"domain_scores_gemma":[0.99754024,0.001569969,0.00019192416,0.00016532248,0.00016292043,0.00036961483],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0035164405,0.0015785927,0.0005804847,0.0022615101,0.0077863173,0.010059717,0.0025473877,0.0035443893,0.004077803],"category_scores_gemma":[0.00747199,0.00028693286,0.00058709097,0.0009226333,0.028065974,0.009497154,0.011324111,0.0058266455,0.00092484936],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000042984175,0.000032035197,0.0007990749,0.00015129131,0.000013746667,0.0016752651,0.9160458,0.0003229549,0.0015834613,0.06388503,0.006104295,0.0093440395],"study_design_scores_gemma":[0.000020678235,0.0001212047,0.0016212332,0.00065969944,0.000032273896,0.0039407504,0.65182143,0.0010658668,0.0014515943,0.032303922,0.30688906,0.000072326264],"about_ca_topic_score_codex":0.0045785476,"about_ca_topic_score_gemma":0.0071828947,"teacher_disagreement_score":0.010059717,"about_ca_system_score_codex":0.0028820303,"about_ca_system_score_gemma":0.0015522032,"threshold_uncertainty_score":0.02091074},"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":"W2336117274","doi":"10.30535/mto.14.4.2","title":"Charting the Score in a Multimedia Context","year":2008,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Musicology and Musical Analysis","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":"University of Victoria","funders":"","keywords":"Context (archaeology); Musicology; Active listening; Visual arts; Epistemology; Sociology; Aesthetics; Art; Computer science; History; Communication; Philosophy; Archaeology","score_opus":0.07987316191826903,"score_gpt":0.23872768981739206,"score_spread":0.15885452789912302,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2336117274","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14628233,0.001093157,0.16102968,0.0062538134,0.0013753416,0.00038620812,0.00086600526,0.0026047926,0.68010867],"genre_scores_gemma":[0.84142613,0.0010277143,0.07540241,0.00033302564,0.0005105897,0.00017557791,0.00042481205,0.00070127595,0.07999846],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991697,0.00033383688,0.000030096106,0.00013201269,0.00023641468,0.000097845244],"domain_scores_gemma":[0.9991364,0.00032949288,0.00008653204,0.00011971159,0.00017713768,0.00015070701],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009844139,0.0007158775,0.00027215798,0.0027603998,0.0022679446,0.010902755,0.0009841186,0.0011394775,0.026995616],"category_scores_gemma":[0.0041929297,0.00015339951,0.00027584215,0.0021859403,0.0048793866,0.007114419,0.002815585,0.0011468317,0.0034900266],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00025473614,0.00008053538,0.00400173,0.00035145588,0.000027675405,0.0015216838,0.0827567,0.0022039353,0.012191693,0.66836774,0.023151409,0.20509079],"study_design_scores_gemma":[0.000043288448,0.0003221347,0.008443625,0.00063362584,0.000060847306,0.0010524122,0.085269086,0.008550397,0.008719978,0.15721455,0.72953516,0.00015490782],"about_ca_topic_score_codex":0.004131001,"about_ca_topic_score_gemma":0.0064393072,"teacher_disagreement_score":0.026995616,"about_ca_system_score_codex":0.0014537264,"about_ca_system_score_gemma":0.0013366841,"threshold_uncertainty_score":0.09030938},"labels":[],"label_agreement":null},{"id":"W2337379994","doi":"10.30535/mto.15.1.8","title":"A Transformational Space Structuring the Counterpoint in Adès’s “Auf dem Wasser zu singen”","year":2009,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Musicology and Musical Analysis","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":"Counterpoint; Structuring; Transformational leadership; Space (punctuation); Musical; String (physics); Art; Texture (cosmology); Animation; sort; Orderliness; Computer science; Mathematics; Visual arts; Linguistics; Artificial intelligence; Philosophy; Arithmetic; Sociology; Psychology; Image (mathematics)","score_opus":0.023564872792755785,"score_gpt":0.22632697818817907,"score_spread":0.20276210539542328,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2337379994","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.054515254,0.0010088136,0.117143415,0.007951679,0.002141383,0.00009567697,0.0001607904,0.0006884893,0.8162945],"genre_scores_gemma":[0.8286204,0.00036434561,0.033462305,0.0005856586,0.00015681992,0.000106291256,0.000112092195,0.0004440382,0.13614805],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992755,0.00025680294,0.00001636411,0.00012900236,0.00020840991,0.0001138635],"domain_scores_gemma":[0.9996593,0.00012674509,0.000021746957,0.00008305394,0.00006222856,0.000047004705],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007092073,0.00048828305,0.00022095894,0.0009583776,0.003398739,0.0040485677,0.00055064313,0.0011376316,0.011174932],"category_scores_gemma":[0.0025169584,0.00018953117,0.0003325212,0.0005291117,0.008570505,0.0030966762,0.0028777295,0.00231866,0.0017088188],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000038651313,0.000005541128,0.00007143699,0.000016027974,0.0000020002906,0.00006747759,0.0069240723,0.00013239773,0.00085526606,0.98089117,0.0028398116,0.0081560975],"study_design_scores_gemma":[0.000054215587,0.000081434286,0.0006317826,0.00010505667,0.000013152167,0.00027423617,0.010911972,0.0017662044,0.003166855,0.34129405,0.6416599,0.000041199204],"about_ca_topic_score_codex":0.0030880268,"about_ca_topic_score_gemma":0.0053209094,"teacher_disagreement_score":0.011174932,"about_ca_system_score_codex":0.0015740223,"about_ca_system_score_gemma":0.0008159058,"threshold_uncertainty_score":0.037383914},"labels":[],"label_agreement":null},{"id":"W2337960839","doi":"10.30535/mto.14.3.3","title":"Report on the 2008 Mannes Institute for Advanced Studies in Music Theory","year":2008,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Musicology and Musical Analysis","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 theory; Art; Visual arts; Art history; Musical","score_opus":0.1414542014419054,"score_gpt":0.3074788997550343,"score_spread":0.16602469831312888,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2337960839","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008072169,0.019595392,0.0026802747,0.09727767,0.07165916,0.0020901342,0.026861172,0.0015343621,0.77022976],"genre_scores_gemma":[0.013671557,0.005484827,0.0022531378,0.0060084644,0.007871326,0.0014255276,0.01142438,0.00041570168,0.9514451],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9966092,0.00041138657,0.00013167188,0.00036721933,0.0018264911,0.00065409194],"domain_scores_gemma":[0.9910829,0.0005685837,0.00032098527,0.0007696248,0.0026308356,0.004627055],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00689423,0.00087586365,0.0008850794,0.0035644714,0.0036724496,0.007251815,0.0018555411,0.0028160266,0.2571814],"category_scores_gemma":[0.00811043,0.00040617562,0.0004683522,0.002868627,0.0012288275,0.00395141,0.009317986,0.0041322764,0.111779384],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003338224,0.00006429908,0.0002701638,0.000052200856,0.0000018636382,0.000027468386,0.00012726242,0.000015450067,0.0001443784,0.0031137012,0.9698269,0.026322829],"study_design_scores_gemma":[0.0000040402206,0.0000121179155,0.0018244634,0.00006024411,8.345803e-7,0.000011599809,0.00014202879,0.000010030913,0.00008046321,0.0002980706,0.99755126,0.000004895796],"about_ca_topic_score_codex":0.006716643,"about_ca_topic_score_gemma":0.017783314,"teacher_disagreement_score":0.2571814,"about_ca_system_score_codex":0.0035217197,"about_ca_system_score_gemma":0.014022838,"threshold_uncertainty_score":0.8603575},"labels":[],"label_agreement":null},{"id":"W2338250689","doi":"10.30535/mto.15.1.7","title":"Moving Through Triadic Space","year":2009,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Musicology and Musical Analysis","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":"Construct (python library); Space (punctuation); Hook; Point (geometry); Composition (language); Harmonic; Art; Mathematics; Computer science; Philosophy; Literature; Geometry; Physics; Linguistics; Engineering; Acoustics","score_opus":0.0441891949131111,"score_gpt":0.2566955861725533,"score_spread":0.21250639125944218,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2338250689","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":[0.03369235,0.002564425,0.7634124,0.0057232147,0.0010239077,0.00008809509,0.00043420936,0.0005495724,0.19251178],"genre_scores_gemma":[0.69859314,0.0028931764,0.23331253,0.0010756084,0.00057550933,0.0003524412,0.00064872624,0.0005069162,0.06204187],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9974425,0.0012270708,0.00011583716,0.00065283704,0.00036216603,0.00019957265],"domain_scores_gemma":[0.9975077,0.0008064111,0.00026340844,0.0007567213,0.00046713505,0.00019871547],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020587652,0.00071538007,0.00054075225,0.0029573177,0.0032188743,0.006694351,0.0009907099,0.0011744916,0.017683152],"category_scores_gemma":[0.008746467,0.00041293429,0.0011651275,0.0032848483,0.0072890804,0.01426901,0.0045733326,0.0032278313,0.0033470273],"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":[0.0000060562534,0.0000021207586,0.000072244016,0.00000958037,0.000003340991,0.000018890818,0.00077640935,0.00035476492,0.00008242614,0.9940994,0.00094680145,0.0036279797],"study_design_scores_gemma":[0.000005376933,0.000008162005,0.00013095824,0.00001642192,0.0000041858866,0.000049934486,0.0007371096,0.0034253064,0.00012420642,0.9680157,0.027474497,0.000008020061],"about_ca_topic_score_codex":0.0045927693,"about_ca_topic_score_gemma":0.0037919544,"teacher_disagreement_score":0.017683152,"about_ca_system_score_codex":0.0027224375,"about_ca_system_score_gemma":0.00087511,"threshold_uncertainty_score":0.059156},"labels":[],"label_agreement":null},{"id":"W2338860866","doi":"10.30535/mto.15.1.6","title":"Transformational Distance and Form in Berg’s “Schlafend trägt man mich”","year":2009,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Musicology and Musical Analysis","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 British Columbia; Queen's University","funders":"","keywords":"Transformational leadership; Space (punctuation); Context (archaeology); Process (computing); Art; Transition (genetics); Communication; Psychology; Computer science; Linguistics; Philosophy; History; Social psychology","score_opus":0.01995124896481837,"score_gpt":0.2206823774037707,"score_spread":0.20073112843895233,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2338860866","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.48487514,0.0011254642,0.011523204,0.001820545,0.0002054809,0.000028160615,0.00006346867,0.00008240454,0.50027627],"genre_scores_gemma":[0.98865753,0.000136135,0.0008602335,0.000037253812,0.000017120003,0.0000059161644,0.000021632382,0.000026264051,0.010238011],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9995421,0.00019236545,0.00001174497,0.00007143356,0.00010860318,0.000073780575],"domain_scores_gemma":[0.999694,0.0001552881,0.000040001996,0.000039168437,0.000028997018,0.000042535186],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003756767,0.0002444928,0.00011573445,0.000626874,0.0023098523,0.004086781,0.00036017777,0.00056068326,0.0063070236],"category_scores_gemma":[0.0016044305,0.00012093599,0.00015873305,0.0005749752,0.008636927,0.0020728863,0.0015785078,0.0010575015,0.00037933048],"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":[0.0002713266,0.000025714713,0.0020905908,0.0000965749,0.000011370383,0.00076193357,0.19775546,0.00080967316,0.004086274,0.7506215,0.0033229715,0.0401467],"study_design_scores_gemma":[0.00008627947,0.00028927205,0.042035647,0.0002565816,0.000036888585,0.0017946038,0.23721875,0.0030496903,0.005468357,0.27397886,0.43565068,0.00013434413],"about_ca_topic_score_codex":0.0072673378,"about_ca_topic_score_gemma":0.015039697,"teacher_disagreement_score":0.0072673378,"about_ca_system_score_codex":0.0014216101,"about_ca_system_score_gemma":0.00047361339,"threshold_uncertainty_score":0.02109915},"labels":[],"label_agreement":null},{"id":"W2339208051","doi":"10.30535/mto.15.1.4","title":"An Interactive Trichord Space Based on Measures 18–23 of Clermont Pépin’s<i>Toccate no. 3</i>","year":2009,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Music Technology and Sound Studies","field":"Computer Science","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":"Space (punctuation); Transformational leadership; Repetition (rhetorical device); Computer science; Piano; Art; Psychology; Linguistics; Art history; Philosophy; Social psychology","score_opus":0.024127340501411593,"score_gpt":0.2718279570270043,"score_spread":0.2477006165255927,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2339208051","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.13092552,0.0018537678,0.16646336,0.0035237577,0.0015229748,0.00023193762,0.0004996974,0.0007639741,0.694215],"genre_scores_gemma":[0.880231,0.0006377119,0.06063494,0.00026998814,0.00028099347,0.00024817343,0.00031366028,0.00034432305,0.057039097],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994006,0.0002817276,0.000029075334,0.0000780866,0.00013544913,0.00007506509],"domain_scores_gemma":[0.99946755,0.00024698395,0.000059605212,0.000068969915,0.00007382779,0.00008306081],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006416126,0.00045743232,0.00023185127,0.0013527006,0.002657823,0.0035723993,0.00045665706,0.00063434243,0.012239442],"category_scores_gemma":[0.002195348,0.00014198951,0.0003403445,0.00085043156,0.005194341,0.0027155317,0.0017956438,0.0014090704,0.0011023575],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001051036,0.000017779079,0.00033068043,0.00008662968,0.000006342821,0.0004903592,0.021128297,0.00018560355,0.0031799832,0.94786197,0.006689616,0.019917693],"study_design_scores_gemma":[0.000032286458,0.00021541753,0.0038535807,0.00014675761,0.000014148073,0.0018228842,0.018627208,0.001930065,0.0052156774,0.25762078,0.71042997,0.00009132954],"about_ca_topic_score_codex":0.0015151514,"about_ca_topic_score_gemma":0.0030578414,"teacher_disagreement_score":0.012239442,"about_ca_system_score_codex":0.0015251683,"about_ca_system_score_gemma":0.00074059947,"threshold_uncertainty_score":0.040945053},"labels":[],"label_agreement":null},{"id":"W2339793013","doi":"10.30535/mto.15.1.5","title":"Sonata-Formal Functions and Transformational Processes in the First Movement of Rochberg’s String Quartet No. 6","year":2009,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Musicology and Musical Analysis","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":"Transformational leadership; Exposition (narrative); Inversion (geology); Sonata form; Movement (music); Contrast (vision); String (physics); Theme (computing); Pure mathematics; Mathematics; Art; Literature; Theoretical physics; Physics; Computer science; Psychology; Aesthetics; Symphony; Optics","score_opus":0.02148014862902516,"score_gpt":0.21623553257866346,"score_spread":0.1947553839496383,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2339793013","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.095268436,0.0008605695,0.0465916,0.0024161774,0.00035814563,0.000035283174,0.000050875602,0.00037977437,0.85403913],"genre_scores_gemma":[0.9391874,0.00021163597,0.006534028,0.00015729085,0.00006620497,0.000023061779,0.000032446023,0.00013990927,0.053648025],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99951375,0.00019012674,0.000014981332,0.00009017717,0.00010640436,0.000084496256],"domain_scores_gemma":[0.9997675,0.00008853351,0.000023623272,0.000061476625,0.000037605216,0.000021246058],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006050068,0.00038294517,0.00016274836,0.0005801614,0.001257779,0.0022986685,0.0003257944,0.0006636749,0.004898902],"category_scores_gemma":[0.0016213823,0.00016756597,0.00031690035,0.00030865308,0.0065806475,0.0022997884,0.0009919854,0.0014263856,0.0009554711],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028637838,0.000005205807,0.00013075989,0.0000119127335,0.000001185815,0.00008025953,0.005851107,0.00016503167,0.0010215977,0.9834637,0.00095830427,0.008282266],"study_design_scores_gemma":[0.000043165608,0.00016555404,0.004762194,0.00010847145,0.000017312948,0.00083829963,0.008105885,0.004021728,0.005719616,0.66679966,0.30937114,0.000046951278],"about_ca_topic_score_codex":0.002211519,"about_ca_topic_score_gemma":0.0024566036,"teacher_disagreement_score":0.004898902,"about_ca_system_score_codex":0.0014784856,"about_ca_system_score_gemma":0.0005521994,"threshold_uncertainty_score":0.016388476},"labels":[],"label_agreement":null},{"id":"W2341756509","doi":"10.30535/mto.15.1.2","title":"Metaphors in Motion","year":2009,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Musicology and Musical Analysis","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 British Columbia","funders":"","keywords":"Transformational leadership; Image schema; Schema (genetic algorithms); Cognitive science; Point (geometry); Cognition; Motion (physics); Psychology; Epistemology; Computer science; Cognitive linguistics; Artificial intelligence; Philosophy; Social psychology; Mathematics","score_opus":0.03632293851252424,"score_gpt":0.23930161804237204,"score_spread":0.2029786795298478,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2341756509","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.060641084,0.005832149,0.24246842,0.013983768,0.0009505616,0.000071366536,0.0002958024,0.00035151868,0.6754053],"genre_scores_gemma":[0.95005506,0.001063125,0.028009776,0.0005811007,0.00010863385,0.000069900896,0.00012811262,0.00010901089,0.019875316],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99845934,0.0010184691,0.000043156142,0.00018841292,0.000188847,0.0001016618],"domain_scores_gemma":[0.9993249,0.00029950464,0.000059459268,0.00018375451,0.00008200591,0.000050471666],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013326558,0.0004427014,0.00027760374,0.0013225273,0.0017694749,0.004296847,0.0007748499,0.0014504658,0.012080122],"category_scores_gemma":[0.0034198072,0.00022218129,0.00058644393,0.00089627673,0.014065764,0.009521824,0.0027791339,0.001595126,0.0008724594],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000037836085,0.0000012128272,0.000027209007,0.00001041439,0.000001499025,0.00001904047,0.0016104025,0.00012888029,0.00007332979,0.99634886,0.00039700104,0.0013784509],"study_design_scores_gemma":[0.000014317716,0.0000141529335,0.00016926855,0.00006584762,0.0000050974622,0.00016255499,0.0033883392,0.0015967344,0.00019877299,0.9040917,0.09028309,0.0000101442165],"about_ca_topic_score_codex":0.001900068,"about_ca_topic_score_gemma":0.0014229253,"teacher_disagreement_score":0.012080122,"about_ca_system_score_codex":0.0020774454,"about_ca_system_score_gemma":0.00063523516,"threshold_uncertainty_score":0.04041207},"labels":[],"label_agreement":null},{"id":"W2343917315","doi":"10.30535/mto.15.1.3","title":"Constructing Transformational Signification","year":2009,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Musicology and Musical Analysis","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 British Columbia","funders":"","keywords":"Transformational leadership; Gesture; Pragmatics; Animation; Cognitive science; Linguistics; Object (grammar); Psychology; Communication; Computer science; Visual arts; Art; Philosophy; Social psychology","score_opus":0.03730573571375299,"score_gpt":0.23534244427003997,"score_spread":0.198036708556287,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2343917315","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.05819352,0.0010939096,0.18636571,0.007160446,0.0005700449,0.00007460612,0.00013723606,0.00037944887,0.7460251],"genre_scores_gemma":[0.9397181,0.00039161975,0.02109429,0.00026040792,0.00008756578,0.00006929938,0.00007928855,0.00029907268,0.038000207],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9981341,0.0011934969,0.000038962284,0.00020418789,0.00023272067,0.00019663748],"domain_scores_gemma":[0.99837214,0.0010069779,0.000068196765,0.0003264722,0.00015484811,0.0000713705],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002372703,0.0004971507,0.000282463,0.0016271183,0.0051654004,0.0061952937,0.0008404432,0.0009608032,0.007029534],"category_scores_gemma":[0.005206885,0.00028357984,0.00042051307,0.0010816957,0.022717927,0.008205129,0.0045492933,0.002617788,0.0009364849],"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":[0.00000896622,0.0000027522653,0.000042878284,0.000011617878,0.0000014031133,0.000037618815,0.010682278,0.00009376203,0.0002124153,0.98485065,0.0007669639,0.0032888623],"study_design_scores_gemma":[0.0000103365865,0.000013985227,0.00014392617,0.00006209255,0.0000070831384,0.00009866481,0.011684789,0.0011468066,0.001622137,0.8202584,0.16493705,0.000014772937],"about_ca_topic_score_codex":0.002041078,"about_ca_topic_score_gemma":0.0030605812,"teacher_disagreement_score":0.007029534,"about_ca_system_score_codex":0.0033255431,"about_ca_system_score_gemma":0.0010716593,"threshold_uncertainty_score":0.024128556},"labels":[],"label_agreement":null},{"id":"W2345623482","doi":"10.30535/mto.13.1.1","title":"Debussy and Recollection:<i>trois aperçu</i>","year":2007,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Cybernetics and Technology in Society","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 Saskatchewan","funders":"","keywords":"Allusion; Piano; Baroque; Recall; Musical; Art; Literature; Psychology; Art history; Cognitive