{"meta":{"query_hash":"18ef31d04376","filters":{"venue":"Revue musicale OICRM"},"cohort_total":260,"direct_labels_cover":1,"predictions_cover":260,"exported":260,"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/18ef31d04376","api":"https://metacan.xera.ac/api/v1/cohort?venue=Revue+musicale+OICRM"},"results":[{"id":"W2736854765","doi":"10.7202/1040297ar","title":"Factors Influencing Technology Use in Aural Skills Lessons","year":2017,"lang":"en","type":"article","venue":"Revue musicale OICRM","topic":"Diverse Music Education Insights","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Information and Communications Technology; Perception; Psychology; Competence (human resources); Singing; Piano; Dictation; Mathematics education; Pedagogy; Medical education; Computer science; Social psychology; Medicine","score_opus":0.13404186206596155,"score_gpt":0.29060456930844963,"score_spread":0.15656270724248808,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2736854765","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9964977,0.00018875551,0.00009279471,0.00018341962,0.0000051755887,0.00002244202,0.000082794184,0.000005358321,0.00292162],"genre_scores_gemma":[0.99850583,0.0003101182,0.00013215946,0.000039522914,0.0000053393246,0.000018822548,0.000069898044,0.000004825155,0.0009134055],"study_design_codex":"observational","study_design_gemma":"qualitative","domain_scores_codex":[0.9983771,0.00045776993,0.00017276978,0.00012282495,0.0005653143,0.0003042162],"domain_scores_gemma":[0.99010944,0.0050132796,0.0019700918,0.00021527738,0.0009654248,0.0017265795],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00096676894,0.00014964293,0.000194585,0.0011470645,0.0008578406,0.002189368,0.0004626944,0.00054830493,0.0046368055],"category_scores_gemma":[0.010542562,0.00022117565,0.0002862967,0.0012801009,0.0007679273,0.0005786052,0.000802141,0.0006890308,0.0006130262],"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":[0.000050724277,0.00027272524,0.97022825,0.00009355978,0.000024023167,0.00044780094,0.014195346,0.00009122432,0.00085810176,0.0001465617,0.00037626823,0.0132155605],"study_design_scores_gemma":[0.0000025956065,0.00007114357,0.9763081,0.00007214547,0.000011563615,0.00022110036,0.021139124,0.000114514085,0.00013649321,0.00002834571,0.0018854495,0.0000095581645],"about_ca_topic_score_codex":0.07293536,"about_ca_topic_score_gemma":0.10112997,"teacher_disagreement_score":0.07293536,"about_ca_system_score_codex":0.0010427788,"about_ca_system_score_gemma":0.0017896208,"threshold_uncertainty_score":0.14502162},"labels":[],"label_agreement":null},{"id":"W2737092415","doi":"10.7202/1040303ar","title":"iReal Pro. Un outil technologique utilisé à des fins didactiques pour soutenir les recommandations de la recherche scientifique dans l’enseignement instrumental","year":2017,"lang":"fr","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Physics; Art","score_opus":0.23744403901556885,"score_gpt":0.3540981913921699,"score_spread":0.11665415237660107,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2737092415","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":[0.0036092512,0.0030890352,0.83727366,0.0062987898,0.001287235,0.000634417,0.00084020995,0.005036103,0.14193125],"genre_scores_gemma":[0.09552919,0.0065002693,0.764531,0.0023197758,0.00081920763,0.001850808,0.0013032255,0.0044323,0.12271427],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.98226523,0.0065578707,0.001272104,0.0017189659,0.007606168,0.0005796793],"domain_scores_gemma":[0.9700022,0.017481055,0.0014493484,0.005733337,0.0046148025,0.0007192371],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.017691778,0.0016960882,0.0010170591,0.00513311,0.0030504167,0.016758747,0.0037600761,0.004700027,0.03222007],"category_scores_gemma":[0.041842457,0.0013023037,0.001664967,0.0024166566,0.0070231757,0.018234035,0.008712405,0.004788743,0.012276258],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022426515,0.000078163175,0.00085363985,0.001787256,0.000047680136,0.00038797315,0.0068540564,0.002606764,0.0054612476,0.7596281,0.018062744,0.20400816],"study_design_scores_gemma":[0.00005866028,0.00017361267,0.0005472176,0.0014453732,0.00007692298,0.0006602398,0.0019701214,0.008575595,0.011105262,0.16585344,0.809397,0.00013672758],"about_ca_topic_score_codex":0.003145477,"about_ca_topic_score_gemma":0.0033731833,"teacher_disagreement_score":0.03222007,"about_ca_system_score_codex":0.0032612109,"about_ca_system_score_gemma":0.0051605506,"threshold_uncertainty_score":0.107786834},"labels":[],"label_agreement":null},{"id":"W2737136795","doi":"10.7202/1040296ar","title":"Présentation du numéro","year":2017,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Psychoanalysis and Psychopathology Research","field":"Psychology","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.06339329900607708,"score_gpt":0.40011804355007574,"score_spread":0.33672474454399864,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2737136795","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0013426524,0.04076668,0.0029157088,0.07588883,0.63910794,0.0002986064,0.0013140888,0.00060393143,0.23776165],"genre_scores_gemma":[0.011469931,0.029815342,0.0019878694,0.02381023,0.17716359,0.0003882726,0.001604173,0.0007628546,0.7529978],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99674714,0.0003763435,0.0002562431,0.0006212078,0.0016861783,0.00031276053],"domain_scores_gemma":[0.9928496,0.0012443725,0.00040830983,0.00049060915,0.003788506,0.0012185754],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023042622,0.0013902799,0.0012611535,0.0042418754,0.0022040075,0.008241339,0.0018607784,0.003859886,0.2332652],"category_scores_gemma":[0.013278617,0.00047210298,0.0010378847,0.0017010876,0.0014712415,0.004068812,0.0040977257,0.003423371,0.112778895],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000061072606,0.000022047823,0.00013755377,0.0003158604,0.000008097477,0.0001580989,0.00008248313,0.00005965427,0.0003454591,0.004408882,0.93069655,0.06370431],"study_design_scores_gemma":[0.0000034868406,0.000007975476,0.00009950886,0.00013895417,0.000002196926,0.00010350028,0.0000370398,0.000025272131,0.000094338255,0.00040370275,0.9990797,0.0000042488923],"about_ca_topic_score_codex":0.0029785223,"about_ca_topic_score_gemma":0.003244128,"teacher_disagreement_score":0.2332652,"about_ca_system_score_codex":0.0043193772,"about_ca_system_score_gemma":0.0044451244,"threshold_uncertainty_score":0.78034985},"labels":[],"label_agreement":null},{"id":"W2737165038","doi":"10.7202/1040306ar","title":"L’orientalisme musical en France, de Berlioz aux Ballets russes. Compte rendu de la journée d’étude, 19 février 2016, Faculté de musique, Université de Montréal","year":2017,"lang":"fr","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":true,"ca_institutions":"Université de Montréal","funders":"","keywords":"Art; Humanities","score_opus":0.014259247618233271,"score_gpt":0.24336765744733865,"score_spread":0.22910840982910538,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2737165038","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11991667,0.27033094,0.0028300453,0.09445868,0.009077018,0.000059916343,0.0005799551,0.00015216575,0.5025946],"genre_scores_gemma":[0.6834418,0.037305456,0.0015047078,0.0035473316,0.0020754463,0.00005726599,0.0001851042,0.00016778841,0.2717151],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99796677,0.00078350387,0.000040047104,0.00026773172,0.00058775314,0.00035428998],"domain_scores_gemma":[0.99935395,0.00016965666,0.00008038308,0.000030841187,0.00015578773,0.00020925819],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002523339,0.0008645361,0.00043430497,0.0010794793,0.0042118547,0.0045397263,0.00073989475,0.0018816099,0.012085449],"category_scores_gemma":[0.0030893777,0.00027607812,0.00026952696,0.0010583255,0.0055531366,0.0022156,0.002342485,0.0033155412,0.0014709543],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00044760638,0.00009993937,0.006632244,0.0005326159,0.00006874755,0.0011232055,0.14399816,0.000405621,0.0025691472,0.35931203,0.21952093,0.26528966],"study_design_scores_gemma":[0.000018914056,0.00003556211,0.020881603,0.00025503046,0.0000073296324,0.00023987179,0.021225529,0.000042068128,0.00023301691,0.0032419774,0.95379585,0.00002329348],"about_ca_topic_score_codex":0.34930906,"about_ca_topic_score_gemma":0.51179916,"teacher_disagreement_score":0.34930906,"about_ca_system_score_codex":0.015929338,"about_ca_system_score_gemma":0.006763986,"threshold_uncertainty_score":0.6945517},"labels":[],"label_agreement":null},{"id":"W2737374415","doi":"10.7202/1040301ar","title":"Instrumentaliser la subjectivité de la perception au sein d’un paysage sonore interactif. L’installation interactive et immersive Soleil","year":2017,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Virtual Reality Applications and Impacts","field":"Computer Science","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.03595196904362527,"score_gpt":0.32811022268075435,"score_spread":0.2921582536371291,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2737374415","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5425027,0.0045293393,0.29230252,0.0015234484,0.0011569046,0.00039476014,0.0003572231,0.0013143339,0.15591878],"genre_scores_gemma":[0.8880813,0.0016302246,0.058174983,0.00035239776,0.00019079761,0.00025241286,0.00021599943,0.00036631862,0.050735556],"study_design_codex":"bench_or_experimental","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991749,0.0002229491,0.000031190102,0.00019498053,0.0002778592,0.00009811533],"domain_scores_gemma":[0.9989064,0.0004741891,0.00008566731,0.00016001982,0.000274719,0.00009912177],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011451729,0.000758977,0.00038053386,0.00055700634,0.00060743676,0.0027014047,0.00053859665,0.0009799126,0.019774333],"category_scores_gemma":[0.0039644465,0.00035352402,0.0005492603,0.00032012395,0.0009831402,0.0016946355,0.002127691,0.0008770879,0.0031240273],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0007762758,0.00019151041,0.003994194,0.0010161826,0.0000995793,0.00045416647,0.0050185663,0.0020259842,0.73679674,0.014058431,0.002671956,0.23289642],"study_design_scores_gemma":[0.00031347727,0.0038544922,0.15341912,0.0012601006,0.00055132265,0.004864435,0.015701782,0.04017573,0.47253582,0.032372806,0.27455527,0.00039572743],"about_ca_topic_score_codex":0.0010633832,"about_ca_topic_score_gemma":0.0010887028,"teacher_disagreement_score":0.019774333,"about_ca_system_score_codex":0.00035574863,"about_ca_system_score_gemma":0.00047512844,"threshold_uncertainty_score":0.0661518},"labels":[],"label_agreement":null},{"id":"W2737912714","doi":"10.7202/1040298ar","title":"Perception des intervalles harmoniques et apprentissage perceptuel","year":2017,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Perception; Physics; Art; Psychology","score_opus":0.10995458379890699,"score_gpt":0.34478950471290465,"score_spread":0.23483492091399766,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2737912714","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":[0.30161792,0.005497201,0.42724904,0.0075445254,0.0010243097,0.0006219433,0.00024189148,0.0014816972,0.25472155],"genre_scores_gemma":[0.84730804,0.0039737583,0.102365114,0.0007652318,0.00023412397,0.00032516802,0.00011183493,0.00023312093,0.044683557],"study_design_codex":"design_other","study_design_gemma":"observational","domain_scores_codex":[0.9990422,0.0002543389,0.00004608555,0.00020796403,0.0003502226,0.00009910452],"domain_scores_gemma":[0.997792,0.0011278472,0.0001680207,0.00020666585,0.000502479,0.0002030187],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021826841,0.00042502783,0.00037451577,0.0008655178,0.0007426405,0.002748533,0.0007829764,0.000989683,0.024415802],"category_scores_gemma":[0.006983347,0.0002978994,0.00047470065,0.000373773,0.0013306462,0.0022051446,0.0017824245,0.0013933862,0.0031466987],"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":[0.00043292769,0.00038789568,0.01177337,0.0010962423,0.000045019155,0.00025812848,0.020038266,0.0013338209,0.12695284,0.065313205,0.005257303,0.76711094],"study_design_scores_gemma":[0.00023206507,0.0032373383,0.20883398,0.0021288635,0.00028488535,0.0020576047,0.03689173,0.018059898,0.10531358,0.19828558,0.42429164,0.0003828254],"about_ca_topic_score_codex":0.0014983781,"about_ca_topic_score_gemma":0.0025183908,"teacher_disagreement_score":0.024415802,"about_ca_system_score_codex":0.0007686273,"about_ca_system_score_gemma":0.0013337644,"threshold_uncertainty_score":0.08167899},"labels":[],"label_agreement":null},{"id":"W2738453516","doi":"10.7202/1040300ar","title":"Processus d’apprentissage et de création des improvisateurs experts en musique classique","year":2017,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Diverse Music Education Insights","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Improvisation; Visual arts","score_opus":0.05476793588840431,"score_gpt":0.29854720555258174,"score_spread":0.24377926966417743,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2738453516","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.49848753,0.006452756,0.15261903,0.008495669,0.0005222622,0.0009232829,0.00031745178,0.00043932267,0.33174255],"genre_scores_gemma":[0.85717785,0.004407761,0.058647323,0.0005796888,0.0001426856,0.00071032305,0.00030913905,0.00028718906,0.077738084],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.98728704,0.0065597952,0.00043160233,0.0015009063,0.0034774265,0.0007432534],"domain_scores_gemma":[0.9810317,0.012110253,0.001151128,0.0015656138,0.002986575,0.0011546711],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.012683506,0.00070974923,0.0004962168,0.0029900726,0.0033234227,0.010071082,0.0014069197,0.0021958672,0.013202393],"category_scores_gemma":[0.03166099,0.0004614611,0.00057178177,0.001959122,0.0055704853,0.006207119,0.0056377584,0.0026603828,0.0029812637],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017285912,0.00014812549,0.0087675415,0.0010110138,0.000044363376,0.0004940734,0.58844566,0.0005957395,0.0074413097,0.10166603,0.0034221339,0.2877912],"study_design_scores_gemma":[0.00006185002,0.0003538665,0.029611414,0.0023271348,0.00009373765,0.0011506324,0.44807374,0.0027686255,0.010183061,0.04353646,0.4617084,0.00013099943],"about_ca_topic_score_codex":0.0065095196,"about_ca_topic_score_gemma":0.011176108,"teacher_disagreement_score":0.013202393,"about_ca_system_score_codex":0.0041106846,"about_ca_system_score_gemma":0.006030537,"threshold_uncertainty_score":0.06707764},"labels":[],"label_agreement":null},{"id":"W2739356326","doi":"10.7202/1040299ar","title":"Formations pédagogiques musicales en Suisse. Des outils didactiques émergents","year":2017,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Education, sociology, and vocational training","field":"Social Sciences","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Political science","score_opus":0.3505026115175978,"score_gpt":0.4931871843422364,"score_spread":0.1426845728246386,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2739356326","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.52320474,0.0062187403,0.026957175,0.023064945,0.00075810275,0.00046380135,0.00018998931,0.00018092708,0.41896155],"genre_scores_gemma":[0.9526514,0.0012520083,0.004628956,0.0005365063,0.000093450326,0.0001867883,0.000054594933,0.000035340356,0.040560916],"study_design_codex":"qualitative","study_design_gemma":"observational","domain_scores_codex":[0.991629,0.004627386,0.00022752598,0.0007942534,0.0018357728,0.0008859523],"domain_scores_gemma":[0.99285394,0.0033457945,0.0009445905,0.00052164943,0.00093369075,0.0014002984],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.007306014,0.00045117427,0.00036985785,0.0019338009,0.005738084,0.0070227506,0.0010829516,0.0013458572,0.009209066],"category_scores_gemma":[0.014595466,0.00027077924,0.00032222416,0.0013870213,0.012867011,0.0044089975,0.006715851,0.0030125596,0.00088949414],"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":[0.00004518288,0.00010433366,0.011046941,0.00038625722,0.000012579408,0.00046931196,0.5612172,0.00043833797,0.0017163409,0.33795118,0.0037329255,0.082879394],"study_design_scores_gemma":[0.000026493028,0.00014063975,0.03280225,0.00077476865,0.0000135825,0.00061272935,0.40723222,0.0008922526,0.0009506865,0.056379247,0.50012267,0.000052551637],"about_ca_topic_score_codex":0.010979163,"about_ca_topic_score_gemma":0.022408968,"teacher_disagreement_score":0.010979163,"about_ca_system_score_codex":0.009452304,"about_ca_system_score_gemma":0.009000344,"threshold_uncertainty_score":0.06858152},"labels":[],"label_agreement":null},{"id":"W2739473919","doi":"10.7202/1040302ar","title":"Masques, op. 34 de Karol Szymanowski. Une lecture architecturelle des principes harmoniques de « Tantris le bouffon », et esquisse d’une trajectoire interprétative","year":2017,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Historical and Literary Studies","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Philosophy; Humanities; Physics","score_opus":0.028621958477031424,"score_gpt":0.3066591182612007,"score_spread":0.27803715978416926,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2739473919","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.013090827,0.3525475,0.025417145,0.08997423,0.010542381,0.0001311201,0.0007944895,0.0002864821,0.50721586],"genre_scores_gemma":[0.4401428,0.10617736,0.01608683,0.020839835,0.008991709,0.0004967062,0.0005569038,0.00050791894,0.40619993],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990976,0.00038178352,0.000058923815,0.0001478643,0.00022943207,0.000084468964],"domain_scores_gemma":[0.9995321,0.00026941925,0.000058230606,0.00003838647,0.00007807604,0.000023774634],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010359712,0.0013417477,0.00042878868,0.0017493473,0.0035244015,0.003357515,0.000954092,0.0027889858,0.012335555],"category_scores_gemma":[0.0021599096,0.00048258743,0.0007048132,0.0015016097,0.0074183377,0.005536643,0.0018661417,0.0045909993,0.0051301206],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008554389,0.000023757624,0.00036168494,0.000370895,0.000022874607,0.00021046917,0.009543207,0.00021078311,0.0008733077,0.8731001,0.085149385,0.030048005],"study_design_scores_gemma":[0.000025893143,0.00004636971,0.0024566355,0.00036134198,0.000022228538,0.00045138272,0.0034354948,0.00027630836,0.0010391702,0.24888001,0.74297583,0.000029302968],"about_ca_topic_score_codex":0.010861754,"about_ca_topic_score_gemma":0.016990326,"teacher_disagreement_score":0.012335555,"about_ca_system_score_codex":0.0035696763,"about_ca_system_score_gemma":0.0013353595,"threshold_uncertainty_score":0.04126656},"labels":[],"label_agreement":null},{"id":"W2789419181","doi":"10.7202/1043219ar","title":"Le