{"meta":{"query_hash":"3fc18ad1f24c","filters":{"venue":"Music and Letters"},"cohort_total":28,"direct_labels_cover":0,"predictions_cover":28,"exported":28,"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/3fc18ad1f24c","api":"https://metacan.xera.ac/api/v1/cohort?venue=Music+and+Letters"},"results":[{"id":"W1522661732","doi":"10.1093/ml/gcm017","title":"Republican Morality and Catholic Tradition in the Opera: Massenet's Herodiade and Thais. By Clair Rowden.","year":2007,"lang":"en","type":"article","venue":"Music and Letters","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":true,"ca_institutions":"McGill University","funders":"","keywords":"Opera; Morality; Art; Humanities; Art history; Theology; Philosophy; Law; Political science","score_opus":0.02592792798039528,"score_gpt":0.20853480387915904,"score_spread":0.18260687589876376,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1522661732","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.96427846,0.00026943657,0.000021550079,0.032054633,0.000073279516,0.000114740964,0.000013832308,0.000017442238,0.003156604],"genre_scores_gemma":[0.9593271,0.000026641646,0.0000144488595,0.040144477,0.00029227568,0.000011115596,0.000027345954,0.000005796355,0.00015078064],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991898,0.0000926083,0.0001656347,0.00024026148,0.000092940885,0.00021877422],"domain_scores_gemma":[0.9996645,0.00010339606,0.000040636118,0.00011798049,0.000010300507,0.00006318703],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005779152,0.00011782558,0.00016476444,0.000069408554,0.00029027375,0.00016590826,0.000067994246,0.00004960421,0.0002817687],"category_scores_gemma":[0.000012127416,0.00007967077,0.000028775246,0.000053359232,0.0005293645,0.00016187505,0.000023164836,0.00018641814,9.597765e-7],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014491659,0.0004276744,0.023548331,0.00015316576,0.00020008312,0.00017757557,0.34931195,0.000002985015,0.0053235344,0.22044854,0.34422907,0.056032185],"study_design_scores_gemma":[0.0009638316,0.000115841365,0.2770225,0.000020653692,0.00013397992,0.000036622096,0.012436416,0.000102095815,0.00004493492,0.0010252064,0.70767844,0.00041947237],"about_ca_topic_score_codex":0.0012925545,"about_ca_topic_score_gemma":0.0047638826,"teacher_disagreement_score":0.36344936,"about_ca_system_score_codex":0.00001144239,"about_ca_system_score_gemma":0.0000052979785,"threshold_uncertainty_score":0.32488796},"labels":[],"label_agreement":null},{"id":"W1530308516","doi":"10.1093/ml/gcr030","title":"Re-reading Poetry: Schubert's Multiple Settings of Goethe. By Sterling Lambert.","year":2011,"lang":"en","type":"article","venue":"Music and Letters","topic":"Folklore, Mythology, and Literature 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":true,"ca_institutions":"Dalhousie University","funders":"","keywords":"Poetry; Reading (process); Literature; Art; Art history; Philosophy; Linguistics","score_opus":0.02984909747320948,"score_gpt":0.20668606981543003,"score_spread":0.17683697234222054,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1530308516","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.91961056,0.0010408845,0.000058367317,0.0031761834,0.00075416727,0.00015668725,0.000051949937,0.000083231535,0.07506797],"genre_scores_gemma":[0.98886275,0.00001381915,0.00032592472,0.008719155,0.00035846405,0.000008184593,0.000014437519,0.000020154956,0.0016770839],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991524,0.000042376938,0.00021807558,0.00024357952,0.000090694826,0.0002528253],"domain_scores_gemma":[0.9995793,0.000087046945,0.00010077184,0.00015375306,0.00003737527,0.000041769883],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00017243062,0.00016731526,0.00024635316,0.00007242162,0.00025634145,0.000059501486,0.00010332129,0.000046233563,0.0003197887],"category_scores_gemma":[0.00003115377,0.0001333022,0.00006239118,0.00002920067,0.00046948495,0.00016597631,0.000054298132,0.00015670106,0.0000083418045],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000111450354,0.00008192404,0.0072887684,0.00021461764,0.00021289581,0.000025095691,0.6284061,2.9494475e-7,0.0070657725,0.019291788,0.33357066,0.0037305858],"study_design_scores_gemma":[0.0011343127,0.00019968662,0.0019228035,0.00024946156,0.00012212615,0.000007984469,0.050463248,0.000043098782,0.0014506212,0.00037095134,0.943457,0.00057867786],"about_ca_topic_score_codex":0.0005971871,"about_ca_topic_score_gemma":0.0002579472,"teacher_disagreement_score":0.60988635,"about_ca_system_score_codex":0.000007646204,"about_ca_system_score_gemma":0.0000033129393,"threshold_uncertainty_score":0.54359055},"labels":[],"label_agreement":null},{"id":"W1551736418","doi":"10.1093/ml/gcu125","title":"Music and Ethical Responsibility. By Jeff R. Warren","year":2015,"lang":"en","type":"article","venue":"Music and Letters","topic":"Philosophy, Ethics, and Existentialism","field":"Arts and Humanities","cited_by":0,"is_retracted":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; Jazz; Philosophy; Phenomenology (philosophy); Meaning (existential); Epistemology; Argument (complex analysis); Hermeneutics; Philosophy of music; Sociology; Aesthetics; Music history; Literature; Art; Art history","score_opus":0.09659959876068143,"score_gpt":0.2650894817872908,"score_spread":0.1684898830266094,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1551736418","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8992552,0.0006177625,0.000027832137,0.07897611,0.0011255337,0.00013482856,0.000046739016,0.00007978371,0.01973618],"genre_scores_gemma":[0.9413136,0.000010940655,0.000030136693,0.056193735,0.001212535,0.000006717258,0.00002117536,0.000016030363,0.0011950906],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.998944,0.00014040172,0.00018114298,0.00029772194,0.00021042876,0.00022629465],"domain_scores_gemma":[0.9994174,0.00011827116,0.00004301975,0.0001939419,0.00004975761,0.00017756627],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005685006,0.0001499983,0.0001938811,0.000051987325,0.00026269094,0.00019192655,0.0000901364,0.00012977587,0.00021179691],"category_scores_gemma":[0.00008978424,0.00012716734,0.000042873682,0.000019378918,0.00093699247,0.00010420859,0.00007163682,0.00048232108,0.000036347574],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015766353,0.000041038813,0.00013058163,0.00007308437,0.000050491857,0.000026795926,0.136431,5.107139e-7,0.00110415,0.09970374,0.75992125,0.0023596853],"study_design_scores_gemma":[0.00089441176,0.00010703366,0.00017708541,0.00003124782,0.000047330173,0.000010204742,0.0024834909,0.00003963807,0.000033077915,0.02525477,0.97060704,0.00031468485],"about_ca_topic_score_codex":0.00048716308,"about_ca_topic_score_gemma":0.0002958165,"teacher_disagreement_score":0.21068576,"about_ca_system_score_codex":0.000017404938,"about_ca_system_score_gemma":0.000024989155,"threshold_uncertainty_score":0.5185734},"labels":[],"label_agreement":null},{"id":"W1565686174","doi":"10.1093/ml/gcm127","title":"The North American Folk Music Revival: Nation and Identity in the United States and Canada, 1945-1980. By Gillian Mitchell.","year":2008,"lang":"en","type":"article","venue":"Music and Letters","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Queen's University","funders":"","keywords":"Folk music; Popular music; Scholarship; Music history; Musical; Musicology; Music education; History; Sociology; Art history; Literature; Aesthetics; Art; Visual arts; Law; Political