psychology","score_opus":0.021745135605933937,"score_gpt":0.22434117339050147,"score_spread":0.20259603778456753,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2345623482","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":[0.012785369,0.111596584,0.0036265717,0.5955212,0.04166597,0.000040802006,0.00010115924,0.00026880932,0.23439354],"genre_scores_gemma":[0.458852,0.051666427,0.0028099068,0.1461334,0.056328863,0.0002298346,0.00013149893,0.0012033316,0.28264484],"study_design_codex":"not_applicable","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99820423,0.0008260488,0.00005267329,0.0003748493,0.00037509517,0.00016701569],"domain_scores_gemma":[0.9971205,0.0016812435,0.00026778085,0.00017566756,0.0005621823,0.00019258178],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017917755,0.0008061358,0.00056635647,0.0018175305,0.008757326,0.0066100713,0.0010758799,0.0036827142,0.005801608],"category_scores_gemma":[0.0098824445,0.00029845626,0.00024274425,0.0010868959,0.009816419,0.006055136,0.0027459413,0.00792017,0.0019732642],"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":[0.000041207924,0.000015753652,0.0005757506,0.00013050545,0.000009232928,0.0003960553,0.028832307,0.00006709873,0.00014685022,0.22386743,0.7213076,0.024610255],"study_design_scores_gemma":[0.0000031644072,0.000006392736,0.00033954254,0.00021242113,0.0000029006185,0.00032350162,0.0051531624,0.000068390545,0.00014669748,0.008554374,0.98517925,0.000010201105],"about_ca_topic_score_codex":0.016446719,"about_ca_topic_score_gemma":0.01841134,"teacher_disagreement_score":0.016446719,"about_ca_system_score_codex":0.003903232,"about_ca_system_score_gemma":0.0017980969,"threshold_uncertainty_score":0.03270197},"labels":[],"label_agreement":null},{"id":"W2345714015","doi":"10.30535/mto.13.1.2","title":"Bruno Maderna’s Serial Arrays","year":2007,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Musicology and Musical Analysis","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":"McGill University","funders":"","keywords":"Sketch; Tone (literature); Constructive; Rhythm; Musical; Art; Linguistics; Literature; Order (exchange); Computer science; Philosophy; Aesthetics; Programming language; Algorithm","score_opus":0.03789241282381452,"score_gpt":0.24520860940617936,"score_spread":0.20731619658236483,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2345714015","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.032632023,0.0033309062,0.06961425,0.005939605,0.0016640752,0.00005968817,0.000169665,0.0004985543,0.8860911],"genre_scores_gemma":[0.69451475,0.0025766245,0.03875484,0.0010946977,0.0003194286,0.000111038906,0.0001463832,0.00047347558,0.26200882],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99901795,0.00050796184,0.000032168133,0.00015954943,0.00021639453,0.000065946835],"domain_scores_gemma":[0.99893206,0.0006796644,0.00005627535,0.000160598,0.00012820215,0.000043098375],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009536385,0.00034614388,0.00013713453,0.00077553286,0.0020389403,0.0033311727,0.00038129534,0.0005089602,0.008198116],"category_scores_gemma":[0.0042993594,0.00022804024,0.00018281718,0.0006475769,0.004973656,0.0024523665,0.0012600519,0.0011427298,0.00209814],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009201664,0.000013468478,0.0004894668,0.000077529476,0.000005341718,0.0001672694,0.009710789,0.0004647243,0.0015358574,0.89712626,0.024614414,0.06570282],"study_design_scores_gemma":[0.0000120390805,0.000037787268,0.0007301104,0.00012929662,0.000005655814,0.00026321475,0.0021935988,0.00066216907,0.002626035,0.09400257,0.8993142,0.000023401197],"about_ca_topic_score_codex":0.003032322,"about_ca_topic_score_gemma":0.0059866747,"teacher_disagreement_score":0.008198116,"about_ca_system_score_codex":0.0017431313,"about_ca_system_score_gemma":0.00075219077,"threshold_uncertainty_score":0.027425408},"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":"W2473371598","doi":"10.30535/mto.22.2.2","title":"Rock Modulation and Narrative","year":2016,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Music Technology and Sound Studies","field":"Computer Science","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":"Narrative; Premise; Musical; Aesthetics; Key (lock); Hum; History; Art; Psychology; Literature; Visual arts; Communication; Linguistics; Computer science; Philosophy; Performance art; Art history","score_opus":0.017577927592970086,"score_gpt":0.24081235088830713,"score_spread":0.22323442329533705,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2473371598","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.34303677,0.005087036,0.020597165,0.0038246799,0.00022037562,0.00007540361,0.00014898568,0.00009155102,0.626918],"genre_scores_gemma":[0.9895,0.0006049461,0.0012271581,0.00009246032,0.00003913497,0.00001762258,0.000037987567,0.0000232888,0.008457447],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99908686,0.0005176502,0.00003575,0.00011289038,0.00015199525,0.000094893854],"domain_scores_gemma":[0.9991196,0.0004696502,0.00014915,0.000105022234,0.00006913047,0.00008760078],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00084329897,0.0002547923,0.0001846097,0.0009219434,0.0026280007,0.0046556867,0.0005499512,0.0005621741,0.0062128636],"category_scores_gemma":[0.0032269752,0.00012427145,0.0001657904,0.0007943019,0.009626081,0.0053503034,0.0031097312,0.00092160434,0.0006134839],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000113666276,0.000015041505,0.0023745357,0.00020250956,0.000010866212,0.00039673995,0.121040635,0.00024677927,0.0013707391,0.8369805,0.002069679,0.03517829],"study_design_scores_gemma":[0.00005494156,0.00022542306,0.012561907,0.00067068683,0.000048847633,0.0018742174,0.20532596,0.0018120527,0.0035167933,0.29520395,0.4786453,0.000059998518],"about_ca_topic_score_codex":0.0014113253,"about_ca_topic_score_gemma":0.0016935508,"teacher_disagreement_score":0.0062128636,"about_ca_system_score_codex":0.0015126438,"about_ca_system_score_gemma":0.0005248469,"threshold_uncertainty_score":0.02078408},"labels":[],"label_agreement":null},{"id":"W2494721949","doi":"10.30535/mto.13.3.9","title":"Thoughts on Klumpenhouwer Networks and Mathematical Models","year":2007,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Musicology and Musical Analysis","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":"Western University","funders":"","keywords":"Art; Computer science; Cognitive science; Psychology","score_opus":0.04499590411364446,"score_gpt":0.2444852010751713,"score_spread":0.19948929696152684,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2494721949","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.054369733,0.034753162,0.17030933,0.33895457,0.0032340705,0.000040446816,0.000457462,0.00029049686,0.3975908],"genre_scores_gemma":[0.8891451,0.01677077,0.02639686,0.013514996,0.0045856507,0.000121973855,0.00018660583,0.00016347562,0.049114592],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99929905,0.00036940366,0.000019019171,0.00011375081,0.00013684665,0.0000618909],"domain_scores_gemma":[0.99794036,0.0015863188,0.00015522576,0.00010290743,0.00010078016,0.00011437752],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001849145,0.0004671837,0.0002843089,0.0015200763,0.001641582,0.004078816,0.00094578444,0.002213138,0.0074250153],"category_scores_gemma":[0.0044064615,0.00020957875,0.00051526964,0.0013809096,0.008998274,0.011152429,0.0019049766,0.0032030207,0.001194346],"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":[0.0000018000379,0.0000014877808,0.000023739269,0.000007272669,7.0049146e-7,0.000012599105,0.00030267017,0.00029685223,0.00000995031,0.9971054,0.0015573197,0.00068015483],"study_design_scores_gemma":[0.0000013764605,0.0000014418883,0.000028334714,0.000015954216,6.681568e-7,0.000013699604,0.00023424256,0.000882455,0.000014677906,0.9801958,0.01860886,0.000002501721],"about_ca_topic_score_codex":0.0016540627,"about_ca_topic_score_gemma":0.0015062153,"teacher_disagreement_score":0.0074250153,"about_ca_system_score_codex":0.002520261,"about_ca_system_score_gemma":0.0006249165,"threshold_uncertainty_score":0.024839163},"labels":[],"label_agreement":null},{"id":"W2508033331","doi":"10.30535/mto.13.3.4","title":"Listening to the Music Itself","year":2007,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Poetry Analysis and Criticism","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":"Active listening; Tone (literature); Literature; Art; Humanity; Vision; Aesthetics; Philosophy; Communication; Psychology","score_opus":0.04026576789923783,"score_gpt":0.25994854552846003,"score_spread":0.2196827776292222,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2508033331","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.023536772,0.009940143,0.012832164,0.029455855,0.008351486,0.00004971818,0.00008441079,0.00020902073,0.9155404],"genre_scores_gemma":[0.61824864,0.006757213,0.0032474762,0.014707664,0.008230682,0.00009305967,0.00011544974,0.00054238277,0.34805742],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9981645,0.0009281444,0.000042704003,0.00020413571,0.0005092315,0.00015131729],"domain_scores_gemma":[0.99851114,0.00072550337,0.00009707665,0.00019868634,0.00027807715,0.00018942698],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014599159,0.00058331434,0.00028306365,0.00093874364,0.0052638827,0.0073103867,0.000660603,0.0019266604,0.017533032],"category_scores_gemma":[0.0077165514,0.00013523137,0.00025560107,0.00070855167,0.010848551,0.004828498,0.0033226379,0.0032295084,0.004083122],"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":[0.000101692814,0.000038277492,0.00090118434,0.00027212696,0.000024968998,0.00060869113,0.18758443,0.00010312279,0.0027350292,0.5446684,0.15339474,0.10956726],"study_design_scores_gemma":[0.0000078571375,0.000053173408,0.00096279645,0.00017902062,0.0000072339312,0.00050432375,0.03591734,0.0000856106,0.00053121935,0.044077177,0.9176597,0.000014647517],"about_ca_topic_score_codex":0.0013536492,"about_ca_topic_score_gemma":0.0017163515,"teacher_disagreement_score":0.017533032,"about_ca_system_score_codex":0.0009945097,"about_ca_system_score_gemma":0.00087270094,"threshold_uncertainty_score":0.05865383},"labels":[],"label_agreement":null},{"id":"W2514167992","doi":"10.30535/mto.13.3.7","title":"Reconsidering Klumpenhouwer Networks","year":2007,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Posthumanist Ethics and Activism","field":"Social Sciences","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 Alberta","funders":"","keywords":"Art","score_opus":0.09389477099324837,"score_gpt":0.32973258152561996,"score_spread":0.23583781053237157,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2514167992","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08070521,0.0023718844,0.18267058,0.111312985,0.0017464345,0.00009408885,0.00023331027,0.00031966405,0.6205458],"genre_scores_gemma":[0.8826884,0.0016882066,0.028466795,0.004322039,0.00061506935,0.00016784748,0.00011918489,0.00022915045,0.08170331],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9974043,0.0012558321,0.00008578929,0.0005981489,0.00035115954,0.00030471064],"domain_scores_gemma":[0.9926605,0.0045197085,0.00046514918,0.0011410386,0.00066524907,0.0005482433],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0039205006,0.00037979308,0.00044018435,0.0011856017,0.0052132416,0.00836266,0.0018798423,0.0044441707,0.022150323],"category_scores_gemma":[0.020002447,0.0003726638,0.000467147,0.001420746,0.009981789,0.02734677,0.005053526,0.0039992295,0.0021285566],"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":[0.0000051801408,0.0000031302739,0.00010033239,0.000009044731,0.0000012079933,0.000035431043,0.0005178027,0.00033263332,0.000032575954,0.99302906,0.0019903295,0.0039433716],"study_design_scores_gemma":[0.00000504858,0.000004063083,0.00007541343,0.000033660006,0.0000021969563,0.000050193987,0.0008792382,0.0025650193,0.000105645915,0.95549613,0.04077775,0.0000056275126],"about_ca_topic_score_codex":0.0066094105,"about_ca_topic_score_gemma":0.0076316474,"teacher_disagreement_score":0.022150323,"about_ca_system_score_codex":0.0034036525,"about_ca_system_score_gemma":0.0016331862,"threshold_uncertainty_score":0.07410014},"labels":[],"label_agreement":null},{"id":"W2537606113","doi":"10.30535/mto.9.1.1","title":"Narrative, Metaphor, and Conceptual Blending in “The Hanging Tree”","year":2003,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Language, Metaphor, and Cognition","field":"Psychology","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 Saskatchewan","funders":"","keywords":"Narrative; Metaphor; Tree (set theory); Art; Conceptual metaphor; Conceptual blending; Aesthetics; Literature; Visual arts; Communication; Psychology; Linguistics; Philosophy; Mathematics; Cognition; Combinatorics","score_opus":0.03595184455497765,"score_gpt":0.2999019688674146,"score_spread":0.263950124312437,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2537606113","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.52590275,0.02240481,0.16045435,0.01419839,0.0005155031,0.00014174666,0.00011343248,0.00012610311,0.27614298],"genre_scores_gemma":[0.982941,0.0016125239,0.012372839,0.00028302093,0.000053557993,0.00007316363,0.000029690833,0.000026172074,0.0026079414],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99799854,0.0016124805,0.000040785446,0.00009221881,0.00014076932,0.00011517242],"domain_scores_gemma":[0.9985014,0.0010461564,0.00019253297,0.00008991933,0.00006840493,0.00010143085],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002417542,0.00046463535,0.00029222496,0.0025502464,0.0032038246,0.005286695,0.0007061165,0.00096979854,0.0022492902],"category_scores_gemma":[0.0031091915,0.00023774769,0.00035187294,0.0018833355,0.021310901,0.011089263,0.0033516448,0.001773829,0.00015351847],"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":[0.000019384364,0.000014337859,0.00043418712,0.00008111393,0.000006409096,0.00027626107,0.10060557,0.00017667323,0.0003503796,0.8912678,0.0006374768,0.0061304406],"study_design_scores_gemma":[0.000035895257,0.00007730856,0.0025492138,0.00033863125,0.000025773217,0.0012260511,0.19151069,0.0021096321,0.00086296216,0.7018715,0.09935205,0.000040299663],"about_ca_topic_score_codex":0.0021405881,"about_ca_topic_score_gemma":0.0024611813,"teacher_disagreement_score":0.005286695,"about_ca_system_score_codex":0.0023359759,"about_ca_system_score_gemma":0.0011001141,"threshold_uncertainty_score":0.01694882},"labels":[],"label_agreement":null},{"id":"W2549714691","doi":"10.30535/mto.7.1.2","title":"Pulse Streams and Problems of Grouping and Metrical Dissonance in Bartök’s “With Drums and Pipes”","year":2001,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Musicology and Musical Analysis","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 British Columbia","funders":"","keywords":"Cognitive dissonance; STREAMS; Pulse (music); Art; Mathematics; Optics; Physics; Computer science; Psychology; Social psychology","score_opus":0.024202743242862323,"score_gpt":0.2144632165329291,"score_spread":0.1902604732900668,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2549714691","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":[0.27655002,0.0033272747,0.5215817,0.0051476397,0.0007145951,0.00007950455,0.00014489124,0.0005116782,0.19194272],"genre_scores_gemma":[0.92541003,0.0007086197,0.053405218,0.00025549825,0.00028594752,0.000048016864,0.00006158881,0.000096780146,0.019728243],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99963653,0.00014741959,0.000021305275,0.00006264961,0.000089959074,0.000042104464],"domain_scores_gemma":[0.99926203,0.0004305794,0.000075476164,0.000108414344,0.00007159733,0.00005185081],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007385038,0.00036447885,0.0002322194,0.00081541145,0.0019830537,0.0020575535,0.00047333378,0.00076479284,0.003816397],"category_scores_gemma":[0.0026809564,0.0002388141,0.00029667042,0.0007436093,0.0058268583,0.004721035,0.0015815503,0.0012538406,0.00034920848],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000060765935,0.0000057374095,0.00013771189,0.000024412922,0.0000029912349,0.00009634481,0.0015975216,0.00070010265,0.0010816751,0.9768907,0.0007891106,0.018612921],"study_design_scores_gemma":[0.000015409043,0.000028429547,0.0005769477,0.000013923698,0.000004581615,0.0001537136,0.0006898929,0.004410931,0.0014963556,0.97788733,0.014703377,0.000018980798],"about_ca_topic_score_codex":0.0009222478,"about_ca_topic_score_gemma":0.0009228157,"teacher_disagreement_score":0.003816397,"about_ca_system_score_codex":0.0006810607,"about_ca_system_score_gemma":0.00031178034,"threshold_uncertainty_score":0.012767136},"labels":[],"label_agreement":null},{"id":"W2550581143","doi":"10.30535/mto.12.3.1","title":"Just Intonation in Renaissance Theory and Practice","year":2006,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Musicology and Musical Analysis","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":"Western University","funders":"","keywords":"The Renaissance; Intonation (linguistics); Reputation; Music theory; Art; Sociology; Epistemology; Philosophy; Aesthetics; Literature; Linguistics; Musical; Art history; Social science","score_opus":0.037657285594661596,"score_gpt":0.2721366395888085,"score_spread":0.23447935399414693,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2550581143","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07679495,0.022395233,0.10691402,0.04858889,0.0023058897,0.00006880466,0.00006401365,0.00038518527,0.742483],"genre_scores_gemma":[0.96914834,0.0031667012,0.0066758534,0.0010770157,0.00044221777,0.000049347003,0.000024827032,0.00010903784,0.019306568],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9932249,0.004748306,0.00029842058,0.00065535144,0.0006841183,0.00038892214],"domain_scores_gemma":[0.99649566,0.0021361024,0.00024439613,0.00061305746,0.0003564023,0.00015447527],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0066691083,0.00078221015,0.0005478217,0.0015703405,0.0047078202,0.0098057,0.001220508,0.002984287,0.005676043],"category_scores_gemma":[0.009055264,0.00038707425,0.000413039,0.0014615267,0.07110062,0.014780269,0.004625323,0.0041220575,0.0010637662],"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":[0.000007639711,0.0000023983885,0.00007319348,0.000020883348,0.0000014449498,0.000026389811,0.013307093,0.00008371722,0.000052995063,0.98196983,0.00052765384,0.0039268336],"study_design_scores_gemma":[0.000013997941,0.0000330819,0.00030593053,0.0001910022,0.000007425443,0.00018668782,0.013884892,0.0006007721,0.00034570234,0.84986115,0.13454194,0.000027312732],"about_ca_topic_score_codex":0.003940923,"about_ca_topic_score_gemma":0.0029539722,"teacher_disagreement_score":0.0098057,"about_ca_system_score_codex":0.004121846,"about_ca_system_score_gemma":0.002487449,"threshold_uncertainty_score":0.035270035},"labels":[],"label_agreement":null},{"id":"W2603021668","doi":"10.30535/mto.16.4.12","title":"Review of Benjamin Wardhaugh,<i>Music, Experiment and Mathematics in England, 1653–1705</i>(Ashgate Press, 2008)","year":2010,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Musicology and Musical Analysis","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":"Art history; Art; Media studies; Sociology","score_opus":0.03241593040335134,"score_gpt":0.2536108748924596,"score_spread":0.22119494448910826,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2603021668","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":[0.00003734744,0.9635907,0.00009578833,0.016890444,0.016815465,0.0000041002945,0.00005561389,0.00000609199,0.0025043944],"genre_scores_gemma":[0.001256736,0.9326681,0.00014526398,0.025077222,0.02580024,0.000027410633,0.00011225601,0.000030691015,0.014882013],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99865615,0.0003299,0.00016933685,0.00021130661,0.0005391506,0.00009414693],"domain_scores_gemma":[0.99510807,0.0023772265,0.00023589822,0.00013091066,0.0018175276,0.00033029696],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0028827952,0.0011135988,0.0018367365,0.0075574345,0.0015685741,0.003808749,0.0018336138,0.0042540715,0.012777375],"category_scores_gemma":[0.009637993,0.0006569283,0.0004700428,0.007098616,0.0028626553,0.007317592,0.0025238527,0.0046384367,0.00838906],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001841675,0.000008209706,0.000052255713,0.0018037722,0.000009750337,0.000029852823,0.00014787601,0.000038604547,0.00005043878,0.0033551457,0.93134576,0.06313985],"study_design_scores_gemma":[0.0000042769916,0.0000037064824,0.00020220158,0.0009741358,0.000006486458,0.000055478045,0.00008007404,0.0000065058484,0.000019071234,0.000535238,0.9981071,0.0000057929706],"about_ca_topic_score_codex":0.026230216,"about_ca_topic_score_gemma":0.05210373,"teacher_disagreement_score":0.026230216,"about_ca_system_score_codex":0.0045144726,"about_ca_system_score_gemma":0.005835995,"threshold_uncertainty_score":0.052155077},"labels":[],"label_agreement":null},{"id":"W2604278681","doi":"10.30535/mto.23.1.5","title":"The French Path","year":2017,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Musicology and Musical Analysis","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":"Society for Music Theory","keywords":"Tonality; Minor (academic); Context (archaeology); Successor cardinal; Key (lock); Singing; Major and minor; Art; Literature; Art history; Humanities; Philosophy; History; Computer