Courrier musical et le premier conflit mondial (1904-1923). Propagande, mobilisation culturelle et sortie de guerre","year":2018,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Historical Studies and Socio-cultural Analysis","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Musical; Ethnology; History; Visual arts","score_opus":0.024256305272563432,"score_gpt":0.2410222957507735,"score_spread":0.21676599047821007,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2789419181","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5235064,0.07672576,0.001081145,0.017176706,0.0014666235,0.00006062398,0.00039159541,0.000030218605,0.37956092],"genre_scores_gemma":[0.93470204,0.0067373123,0.000366141,0.0006391468,0.0001726585,0.000040469677,0.000080474354,0.000023035365,0.057238612],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99905795,0.00032255973,0.00003123473,0.00014881701,0.00013477528,0.00030465896],"domain_scores_gemma":[0.99926955,0.0003331816,0.00013273009,0.00003559703,0.0000753871,0.0001536132],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013292561,0.00044544405,0.0002462777,0.0012365957,0.0070575704,0.002951361,0.00040036158,0.0011875757,0.007598139],"category_scores_gemma":[0.0025327008,0.00016915896,0.00015272085,0.0016426719,0.0057967305,0.0016643291,0.0025515666,0.0020679927,0.0005686957],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003226113,0.000032273518,0.011241459,0.0006506672,0.000023252836,0.0010199212,0.47284806,0.00012394981,0.0013353352,0.38095644,0.01572593,0.11572012],"study_design_scores_gemma":[0.000017108698,0.00009225302,0.07623161,0.0008605896,0.000013359005,0.00035986214,0.09881673,0.000050173934,0.000458084,0.0045167725,0.8185491,0.000034431236],"about_ca_topic_score_codex":0.115643434,"about_ca_topic_score_gemma":0.28781974,"teacher_disagreement_score":0.115643434,"about_ca_system_score_codex":0.008100505,"about_ca_system_score_gemma":0.0037410993,"threshold_uncertainty_score":0.22994065},"labels":[],"label_agreement":null},{"id":"W2789593558","doi":"10.7202/1043217ar","title":"Les traces de l’évolution du statut des compositrices au début du xxe siècle dans la revue Musica","year":2018,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Historical Studies and Socio-cultural 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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Political science","score_opus":0.026445703231508823,"score_gpt":0.222530548841362,"score_spread":0.19608484560985318,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2789593558","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.44708633,0.014458317,0.0023657337,0.010286736,0.0005533706,0.000066917186,0.00021247649,0.000050502684,0.5249196],"genre_scores_gemma":[0.9282289,0.0031615158,0.0004876236,0.00044452437,0.0001934676,0.00003489007,0.000053072185,0.000051410294,0.0673447],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9979626,0.00067876256,0.00007210009,0.0003087367,0.0004885763,0.00048918393],"domain_scores_gemma":[0.9977241,0.0011684787,0.0003833811,0.00012988795,0.00034667947,0.0002474355],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0029635981,0.00028344712,0.00023066503,0.0030324287,0.0076752612,0.006467116,0.00050516106,0.0010370872,0.0114549445],"category_scores_gemma":[0.0043530287,0.0002856745,0.00017503381,0.002643607,0.01003558,0.0027419822,0.0027283537,0.00273224,0.00109408],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001660377,0.000047220547,0.0132576125,0.00027767272,0.0000149880725,0.0008323714,0.45814633,0.00018362912,0.0017185762,0.42829776,0.0072553107,0.089802496],"study_design_scores_gemma":[0.0000135247965,0.00011837655,0.09247397,0.0006498431,0.000010189802,0.00039649187,0.10536931,0.000113934475,0.0009474826,0.008238189,0.7916292,0.000039599105],"about_ca_topic_score_codex":0.043328296,"about_ca_topic_score_gemma":0.10100248,"teacher_disagreement_score":0.043328296,"about_ca_system_score_codex":0.0073381774,"about_ca_system_score_gemma":0.0032021392,"threshold_uncertainty_score":0.086152196},"labels":[],"label_agreement":null},{"id":"W2789617872","doi":"10.7202/1043229ar","title":"Musique et nation dans l’entre-deux-guerres (Europe-Amériques). Compte rendu de la journée d’étude inaugurale du projet de recherche, 10 décembre 2015, Maison de la Recherche, Paris","year":2018,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Historical Studies and Socio-cultural 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":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.1502729460748524,"score_gpt":0.34854468231668334,"score_spread":0.19827173624183095,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2789617872","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":[0.59887177,0.07661541,0.0023814563,0.038408414,0.0018218351,0.00009877152,0.00068200007,0.000046204892,0.28107408],"genre_scores_gemma":[0.90405697,0.0117668705,0.00192276,0.0017004213,0.00017431536,0.0001032166,0.0002458053,0.000052092564,0.079977565],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985655,0.0006983862,0.000046548714,0.00024217847,0.00014501298,0.0003024475],"domain_scores_gemma":[0.99899083,0.0005221678,0.00009616191,0.00005740502,0.00014015127,0.00019333368],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022868272,0.00038173544,0.0003210534,0.00095231243,0.0053355223,0.003309576,0.0003917145,0.0012459672,0.005114913],"category_scores_gemma":[0.002636955,0.00021872453,0.00022281519,0.0012227375,0.0046494817,0.0025744862,0.0026626354,0.0023212081,0.00042113167],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022330634,0.000060150425,0.014270528,0.00045730153,0.000041560852,0.00074357336,0.59906167,0.00017568299,0.0021662943,0.23523103,0.020560091,0.12700886],"study_design_scores_gemma":[0.000018026407,0.000089927,0.10148933,0.0010425437,0.000023702272,0.000406518,0.1851955,0.00011707919,0.0008274598,0.008481367,0.70227194,0.00003665825],"about_ca_topic_score_codex":0.18403406,"about_ca_topic_score_gemma":0.31465915,"teacher_disagreement_score":0.18403406,"about_ca_system_score_codex":0.0074132914,"about_ca_system_score_gemma":0.005724938,"threshold_uncertainty_score":0.36592573},"labels":[],"label_agreement":null},{"id":"W2790671658","doi":"10.7202/1043227ar","title":"« Critiques musicaux de jadis et de naguère ». Raymond Bouyer, la musique et l’art (« Anthologie du phem » / Musicographes, 1)","year":2018,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Historical and Literary Analyses","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities; Art history","score_opus":0.031100762821740516,"score_gpt":0.28895732996217244,"score_spread":0.2578565671404319,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2790671658","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.015849642,0.3578788,0.0015031857,0.19609892,0.008978781,0.000027221407,0.000083213505,0.00006313788,0.41951707],"genre_scores_gemma":[0.56423545,0.0993979,0.0014665783,0.030269796,0.009559532,0.00013459384,0.00006013022,0.00021803711,0.29465792],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99728906,0.0016822672,0.000043935164,0.0002574858,0.00045059944,0.00027662527],"domain_scores_gemma":[0.99886835,0.0007491247,0.00011539862,0.000046040812,0.0001092567,0.00011185811],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026372643,0.001144704,0.00041311598,0.0019043211,0.011484728,0.008367679,0.001009837,0.0041012904,0.0058111097],"category_scores_gemma":[0.004276196,0.00033307547,0.0002501486,0.0016379764,0.020712271,0.0053059454,0.0028272187,0.0057357587,0.0010083613],"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":[0.00008522642,0.000019296793,0.00038809204,0.00017884142,0.0000064627966,0.00019603262,0.059814066,0.00005947408,0.00021273863,0.802792,0.11847224,0.017775489],"study_design_scores_gemma":[0.000016790244,0.000017289683,0.0011417213,0.00040924802,0.0000040492278,0.00013569983,0.015308298,0.000045771467,0.00016081515,0.0381164,0.94463116,0.000012819889],"about_ca_topic_score_codex":0.028967664,"about_ca_topic_score_gemma":0.062816955,"teacher_disagreement_score":0.028967664,"about_ca_system_score_codex":0.008874358,"about_ca_system_score_gemma":0.0037493603,"threshold_uncertainty_score":0.064388275},"labels":[],"label_agreement":null},{"id":"W2790800044","doi":"10.7202/1043218ar","title":"La Revue musicale ou le phoenix musical","year":2018,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Historical Studies and Socio-cultural Analysis","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.030711750803922584,"score_gpt":0.22421199273898637,"score_spread":0.1935002419350638,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2790800044","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.01779579,0.07524484,0.00415654,0.031761825,0.011171248,0.00008702558,0.0003834355,0.00015845385,0.8592408],"genre_scores_gemma":[0.18374358,0.05395859,0.0031674134,0.009124513,0.008273624,0.00014214705,0.0003009579,0.0002569335,0.7410322],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986488,0.00037953188,0.00006533589,0.00032888012,0.0003730042,0.00020446238],"domain_scores_gemma":[0.9993486,0.0001795901,0.000083508,0.00011394602,0.0001339659,0.00014029336],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015631438,0.00071269146,0.00025013,0.0007761443,0.0020180705,0.0069947485,0.0006965359,0.0017623361,0.042593684],"category_scores_gemma":[0.0028762538,0.00017558612,0.00031651897,0.00089890027,0.0037483468,0.0045365794,0.0032747968,0.0037263525,0.007624734],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00021595966,0.000048376958,0.0012922785,0.000650381,0.00002807084,0.00039581416,0.0064149597,0.00025927828,0.0028930516,0.6650229,0.11684589,0.20593305],"study_design_scores_gemma":[0.000009233951,0.000021225398,0.0006337861,0.00019857108,0.0000030083725,0.000094131516,0.0008979133,0.00003791455,0.00040310645,0.0047292477,0.992965,0.000006804774],"about_ca_topic_score_codex":0.00716228,"about_ca_topic_score_gemma":0.008779287,"teacher_disagreement_score":0.042593684,"about_ca_system_score_codex":0.00246037,"about_ca_system_score_gemma":0.003169311,"threshold_uncertainty_score":0.14249009},"labels":[],"label_agreement":null},{"id":"W2791410702","doi":"10.7202/1043223ar","title":"L’incorporation d’éléments du jazz dans le tango d’Astor Piazzolla","year":2018,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Jazz; Art history","score_opus":0.015347770654639218,"score_gpt":0.18430214086017457,"score_spread":0.16895437020553536,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2791410702","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5609257,0.0046618837,0.01175704,0.00192064,0.00039521995,0.0001074747,0.00010887202,0.00010371812,0.42001948],"genre_scores_gemma":[0.91475034,0.0011690726,0.0060766023,0.00013131238,0.000102012535,0.00005335904,0.00006164885,0.00006345989,0.077592336],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996828,0.000111433765,0.0000100831285,0.00006667532,0.00007181872,0.000057103676],"domain_scores_gemma":[0.9997155,0.00009706489,0.000036959387,0.00004131415,0.000045384368,0.000063753374],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006757881,0.000508667,0.00019261445,0.0008562237,0.003396186,0.0023894112,0.0003009955,0.00047256105,0.009467979],"category_scores_gemma":[0.0009356051,0.00013868492,0.00018577653,0.0009680225,0.0030583735,0.0015383975,0.0017413897,0.0009531261,0.00088968955],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00090326805,0.00009299551,0.02529156,0.00070091704,0.00003966155,0.0022852756,0.31297764,0.00038055613,0.01805026,0.29733923,0.00632513,0.33561346],"study_design_scores_gemma":[0.000040221246,0.0003609581,0.12034841,0.00056291965,0.00006193236,0.0021179914,0.07193565,0.0005392414,0.0021350672,0.011731946,0.7901043,0.00006134944],"about_ca_topic_score_codex":0.012201245,"about_ca_topic_score_gemma":0.047726993,"teacher_disagreement_score":0.012201245,"about_ca_system_score_codex":0.001709233,"about_ca_system_score_gemma":0.0009083192,"threshold_uncertainty_score":0.03167355},"labels":[],"label_agreement":null},{"id":"W2791430264","doi":"10.7202/1043222ar","title":"La chute du voile de tulle. Considérations sur la fonction de la mélodie dans L’enfant et les sortilèges de Ravel","year":2018,"lang":"fr","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.018394017553246874,"score_gpt":0.254382769083083,"score_spread":0.23598875152983612,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2791430264","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.58198786,0.009290262,0.019784179,0.0036182615,0.0005271455,0.00008683608,0.00015666909,0.00022223612,0.38432652],"genre_scores_gemma":[0.9095354,0.0015832523,0.005111208,0.00036258774,0.00006448254,0.00003332271,0.000054831984,0.00010221898,0.08315265],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99940133,0.00021550102,0.0000145354525,0.00010951274,0.00014259404,0.000116515235],"domain_scores_gemma":[0.9995111,0.00025256138,0.000049361737,0.000039764473,0.00008238533,0.000064833075],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012011736,0.00037863557,0.000234218,0.0009340201,0.002981886,0.003970078,0.00044381522,0.0010585397,0.009186329],"category_scores_gemma":[0.0025973506,0.00024735762,0.00031321126,0.00034845158,0.0046051964,0.0028372207,0.0026756094,0.0015631336,0.0013113555],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005338442,0.00004244675,0.0074601844,0.0005474111,0.00002037099,0.002421139,0.50199914,0.00040858556,0.026764099,0.2706398,0.004201477,0.18496151],"study_design_scores_gemma":[0.00003249457,0.00054971926,0.051239688,0.0015525239,0.000044832796,0.0069107576,0.30902877,0.0011667722,0.011819154,0.02465804,0.59280074,0.00019641766],"about_ca_topic_score_codex":0.0068829823,"about_ca_topic_score_gemma":0.015190947,"teacher_disagreement_score":0.009186329,"about_ca_system_score_codex":0.0015128339,"about_ca_system_score_gemma":0.0009915413,"threshold_uncertainty_score":0.03073132},"labels":[],"label_agreement":null},{"id":"W2791501674","doi":"10.7202/1043228ar","title":"Internationalisme, cosmopolitisme (« Anthologie du phem » / Mots clés, 1)","year":2018,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Historical Studies and Socio-cultural Analysis","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.03803065969916646,"score_gpt":0.2422263238064969,"score_spread":0.20419566410733042,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2791501674","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.013899742,0.052814752,0.004741387,0.05362364,0.012618142,0.00007418357,0.00017707158,0.000046736284,0.8620042],"genre_scores_gemma":[0.46978354,0.044887494,0.004167254,0.011391545,0.026967673,0.00028572432,0.00021681856,0.00019914442,0.44210082],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990109,0.0004904092,0.000023649154,0.00012654334,0.00022680454,0.000121631376],"domain_scores_gemma":[0.99926347,0.00046616513,0.0000818276,0.000038679427,0.000078875106,0.000071035916],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010483429,0.0004973898,0.00021857109,0.0013015629,0.0034203075,0.0052027004,0.0004966825,0.0013290598,0.013817485],"category_scores_gemma":[0.0020052372,0.00012451675,0.0001932819,0.0012695924,0.0063595916,0.0022757526,0.0018884949,0.0031542627,0.0017183266],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024839455,0.000026413136,0.00057094474,0.00022647892,0.000004507792,0.0001685427,0.011141274,0.00007304552,0.00031169344,0.8583392,0.1005951,0.028518083],"study_design_scores_gemma":[0.000003363045,0.000019873793,0.0013556601,0.00029135498,0.0000017476807,0.00015791104,0.005404365,0.000050687933,0.00015771358,0.026569827,0.96598166,0.0000057221673],"about_ca_topic_score_codex":0.0032255321,"about_ca_topic_score_gemma":0.0057154726,"teacher_disagreement_score":0.013817485,"about_ca_system_score_codex":0.0025445023,"about_ca_system_score_gemma":0.0015137849,"threshold_uncertainty_score":0.046224117},"labels":[],"label_agreement":null},{"id":"W2791740269","doi":"10.7202/1043226ar","title":"Le discours esthétique dans la presse musicale française. Cadre théorique et méthodologie du projet de recherche « Histoire de l’esthétique musicale en France, 1900-1950 » (phem)","year":2018,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Historical Studies and Socio-cultural Analysis","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.06660093499191416,"score_gpt":0.2950240862691568,"score_spread":0.22842315127724266,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2791740269","genre_codex":"empirical","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":[0.47828707,0.031816,0.05523748,0.032169353,0.0011817396,0.0006172852,0.0017629032,0.00014833444,0.39878],"genre_scores_gemma":[0.95125306,0.007093315,0.010988552,0.00083025714,0.00024337306,0.00061902957,0.00022952155,0.000088109,0.028654767],"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.98717564,0.008717727,0.00047695346,0.0012138848,0.0018688554,0.00054694613],"domain_scores_gemma":[0.9726539,0.021917952,0.0018829751,0.001072489,0.00203677,0.00043580818],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.014200041,0.000520967,0.00043359015,0.00606929,0.0054572993,0.008648204,0.001066946,0.0011569969,0.007668091],"category_scores_gemma":[0.025680311,0.00041319692,0.00034088548,0.009365158,0.01611449,0.0063329595,0.003891228,0.0021833708,0.00050695764],"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":[0.00005136791,0.000036733934,0.010737699,0.00070288626,0.000038795064,0.00019153982,0.4956687,0.0002406815,0.00039989105,0.42592955,0.0052156793,0.06078648],"study_design_scores_gemma":[0.00002547443,0.00007932632,0.03975943,0.0021337483,0.00006495019,0.00026645276,0.49115247,0.0005614095,0.0011072065,0.054404594,0.41038242,0.00006248183],"about_ca_topic_score_codex":0.05475265,"about_ca_topic_score_gemma":0.06371319,"teacher_disagreement_score":0.05475265,"about_ca_system_score_codex":0.011772194,"about_ca_system_score_gemma":0.009847215,"threshold_uncertainty_score":0.10886788},"labels":[],"label_agreement":null},{"id":"W2793474247","doi":"10.7202/1043224ar","title":"La