science","score_opus":0.020487934766735116,"score_gpt":0.18877310257167879,"score_spread":0.16828516780494368,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1565686174","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9927423,0.00046258722,0.0000033333995,0.0059439805,0.00013555399,0.00013093461,0.0000290993,0.000009719656,0.0005424761],"genre_scores_gemma":[0.96891665,0.00036476686,0.0000024177093,0.029709905,0.00017570997,0.000012085014,0.00006207047,0.000007709637,0.000748669],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99929667,0.00009449733,0.00013002762,0.00015442655,0.00016438824,0.00015999378],"domain_scores_gemma":[0.99967897,0.00008170197,0.00006967504,0.00010527458,0.000022357883,0.000042041684],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00012915634,0.00011406153,0.00011229398,0.0000294912,0.0010511928,0.000114264,0.00009273773,0.000012349168,0.000045687444],"category_scores_gemma":[0.000011526734,0.00006814,0.000015138903,0.0000789187,0.0006462293,0.00013246549,0.000017541914,0.0001507062,7.699506e-7],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013474858,0.00001525593,0.005345737,0.000027985283,0.000023299608,0.000025183395,0.12680086,0.0000026356051,0.000035552137,0.002119684,0.8636718,0.0019185648],"study_design_scores_gemma":[0.00019232312,0.000018369068,0.017426299,0.000008594575,0.000015350708,0.00000688868,0.011790817,0.000023644776,9.174593e-7,0.000025288924,0.9703769,0.000114589195],"about_ca_topic_score_codex":0.4715903,"about_ca_topic_score_gemma":0.9689628,"teacher_disagreement_score":0.49737245,"about_ca_system_score_codex":0.000028266462,"about_ca_system_score_gemma":0.000018439923,"threshold_uncertainty_score":0.8085031},"labels":[],"label_agreement":null},{"id":"W1979219322","doi":"10.1093/ml/gcp018","title":"Deepening Musical Performance through Movement: The Theory and Practice of Embodied Interpretation. By Alexandra Pierce. * Sound in Motion: A Performer's Guide to Greater Musical Expression. By David McGill.","year":2009,"lang":"en","type":"article","venue":"Music and Letters","topic":"Musicology and Musical Analysis","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Musical; Embodied cognition; Movement (music); Expression (computer science); Musical expression; Performing arts; Interpretation (philosophy); Musicality; Musical development; Motion (physics); Musical composition; Aesthetics; Visual arts; Art; Cognitive science; Literature; Psychology; Philosophy; Epistemology; Linguistics; Computer science","score_opus":0.01779351287920269,"score_gpt":0.2450066761392136,"score_spread":0.2272131632600109,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1979219322","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.96801966,0.00015245212,0.0020069776,0.014095575,0.00014575534,0.00028496605,0.000026567333,0.000021023981,0.01524699],"genre_scores_gemma":[0.9107883,0.000030389485,0.00024253254,0.08809767,0.00016543345,0.000032247746,0.000017289534,0.000010586182,0.00061555655],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.998435,0.00025722038,0.0004043611,0.00038929953,0.00021842183,0.00029567117],"domain_scores_gemma":[0.9990689,0.00045443757,0.00013156366,0.00021294995,0.000054612752,0.00007753943],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0006136408,0.00022399437,0.00031439995,0.00007496825,0.0005210738,0.00010143428,0.0001603395,0.00006894407,0.0010321139],"category_scores_gemma":[0.00013512393,0.00014918564,0.00006570482,0.00007952822,0.00046628373,0.0005431162,0.0000913913,0.0002616379,0.000006250638],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0032393048,0.00087422587,0.0013493923,0.00018397918,0.00048284745,0.00004214551,0.3730054,0.00025710533,0.026579035,0.11414993,0.39974535,0.0800913],"study_design_scores_gemma":[0.003937533,0.0012717308,0.008441977,0.00043600117,0.0007450701,0.000050258346,0.027424812,0.002258167,0.0014369573,0.005981535,0.94661456,0.0014013654],"about_ca_topic_score_codex":0.000093096685,"about_ca_topic_score_gemma":0.000056656583,"teacher_disagreement_score":0.5468692,"about_ca_system_score_codex":0.000027783739,"about_ca_system_score_gemma":0.00000615344,"threshold_uncertainty_score":0.9998811},"labels":[],"label_agreement":null},{"id":"W2033306725","doi":"10.1093/ml/82.3.445","title":"Review of books. Bel Canto: a History of Vocal Pedagogy. J Stark","year":2001,"lang":"en","type":"article","venue":"Music and Letters","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":"Canto; Singing; Art; History of music; Media studies; Art history; Humanities; Classics; Sociology; Music history; Literature; Music education; Visual arts; Acoustics","score_opus":0.0456258045569971,"score_gpt":0.23802943504484045,"score_spread":0.19240363048784334,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2033306725","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.747721,0.103173345,0.00009571079,0.018120563,0.0012451683,0.00034814278,0.000035203404,0.00004647085,0.12921439],"genre_scores_gemma":[0.7649723,0.008502883,0.000068586385,0.20350038,0.00092104345,0.0000254455,0.000031511587,0.000024410427,0.021953413],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99931335,0.000048041315,0.00026062038,0.00014140118,0.000099458375,0.00013712],"domain_scores_gemma":[0.9995941,0.000046753572,0.00012500152,0.00014152665,0.000046721732,0.000045925648],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00014651012,0.000097243006,0.00032618284,0.000060403956,0.000049986094,0.0000037698114,0.0000802629,0.000027056369,0.008178823],"category_scores_gemma":[0.000017228684,0.00007743228,0.00011346958,0.000023342915,0.00058064965,0.00005303469,0.000027912793,0.00009078597,0.0000070122296],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000036114398,0.00009710705,0.00031352785,0.0017946856,0.00014015935,0.000019819794,0.011968641,4.6865048e-7,0.0011010005,0.02137069,0.9529061,0.010251714],"study_design_scores_gemma":[0.00017022066,0.00004720653,0.00034000454,0.0004329934,0.0001662745,0.0000030187666,0.00020453401,0.000008381456,0.000006808224,0.000060597362,0.99846685,0.0000931012],"about_ca_topic_score_codex":0.0014998838,"about_ca_topic_score_gemma":0.0016763762,"teacher_disagreement_score":0.1853798,"about_ca_system_score_codex":0.000030296458,"about_ca_system_score_gemma":0.00004576265,"threshold_uncertainty_score":0.9927278},"labels":[],"label_agreement":null},{"id":"W2053176209","doi":"10.1093/ml/gct025","title":"Moliere, Descartes, and the Practice of Comedy in the Intermezzo","year":2013,"lang":"en","type":"article","venue":"Music and Letters","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 Toronto","funders":"","keywords":"Comics; Art; Comedy; Naturalism; Literature; Style (visual arts); Portrait; Musical; Bourgeoisie; Opera; Enlightenment; Art history; Visual arts; Philosophy","score_opus":0.014076506271367173,"score_gpt":0.1929730870898058,"score_spread":0.17889658081843862,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2053176209","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9174513,0.00020715906,0.000018825322,0.058897566,0.000090270325,0.00018843035,0.0000016359689,0.0000050895956,0.023139674],"genre_scores_gemma":[0.93628055,0.000021530324,0.0000151121285,0.06332244,0.00012561191,0.000028739383,0.000001417583,0.0000027230296,0.0002019056],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994271,0.00016937242,0.0001361624,0.00009288102,0.00007092599,0.000103598926],"domain_scores_gemma":[0.9991897,0.000600691,0.00005936554,0.00011396169,0.000020373584,0.00001596028],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000315131,0.00006698349,0.00013728146,0.000035090434,0.0001405417,0.0000816327,0.00010126535,0.000018467383,0.00079010776],"category_scores_gemma":[0.00004886535,0.000031024785,0.000033878492,0.00003068725,0.001001414,0.00013329614,0.000036499958,0.00013545323,0.000008254346],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012527371,0.00016571683,0.00088513596,0.000059781483,0.00022739344,0.000014665585,0.2540778,0.0000037309667,0.0003235655,0.54547167,0.17953667,0.019108586],"study_design_scores_gemma":[0.0025883382,0.000111077614,0.018416878,0.000046277164,0.00033319727,0.000029592986,0.04406912,0.0006403596,0.0000139128715,0.0075581297,0.9259329,0.0002602169],"about_ca_topic_score_codex":0.0014464179,"about_ca_topic_score_gemma":0.0005831188,"teacher_disagreement_score":0.74639624,"about_ca_system_score_codex":0.0000025771787,"about_ca_system_score_gemma":0.0000027756753,"threshold_uncertainty_score":0.8651126},"labels":[],"label_agreement":null},{"id":"W2085398591","doi":"10.1093/ml/gci002","title":"Love