science; Management; Mathematics; Musical","score_opus":0.043295662192269234,"score_gpt":0.2529409189052103,"score_spread":0.20964525671294107,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2604278681","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.013815492,0.007059059,0.00446458,0.026510483,0.0013303205,0.000023793207,0.00030175934,0.00016469219,0.9463298],"genre_scores_gemma":[0.48777312,0.005049719,0.0035611133,0.007878408,0.000704062,0.00007333877,0.00031190788,0.0002587539,0.49438953],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983724,0.00060679,0.000031445867,0.00037218689,0.000255497,0.00036170112],"domain_scores_gemma":[0.99934524,0.00021318567,0.000040291296,0.000073084506,0.00023083865,0.000097324664],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001349715,0.0006822278,0.00030514083,0.0012318569,0.007407122,0.0069151036,0.0004991031,0.0019819792,0.03976455],"category_scores_gemma":[0.0027069899,0.0001701217,0.00041065004,0.00083865004,0.0047860574,0.003237868,0.0026220733,0.0027256527,0.005496626],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025391484,0.000006221217,0.00040209605,0.00002936343,0.0000049884825,0.00013785489,0.0045176637,0.000058089212,0.0001013899,0.9472362,0.024096366,0.023384446],"study_design_scores_gemma":[0.000006424607,0.000014462068,0.0005925813,0.00008418985,0.0000037500215,0.00014835167,0.0021426575,0.000068009525,0.00009260592,0.025672816,0.97116584,0.000008246968],"about_ca_topic_score_codex":0.08653574,"about_ca_topic_score_gemma":0.073998556,"teacher_disagreement_score":0.08653574,"about_ca_system_score_codex":0.010548433,"about_ca_system_score_gemma":0.005135514,"threshold_uncertainty_score":0.17206413},"labels":[],"label_agreement":null},{"id":"W2604518621","doi":"10.30535/mto.23.1.4","title":"Humorous Script Oppositions in Classical Instrumental Music","year":2017,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Humor Studies and Applications","field":"Psychology","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":"Instrumental music; Art; Classical music; Literature; Aesthetics; Musical","score_opus":0.07129194050742112,"score_gpt":0.3584346779967043,"score_spread":0.2871427374892832,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2604518621","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6541781,0.0013388821,0.01533645,0.0013628579,0.00021272236,0.000037349335,0.000034126515,0.00014528168,0.3273542],"genre_scores_gemma":[0.99510455,0.00010152217,0.000780067,0.00010971722,0.00003984715,0.000010483882,0.000011041298,0.000021617647,0.00382121],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9988482,0.0005947544,0.000049098926,0.00012706347,0.0002759473,0.000104986895],"domain_scores_gemma":[0.998922,0.000581863,0.00017669833,0.000117142285,0.00009347764,0.00010884532],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00070284324,0.0001799139,0.00015712612,0.0006784468,0.0023769883,0.002656103,0.0003032939,0.00045959276,0.0028885289],"category_scores_gemma":[0.0037441878,0.00013134604,0.00012929246,0.00035630137,0.009529148,0.0018797186,0.0023632743,0.0011410526,0.0002542485],"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":[0.00030985352,0.000053406497,0.0046386295,0.00020163263,0.000022775515,0.0011057806,0.19397806,0.00024328499,0.011538779,0.7473006,0.0020668951,0.03854023],"study_design_scores_gemma":[0.00012489753,0.00048561688,0.07622595,0.00058294815,0.000072304865,0.0061185095,0.1758987,0.0035910031,0.018734632,0.44261178,0.275411,0.00014265256],"about_ca_topic_score_codex":0.0006687288,"about_ca_topic_score_gemma":0.0011811666,"teacher_disagreement_score":0.0028885289,"about_ca_system_score_codex":0.0008506678,"about_ca_system_score_gemma":0.0003173003,"threshold_uncertainty_score":0.009663105},"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":"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":"W2758193768","doi":"10.30535/mto.23.3.2","title":"A Tale of Three Schenkers","year":2017,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Musicology and Musical Analysis","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":"Rocky Mountain College","funders":"","keywords":"Transformational leadership; Piano; Theme (computing); Performance practice; Movement (music); Computer science; Aesthetics; Epistemology; Psychology; Cognitive psychology; Cognitive science; Art; Literature; Philosophy; Social psychology; Art history","score_opus":0.06252029914659969,"score_gpt":0.26173772284538954,"score_spread":0.19921742369878986,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2758193768","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.114006385,0.005002052,0.019078828,0.046294026,0.00414502,0.00011163743,0.00019528788,0.000601898,0.8105649],"genre_scores_gemma":[0.6591732,0.0018585934,0.0064326073,0.0035803025,0.00074699766,0.000072916715,0.00014108876,0.00043247212,0.32756183],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9976374,0.0007684538,0.00007353365,0.00036786473,0.00075537106,0.00039737212],"domain_scores_gemma":[0.99887186,0.0003808813,0.00006954851,0.00017720449,0.00024121032,0.00025922598],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017025743,0.0009126442,0.00034953287,0.002141549,0.01298441,0.0075658974,0.0009312921,0.002184232,0.01703808],"category_scores_gemma":[0.006520983,0.0002627083,0.00047903782,0.0011039127,0.019907096,0.0070350105,0.0066383863,0.0051464452,0.0036809635],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013943989,0.000040220813,0.0013640058,0.00010462326,0.000015670494,0.00073949184,0.15305431,0.00029662752,0.001423115,0.7362515,0.053339723,0.05323128],"study_design_scores_gemma":[0.000011324972,0.00007315554,0.0010992273,0.00025235306,0.000011138957,0.0005975421,0.09030692,0.00029037183,0.0010535131,0.08554382,0.82069534,0.00006519993],"about_ca_topic_score_codex":0.006684507,"about_ca_topic_score_gemma":0.01343118,"teacher_disagreement_score":0.01703808,"about_ca_system_score_codex":0.0039397143,"about_ca_system_score_gemma":0.0022455982,"threshold_uncertainty_score":0.056998074},"labels":[],"label_agreement":null},{"id":"W2781576499","doi":"10.30535/mto.23.4.3","title":"Changing Content in Flagship Music Theory Journals, 1979–2014","year":2017,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Musicology and Musical Analysis","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":"McGill University","funders":"","keywords":"Repertoire; Group cohesiveness; Diversity (politics); Music theory; Scope (computer science); Contemporary classical music; Encyclopedia; Epistemology; Sociology; Computer science; Musical; Literature; Psychology; Art; Library science; Social psychology; Philosophy","score_opus":0.1480454277808081,"score_gpt":0.28590551246954543,"score_spread":0.13786008468873734,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2781576499","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":"evaluation","model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":"evaluation","domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8558243,0.042310957,0.0011231485,0.008123931,0.0025489163,0.000246639,0.041601345,0.00021168926,0.048009172],"genre_scores_gemma":[0.8811535,0.040204894,0.003762141,0.0022102243,0.0044370517,0.00061552005,0.043867067,0.000319721,0.023429869],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.9897713,0.0011079938,0.0022810416,0.0011806652,0.004995463,0.0006634577],"domain_scores_gemma":[0.89793897,0.04197376,0.025622929,0.0025786718,0.025673978,0.006211696],"candidate_categories":["metaresearch","bibliometrics"],"consensus_categories":[],"category_scores_codex":[0.007818259,0.00048291186,0.0005307518,0.056071263,0.0031363426,0.008323895,0.00081255083,0.0010168779,0.006876144],"category_scores_gemma":[0.06658709,0.00033340047,0.00045654955,0.06213679,0.0021824515,0.004276931,0.0047715097,0.00096241065,0.002533314],"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":[0.0012221057,0.00029415416,0.3715113,0.013138645,0.00035915044,0.0034096064,0.12457673,0.00053146464,0.015327519,0.012261386,0.12178193,0.33558598],"study_design_scores_gemma":[0.00003410286,0.000110674664,0.7388656,0.0020000602,0.000108794025,0.0010756454,0.03307808,0.00021472017,0.0019371499,0.0013136821,0.22119586,0.00006569425],"about_ca_topic_score_codex":0.006102766,"about_ca_topic_score_gemma":0.0120790005,"teacher_disagreement_score":0.9921817,"about_ca_system_score_codex":0.0043791505,"about_ca_system_score_gemma":0.0059313704,"threshold_uncertainty_score":0.041347444},"labels":[],"label_agreement":null},{"id":"W2795720222","doi":"10.30535/mto.24.1.4","title":"Thomas Campion’s “Chordal Counterpoint” and Tallis’s Famous Forty-Part Motet","year":2018,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Musicology and Musical Analysis","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":"McGill University; Centre for Interdisciplinary Research in Music Media and Technology","funders":"","keywords":"Bass (fish); Counterpoint; Parallels; Melody; Art; Art history; Literature; Musical; Physics; Engineering; Acoustics","score_opus":0.03035168877767519,"score_gpt":0.23457198360252973,"score_spread":0.20422029482485454,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2795720222","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.020034315,0.005313858,0.016775047,0.05227951,0.0077283746,0.000051151626,0.00009538473,0.0002878011,0.89743453],"genre_scores_gemma":[0.56459117,0.0026076988,0.0051632957,0.010986641,0.003578044,0.000087776854,0.000112017406,0.00032687787,0.41254652],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99898034,0.00030216863,0.000027736072,0.0002335439,0.00033446474,0.00012159703],"domain_scores_gemma":[0.99955136,0.00021338077,0.000044067347,0.000056737215,0.00007579018,0.00005861327],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007058309,0.0007290242,0.00016424182,0.00087356614,0.0044323867,0.0057041678,0.0008457071,0.002372422,0.01165484],"category_scores_gemma":[0.003424484,0.00020796855,0.00027895602,0.00055284105,0.009764985,0.004283479,0.0021230166,0.004363826,0.0023598438],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000568209,0.000005855014,0.0001792211,0.000035375033,0.0000043658197,0.00030651307,0.008819003,0.000086408334,0.0004113836,0.9228875,0.055575084,0.011632532],"study_design_scores_gemma":[0.00001787498,0.00002803579,0.0006656338,0.00014463147,0.0000073893807,0.00049300096,0.0060381168,0.00039362742,0.00071695924,0.09907482,0.89240015,0.000019650219],"about_ca_topic_score_codex":0.008620669,"about_ca_topic_score_gemma":0.014679336,"teacher_disagreement_score":0.01165484,"about_ca_system_score_codex":0.0029962698,"about_ca_system_score_gemma":0.0011674495,"threshold_uncertainty_score":0.038989365},"labels":[],"label_agreement":null},{"id":"W2796433847","doi":"10.30535/mto.24.1.7","title":"Chasing the Phantom","year":2018,"lang":"en","type":"article","venue":"Music Theory Online","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":"University of British Columbia","funders":"","keywords":"Aesthetics; Focus (optics); TRACE (psycholinguistics); Embodied cognition; Visual arts; Art; Musical; Globe; History; Sociology; Literature; Psychology; Linguistics; Epistemology; Philosophy","score_opus":0.055618385781601436,"score_gpt":0.25519271917432834,"score_spread":0.1995743333927269,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2796433847","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10401727,0.005092838,0.019059448,0.028821835,0.0018186837,0.00004877258,0.00005726643,0.00031816913,0.8407657],"genre_scores_gemma":[0.8787795,0.0014506144,0.0034152346,0.0038194936,0.00041678766,0.000044639222,0.000035847213,0.00021363594,0.11182419],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983284,0.00077500066,0.00003830472,0.00031236236,0.00034014496,0.00020577369],"domain_scores_gemma":[0.99867165,0.0004853599,0.00011154402,0.00029786516,0.00017506815,0.00025844565],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018631029,0.0006788895,0.00032794397,0.0015257783,0.009243705,0.009861535,0.0009564369,0.0026223587,0.013777919],"category_scores_gemma":[0.0034123377,0.00029356644,0.00026774153,0.00070660724,0.035960082,0.013605559,0.008445135,0.0036634472,0.0036581657],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000040723735,0.000025066924,0.00081287,0.00008151231,0.0000070709825,0.00039273986,0.10525202,0.00007181632,0.0014372227,0.85463625,0.012285266,0.02495739],"study_design_scores_gemma":[0.000021914959,0.00008033309,0.0014833814,0.00036795257,0.000012166202,0.0013556463,0.118287995,0.0005696548,0.0017283187,0.18190381,0.69413996,0.00004884284],"about_ca_topic_score_codex":0.00291953,"about_ca_topic_score_gemma":0.0052859853,"teacher_disagreement_score":0.013777919,"about_ca_system_score_codex":0.0030691673,"about_ca_system_score_gemma":0.0018040875,"threshold_uncertainty_score":0.046091735},"labels":[],"label_agreement":null},{"id":"W2806295580","doi":"10.30535/mto.17.3.11","title":"Review of Danuta Mirka,<i>Metric Manipulations in Haydn and Mozart: Chamber Music for Strings, 1787–1791</i>(Oxford University Press, 2009)","year":2011,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Neuroscience and Music Perception","field":"Neuroscience","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":"Counterpoint; Musical; Metric (unit); Consciousness; Cognitive science; Computer science; Perception; Linguistics; Art; Visual arts; Philosophy; Epistemology; Psychology","score_opus":0.1174266102247676,"score_gpt":0.284187550589679,"score_spread":0.1667609403649114,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2806295580","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":[0.00004966332,0.98967314,0.00006341032,0.004370452,0.0025972978,0.0000023997218,0.000031452804,0.0000061577343,0.0032059976],"genre_scores_gemma":[0.0010810123,0.97954273,0.00011315905,0.0059308354,0.006056543,0.000012777002,0.000104441744,0.000018651124,0.007139895],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99937785,0.0001176293,0.00008994583,0.00012469641,0.00023756313,0.000052237774],"domain_scores_gemma":[0.99863666,0.0005851674,0.000115725255,0.000040333864,0.00047489273,0.00014721567],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011494992,0.0009165307,0.0012988044,0.0050922465,0.0012504768,0.0030458681,0.0014949178,0.0028717825,0.014158795],"category_scores_gemma":[0.0036616414,0.0005578833,0.00035704908,0.005905764,0.0019283373,0.0049251225,0.0018023794,0.0035622804,0.009452773],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003130533,0.000021046088,0.00013616506,0.0041778,0.000023661445,0.00009417434,0.00047878412,0.00008338421,0.00013449056,0.009949669,0.6840539,0.30081567],"study_design_scores_gemma":[0.000002335872,0.000005139284,0.00034258695,0.001323377,0.00000459816,0.00009577555,0.00008870209,0.0000052485148,0.000016535507,0.00042541305,0.9976851,0.000005261851],"about_ca_topic_score_codex":0.011921929,"about_ca_topic_score_gemma":0.022612073,"teacher_disagreement_score":0.014158795,"about_ca_system_score_codex":0.0030018818,"about_ca_system_score_gemma":0.0034089761,"threshold_uncertainty_score":0.047365844},"labels":[],"label_agreement":null},{"id":"W2894764786","doi":"10.30535/mto.24.3.15","title":"Fifth Conference on Analytical Approaches to World Music, and Eighth Folk Music International Workshop","year":2018,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Diverse Musicological Studies","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":"Art; Folk music; Visual arts; Literature; Musical","score_opus":0.42454495002001386,"score_gpt":0.2857961137260369,"score_spread":0.13874883629397694,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2894764786","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.04015561,0.049064886,0.029456876,0.15995522,0.08179046,0.0004085203,0.0015202084,0.00056933984,0.6370789],"genre_scores_gemma":[0.15193601,0.0138917705,0.010689115,0.0054360786,0.010178329,0.00046408843,0.0012320967,0.00076835527,0.80540425],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99776006,0.0010222157,0.00008033022,0.00023981396,0.00047400867,0.00042361402],"domain_scores_gemma":[0.9960622,0.0010042586,0.00008160054,0.0003853697,0.0009177856,0.0015488333],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005771473,0.0011490312,0.0010545318,0.0029524516,0.005465362,0.0138145285,0.002282372,0.0030499236,0.065444484],"category_scores_gemma":[0.0066345953,0.00034273835,0.0011208433,0.0023854238,0.0037518365,0.008067622,0.008319527,0.005216131,0.007064528],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003262911,0.0007029341,0.0017747094,0.00046154836,0.0000495287,0.0003406927,0.02103191,0.00047758553,0.0015503749,0.17619875,0.6125838,0.18450178],"study_design_scores_gemma":[0.000020539905,0.00003308566,0.0011910656,0.00040436065,0.000020106334,0.00008280479,0.0122594945,0.00031090988,0.00039878243,0.027307585,0.95795274,0.00001852869],"about_ca_topic_score_codex":0.008804523,"about_ca_topic_score_gemma":0.023007246,"teacher_disagreement_score":0.065444484,"about_ca_system_score_codex":0.0055209356,"about_ca_system_score_gemma":0.008226378,"threshold_uncertainty_score":0.21893358},"labels":[],"label_agreement":null},{"id":"W2894935556","doi":"10.30535/mto.24.3.2","title":"Schubert’s Development of Harmonic Motives in his Early String Quartets","year":2018,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Musicology and Musical Analysis","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 Lethbridge","funders":"","keywords":"String (physics); Period (music); Harmonic; Key (lock); Classical period; Literature; Development (topology); History; Theoretical physics; Art; Cognitive science; Psychology; Aesthetics; Computer science; Physics; Mathematics; Acoustics; Mathematical analysis","score_opus":0.052802307199731474,"score_gpt":0.25012076368499686,"score_spread":0.1973184564852654,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2894935556","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.39542314,0.004940274,0.021479065,0.005670684,0.0005396824,0.000036684578,0.00005526653,0.00012610968,0.5717292],"genre_scores_gemma":[0.9697667,0.0005736098,0.0017202412,0.00017328696,0.000079030404,0.000008361469,0.000013590458,0.000040149287,0.027625058],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99892175,0.00045403445,0.00003156,0.0001459456,0.00026353693,0.00018317379],"domain_scores_gemma":[0.99964285,0.00015466475,0.000044378674,0.00003178814,0.000062324514,0.00006401106],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010856962,0.0003380247,0.00019677088,0.0015500932,0.0036490161,0.0029835438,0.0003240615,0.0009033801,0.002219452],"category_scores_gemma":[0.0020237195,0.00021464098,0.00017608138,0.000547532,0.00822788,0.0022286845,0.0022811259,0.0013667587,0.0005368548],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000039609426,0.000008060815,0.0007987087,0.000023101285,0.0000031352033,0.00036327555,0.04616459,0.00011894524,0.00097964,0.92969733,0.0019065262,0.019896967],"study_design_scores_gemma":[0.000015335827,0.00016629927,0.00830715,0.00019194673,0.00001716994,0.0017759138,0.033886656,0.00095241755,0.0034257106,0.31950134,0.6316876,0.00007244225],"about_ca_topic_score_codex":0.0022212425,"about_ca_topic_score_gemma":0.004789986,"teacher_disagreement_score":0.0036490161,"about_ca_system_score_codex":0.0016895916,"about_ca_system_score_gemma":0.0008003962,"threshold_uncertainty_score":0.012258947},"labels":[],"label_agreement":null},{"id":"W2895717642","doi":"10.30535/mto.24.3.5","title":"What Can the Temporal Structure of Auditory Perception Tell Us about Musical “Timelessness”?","year":2018,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Neuroscience and Music Perception","field":"Neuroscience","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":"McGill University","funders":"","keywords":"Musical; Perception; Repertoire; Musical form; Repetition (rhetorical device); Time perception; Psychology; Duration (music); Variety (cybernetics); Key (lock); Cognitive psychology; Aesthetics; Communication; Cognitive science; Art; Literature; Philosophy; Linguistics; Computer science; Neuroscience; Artificial intelligence","score_opus":0.027059355112774637,"score_gpt":0.2818083424345708,"score_spread":0.2547489873217962,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2895717642","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6534501,0.06498271,0.12349102,0.031576447,0.0038910813,0.0001054401,0.0012330995,0.00058742025,0.120682746],"genre_scores_gemma":[0.96581894,0.016866257,0.009894309,0.0031722824,0.0013082259,0.00004863496,0.00035772513,0.00013526999,0.0023982348],"study_design_codex":"design_other","study_design_gemma":"observational","domain_scores_codex":[0.9995939,0.00008801107,0.000028697292,0.000113346825,0.00011876244,0.000057213176],"domain_scores_gemma":[0.9970011,0.0014724289,0.0006682124,0.00033499254,0.00036831648,0.00015499908],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015907298,0.00031067655,0.00044250776,0.0015410401,0.0005978272,0.003585282,0.0008766723,0.0018880885,0.0033818057],"category_scores_gemma":[0.012099428,0.00046910977,0.0007489713,0.0008804586,0.0050014663,0.0099215405,0.00127782,0.0015006864,0.000745176],"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":[0.0023317398,0.00023311503,0.07690743,0.0027345226,0.00048043128,0.0018284422,0.039980944,0.0019644038,0.092288785,0.20598677,0.009530164,0.56573325],"study_design_scores_gemma":[0.00012796531,0.00091390655,0.362957,0.0014549447,0.00029401202,0.0045269555,0.021233203,0.003763948,0.011415969,0.5463479,0.046529412,0.0004347641],"about_ca_topic_score_codex":0.0017376174,"about_ca_topic_score_gemma":0.0013248894,"teacher_disagreement_score":0.003585282,"about_ca_system_score_codex":0.0005119843,"about_ca_system_score_gemma":0.00047964597,"threshold_uncertainty_score":0.011313319},"labels":[],"label_agreement":null},{"id":"W2900187056","doi":"10.30535/mto.24.3.10","title":"Performers