création d’Another Brick in the Wall – l’opéra de Julien Bilodeau. Les différents enjeux du crossover entre opéra et rock","year":2018,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy; Physics","score_opus":0.031093792735301,"score_gpt":0.2898948191515544,"score_spread":0.2588010264162534,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2793474247","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.32685244,0.002333622,0.008246059,0.0150868455,0.0010811897,0.00013475213,0.00020074753,0.0001376835,0.64592665],"genre_scores_gemma":[0.7909724,0.00064133556,0.0011913129,0.000728438,0.00010946847,0.000049392056,0.0000783455,0.0001739677,0.20605537],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989249,0.00023604342,0.0000134178645,0.00016239403,0.00035186956,0.00031127705],"domain_scores_gemma":[0.9993637,0.00015639496,0.000058684596,0.000056208515,0.00012216475,0.0002427857],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00097650755,0.00032641526,0.00017007873,0.000706513,0.009838812,0.0062243566,0.0007777109,0.0011443376,0.016211912],"category_scores_gemma":[0.0021415306,0.00022618644,0.0002847239,0.00093640195,0.017372139,0.002846804,0.004030033,0.0032648477,0.0010897134],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016905468,0.000033296266,0.0037856582,0.000103301245,0.000010980321,0.0010119112,0.22455484,0.00021058002,0.0033824225,0.7086338,0.023747612,0.03435654],"study_design_scores_gemma":[0.000030016106,0.00007171235,0.012546758,0.0001905506,0.000014982763,0.00042016213,0.12185068,0.00026701528,0.0015877264,0.017089907,0.84585375,0.00007680401],"about_ca_topic_score_codex":0.2989371,"about_ca_topic_score_gemma":0.510898,"teacher_disagreement_score":0.2989371,"about_ca_system_score_codex":0.014788548,"about_ca_system_score_gemma":0.009188383,"threshold_uncertainty_score":0.5943942},"labels":[],"label_agreement":null},{"id":"W2793480704","doi":"10.7202/1043220ar","title":"L’« Union sacrée » esthétique dans La Musique pendant la guerre. Trêve des débats pour la refondation du projet national","year":2018,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Historical Studies and Socio-cultural 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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.027361304948931502,"score_gpt":0.2423974561702006,"score_spread":0.2150361512212691,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2793480704","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.093892634,0.06650711,0.0033147451,0.10270588,0.0038631232,0.00008047958,0.00016087912,0.00011209322,0.72936296],"genre_scores_gemma":[0.5354177,0.009083567,0.0023060835,0.0081323255,0.00041909222,0.00009496773,0.000113706046,0.00009933056,0.44433317],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99831885,0.00062643545,0.00003447259,0.00028642968,0.0002769695,0.00045676355],"domain_scores_gemma":[0.9994423,0.00013187654,0.000068412664,0.000043856864,0.00008263886,0.00023088022],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001338646,0.0004978181,0.00031120717,0.0007052537,0.01297885,0.003785634,0.00042987755,0.0023246685,0.009718531],"category_scores_gemma":[0.0017760162,0.00022142631,0.00023333532,0.00068729714,0.008346254,0.002144614,0.0038572447,0.0035637398,0.0014740181],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018098777,0.000038989685,0.0027707217,0.0003569873,0.000014665736,0.0004632929,0.075125694,0.00014757359,0.0014004103,0.7518277,0.08044634,0.08722673],"study_design_scores_gemma":[0.000008446161,0.000036954876,0.0059243115,0.00028297788,0.000004667639,0.0001713556,0.01010345,0.000042460186,0.0003039247,0.00715339,0.9759537,0.000014352627],"about_ca_topic_score_codex":0.107955694,"about_ca_topic_score_gemma":0.24235961,"teacher_disagreement_score":0.107955694,"about_ca_system_score_codex":0.009557648,"about_ca_system_score_gemma":0.007690281,"threshold_uncertainty_score":0.21465462},"labels":[],"label_agreement":null},{"id":"W2793686387","doi":"10.7202/1043221ar","title":"Chanter l’athlète moderne, entre ridiculisation et glorification","year":2018,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Historical Studies and Socio-cultural 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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.036765631156723766,"score_gpt":0.23383898910422038,"score_spread":0.1970733579474966,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2793686387","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.17350265,0.038029198,0.0045731445,0.019039193,0.0014944155,0.00004971793,0.00017233628,0.000088142224,0.7630513],"genre_scores_gemma":[0.84592557,0.011345292,0.00087351736,0.0018390139,0.0011339359,0.000048009035,0.00006720011,0.000070361,0.13869704],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99887663,0.00040013663,0.00003270921,0.00018375162,0.0002513401,0.0002553848],"domain_scores_gemma":[0.99949336,0.00018728364,0.00009886422,0.000040212195,0.000104708226,0.000075526834],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011206159,0.00042804418,0.00029189943,0.0012568269,0.0057384567,0.0037992946,0.00044506625,0.0011764577,0.0132178515],"category_scores_gemma":[0.0017282399,0.00017207861,0.00020485604,0.0013068451,0.011809202,0.0019539748,0.002348796,0.002002772,0.00117112],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000821705,0.000025938783,0.0042533968,0.00025663115,0.0000152559705,0.0003766204,0.09607494,0.00021044796,0.0008274013,0.8273084,0.013373902,0.05719481],"study_design_scores_gemma":[0.00000755152,0.00006513111,0.009611666,0.00029071394,0.0000046262617,0.00020598472,0.011941115,0.000055885517,0.00025574313,0.009286381,0.96826005,0.000015066448],"about_ca_topic_score_codex":0.035811562,"about_ca_topic_score_gemma":0.06650843,"teacher_disagreement_score":0.035811562,"about_ca_system_score_codex":0.007004223,"about_ca_system_score_gemma":0.0031192845,"threshold_uncertainty_score":0.07120627},"labels":[],"label_agreement":null},{"id":"W2796915891","doi":"10.7202/1060119ar","title":"L’exotisme en question","year":2019,"lang":"fr","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Humanities; Art; Jazz; Art history","score_opus":0.013223563413833015,"score_gpt":0.20354000779007922,"score_spread":0.1903164443762462,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2796915891","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07891628,0.02228394,0.021162182,0.036351494,0.0020898287,0.000042359712,0.000143926,0.00021705273,0.8387929],"genre_scores_gemma":[0.8592742,0.0048204586,0.0024754268,0.0034623127,0.0010811524,0.000054641077,0.00007652183,0.00018653693,0.1285688],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9959086,0.0021077099,0.0001266661,0.0006975987,0.00073129503,0.00042810844],"domain_scores_gemma":[0.99760675,0.001298703,0.0002254509,0.00030424484,0.00037606468,0.00018880042],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0038134123,0.0007581977,0.0003963951,0.0012928951,0.005959187,0.009458843,0.00092014525,0.0030001483,0.010293022],"category_scores_gemma":[0.004240699,0.0002344298,0.00043688065,0.0010234168,0.023206566,0.005517829,0.003999913,0.004366503,0.0021189668],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000050269537,0.000009713814,0.0007942942,0.000111652575,0.000009784251,0.00023988045,0.06605523,0.0000744795,0.00074035476,0.90564185,0.006467134,0.01980529],"study_design_scores_gemma":[0.000018833774,0.000052290055,0.0039420445,0.00043185195,0.0000151864515,0.00060204975,0.026438037,0.00023438844,0.00079074723,0.09310079,0.87433696,0.000036887017],"about_ca_topic_score_codex":0.007514662,"about_ca_topic_score_gemma":0.009366423,"teacher_disagreement_score":0.010293022,"about_ca_system_score_codex":0.006063505,"about_ca_system_score_gemma":0.0024632474,"threshold_uncertainty_score":0.04399401},"labels":[],"label_agreement":null},{"id":"W2799889955","doi":"10.7202/1044440ar","title":"Mes doigts sont-ils à moi ?","year":2018,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Cultural Insights and Digital Impacts","field":"Computer Science","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.35067618004064915,"score_gpt":0.32183451781526506,"score_spread":0.02884166222538409,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2799889955","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.09364634,0.014661935,0.009359146,0.130341,0.012285258,0.000083251485,0.00061037205,0.0003711529,0.7386416],"genre_scores_gemma":[0.56549114,0.006030383,0.004513792,0.013002263,0.0018223774,0.00007272878,0.00026018717,0.0004745643,0.40833256],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99871516,0.00046298315,0.000043277716,0.00028128937,0.00026499564,0.00023222058],"domain_scores_gemma":[0.99876106,0.0003174437,0.00015082536,0.00012735663,0.00033121716,0.00031205575],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014862134,0.000634108,0.0004365578,0.00060790934,0.0067710183,0.00784879,0.0006236599,0.002085077,0.031724177],"category_scores_gemma":[0.0061042,0.00032107453,0.0003601352,0.00057789695,0.005449058,0.010892896,0.0026135524,0.005188797,0.0061354106],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00038536004,0.0000868595,0.0062359245,0.00039030044,0.00007041728,0.0018776285,0.19116892,0.000115086594,0.0037747014,0.5336984,0.16636577,0.09583071],"study_design_scores_gemma":[0.000010341585,0.000049205144,0.0024965378,0.00029849706,0.000017065342,0.00069315336,0.08948442,0.0000904317,0.000616213,0.023877313,0.8823264,0.00004037897],"about_ca_topic_score_codex":0.00874285,"about_ca_topic_score_gemma":0.018122628,"teacher_disagreement_score":0.031724177,"about_ca_system_score_codex":0.0023581749,"about_ca_system_score_gemma":0.0009945452,"threshold_uncertainty_score":0.10612798},"labels":[],"label_agreement":null},{"id":"W2799934304","doi":"10.7202/1044442ar","title":"Hors chant. Arrangements godardiens pour violoncelle et cordes élargies","year":2018,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.047055687201116476,"score_gpt":0.28646089195463553,"score_spread":0.23940520475351906,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2799934304","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.055141956,0.007819418,0.010796747,0.0077530644,0.00078325125,0.00004700341,0.00008915657,0.0001227418,0.9174466],"genre_scores_gemma":[0.7642992,0.0022887746,0.006371738,0.0010620977,0.00023013567,0.00006089759,0.00006015162,0.00012709093,0.22549982],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99873465,0.00056101853,0.000035476605,0.00021182827,0.0002927479,0.00016429203],"domain_scores_gemma":[0.99959534,0.00012962853,0.00004842179,0.000058334786,0.00008836956,0.00007988064],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009392326,0.00040319547,0.00019472938,0.0007536483,0.004881545,0.0043092547,0.00055648707,0.0010794705,0.012567847],"category_scores_gemma":[0.0018646456,0.00022588386,0.00018673537,0.00082262146,0.007793653,0.0026840703,0.002452511,0.0023149455,0.001332541],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000041711723,0.000009560067,0.0005589606,0.000046984103,0.0000039401148,0.00013584156,0.027457098,0.00009945511,0.00077403913,0.9424613,0.007483512,0.020927638],"study_design_scores_gemma":[0.000021165724,0.000053583233,0.004318292,0.00019097011,0.000011426223,0.00037770852,0.023546819,0.00028438374,0.0015174302,0.056356754,0.9132994,0.000022158698],"about_ca_topic_score_codex":0.03142878,"about_ca_topic_score_gemma":0.05386479,"teacher_disagreement_score":0.03142878,"about_ca_system_score_codex":0.0037873336,"about_ca_system_score_gemma":0.0015674027,"threshold_uncertainty_score":0.062491715},"labels":[],"label_agreement":null},{"id":"W2800192063","doi":"10.7202/1044444ar","title":"Virile Condottieri On-screen and Emasculated Heroes on the Operatic Stage: Portraying Male Protagonists in Fascist Italy (1931-1937)","year":2018,"lang":"en","type":"article","venue":"Revue musicale OICRM","topic":"Italian Fascism and Post-war Society","field":"Social Sciences","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Virility; Opera; Ideology; Art; Movie theater; Literature; Art history; Masculinity; Politics; Sociology; Gender studies; Law; Political science","score_opus":0.03157060567378645,"score_gpt":0.28539472471783445,"score_spread":0.253824119044048,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2800192063","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.76551527,0.0024133716,0.00087123155,0.007740455,0.0006092356,0.00002621867,0.00005667333,0.000048580183,0.22271895],"genre_scores_gemma":[0.9803336,0.0005347413,0.0002090971,0.00029560315,0.00023876656,0.0000112616535,0.000012311336,0.000025597536,0.018338846],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99975866,0.00011252921,0.0000019538493,0.000021172507,0.00004333368,0.00006235647],"domain_scores_gemma":[0.99976104,0.000095245305,0.000039186907,0.000011670093,0.00001727688,0.00007559556],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005357118,0.00045872136,0.00012621423,0.0006176261,0.0028146345,0.0022603204,0.00025171277,0.00055615936,0.0036495745],"category_scores_gemma":[0.0007749452,0.00012353326,0.0001196385,0.00026380815,0.0039016304,0.0007353931,0.0013254825,0.0013309555,0.0004906691],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004529777,0.00013192471,0.014884983,0.00021583994,0.000025691132,0.0028639548,0.75025856,0.00023641896,0.008750422,0.08269264,0.08222962,0.057256933],"study_design_scores_gemma":[0.000032020387,0.00039518115,0.11799653,0.0004973944,0.00005103743,0.0033628794,0.28782576,0.0008817196,0.0030502072,0.003920338,0.58191115,0.00007573846],"about_ca_topic_score_codex":0.0046838117,"about_ca_topic_score_gemma":0.016499747,"teacher_disagreement_score":0.0046838117,"about_ca_system_score_codex":0.0011515717,"about_ca_system_score_gemma":0.00026430763,"threshold_uncertainty_score":0.012208998},"labels":[],"label_agreement":null},{"id":"W2800916706","doi":"10.7202/1044445ar","title":"« Just allow the space to tell us what we should be… what we should be doing » : l’expérience cinématographique de la musique improvisée","year":2018,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Art history","score_opus":0.06268787465390721,"score_gpt":0.3046160804103903,"score_spread":0.24192820575648308,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2800916706","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.32262814,0.009798155,0.056611653,0.051058132,0.0015019662,0.00010744858,0.00014612211,0.0003799427,0.55776834],"genre_scores_gemma":[0.9673873,0.0011487487,0.0037002205,0.0016825271,0.00016874202,0.000051302144,0.000034568002,0.00012846033,0.025698105],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99754673,0.0017384576,0.000032358304,0.00022913163,0.00026149096,0.00019179314],"domain_scores_gemma":[0.99827373,0.001128026,0.0001362221,0.00012561941,0.000144064,0.00019222563],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00200718,0.00046903666,0.00026003813,0.0005220519,0.004907934,0.0085784625,0.00080952136,0.0025201186,0.0055827834],"category_scores_gemma":[0.004361417,0.00033329654,0.0003557844,0.0003594391,0.01864264,0.007193403,0.0048179263,0.004666449,0.00089573214],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008075002,0.000026028627,0.0010809881,0.00021087583,0.000012769211,0.000499585,0.6856402,0.00016567152,0.0050971718,0.2860921,0.0073563354,0.013737417],"study_design_scores_gemma":[0.000046223235,0.0001374221,0.0029238928,0.0005192264,0.000033985758,0.0016374053,0.32300735,0.0007834349,0.0025657099,0.045387615,0.6228814,0.00007628398],"about_ca_topic_score_codex":0.0051503135,"about_ca_topic_score_gemma":0.006434995,"teacher_disagreement_score":0.0085784625,"about_ca_system_score_codex":0.001991301,"about_ca_system_score_gemma":0.0012896936,"threshold_uncertainty_score":0.018676281},"labels":[],"label_agreement":null},{"id":"W2800926350","doi":"10.7202/1044443ar","title":"Muances de l’écoute. À propos de L’homme sans passé d’Aki Kaurismaki","year":2018,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Contemporary art, education, critique","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.03544905147879879,"score_gpt":0.31317940665259214,"score_spread":0.27773035517379335,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2800926350","genre_codex":"other","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.20638901,0.018370483,0.009249746,0.022770094,0.005013953,0.000096852404,0.00012682403,0.00017998893,0.73780304],"genre_scores_gemma":[0.66582483,0.0039248797,0.0026088497,0.0028329508,0.0004900715,0.00004076145,0.000046857876,0.00013319092,0.32409763],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99942505,0.00018545131,0.00001694778,0.000102083126,0.00013246694,0.00013799865],"domain_scores_gemma":[0.99966884,0.000076161676,0.000042069743,0.000030189465,0.00006601611,0.000116772164],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006871841,0.0006243819,0.0002596893,0.0006682602,0.009061269,0.003892537,0.0005370905,0.0017219097,0.010495923],"category_scores_gemma":[0.0011887879,0.00028807286,0.0002691736,0.00042289088,0.007082033,0.0032878234,0.003623107,0.0034769087,0.0022129673],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00021246429,0.0000611466,0.0037132448,0.00035329975,0.000025835776,0.0057049775,0.5522256,0.00010938581,0.005305502,0.34364906,0.03804082,0.05059879],"study_design_scores_gemma":[0.000012074343,0.00008335366,0.0070251995,0.0003263336,0.00002236431,0.0031129376,0.1037505,0.00014244206,0.0013185093,0.010401452,0.873759,0.000045855682],"about_ca_topic_score_codex":0.012752973,"about_ca_topic_score_gemma":0.048383348,"teacher_disagreement_score":0.012752973,"about_ca_system_score_codex":0.0021795046,"about_ca_system_score_gemma":0.0015231161,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W2801358345","doi":"10.7202/1044447ar","title":"Rendre le monde à sa musique. La musique comme puissance d’émerveillement dans le cinéma de Johan van der Keuken","year":2018,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Cultural Insights and Digital Impacts","field":"Computer