as Persuasion in Monteverdi’s ‘L’incoronazione di Poppea’: New Thoughts on the Authorship Question","year":2005,"lang":"en","type":"article","venue":"Music and Letters","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":"York University","funders":"","keywords":"Rhetoric; Persuasion; Rhetorical question; Context (archaeology); Musical; Aesthetics; Ideology; Sociology; Literature; Opera; Art; Philosophy; Psychology; Social psychology; History; Linguistics; Law; Political science; Politics","score_opus":0.03774500383860323,"score_gpt":0.23102802131826566,"score_spread":0.19328301747966242,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2085398591","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.84009206,0.00009689637,0.00006301329,0.14296027,0.00030946443,0.00013190236,0.0000022603965,0.000027619026,0.016316488],"genre_scores_gemma":[0.93988895,0.000013087591,0.000018842036,0.04540461,0.002511821,0.000005663325,0.0000074126815,0.000009986303,0.012139619],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99906003,0.0001440361,0.00017156964,0.00024761164,0.00015078444,0.00022598034],"domain_scores_gemma":[0.9995656,0.00012972955,0.000055703335,0.00015636857,0.000013569294,0.0000790542],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00026162784,0.00015220836,0.00016508957,0.000091822985,0.00023482899,0.00008917647,0.000107736756,0.00006577755,0.0023509355],"category_scores_gemma":[0.000035682962,0.00009581413,0.00007826,0.00005134932,0.00019472958,0.00014502191,0.000035666693,0.0002748888,0.0003765165],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00029969332,0.00027658194,0.0007770185,0.000018402885,0.000099830744,0.000046692123,0.11261559,0.00019709712,0.0010938735,0.53762996,0.28624833,0.060696885],"study_design_scores_gemma":[0.0009587241,0.0002034858,0.0154885,0.000113375514,0.00011140251,0.000007144736,0.0029502038,0.00088000786,0.00014546806,0.007877512,0.9708267,0.00043750525],"about_ca_topic_score_codex":0.0009743481,"about_ca_topic_score_gemma":0.006408198,"teacher_disagreement_score":0.68457836,"about_ca_system_score_codex":0.00004641366,"about_ca_system_score_gemma":0.000013993865,"threshold_uncertainty_score":0.998561},"labels":[],"label_agreement":null},{"id":"W2278683477","doi":"10.1093/ml/gct137","title":"Opera Indigene: Re/presenting First Nations and Indigenous Cultures. Ed. by Pamela Karantonis and Dylan Robinson.","year":2014,"lang":"en","type":"article","venue":"Music and Letters","topic":"Diverse Musicological Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Opera; Indigenous; Musical; Appeal; Art; History; Performing arts; Media studies; Visual arts; Literature; Sociology; Aesthetics; Political science; Law","score_opus":0.026466885497533017,"score_gpt":0.200181937205712,"score_spread":0.173715051708179,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2278683477","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9798955,0.0012347718,0.00001135106,0.003526235,0.00018426731,0.0002083522,0.00003603984,0.00005187503,0.014851613],"genre_scores_gemma":[0.9912253,0.0004707101,0.000039193772,0.0071509928,0.0003213728,0.000021756783,0.000017862745,0.000011495396,0.0007412941],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99917567,0.000036386176,0.00013542734,0.00026948948,0.00011918294,0.00026382128],"domain_scores_gemma":[0.9996306,0.00013669781,0.000055664805,0.00008128789,0.000025140578,0.00007062568],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00011624949,0.00015990832,0.00019609743,0.00005418788,0.0019072002,0.000618829,0.0000784683,0.000045856057,0.00028013607],"category_scores_gemma":[0.00004436634,0.000120373414,0.000026020556,0.000030251085,0.00047364677,0.00014517394,0.00013013944,0.00012227228,0.000010473397],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024952375,0.00016859279,0.026377527,0.00022396077,0.00031418272,0.000031955642,0.37911195,0.000012724021,0.00096857507,0.032516353,0.5494131,0.010836187],"study_design_scores_gemma":[0.00043504208,0.00005306434,0.004393779,0.000022453998,0.000039548802,0.0000029824546,0.0041599153,0.000018394578,0.000015236467,0.000052484625,0.990583,0.00022407876],"about_ca_topic_score_codex":0.0010986071,"about_ca_topic_score_gemma":0.002168215,"teacher_disagreement_score":0.44116995,"about_ca_system_score_codex":0.000014610466,"about_ca_system_score_gemma":0.0000034859704,"threshold_uncertainty_score":0.99939215},"labels":[],"label_agreement":null},{"id":"W2285047449","doi":"10.1093/ml/gcv076","title":"<i>Medieval Music, Legend, and the Cult of St. Martin: The Local Foundations of a Universal Saint.</i>By Yossi Maurey","year":2015,"lang":"en","type":"article","venue":"Music and Letters","topic":"Historical Studies and Socio-cultural 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":true,"ca_institutions":"Western University","funders":"","keywords":"Legend; Cult; SAINT; Art; Art history; History; Classics; Visual arts; Ancient history","score_opus":0.027152054285195116,"score_gpt":0.1941525643668128,"score_spread":0.16700051008161768,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2285047449","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.85554373,0.0009288126,0.0004526338,0.14033112,0.00023297325,0.00015627887,0.000041617604,0.000012181878,0.00230067],"genre_scores_gemma":[0.9952084,0.000068188216,0.000010003962,0.0028936379,0.00021845024,0.000004697823,0.000009830787,0.000004463886,0.0015823438],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993786,0.00007159813,0.00016242226,0.00010499137,0.00016841608,0.000113976406],"domain_scores_gemma":[0.9996221,0.00008265761,0.00008909321,0.000086126354,0.00007624256,0.000043792577],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00018427082,0.000088623194,0.00019488168,0.000013399597,0.0007707869,0.000035240977,0.00008880621,0.000018802422,0.00016855088],"category_scores_gemma":[0.0000138153055,0.000041531322,0.00008084498,0.00004202858,0.0018343412,0.0000637925,0.000056085493,0.00008573412,0.000001998995],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010626313,0.000042371794,0.00022483776,0.000026556689,0.0002895405,0.0000021680132,0.341242,0.000019221574,0.00008542288,0.07556149,0.57805324,0.0043468643],"study_design_scores_gemma":[0.00096868153,0.000050838415,0.0000470499,0.000008702995,0.00021966296,0.0000010471149,0.06088813,0.00021641134,0.00000457914,0.00046885968,0.9370237,0.00010233904],"about_ca_topic_score_codex":0.003510913,"about_ca_topic_score_gemma":0.0026873422,"teacher_disagreement_score":0.35897043,"about_ca_system_score_codex":0.00008816507,"about_ca_system_score_gemma":0.000008112784,"threshold_uncertainty_score":0.67587066},"labels":[],"label_agreement":null},{"id":"W2342927062","doi":"10.1093/ml/gcl117","title":"The Tragic and the Ecstatic: The Musical Revolution of Wagner's Tristan und Isolde. By Eric Chafe.","year":2007,"lang":"en","type":"article","venue":"Music and Letters","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":"Mount Allison