as Creative Agents; or, Musicians Just Want To Have Fun","year":2018,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Musicology and Musical Analysis","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":"MOZART; Cello; Creativity; Art; Piano sonata; Meaning (existential); Visual arts; Musical; Concerto; Suite; Literature; Aesthetics; Psychology; Piano; Art history; History; Social psychology","score_opus":0.09029631157644422,"score_gpt":0.3095851672276934,"score_spread":0.2192888556512492,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2900187056","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.025104169,0.003514085,0.019253701,0.009031917,0.00046152167,0.000035454075,0.000030388066,0.000080341524,0.94248843],"genre_scores_gemma":[0.8802601,0.0018596428,0.0060383435,0.0025204758,0.00045069537,0.00012370142,0.000051383806,0.00016605508,0.10852962],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9960425,0.0021515016,0.00010295552,0.0006195054,0.00072057993,0.0003629641],"domain_scores_gemma":[0.9988096,0.00045136368,0.00018200073,0.00024091572,0.00011583419,0.00020022219],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0034319093,0.0007853201,0.00022003477,0.001407008,0.0050202543,0.011112933,0.0009727079,0.0024699864,0.008532104],"category_scores_gemma":[0.0025858127,0.00027173484,0.00033977066,0.0009916722,0.042049,0.009679066,0.0052882996,0.0033679104,0.002149879],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011176412,0.000008034069,0.00022829308,0.000028279033,0.0000035098014,0.00004054746,0.024276992,0.000045480047,0.00015526186,0.96783096,0.0022673823,0.005104109],"study_design_scores_gemma":[0.000027825728,0.00003353397,0.0011621336,0.00021012509,0.0000176919,0.0003686379,0.049345322,0.0003904193,0.0004877756,0.4708449,0.47708595,0.000025608802],"about_ca_topic_score_codex":0.0015608639,"about_ca_topic_score_gemma":0.0029224132,"teacher_disagreement_score":0.011112933,"about_ca_system_score_codex":0.0018923698,"about_ca_system_score_gemma":0.0010260615,"threshold_uncertainty_score":0.028542757},"labels":[],"label_agreement":null},{"id":"W2901522744","doi":"10.30535/mto.12.1.5","title":"Review of David Yearsley, <i>Bach and the Meanings of Counterpoint</i> (Cambridge University Press, 2002)","year":2006,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Musicology and Musical Analysis","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":"Counterpoint; Art; Art history; Philosophy; Sociology","score_opus":0.013689409211832405,"score_gpt":0.19301771529292164,"score_spread":0.17932830608108924,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2901522744","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":[0.000032313917,0.9677196,0.00009200718,0.020430991,0.009070012,0.0000035860721,0.000051633753,0.0000045531333,0.002595323],"genre_scores_gemma":[0.00089369307,0.95424193,0.00014260651,0.02342777,0.01459623,0.000014750472,0.000085294036,0.000015331849,0.0065823533],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989189,0.00025951746,0.00013002884,0.00016587733,0.00044856765,0.00007711209],"domain_scores_gemma":[0.9942821,0.0028490948,0.0003036123,0.00012553016,0.0020258422,0.00041368877],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0027512948,0.00089279,0.0016578157,0.006745779,0.0012930459,0.0041434686,0.0017782274,0.004603485,0.011961047],"category_scores_gemma":[0.011005332,0.0005909991,0.00045541488,0.0068507236,0.0029552123,0.0074870586,0.002201403,0.0052587837,0.0080429325],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023212115,0.00001319418,0.000070261965,0.002002638,0.00001315138,0.00003368529,0.00017653078,0.000041932137,0.000054811215,0.0076242685,0.8866671,0.103279255],"study_design_scores_gemma":[0.000004502543,0.0000032459131,0.00017570874,0.0012402907,0.0000074257678,0.00006763628,0.000079121,0.000005064769,0.000014708856,0.00089669815,0.9974999,0.00000566719],"about_ca_topic_score_codex":0.0146727925,"about_ca_topic_score_gemma":0.0326013,"teacher_disagreement_score":0.0146727925,"about_ca_system_score_codex":0.003594535,"about_ca_system_score_gemma":0.0058233733,"threshold_uncertainty_score":0.04001367},"labels":[],"label_agreement":null},{"id":"W2912873993","doi":"10.30535/mto.24.4.3","title":"Koch, Carpani, and Momigny","year":2018,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Musicology and Musical Analysis","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":"Conversation; Musical; Agency (philosophy); Persona; Metaphor; Utterance; Volition (linguistics); Action (physics); Psychology; Sentience; Linguistics; Literature; Philosophy; Art; Epistemology; Humanities","score_opus":0.036516764483151755,"score_gpt":0.23264388128122895,"score_spread":0.1961271167980772,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2912873993","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11892103,0.054659113,0.006248148,0.18805914,0.004625694,0.000073982126,0.00018620916,0.00014424563,0.6270824],"genre_scores_gemma":[0.8995287,0.020212358,0.002771002,0.01588862,0.002198815,0.00012045473,0.00011320165,0.00007331256,0.059093468],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993455,0.0002460886,0.000016724578,0.00011699965,0.00018799638,0.00008674509],"domain_scores_gemma":[0.99822575,0.0009919414,0.00019421676,0.00015105378,0.00025043174,0.00018653009],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00097137666,0.0002035787,0.00021578929,0.0013993464,0.0037007774,0.0033649507,0.00047596433,0.001283855,0.004416273],"category_scores_gemma":[0.005604171,0.00011816547,0.00012347614,0.000984308,0.005073245,0.0045167725,0.002760954,0.0029825142,0.0011221162],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009584455,0.000060700386,0.0023546189,0.00018542637,0.000008009094,0.0002459114,0.043302987,0.000093820956,0.000404404,0.7790578,0.11733313,0.056857243],"study_design_scores_gemma":[0.000021079039,0.000046144287,0.0075961584,0.00043119592,0.0000151930035,0.00090676337,0.026199196,0.00024148957,0.00060481945,0.17893828,0.7849671,0.000032457272],"about_ca_topic_score_codex":0.0022863008,"about_ca_topic_score_gemma":0.003254217,"teacher_disagreement_score":0.004416273,"about_ca_system_score_codex":0.0018358809,"about_ca_system_score_gemma":0.0014204923,"threshold_uncertainty_score":0.014773965},"labels":[],"label_agreement":null},{"id":"W2942882990","doi":"10.30535/mto.25.1.6","title":"Comprehensibility and Ben Johnston’s String Quartet No. 9","year":2019,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Musicology and Musical Analysis","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":"Intonation (linguistics); String (physics); Musical; Variety (cybernetics); Set (abstract data type); Linguistics; Computer science; Musical form; Negotiation; Cognitive science; Communication; Art; Psychology; Visual arts; Sociology; Artificial intelligence; Philosophy; Physics; Theoretical physics","score_opus":0.023858037679914006,"score_gpt":0.2162331738553372,"score_spread":0.19237513617542318,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2942882990","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.35446006,0.0023353538,0.028446408,0.018630013,0.0007520077,0.000047408834,0.000049880873,0.00020300811,0.59507585],"genre_scores_gemma":[0.95578724,0.00023610634,0.0025164098,0.00063843495,0.00008143268,0.0000134792135,0.000018765291,0.00010043536,0.040607758],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983918,0.0008187235,0.00005361944,0.00024080783,0.00036076835,0.00013417285],"domain_scores_gemma":[0.9978783,0.0013313806,0.00013464142,0.00018171714,0.0002971481,0.00017676943],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002205963,0.00032589378,0.0002075953,0.00082710595,0.0026721568,0.005666777,0.00054310693,0.0013417017,0.005459199],"category_scores_gemma":[0.006064827,0.00020824256,0.00015764686,0.00026832471,0.009268985,0.0035769087,0.0023643451,0.002562161,0.0007861291],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016002593,0.00004280995,0.0020038937,0.00008912851,0.000009574389,0.0010966863,0.26266268,0.0003059959,0.005188192,0.6717363,0.008241374,0.048463315],"study_design_scores_gemma":[0.0000386285,0.0002536164,0.0066180085,0.00042939308,0.000021604248,0.0024066896,0.113156125,0.0023726537,0.005077621,0.28904226,0.5804746,0.00010875306],"about_ca_topic_score_codex":0.0015696528,"about_ca_topic_score_gemma":0.0023145415,"teacher_disagreement_score":0.005666777,"about_ca_system_score_codex":0.0013560763,"about_ca_system_score_gemma":0.0005897667,"threshold_uncertainty_score":0.018262804},"labels":[],"label_agreement":null},{"id":"W2946452691","doi":"10.30535/mto.25.1.1","title":"Improvisatory Exercises as Analytical Tool","year":2019,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Musicology and Musical Analysis","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 Calgary","funders":"","keywords":"Timbre; Orchestration; Musical; Context (archaeology); Immediacy; Set (abstract data type); Aesthetics; Repetition (rhetorical device); Extant taxon; Period (music); Action (physics); Visual arts; Psychology; Computer science; Art; Epistemology; History; Linguistics; Philosophy; Biology","score_opus":0.02328298082027102,"score_gpt":0.23720921045730986,"score_spread":0.21392622963703883,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2946452691","genre_codex":"other","genre_gemma":"methods","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"methods","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1786049,0.0020578767,0.30662054,0.0028382346,0.00048507802,0.0005984632,0.00028598527,0.0022038582,0.5063051],"genre_scores_gemma":[0.74636424,0.0011953732,0.17552213,0.0004644179,0.00025231045,0.000670486,0.00033146233,0.00066133245,0.07453822],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9962424,0.0023811476,0.00013871293,0.00032937422,0.00070739177,0.00020102969],"domain_scores_gemma":[0.9919075,0.0057180845,0.00041657258,0.0010603805,0.00045017176,0.00044728958],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0035348278,0.00072492316,0.00034572667,0.002502425,0.0017266201,0.004382819,0.0018049878,0.0011244328,0.015209841],"category_scores_gemma":[0.008878578,0.00023714232,0.00029320113,0.0013887832,0.006341649,0.0032920844,0.005500443,0.0017489626,0.0037785568],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00033906839,0.00047367564,0.0024026586,0.0011893217,0.000028332412,0.0012772916,0.23268056,0.0012731913,0.024381833,0.37363142,0.011846028,0.3504766],"study_design_scores_gemma":[0.00007176965,0.00036585092,0.006630232,0.0016658776,0.000036431324,0.0024841304,0.07824174,0.0047490583,0.019665644,0.13066168,0.7553399,0.000087693676],"about_ca_topic_score_codex":0.00025551606,"about_ca_topic_score_gemma":0.00058196514,"teacher_disagreement_score":0.015209841,"about_ca_system_score_codex":0.0008813538,"about_ca_system_score_gemma":0.0009922647,"threshold_uncertainty_score":0.05088204},"labels":[],"label_agreement":null},{"id":"W2949722651","doi":"10.30535/mto.25.1.8","title":"Music Theory as Social Justice: Pedagogical Applications of Kendrick Lamar’s<i>To Pimp A Butterfly</i>","year":2019,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Diverse Music Education Insights","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":"Sociology; Racism; Curriculum; Musical; Repertoire; Music theory; Economic Justice; Pedagogy; Visual arts; Art; Gender studies; Literature; Political science; Law","score_opus":0.08189840484035872,"score_gpt":0.31097755828140605,"score_spread":0.22907915344104735,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2949722651","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.045158617,0.025538318,0.058927123,0.25453693,0.010752429,0.00027028288,0.00004415265,0.0008035835,0.60396856],"genre_scores_gemma":[0.6423685,0.02459719,0.07023676,0.047631375,0.0065757385,0.00067493034,0.00006811876,0.0003779303,0.20746946],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99908864,0.00056582486,0.000022813889,0.000086787564,0.00015694425,0.000078902456],"domain_scores_gemma":[0.9988059,0.00067842973,0.00005726072,0.000047817488,0.00010289567,0.00030771893],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014105526,0.00055819604,0.00027777924,0.0007795919,0.0038421748,0.0037014596,0.0009872157,0.0012679049,0.003362513],"category_scores_gemma":[0.0015914697,0.0001982802,0.0003831789,0.0003242151,0.007854975,0.002278087,0.0027680064,0.004480738,0.00095634995],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003751952,0.00042906028,0.001362097,0.00041905278,0.000017446782,0.0009033223,0.059582952,0.00076785544,0.0038982441,0.28489822,0.40501136,0.24267296],"study_design_scores_gemma":[0.000027252816,0.00015384433,0.0022804264,0.00047488502,0.000013409527,0.0012062943,0.026232557,0.001811054,0.0013330692,0.10446041,0.8619728,0.000033995948],"about_ca_topic_score_codex":0.004668562,"about_ca_topic_score_gemma":0.008692233,"teacher_disagreement_score":0.004668562,"about_ca_system_score_codex":0.0023955319,"about_ca_system_score_gemma":0.002618362,"threshold_uncertainty_score":0.017380834},"labels":[],"label_agreement":null},{"id":"W2998753758","doi":"10.30535/mto.25.4.3","title":"Plateau Loops and Hybrid Tonics in Recent Pop Music","year":2019,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Neuroscience and Music Perception","field":"Neuroscience","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":"Chord (peer-to-peer); Tonic (physiology); Melody; Tonality; Harmony (color); Harmony (Music); Linguistics; Musical; Art; Psychology; Literature; Philosophy; Computer science; Visual arts","score_opus":0.0416045755725635,"score_gpt":0.2730097051937261,"score_spread":0.23140512962116258,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2998753758","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7584118,0.008707627,0.015222003,0.00084701437,0.00018535662,0.000039696548,0.00020061874,0.00012632621,0.2162595],"genre_scores_gemma":[0.9892614,0.0010015472,0.0023035258,0.00014318773,0.000114561015,0.00001570412,0.00012527636,0.000045311896,0.0069897072],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99980706,0.00005188607,0.000011751109,0.00005114126,0.000053178854,0.000025027515],"domain_scores_gemma":[0.99965036,0.00015393618,0.000075633056,0.00003828294,0.000035083795,0.00004671506],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00027882945,0.00018241687,0.000110031106,0.0011190936,0.0009135838,0.0018903383,0.00027526706,0.00036074306,0.004183245],"category_scores_gemma":[0.0014121581,0.00009529134,0.00014791432,0.0010173139,0.0023770537,0.0017553956,0.0012498111,0.0005900113,0.00036891518],"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":[0.00047296757,0.00007232902,0.048645686,0.00082339137,0.000060258728,0.0017464225,0.09527486,0.00094649877,0.015352013,0.5951917,0.00451333,0.23690058],"study_design_scores_gemma":[0.000093969546,0.0006028703,0.3116584,0.00095034484,0.00010652268,0.007474085,0.08013808,0.0049786964,0.005223651,0.22633159,0.36229324,0.00014849557],"about_ca_topic_score_codex":0.0010562631,"about_ca_topic_score_gemma":0.0032053872,"teacher_disagreement_score":0.004183245,"about_ca_system_score_codex":0.0005225527,"about_ca_system_score_gemma":0.00020173319,"threshold_uncertainty_score":0.013994336},"labels":[],"label_agreement":null},{"id":"W3008753554","doi":"10.30535/mto.25.4.5","title":"Challenging Some Misconceptions about the<i>Règle de l’octave</i>","year":2019,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Musicology and Musical Analysis","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 Moncton","funders":"","keywords":"Octave (electronics); Motion (physics); Epistemology; Philosophy; Physics; Acoustics; Classical mechanics","score_opus":0.0332868835585619,"score_gpt":0.23694893191046987,"score_spread":0.20366204835190796,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3008753554","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":[0.028310077,0.014087823,0.11863803,0.46537223,0.0069638398,0.00007177574,0.00014934318,0.00041507708,0.36599186],"genre_scores_gemma":[0.8236688,0.0070546307,0.034883186,0.09491928,0.0053625624,0.00032539,0.00013057615,0.00055999367,0.03309551],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.98827887,0.0064423806,0.0005766506,0.0017604998,0.0024147755,0.000526747],"domain_scores_gemma":[0.9728775,0.019456703,0.0015709659,0.0023894832,0.003114183,0.0005911718],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.019148776,0.00072554,0.0008454037,0.002682353,0.008495853,0.01035153,0.004141883,0.00738034,0.005446128],"category_scores_gemma":[0.041716885,0.00048040046,0.0006691461,0.0023821737,0.047426544,0.015300375,0.0058363215,0.016463844,0.0023197355],"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":[0.000007640708,0.0000056848376,0.00008832733,0.000028273222,0.0000033854803,0.000052447776,0.008733401,0.000044366356,0.00005493917,0.98167944,0.006008318,0.003293761],"study_design_scores_gemma":[0.000014645266,0.000019106275,0.00024250284,0.00039017096,0.000013956977,0.0002994516,0.011498097,0.00054355344,0.0006383574,0.7676149,0.21868834,0.00003690165],"about_ca_topic_score_codex":0.0037140504,"about_ca_topic_score_gemma":0.0030684639,"teacher_disagreement_score":0.019148776,"about_ca_system_score_codex":0.0032919045,"about_ca_system_score_gemma":0.002617518,"threshold_uncertainty_score":0.10126966},"labels":[],"label_agreement":null},{"id":"W3037996246","doi":"10.30535/mto.26.2.6","title":"Retrospective Time and the Subdominant Past","year":2020,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Theater, Performance, and Music History","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":"Subdominant; Temporality; Tonality; Hermeneutics; Counterculture; Syntax; Variety (cybernetics); Epistemology; Sociology; Linguistics; Literature; History; Musical; Philosophy; Art; Computer science; Art history","score_opus":0.01594808196058046,"score_gpt":0.18277130444160572,"score_spread":0.16682322248102527,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3037996246","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.41132495,0.005287539,0.05605848,0.004157599,0.0004327049,0.00003462732,0.0001885535,0.00009760719,0.5224179],"genre_scores_gemma":[0.9866093,0.0008413261,0.0023085556,0.00008575913,0.00007505468,0.000012998938,0.00005375469,0.00003012709,0.009983284],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9990356,0.00042612766,0.000046695015,0.00024812086,0.00015084608,0.00009260032],"domain_scores_gemma":[0.99802554,0.0009894228,0.00026709205,0.00043041958,0.00015593879,0.00013154928],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0025368964,0.00029408722,0.0002425957,0.002020499,0.0026675735,0.0056720646,0.0006933365,0.0005288777,0.005720849],"category_scores_gemma":[0.0046991236,0.00021901293,0.000253944,0.0014920805,0.014012801,0.010749914,0.0030587818,0.0012889293,0.00035251808],"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":[0.000052155454,0.000005534218,0.0017350179,0.00003563653,0.0000033528493,0.00012128715,0.030898903,0.00012697032,0.00039298143,0.95440745,0.0003107534,0.011909851],"study_design_scores_gemma":[0.000033731216,0.00011044653,0.009799079,0.0004751392,0.000042449436,0.0011227769,0.087598674,0.0018378898,0.0017633354,0.6239587,0.2732108,0.000047001],"about_ca_topic_score_codex":0.0033454895,"about_ca_topic_score_gemma":0.0060429983,"teacher_disagreement_score":0.005720849,"about_ca_system_score_codex":0.0021355595,"about_ca_system_score_gemma":0.0011360098,"threshold_uncertainty_score":0.019138157},"labels":[],"label_agreement":null},{"id":"W3096083465","doi":"10.30535/mto.26.3.9","title":"Introduction","year":2020,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Musicology and Musical Analysis","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":"Dalhousie University","funders":"Society for Music Theory; Harvard University; John Simon Guggenheim Memorial Foundation; National Endowment for the Arts","keywords":"Violin; Cello; Chen; Period (music); Session (web analytics); Art history; Art; Humanities; Visual arts; Piano; Computer science; Aesthetics","score_opus":0.04590394896683586,"score_gpt":0.21856607253513158,"score_spread":0.17266212356829572,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3096083465","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0018584735,0.013842458,0.014203797,0.03479623,0.041579746,0.0005286511,0.010872264,0.0028221933,0.87949616],"genre_scores_gemma":[0.011312006,0.013797848,0.008640399,0.016608603,0.0120873535,0.0005864009,0.013927852,0.0013735171,0.92166597],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99861455,0.0001956031,0.00009300371,0.00034563232,0.0005847237,0.0001664301],"domain_scores_gemma":[0.9976572,0.00050838914,0.000108610824,0.000207949,0.0010749818,0.0004428324],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0012376539,0.0009653346,0.00054938934,0.0015051228,0.0018579677,0.005116736,0.0019590922,0.0028216802,0.47122902],"category_scores_gemma":[0.006319572,0.00032819292,0.0005280733,0.0012999442,0.000739623,0.003940796,0.00285884,0.0024611251,0.33861643],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000031317588,0.000040797087,0.00024858327,0.00028436465,0.0000027487463,0.00009658186,0.00042112186,0.00006915731,0.00031235456,0.016969599,0.8766767,0.10484652],"study_design_scores_gemma":[0.0000013291135,0.0000075201024,0.00011821325,0.00009880611,6.5044105e-7,0.00006291535,0.00009522737,0.000011191666,0.00003369697,0.001680254,0.99788696,0.0000031949978],"about_ca_topic_score_codex":0.0022397235,"about_ca_topic_score_gemma":0.0025072275,"teacher_disagreement_score":0.528771,"about_ca_system_score_codex":0.0016638491,"about_ca_system_score_gemma":0.0024950039,"threshold_uncertainty_score":0.75422764},"labels":[],"label_agreement":null},{"id":"W3097482610","doi":"10.30535/mto.26.3.12","title":"Interactions