Science","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.18567063617960933,"score_gpt":0.3030776995290847,"score_spread":0.11740706334947537,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2801358345","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.058437623,0.03857692,0.015463972,0.030664137,0.0038785234,0.000060622784,0.0001308219,0.000121900695,0.85266554],"genre_scores_gemma":[0.7544566,0.009939877,0.0056322096,0.0027593384,0.0011161682,0.000066305794,0.00006624297,0.00020427538,0.225759],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989423,0.0004800202,0.000024146886,0.0001869772,0.00022140276,0.0001451081],"domain_scores_gemma":[0.9994122,0.00028195855,0.000044359465,0.000057800502,0.000080311824,0.00012348083],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012085319,0.00044220037,0.00022421574,0.00065190287,0.0035135297,0.007376258,0.00055845064,0.0015155908,0.010008806],"category_scores_gemma":[0.002647437,0.00026309228,0.00024367736,0.00045241287,0.009627871,0.0041589206,0.0030177918,0.003203508,0.0009977744],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000071553484,0.0000147858755,0.00038761893,0.00021199242,0.000009347382,0.00021232627,0.051421285,0.00014935386,0.0022687523,0.8927374,0.01943025,0.033085316],"study_design_scores_gemma":[0.000014654994,0.00003199398,0.0013932969,0.0003531256,0.000010474961,0.00032100503,0.01716819,0.00030250943,0.00074996403,0.054911274,0.9247195,0.000023990575],"about_ca_topic_score_codex":0.008122884,"about_ca_topic_score_gemma":0.013866974,"teacher_disagreement_score":0.010008806,"about_ca_system_score_codex":0.0027695457,"about_ca_system_score_gemma":0.0016378252,"threshold_uncertainty_score":0.03348279},"labels":[],"label_agreement":null},{"id":"W2801606977","doi":"10.7202/1044446ar","title":"L’invention musicale face à la nature dans Grizzly Man, The Wild Blue Yonder et La grotte des rêves perdus de Werner Herzog","year":2018,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Cultural Insights and Digital Impacts","field":"Computer Science","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.10716432137959739,"score_gpt":0.31497808236331676,"score_spread":0.20781376098371937,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2801606977","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.19475311,0.051284097,0.011033514,0.09500124,0.008422762,0.00006190659,0.00013303976,0.00015055481,0.63915974],"genre_scores_gemma":[0.7736257,0.012346088,0.002489105,0.004253294,0.0012228155,0.000030996664,0.000033495064,0.00020912004,0.20578943],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991891,0.00041530145,0.000014595269,0.000121555764,0.00015021318,0.000109259905],"domain_scores_gemma":[0.99935013,0.0004171365,0.000039191615,0.0000384183,0.00005502957,0.00010007194],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011357659,0.00041704832,0.00021684551,0.00065402186,0.004209423,0.0052610096,0.00034245435,0.0011673995,0.006860778],"category_scores_gemma":[0.0021014342,0.00020903492,0.00013605152,0.0003724372,0.008188053,0.003964047,0.002158236,0.003184392,0.0008830597],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018119812,0.000044940232,0.0012078579,0.00024253278,0.000014174421,0.0006577878,0.16820036,0.00016582604,0.0035661673,0.7019878,0.06839393,0.05533753],"study_design_scores_gemma":[0.000012280213,0.00003982335,0.0013752965,0.0002545455,0.000008145004,0.0004296568,0.038679574,0.00016602306,0.0012338486,0.026014084,0.9317636,0.000023076598],"about_ca_topic_score_codex":0.004901204,"about_ca_topic_score_gemma":0.0142297475,"teacher_disagreement_score":0.006860778,"about_ca_system_score_codex":0.0020348034,"about_ca_system_score_gemma":0.0010901999,"threshold_uncertainty_score":0.022951663},"labels":[],"label_agreement":null},{"id":"W2801952610","doi":"10.7202/1044439ar","title":"Présentation du numéro","year":2018,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Psychoanalysis and Psychopathology Research","field":"Psychology","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Computer science; Medicine","score_opus":0.045037264056397755,"score_gpt":0.37797174895116026,"score_spread":0.3329344848947625,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2801952610","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0029277278,0.06187616,0.0065161674,0.042826768,0.5008239,0.00036895077,0.0031600168,0.0013006366,0.38019964],"genre_scores_gemma":[0.039441884,0.029005919,0.0047838567,0.02051254,0.22762786,0.0008922301,0.003607348,0.001693097,0.6724353],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978828,0.00042872273,0.0001698351,0.00047237732,0.0007891643,0.00025710915],"domain_scores_gemma":[0.9972161,0.00082947285,0.00015993594,0.00027013512,0.0010690797,0.00045525242],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016877755,0.0016020066,0.0017003475,0.0029393798,0.0023927302,0.00752113,0.0014907198,0.0028826718,0.27839303],"category_scores_gemma":[0.00897723,0.00033464655,0.0013662317,0.0014495192,0.0011338718,0.0024023114,0.0028307885,0.003613693,0.13034727],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002884455,0.00006125864,0.0003644247,0.00063424645,0.000032208984,0.00091420626,0.00009952642,0.00016805153,0.00090812845,0.014012318,0.834584,0.14793321],"study_design_scores_gemma":[0.000019514922,0.000017781098,0.0002723631,0.00014047434,0.000005544276,0.00065792364,0.000037426846,0.00006679627,0.00020834585,0.001227793,0.99733776,0.000008283779],"about_ca_topic_score_codex":0.0024393941,"about_ca_topic_score_gemma":0.0019646978,"teacher_disagreement_score":0.27839303,"about_ca_system_score_codex":0.0029748543,"about_ca_system_score_gemma":0.002073928,"threshold_uncertainty_score":0.93131745},"labels":[],"label_agreement":null},{"id":"W2802740054","doi":"10.7202/1044441ar","title":"Le(s) numéro(s) à instruments du film musical hollywoodien","year":2018,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Jazz; Art history","score_opus":0.025712663540493428,"score_gpt":0.20931698629223897,"score_spread":0.18360432275174554,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2802740054","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.24131992,0.004867415,0.02330386,0.005457613,0.00070622994,0.00007158568,0.0005553117,0.00008847857,0.72362965],"genre_scores_gemma":[0.90158117,0.002465401,0.006392606,0.00030983207,0.00035111854,0.00006858186,0.00016808078,0.00005270473,0.088610426],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994985,0.00013860101,0.000024130351,0.00012544266,0.00015476577,0.000058551286],"domain_scores_gemma":[0.9990814,0.00044652386,0.00019027316,0.00006613619,0.00012104757,0.000094642084],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006672226,0.0002353812,0.00020733163,0.0010329295,0.0012270298,0.0052907714,0.00035140628,0.00063303736,0.022162652],"category_scores_gemma":[0.003669279,0.00013214577,0.00016520133,0.0010684076,0.0020256098,0.002892033,0.001033052,0.0008685684,0.0013654402],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002012466,0.00004990703,0.02019422,0.00042334368,0.000030487547,0.00035305702,0.01654168,0.0005726595,0.0039734715,0.78530675,0.013976486,0.15837672],"study_design_scores_gemma":[0.00006328316,0.00017649762,0.16186833,0.00091841386,0.00005556186,0.0016864729,0.024102882,0.0028472536,0.0028434559,0.09807433,0.70727,0.000093446826],"about_ca_topic_score_codex":0.0060592536,"about_ca_topic_score_gemma":0.0072488366,"teacher_disagreement_score":0.022162652,"about_ca_system_score_codex":0.0011102066,"about_ca_system_score_gemma":0.00059214194,"threshold_uncertainty_score":0.07414144},"labels":[],"label_agreement":null},{"id":"W2903759103","doi":"10.7202/1054150ar","title":"La partition sonore et musicale de Dunkerque (C. Nolan, 2017). Une expérience sensorielle inédite","year":2018,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Cultural Insights and Digital Impacts","field":"Computer Science","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.2152582596798942,"score_gpt":0.3307843752747672,"score_spread":0.11552611559487297,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2903759103","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3320824,0.015802804,0.042833522,0.016056135,0.0048282924,0.00014156116,0.0003233667,0.00028033872,0.58765167],"genre_scores_gemma":[0.86738044,0.002753015,0.0061939354,0.0018420522,0.00034835024,0.000111780086,0.00015585635,0.00016383185,0.12105072],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991304,0.00043281942,0.000015842887,0.00016148729,0.00018678319,0.000072739655],"domain_scores_gemma":[0.9995952,0.00019419001,0.00002699662,0.000044908265,0.000068488094,0.000070158196],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007909589,0.000555174,0.00017329081,0.00054651086,0.0035697625,0.005620031,0.0005141469,0.0011064779,0.010776171],"category_scores_gemma":[0.0024690619,0.0001531103,0.00019030515,0.00035707053,0.005435335,0.0031227237,0.0026309395,0.0021096296,0.0010113886],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004280479,0.0000755499,0.0037764795,0.0005919191,0.000038853166,0.0012120525,0.38518322,0.0005186463,0.01626449,0.3859209,0.038698338,0.1672915],"study_design_scores_gemma":[0.00002710939,0.00013370358,0.008219638,0.0003914885,0.000018965262,0.0011092405,0.1014774,0.00063280907,0.0029057546,0.022781998,0.8622286,0.00007335664],"about_ca_topic_score_codex":0.013850316,"about_ca_topic_score_gemma":0.031925306,"teacher_disagreement_score":0.013850316,"about_ca_system_score_codex":0.0026075444,"about_ca_system_score_gemma":0.0013013677,"threshold_uncertainty_score":0.036049843},"labels":[],"label_agreement":null},{"id":"W2904210076","doi":"10.7202/1054145ar","title":"Remote Control: Collaborative Scoring and the Question of Authorship","year":2018,"lang":"en","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Studio; Hollywood; Dozen; Visual arts; Point (geometry); Art; Art history","score_opus":0.024687860357058854,"score_gpt":0.2519852809314865,"score_spread":0.22729742057442762,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2904210076","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.21905681,0.012935004,0.06102466,0.12272898,0.0020712828,0.00012739487,0.000093956056,0.0001604739,0.5818014],"genre_scores_gemma":[0.9848547,0.0011182886,0.0032179758,0.0010973375,0.0007496849,0.000058545287,0.00001905199,0.000068299014,0.008816047],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9287516,0.053931806,0.0022270358,0.005829625,0.0070327152,0.0022272759],"domain_scores_gemma":[0.77555525,0.17977253,0.013489009,0.017132575,0.0089868,0.005063777],"candidate_categories":["research_integrity"],"consensus_categories":[],"category_scores_codex":[0.04684028,0.0005515221,0.00065164105,0.005090551,0.01629592,0.023620728,0.0032483663,0.0068829237,0.008315924],"category_scores_gemma":[0.1442829,0.00046669235,0.00034145857,0.0055093006,0.08417009,0.03009989,0.010656618,0.0049740076,0.0010690882],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000036334663,0.00002931972,0.002608159,0.00007936084,0.000007828698,0.00027950032,0.1411882,0.00012810016,0.00016258463,0.82307196,0.0043541123,0.028054483],"study_design_scores_gemma":[0.000036891597,0.000043277985,0.0032471002,0.00046301627,0.000009695603,0.0005491359,0.13105716,0.00090075075,0.0005374926,0.7699011,0.09319866,0.000055799555],"about_ca_topic_score_codex":0.0034583057,"about_ca_topic_score_gemma":0.0027186444,"teacher_disagreement_score":0.9931171,"about_ca_system_score_codex":0.0058583636,"about_ca_system_score_gemma":0.0043118475,"threshold_uncertainty_score":0.24771804},"labels":[],"label_agreement":null},{"id":"W2904214529","doi":"10.7202/1054152ar","title":"Peindre, écouter, écrire, de Rita Ezrati et Jean-Jacques Nattiez","year":2018,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Brazilian cultural history and politics","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities; Art history","score_opus":0.052677664436295506,"score_gpt":0.33892647680304167,"score_spread":0.28624881236674615,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2904214529","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009980503,0.3314667,0.0026192095,0.30466136,0.012141018,0.00006837016,0.0003398546,0.00012059702,0.33860248],"genre_scores_gemma":[0.22019936,0.27739862,0.004896383,0.027553592,0.006577409,0.00022256147,0.00035834286,0.00034313236,0.46245056],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989697,0.0002952806,0.000029909666,0.0001437482,0.00042589844,0.0001355093],"domain_scores_gemma":[0.99779236,0.0009884947,0.00020793077,0.00013558964,0.0007078453,0.00016782315],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014977747,0.0006632215,0.00043865023,0.0014363765,0.0037726273,0.004651808,0.0009330564,0.0026246682,0.025462473],"category_scores_gemma":[0.008192929,0.00041399078,0.0002461169,0.0021356074,0.0024682907,0.0045562177,0.0020661012,0.0035357433,0.0040620104],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007802107,0.00006476266,0.0019839506,0.0009349978,0.000020325893,0.0004786257,0.027170135,0.00006337977,0.0009060339,0.27620882,0.51933014,0.17276084],"study_design_scores_gemma":[0.000004909775,0.000007015471,0.0027058057,0.00038850837,0.000007428323,0.00022113003,0.003359643,0.000020112077,0.00025089044,0.0057450957,0.98727846,0.00001100506],"about_ca_topic_score_codex":0.04105453,"about_ca_topic_score_gemma":0.07269012,"teacher_disagreement_score":0.04105453,"about_ca_system_score_codex":0.0033497787,"about_ca_system_score_gemma":0.004369085,"threshold_uncertainty_score":0.08518046},"labels":[],"label_agreement":null},{"id":"W2904565908","doi":"10.7202/1054153ar","title":"Chanter, narrer, danser. Contribution à une philosophie du sentir, d’Anne Boissière","year":2018,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Historical and Literary Analyses","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Philosophy; Art","score_opus":0.024927052242872377,"score_gpt":0.2299756861979274,"score_spread":0.20504863395505504,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2904565908","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":[0.00300009,0.3361962,0.0022939416,0.50668764,0.025005655,0.000031484025,0.00016276343,0.00006078401,0.12656137],"genre_scores_gemma":[0.18846081,0.22545579,0.0048803054,0.12463631,0.02812886,0.00024239253,0.00022554267,0.00061451265,0.4273555],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.998171,0.00093265437,0.00007140615,0.00024401431,0.00044758446,0.00013343619],"domain_scores_gemma":[0.9954743,0.0027292722,0.00023212179,0.00017099924,0.0010907,0.0003026186],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002309919,0.0006444686,0.0005283308,0.0012089981,0.004994366,0.0039875787,0.0010993661,0.0048179855,0.01569637],"category_scores_gemma":[0.009401366,0.0004798211,0.00029481205,0.0014840079,0.0073368335,0.010099492,0.0026268999,0.008656675,0.0030268836],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000054581025,0.00002523689,0.00020283373,0.00033214723,0.000010437805,0.00020466412,0.03695817,0.000045883262,0.0002804634,0.24107695,0.6918864,0.028922245],"study_design_scores_gemma":[0.0000062661875,0.0000090897975,0.0004564223,0.0003357921,0.000003766824,0.00013322475,0.00459341,0.00001991054,0.00010938733,0.01735914,0.9769622,0.0000113850465],"about_ca_topic_score_codex":0.017763393,"about_ca_topic_score_gemma":0.030613456,"teacher_disagreement_score":0.017763393,"about_ca_system_score_codex":0.00306615,"about_ca_system_score_gemma":0.0034054986,"threshold_uncertainty_score":0.052509606},"labels":[],"label_agreement":null},{"id":"W2904585904","doi":"10.7202/1054146ar","title":"Essai de caractérisation de l’évolution des musiques super-héroïques de Batman (1989) à The Dark Knight Rises (2012)","year":2018,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Cultural Insights and Digital Impacts","field":"Computer Science","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.1762334917623296,"score_gpt":0.3076636170920593,"score_spread":0.1314301253297297,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2904585904","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.56222415,0.0052826568,0.012623719,0.0072170137,0.000641852,0.00007672828,0.000487368,0.00014065597,0.4113058],"genre_scores_gemma":[0.95028484,0.0012344038,0.0022445945,0.00039225217,0.00008840277,0.000034684188,0.0001663492,0.00014785939,0.045406554],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992884,0.00029792008,0.000018289315,0.0001641137,0.0001414395,0.000089921996],"domain_scores_gemma":[0.99894243,0.00045037857,0.00012917993,0.00010644845,0.00022941765,0.0001420257],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013299932,0.0003947131,0.00016828746,0.001376176,0.0035184647,0.004006524,0.00044962973,0.00076396065,0.010839999],"category_scores_gemma":[0.0032438736,0.00022461182,0.00022496439,0.0011249101,0.0051696557,0.0027062255,0.0017193403,0.001893107,0.00087745034],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00026752384,0.000031288655,0.012129257,0.00026461622,0.000025744095,0.00088172604,0.6778645,0.00022929997,0.0061981445,0.22235765,0.01152382,0.06822643],"study_design_scores_gemma":[0.000019976145,0.00010457114,0.10198596,0.0004381351,0.00003432222,0.0015677828,0.26807564,0.00090325257,0.0032896942,0.023233723,0.6002795,0.0000674175],"about_ca_topic_score_codex":0.019298188,"about_ca_topic_score_gemma":0.034898784,"teacher_disagreement_score":0.019298188,"about_ca_system_score_codex":0.0028642972,"about_ca_system_score_gemma":0.0011541031,"threshold_uncertainty_score":0.03837174},"labels":[],"label_agreement":null},{"id":"W2904648348","doi":"10.7202/1054144ar","title":"Présentation du numéro","year":2018,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Psychoanalysis and Psychopathology