University","funders":"","keywords":"Metaphysics; Philosophy; Romance; Musical; Drama; Tragedy (event); Literature; Sketch; Allegory; Romanticism; Art; Epistemology","score_opus":0.014977536932270198,"score_gpt":0.20686289623361764,"score_spread":0.19188535930134745,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2342927062","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.93092644,0.002688678,0.0006197307,0.059300296,0.0003683386,0.00030075715,0.000013801859,0.000019442763,0.005762499],"genre_scores_gemma":[0.9813057,0.00014468735,0.000009523017,0.01674714,0.00042691067,0.000012476289,0.0000053546555,0.00000783538,0.0013403355],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99899757,0.00015324549,0.00027464793,0.00017169882,0.00015427147,0.00024859572],"domain_scores_gemma":[0.99876845,0.0008348275,0.00012307077,0.00019843788,0.000029737335,0.000045491077],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.000930532,0.00013068224,0.00020733959,0.00003074744,0.0010276204,0.00009304553,0.00015518,0.00003922281,0.0002685639],"category_scores_gemma":[0.00004337487,0.00005415201,0.00009498431,0.00007117755,0.0027212838,0.000058642796,0.00004522659,0.00020958795,0.000003989293],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005088336,0.00009885254,0.00007691512,0.000051140254,0.0004208258,0.000010020435,0.051853802,0.0000030413041,0.0011116982,0.6044001,0.3059357,0.0355291],"study_design_scores_gemma":[0.0013992505,0.00009743961,0.0030690557,0.000017973434,0.0004722555,0.0000075254375,0.006345434,0.00042998462,0.000023886772,0.0042575677,0.9836895,0.00019015459],"about_ca_topic_score_codex":0.00049525977,"about_ca_topic_score_gemma":0.0019149863,"teacher_disagreement_score":0.67775375,"about_ca_system_score_codex":0.000011566434,"about_ca_system_score_gemma":0.000007720952,"threshold_uncertainty_score":0.9999927},"labels":[],"label_agreement":null},{"id":"W2343984360","doi":"10.1093/ml/gcw008","title":"The Earliest Source of Notre-Dame Polyphony? A New Conductus Fragment from the Early Thirteenth Century","year":2016,"lang":"en","type":"article","venue":"Music and Letters","topic":"Medieval Literature and History","field":"Arts and Humanities","cited_by":23,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Polyphony; Witness; Notation; Literature; Quarter (Canadian coin); History; Classics; Art; Humanities; Philosophy; Linguistics; Archaeology","score_opus":0.016686893056070014,"score_gpt":0.1737520072220717,"score_spread":0.1570651141660017,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2343984360","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.96420956,0.0049144374,0.000046995774,0.024684483,0.0016123909,0.00016593983,0.00006141423,0.000024257979,0.004280536],"genre_scores_gemma":[0.97077,0.00012659059,0.000013073286,0.01637955,0.0020769911,0.000006069039,0.0000063223783,0.00001580655,0.010605579],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99921435,0.00005509662,0.00017463819,0.0001628131,0.00019651749,0.00019656515],"domain_scores_gemma":[0.99927235,0.000276966,0.000095927884,0.000267267,0.000021180454,0.000066312896],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000103137,0.00012759912,0.00013683466,0.000018600407,0.00038735,0.00012104636,0.0001889362,0.000029154695,0.00092581555],"category_scores_gemma":[0.000015036906,0.00005294537,0.00007003093,0.000014530648,0.00057412876,0.00009267189,0.00004428955,0.00012443402,0.000041596577],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000109244975,0.000025298763,0.00061989255,0.000010788795,0.00013482293,0.0000055770824,0.27118653,1.4585028e-7,0.007837145,0.017561212,0.6640877,0.0384216],"study_design_scores_gemma":[0.0003702619,0.000035401146,0.0031847632,0.000052378135,0.00003418461,5.678945e-7,0.0018918246,5.204721e-7,0.000055535605,0.00013648477,0.9941433,0.00009475914],"about_ca_topic_score_codex":0.0025228737,"about_ca_topic_score_gemma":0.00080858544,"teacher_disagreement_score":0.33005556,"about_ca_system_score_codex":0.000016308397,"about_ca_system_score_gemma":0.000021631351,"threshold_uncertainty_score":0.9999875},"labels":[],"label_agreement":null},{"id":"W2397364961","doi":"10.1093/ml/gcl103","title":"L'Ecriture de la critique musicale au temps de Berlioz. By Emmanuel Reibel.","year":2007,"lang":"fr","type":"article","venue":"Music and Letters","topic":"Literature, Musicology, and Cultural Analysis","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":"Subject (documents); Criticism; Literature; Ideology; Rhetorical question; Philosophy; Silence; Art; Aesthetics","score_opus":0.011407547300952106,"score_gpt":0.2720767390308361,"score_spread":0.260669191729884,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2397364961","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8719514,0.009817937,0.0011084654,0.094279185,0.001169518,0.00017189825,0.0000385496,0.00006531284,0.021397708],"genre_scores_gemma":[0.7554008,0.00036713222,0.0006234504,0.22314385,0.0041538845,0.000013754096,0.000031922136,0.000022782453,0.016242458],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9973866,0.000609074,0.00028784355,0.0004525851,0.00026748778,0.0009964188],"domain_scores_gemma":[0.9988776,0.00036777556,0.000095450916,0.00017069165,0.000057452875,0.00043105116],"candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.001500258,0.00028087874,0.00033342422,0.00007078254,0.00082968606,0.00026219685,0.00026220782,0.00057997747,0.00045780648],"category_scores_gemma":[0.00010663817,0.00025104496,0.00020288203,0.0005237352,0.001651549,0.0003141962,0.0000547079,0.00068467035,0.00002368755],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000029813571,0.00017970896,0.003855619,0.000097646145,0.00014286325,0.000273794,0.063314416,0.0000043541995,0.016216153,0.031744666,0.8600849,0.024056101],"study_design_scores_gemma":[0.000347828,0.00004310428,0.0045147403,0.00007383948,0.00021992416,0.000045391236,0.005811691,0.00001854336,0.0002697894,0.002654608,0.98562396,0.00037661384],"about_ca_topic_score_codex":0.006207652,"about_ca_topic_score_gemma":0.004697989,"teacher_disagreement_score":0.12886468,"about_ca_system_score_codex":0.00025559086,"about_ca_system_score_gemma":0.00010947005,"threshold_uncertainty_score":0.99999416},"labels":[],"label_agreement":null},{"id":"W2399001726","doi":"10.1093/ml/gcv116","title":"<i>Alois Hába (1893–1973): Mezi tradicí a inovací.</i>By Vlasta Reitterová and Lubomír Spurný","year":2016,"lang":"cs","type":"article","venue":"Music and Letters","topic":"Historical Studies of British Isles","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Tone (literature); Quarter (Canadian coin); Piano; History; Art; Literature; Art history","score_opus":0.0132874194779822,"score_gpt":0.1586633848516426,"score_spread":0.1453759653736604,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2399001726","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.87337494,0.018460687,0.00022909656,0.087738514,0.0021969245,0.0005092946,0.00056946033,0.00015304027,0.016768057],"genre_scores_gemma":[0.9534825,0.0029915099,0.000062243584,0.030888882,0.0022222204,0.000033356973,0.000014832088,0.00008714518,0.010217326],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9973044,0.000108620996,0.00054876687,0.000814986,0.00039613413,0.0008271356],"domain_scores_gemma":[0.998832,0.00027105506,0.00019370936,0.0003330208,0.0000542891,0.00031596675],"candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00022649493,0.00052053883,0.0006735557,0.0001139916,0.0011592932,0.0003986585,0.0002526055,0.00014185524,0.0016040393],"category_scores_gemma":[0.000054819593,0.00041394183,0.00014313716,0.00007166628,0.0017196136,0.00039094337,0.00022059244,0.00030920253,0.00012858334],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000055554672,0.000095755466,0.0005918199,0.00014083833,0.00021240696,0.00011117533,0.0119425105,4.630044e-8,0.003503286,0.0020772489,0.90006185,0.0812075],"study_design_scores_gemma":[0.0016431723,0.00023879274,0.0011863951,0.00031526564,0.0001550638,0.00003553842,0.000955605,0.0000029245195,0.000059866637,0.00014468915,0.99458504,0.00067765795],"about_ca_topic_score_codex":0.0018320135,"about_ca_topic_score_gemma":0.0011021977,"teacher_disagreement_score":0.09452317,"about_ca_system_score_codex":0.00017185937,"about_ca_system_score_gemma":0.000020202839,"threshold_uncertainty_score":0.99983126},"labels":[],"label_agreement":null},{"id":"W250119671","doi":"10.1093/ml/gcs050","title":"The