of Folk Melody and Transformational (Dis)continuities in Chen Yi’s <i>Ba Ban</i> (1999)","year":2020,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Musicology and Musical Analysis","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 British Columbia","funders":"","keywords":"Piano; Repertoire; Narrative; Literature; Rhythm; Folk song; Chen; Art; Communication; History; Aesthetics; Sociology; Art history","score_opus":0.04228302547089691,"score_gpt":0.2313846729947011,"score_spread":0.1891016475238042,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3097482610","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9262682,0.00015048971,0.0011277848,0.00048084065,0.000026876925,0.000015525546,0.000034165958,0.000028240393,0.07186788],"genre_scores_gemma":[0.9939215,0.00004031984,0.00025703173,0.00005344619,0.0000068328573,0.000011607064,0.000029194323,0.00001786168,0.0056621614],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99975234,0.000072138944,0.0000055103064,0.00005586834,0.000061465726,0.00005261515],"domain_scores_gemma":[0.9997439,0.00008619134,0.00003066034,0.000018372524,0.00003842442,0.000082494626],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00032250292,0.00021902003,0.00017098182,0.00057094666,0.0033817093,0.0036643194,0.0003727082,0.0005772925,0.0036249408],"category_scores_gemma":[0.000896542,0.0001790295,0.00015239167,0.0006797075,0.0028292334,0.00130477,0.0014886233,0.0014975814,0.00027354975],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004490373,0.00014292705,0.024976013,0.00011522611,0.00003935389,0.003392378,0.7995492,0.0004629119,0.029057423,0.09488273,0.0030756562,0.04385715],"study_design_scores_gemma":[0.00007451897,0.000215966,0.30243275,0.00013047925,0.000059729213,0.0014187649,0.51009077,0.002803505,0.0062196935,0.022362135,0.15401489,0.0001767812],"about_ca_topic_score_codex":0.015881846,"about_ca_topic_score_gemma":0.027052073,"teacher_disagreement_score":0.015881846,"about_ca_system_score_codex":0.001834727,"about_ca_system_score_gemma":0.0006784691,"threshold_uncertainty_score":0.03157878},"labels":[],"label_agreement":null},{"id":"W3117928424","doi":"10.30535/mto.26.4.1","title":"Instrumental Transformations in Heinrich Biber’s Mystery Sonatas","year":2020,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Neuroscience and Music Perception","field":"Neuroscience","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":"Western University","funders":"","keywords":"Violin; Musical; String (physics); Art; Computer science; Literature; Art history; Physics; Theoretical physics","score_opus":0.06996098448037905,"score_gpt":0.2806958560274902,"score_spread":0.21073487154711115,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3117928424","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.81946194,0.0021890756,0.010027118,0.004550061,0.00043357714,0.000023383542,0.00006617093,0.00020918704,0.16303965],"genre_scores_gemma":[0.97686213,0.00025172238,0.0020346371,0.0004268349,0.00003430318,0.0000055459177,0.000020479652,0.0000425722,0.020321723],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9997279,0.000049983693,0.000009882516,0.000051976007,0.0001067389,0.000053441294],"domain_scores_gemma":[0.9998355,0.000045946803,0.00002243135,0.000014114137,0.000030842693,0.00005116696],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00032145434,0.00013726391,0.00021024482,0.00036150735,0.0012489603,0.0015522697,0.00023622003,0.0004948621,0.0030034946],"category_scores_gemma":[0.0012582343,0.0001745688,0.00011131068,0.00015433512,0.0033252554,0.0009915323,0.0014558793,0.0010253467,0.0006356924],"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":[0.0011252997,0.00012585123,0.014882098,0.00035828984,0.000078947895,0.00923218,0.11468621,0.0010674394,0.16499685,0.506085,0.018376311,0.16898555],"study_design_scores_gemma":[0.00015136787,0.0007556161,0.11036974,0.00048824132,0.00006390142,0.025770493,0.07089162,0.0036974384,0.038191084,0.19337985,0.55595034,0.00029026286],"about_ca_topic_score_codex":0.0016746304,"about_ca_topic_score_gemma":0.0040596034,"teacher_disagreement_score":0.0030034946,"about_ca_system_score_codex":0.0006048134,"about_ca_system_score_gemma":0.00029296504,"threshold_uncertainty_score":0.010047734},"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":"W3119808257","doi":"10.30535/mto.26.4.2","title":"Computer-aided Analysis of Sonority in the French Motet Repertory, ca. 1300–1350","year":2020,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Musicology and Musical Analysis","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":"Sonority hierarchy; Repertoire; Categorization; Art; Literature; Linguistics; Philosophy","score_opus":0.052742486863271494,"score_gpt":0.2433902334984507,"score_spread":0.19064774663517922,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3119808257","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9310594,0.001243046,0.027322182,0.00014529417,0.000031364252,0.000045161207,0.004420126,0.0011900499,0.034543313],"genre_scores_gemma":[0.9625942,0.0002762586,0.029029055,0.000021184947,0.000018816781,0.00004074426,0.0030760881,0.000103989354,0.0048397193],"study_design_codex":"design_other","study_design_gemma":"simulation_or_modeling","domain_scores_codex":[0.999846,0.000019850117,0.0000069320827,0.000058227342,0.00004311596,0.000025915197],"domain_scores_gemma":[0.9994962,0.00021840016,0.00004053918,0.000036272333,0.00017493471,0.00003371731],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00032346422,0.00019936077,0.00019783116,0.0033705554,0.00056858757,0.0009114848,0.00021721778,0.00018105605,0.0063981167],"category_scores_gemma":[0.0011917533,0.00008995144,0.00021783044,0.002610526,0.00037226753,0.00029273133,0.000366501,0.00018081196,0.0010349745],"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":[0.00061786093,0.000048351238,0.11551999,0.00043376905,0.000098624856,0.00054100575,0.009379053,0.0035414763,0.117303856,0.006447509,0.0076043904,0.7384641],"study_design_scores_gemma":[0.00001931699,0.000082779654,0.92552215,0.000041779207,0.00004667097,0.0009427198,0.003569434,0.019748924,0.006095239,0.0014126266,0.042470876,0.00004750681],"about_ca_topic_score_codex":0.059626166,"about_ca_topic_score_gemma":0.11348218,"teacher_disagreement_score":0.059626166,"about_ca_system_score_codex":0.0008134891,"about_ca_system_score_gemma":0.00044212825,"threshold_uncertainty_score":0.11855823},"labels":[],"label_agreement":null},{"id":"W3211819673","doi":"10.30535/mto.27.3.7","title":"Material Connections","year":2021,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Musicology and Musical 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":"Organicism; Piano; Wright; Architecture; The arts; Musical; Art history; Modernism (music); John Cage; Art; Articulation (sociology); Period (music); Performing arts; Performance art; Visual arts; Philosophy; Aesthetics; Epistemology","score_opus":0.039466464353419946,"score_gpt":0.23595082215010194,"score_spread":0.196484357796682,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3211819673","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0044670445,0.001192096,0.0046875407,0.0072273016,0.0016818031,0.000090204725,0.00034646937,0.00012685264,0.9801807],"genre_scores_gemma":[0.26721975,0.003455006,0.008010898,0.00556978,0.0021250239,0.00035091498,0.0014062473,0.0007564411,0.711106],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99648994,0.0010418021,0.0001927118,0.0007523273,0.0010876661,0.00043551956],"domain_scores_gemma":[0.99684566,0.00083920435,0.00020363864,0.0006811332,0.0008537362,0.00057658204],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021221915,0.0007256078,0.00040339713,0.0029157985,0.008379321,0.011935152,0.0021685646,0.0028903875,0.20918354],"category_scores_gemma":[0.009431156,0.00037163566,0.00049816794,0.0029321527,0.0067525296,0.0106748715,0.010623734,0.0026369898,0.043749392],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009110834,0.000049207792,0.00091561547,0.00020473293,0.000009460961,0.0006431009,0.016268887,0.00012502071,0.00050360535,0.80377084,0.08848931,0.088929124],"study_design_scores_gemma":[0.000005739526,0.000012263523,0.00027294527,0.0001831622,0.0000038798776,0.00020589711,0.0034632115,0.00004944953,0.00014243006,0.04218618,0.9534685,0.000006409893],"about_ca_topic_score_codex":0.0025092736,"about_ca_topic_score_gemma":0.0042122,"teacher_disagreement_score":0.20918354,"about_ca_system_score_codex":0.004343347,"about_ca_system_score_gemma":0.0031301246,"threshold_uncertainty_score":0.6997887},"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":"W3214351818","doi":"10.30535/mto.27.2.9","title":"Melody on the Threshold in Spectral Music","year":2021,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Musicology and Musical Analysis","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":"McGill University","funders":"","keywords":"Liminality; Prologue; Ambiguity; Musical; Differential (mechanical device); Function (biology); Melody; Focus (optics); Linguistics; Art; Mathematics; Aesthetics; Literature; Philosophy; Physics; Optics","score_opus":0.06099169328175392,"score_gpt":0.24017160901230583,"score_spread":0.17917991573055192,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3214351818","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1531461,0.004069362,0.075416215,0.006097776,0.0005404503,0.000034015706,0.00005315791,0.0001474907,0.76049554],"genre_scores_gemma":[0.97923124,0.00065544795,0.00446852,0.00054674235,0.00014586799,0.000024055931,0.000018200395,0.00008982999,0.014819998],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99925953,0.00026701228,0.00002500601,0.00013708627,0.00020792954,0.000103380095],"domain_scores_gemma":[0.9993806,0.0003455903,0.000037972015,0.000103509934,0.00007215463,0.00006013041],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008675514,0.0002577861,0.0002341885,0.0009914015,0.002331076,0.004628857,0.0005067651,0.0009051093,0.0059293094],"category_scores_gemma":[0.0034342112,0.00017753594,0.00025151198,0.00051253656,0.016466815,0.007845244,0.004231308,0.0024079666,0.00089571974],"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":[0.000036869485,0.0000064731885,0.00021652564,0.000023891154,0.0000015668746,0.00007784931,0.008906277,0.000081071616,0.001320502,0.98050666,0.00041476832,0.0084076105],"study_design_scores_gemma":[0.000019295509,0.00005551441,0.0014674645,0.00014535937,0.000007114402,0.00036059468,0.008060782,0.0010642211,0.001329911,0.934736,0.052733764,0.000020072039],"about_ca_topic_score_codex":0.0013933677,"about_ca_topic_score_gemma":0.0011711541,"teacher_disagreement_score":0.0059293094,"about_ca_system_score_codex":0.0012859373,"about_ca_system_score_gemma":0.00051736884,"threshold_uncertainty_score":0.019835532},"labels":[],"label_agreement":null},{"id":"W4205904284","doi":"10.30535/mto.27.4.9","title":"Sometimes the Music Wins","year":2021,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Musicology and Musical Analysis","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":"Counterpoint; Musical; Poetry; Art; Dynamics (music); Psychology; Aesthetics; Literature; Pedagogy","score_opus":0.04843809007814419,"score_gpt":0.23349515452755001,"score_spread":0.18505706444940584,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4205904284","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06139742,0.003165198,0.008695276,0.028181309,0.006194554,0.0000785307,0.0003873055,0.0004253775,0.891475],"genre_scores_gemma":[0.6069302,0.0019524161,0.0034562713,0.0093224505,0.0022476588,0.00009641235,0.00029105955,0.00091930514,0.3747842],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99684733,0.0005789783,0.00008992221,0.00079072214,0.0008600792,0.00083284575],"domain_scores_gemma":[0.9980671,0.0005537019,0.00028956687,0.00034619097,0.00030567334,0.00043780796],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0024720398,0.0008546387,0.0007214273,0.0015719233,0.00976636,0.007298983,0.0011677525,0.0020236599,0.06967526],"category_scores_gemma":[0.008159293,0.000344142,0.00063093915,0.00104381,0.0077253254,0.009881628,0.008241284,0.004891799,0.01841949],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005541705,0.00007345344,0.0033174371,0.00029925577,0.00010942037,0.0011575421,0.04007256,0.00014858649,0.0032414375,0.7111848,0.15106766,0.08877372],"study_design_scores_gemma":[0.000032495198,0.0001258232,0.004246633,0.0002731584,0.00003704088,0.0014872171,0.04032247,0.0002562242,0.0013368435,0.083980694,0.8678388,0.000062616666],"about_ca_topic_score_codex":0.0019058888,"about_ca_topic_score_gemma":0.004449307,"teacher_disagreement_score":0.06967526,"about_ca_system_score_codex":0.0014698439,"about_ca_system_score_gemma":0.0009053279,"threshold_uncertainty_score":0.233087},"labels":[],"label_agreement":null},{"id":"W4206114104","doi":"10.30535/mto.27.4.5","title":"<i>Rebonds</i>: Structural Affordances, Negotiation, and Creation","year":2021,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Musicology and Musical Analysis","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":"Affordance; Musical; Negotiation; Percussion; Musical form; Work (physics); Order (exchange); Aesthetics; Computer science; Linguistics; Sociology; Visual arts; Art; Human–computer interaction; Acoustics; Philosophy; Engineering; Business","score_opus":0.02047485288695,"score_gpt":0.23272869746335778,"score_spread":0.21225384457640778,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4206114104","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.25145715,0.0021125758,0.06442457,0.004850297,0.00026129393,0.000095641124,0.000053948672,0.00018623541,0.6765584],"genre_scores_gemma":[0.983077,0.00031218585,0.0030108697,0.00010500748,0.000050277973,0.00003327455,0.000024949359,0.00010247994,0.013283966],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99572635,0.0023601034,0.000134343,0.00054043764,0.0007751577,0.0004636993],"domain_scores_gemma":[0.9969663,0.0015948986,0.0003453759,0.00069283793,0.00017856907,0.00022197036],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0034773794,0.00048218164,0.00040028238,0.001823446,0.0070872186,0.010414234,0.0017461061,0.0016659723,0.009615135],"category_scores_gemma":[0.007545452,0.00041301502,0.0003896295,0.0017477768,0.035296172,0.013098051,0.00828724,0.0033839892,0.00078375614],"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":[0.00005078608,0.000016947986,0.0008554384,0.00007921685,0.000005596267,0.00026035213,0.19113243,0.0001529065,0.0013986167,0.7872553,0.00082862604,0.017963847],"study_design_scores_gemma":[0.000031798336,0.00014104554,0.0055917217,0.0005326857,0.000023213232,0.0013939912,0.35430676,0.0014682909,0.0033410608,0.34624392,0.2868593,0.00006624385],"about_ca_topic_score_codex":0.0028127145,"about_ca_topic_score_gemma":0.003314024,"teacher_disagreement_score":0.010414234,"about_ca_system_score_codex":0.0025393085,"about_ca_system_score_gemma":0.0014339349,"threshold_uncertainty_score":0.032165766},"labels":[],"label_agreement":null},{"id":"W4232744434","doi":"10.30535/mto.15.1.1","title":"Introduction  ","year":2009,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Musicology and Musical Analysis","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":"Transformational leadership; Animation; Computer science; Visual arts; Cognitive science; Sociology; Epistemology; Art; Psychology; Philosophy; Social psychology","score_opus":0.023897516799058292,"score_gpt":0.2257964836796182,"score_spread":0.2018989668805599,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4232744434","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0017464748,0.009533992,0.010761243,0.03390573,0.025182212,0.0002569274,0.004800949,0.0015412151,0.91227126],"genre_scores_gemma":[0.0138264,0.009518505,0.006084631,0.013138336,0.0077642,0.00027364955,0.005977543,0.0006473021,0.94276947],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986797,0.00020918343,0.000080427264,0.00031097993,0.00054601993,0.00017372474],"domain_scores_gemma":[0.9980566,0.00041341485,0.000113021066,0.00023146404,0.00080012396,0.00038534118],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0011055898,0.00081043015,0.0005638914,0.0016003517,0.0021879862,0.004531651,0.002029251,0.0031109925,0.43679923],"category_scores_gemma":[0.0054577137,0.00029580452,0.0005017206,0.0014352602,0.00090359186,0.0041365367,0.003316025,0.0024282155,0.25185052],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000030200705,0.000041682062,0.00042418827,0.00022134717,0.0000036852668,0.00012345289,0.0005303999,0.00009615904,0.00026907562,0.049131814,0.8351298,0.113998204],"study_design_scores_gemma":[0.0000012775064,0.000006778483,0.0001533309,0.00007387621,7.778357e-7,0.0000728561,0.00013163504,0.000020237429,0.000038532402,0.0034691354,0.9960283,0.0000032854275],"about_ca_topic_score_codex":0.002184258,"about_ca_topic_score_gemma":0.002368411,"teacher_disagreement_score":0.5632008,"about_ca_system_score_codex":0.001581762,"about_ca_system_score_gemma":0.002083293,"threshold_uncertainty_score":0.8033376},"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":"W4286330061","doi":"10.30535/mto.28.1.9","title":"<i>Klangfarbenmelodie</i> in 1911: Timbre’s Functional Roles in Webern’s Opp. 9 and 10","year":2022,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Neuroscience and Music Perception","field":"Neuroscience","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":"Society for Music Theory","keywords":"Timbre; Focus (optics); Musical; Linguistics; Theme (computing); Gesture; Art; Communication; Aesthetics; Visual arts; Psychology; Computer science; Philosophy","score_opus":0.04146792558072415,"score_gpt":0.25523109211035877,"score_spread":0.21376316652963462,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4286330061","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10612972,0.057174947,0.017379785,0.041379996,0.004131523,0.000050024573,0.00015525315,0.0001657314,0.7734331],"genre_scores_gemma":[0.88764006,0.00832112,0.0029809638,0.0024561007,0.0009102279,0.000035126577,0.00006667863,0.00013641243,0.09745323],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996563,0.00013322756,0.000014649504,0.00006859929,0.000081140584,0.000046091987],"domain_scores_gemma":[0.9997886,0.00011884483,0.000029398405,0.000015594565,0.000027946919,0.000019658482],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00060697173,0.00040058835,0.00015221101,0.00093659153,0.0023748847,0.0032011808,0.00028736924,0.001016939,0.0044411505],"category_scores_gemma":[0.0019218433,0.00014043217,0.0001399512,0.00050658954,0.007759832,0.0039271894,0.0013091161,0.0016889513,0.0007566524],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013666207,0.000013082581,0.00060978375,0.0000980279,0.000007412653,0.00041396558,0.04941813,0.00011140872,0.0013802985,0.87381285,0.017578503,0.056419827],"study_design_scores_gemma":[0.000016311507,0.000057758538,0.0036521535,0.00056220125,0.000010342203,0.0011986083,0.014252961,0.00037526415,0.0025913904,0.25477192,0.72246754,0.000043618187],"about_ca_topic_score_codex":0.005093503,"about_ca_topic_score_gemma":0.006826047,"teacher_disagreement_score":0.005093503,"about_ca_system_score_codex":0.0023397685,"about_ca_system_score_gemma":0.0008027335,"threshold_uncertainty_score":0.016976237},"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":"W4286523198","doi":"10.30535/mto.28.2.4","title":"Cadential Melodies","year":2022,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Musicology and Musical Analysis","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":"Melody; Phrase; Key (lock); Parallels; Focus (optics); Mathematics; Harmonic; Linguistics; Pure mathematics; Computer science; Philosophy; Literature; Art; Acoustics; Physics; Musical","score_opus":0.03947731738798042,"score_gpt":0.2255746950337941,"score_spread":0.1860973776458137,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4286523198","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03992599,0.0012673272,0.10736831,0.0020008343,0.0004831659,0.000042373333,0.00013139466,0.00027013375,0.8485105],"genre_scores_gemma":[0.9196599,0.0007056577,0.025762677,0.00054146774,0.00019310023,0.00004914572,0.0001411596,0.0001353586,0.052811466],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994506,0.00019495215,0.000028801085,0.00012372347,0.00013595934,0.000065944136],"domain_scores_gemma":[0.99944,0.00022398039,0.00003333082,0.00014186208,0.00010598929,0.000054685454],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009281363,0.0004820546,0.00018876181,0.0012902545,0.0012778102,0.003598701,0.0008283206,0.0007023089,0.016333416],"category_scores_gemma":[0.0025788674,0.00014481942,0.00023581115,0.000592843,0.006747357,0.0047064023,0.0018361683,0.0012226432,0.0016737155],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000128308675,0.0000029489106,0.00012289958,0.000025255637,0.0000012639359,0.000039569335,0.0020107417,0.000056507368,0.00048772202,0.9861107,0.0006733426,0.010456217],"study_design_scores_gemma":[0.000020476404,0.000075192,0.0012354165,0.00020221902,0.000012330745,0.000692263,0.0055095074,0.0018581373,0.002443461,0.60689557,0.38102248,0.00003280556],"about_ca_topic_score_codex":0.0010869732,"about_ca_topic_score_gemma":0.0017620374,"teacher_disagreement_score":0.016333416,"about_ca_system_score_codex":0.001235595,"about_ca_system_score_gemma":0.0005768165,"threshold_uncertainty_score":0.05464077},"labels":[],"label_agreement":null},{"id":"W4286530333","doi":"10.30535/mto.28.1.7","title":"Was