Research","field":"Psychology","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.045037264056397755,"score_gpt":0.37797174895116026,"score_spread":0.3329344848947625,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2904648348","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0029277278,0.06187616,0.0065161674,0.042826768,0.5008239,0.00036895077,0.0031600168,0.0013006366,0.38019964],"genre_scores_gemma":[0.039441884,0.029005919,0.0047838567,0.02051254,0.22762786,0.0008922301,0.003607348,0.001693097,0.6724353],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978828,0.00042872273,0.0001698351,0.00047237732,0.0007891643,0.00025710915],"domain_scores_gemma":[0.9972161,0.00082947285,0.00015993594,0.00027013512,0.0010690797,0.00045525242],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016877755,0.0016020066,0.0017003475,0.0029393798,0.0023927302,0.00752113,0.0014907198,0.0028826718,0.27839303],"category_scores_gemma":[0.00897723,0.00033464655,0.0013662317,0.0014495192,0.0011338718,0.0024023114,0.0028307885,0.003613693,0.13034727],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002884455,0.00006125864,0.0003644247,0.00063424645,0.000032208984,0.00091420626,0.00009952642,0.00016805153,0.00090812845,0.014012318,0.834584,0.14793321],"study_design_scores_gemma":[0.000019514922,0.000017781098,0.0002723631,0.00014047434,0.000005544276,0.00065792364,0.000037426846,0.00006679627,0.00020834585,0.001227793,0.99733776,0.000008283779],"about_ca_topic_score_codex":0.0024393941,"about_ca_topic_score_gemma":0.0019646978,"teacher_disagreement_score":0.27839303,"about_ca_system_score_codex":0.0029748543,"about_ca_system_score_gemma":0.002073928,"threshold_uncertainty_score":0.93131745},"labels":[],"label_agreement":null},{"id":"W2904841401","doi":"10.7202/1054147ar","title":"Musique et immersion spectatorielle dans les scènes de poursuite des films d’action du cinéma hollywoodien contemporain","year":2018,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.0551020381702906,"score_gpt":0.2548219466563655,"score_spread":0.19971990848607488,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2904841401","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":[0.53039265,0.0044863704,0.011696535,0.00818104,0.00023235119,0.000054056378,0.00018385627,0.000035000918,0.44473818],"genre_scores_gemma":[0.98048955,0.00084445113,0.0010101014,0.00013676051,0.000057461402,0.000015664267,0.00003453056,0.00001310091,0.017398354],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990127,0.00058139965,0.000020689135,0.000115610186,0.00014772378,0.00012186462],"domain_scores_gemma":[0.99863833,0.0008584986,0.00019808859,0.00006642626,0.000107551816,0.00013111786],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011796942,0.00024466772,0.00016816684,0.000756528,0.0018819851,0.0045298203,0.00037494715,0.00076513225,0.007656015],"category_scores_gemma":[0.0037252284,0.00015677622,0.00014322968,0.0008120207,0.0056562116,0.0026548242,0.0016476489,0.0012449452,0.0002524966],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017633768,0.00004627508,0.008435083,0.00027717772,0.000029458475,0.0006872755,0.19280551,0.00046588122,0.0025229764,0.74986064,0.0046047596,0.040088598],"study_design_scores_gemma":[0.00005910359,0.00027306867,0.11768782,0.00084735773,0.00006947858,0.0013027254,0.29254615,0.0021241384,0.0031241283,0.1137823,0.46809047,0.00009332574],"about_ca_topic_score_codex":0.00951607,"about_ca_topic_score_gemma":0.015148708,"teacher_disagreement_score":0.00951607,"about_ca_system_score_codex":0.002218641,"about_ca_system_score_gemma":0.0010018268,"threshold_uncertainty_score":0.025611877},"labels":[],"label_agreement":null},{"id":"W2905087397","doi":"10.7202/1054149ar","title":"Interstellar de Hans Zimmer : plongée musicale au coeur des drames humains, par-delà l’infiniment grand. Pour une autre approche de l’esthétique zimmerienne","year":2018,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Social and Cultural Dynamics","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.03686447363984513,"score_gpt":0.2944878836108795,"score_spread":0.2576234099710344,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2905087397","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.12411524,0.008963833,0.076060586,0.014503022,0.0026159883,0.00015303437,0.0003154748,0.00043440762,0.77283835],"genre_scores_gemma":[0.6570895,0.0042145015,0.018191434,0.001983034,0.0005261028,0.00012083647,0.00017756934,0.00038917133,0.31730792],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99935013,0.00023495892,0.000015717116,0.0001253963,0.00019016415,0.000083675215],"domain_scores_gemma":[0.9995894,0.00015500998,0.000047921083,0.000057496363,0.000078672936,0.00007156888],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00075323076,0.0006156945,0.00019273256,0.0007035828,0.002805032,0.0042013563,0.00060708425,0.0011343532,0.01897288],"category_scores_gemma":[0.002368695,0.00026522903,0.0002930673,0.00063569087,0.0040493966,0.0037888722,0.0022521247,0.0021175314,0.0024672318],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019325483,0.000030389061,0.0015454225,0.00029345375,0.000025828991,0.0004361486,0.0628958,0.00059878547,0.0076466873,0.84014446,0.025366364,0.060823433],"study_design_scores_gemma":[0.000021832455,0.00010486207,0.005589245,0.00038636485,0.000041597443,0.00074812403,0.027351353,0.0019498522,0.0051113763,0.056976754,0.90166116,0.000057520916],"about_ca_topic_score_codex":0.0070248824,"about_ca_topic_score_gemma":0.015914718,"teacher_disagreement_score":0.01897288,"about_ca_system_score_codex":0.0016641398,"about_ca_system_score_gemma":0.0010563682,"threshold_uncertainty_score":0.0634706},"labels":[],"label_agreement":null},{"id":"W2905179993","doi":"10.7202/1054148ar","title":"La Ligne rouge de Hans Zimmer. Matrice d’un « nouvel Hollywood » électro-minimaliste et contemplatif","year":2018,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Ligne; Physics","score_opus":0.027759001878782222,"score_gpt":0.2759219462561502,"score_spread":0.24816294437736797,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2905179993","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08424262,0.075288214,0.013180437,0.083929375,0.008582356,0.00006704272,0.00024576025,0.00029924643,0.73416495],"genre_scores_gemma":[0.5380048,0.013544477,0.003391005,0.007419659,0.0024888867,0.000049909762,0.000083729916,0.00028091756,0.4347366],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99965334,0.00014410554,0.00000675611,0.000066076005,0.00008890879,0.000040761],"domain_scores_gemma":[0.9997956,0.00009362571,0.000028958346,0.000017122435,0.000030501635,0.000034154415],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00047591963,0.000398014,0.00013631083,0.0005071031,0.0026658347,0.002701184,0.00033060755,0.0009089516,0.010382468],"category_scores_gemma":[0.0012216676,0.00015595068,0.00013579683,0.00041586187,0.0034356476,0.0032534022,0.0015757746,0.0023405086,0.0018226616],"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":[0.00010951684,0.00003469179,0.00060197746,0.00014334588,0.000009693206,0.0005626712,0.07349108,0.00018134344,0.0031559535,0.69767743,0.16589805,0.058134276],"study_design_scores_gemma":[0.0000060283833,0.000022708093,0.0011191298,0.00015292826,0.0000049465234,0.00040638345,0.010917044,0.00012300091,0.0010224822,0.025921967,0.96028656,0.000016832772],"about_ca_topic_score_codex":0.009737939,"about_ca_topic_score_gemma":0.02146994,"teacher_disagreement_score":0.010382468,"about_ca_system_score_codex":0.0015878009,"about_ca_system_score_gemma":0.0007395251,"threshold_uncertainty_score":0.03473282},"labels":[],"label_agreement":null},{"id":"W2905398703","doi":"10.7202/1054151ar","title":"Variations… sur Yves Margat (humour estetico)(« Anthologie du phem » / Musicographes, 2)","year":2018,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"French Literature and Poetry","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.02752834170656936,"score_gpt":0.2150461671993465,"score_spread":0.18751782549277712,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2905398703","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.032286655,0.12895143,0.003842353,0.10847937,0.01251674,0.000081419596,0.00042998692,0.00019107941,0.71322095],"genre_scores_gemma":[0.35904604,0.022585923,0.0019731054,0.015851127,0.0090897465,0.00016545111,0.00017618967,0.00026953983,0.59084296],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99880445,0.0005646375,0.000024671099,0.00011581493,0.0003383214,0.00015214036],"domain_scores_gemma":[0.9995159,0.0002661273,0.000050044244,0.000026073278,0.00008627942,0.000055610893],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013668804,0.0006193671,0.0002493649,0.0016443526,0.004775401,0.003901564,0.00049778493,0.0017461701,0.008356751],"category_scores_gemma":[0.0016827015,0.00017442304,0.00021011996,0.0011597372,0.0045070895,0.0014523289,0.0017716417,0.0024333007,0.0018398514],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012340158,0.000029349745,0.0008974374,0.00023826442,0.000011906325,0.00038130375,0.04585862,0.00014990105,0.0009910358,0.5059492,0.38562375,0.05974586],"study_design_scores_gemma":[0.0000044747057,0.000010810426,0.0011450173,0.00008910832,0.0000016256091,0.00006708216,0.0026706213,0.000024367573,0.00013744047,0.003113011,0.99273103,0.0000054558086],"about_ca_topic_score_codex":0.016941838,"about_ca_topic_score_gemma":0.037025,"teacher_disagreement_score":0.016941838,"about_ca_system_score_codex":0.0040762387,"about_ca_system_score_gemma":0.0016265064,"threshold_uncertainty_score":0.03368646},"labels":[],"label_agreement":null},{"id":"W2918662361","doi":"10.7202/1055857ar","title":"Le cas Constantinople. Historique, identité musicale et enjeux de la professionnalisation des musiciens migrants","year":2019,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Canadian Identity and History","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Université de Montréal","funders":"","keywords":"Humanities; Art","score_opus":0.02454447344098521,"score_gpt":0.2861864090909285,"score_spread":0.2616419356499433,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2918662361","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.42689946,0.014407851,0.0015153036,0.03708184,0.00087933784,0.000056242938,0.0001910569,0.000038943777,0.51892996],"genre_scores_gemma":[0.90293515,0.0028432522,0.00036667346,0.001050714,0.00008666778,0.000014837351,0.000033818047,0.00001836468,0.09265053],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9988859,0.00018541241,0.000015101528,0.00014999256,0.0003098229,0.000453771],"domain_scores_gemma":[0.99928266,0.000102385806,0.00009802872,0.00003849514,0.0002001656,0.00027832307],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010185543,0.0003289024,0.00017964201,0.0012753851,0.017366141,0.005444522,0.0007745465,0.0012554642,0.012099319],"category_scores_gemma":[0.0016402386,0.00015489255,0.00012848941,0.0021762922,0.015384514,0.0019300716,0.0030981177,0.002164395,0.0005932664],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000069443944,0.000028759747,0.011727695,0.00017069912,0.000007883568,0.00074703654,0.35421246,0.00012033951,0.0010489619,0.5405816,0.023310404,0.067974776],"study_design_scores_gemma":[0.000010986554,0.000034050227,0.041750167,0.00033761075,0.000013094411,0.000500053,0.28397056,0.00013638797,0.0003420732,0.009065011,0.66379356,0.000046525347],"about_ca_topic_score_codex":0.90337557,"about_ca_topic_score_gemma":0.9627704,"teacher_disagreement_score":0.096624434,"about_ca_system_score_codex":0.030705733,"about_ca_system_score_gemma":0.047528185,"threshold_uncertainty_score":0.22278672},"labels":[],"label_agreement":null},{"id":"W2918820442","doi":"10.7202/1055844ar","title":"Debussy's Cakewalk. Race, Modernism and Music in Early Twentieth-Century Paris","year":2019,"lang":"en","type":"article","venue":"Revue musicale OICRM","topic":"Musicology and Musical Analysis","field":"Arts and Humanities","cited_by":47,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Style (visual arts); Ballet; Dance; Art history; Art; Modernism (music); White (mutation); Theme (computing); History; Bartok; Performance art; Humanities; Musical; Literature","score_opus":0.02098933711273441,"score_gpt":0.20217627964665566,"score_spread":0.18118694253392126,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2918820442","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14810608,0.13848068,0.0006354161,0.033651542,0.0010769892,0.00002377856,0.00011072752,0.00008458683,0.6778303],"genre_scores_gemma":[0.7853934,0.02067559,0.0003743166,0.0027669673,0.00079602754,0.000024440022,0.00003145541,0.00004933198,0.18988845],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99969697,0.00010942265,0.0000047894914,0.000060122034,0.000055330573,0.000073393225],"domain_scores_gemma":[0.9998332,0.000055775326,0.000025442025,0.000006864242,0.00002153534,0.000057143865],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00033915575,0.0004681955,0.00018357336,0.0013810443,0.00666524,0.0029202243,0.00054713886,0.0013102887,0.0076547326],"category_scores_gemma":[0.0005092628,0.00018215372,0.00012030763,0.00094301754,0.0100798085,0.0014192822,0.0017236959,0.0020930176,0.0008884811],"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":[0.00010512944,0.000054173517,0.0051794983,0.00017322387,0.0000098820965,0.0012945598,0.2645776,0.00021420751,0.0005511321,0.5724944,0.06567368,0.08967254],"study_design_scores_gemma":[0.000010239447,0.000046222947,0.012978948,0.00024422456,0.0000033958418,0.00047811517,0.033736374,0.000059865448,0.00017011001,0.008748408,0.9435078,0.000016291866],"about_ca_topic_score_codex":0.14790834,"about_ca_topic_score_gemma":0.2064301,"teacher_disagreement_score":0.14790834,"about_ca_system_score_codex":0.009372331,"about_ca_system_score_gemma":0.001397414,"threshold_uncertainty_score":0.2940948},"labels":[],"label_agreement":null},{"id":"W2918870805","doi":"10.7202/1055846ar","title":"Les Cathédrales englouties du peintre Ceri Richards. Une interprétation picturale des sonorités et de l’écriture debussystes","year":2019,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"French Literature and Poetry","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.015198218918227398,"score_gpt":0.23776463546803603,"score_spread":0.22256641654980863,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2918870805","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1952582,0.009497987,0.0036154133,0.0059759635,0.00079451763,0.00006422432,0.00030743514,0.00010327434,0.784383],"genre_scores_gemma":[0.7888625,0.0027498,0.0012846411,0.000593856,0.00015132145,0.000052958076,0.00013525512,0.00010802767,0.20606153],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995394,0.00014162582,0.000010186697,0.000072864845,0.00015938627,0.00007659371],"domain_scores_gemma":[0.9995951,0.00014311053,0.000057894944,0.00005141873,0.000106179665,0.000046317276],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004469676,0.00042155822,0.00012705564,0.0006024988,0.0032362523,0.0033999132,0.00047289478,0.00087124616,0.00776925],"category_scores_gemma":[0.0016639679,0.00018580489,0.00010941538,0.00080870173,0.007069376,0.001225874,0.0015556226,0.0016210335,0.0010549503],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00024432308,0.000017168788,0.0039665056,0.00029707543,0.000013704361,0.0011736648,0.27472937,0.00051489816,0.0055877995,0.5848921,0.04279631,0.085767105],"study_design_scores_gemma":[0.000007534935,0.000027584183,0.011556615,0.00018289039,0.0000074484506,0.00040367793,0.032856915,0.00014336254,0.0011670537,0.0051357783,0.94847834,0.000032845244],"about_ca_topic_score_codex":0.04829612,"about_ca_topic_score_gemma":0.11500832,"teacher_disagreement_score":0.04829612,"about_ca_system_score_codex":0.0032114843,"about_ca_system_score_gemma":0.0020568096,"threshold_uncertainty_score":0.09603},"labels":[],"label_agreement":null},{"id":"W2918877711","doi":"10.7202/1055858ar","title":"Une synthèse de la littérature portant sur les enjeux philosophiques liés à l’intégration des TIC en éducation musicale","year":2019,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Diverse Music Education Insights","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université Laval","funders":"","keywords":"Humanities; Philosophy; Art","score_opus":0.06424461265400688,"score_gpt":0.2874514554216597,"score_spread":0.2232068427676528,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2918877711","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.015305728,0.39815107,0.04955317,0.04237129,0.009125518,0.00012386672,0.00043346608,0.00022097242,0.48471496],"genre_scores_gemma":[0.21554032,0.6276598,0.028760279,0.012439591,0.008765164,0.00039656943,0.0009314451,0.00048105363,0.10502584],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99764353,0.0009063268,0.00019852373,0.00034342316,0.00075657817,0.00015158184],"domain_scores_gemma":[0.99305904,0.0054447763,0.0003317582,0.00035422706,0.0006478522,0.0001623653],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0029523475,0.0007285574,0.0007329621,0.004642749,0.0031579817,0.008552046,0.00097254623,0.002852332,0.020187795],"category_scores_gemma":[0.008486611,0.0003069247,0.0005741694,0.0056114444,0.005943306,0.007293405,0.0027043882,0.0055873017,0.0030373745],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000035771205,0.000052133233,0.00077821,0.0031493437,0.000033122706,0.00031850362,0.01962564,0.00052690174,0.0009946919,0.7811192,0.026887862,0.16647859],"study_design_scores_gemma":[0.0000036740198,0.00001858067,0.0012849505,0.005036877,0.000020919535,0.00047054037,0.0057124035,0.00029040646,0.0003639992,0.043881588,0.94289374,0.000022337324],"about_ca_topic_score_codex":0.0053285724,"about_ca_topic_score_gemma":0.009642647,"teacher_disagreement_score":0.020187795,"about_ca_system_score_codex":0.0043578697,"about_ca_system_score_gemma":0.0056848233,"threshold_uncertainty_score":0.06753492},"labels":[],"label_agreement":null},{"id":"W2918900047","doi":"10.7202/1055852ar","title":"Claude Debussy vu par Jean Cocteau","year":2019,"lang":"fr","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities; Admiration; Literature","score_opus":0.01960905119093462,"score_gpt":0.2154711852007614,"score_spread":0.19586213400982677,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2918900047","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03743872,0.24380459,0.015272255,0.20608619,0.025674859,0.00010408398,0.00039927993,0.000575538,0.47064453],"genre_scores_gemma":[0.33227482,0.027749224,0.005216031,0.030839447,0.0070659565,0.00012471946,0.00013009763,0.0006647269,0.595935],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99825627,0.0005911221,0.00003275243,0.00046448526,0.0005129311,0.00014253176],"domain_scores_gemma":[0.9986897,0.0007515702,0.00008229871,0.000040613344,0.00028561582,0.0001502252],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011464288,0.0010614778,0.000418553,0.0013235934,0.005291173,0.0051463866,0.0005338541,0.0032092654,0.013484973],"category_scores_gemma":[0.0059306417,0.00030505008,0.00034436877,0.0009803805,0.005156215,0.002747037,0.0015727474,0.0050903913,0.0025829365],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003036821,0.00004856588,0.00289417,0.00037820998,0.00003659221,0.0014624891,0.03652111,0.0005536074,0.00166998,0.5169013,0.33658502,0.10264536],"study_design_scores_gemma":[0.00000972537,0.000013806135,0.0012260801,0.0001603772,0.0000033454464,0.0003601829,0.0018793488,0.00015386449,0.00032934232,0.007888643,0.9879556,0.000019872588],"about_ca_topic_score_codex":0.09301975,"about_ca_topic_score_gemma":0.0787682,"teacher_disagreement_score":0.09301975,"about_ca_system_score_codex":0.0047824387,"about_ca_system_score_gemma":0.0036962952,"threshold_uncertainty_score":0.18495661},"labels":[],"label_agreement":null},{"id":"W2919352260","doi":"10.7202/1055851ar","title":"Bilitis