Carole: A Study of a Medieval Dance. By Robert Mullally.","year":2012,"lang":"en","type":"article","venue":"Music and Letters","topic":"Folklore, Mythology, and Literature Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Dance; Art; Philosophy; Classics; Literature","score_opus":0.016847393548038835,"score_gpt":0.21786480899168353,"score_spread":0.2010174154436447,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W250119671","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.98129416,0.0055801678,0.000002755807,0.0029092105,0.0010502732,0.00017636652,0.000012833703,0.000020197995,0.008954068],"genre_scores_gemma":[0.9943785,0.000032227286,0.0000061049973,0.003502568,0.00087046815,0.000022856228,0.0000031416187,0.000009072984,0.0011750486],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992912,0.00006472538,0.0001529399,0.00012414771,0.00012286645,0.0002441229],"domain_scores_gemma":[0.9996392,0.00009175456,0.000057052366,0.00014810167,0.000026606893,0.00003727639],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00022300563,0.00011667502,0.0001665697,0.00002317347,0.00044265977,0.000056218072,0.00009952769,0.00001933508,0.00007587137],"category_scores_gemma":[0.000015732603,0.00006690334,0.000033883505,0.00002019444,0.0004435651,0.000089637055,0.000051061066,0.00011086462,0.000003846424],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000059144215,0.0002001752,0.0061239693,0.000025067964,0.00020202236,0.0000035562455,0.5148371,2.821808e-7,0.00063896755,0.009414799,0.46564537,0.0028495684],"study_design_scores_gemma":[0.00052335195,0.00014966863,0.0051846933,0.000010356293,0.000061942905,0.0000028797924,0.039573602,0.0000019841866,0.000011522758,0.000027420858,0.95433,0.00012252282],"about_ca_topic_score_codex":0.0002225202,"about_ca_topic_score_gemma":0.00060387683,"teacher_disagreement_score":0.48868468,"about_ca_system_score_codex":0.000005641108,"about_ca_system_score_gemma":0.0000027185952,"threshold_uncertainty_score":0.34046257},"labels":[],"label_agreement":null},{"id":"W2510702671","doi":"10.1093/ml/gcw033","title":"<i>Camille Saint-Saëns et le politique de 1870 à 1921: Le drapeau et la lyre</i>. By Stéphane Leteuré.","year":2016,"lang":"fr","type":"article","venue":"Music and Letters","topic":"Historical Studies and Socio-cultural 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":"Université de Montréal","funders":"","keywords":"SAINT; Musical; Politics; Art; Innovator; Art history; Humanities; Enthusiasm; Philosophy; Literature; Law; Theology; Political science","score_opus":0.010252858025492117,"score_gpt":0.2015992892173971,"score_spread":0.19134643119190498,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2510702671","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.33234957,0.007205805,0.00068667345,0.6514113,0.00034528293,0.00010601912,0.00018600674,0.000056246325,0.0076530916],"genre_scores_gemma":[0.8456022,0.0091158245,0.000070544986,0.061977025,0.0009506545,0.000029476128,0.000032473527,0.00004553348,0.08217625],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981192,0.00037039685,0.00029745616,0.000393212,0.00019467792,0.0006251042],"domain_scores_gemma":[0.9992031,0.00025448194,0.00011099816,0.00016818929,0.000053117485,0.00021011935],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00033540445,0.000320065,0.00042224073,0.000042594515,0.0019472236,0.00020824022,0.00015868271,0.00013035057,0.000511672],"category_scores_gemma":[0.000030177036,0.0002218603,0.00026193407,0.00006068656,0.00094437617,0.0002664066,0.000106213585,0.00025549534,0.00005668205],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014374063,0.0001505897,0.00020883647,0.000059507736,0.00025546536,0.0000375657,0.031813864,0.0000020308491,0.003542657,0.39643502,0.56169415,0.0057859477],"study_design_scores_gemma":[0.00072707725,0.00007006913,0.00018802095,0.0000831107,0.00010729955,0.000008039099,0.0031527379,0.0000054238726,0.000046276975,0.0013885188,0.99383175,0.00039166232],"about_ca_topic_score_codex":0.058336943,"about_ca_topic_score_gemma":0.0063845124,"teacher_disagreement_score":0.58943427,"about_ca_system_score_codex":0.00053007004,"about_ca_system_score_gemma":0.000048178084,"threshold_uncertainty_score":0.9993521},"labels":[],"label_agreement":null},{"id":"W26979560","doi":"10.1093/ml/gcu014","title":"Experiencing Mozart: A Listener's Companion. By David Schroeder","year":2014,"lang":"en","type":"article","venue":"Music and Letters","topic":"Musicology and Musical Analysis","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"MOZART; Art; Dance; Art history; Visual arts","score_opus":0.017252115102729504,"score_gpt":0.18397171966119133,"score_spread":0.16671960455846183,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W26979560","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9671119,0.00011789115,0.00095204177,0.007973008,0.00044982182,0.00006757465,0.0000062724143,0.00007204032,0.023249479],"genre_scores_gemma":[0.9425871,0.000002660761,0.000041981577,0.054320488,0.0008010993,0.000016096681,0.000019223982,0.000010755074,0.002200642],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991956,0.00005981521,0.00015624307,0.00024810954,0.000107733125,0.00023254997],"domain_scores_gemma":[0.99963176,0.00006087998,0.00004994278,0.00014950622,0.000021318623,0.000086581145],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00011199161,0.00013653081,0.00020409243,0.000051513587,0.00048285525,0.00014296464,0.0000957362,0.000036767302,0.0037076059],"category_scores_gemma":[0.000013390117,0.00010786548,0.000069282134,0.000028764973,0.00038860447,0.00013390633,0.000045741945,0.000119036726,0.000062524276],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016077254,0.00009437119,0.0003897855,0.000033789474,0.00011139184,0.0000074943023,0.056521557,0.000017782673,0.009783228,0.107678354,0.814739,0.010607185],"study_design_scores_gemma":[0.00031674994,0.000035885714,0.00027245472,0.00001224724,0.000049900897,0.0000025313784,0.0014929295,0.000845434,0.000084987565,0.00017745848,0.9965059,0.0002034829],"about_ca_topic_score_codex":0.0003738786,"about_ca_topic_score_gemma":0.00034962688,"teacher_disagreement_score":0.18176696,"about_ca_system_score_codex":0.0000105650715,"about_ca_system_score_gemma":0.000004674004,"threshold_uncertainty_score":0.9972031},"labels":[],"label_agreement":null},{"id":"W2762291370","doi":"10.1093/ml/gcx031","title":"Parisian Music-Hall Ballet, 1871–1913. By Sarah Gutsche-Miller.","year":2017,"lang":"en","type":"article","venue":"Music and Letters","topic":"Diversity and Impact of Dance","field":"Psychology","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Ballet; Art; Dance; Classical ballet; Art