Mesopotamian Tuning Diatonic? A Parsimonious Answer","year":2022,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Music and Audio Processing","field":"Computer Science","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":"Society for Music Theory","keywords":"Octave (electronics); String (physics); Identity (music); Computer science; Mathematics; Literature; History; Art; Acoustics; Aesthetics; Theoretical physics; Physics","score_opus":0.018681054068068706,"score_gpt":0.23423609433324027,"score_spread":0.21555504026517158,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4286530333","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":[0.026788186,0.08931815,0.020082531,0.7830374,0.01385324,0.000054824464,0.0012180769,0.00017515375,0.06547245],"genre_scores_gemma":[0.65116125,0.07168368,0.008853287,0.21639304,0.029455516,0.00013475154,0.001372182,0.0001617714,0.02078461],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9988254,0.00031143994,0.00008230746,0.00044026462,0.0002242685,0.000116296156],"domain_scores_gemma":[0.9949003,0.0028094929,0.00061212375,0.00047718146,0.0008055952,0.00039542155],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0040862258,0.00084356946,0.0012612646,0.00117298,0.0021326817,0.003389685,0.0020548326,0.006634972,0.015597567],"category_scores_gemma":[0.016950862,0.00031309124,0.00047992083,0.0010859024,0.01070011,0.015546004,0.004003627,0.0066552325,0.0045502544],"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":[0.00040020843,0.000092087445,0.008256205,0.0015023792,0.00023764925,0.0019515572,0.008976568,0.0006168204,0.0008894065,0.75664324,0.09830195,0.12213197],"study_design_scores_gemma":[0.000058466147,0.000052399024,0.0046741576,0.0009628937,0.000054647422,0.0012591277,0.008009123,0.000536279,0.00020476386,0.821698,0.16241416,0.00007602022],"about_ca_topic_score_codex":0.0032162885,"about_ca_topic_score_gemma":0.0026889353,"teacher_disagreement_score":0.015597567,"about_ca_system_score_codex":0.0013726079,"about_ca_system_score_gemma":0.0018267767,"threshold_uncertainty_score":0.05217904},"labels":[],"label_agreement":null},{"id":"W4286530337","doi":"10.30535/mto.28.1.11","title":"Conference report","year":2022,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Human auditory perception and evaluation","field":"Engineering","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":"University of California, San Diego","keywords":"Art","score_opus":0.04913007479511676,"score_gpt":0.26499269599665826,"score_spread":0.21586262120154148,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4286530337","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":[0.0021183523,0.007981123,0.0045329677,0.025576182,0.0804176,0.0015296761,0.017137311,0.0014499458,0.8592568],"genre_scores_gemma":[0.011523888,0.0065175355,0.0031056127,0.0065078433,0.01245132,0.0009769485,0.017732818,0.00067948224,0.9405045],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99733233,0.00038601752,0.00018818626,0.00048339748,0.0012409379,0.00036906006],"domain_scores_gemma":[0.99220616,0.00062234455,0.00023287164,0.00062475534,0.0040108133,0.0023031372],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0032718657,0.0010217187,0.0006894729,0.0027695706,0.0024870867,0.006450966,0.0026762446,0.0027187853,0.65520173],"category_scores_gemma":[0.009041753,0.0003353172,0.00083333196,0.002264837,0.00044146666,0.0031029596,0.00350549,0.0025660526,0.44022605],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000094570605,0.000061195664,0.00027472354,0.00027991712,0.0000061643555,0.00012588273,0.0000752152,0.00007337529,0.00037301326,0.0024969736,0.9276667,0.06847225],"study_design_scores_gemma":[0.000009999122,0.000024047644,0.00038403223,0.00012347123,0.000003855678,0.0000920304,0.0001435736,0.000036676392,0.00014940032,0.00059698184,0.99842936,0.0000064794995],"about_ca_topic_score_codex":0.0033459936,"about_ca_topic_score_gemma":0.00439553,"teacher_disagreement_score":0.65520173,"about_ca_system_score_codex":0.0021348828,"about_ca_system_score_gemma":0.006670106,"threshold_uncertainty_score":0.49181288},"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":"W4391792501","doi":"10.30535/mto.29.4.6","title":"Introduction","year":2023,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Musicology and Musical Analysis","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":"Art","score_opus":0.040274877846378634,"score_gpt":0.2391167239125063,"score_spread":0.19884184606612765,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391792501","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0016195134,0.001185968,0.008371991,0.010294367,0.0073539936,0.0002600445,0.0046425047,0.0012954784,0.964976],"genre_scores_gemma":[0.0087416805,0.0009894259,0.0038987875,0.0047789947,0.0015315602,0.00027030113,0.0038519434,0.00049875857,0.9754386],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99846846,0.00022188417,0.000053225744,0.00031616018,0.0007292014,0.00021110839],"domain_scores_gemma":[0.99699366,0.0004422744,0.00010145653,0.00043964043,0.0012757147,0.0007471567],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0017386011,0.00066629954,0.00038388858,0.0014918845,0.001962985,0.005479742,0.0018020493,0.0019447235,0.566598],"category_scores_gemma":[0.0062143975,0.00023740019,0.0005199579,0.0013028478,0.00093356904,0.0029316843,0.0037731149,0.001932224,0.4193338],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007775793,0.00007451752,0.00063122506,0.00018319923,0.000003991061,0.00009719863,0.0004700938,0.00010785906,0.00047809273,0.068778254,0.7268881,0.20220967],"study_design_scores_gemma":[0.000003793104,0.000009461618,0.00023877906,0.000059060774,0.0000013087468,0.000038432678,0.00014494896,0.000024711651,0.00010497229,0.004505179,0.994866,0.0000033914114],"about_ca_topic_score_codex":0.003056728,"about_ca_topic_score_gemma":0.0037108706,"teacher_disagreement_score":0.433402,"about_ca_system_score_codex":0.0015927872,"about_ca_system_score_gemma":0.0033202323,"threshold_uncertainty_score":0.6181953},"labels":[],"label_agreement":null},{"id":"W4391792503","doi":"10.30535/mto.29.4.4","title":"Out of the Blue","year":2023,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Hearing Loss and Rehabilitation","field":"Neuroscience","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":"Art","score_opus":0.06186492841341757,"score_gpt":0.30517292151251424,"score_spread":0.24330799309909668,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391792503","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0047224904,0.0062933876,0.008390039,0.12314001,0.030187272,0.00006524965,0.00042666603,0.001037663,0.82573736],"genre_scores_gemma":[0.038149316,0.0024908483,0.0034863106,0.028760241,0.003094479,0.000047020265,0.00019011779,0.0018963667,0.9218853],"study_design_codex":"not_applicable","study_design_gemma":"observational","domain_scores_codex":[0.99772626,0.0005354143,0.0000772256,0.00044794835,0.0008586479,0.0003545456],"domain_scores_gemma":[0.9957871,0.00076915615,0.00017240048,0.0006668399,0.0014435122,0.001161133],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003245311,0.0010602155,0.00078882265,0.0015663801,0.011276628,0.011338759,0.0010820224,0.0028729867,0.17259747],"category_scores_gemma":[0.00992997,0.00050809886,0.00081439805,0.0008898578,0.009204355,0.009980569,0.008494712,0.010546015,0.11014601],"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":[0.00010570186,0.000032868647,0.00041831637,0.00013458639,0.000012992854,0.0002467162,0.012562718,0.00004662817,0.0010627056,0.1406717,0.7759933,0.06871181],"study_design_scores_gemma":[0.0000037238638,0.000012243709,0.00016914657,0.00010207631,0.0000024803442,0.00011050488,0.003244809,0.000023768343,0.0001331839,0.009858031,0.98632985,0.000010179745],"about_ca_topic_score_codex":0.0055935048,"about_ca_topic_score_gemma":0.013580452,"teacher_disagreement_score":0.17259747,"about_ca_system_score_codex":0.0025175642,"about_ca_system_score_gemma":0.0039936113,"threshold_uncertainty_score":0.57739604},"labels":[],"label_agreement":null},{"id":"W4391793423","doi":"10.30535/mto.29.3.5","title":"Buffy Sainte-Marie’s Self-Expressive Voice","year":2023,"lang":"en","type":"article","venue":"Music Theory Online","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":"Art; Communication; Speech recognition; Psychology; Computer science","score_opus":0.04264224096089854,"score_gpt":0.32714534725125743,"score_spread":0.2845031062903589,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391793423","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6575952,0.0015623022,0.0021668854,0.010604347,0.00046315868,0.000033278644,0.00011305963,0.00009010427,0.32737166],"genre_scores_gemma":[0.93316424,0.000547409,0.00047694708,0.00073335227,0.00010841743,0.0000129575465,0.000029378378,0.000049654824,0.06487761],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99957937,0.00017480117,0.000007073636,0.000046434106,0.00012613976,0.000066154775],"domain_scores_gemma":[0.9993241,0.00036846593,0.000059503745,0.00004199091,0.000089679335,0.00011633104],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00071064325,0.00021791602,0.000121536665,0.0004564251,0.0051031145,0.0029151042,0.00025105823,0.00072453776,0.004845368],"category_scores_gemma":[0.001955222,0.00013262205,0.00008873036,0.00029986067,0.004914027,0.0012353325,0.0016218973,0.0020105364,0.0005350332],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009822444,0.000037248457,0.0053504845,0.00014800689,0.000011441247,0.0018025326,0.84190047,0.000083427694,0.0063617555,0.08404301,0.024068642,0.036094744],"study_design_scores_gemma":[0.0000099815725,0.00007573782,0.015313452,0.00023705047,0.000010152102,0.0017889849,0.30278882,0.00027341218,0.002764635,0.0030258026,0.6736725,0.000039453796],"about_ca_topic_score_codex":0.009130102,"about_ca_topic_score_gemma":0.03230237,"teacher_disagreement_score":0.009130102,"about_ca_system_score_codex":0.001360404,"about_ca_system_score_gemma":0.0008339635,"threshold_uncertainty_score":0.018153906},"labels":[],"label_agreement":null},{"id":"W4391793426","doi":"10.30535/mto.29.3.8","title":"<i>Klangfarbenmelodie</i>, Chromophony, and Timbral Function in Arnold Schoenberg’s “Farben”","year":2023,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Music Technology and Sound Studies","field":"Computer Science","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":"Society for Music Theory; McGill University","keywords":"Art; Function (biology); Humanities; Biology; Cell biology","score_opus":0.017080491531062898,"score_gpt":0.23197998124111754,"score_spread":0.21489948971005465,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391793426","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06033074,0.032014247,0.05087111,0.03120815,0.0019734043,0.000043114334,0.00009859186,0.00019095295,0.82326967],"genre_scores_gemma":[0.8702597,0.006074777,0.0080106035,0.0027390122,0.0009447663,0.00004756556,0.000045979843,0.000137973,0.11173964],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996295,0.00014846852,0.0000124455055,0.00007007888,0.00009774186,0.000041844298],"domain_scores_gemma":[0.9997936,0.00012489053,0.000016650592,0.000019057567,0.000027473587,0.000018309524],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004922234,0.00032300016,0.00014561425,0.00068443257,0.0017254903,0.003426815,0.0003358121,0.00095717766,0.003894617],"category_scores_gemma":[0.00120665,0.00012107329,0.00017530475,0.00040218243,0.009996733,0.002956587,0.0012268247,0.0016537635,0.00090090325],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003722208,0.0000053526765,0.00017719917,0.000027694172,0.0000020445605,0.00005384504,0.003747947,0.00016761816,0.0007733695,0.9808967,0.0045085903,0.009602455],"study_design_scores_gemma":[0.00001319153,0.000049068887,0.0014700543,0.00016344726,0.000007264256,0.0003171334,0.002850692,0.0010425528,0.0012993278,0.6259534,0.36680314,0.000030667194],"about_ca_topic_score_codex":0.0030464109,"about_ca_topic_score_gemma":0.003930907,"teacher_disagreement_score":0.003894617,"about_ca_system_score_codex":0.0015744736,"about_ca_system_score_gemma":0.0005801595,"threshold_uncertainty_score":0.0130288005},"labels":[],"label_agreement":null},{"id":"W4391793428","doi":"10.30535/mto.29.3.2","title":"“Your Soul is the Whole World”: The Spaces of Claude Vivier’s <i>Siddhartha</i>","year":2023,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Caribbean and African Literature 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; Art; Philosophy; Theology","score_opus":0.03279930490860699,"score_gpt":0.23915895406592017,"score_spread":0.20635964915731317,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391793428","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.38453543,0.014061366,0.0036175842,0.019829655,0.00069625466,0.00004546084,0.00006601934,0.0000841089,0.57706416],"genre_scores_gemma":[0.9648008,0.0017541059,0.00054488494,0.00062733394,0.00007824408,0.00001747284,0.000016876214,0.000060444465,0.032100007],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99910337,0.0004698482,0.000012469919,0.0001048684,0.0001369052,0.00017251138],"domain_scores_gemma":[0.99950016,0.00019985052,0.000049542297,0.000052567277,0.00005619936,0.00014165835],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012422358,0.0004497414,0.00022976595,0.00086869916,0.014025383,0.008213192,0.0007279519,0.001075988,0.004037819],"category_scores_gemma":[0.002175668,0.00021771251,0.00016582898,0.0008212704,0.019596405,0.0027201003,0.0046106772,0.0025531724,0.0005244161],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000043183212,0.0000113389315,0.0004520388,0.00007080003,0.0000067364754,0.00087670126,0.7687369,0.000048955113,0.0011519659,0.20587066,0.008819572,0.013911108],"study_design_scores_gemma":[0.00000820774,0.000027455242,0.0033302512,0.00022897912,0.000008678615,0.0010754756,0.4800939,0.0000949431,0.0006791548,0.008413042,0.50601286,0.000027048722],"about_ca_topic_score_codex":0.042392805,"about_ca_topic_score_gemma":0.06426851,"teacher_disagreement_score":0.042392805,"about_ca_system_score_codex":0.004044897,"about_ca_system_score_gemma":0.0019037965,"threshold_uncertainty_score":0.084292054},"labels":[],"label_agreement":null},{"id":"W4391793641","doi":"10.30535/mto.29.2.4","title":"Injury, Affirmation, and the Disability Masquerade in Ye’s “Through the Wire”","year":2023,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Theater, Performance, and Music History","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":"Art; Psychology; Aesthetics","score_opus":0.02760372843715663,"score_gpt":0.2385826945891252,"score_spread":0.21097896615196857,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391793641","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8249702,0.0031182521,0.0022559254,0.022297949,0.00041415432,0.000026113974,0.000044920092,0.000039013074,0.14683351],"genre_scores_gemma":[0.98439795,0.0005645101,0.00019807476,0.0005806197,0.00007267179,0.000016142629,0.000008352153,0.000016130178,0.014145666],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99808204,0.001121561,0.000036456597,0.00013111308,0.00018694146,0.0004419422],"domain_scores_gemma":[0.9990194,0.00042222565,0.00020833165,0.00008184561,0.00007334131,0.00019483198],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013412749,0.0004089986,0.0002754537,0.00079859636,0.013148659,0.005812518,0.0005736237,0.0020550927,0.0043921634],"category_scores_gemma":[0.0028474538,0.00018669675,0.00018257086,0.0005777486,0.020004386,0.0043766852,0.0068858056,0.0028961748,0.00041028473],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005800659,0.000036709553,0.0022709784,0.00005378123,0.000006801979,0.001286479,0.8789788,0.00006844291,0.0006749017,0.10010815,0.006805464,0.009651533],"study_design_scores_gemma":[0.000009447168,0.00005720734,0.0039341585,0.0001666421,0.000008511809,0.0017057024,0.8434195,0.00010908174,0.00065574684,0.008060938,0.1418422,0.00003084286],"about_ca_topic_score_codex":0.007016432,"about_ca_topic_score_gemma":0.012829503,"teacher_disagreement_score":0.013148659,"about_ca_system_score_codex":0.0031189185,"about_ca_system_score_gemma":0.0012332657,"threshold_uncertainty_score":0.02262944},"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":"W4392836356","doi":"10.30535/mto.11.2.3","title":"Review of Alexander Rehding, <i>Hugo Riemann and the Birth of Modern Musical Thought</i> (Cambridge University Press, 2003)","year":2005,"lang":"en","type":"article","venue":"Music Theory Online","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":"Musical; Art; Art history; Philosophy; Literature","score_opus":0.023791957989815624,"score_gpt":0.22183943976325946,"score_spread":0.19804748177344383,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4392836356","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":[0.000028011831,0.9817868,0.00006767318,0.0067975926,0.008569382,0.000007571,0.0001019617,0.00001027585,0.0026307644],"genre_scores_gemma":[0.00042304597,0.9701868,0.00008919743,0.010600866,0.0110951755,0.000021932063,0.00024847532,0.000015656598,0.00731869],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990758,0.00014206838,0.00014103917,0.00017656398,0.00038847874,0.00007608036],"domain_scores_gemma":[0.996693,0.0012250292,0.00031292078,0.00008193412,0.001287318,0.0003996402],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016496253,0.0013494947,0.0024286858,0.0070544,0.0009896231,0.004187564,0.002345751,0.0034614573,0.02311417],"category_scores_gemma":[0.0050498927,0.00070965145,0.00068829965,0.007900001,0.0012829156,0.0054314695,0.0021892271,0.004462504,0.02214375],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000026240645,0.000015759988,0.000076826036,0.004353189,0.00002406253,0.00006171527,0.00008920862,0.000050751554,0.00009701251,0.0017828866,0.88093346,0.1124888],"study_design_scores_gemma":[0.0000048981246,0.000007948532,0.00035857616,0.0027895742,0.000012306488,0.0001285879,0.00004774065,0.000008122394,0.000019155053,0.0003455181,0.99626935,0.000008265684],"about_ca_topic_score_codex":0.009689314,"about_ca_topic_score_gemma":0.017024286,"teacher_disagreement_score":0.02311417,"about_ca_system_score_codex":0.0034382117,"about_ca_system_score_gemma":0.004562236,"threshold_uncertainty_score":0.07732463},"labels":[],"label_agreement":null},{"id":"W4392836438","doi":"10.30535/mto.28.4.7","title":"Willaert’s Elusive Counterpoint Explained","year":2022,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Musicology and Musical Analysis","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":"Counterpoint; Melody; Art; Repetition (rhetorical device); Literature; Rhythm; Sonnet; Texture (cosmology); Musical; Humanities; Linguistics; Philosophy; Aesthetics; Poetry; Computer science; Acoustics; Physics","score_opus":0.030409528022518215,"score_gpt":0.21615070406384868,"score_spread":0.18574117604133045,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4392836438","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.024733594,0.0020851544,0.015908923,0.014094538,0.0028154564,0.000048377326,0.00012322988,0.00018318315,0.9400075],"genre_scores_gemma":[0.768005,0.0006458765,0.0044583,0.0041308845,0.00052057253,0.00005606153,0.000091491274,0.00021939976,0.2218724],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99801624,0.00052380946,0.00006160196,0.00057837577,0.000519253,0.00030077895],"domain_scores_gemma":[0.9994281,0.00021296882,0.00006189666,0.00009207355,0.00014930239,0.000055565775],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010453436,0.0006105926,0.00027583714,0.0009997641,0.002986795,0.004269298,0.000775643,0.0032283266,0.015526612],"category_scores_gemma":[0.0039896625,0.00018696074,0.00031627525,0.00041057897,0.009017096,0.0037787203,0.0034610527,0.0027800708,0.0035200014],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000037347127,0.0000053690355,0.0002419811,0.000028550638,0.0000045292386,0.00025566758,0.0070660985,0.000037498376,0.00041149242,0.9750915,0.009596435,0.0072235772],"study_design_scores_gemma":[0.00001719585,0.000030131201,0.00087682117,0.0001505513,0.000012593118,0.0010425919,0.0046647745,0.000350262,0.0012721729,0.12406234,0.8674929,0.000027650367],"about_ca_topic_score_codex":0.0044493596,"about_ca_topic_score_gemma":0.0058770142,"teacher_disagreement_score":0.015526612,"about_ca_system_score_codex":0.0022244917,"about_ca_system_score_gemma":0.0009622717,"threshold_uncertainty_score":0.051941752},"labels":[],"label_agreement":null},{"id":"W4392836459","doi":"10.30535/mto.6.2.1","title":"Theory and Analysis of Melody in Balinese <i>Gamelan</i>","year":2000,"lang":"en","type":"article","venue":"Music Theory Online","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":"University of British Columbia","funders":"","keywords":"Melody; Repertoire; Variety (cybernetics); Notation; Rhythm; Coherence (philosophical gambling strategy); Linguistics; Range (aeronautics); Musical notation; Set (abstract data type); Communication; Cognitive science; Visual arts; Computer science; Aesthetics; Sociology; Art; Psychology; Musical; Artificial