après Debussy. Hommage, influence, prise de distance ?","year":2019,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Historical Studies and Socio-cultural 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":true,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Humanities; Art","score_opus":0.0165037647239566,"score_gpt":0.19939710955628168,"score_spread":0.18289334483232508,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2919352260","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.27922475,0.014355693,0.003246994,0.04039526,0.0015201325,0.000039039507,0.00009097965,0.00008379368,0.66104335],"genre_scores_gemma":[0.93409777,0.001565766,0.00027894875,0.0014275836,0.00032145774,0.000014216816,0.000019985393,0.00006538438,0.062208924],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983015,0.0006624696,0.000030748244,0.00024316502,0.00028068046,0.00048140384],"domain_scores_gemma":[0.99835,0.0005902087,0.000255549,0.00009064558,0.00024193949,0.0004716406],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001629301,0.0005191715,0.0002896948,0.0009919651,0.007608444,0.008913608,0.0006750913,0.0023813215,0.015706126],"category_scores_gemma":[0.0038205832,0.00024703,0.00025433992,0.00072332495,0.018736731,0.004441952,0.0042925123,0.0048255203,0.0023967205],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00032361833,0.000072111085,0.0064793704,0.00024227862,0.000026695432,0.0012962819,0.4705244,0.00012099355,0.0017016245,0.4709655,0.015927397,0.032319613],"study_design_scores_gemma":[0.000046579116,0.00014580046,0.021002615,0.00075526675,0.000021930646,0.0007408532,0.32053676,0.0001653696,0.001069924,0.031901594,0.62354136,0.00007185271],"about_ca_topic_score_codex":0.022961443,"about_ca_topic_score_gemma":0.03936115,"teacher_disagreement_score":0.022961443,"about_ca_system_score_codex":0.0065609417,"about_ca_system_score_gemma":0.0028245703,"threshold_uncertainty_score":0.05254221},"labels":[],"label_agreement":null},{"id":"W2919426157","doi":"10.7202/1055850ar","title":"Debussy saisi par les Indépendants. Une contribution à l’analyse du processus de reconnaissance de l’oeuvre de Debussy","year":2019,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Historical Studies and Socio-cultural 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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.020562720514935837,"score_gpt":0.22198846125986202,"score_spread":0.2014257407449262,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2919426157","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.84268314,0.0015838,0.0032716072,0.002746035,0.000113041235,0.000037914226,0.00008632007,0.0000224806,0.14945571],"genre_scores_gemma":[0.96258086,0.0003703702,0.0005557034,0.00015652801,0.000019482093,0.000010759064,0.000029568739,0.000017490369,0.03625925],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991284,0.00024235522,0.000024147377,0.00018810904,0.00016790528,0.00024900967],"domain_scores_gemma":[0.9988398,0.00029755355,0.0003058292,0.000108074906,0.00020475418,0.00024406349],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011076945,0.0003474359,0.00016065424,0.0008739612,0.006133355,0.0023949745,0.00048663956,0.0007848375,0.0098163495],"category_scores_gemma":[0.002853808,0.00021660312,0.00021845651,0.00092532183,0.006299318,0.0018915901,0.0025569557,0.0016098537,0.0007051892],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019545108,0.000055132714,0.068715446,0.00021560726,0.000048244754,0.001828866,0.6440047,0.00025312,0.0056153536,0.16366334,0.0048826067,0.1105221],"study_design_scores_gemma":[0.000017243232,0.0001273223,0.23764677,0.0004331029,0.000042667234,0.0012408161,0.38116604,0.0003332564,0.0023962553,0.013999269,0.36251858,0.000078711506],"about_ca_topic_score_codex":0.06640143,"about_ca_topic_score_gemma":0.18143646,"teacher_disagreement_score":0.06640143,"about_ca_system_score_codex":0.0031859102,"about_ca_system_score_gemma":0.002326371,"threshold_uncertainty_score":0.13202983},"labels":[],"label_agreement":null},{"id":"W2919481806","doi":"10.7202/1055847ar","title":"Bridging Musical Worlds. Arrangements of Works by Debussy in the Repertoire of the Sousa Band","year":2019,"lang":"en","type":"article","venue":"Revue musicale OICRM","topic":"Musicology and Musical Analysis","field":"Arts and Humanities","cited_by":23,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Musical; Character (mathematics); Vernacular; Repertoire; Style (visual arts); Entertainment; Lute; Sophistication; Piano; Art; Bartok; Literature; History; Art history; Visual arts; Aesthetics; Mathematics","score_opus":0.013878792193040728,"score_gpt":0.1948879259568109,"score_spread":0.18100913376377017,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2919481806","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.38787648,0.0040146005,0.015462671,0.0033979234,0.0005044343,0.00009598053,0.0003114141,0.00021522323,0.58812124],"genre_scores_gemma":[0.9518599,0.00075179944,0.0032618535,0.00028319212,0.00011500841,0.000044102893,0.00013723155,0.00012870926,0.04341811],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9988722,0.0005107795,0.00004603647,0.0001980832,0.0002592043,0.00011360229],"domain_scores_gemma":[0.9990621,0.00041211286,0.00009595339,0.00019980276,0.00011417134,0.00011574531],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00072780624,0.00025091274,0.00013706915,0.0014998534,0.004309271,0.0032154631,0.000309856,0.00055161415,0.008543086],"category_scores_gemma":[0.004031666,0.00016876005,0.00015366933,0.0011903209,0.004714687,0.0013811567,0.0031449161,0.000814853,0.0015642287],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003378604,0.00007042824,0.0139462175,0.00030561766,0.000026502812,0.0014992545,0.44334158,0.0003892896,0.014358791,0.30727127,0.020041378,0.19841169],"study_design_scores_gemma":[0.0000158112,0.00008857788,0.049971797,0.000323293,0.000012050721,0.0022341674,0.11602449,0.0004333947,0.0019191786,0.01622341,0.81270087,0.000052976826],"about_ca_topic_score_codex":0.008339666,"about_ca_topic_score_gemma":0.029575849,"teacher_disagreement_score":0.008543086,"about_ca_system_score_codex":0.0014369601,"about_ca_system_score_gemma":0.00063954457,"threshold_uncertainty_score":0.028579414},"labels":[],"label_agreement":null},{"id":"W2919785692","doi":"10.7202/1055853ar","title":"La cathédrale anglicane de Québec et les organistes, 1801-1967. Adéquation ou décalage entre l’offre et la demande ?","year":2019,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Canadian Identity and History","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Cégep de Sherbrooke","funders":"","keywords":"Humanities; Political science; Philosophy","score_opus":0.011512222303666532,"score_gpt":0.24173006676353317,"score_spread":0.23021784445986665,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2919785692","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7187473,0.014782231,0.0008505874,0.012396167,0.00031960453,0.000059298083,0.0008866287,0.000019771636,0.25193843],"genre_scores_gemma":[0.9272472,0.00298737,0.00026028135,0.00041235887,0.000035980833,0.000026839009,0.00015572317,0.000016483707,0.068857566],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99929714,0.00015727985,0.000016893138,0.00009726718,0.00015475435,0.000276672],"domain_scores_gemma":[0.9988391,0.00023346522,0.00013582382,0.00006587501,0.00046111416,0.00026463784],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008079816,0.00029923324,0.00022542258,0.0012566025,0.009630973,0.0045561204,0.0007317753,0.0008607411,0.0075297137],"category_scores_gemma":[0.0018406056,0.0002557927,0.00011311426,0.0030031963,0.008783297,0.0015683351,0.0012247675,0.0017038163,0.0003379332],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011384699,0.000041716616,0.030769706,0.00025202514,0.000021862063,0.000610032,0.69988906,0.00047043336,0.0010250203,0.20847571,0.01726092,0.04106968],"study_design_scores_gemma":[0.000008490467,0.000037051355,0.15831517,0.00051751896,0.000019453524,0.00015532564,0.252558,0.00024937635,0.00030119767,0.002825781,0.5849474,0.0000653034],"about_ca_topic_score_codex":0.9805197,"about_ca_topic_score_gemma":0.9942303,"teacher_disagreement_score":0.08190988,"about_ca_system_score_codex":0.08190988,"about_ca_system_score_gemma":0.035807684,"threshold_uncertainty_score":0.59430057},"labels":[],"label_agreement":null},{"id":"W2920041708","doi":"10.7202/1055855ar","title":"Le modèle, une voie vers la professionnalisation. L'exemple de Yuli Turovsky et de ses étudiants","year":2019,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Université de Montréal","funders":"","keywords":"Humanities; Political science; Art","score_opus":0.028646041940916248,"score_gpt":0.29405852188509674,"score_spread":0.2654124799441805,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2920041708","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.035388634,0.017679296,0.15959476,0.09971414,0.0015440123,0.0001697285,0.0005472527,0.00040539537,0.6849568],"genre_scores_gemma":[0.83551383,0.008377158,0.030853806,0.005230668,0.00041339925,0.0002694459,0.00038382717,0.00032904293,0.11862878],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99484986,0.002893611,0.00013296724,0.00071986305,0.00090847164,0.00049524696],"domain_scores_gemma":[0.9976076,0.00090671214,0.00025801352,0.00045789086,0.00043512596,0.00033456815],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0041216444,0.0007404587,0.0005430725,0.0018842025,0.005248161,0.009359409,0.0019471127,0.003154417,0.013071609],"category_scores_gemma":[0.006063948,0.00043846146,0.0008881688,0.0024043624,0.027303439,0.008176881,0.0045363875,0.003519759,0.0027733054],"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":[0.000014767809,0.000010889027,0.0005621707,0.000086356165,0.000009772867,0.000097130345,0.01726556,0.00037411693,0.00014732257,0.9666371,0.004562911,0.010231984],"study_design_scores_gemma":[0.000025720601,0.000031871576,0.001718409,0.0004166658,0.000019676185,0.0002513387,0.016204441,0.0014905313,0.0002816158,0.54971033,0.429815,0.00003450618],"about_ca_topic_score_codex":0.11129701,"about_ca_topic_score_gemma":0.075494334,"teacher_disagreement_score":0.11129701,"about_ca_system_score_codex":0.016293779,"about_ca_system_score_gemma":0.018224409,"threshold_uncertainty_score":0.2212984},"labels":[],"label_agreement":null},{"id":"W2920078065","doi":"10.7202/1055843ar","title":"Proses Lyriques in Context","year":2019,"lang":"en","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Composition (language); Context (archaeology); Literature; Art; Poetry; Scholarship; Narrative; History","score_opus":0.022828089896862944,"score_gpt":0.20741663457755052,"score_spread":0.18458854468068758,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2920078065","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.02093454,0.35905984,0.0017097016,0.015745888,0.0040631695,0.000034977387,0.00010701294,0.00006473416,0.59828],"genre_scores_gemma":[0.613653,0.20073827,0.0022661742,0.008378304,0.008675965,0.00011887863,0.00028376508,0.0002694334,0.16561626],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9982408,0.0010701396,0.000072225645,0.00024929934,0.00023363467,0.00013389898],"domain_scores_gemma":[0.9991147,0.0005123363,0.0000922102,0.000041096042,0.00015310473,0.000086680986],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011547721,0.00061484624,0.0005039246,0.0020763534,0.004056443,0.008861985,0.0004978248,0.0014193273,0.01031393],"category_scores_gemma":[0.0017171304,0.0002313425,0.00022634609,0.0019997137,0.007845635,0.0044882656,0.0026680646,0.0038340986,0.0019850035],"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":[0.00008839212,0.000035870493,0.00080053543,0.002039972,0.000027699936,0.0023213953,0.13612582,0.00027235755,0.0013333963,0.7053126,0.055459525,0.09618242],"study_design_scores_gemma":[0.0000020484779,0.000008695937,0.0006701396,0.000488098,0.0000020810066,0.00029067107,0.005874871,0.00001240145,0.000099441735,0.0029378417,0.9896097,0.0000039185716],"about_ca_topic_score_codex":0.004502826,"about_ca_topic_score_gemma":0.009179029,"teacher_disagreement_score":0.01031393,"about_ca_system_score_codex":0.0050580758,"about_ca_system_score_gemma":0.0022921525,"threshold_uncertainty_score":0.036699116},"labels":[],"label_agreement":null},{"id":"W2920114291","doi":"10.7202/1055856ar","title":"Les paramètres de l'insertion professionnelle des musiciens au Québec. L'exemple de l'ensemble Magnitude6","year":2019,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Université de Montréal","funders":"","keywords":"Humanities; Political science; Art","score_opus":0.037903176701117175,"score_gpt":0.2984528799918348,"score_spread":0.2605497032907176,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2920114291","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.77607185,0.0027080087,0.0048515312,0.0049871784,0.00012565283,0.0001164875,0.0006977741,0.000041428477,0.21040007],"genre_scores_gemma":[0.9648761,0.0008956088,0.0010898904,0.00025158998,0.000017869019,0.00004474373,0.00013470663,0.00002134273,0.03266811],"study_design_codex":"qualitative","study_design_gemma":"observational","domain_scores_codex":[0.99737084,0.0007703207,0.000082794446,0.00028404075,0.0009931616,0.00049894885],"domain_scores_gemma":[0.9963391,0.0010450683,0.00047522495,0.00013022275,0.0015272943,0.00048312472],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021443132,0.000275261,0.00019612466,0.0018562019,0.008217151,0.004357497,0.00076248863,0.00067609985,0.015545846],"category_scores_gemma":[0.007155739,0.0002037024,0.00015218025,0.0028933948,0.0056771603,0.0015730207,0.0021398785,0.001210216,0.00086023647],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012930992,0.000041696298,0.12094213,0.00054485456,0.000038526086,0.00068182754,0.6627043,0.00052989693,0.0038379694,0.061672468,0.01028448,0.1385926],"study_design_scores_gemma":[0.0000052813593,0.00004462009,0.48377696,0.00048374827,0.00002236444,0.0001565371,0.38616803,0.00042598986,0.00051762804,0.0022880754,0.12604684,0.000064002554],"about_ca_topic_score_codex":0.8815047,"about_ca_topic_score_gemma":0.9579906,"teacher_disagreement_score":0.118495286,"about_ca_system_score_codex":0.02093298,"about_ca_system_score_gemma":0.018463777,"threshold_uncertainty_score":0.23838621},"labels":[],"label_agreement":null},{"id":"W2920249384","doi":"10.7202/1055848ar","title":"Claude Debussy. Modèle à suivre ou à éviter ? La réception du maître français chez Alfredo Casella","year":2019,"lang":"fr","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.017942559704383354,"score_gpt":0.19281888713591533,"score_spread":0.17487632743153197,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2920249384","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.064453796,0.022919564,0.00373268,0.08558606,0.0018980867,0.00002764468,0.000058752117,0.00006549811,0.8212579],"genre_scores_gemma":[0.7681203,0.005521725,0.000980339,0.0074266656,0.0006071369,0.00004463823,0.000032823235,0.00014231692,0.21712391],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99827456,0.0008175734,0.00002241725,0.00030522703,0.0003040539,0.00027625053],"domain_scores_gemma":[0.99906987,0.00044149492,0.000094569354,0.00008037418,0.00018518043,0.00012854185],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016839314,0.0005209218,0.00025565666,0.0008931405,0.009839881,0.0076237246,0.00077012763,0.0031229092,0.0073973783],"category_scores_gemma":[0.0027971033,0.00019495492,0.00026826534,0.0007896959,0.014663357,0.0041710823,0.0020806398,0.003555689,0.0013567635],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000601603,0.000018598155,0.0010629554,0.000054185824,0.000006282906,0.0006119438,0.08619337,0.000101198755,0.00045824886,0.85674167,0.037051424,0.017639922],"study_design_scores_gemma":[0.000011001127,0.00002172802,0.0014538339,0.00018596706,0.0000055297046,0.0002245796,0.018399553,0.0001489933,0.0002525457,0.022696896,0.9565776,0.000021761325],"about_ca_topic_score_codex":0.12953053,"about_ca_topic_score_gemma":0.15562007,"teacher_disagreement_score":0.12953053,"about_ca_system_score_codex":0.01432181,"about_ca_system_score_gemma":0.004081102,"threshold_uncertainty_score":0.25755322},"labels":[],"label_agreement":null},{"id":"W2920323713","doi":"10.7202/1055860ar","title":"La nasalisation dans la chanson country-western. Un cas de phonostylistique","year":2019,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"French Literature and Poetry","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université Laval","funders":"","keywords":"Humanities; Art; Western