history; Nationalism; History; Literature","score_opus":0.034365423019974,"score_gpt":0.2712425297456202,"score_spread":0.23687710672564619,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2762291370","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.86662066,0.00037982195,0.00026237167,0.019717326,0.0013936291,0.00015243313,0.00004658392,0.000063069994,0.111364126],"genre_scores_gemma":[0.95873857,0.000029871922,0.00014303903,0.03491735,0.00033328083,0.000005657096,0.000016596709,0.000019064812,0.0057965536],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987902,0.000052992214,0.00014622901,0.00039518636,0.00016348585,0.0004518814],"domain_scores_gemma":[0.9989248,0.000035575624,0.0001439367,0.00070391916,0.000014769953,0.000177032],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001616158,0.0002015058,0.00023461733,0.000046622026,0.0005896573,0.00019532688,0.0004928613,0.00012991503,0.0027329903],"category_scores_gemma":[0.000028189583,0.00019765782,0.00008241811,0.000033798726,0.00034067672,0.00026663818,0.00015158844,0.00025118573,0.0006317212],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000055209977,0.00007201256,0.012364163,0.000010423833,0.000095033014,0.000077989105,0.0018226862,3.2670218e-7,0.0016569507,0.0007090203,0.97026926,0.012866949],"study_design_scores_gemma":[0.0015168026,0.000089945854,0.23365688,0.000024433992,0.00004224272,0.000015932199,0.00049095205,0.0000049486757,0.00005392775,0.000047627902,0.7637194,0.00033691968],"about_ca_topic_score_codex":0.0013488717,"about_ca_topic_score_gemma":0.00008397831,"teacher_disagreement_score":0.22129273,"about_ca_system_score_codex":0.000018553364,"about_ca_system_score_gemma":0.000008424343,"threshold_uncertainty_score":0.99817866},"labels":[],"label_agreement":null},{"id":"W278597559","doi":"10.1093/ml/gcu063","title":"Experiencing Verdi: A Listener's Companion. By Donald Sanders","year":2014,"lang":"en","type":"article","venue":"Music and Letters","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; Humanities; Art history; History","score_opus":0.01727660703171268,"score_gpt":0.17923357879306304,"score_spread":0.16195697176135035,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W278597559","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9596605,0.000088963614,0.0009550044,0.0128665175,0.00042822707,0.000059099115,0.000006248694,0.0000618815,0.02587357],"genre_scores_gemma":[0.9327974,0.0000031506386,0.000030405497,0.06572683,0.00063833507,0.000012602345,0.000019852612,0.000009159664,0.00076227024],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99924606,0.000055762375,0.00014309681,0.00022743027,0.000109416826,0.00021823408],"domain_scores_gemma":[0.99965435,0.00007907396,0.000045916535,0.00012092213,0.000017091861,0.00008267049],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000105373736,0.00012925541,0.00019613716,0.000049858045,0.00043111367,0.00011446083,0.00008670293,0.00003485802,0.0030901853],"category_scores_gemma":[0.000011059889,0.00010374386,0.00007550407,0.000026894748,0.00039635948,0.00010972874,0.000036150985,0.00011103459,0.00003383715],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016726506,0.00005433481,0.0001900226,0.000022610546,0.000091219576,0.000005374848,0.033061266,0.000009995095,0.005511326,0.07097744,0.8835342,0.0065255105],"study_design_scores_gemma":[0.0003931758,0.00003601234,0.00032105908,0.000011724308,0.000054014617,0.0000023903133,0.0022207825,0.00047317517,0.00005278271,0.00032281363,0.9959073,0.00020473664],"about_ca_topic_score_codex":0.0005467682,"about_ca_topic_score_gemma":0.000555516,"teacher_disagreement_score":0.112373166,"about_ca_system_score_codex":0.0000121177745,"about_ca_system_score_gemma":0.000004437867,"threshold_uncertainty_score":0.99782115},"labels":[],"label_agreement":null},{"id":"W294987723","doi":"10.1093/ml/gct020","title":"Music and Decadence in European Modernism: The Case of Central and Eastern Europe. By Stephen Downes","year":2013,"lang":"en","type":"article","venue":"Music and Letters","topic":"Historical Geopolitical and Social Dynamics","field":"Social Sciences","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Decadence; Modernism (music); Art; Art history; Ancient history; Literature; History","score_opus":0.018857251475653793,"score_gpt":0.22683387126308152,"score_spread":0.20797661978742774,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W294987723","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9901786,0.00019641624,0.00020440249,0.003883724,0.00007238035,0.00013724167,0.000005490979,0.000009937479,0.0053118253],"genre_scores_gemma":[0.99619406,0.000057801662,0.00002817998,0.0030202605,0.000089045716,0.0000025790173,7.1156177e-7,0.0000059565764,0.0006013934],"study_design_codex":"qualitative","study_design_gemma":"observational","domain_scores_codex":[0.99910736,0.00025668924,0.00012672442,0.00015325811,0.000097593074,0.00025834813],"domain_scores_gemma":[0.99964494,0.00010743706,0.000033250915,0.000059989397,0.000018551546,0.00013585412],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00019622991,0.00007583345,0.00010989902,0.000016838601,0.00024455323,0.000062218955,0.00008246745,0.00003073914,0.000026175505],"category_scores_gemma":[0.00004542752,0.000054115688,0.000014676575,0.00009183362,0.0007292299,0.000109858636,0.000056964087,0.000109520384,0.0000038997923],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004520998,0.00027217343,0.089917384,0.00023485954,0.000073964155,0.0010046399,0.48799714,0.000030112054,0.003024674,0.12597843,0.029355029,0.2620664],"study_design_scores_gemma":[0.0057764007,0.0005489407,0.49059674,0.0004207326,0.0003380683,0.0002926942,0.10211128,0.024746694,0.000024767525,0.018638084,0.35305876,0.0034468698],"about_ca_topic_score_codex":0.014586753,"about_ca_topic_score_gemma":0.0017232667,"teacher_disagreement_score":0.40067935,"about_ca_system_score_codex":0.000013496274,"about_ca_system_score_gemma":0.000010361394,"threshold_uncertainty_score":0.9919752},"labels":[],"label_agreement":null},{"id":"W3005354966","doi":"10.1093/ml/gcz111","title":"The Victorian Guitar, Exoticism, and Extinction Discourse from Radcliffe to Wilde","year":2019,"lang":"en","type":"article","venue":"Music and Letters","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":"Musical; Literature; Period (music); Decadence; Victorian era; Guitar; Art; History; Context (archaeology); Exoticism; Aesthetics; Art history","score_opus":0.013872984204066584,"score_gpt":0.19742075721967786,"score_spread":0.1835477730156113,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3005354966","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.96826124,0.00010022273,0.00007470587,0.02642642,0.0012644005,0.00014347586,0.0000091216625,0.000024037248,0.003696346],"genre_scores_gemma":[0.97384185,0.0000110530455,0.000022565811,0.02247041,0.0012586159,0.000011115144,0.000009197168,0.000009042082,0.0023661384],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99932307,0.000044692664,0.0001270786,0.00022593299,0.000094650015,0.00018459174],"domain_scores_gemma":[0.99955064,0.00015294467,0.000038488324,0.00016623762,0.000014367286,0.00007732307],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00010731718,0.000112553775,0.00014754377,0.000035563236,0.00043909778,0.00016729558,0.000080324724,0.000030732903,0.0016418435],"category_scores_gemma":[0.000012758818,0.00007001467,0.000043649197,0.00002463611,0.0002295604,0.000095441625,0.000056527704,0.00010449613,0.00011049804],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00046584354,0.00021249638,0.012109089,0.000060797345,0.0009746613,0.000048599562,0.24326706,0.00005958271,0.013758207,0.37068468,0.28588113,0.07247786],"study_design_scores_gemma":[0.00028897336,0.000048845613,0.01261823,0.000011879435,0.00008605556,8.498621e-7,0.0018839558,0.00009213144,0.000008465112,0.0008391087,0.98397547,0.00014602217],"about_ca_topic_score_codex":0.00031504416,"about_ca_topic_score_gemma":0.0021892544,"teacher_disagreement_score":0.69809437,"about_ca_system_score_codex":0.000009682983,"about_ca_system_score_gemma":0.0000043797536,"threshold_uncertainty_score":0.9992708},"labels":[],"label_agreement":null},{"id":"W3008934791","doi":"10.1093/ml/gcz108","title":"‘Onward