intelligence; Literature; Mathematics; Philosophy; Engineering","score_opus":0.01872819830443164,"score_gpt":0.23881838160922528,"score_spread":0.22009018330479363,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4392836459","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":[0.13719404,0.008244418,0.46814212,0.0047038863,0.0002905747,0.0001595632,0.00017228069,0.00018208585,0.3809111],"genre_scores_gemma":[0.9373297,0.0023819427,0.040164094,0.0002542959,0.00016747818,0.00016325676,0.000115824034,0.000061244646,0.019362185],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995441,0.00018178509,0.000028331377,0.00009631128,0.000097230375,0.000052176605],"domain_scores_gemma":[0.99955887,0.0002325611,0.00006164601,0.000053522934,0.000069056325,0.000024294837],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00072238845,0.00046976932,0.0003159585,0.0023297234,0.001576423,0.0039996477,0.00085147226,0.00089791627,0.0056441827],"category_scores_gemma":[0.0017298961,0.0002610051,0.000499762,0.0012612471,0.010759603,0.00403167,0.0011327417,0.0012120416,0.0007965409],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005900614,0.000009572728,0.0003515262,0.00005791314,0.000006432719,0.00008204916,0.0029468935,0.0014107125,0.00064478343,0.98513585,0.0004681894,0.008880112],"study_design_scores_gemma":[0.000008368526,0.00003229336,0.0020338062,0.00012366306,0.00000955539,0.00017363232,0.0040437113,0.0204616,0.0007466046,0.94816506,0.024181236,0.000020407706],"about_ca_topic_score_codex":0.0040757856,"about_ca_topic_score_gemma":0.003825981,"teacher_disagreement_score":0.0056441827,"about_ca_system_score_codex":0.002381436,"about_ca_system_score_gemma":0.0009795135,"threshold_uncertainty_score":0.018881619},"labels":[],"label_agreement":null},{"id":"W4392836602","doi":"10.30535/mto.28.3.6","title":"A Taxonomy of Orchestral Grouping Effects Derived from Principles of Auditory Perception","year":2022,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Neuroscience and Music Perception","field":"Neuroscience","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":"Queen's University; McGill University","funders":"","keywords":"Orchestration; Timbre; Melody; Perception; Auditory scene analysis; Music theory; Computer science; Structuring; Musical; Cognitive psychology; Psychology; Cognitive science; Communication; Art; Visual arts","score_opus":0.07560937336574312,"score_gpt":0.2677642824683461,"score_spread":0.19215490910260297,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4392836602","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":[0.051950917,0.0026960087,0.85498,0.0010652342,0.00019613715,0.0005205165,0.00045832148,0.0011220762,0.08701068],"genre_scores_gemma":[0.59809715,0.0028619773,0.3915088,0.00045783687,0.000120069766,0.00077841396,0.0004787597,0.00027593353,0.005421024],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"observational","domain_scores_codex":[0.9989472,0.00017228894,0.00010412578,0.00026999775,0.00040702053,0.000099473174],"domain_scores_gemma":[0.9982338,0.0006514533,0.00020107071,0.00039749008,0.0004346977,0.00008139936],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015093466,0.00074499566,0.0005770007,0.0030728765,0.0013090919,0.0034439575,0.001170724,0.0011639305,0.005466298],"category_scores_gemma":[0.0039940192,0.00038102575,0.0009713234,0.0014905431,0.0044762837,0.005045862,0.0018491661,0.00156265,0.0010310113],"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":[0.00017868805,0.000095066,0.009317296,0.00084517215,0.0000815218,0.0003026099,0.005454365,0.0038830324,0.03398829,0.66197056,0.0032712212,0.28061208],"study_design_scores_gemma":[0.000057598267,0.00042436674,0.023401327,0.00036087705,0.000091563226,0.001565287,0.0028392826,0.035741415,0.008530798,0.894328,0.03251836,0.00014121909],"about_ca_topic_score_codex":0.001278109,"about_ca_topic_score_gemma":0.0012640842,"teacher_disagreement_score":0.005466298,"about_ca_system_score_codex":0.000972084,"about_ca_system_score_gemma":0.0009104659,"threshold_uncertainty_score":0.018286645},"labels":[],"label_agreement":null},{"id":"W4392838142","doi":"10.30535/mto.8.4.2","title":"Your Guitar, It Sounds So Sweet and Clear","year":2002,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Music and Audio Processing","field":"Computer Science","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":"Semiotics; Guitar; Musical; Interpretation (philosophy); Performing arts; Timbre; Gesture; Visual arts; Popular music; Art; Electronic music; Aesthetics; Linguistics; Philosophy; Acoustics","score_opus":0.04974930653102894,"score_gpt":0.2590181781191697,"score_spread":0.20926887158814078,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4392838142","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.048145063,0.008377553,0.04338016,0.0668733,0.015542764,0.000118733384,0.00045097558,0.0023858896,0.8147255],"genre_scores_gemma":[0.41000092,0.0044310535,0.023333471,0.02569531,0.0031260774,0.00014400837,0.00036243632,0.0017904032,0.5311163],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993191,0.00021286904,0.000022503798,0.000113095964,0.00024210045,0.00009043052],"domain_scores_gemma":[0.99900323,0.00024377678,0.00006386647,0.00018520762,0.00030891426,0.0001950936],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008820237,0.00063163793,0.00049720873,0.0008651332,0.0039285216,0.0078903865,0.0006708621,0.0021764298,0.03161878],"category_scores_gemma":[0.004141873,0.00025650804,0.0005541964,0.00062358915,0.004657121,0.005355211,0.003371483,0.0031432228,0.021204388],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00038023535,0.00014161029,0.004240534,0.00081947085,0.00010538207,0.0023583134,0.03949122,0.00022959584,0.022661401,0.15074737,0.51076514,0.2680597],"study_design_scores_gemma":[0.000025933434,0.00011808583,0.0026411482,0.00023756897,0.00003024495,0.0024004714,0.018644655,0.0002529707,0.001946712,0.024484808,0.9491524,0.00006504852],"about_ca_topic_score_codex":0.0014388943,"about_ca_topic_score_gemma":0.00284859,"teacher_disagreement_score":0.03161878,"about_ca_system_score_codex":0.00050198636,"about_ca_system_score_gemma":0.0004279255,"threshold_uncertainty_score":0.10577536},"labels":[],"label_agreement":null},{"id":"W4392838532","doi":"10.30535/mto.8.3.1","title":"Figured Bass and Modulation","year":2002,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Musicology and Musical Analysis","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":"Bass (fish); Chord (peer-to-peer); Harmony (color); Harmony (Music); Art; Epistemology; Philosophy; Literature; Computer science; Visual arts; Musical; Geology","score_opus":0.05569264413621097,"score_gpt":0.21304860420164348,"score_spread":0.1573559600654325,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4392838532","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.019817712,0.007670933,0.03439424,0.015250387,0.001290669,0.00003224504,0.00009718066,0.0001554365,0.9212911],"genre_scores_gemma":[0.9063202,0.0032810653,0.0065000607,0.0031153653,0.001734473,0.00008152576,0.0001161764,0.00020910159,0.07864205],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991092,0.00035103882,0.000028420345,0.00018445676,0.00017735819,0.0001494362],"domain_scores_gemma":[0.99953735,0.0001910739,0.000039488015,0.0001231793,0.00007175446,0.000037241847],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00084248977,0.00053633796,0.00043361477,0.0010397512,0.0025053513,0.00443176,0.0007417967,0.002054461,0.019810086],"category_scores_gemma":[0.0021577463,0.0001630892,0.00055985874,0.0007597498,0.0100892,0.0054608025,0.0020071235,0.002677609,0.0024488915],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011340172,0.0000028915936,0.000065842374,0.000012712471,0.0000016693083,0.000016025368,0.0005533338,0.00012304916,0.00007929225,0.99334973,0.0017210968,0.004063062],"study_design_scores_gemma":[0.000028747232,0.000039659302,0.00062665745,0.0001233624,0.000010094972,0.00013882303,0.0010014222,0.0015344891,0.00026014898,0.80297506,0.19324595,0.000015670537],"about_ca_topic_score_codex":0.0032173865,"about_ca_topic_score_gemma":0.002551018,"teacher_disagreement_score":0.019810086,"about_ca_system_score_codex":0.0023981645,"about_ca_system_score_gemma":0.00061505026,"threshold_uncertainty_score":0.066271305},"labels":[],"label_agreement":null},{"id":"W4392838567","doi":"10.30535/mto.8.2.4","title":"Review of David Ferris, <i>Schumann’s Eichendorff</i> Liederkreis <i>and the Genre of the Romantic Cycle</i> (Oxford University Press, 2000)&#x0D;","year":2002,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Musicology and Musical Analysis","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":"Romance; Art; Art history; Literature","score_opus":0.024652483399411434,"score_gpt":0.19510907172614017,"score_spread":0.17045658832672875,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4392838567","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":[0.000038939565,0.96237224,0.00006636451,0.02071948,0.013401814,0.000004233339,0.0000578206,0.0000049174273,0.003334218],"genre_scores_gemma":[0.00092244084,0.93776256,0.00012244312,0.030438047,0.022374315,0.000017315357,0.000112608024,0.000015371104,0.008234859],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99916387,0.00018953797,0.00009139002,0.00013731912,0.00034642947,0.000071537055],"domain_scores_gemma":[0.9963701,0.0018590504,0.00021279478,0.000095062394,0.00116851,0.00029449505],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020410293,0.0009320688,0.0015631417,0.006785592,0.0012717878,0.0039114277,0.0017593028,0.004132794,0.010180434],"category_scores_gemma":[0.008119208,0.0004774345,0.00041921268,0.0070949364,0.002651827,0.005781077,0.0019021346,0.003920158,0.0072060004],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001515519,0.000009268644,0.000050169318,0.0015992636,0.000009828368,0.00002939368,0.00012270584,0.000028816576,0.00003987385,0.0057941163,0.9246068,0.06769465],"study_design_scores_gemma":[0.0000031821112,0.0000029909252,0.00014783465,0.00086816144,0.000005088327,0.00006483868,0.000052263716,0.000003754252,0.000011466459,0.0006094485,0.9982268,0.0000041667095],"about_ca_topic_score_codex":0.0131348,"about_ca_topic_score_gemma":0.032244764,"teacher_disagreement_score":0.0131348,"about_ca_system_score_codex":0.0032890115,"about_ca_system_score_gemma":0.0040469067,"threshold_uncertainty_score":0.03405696},"labels":[],"label_agreement":null},{"id":"W4392838590","doi":"10.30535/mto.8.1.1","title":"Performance and Hypermetric Transformation","year":2002,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Neuroscience and Music Perception","field":"Neuroscience","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":"Western University","funders":"","keywords":"Symphony; Performing arts; Stress (linguistics); MOZART; Balance (ability); Set (abstract data type); Reading (process); Generative grammar; Computer science; Linguistics; Cognitive psychology; Cognitive science; Epistemology; Psychology; Philosophy; Art; Literature","score_opus":0.06116443729744532,"score_gpt":0.2537572481389582,"score_spread":0.19259281084151292,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4392838590","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.09521057,0.0013184018,0.050010525,0.0071109934,0.0005155706,0.00006286439,0.00009807584,0.00020456812,0.8454684],"genre_scores_gemma":[0.9599728,0.0003748422,0.0049062036,0.0005532016,0.00028498436,0.000056544424,0.00007019192,0.00010635763,0.03367492],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99758697,0.0009743843,0.00010954508,0.00050722936,0.0005383443,0.00028357145],"domain_scores_gemma":[0.9984195,0.0005177467,0.00024424432,0.00038169767,0.00025639244,0.00018039769],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016317718,0.0005260788,0.00026812396,0.0009996664,0.0024234878,0.0041648457,0.0009831425,0.0009990066,0.014588883],"category_scores_gemma":[0.0057522072,0.00015834076,0.00038988158,0.0010087024,0.020721981,0.0050001135,0.006380837,0.0025978524,0.0019720814],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020523412,0.000009324594,0.00027367918,0.000014430484,0.0000013647068,0.00005004472,0.0025003364,0.00012409456,0.0003275645,0.98653424,0.0009665241,0.009177855],"study_design_scores_gemma":[0.000029278754,0.000103139384,0.0026222751,0.000063741645,0.000005235043,0.00035569767,0.0044378974,0.001523449,0.0016261966,0.8857041,0.10349812,0.000030869927],"about_ca_topic_score_codex":0.00092208403,"about_ca_topic_score_gemma":0.00071752013,"teacher_disagreement_score":0.014588883,"about_ca_system_score_codex":0.0022048685,"about_ca_system_score_gemma":0.00070921506,"threshold_uncertainty_score":0.0488047},"labels":[],"label_agreement":null},{"id":"W4392838599","doi":"10.30535/mto.7.3.1","title":"Structure and Perception in <i>Herma</i> by Iannis Xenakis","year":2001,"lang":"en","type":"article","venue":"Music Theory Online","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":"York University","funders":"","keywords":"Gestalt psychology; Piano; Perception; Set (abstract data type); Computer science; Music perception; Cognitive science; Art; Psychology; Cognitive psychology; Epistemology; Philosophy; Art history","score_opus":0.01591580484698036,"score_gpt":0.2191128651223547,"score_spread":0.20319706027537435,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4392838599","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08670005,0.089621715,0.044278305,0.059550133,0.0069392994,0.00006844477,0.00020879006,0.00033757882,0.71229583],"genre_scores_gemma":[0.8982646,0.010663432,0.005802165,0.0028817775,0.0017765642,0.000059116326,0.00006777443,0.0001671198,0.08031755],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99914026,0.00039991987,0.000026614694,0.00015789745,0.0002267584,0.0000485977],"domain_scores_gemma":[0.99952304,0.00027717985,0.000045195324,0.000040666037,0.000071972885,0.000042006723],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011326099,0.00044185735,0.00025593225,0.00085631385,0.0027554387,0.0052318536,0.0004004931,0.0009257455,0.003024736],"category_scores_gemma":[0.0024699806,0.0002608193,0.00024285629,0.0007338309,0.0077922815,0.0036377476,0.0024725785,0.0025705795,0.00069718214],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008508846,0.00002528575,0.00070885447,0.00010910237,0.000012675755,0.0002049362,0.028587356,0.00080631196,0.0011109629,0.9085764,0.027819129,0.031953976],"study_design_scores_gemma":[0.000017248454,0.00008355095,0.0036822069,0.0003376327,0.000012273401,0.0005755054,0.008406912,0.0021147223,0.0010991069,0.4402404,0.5433795,0.0000509144],"about_ca_topic_score_codex":0.0028660465,"about_ca_topic_score_gemma":0.002736217,"teacher_disagreement_score":0.0052318536,"about_ca_system_score_codex":0.0017067824,"about_ca_system_score_gemma":0.00092991156,"threshold_uncertainty_score":0.01238358},"labels":[],"label_agreement":null},{"id":"W4392838633","doi":"10.30535/mto.7.5.3","title":"Conference Report","year":2001,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Human auditory perception and evaluation","field":"Engineering","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":"Art","score_opus":0.05887434807511317,"score_gpt":0.2819014938035783,"score_spread":0.22302714572846516,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4392838633","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0033190907,0.0038759557,0.0071882172,0.007729053,0.028266106,0.0009012158,0.0072870264,0.0023134558,0.93911994],"genre_scores_gemma":[0.0039455066,0.0010258862,0.0012505875,0.00061624625,0.0014884138,0.0001443189,0.0033777668,0.00025873832,0.9878925],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991804,0.0000860833,0.000033154538,0.00014924859,0.00039239237,0.0001588096],"domain_scores_gemma":[0.9974916,0.0001421108,0.000055287648,0.0002490272,0.0011983266,0.00086362124],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0015448675,0.0008172086,0.0006459284,0.001947974,0.0013916681,0.004071582,0.0016243244,0.001789464,0.71481496],"category_scores_gemma":[0.0019560633,0.0002879597,0.0005949736,0.0014313427,0.00027222105,0.001668003,0.0021413767,0.0013380426,0.58512276],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017220074,0.00016425525,0.00031132947,0.00016407756,0.000009240068,0.00008928437,0.000033312415,0.00012107001,0.0014863099,0.0016607896,0.86714596,0.1286421],"study_design_scores_gemma":[0.000025432224,0.000048485254,0.00059472746,0.00004086397,0.0000071110408,0.000052027503,0.00006516414,0.00019163876,0.0005742916,0.00054933864,0.9978442,0.000006689405],"about_ca_topic_score_codex":0.002802752,"about_ca_topic_score_gemma":0.005060661,"teacher_disagreement_score":0.71481496,"about_ca_system_score_codex":0.0008599071,"about_ca_system_score_gemma":0.0028335627,"threshold_uncertainty_score":0.4067818},"labels":[],"label_agreement":null},{"id":"W4394780853","doi":"10.30535/mto.30.1.8","title":"Diversity in Music Corpus Studies","year":2024,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Diverse Musicological Studies","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; University of British Columbia","funders":"","keywords":"Diversity (politics); Art; Communication; Linguistics; Psychology; Philosophy; Sociology; Anthropology","score_opus":0.26146007740346666,"score_gpt":0.2861920915379085,"score_spread":0.024732014134441815,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4394780853","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3596432,0.050707642,0.02369339,0.052457698,0.0020769085,0.00033735688,0.004296315,0.00028255366,0.50650495],"genre_scores_gemma":[0.95942396,0.007497354,0.007552317,0.0035482438,0.0015458369,0.0005309587,0.0022744369,0.00043348403,0.01719341],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"observational","domain_scores_codex":[0.97591895,0.017192781,0.0010553027,0.0018948779,0.0030130318,0.0009250195],"domain_scores_gemma":[0.90134823,0.08146287,0.0026540884,0.007353902,0.0039624707,0.0032183826],"candidate_categories":["bibliometrics"],"consensus_categories":[],"category_scores_codex":[0.01905041,0.000330687,0.00062977,0.026516227,0.010596493,0.013490767,0.0019929952,0.0024742642,0.022498565],"category_scores_gemma":[0.07594957,0.0006159134,0.00030716183,0.025716428,0.011771379,0.021817975,0.015694978,0.0026003455,0.0016989115],"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":[0.00037253334,0.00020343732,0.027960954,0.0013759701,0.00015095457,0.0006429293,0.13682564,0.00044847265,0.001720801,0.5778914,0.047195118,0.20521177],"study_design_scores_gemma":[0.000060828927,0.0000649483,0.03195136,0.0033370864,0.00007058924,0.0007904308,0.14371502,0.0011850534,0.0019556955,0.25570852,0.5610942,0.00006630019],"about_ca_topic_score_codex":0.0049639544,"about_ca_topic_score_gemma":0.012583829,"teacher_disagreement_score":0.9734838,"about_ca_system_score_codex":0.004107629,"about_ca_system_score_gemma":0.003445762,"threshold_uncertainty_score":0.10074937},"labels":[],"label_agreement":null},{"id":"W4403560803","doi":"10.30535/mto.30.2.5","title":"Gesture through the Lens of Pluridimensional Serialism in the Music of Camillo Togni","year":2024,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Visual Culture and Art Theory","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":"Gesture; Art; Lens (geology); Psychology; Communication; Philosophy; Biology; Linguistics","score_opus":0.05857881964479139,"score_gpt":0.2718179462383814,"score_spread":0.21323912659359,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4403560803","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18572591,0.0019020162,0.0069217677,0.003786603,0.00027399484,0.000021847854,0.000016101398,0.000062567015,0.8012892],"genre_scores_gemma":[0.9776054,0.00044425458,0.0016109911,0.00017218514,0.000075751326,0.000015552867,0.000010941179,0.000041276697,0.020023683],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9992455,0.00043794527,0.000011161061,0.000089468296,0.00013346218,0.00008252714],"domain_scores_gemma":[0.9996507,0.00019323587,0.000036358502,0.000065430824,0.000025584426,0.000028655357],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008893272,0.00045739656,0.00015305425,0.00095391937,0.0036076715,0.006228109,0.00058100634,0.00088699366,0.004330318],"category_scores_gemma":[0.0023073084,0.00014956918,0.00019137528,0.0005953469,0.021301234,0.0029023697,0.0030780346,0.0017154767,0.00031770318],"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":[0.000034289827,0.000007973076,0.00061052345,0.00004219008,0.00000355007,0.00030630134,0.09134903,0.0002673592,0.0006171251,0.8889409,0.0016232642,0.016197594],"study_design_scores_gemma":[0.00006515136,0.00011846612,0.00777946,0.0005693922,0.000028899221,0.0017061927,0.1752112,0.002629212,0.0023060394,0.31983486,0.48968428,0.000066900306],"about_ca_topic_score_codex":0.008475424,"about_ca_topic_score_gemma":0.014801342,"teacher_disagreement_score":0.008475424,"about_ca_system_score_codex":0.0028100542,"about_ca_system_score_gemma":0.0009903187,"threshold_uncertainty_score":0.020388544},"labels":[],"label_agreement":null},{"id":"W4409016811","doi":"10.30535/mto.30.4.23","title":"Commentary","year":2024,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Diverse