europe","score_opus":0.009006705329349425,"score_gpt":0.21118182868531196,"score_spread":0.20217512335596255,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2920323713","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9246322,0.0041762013,0.0012497947,0.001146231,0.00011519112,0.000016048383,0.00013386023,0.000037700673,0.06849283],"genre_scores_gemma":[0.99159044,0.00046476183,0.00023307005,0.00008250369,0.000023363098,0.000004118734,0.00002677655,0.0000115217235,0.007563424],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9996469,0.00009537076,0.000016208845,0.00010064969,0.000085092295,0.00005578972],"domain_scores_gemma":[0.99960107,0.00014064753,0.00010303593,0.00003769949,0.00008699072,0.00003055398],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000659213,0.0002175494,0.00012449134,0.0009190277,0.0013996742,0.0017575779,0.00017579719,0.00044271283,0.004634639],"category_scores_gemma":[0.0012998311,0.000112580004,0.00011457861,0.0008849714,0.0025586295,0.0007361538,0.00075142307,0.000554983,0.0003848682],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000405302,0.00006324925,0.13230574,0.0008280988,0.00008540372,0.0071716807,0.43522063,0.00032127852,0.0705986,0.07826598,0.0051831803,0.26955086],"study_design_scores_gemma":[0.000023155648,0.00033344066,0.63070494,0.00031291056,0.000070963055,0.0077931616,0.15193179,0.0003465676,0.0046725273,0.0026313763,0.20110635,0.00007280097],"about_ca_topic_score_codex":0.022455132,"about_ca_topic_score_gemma":0.03481663,"teacher_disagreement_score":0.022455132,"about_ca_system_score_codex":0.0010084655,"about_ca_system_score_gemma":0.0007031397,"threshold_uncertainty_score":0.044648826},"labels":[],"label_agreement":null},{"id":"W2920341908","doi":"10.7202/1055859ar","title":"Stratégies pédagogiques visant le développement des habiletés métacognitives du musicien en formation afin d’optimiser l’efficacité de ses pratiques instrumentales","year":2019,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Diverse Music Education Insights","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université Laval","funders":"","keywords":"Humanities; Political science; Philosophy","score_opus":0.039049274808555544,"score_gpt":0.2611158158317834,"score_spread":0.22206654102322784,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2920341908","genre_codex":"empirical","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":[0.43916687,0.014856768,0.1870669,0.022333285,0.0006308439,0.00095749414,0.00014377371,0.0010557418,0.33378828],"genre_scores_gemma":[0.8750255,0.008829184,0.08052471,0.0009722551,0.00008062618,0.0006021809,0.00006957261,0.00011466834,0.033781257],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9979499,0.0010116949,0.00008980661,0.0002677221,0.00046193777,0.00021889969],"domain_scores_gemma":[0.9968432,0.0017926233,0.0003021177,0.0002003782,0.00045184352,0.00040987346],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0028459367,0.0007021557,0.00035362094,0.0014362268,0.001465043,0.004288491,0.00082257955,0.0013825551,0.0074316924],"category_scores_gemma":[0.007101907,0.00029520696,0.0005483734,0.0005634202,0.00324874,0.0030111736,0.003384351,0.0022943746,0.0014110941],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00027917125,0.0010870483,0.016421465,0.002493067,0.00007953739,0.0009004499,0.14754312,0.0011732762,0.027203986,0.12436966,0.005303702,0.67314553],"study_design_scores_gemma":[0.00028586912,0.001672805,0.08388098,0.0055435994,0.00038570492,0.002150315,0.18022999,0.0048345863,0.039766595,0.18496808,0.49602622,0.0002552272],"about_ca_topic_score_codex":0.0026787275,"about_ca_topic_score_gemma":0.006177241,"teacher_disagreement_score":0.0074316924,"about_ca_system_score_codex":0.001961555,"about_ca_system_score_gemma":0.006127266,"threshold_uncertainty_score":0.024861455},"labels":[],"label_agreement":null},{"id":"W2920348420","doi":"10.7202/1055849ar","title":"The Resonance of Debussy for United States Post-Modernists","year":2019,"lang":"en","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"George (robot); Realm; Art history; Art; Philosophy; History; Archaeology","score_opus":0.02095741752960812,"score_gpt":0.2205891339730053,"score_spread":0.1996317164433972,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2920348420","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.78591716,0.0062973336,0.0015526395,0.07157039,0.0005450787,0.000014157633,0.000016159769,0.000045450353,0.13404164],"genre_scores_gemma":[0.99087614,0.00039200785,0.00011829322,0.002508881,0.000045949324,0.0000070959745,0.0000025772324,0.000011990233,0.0060371235],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9945463,0.0033571904,0.00007266574,0.00036085813,0.00044373464,0.0012192751],"domain_scores_gemma":[0.99668926,0.0018655504,0.00035107066,0.00014449364,0.00039987927,0.00054972124],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005392953,0.00028301886,0.00039951957,0.0011989971,0.030845776,0.006848479,0.00069379486,0.0036788986,0.0024270006],"category_scores_gemma":[0.006423588,0.00032363881,0.00017455066,0.0009953139,0.027105866,0.0053672227,0.007060358,0.0070194495,0.00024429546],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024852521,0.000009326256,0.0013444975,0.000017424656,0.000002192954,0.00028020187,0.91401047,0.000015009265,0.00037176762,0.075285986,0.0038818663,0.004756409],"study_design_scores_gemma":[0.000005862591,0.00003445567,0.0035062595,0.00017535285,0.000003859509,0.0003197053,0.6878414,0.00007862094,0.0003191895,0.006691214,0.30099383,0.00003018311],"about_ca_topic_score_codex":0.042661037,"about_ca_topic_score_gemma":0.060558766,"teacher_disagreement_score":0.042661037,"about_ca_system_score_codex":0.009194601,"about_ca_system_score_gemma":0.003930862,"threshold_uncertainty_score":0.084825456},"labels":[],"label_agreement":null},{"id":"W2920581639","doi":"10.7202/1055845ar","title":"Towards an Embodied Understanding of Performing Practices. A Gestural Analysis of Debussy’s “Minstrels” According to the 1912 Piano Rolls","year":2019,"lang":"en","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Gesture; Piano; Embodied cognition; Performative utterance; Performing arts; Musical; Art; Psychology; Reading (process); Interpretation (philosophy); Linguistics; Aesthetics; Cognitive psychology; Literature; Philosophy; Epistemology; Art history","score_opus":0.1030562410272479,"score_gpt":0.28657085372683566,"score_spread":0.18351461269958774,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2920581639","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.13462727,0.01173102,0.079770856,0.014320903,0.0003919472,0.00010475645,0.00017195751,0.00016006878,0.7587213],"genre_scores_gemma":[0.9595533,0.0017854973,0.009945535,0.0005295369,0.00016024146,0.00009307778,0.00007298823,0.00009984475,0.027759997],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9983076,0.000884316,0.000045063884,0.00030549575,0.00027466484,0.00018276287],"domain_scores_gemma":[0.9995004,0.00023674588,0.000071639195,0.00006018047,0.0000674691,0.000063595995],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001290308,0.00090954424,0.0003621493,0.0026875383,0.004081106,0.009984772,0.0009892111,0.0033979171,0.004061692],"category_scores_gemma":[0.0019103395,0.0003317018,0.0004557975,0.0014920265,0.035442512,0.006700676,0.0042985897,0.0029639772,0.00065537245],"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":[0.000013904199,0.0000069553653,0.00027165876,0.00003994384,0.0000036821139,0.00018534918,0.1180208,0.00024110937,0.000503359,0.87497854,0.0006431825,0.005091555],"study_design_scores_gemma":[0.000029156845,0.00011350136,0.0057240725,0.00055052905,0.000028383001,0.00095033075,0.12084204,0.002697855,0.0011042833,0.5448329,0.32307336,0.000053562326],"about_ca_topic_score_codex":0.01171601,"about_ca_topic_score_gemma":0.008863598,"teacher_disagreement_score":0.01171601,"about_ca_system_score_codex":0.0047576153,"about_ca_system_score_gemma":0.0015324674,"threshold_uncertainty_score":0.034519076},"labels":[],"label_agreement":null},{"id":"W2921899097","doi":"10.7202/1060130ar","title":"(Re)présenter les œuvres musicales. L’exemple des programmes de concert de la Société de musique contemporaine du Québec","year":2019,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Cultural Insights and Digital Impacts","field":"Computer Science","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Université Laval","funders":"","keywords":"Humanities; Art","score_opus":0.10420051653317633,"score_gpt":0.31108415446473153,"score_spread":0.2068836379315552,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2921899097","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1569996,0.009674336,0.014736759,0.016157882,0.0033296407,0.00015032353,0.0011612802,0.00025260888,0.7975375],"genre_scores_gemma":[0.7085868,0.0044216043,0.0036020058,0.0011374033,0.00042046522,0.00007787477,0.00039578258,0.00012872003,0.28122932],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99927706,0.00018082248,0.00002031157,0.00009409835,0.0002798076,0.000147815],"domain_scores_gemma":[0.99875927,0.00024948543,0.00009210288,0.0001110905,0.00054415927,0.0002439291],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008969859,0.0004619928,0.00017935346,0.0015222164,0.0054879654,0.0048173866,0.0006143537,0.0009782736,0.026425524],"category_scores_gemma":[0.0028700884,0.0001343617,0.00019454381,0.002141224,0.004969358,0.0016999196,0.0013939263,0.0016536226,0.0019989116],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018890158,0.00005461387,0.013817262,0.0006695431,0.000035885376,0.00080633326,0.25180748,0.0007546845,0.0062766615,0.3871545,0.098659225,0.23977497],"study_design_scores_gemma":[0.000007277128,0.00004355531,0.025808066,0.0003743306,0.000014134997,0.00028576594,0.04800119,0.00033860016,0.00060996896,0.004107933,0.9203722,0.000036972593],"about_ca_topic_score_codex":0.69080055,"about_ca_topic_score_gemma":0.8710847,"teacher_disagreement_score":0.30919945,"about_ca_system_score_codex":0.017619321,"about_ca_system_score_gemma":0.012275137,"threshold_uncertainty_score":0.62204075},"labels":[],"label_agreement":null},{"id":"W2922187992","doi":"10.7202/1062434ar","title":"Bergsonisme (« Anthologie du phem » / Mots clés, 2)","year":2019,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Philosophical and Theoretical 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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Philosophy; Art","score_opus":0.020230349365131017,"score_gpt":0.20561959383388867,"score_spread":0.18538924446875765,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2922187992","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.011290077,0.034491654,0.008272023,0.03634849,0.00658938,0.00006997101,0.00032191284,0.000070194976,0.90254635],"genre_scores_gemma":[0.3886513,0.020798903,0.0045230454,0.009118483,0.006617356,0.0002563301,0.00029079974,0.00020574742,0.56953806],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991033,0.00039258032,0.000028835098,0.00016112495,0.00020410666,0.00011010896],"domain_scores_gemma":[0.9995378,0.0002801843,0.000044045155,0.000022063348,0.00007227522,0.000043560747],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008068552,0.0005860949,0.00022509269,0.0011661729,0.0030443408,0.004377943,0.0005163857,0.0015983437,0.021640923],"category_scores_gemma":[0.0016790584,0.0001848764,0.00020126518,0.0009653092,0.0062001664,0.0033133295,0.0016543982,0.002770834,0.0029915585],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025996314,0.000010592394,0.00022115672,0.00015642328,0.0000032350697,0.00010523489,0.0069713406,0.000063860265,0.00028912327,0.9237597,0.05433931,0.014054039],"study_design_scores_gemma":[0.0000050149993,0.000015152972,0.000830434,0.00020031541,0.0000022293134,0.00014246735,0.0035967,0.00007119616,0.00020768533,0.050729815,0.9441914,0.0000074909917],"about_ca_topic_score_codex":0.007149156,"about_ca_topic_score_gemma":0.012517808,"teacher_disagreement_score":0.021640923,"about_ca_system_score_codex":0.0039404705,"about_ca_system_score_gemma":0.0022046766,"threshold_uncertainty_score":0.0723961},"labels":[],"label_agreement":null},{"id":"W2923404515","doi":"10.7202/1068385ar","title":"Les signes musicaux et leur étude par l’informatique. Le statut épistémologique du numérique dans l’appréhension du sens et de la signification en musique","year":2020,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Cultural Insights and Digital Impacts","field":"Computer Science","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.10272564253578352,"score_gpt":0.2924913744569531,"score_spread":0.18976573192116958,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2923404515","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08662808,0.032894902,0.18356927,0.017173614,0.0017663246,0.00012304966,0.0002738129,0.00032796722,0.677243],"genre_scores_gemma":[0.865938,0.013698571,0.04391193,0.0010207524,0.00075911306,0.0001496576,0.00015420016,0.00020040538,0.07416739],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.996718,0.0015513593,0.00014169756,0.0004498422,0.0009867846,0.00015230254],"domain_scores_gemma":[0.99610597,0.0023365542,0.00033173713,0.0005358034,0.0005339538,0.00015589436],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003172722,0.0007911006,0.0004907685,0.0029984557,0.002892813,0.0131626995,0.0009638517,0.002174636,0.012665658],"category_scores_gemma":[0.010707761,0.0003753754,0.0005383062,0.0027075703,0.016335307,0.009500025,0.0035519185,0.0027103764,0.0017286572],"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":[0.00006313727,0.000013561254,0.0013444732,0.0003951962,0.000022852371,0.0002964612,0.025556274,0.0006494133,0.002082256,0.9061118,0.0016811696,0.06178339],"study_design_scores_gemma":[0.000025889996,0.0001041781,0.0060568936,0.0011838177,0.00004716328,0.0015454876,0.033146802,0.0028369739,0.0031325584,0.46984562,0.48196906,0.00010562749],"about_ca_topic_score_codex":0.005748047,"about_ca_topic_score_gemma":0.0059959656,"teacher_disagreement_score":0.0131626995,"about_ca_system_score_codex":0.0035524014,"about_ca_system_score_gemma":0.002332953,"threshold_uncertainty_score":0.042370856},"labels":[],"label_agreement":null},{"id":"W2965573709","doi":"10.7202/1062430ar","title":"Le paradoxe du clavicorde et la technique de Bach au clavier","year":2019,"lang":"fr","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.014756992571958632,"score_gpt":0.2644223244916239,"score_spread":0.24966533191966525,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2965573709","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3152952,0.007786386,0.111265615,0.006677933,0.00085895933,0.0001090349,0.00010156311,0.00025906373,0.55764633],"genre_scores_gemma":[0.941116,0.0012990439,0.017546706,0.0005270295,0.00011118577,0.00007437493,0.000041995958,0.00013368095,0.039150123],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9973133,0.0010767813,0.000082688515,0.0005827207,0.00078098173,0.00016346462],"domain_scores_gemma":[0.9962604,0.0022272617,0.000269583,0.00057774904,0.00048047912,0.0001844782],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0031356106,0.0006368534,0.0003911736,0.000766543,0.002359654,0.0048396117,0.0010737814,0.0011164114,0.012435204],"category_scores_gemma":[0.010302474,0.00045772677,0.00051594124,0.0005758382,0.009656093,0.0041029444,0.0027911935,0.0022044794,0.0012066776],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00031950962,0.00003346167,0.0028832892,0.0003996023,0.00003785518,0.00023281846,0.044466402,0.0008252117,0.00990707,0.8808246,0.002152296,0.057917785],"study_design_scores_gemma":[0.00027472142,0.00059910555,0.027940203,0.0010161664,0.00015655303,0.002192523,0.04034825,0.008817963,0.016870048,0.5989471,0.30256546,0.00027186022],"about_ca_topic_score_codex":0.009017368,"about_ca_topic_score_gemma":0.008685636,"teacher_disagreement_score":0.012435204,"about_ca_system_score_codex":0.00271501,"about_ca_system_score_gemma":0.0023631859,"threshold_uncertainty_score":0.04159987},"labels":[],"label_agreement":null},{"id":"W2969222441","doi":"10.7202/1060132ar","title":"David Cronenberg et Howard Shore. Bref portrait d’une longue collaboration","year":2019,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Humanities; Art; Ethnology; Sociology","score_opus":0.021637140029711285,"score_gpt":0.281778086425094,"score_spread":0.2601409463953827,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2969222441","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.02004186,0.16088727,0.0027789625,0.16199906,0.010678775,0.00007720128,0.00013654825,0.00013159848,0.64326864],"genre_scores_gemma":[0.15290102,0.06534986,0.0020849453,0.018339386,0.0024437432,0.00009047802,0.000075050055,0.00014995324,0.75856566],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99919516,0.00023279729,0.000019916812,0.00013136576,0.00030223012,0.000118570235],"domain_scores_gemma":[0.99947506,0.00018716042,0.00004015271,0.0000207151,0.000119206605,0.000157616],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00081869034,0.0004304865,0.0002281627,0.00140269,0.008168594,0.0039575477,0.0006672407,0.0017030273,0.016492305],"category_scores_gemma":[0.0016746831,0.00025679017,0.00016605525,0.0010114228,0.00579847,0.0035284297,0.0025129656,0.0032876139,0.002918428],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000537121,0.00005390927,0.0010522836,0.00033660405,0.0000089100195,0.0008881514,0.087808736,0.000089390196,0.0016297954,0.24082729,0.5578671,0.10938408],"study_design_scores_gemma":[0.0000014431802,0.0000053239,0.00048193167,0.00007931715,0.0000011674331,0.00013248989,0.008002105,0.000011947845,0.00009428329,0.0017800914,0.9894064,0.0000035199507],"about_ca_topic_score_codex":0.04154537,"about_ca_topic_score_gemma":0.1265438,"teacher_disagreement_score":0.04154537,"about_ca_system_score_codex":0.004648094,"about_ca_system_score_gemma":0.0030631926,"threshold_uncertainty_score":0.08260709},"labels":[],"label_agreement":null},{"id":"W2969237004","doi":"10.7202/1060125ar","title":"« Panel sur la critique musicale », dans le cadre du colloque international Qu’en est-il du goût musical dans le monde au XXIe siècle ?, 28 février 2013, Faculté de musique, Université de Montréal, salle Serge-Garant","year":2019,"lang":"fr","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Political science","score_opus":0.009452940645051682,"score_gpt":0.21609658668069956,"score_spread":0.2066436460356479,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2969237004","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":[0.011409695,0.058639914,0.0014993764,0.6430379,0.045171835,0.0002640788,0.0012617746,0.00014867357,0.23856671],"genre_scores_gemma":[0.09375131,0.014270215,0.00087460154,0.057316907,0.0076042837,0.00028043057,0.0005054234,0.00038641557,0.8250104],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99607974,0.001016923,0.00009842908,0.0005767341,0.0011796186,0.0010486129],"domain_scores_gemma":[0.99664307,0.0006418057,0.0001327091,0.00011709538,0.0012473117,0.0012180749],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0044956193,0.0010575232,0.00058359763,0.0008124119,0.012099576,0.008624391,0.001585849,0.0075170784,0.030461678],"category_scores_gemma":[0.007134536,0.0004543326,0.00057373394,0.0011593446,0.006210844,0.0033330712,0.004112354,0.0077823987,0.004793811],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006964788,0.000020559288,0.00065074395,0.000156294,0.0000060910597,0.00015570459,0.00946131,0.00006372722,0.0010799504,0.015571824,0.9568763,0.015887858],"study_design_scores_gemma":[0.000009788444,0.000006616955,0.002898556,0.00013281639,0.0000028533252,0.00001902735,0.0042039678,0.00002035955,0.00014573013,0.0006762841,0.99187124,0.000012948476],"about_ca_topic_score_codex":0.4445994,"about_ca_topic_score_gemma":0.64493585,"teacher_disagreement_score":0.4445994,"about_ca_system_score_codex":0.025243867,"about_ca_system_score_gemma":0.036826994,"threshold_uncertainty_score":0.8840231},"labels":[],"label_agreement":null},{"id":"W2969247203","doi":"10.7202/1060120ar","title":"Chansons