to the End of the Nineteenth Century’: Edward Prime-Stevenson’s Queer Musicological Nostalgia","year":2019,"lang":"en","type":"article","venue":"Music and Letters","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":"","keywords":"Queer; Musical; Pseudonym; Prime (order theory); Literature; Art; Queer theory; Musicology; Homosexuality; History; Art history; Sociology; Philosophy; Gender studies; Theology","score_opus":0.014933612944387659,"score_gpt":0.18657073439141697,"score_spread":0.1716371214470293,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3008934791","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.94876474,0.000081314516,0.000029086972,0.041094493,0.0012316776,0.00041381494,0.000025611309,0.000022602972,0.008336654],"genre_scores_gemma":[0.9408528,0.000005339063,0.000016534184,0.055988833,0.000528165,0.00001841477,0.000005014282,0.0000103418,0.00257455],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988403,0.0001288151,0.00023310543,0.000282933,0.0002284558,0.00028639627],"domain_scores_gemma":[0.9992802,0.00014605935,0.00010193223,0.00035901027,0.00004464635,0.00006812908],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00020241531,0.00017218731,0.00027221118,0.000048098223,0.00029144718,0.00006494742,0.0003098028,0.00006129913,0.0070719244],"category_scores_gemma":[0.00002984396,0.000083777515,0.00018223708,0.0000812485,0.0005076009,0.00005866284,0.00020640911,0.00023391373,0.0001513761],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00025690455,0.0003502549,0.011036025,0.00012980808,0.00069252664,0.000017127804,0.08659169,0.0002697734,0.0168462,0.17552091,0.68921447,0.019074332],"study_design_scores_gemma":[0.00029629542,0.000102561906,0.025289057,0.000022493969,0.000120136945,0.0000025464353,0.0010724595,0.00005082523,0.00015920291,0.00009502336,0.9726143,0.00017512502],"about_ca_topic_score_codex":0.00024233866,"about_ca_topic_score_gemma":0.00066054845,"teacher_disagreement_score":0.28339982,"about_ca_system_score_codex":0.000018618626,"about_ca_system_score_gemma":0.000017514223,"threshold_uncertainty_score":0.99383575},"labels":[],"label_agreement":null},{"id":"W4249126884","doi":"10.1093/ml/gcab074","title":"<i>Schoenberg’s Atonal Music: Musical Idea, Basic Image, and Specters of Tonal Function</i> Jack Boss","year":2021,"lang":"en","type":"article","venue":"Music and Letters","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 Alberta","funders":"","keywords":"Period (music); Musical; Scholarship; Literature; Biography; Art; History; Art history; Visual arts; Aesthetics; Law","score_opus":0.019961404286709054,"score_gpt":0.19688974269049553,"score_spread":0.17692833840378647,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4249126884","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9769587,0.00020450336,0.00021915203,0.007508551,0.0007369537,0.00009247712,0.000046394012,0.000036241745,0.014197056],"genre_scores_gemma":[0.9564776,0.000020988145,0.00022259796,0.03938714,0.0013070264,0.000013815841,0.000055044817,0.000021386839,0.0024944246],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99844766,0.0000979732,0.0003605905,0.0005044842,0.0002472379,0.00034204847],"domain_scores_gemma":[0.99921334,0.00016425358,0.00011456716,0.00023188505,0.00011753588,0.00015841688],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00016402158,0.00024920597,0.00043393447,0.00010716408,0.00036734316,0.00014852062,0.00009744929,0.00007891655,0.013460038],"category_scores_gemma":[0.000035665005,0.00021788478,0.00018526705,0.00010526223,0.0011004781,0.00024591672,0.0001377708,0.00028365862,0.000039328916],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00038522828,0.00060191826,0.0038239849,0.00036457196,0.0012398466,0.0004541118,0.019757349,0.00001183697,0.07578841,0.30985963,0.57094526,0.016767832],"study_design_scores_gemma":[0.0024961142,0.00023315239,0.045904666,0.00010007438,0.00096070603,0.00013962256,0.0033017842,0.00021025044,0.0010658074,0.0037729256,0.94084084,0.0009740583],"about_ca_topic_score_codex":0.00015186722,"about_ca_topic_score_gemma":0.0009606342,"teacher_disagreement_score":0.36989558,"about_ca_system_score_codex":0.000017034943,"about_ca_system_score_gemma":0.0000416044,"threshold_uncertainty_score":0.9874418},"labels":[],"label_agreement":null},{"id":"W4250102197","doi":"10.1093/ml/gcab067","title":"<i>Debussy’s Critics: Sound, Affect, and the Experience of Modernism.</i> Alexandra Kieffer","year":2021,"lang":"en","type":"article","venue":"Music and Letters","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":"Modernism (music); Sound (geography); Affect (linguistics); Art; Art history; Philosophy; Acoustics; Physics; Linguistics","score_opus":0.028183770327130292,"score_gpt":0.2183151975333028,"score_spread":0.19013142720617252,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4250102197","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9819103,0.0008048914,0.00059336744,0.009886702,0.00025002065,0.00007932652,0.00000753529,0.00001539624,0.0064524626],"genre_scores_gemma":[0.96629643,0.00004221314,0.000035901154,0.03218779,0.00025383622,0.000018479857,0.000004081304,0.0000063886528,0.0011548845],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99930435,0.00009207367,0.0001492795,0.0001965992,0.00010273143,0.0001549444],"domain_scores_gemma":[0.9994663,0.00024987283,0.00004094854,0.00015615141,0.00004579547,0.00004090327],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00011199191,0.00010753257,0.0002374362,0.000025533529,0.00031934594,0.000106798456,0.00007122648,0.000029109055,0.0012553182],"category_scores_gemma":[0.00003838638,0.00006768514,0.00007625151,0.000026283447,0.0015683911,0.00009665721,0.00007156682,0.00010638242,0.000004175805],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017519602,0.00014600602,0.0013657616,0.00020930961,0.0003405191,0.00007274233,0.32075495,0.000016161861,0.006582007,0.637332,0.02869549,0.00430984],"study_design_scores_gemma":[0.011220419,0.00024662574,0.006560659,0.0002511027,0.0018026585,0.00015670863,0.07730303,0.004406082,0.003489614,0.044809762,0.8479446,0.0018087276],"about_ca_topic_score_codex":0.00017534482,"about_ca_topic_score_gemma":0.00059448194,"teacher_disagreement_score":0.8192491,"about_ca_system_score_codex":0.0000034684551,"about_ca_system_score_gemma":0.000007645629,"threshold_uncertainty_score":0.9996577},"labels":[],"label_agreement":null},{"id":"W4284673191","doi":"10.1093/ml/gcac043","title":"Jewish difference and recovering ‘commedia’: erich w. korngold’s ‘die tote stadt’ in post-first world war austria","year":2022,"lang":"en","type":"article","venue":"Music and Letters","topic":"Central European national history","field":"Social Sciences","cited_by":9,"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":"Jackman Humanities Institute, University of Toronto; University of Toronto","keywords":"Judaism; Modernity; Opera; Harmony (color); Art; Art history; Scholarship; World War II; History; Literature; Theology; Philosophy; Visual arts; Law; Political