Musicological Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":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":0.10454835515459153,"score_gpt":0.2523485534611237,"score_spread":0.14780019830653218,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4409016811","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":[0.00016308852,0.0026189086,0.00016711185,0.83175635,0.14642955,0.000036141264,0.0004012882,0.00007123607,0.01835639],"genre_scores_gemma":[0.0023313,0.0015053584,0.00013351312,0.9239494,0.034365233,0.00007832337,0.00013163764,0.0000856732,0.037419513],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99195075,0.001645946,0.00050731783,0.0013946425,0.0031189544,0.0013824131],"domain_scores_gemma":[0.9655529,0.0136805875,0.0011452971,0.0015408101,0.014251272,0.0038291176],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.008219907,0.0008264116,0.00092592026,0.0016176684,0.006712146,0.0062788455,0.0047864798,0.027269274,0.07488556],"category_scores_gemma":[0.06507094,0.00060597836,0.0017885487,0.0013019324,0.0042636325,0.00552788,0.0047599752,0.030704217,0.03268881],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000007868876,0.000002151303,0.000019742662,0.000054137345,0.0000023268633,0.0000766371,0.00012767642,0.0000056903345,0.000019654914,0.0015949187,0.99640524,0.0016840061],"study_design_scores_gemma":[0.000007075602,0.000003258937,0.00008951751,0.0002765036,0.0000043172868,0.0000860188,0.0002913216,0.000008224069,0.00005335149,0.0010582455,0.9981146,0.000007647508],"about_ca_topic_score_codex":0.018291997,"about_ca_topic_score_gemma":0.02745492,"teacher_disagreement_score":0.92511445,"about_ca_system_score_codex":0.009183075,"about_ca_system_score_gemma":0.015649369,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4409016812","doi":"10.30535/mto.30.4.30","title":"Commentary","year":2024,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Musicology and Musical Analysis","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":"Art","score_opus":0.03534665575434588,"score_gpt":0.2493178724182266,"score_spread":0.2139712166638807,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4409016812","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":[0.00016117467,0.0017524742,0.0000726122,0.8740398,0.10595274,0.000025901321,0.00020418229,0.000037235885,0.017753832],"genre_scores_gemma":[0.0015641805,0.00067053834,0.000064730026,0.9280279,0.03147214,0.00006914416,0.00005994061,0.000052730782,0.038018633],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9857761,0.0026246412,0.0007170035,0.0019311095,0.005854744,0.00309634],"domain_scores_gemma":[0.9585496,0.021546612,0.0016334603,0.0016354282,0.011063814,0.0055711195],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.010499802,0.0010137521,0.0015809166,0.0022063996,0.009457645,0.011865884,0.0054177935,0.070698686,0.08905234],"category_scores_gemma":[0.09104125,0.000991683,0.0024771849,0.0016216749,0.0059181647,0.0059456695,0.0066272956,0.04930307,0.036195595],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008349326,0.0000026582898,0.000022311377,0.000038518596,0.0000037113566,0.00006836781,0.00009214426,0.0000052252985,0.000015112623,0.0028677694,0.9955498,0.0013261026],"study_design_scores_gemma":[0.00002398673,0.000004791754,0.00011520561,0.0003500936,0.000012309486,0.00006995921,0.00034941046,0.000015303984,0.000055009787,0.0031525947,0.9958385,0.0000128869515],"about_ca_topic_score_codex":0.019051109,"about_ca_topic_score_gemma":0.027684292,"teacher_disagreement_score":0.9109477,"about_ca_system_score_codex":0.0099225715,"about_ca_system_score_gemma":0.021313427,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4409016839","doi":"10.30535/mto.30.4.16","title":"Gusti Putu Madé Geria’s Theory for Balinese Gamelan","year":2024,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Cultural and Artistic Studies","field":"Social Sciences","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":"Art; Visual arts; Art history","score_opus":0.06287119635868836,"score_gpt":0.3584692254206788,"score_spread":0.29559802906199045,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4409016839","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.031083541,0.0031264175,0.02404225,0.012319323,0.00069027545,0.00009057639,0.00012943732,0.0000817642,0.92843646],"genre_scores_gemma":[0.8425996,0.00091518223,0.0066878824,0.002227325,0.00018881261,0.0001463747,0.000074600495,0.000083440136,0.14707673],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9989298,0.00047620918,0.00003623463,0.00024542995,0.00013043442,0.00018198654],"domain_scores_gemma":[0.999383,0.00028033086,0.000035384073,0.00010852129,0.0001462064,0.0000465429],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009634734,0.0007421535,0.00036281534,0.00255267,0.005107704,0.0032081523,0.0009182727,0.0018739792,0.011223565],"category_scores_gemma":[0.0022009108,0.0002789015,0.0005115694,0.0011342257,0.011477623,0.0055043176,0.0027865176,0.002312821,0.0017421393],"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":[0.000012521234,0.000008620108,0.00019651766,0.000021551865,0.0000042881543,0.000045844467,0.003999404,0.00009876762,0.00007504985,0.988351,0.0026993428,0.0044872025],"study_design_scores_gemma":[0.000022578884,0.000027083473,0.0014022323,0.00014992597,0.000015999392,0.00017257986,0.005118229,0.0007344909,0.0005867673,0.7942427,0.1974981,0.000029295166],"about_ca_topic_score_codex":0.008560196,"about_ca_topic_score_gemma":0.011795949,"teacher_disagreement_score":0.011223565,"about_ca_system_score_codex":0.00400013,"about_ca_system_score_gemma":0.0011395541,"threshold_uncertainty_score":0.037546515},"labels":[],"label_agreement":null},{"id":"W4409016925","doi":"10.30535/mto.30.4.13","title":"Embedded Music Theory","year":2024,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Music Technology and Sound Studies","field":"Computer Science","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; Music theory; Visual arts; Aesthetics; Musical","score_opus":0.02306939495240375,"score_gpt":0.26074109016517455,"score_spread":0.2376716952127708,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4409016925","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008007834,0.0047425306,0.10246758,0.0076858015,0.00064380624,0.00007207191,0.00014340375,0.00014956795,0.8760874],"genre_scores_gemma":[0.74160427,0.0077205435,0.04606004,0.0025259666,0.0012324862,0.0002881603,0.00036200834,0.00033539342,0.1998711],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9988914,0.00041751142,0.00005273303,0.00025366154,0.00027265763,0.000112031084],"domain_scores_gemma":[0.99902606,0.00044728845,0.00007964624,0.00019548844,0.00013989047,0.00011156179],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012572441,0.00078372104,0.0004919591,0.0016942805,0.0023519616,0.0048549725,0.0016683937,0.0021985518,0.027745396],"category_scores_gemma":[0.0024985191,0.00024179602,0.0005733299,0.0011220499,0.010426458,0.0050475714,0.0034418115,0.0020902627,0.004627482],"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":[0.0000019005402,0.0000032544453,0.00003679621,0.000017501325,0.0000019151082,0.000031802643,0.00041785894,0.00015115061,0.000032554744,0.99605185,0.0008665045,0.0023870156],"study_design_scores_gemma":[0.0000067243227,0.000008311456,0.00010176705,0.00006922796,0.000002805487,0.000103893646,0.00041054346,0.0010323646,0.00007739895,0.9235288,0.074653804,0.0000044062404],"about_ca_topic_score_codex":0.0013127351,"about_ca_topic_score_gemma":0.0009782275,"teacher_disagreement_score":0.027745396,"about_ca_system_score_codex":0.0029285122,"about_ca_system_score_gemma":0.0013445319,"threshold_uncertainty_score":0.092817605},"labels":[],"label_agreement":null},{"id":"W4409017123","doi":"10.30535/mto.30.4.20","title":"Commentary","year":2024,"lang":"en","type":"article","venue":"Music Theory Online","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":"Art","score_opus":0.03534665575434588,"score_gpt":0.2493178724182266,"score_spread":0.2139712166638807,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4409017123","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":[0.00042727578,0.0071397945,0.0004650689,0.57384366,0.21283379,0.00023970663,0.0030155599,0.000283451,0.20175171],"genre_scores_gemma":[0.004417319,0.0033424653,0.00042718768,0.65390366,0.029103832,0.0004156232,0.0010107086,0.00023342604,0.30714577],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9944301,0.0010324556,0.0003128565,0.00094435795,0.0022980531,0.0009821465],"domain_scores_gemma":[0.9854349,0.0050706677,0.0004265651,0.0010348286,0.0062758825,0.0017572057],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005157815,0.0008016786,0.0009920553,0.0017306422,0.0058291494,0.0058835503,0.004134404,0.019292748,0.26483014],"category_scores_gemma":[0.036194097,0.0005134678,0.0017525152,0.0013172947,0.0025855284,0.0040903864,0.003939018,0.01493162,0.08599427],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000139270805,0.000004129491,0.000025772059,0.000097571916,0.0000024868596,0.00007594742,0.00007286699,0.000007668253,0.00002360869,0.0038395277,0.9912265,0.0046099187],"study_design_scores_gemma":[0.00000687142,0.0000031880554,0.00007915034,0.00022604803,0.0000030602123,0.000045728175,0.00011051269,0.000007095305,0.000030195606,0.0010544932,0.9984296,0.000003944961],"about_ca_topic_score_codex":0.016562765,"about_ca_topic_score_gemma":0.023579553,"teacher_disagreement_score":0.26483014,"about_ca_system_score_codex":0.007013599,"about_ca_system_score_gemma":0.017227795,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4412543062","doi":"10.30535/mto.31.2.6","title":"The Semantic Evolution of Chromatic Mediants","year":2025,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Semantic Web and Ontologies","field":"Computer Science","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":"Chromatic scale; Art; Computer science; Mathematics; Combinatorics","score_opus":0.011193875100102842,"score_gpt":0.25023015884927324,"score_spread":0.2390362837491704,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4412543062","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.15973347,0.0026323493,0.07490632,0.004456561,0.0011765473,0.00005502354,0.00032423466,0.0006270333,0.7560885],"genre_scores_gemma":[0.9755874,0.00050060626,0.009191474,0.00032552064,0.00026978963,0.000027603914,0.00017344434,0.0002088036,0.013715365],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9981007,0.00089544826,0.00007592533,0.00038590617,0.00033611764,0.00020590556],"domain_scores_gemma":[0.9991904,0.00028448596,0.00007150465,0.00014509654,0.00024200557,0.0000665198],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018495391,0.00040899898,0.00026791773,0.0015755196,0.0037862847,0.0040217713,0.0006129234,0.00095281604,0.007806092],"category_scores_gemma":[0.0034171084,0.00021846544,0.00041021648,0.0013382279,0.014086131,0.00901762,0.003176179,0.0022304708,0.000652452],"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":[0.0000236146,0.0000027845808,0.00016257813,0.000022972747,0.0000026725118,0.00006491331,0.008579302,0.00007150775,0.00044059166,0.98394185,0.0006406088,0.006046626],"study_design_scores_gemma":[0.000034052522,0.0000775342,0.0021853338,0.00017595405,0.000019599658,0.0005953706,0.017264273,0.001649405,0.002128901,0.6585454,0.31728014,0.000044078253],"about_ca_topic_score_codex":0.0035183192,"about_ca_topic_score_gemma":0.0026957456,"teacher_disagreement_score":0.007806092,"about_ca_system_score_codex":0.004180048,"about_ca_system_score_gemma":0.0009341732,"threshold_uncertainty_score":0.030328512},"labels":[],"label_agreement":null},{"id":"W7124543202","doi":"10.30535/mto.31.3.7","title":"Gestural Forces in Steve Reich’s Augmentation-as-Process Works","year":2025,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Posthumanist Ethics and Activism","field":"Social Sciences","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":"Motion (physics); Context (archaeology); Natural (archaeology)","score_opus":0.02752409157202546,"score_gpt":0.3730865671182999,"score_spread":0.34556247554627445,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7124543202","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.05243234,0.001152601,0.1203491,0.024726862,0.00084897515,0.00007173598,0.00005275716,0.0002476491,0.80011797],"genre_scores_gemma":[0.9010344,0.0003084961,0.017032778,0.00088157144,0.00021787953,0.000097856166,0.000019487346,0.00025209688,0.08015547],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99854004,0.00073952967,0.000037784594,0.00023187826,0.0002923753,0.00015850423],"domain_scores_gemma":[0.9979418,0.0013732518,0.00006075231,0.000436199,0.00009673857,0.00009128625],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002040869,0.0006474538,0.00027219145,0.00092677807,0.0031240985,0.0046745823,0.0010350548,0.00422352,0.015151546],"category_scores_gemma":[0.007964692,0.00040901286,0.00056830206,0.0005033466,0.012504405,0.00832088,0.004694614,0.0035110496,0.0019489168],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013139589,0.0000072637163,0.000032104454,0.0000069524567,0.0000021106712,0.000028494009,0.0016515384,0.0002171048,0.00015875988,0.99376327,0.0010417529,0.0030775012],"study_design_scores_gemma":[0.000012968799,0.0000114549275,0.00007667505,0.000027645143,0.000003935334,0.00004851004,0.0006264637,0.0016214789,0.00040012007,0.9718693,0.025292873,0.000008535186],"about_ca_topic_score_codex":0.0008767019,"about_ca_topic_score_gemma":0.0010788224,"teacher_disagreement_score":0.015151546,"about_ca_system_score_codex":0.0011862648,"about_ca_system_score_gemma":0.0005849657,"threshold_uncertainty_score":0.050687015},"labels":[],"label_agreement":null},{"id":"W7124588763","doi":"10.30535/mto.31.3.1","title":"Symmetrical Structures in Xenakis’s <i>Okho</i> : At the Intersection of Mathematics and Literature","year":2025,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Postcolonial and Cultural Literary Studies","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":"Intersection (aeronautics); Algebra over a field; Intersection number; Representation (politics)","score_opus":0.014916185731659827,"score_gpt":0.2326158841357723,"score_spread":0.2176996984041125,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7124588763","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.22688085,0.006816512,0.02306659,0.014896036,0.000624073,0.00005765056,0.000095878546,0.000158737,0.72740364],"genre_scores_gemma":[0.96839494,0.0008698613,0.0023131,0.0006428616,0.00011252715,0.000028862976,0.000029404026,0.000067671805,0.027540684],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99895954,0.0005320469,0.000046484467,0.00014334112,0.00019106946,0.00012758875],"domain_scores_gemma":[0.99921846,0.00037178007,0.00011137893,0.0000993879,0.00012034484,0.00007869701],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00095271255,0.00027947032,0.00022653434,0.0012176207,0.0042486377,0.005391252,0.00042741076,0.0012016961,0.0033099551],"category_scores_gemma":[0.002133438,0.00016614933,0.00018990546,0.00089093484,0.012591207,0.0038100008,0.0029845766,0.0018283399,0.00065422384],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000027099772,0.0000064755986,0.00025504842,0.00003822012,0.0000015885672,0.00021359902,0.04576052,0.000083709136,0.00040941453,0.9472148,0.0012807292,0.004708752],"study_design_scores_gemma":[0.00003483596,0.00007377467,0.003498176,0.0002815611,0.000019407316,0.0012770988,0.07211983,0.0009083033,0.002810629,0.41716895,0.5017666,0.00004090166],"about_ca_topic_score_codex":0.001358623,"about_ca_topic_score_gemma":0.001987797,"teacher_disagreement_score":0.005391252,"about_ca_system_score_codex":0.0025279857,"about_ca_system_score_gemma":0.0012768625,"threshold_uncertainty_score":0.018341899},"labels":[],"label_agreement":null},{"id":"W7124602489","doi":"10.30535/mto.31.1.2","title":"György Ligeti’s Chamber Concerto in the Light of the Article “. . . how time passes . . .” by Karlheinz Stockhausen","year":2025,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Central European and Russian historical studies","field":"Social Sciences","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":"Concerto; Cadenza; Chamber music; George (robot)","score_opus":0.012710711074206031,"score_gpt":0.2545519922628327,"score_spread":0.24184128118862666,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7124602489","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.33972454,0.02204671,0.0011097708,0.0152147105,0.0019273801,0.000022509697,0.00009927644,0.00009077665,0.6197644],"genre_scores_gemma":[0.9344901,0.002056925,0.00019360421,0.0007685889,0.00030563783,0.000010446579,0.000033778037,0.00002968465,0.062111214],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995571,0.00017369389,0.000008811587,0.00007177532,0.00006691095,0.00012169253],"domain_scores_gemma":[0.99989545,0.000042087668,0.0000149742245,0.000010397696,0.000008602756,0.00002839306],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00064747786,0.00024188805,0.00021448244,0.00063351326,0.0027811895,0.00293526,0.00020217376,0.00062341447,0.00325823],"category_scores_gemma":[0.000561756,0.00009350868,0.00013419065,0.0005420537,0.0033096925,0.0010985652,0.0013718493,0.00095430063,0.0005563579],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00027605591,0.00006878086,0.004328264,0.000119727476,0.000018356986,0.0008096204,0.13327822,0.00024029004,0.0013590404,0.74751693,0.062015865,0.049968753],"study_design_scores_gemma":[0.000020632622,0.00012751148,0.021465164,0.00013025578,0.000014474714,0.00042970007,0.019992629,0.00011530716,0.0007442813,0.011690555,0.94524384,0.000025598716],"about_ca_topic_score_codex":0.005111047,"about_ca_topic_score_gemma":0.009349643,"teacher_disagreement_score":0.005111047,"about_ca_system_score_codex":0.0026316089,"about_ca_system_score_gemma":0.0008037714,"threshold_uncertainty_score":0.019093692},"labels":[],"label_agreement":null},{"id":"W7124625114","doi":"10.30535/mto.31.3.2","title":"The Embodied Folk Guitar of Elizabeth Cotten","year":2025,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Musicology and Musical Analysis","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":"Guitar; Chord (peer-to-peer); Embodied cognition; Melody; Musical; Style (visual arts); Gesture; Key (lock)","score_opus":0.024072932782357136,"score_gpt":0.25166851656041184,"score_spread":0.2275955837780547,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7124625114","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":[0.49704945,0.0038362069,0.019025616,0.009240035,0.0009023576,0.000059009577,0.00007541497,0.00024795363,0.46956405],"genre_scores_gemma":[0.9010392,0.0009832812,0.0035428212,0.00085790956,0.00004382377,0.000022948867,0.000020214098,0.00011619816,0.09337359],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995364,0.00016842427,0.000007412449,0.00008083953,0.00013391994,0.00007305444],"domain_scores_gemma":[0.9995728,0.00019270391,0.00002911456,0.000037974754,0.000055445715,0.00011207628],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00056135963,0.00040531484,0.0001878361,0.00051802344,0.0044572023,0.0035218985,0.00036961766,0.0006352527,0.0073763933],"category_scores_gemma":[0.0018991911,0.00016741855,0.00010954671,0.0003200605,0.008906529,0.0020042239,0.0024268932,0.0013658747,0.0007004714],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017081737,0.0000423845,0.004470175,0.00023624198,0.000012519053,0.00489816,0.6367847,0.00047674382,0.017992219,0.25394866,0.019097531,0.061869908],"study_design_scores_gemma":[0.000011971998,0.000101759266,0.007050851,0.0005530551,0.000018546698,0.004622925,0.24010552,0.0010967433,0.005818466,0.02066031,0.7198864,0.000073600684],"about_ca_topic_score_codex":0.013636708,"about_ca_topic_score_gemma":0.047241375,"teacher_disagreement_score":0.013636708,"about_ca_system_score_codex":0.0020518778,"about_ca_system_score_gemma":0.0011938444,"threshold_uncertainty_score":0.02711469},"labels":[],"label_agreement":null},{"id":"W7124635214","doi":"10.30535/mto.31.4.10","title":"Response to Trevor de Clercq (2025)","year":2025,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Viral Infections and Outbreaks Research","field":"Medicine","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; McGill University","funders":"","keywords":"","score_opus":0.0318751214620854,"score_gpt":0.3766639202337859,"score_spread":0.34478879877170054,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7124635214","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":[0.00019975832,0.002084383,0.00008841789,0.91129726,0.08537845,0.000020605756,0.00010267841,0.00004090096,0.00078756904],"genre_scores_gemma":[0.00093844935,0.0006142838,0.00010244733,0.9580897,0.03501011,0.000044983186,0.000034291777,0.000020809646,0.005144937],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99101853,0.0018454574,0.0008608405,0.0013424901,0.0029812604,0.0019514476],"domain_scores_gemma":[0.9607412,0.015325937,0.003734355,0.0010789089,0.0073458357,0.011773873],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.01057928,0.002169379,0.0025191202,0.0014216887,0.008159374,0.010197915,0.0041237823,0.107473925,0.025290597],"category_scores_gemma":[0.068830855,0.0015953501,0.002747689,0.0010428205,0.0053930935,0.0061136563,0.009272546,0.066184185,0.015950842],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000039199233,0.000018444218,0.00021361263,0.00006667766,0.000016250955,0.00027827598,0.00013020112,0.00001978236,0.00011869168,0.00048399562,0.99552506,0.0030898126],"study_design_scores_gemma":[0.000075390555,0.00007835744,0.0012904368,0.00064325664,0.000034999764,0.00045625994,0.0011307262,0.0001511091,0.0001658892,0.0019093102,0.9939898,0.0000744165],"about_ca_topic_score_codex":0.009883093,"about_ca_topic_score_gemma":0.016021093,"teacher_disagreement_score":0.107473925,"about_ca_system_score_codex":0.005714289,"about_ca_system_score_gemma":0.010274118,"threshold_uncertainty_score":0.084605515},"labels":[],"label_agreement":null}]}