science","score_opus":0.022793167110442606,"score_gpt":0.22489356309473038,"score_spread":0.20210039598428778,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4284673191","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9806687,0.00052162097,0.000008771302,0.015647786,0.0004759948,0.00014736512,0.000018592958,0.000029261226,0.002481908],"genre_scores_gemma":[0.9916212,0.00012815969,0.000056380282,0.0069049806,0.00016483049,0.000010114886,0.000008097604,0.000010144476,0.0010960957],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99894434,0.0001616715,0.00013708019,0.00022749903,0.00027467008,0.00025475686],"domain_scores_gemma":[0.9996093,0.00015513119,0.000053408723,0.00007853717,0.0000125746,0.00009105676],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00038576807,0.000085898864,0.00011212731,0.00012548506,0.0004897922,0.000031217598,0.00014169898,0.00001565081,0.00024543883],"category_scores_gemma":[0.00008350883,0.00009775067,0.000021906642,0.00023939721,0.00015386386,0.00010836266,0.00013951104,0.00022838236,0.0000041006037],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00035775092,0.00035325158,0.20144126,0.00011851225,0.00009554028,0.0006723039,0.20019345,0.0005496483,0.008050944,0.006949931,0.21151826,0.36969915],"study_design_scores_gemma":[0.00046829504,0.000028308852,0.38140398,0.000015083791,0.000007992591,0.0000016976024,0.0018626341,0.00004570864,0.00000252214,0.000092441136,0.61586523,0.00020609869],"about_ca_topic_score_codex":0.0017744144,"about_ca_topic_score_gemma":0.00787683,"teacher_disagreement_score":0.404347,"about_ca_system_score_codex":0.00032043192,"about_ca_system_score_gemma":0.000038796097,"threshold_uncertainty_score":0.43954563},"labels":[],"label_agreement":null},{"id":"W4324351613","doi":"10.1093/ml/gcad001","title":"The Garden as Interior: Reading Schoenberg’s Gardens in Context","year":2023,"lang":"en","type":"article","venue":"Music and Letters","topic":"German Literature and Culture Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Context (archaeology); Space (punctuation); Reading (process); Professionalization; Aesthetics; Sociology; Relevance (law); Epistemology; History; Social science; Art; Political science; Linguistics; Philosophy; Archaeology; Law","score_opus":0.017864630561286406,"score_gpt":0.21039385179935394,"score_spread":0.19252922123806754,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4324351613","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7128594,0.00079684536,4.6949506e-7,0.033217136,0.0011429577,0.00015966284,0.000006805022,0.000110768065,0.25170597],"genre_scores_gemma":[0.9480445,0.000066498156,0.0000013250192,0.007961653,0.00047172207,0.000016368766,0.00000568821,0.000008936661,0.043423325],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994206,0.000028865798,0.00011913499,0.000138192,0.00008032071,0.0002129052],"domain_scores_gemma":[0.999784,0.000054224365,0.000025420992,0.00009400262,0.000017958633,0.000024399895],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000119755496,0.00009899574,0.000109163884,0.00004296752,0.00044228183,0.00028604083,0.00007767653,0.000017661447,0.00031790862],"category_scores_gemma":[0.00001793671,0.00006035149,0.000039557915,0.000030582745,0.00019799618,0.00004965999,0.00005146298,0.00013771422,0.00029868088],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014206258,0.0000026338896,0.00011319326,0.0000140962775,0.000033880027,0.000035775334,0.204854,3.0777514e-7,0.0002696771,0.018550478,0.7741856,0.0019261801],"study_design_scores_gemma":[0.00015100036,0.000015673902,0.00061321334,0.00005133712,0.000007455254,0.0000031892366,0.050027013,0.0000027854296,0.0000068450886,0.00023300094,0.9488016,0.000086910746],"about_ca_topic_score_codex":0.000043724718,"about_ca_topic_score_gemma":0.001861712,"teacher_disagreement_score":0.2351851,"about_ca_system_score_codex":0.000010240486,"about_ca_system_score_gemma":0.000003322464,"threshold_uncertainty_score":0.3839038},"labels":[],"label_agreement":null},{"id":"W4408160759","doi":"10.1093/ml/gcaf020","title":"<i>Music and the Making of Medieval Venice</i>. By Jamie L Reuland","year":2025,"lang":"en","type":"article","venue":"Music and Letters","topic":"Diverse Historical and Scientific 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":"Philosophy","score_opus":0.024166066823516404,"score_gpt":0.1940203411794333,"score_spread":0.16985427435591688,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4408160759","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.682765,0.013895524,0.000093637624,0.055136457,0.0050434116,0.00036376293,0.00006533815,0.000053482912,0.24258336],"genre_scores_gemma":[0.9795783,0.000049811282,0.000008174508,0.012291306,0.00014607215,0.000005390636,0.0000019930112,0.0000030396327,0.007915882],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99953943,0.000025557405,0.00010887967,0.00012841889,0.00009944475,0.000098267796],"domain_scores_gemma":[0.99977654,0.00007635571,0.00003909872,0.00007996716,0.000018302277,0.000009753259],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00015992048,0.000068060486,0.00014355627,0.000029075662,0.0003572889,0.000057916284,0.000068108675,0.000011910004,0.0001302155],"category_scores_gemma":[0.000018039298,0.000040235886,0.000032514803,0.00003141807,0.0009703568,0.00004026585,0.0000689111,0.000056619938,0.000002632864],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004550264,0.0000117841555,0.00013636211,0.00004184548,0.000052508232,0.0000019019358,0.029507114,2.25059e-7,0.0001908155,0.04200462,0.92448664,0.0035206575],"study_design_scores_gemma":[0.00059546187,0.000008725468,0.00015373039,0.00003350175,0.000053689175,2.953949e-7,0.0026094622,0.000019804394,0.0000055389537,0.00049666356,0.99596673,0.000056379322],"about_ca_topic_score_codex":0.00010577672,"about_ca_topic_score_gemma":0.000093045026,"teacher_disagreement_score":0.2968133,"about_ca_system_score_codex":0.000007700168,"about_ca_system_score_gemma":0.0000040272694,"threshold_uncertainty_score":0.357532},"labels":[],"label_agreement":null},{"id":"W4414439476","doi":"10.1093/ml/gcaf115","title":"<i>Format Friction: Perspectives on the Shellac Disc</i> . By Gavin Williams","year":2025,"lang":"en","type":"article","venue":"Music and Letters","topic":"Music Technology and Sound Studies","field":"Computer Science","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Winnipeg","funders":"","keywords":"Shellac; Marie curie","score_opus":0.00687793790880773,"score_gpt":0.1936734651969365,"score_spread":0.1867955272881288,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4414439476","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.48308912,0.0024446126,0.13165468,0.3562401,0.00096809986,0.0002463372,0.000003968643,0.00034540967,0.025007678],"genre_scores_gemma":[0.95996577,0.00012513652,0.00022871153,0.038532514,0.00004454041,0.000023364235,5.352091e-7,0.0000026584873,0.0010767762],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993978,0.000032592307,0.00008438593,0.0002361897,0.00008714068,0.000161878],"domain_scores_gemma":[0.9995504,0.00010192514,0.000025307172,0.000296268,0.000010577118,0.000015509677],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00011085043,0.00010247818,0.00009584601,0.000044653934,0.0004967932,0.000081320926,0.0003146104,0.00004008379,0.000014219685],"category_scores_gemma":[0.000014413425,0.00006338922,0.000034934892,0.00021921791,0.00021723716,0.00010861752,0.00015030734,0.00017202387,0.000012368658],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000003864973,0.000024506975,0.0003847221,0.0000052351343,0.00004350484,0.0000027167898,0.007124474,0.0000016793974,0.00037915458,0.23939733,0.74645334,0.00617943],"study_design_scores_gemma":[0.0005218129,0.00009414596,0.0045109065,0.000061641105,0.000028944143,0.000009447458,0.008695503,0.0009769829,0.0005106172,0.0079693,0.9762596,0.000361083],"about_ca_topic_score_codex":0.000013584346,"about_ca_topic_score_gemma":0.0000046277487,"teacher_disagreement_score":0.47687665,"about_ca_system_score_codex":0.000019123148,"about_ca_system_score_gemma":0.000006286684,"threshold_uncertainty_score":0.38209817},"labels":[],"label_agreement":null}]}