madécasses, modernisme et érotisme","year":2019,"lang":"fr","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Humanities; Art","score_opus":0.0266667004471621,"score_gpt":0.23730874732595944,"score_spread":0.21064204687879734,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2969247203","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10746304,0.02677053,0.01024004,0.029762112,0.0019132454,0.00004015476,0.00005026046,0.00006611914,0.82369447],"genre_scores_gemma":[0.91387504,0.0058581242,0.0010055194,0.0010214198,0.00044789267,0.000030472385,0.000015646996,0.000040362196,0.07770558],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991099,0.00039986003,0.000019644202,0.00012816093,0.00021146877,0.00013088001],"domain_scores_gemma":[0.9992211,0.0004489863,0.00009015232,0.00007111573,0.00009437743,0.00007431615],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011576341,0.00041729092,0.00021453378,0.00079592294,0.003348504,0.0033750772,0.00052151276,0.0015721516,0.006601926],"category_scores_gemma":[0.0027113033,0.0001343211,0.00018708878,0.0007752598,0.019224808,0.0033067758,0.002459082,0.0027679629,0.00057347753],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000033522938,0.0000050447406,0.0002963671,0.00007212787,0.0000036434967,0.00025278045,0.039530788,0.00006435308,0.0004224504,0.9461972,0.0033634733,0.009758207],"study_design_scores_gemma":[0.000023016732,0.00005592119,0.0025390391,0.0003656113,0.000011565132,0.00094845024,0.05043377,0.00026025952,0.0009839643,0.21720417,0.72714007,0.00003425018],"about_ca_topic_score_codex":0.0072654323,"about_ca_topic_score_gemma":0.0093459785,"teacher_disagreement_score":0.0072654323,"about_ca_system_score_codex":0.0033022277,"about_ca_system_score_gemma":0.0017457213,"threshold_uncertainty_score":0.023959458},"labels":[],"label_agreement":null},{"id":"W2969268424","doi":"10.7202/1060121ar","title":"Minarets et pagodes","year":2019,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Cultural Identity and Heritage","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Humanities; Art","score_opus":0.03791135388191413,"score_gpt":0.24042865378687886,"score_spread":0.20251729990496473,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2969268424","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.045248277,0.0073187198,0.0012013213,0.0055444054,0.0012805705,0.00003830577,0.00010600131,0.00008897835,0.93917346],"genre_scores_gemma":[0.51589936,0.0037557571,0.0009860873,0.0011491723,0.00074534636,0.00005911797,0.00008919433,0.00016877978,0.4771472],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989096,0.00044443904,0.000032955806,0.00018057268,0.00021171146,0.00022073816],"domain_scores_gemma":[0.99970514,0.00007490344,0.00004426026,0.00004263699,0.00005139017,0.00008172967],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010571565,0.0005554095,0.0003368807,0.0009805219,0.006624703,0.004292125,0.0004607668,0.0010392506,0.027546834],"category_scores_gemma":[0.0017966382,0.00020902076,0.0001872742,0.0011606402,0.006644558,0.0021278488,0.0037406264,0.0020335142,0.0045096236],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008096154,0.000018082577,0.0013922341,0.00012413172,0.000005279174,0.00034892064,0.09619748,0.00004549017,0.0005643734,0.83715695,0.023314016,0.04075216],"study_design_scores_gemma":[0.000004766056,0.00002021092,0.0014976407,0.00009676239,0.0000024071928,0.00013777388,0.008027835,0.000020294476,0.00016430259,0.007579461,0.9824431,0.0000053691383],"about_ca_topic_score_codex":0.0074526295,"about_ca_topic_score_gemma":0.017651655,"teacher_disagreement_score":0.027546834,"about_ca_system_score_codex":0.004040529,"about_ca_system_score_gemma":0.0013957828,"threshold_uncertainty_score":0.09215331},"labels":[],"label_agreement":null},{"id":"W2969289666","doi":"10.7202/1062429ar","title":"Pour un système de quantification de la complexité de réalisation pianistique. L’exemple de José Vianna da Motta","year":2019,"lang":"fr","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Philosophy","score_opus":0.03830318971329465,"score_gpt":0.27630921918528595,"score_spread":0.2380060294719913,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2969289666","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":[0.015802873,0.0010981316,0.926051,0.0036937,0.0002791923,0.0003415503,0.0005844555,0.003475242,0.048673846],"genre_scores_gemma":[0.25203833,0.00074026856,0.72454,0.0005330897,0.00015174825,0.0008179758,0.0007714316,0.0007338584,0.019673204],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.98998404,0.0034506477,0.0007118842,0.00290683,0.0026572465,0.00028932572],"domain_scores_gemma":[0.9870385,0.007456758,0.0009846948,0.0016826065,0.0024807148,0.0003567764],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.010217134,0.0012638217,0.0008929542,0.0051125623,0.0030295656,0.014257767,0.0015399862,0.002798295,0.022103274],"category_scores_gemma":[0.03895384,0.00088645,0.001548004,0.0039558187,0.0071004513,0.015165023,0.006754481,0.003445878,0.004077565],"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":[0.00019209941,0.000063607855,0.00510994,0.00077778863,0.00012964843,0.00023067411,0.012096735,0.005141668,0.009482538,0.83356667,0.0054008644,0.12780778],"study_design_scores_gemma":[0.00010328892,0.00027050485,0.009292772,0.00096260756,0.00018058438,0.0008071964,0.010106182,0.092199676,0.014724507,0.5652878,0.30576462,0.000300217],"about_ca_topic_score_codex":0.009816651,"about_ca_topic_score_gemma":0.0066471994,"teacher_disagreement_score":0.022103274,"about_ca_system_score_codex":0.004906889,"about_ca_system_score_gemma":0.004381931,"threshold_uncertainty_score":0.07394284},"labels":[],"label_agreement":null},{"id":"W2969316132","doi":"10.7202/1060135ar","title":"Debus-si e(s)t Pierrot. Rire pour ne pas pleurer","year":2019,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Historical and Literary Studies","field":"Social Sciences","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.03156329708291611,"score_gpt":0.25019728631132426,"score_spread":0.21863398922840815,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2969316132","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.014715721,0.00740183,0.002874588,0.04986902,0.005771009,0.000058478123,0.00050137,0.0004290353,0.918379],"genre_scores_gemma":[0.0803599,0.0025360214,0.0014826237,0.007886145,0.0009126204,0.00003329772,0.0003078674,0.0002955871,0.90618587],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99922216,0.00016845357,0.000021262169,0.00017358453,0.00028674104,0.00012790998],"domain_scores_gemma":[0.99931884,0.00012885928,0.000058019534,0.00005199707,0.00029005427,0.00015220302],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00062383316,0.0006117209,0.0002658716,0.0005768654,0.0034385042,0.0041652434,0.0005619354,0.0017668953,0.11230841],"category_scores_gemma":[0.0022829757,0.00023860154,0.00025471897,0.0006450216,0.0021755614,0.002642922,0.0023446165,0.002460348,0.032896142],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013200275,0.000039238836,0.00303876,0.00027705758,0.0000122848205,0.00077583536,0.013064559,0.00008770757,0.0025536462,0.1749569,0.6699854,0.13507655],"study_design_scores_gemma":[0.0000031511033,0.000009936927,0.0009048642,0.00004820057,0.0000016169353,0.00026697785,0.001324724,0.00005684238,0.0002834402,0.001439343,0.9956533,0.0000075882335],"about_ca_topic_score_codex":0.03378578,"about_ca_topic_score_gemma":0.06812843,"teacher_disagreement_score":0.11230841,"about_ca_system_score_codex":0.0029515447,"about_ca_system_score_gemma":0.0021360016,"threshold_uncertainty_score":0.37570906},"labels":[],"label_agreement":null},{"id":"W2969406662","doi":"10.7202/1060108ar","title":"Le Verfügbar aux Enfers","year":2019,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Historical and Literary Analyses","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Philosophy; Art","score_opus":0.02829342064322338,"score_gpt":0.21848865732910816,"score_spread":0.19019523668588478,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2969406662","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10530603,0.024594227,0.007759865,0.026741935,0.0075492235,0.000099099365,0.00036782396,0.00042152285,0.8271603],"genre_scores_gemma":[0.3446557,0.005649966,0.0029896514,0.0019131214,0.0008507515,0.000095588315,0.00017859015,0.0003869175,0.64327973],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985721,0.0004854953,0.000039370618,0.0002074572,0.00045021632,0.00024533435],"domain_scores_gemma":[0.9990201,0.00037189628,0.0000846198,0.00011874216,0.00027205347,0.00013261243],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016580336,0.00066349213,0.00036154475,0.0012207243,0.004433254,0.0051524127,0.000580566,0.0011664184,0.02356596],"category_scores_gemma":[0.0038528717,0.00021899288,0.0002143326,0.00085542817,0.004507528,0.0023815427,0.0034211413,0.0025830346,0.0040617497],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00032269675,0.000027451259,0.0017467696,0.0005434676,0.000014499662,0.0016756583,0.19804673,0.0001713002,0.0078233285,0.50490505,0.12290682,0.16181616],"study_design_scores_gemma":[0.0000034699292,0.000023042663,0.0018199736,0.00023238666,0.000003992303,0.00023067126,0.008326299,0.0000320806,0.0006212558,0.002438265,0.9862599,0.000008538423],"about_ca_topic_score_codex":0.018204903,"about_ca_topic_score_gemma":0.0309495,"teacher_disagreement_score":0.02356596,"about_ca_system_score_codex":0.0038408611,"about_ca_system_score_gemma":0.0026986469,"threshold_uncertainty_score":0.078835964},"labels":[],"label_agreement":null},{"id":"W2969427613","doi":"10.7202/1060134ar","title":"Hybridité, authenticité et atteinte du succès international ; réflexion sur les processus de commercialisation de disques de world music","year":2019,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Cultural Industries and Urban Development","field":"Social Sciences","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Humanities; Art","score_opus":0.057263056615103905,"score_gpt":0.28600134962140417,"score_spread":0.22873829300630028,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2969427613","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.29731044,0.0037541564,0.016250867,0.011363453,0.00019469378,0.000054795113,0.000051316678,0.00005449203,0.6709658],"genre_scores_gemma":[0.97316736,0.000895114,0.0013588757,0.00023318833,0.000050081646,0.000027650907,0.000015593321,0.00003791481,0.024214175],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99605113,0.0021322966,0.00010887066,0.00045698424,0.00077148125,0.0004792955],"domain_scores_gemma":[0.9961569,0.0020526235,0.0005473175,0.00044381784,0.0003879652,0.00041138695],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005367225,0.0005108611,0.00023750594,0.0023743245,0.0055064587,0.014090656,0.0009141681,0.0018246998,0.0102689415],"category_scores_gemma":[0.007595241,0.00023718302,0.00024609978,0.0023101575,0.027724545,0.008045923,0.0077950833,0.002954895,0.0008195521],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003281403,0.000019936246,0.0019011637,0.000070784954,0.0000058987994,0.0003307479,0.24356815,0.00008125123,0.00075787614,0.7268091,0.0011512396,0.025271099],"study_design_scores_gemma":[0.00002154415,0.00009773241,0.008562943,0.00046668944,0.000014992897,0.0009952153,0.4279244,0.0005112829,0.0017726672,0.111372985,0.44821188,0.000047691923],"about_ca_topic_score_codex":0.007296824,"about_ca_topic_score_gemma":0.007409362,"teacher_disagreement_score":0.014090656,"about_ca_system_score_codex":0.0045455676,"about_ca_system_score_gemma":0.0026688513,"threshold_uncertainty_score":0.034353077},"labels":[],"label_agreement":null},{"id":"W2969472955","doi":"10.7202/1062431ar","title":"De l’intention musicale au jeu instrumental. Développement d’un protocole de recherche pour l’analyse qualitative et quantitative de trois styles d’interprétation d’une oeuvre de J.-S. Bach au piano","year":2019,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Musicology and Musical Analysis","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.17691938996075823,"score_gpt":0.3988448761992341,"score_spread":0.22192548623847586,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2969472955","genre_codex":"methods","genre_gemma":"methods","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"methods","genre_consensus":"methods","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.30580318,0.0028010984,0.37231678,0.006408251,0.0027220354,0.14660053,0.008993885,0.0011827709,0.15317152],"genre_scores_gemma":[0.30585313,0.0017307893,0.301369,0.0029411605,0.00035051344,0.33877602,0.0035814955,0.000563079,0.044834774],"study_design_codex":"design_other","study_design_gemma":"qualitative","domain_scores_codex":[0.95067286,0.03130159,0.0038565584,0.0049198815,0.008017386,0.0012317582],"domain_scores_gemma":[0.886959,0.054503705,0.006280957,0.012723778,0.037738394,0.0017941504],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.04837528,0.0010536064,0.0008023962,0.0030258019,0.003543623,0.004308483,0.0017378572,0.0023932457,0.023574667],"category_scores_gemma":[0.11379052,0.0011357951,0.0014055141,0.0018091302,0.0048053493,0.0032375646,0.004708149,0.0040963735,0.0060928273],"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":[0.0022792285,0.0014815757,0.019681262,0.010306908,0.00016527089,0.00073197694,0.36119193,0.0020816892,0.031887677,0.06920579,0.031367995,0.46961868],"study_design_scores_gemma":[0.0010594291,0.0027988516,0.08422879,0.008194312,0.00024365848,0.000584197,0.19538,0.0056980294,0.0322292,0.050795916,0.6181887,0.0005987819],"about_ca_topic_score_codex":0.0044535734,"about_ca_topic_score_gemma":0.0074315793,"teacher_disagreement_score":0.04837528,"about_ca_system_score_codex":0.004183519,"about_ca_system_score_gemma":0.012859273,"threshold_uncertainty_score":0.255836},"labels":[],"label_agreement":null},{"id":"W2969477428","doi":"10.7202/1062433ar","title":"Capture synchrone de la production sonore et de la gestuelle du pianiste. Vers une interprétation","year":2019,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Physics","score_opus":0.010561224365600766,"score_gpt":0.27086317097606893,"score_spread":0.2603019466104682,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2969477428","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.70664954,0.0024740617,0.24215329,0.00040335386,0.0004561227,0.0005389162,0.00091338845,0.0014462197,0.044965062],"genre_scores_gemma":[0.8836024,0.0011246016,0.08039584,0.00034026694,0.00008493581,0.0004342564,0.000735655,0.00020390477,0.03307826],"study_design_codex":"bench_or_experimental","study_design_gemma":"observational","domain_scores_codex":[0.99953115,0.00006907127,0.000016878284,0.0001590039,0.00017195781,0.0000518761],"domain_scores_gemma":[0.99929535,0.00035058643,0.000052481675,0.00010813007,0.00014312821,0.00005027427],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00044876325,0.00051132,0.00026237863,0.00042493342,0.00035874653,0.0009986165,0.00041380204,0.0007234632,0.011461879],"category_scores_gemma":[0.0017867006,0.0003461973,0.000309729,0.00039180304,0.0006717655,0.00078859914,0.0010512938,0.00059779355,0.0015879279],"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":[0.0013545786,0.00006287551,0.0046583717,0.00053344533,0.00006271867,0.0006346067,0.0027420043,0.0013449007,0.8261333,0.0033211813,0.0011317674,0.15802024],"study_design_scores_gemma":[0.00021231538,0.002588088,0.22605194,0.00039432873,0.00024661026,0.0049494873,0.0039383173,0.01913232,0.6224093,0.004343362,0.11546408,0.00026977755],"about_ca_topic_score_codex":0.0027099033,"about_ca_topic_score_gemma":0.003813829,"teacher_disagreement_score":0.011461879,"about_ca_system_score_codex":0.00037390736,"about_ca_system_score_gemma":0.00048627116,"threshold_uncertainty_score":0.038343847},"labels":[],"label_agreement":null},{"id":"W2969498768","doi":"10.7202/1060111ar","title":"Le pianiste (2002) de Roman Polanski","year":2019,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Translation Studies and Practices","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Humanities; Art","score_opus":0.023248273458636816,"score_gpt":0.23116729966591498,"score_spread":0.20791902620727817,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2969498768","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08529732,0.012908974,0.00489875,0.0233557,0.0016518972,0.00009666442,0.00017086751,0.00007065238,0.8715491],"genre_scores_gemma":[0.68232834,0.005730146,0.0016153065,0.0036039266,0.0002531364,0.00012523668,0.000095613745,0.000110434274,0.3061379],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99914956,0.00036591446,0.000031151736,0.00014805063,0.00015739526,0.00014794296],"domain_scores_gemma":[0.9996642,0.00014617085,0.0000452646,0.00003065667,0.000053711792,0.00005995556],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008191359,0.00057499466,0.00027823276,0.0009777118,0.008139655,0.00561039,0.00044229793,0.0016974784,0.013142429],"category_scores_gemma":[0.0021173179,0.00031496212,0.000179906,0.0014153786,0.006586948,0.003988035,0.0028985373,0.004217616,0.0023802388],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013885356,0.00004157173,0.0016563074,0.00031546204,0.000007255242,0.0007994601,0.16820052,0.00007773869,0.0018004064,0.74789107,0.033331726,0.045739625],"study_design_scores_gemma":[0.00001617952,0.000050954277,0.005699315,0.0004200266,0.000007985388,0.0008288735,0.032794315,0.00012704666,0.0009042558,0.026240863,0.93288755,0.000022729344],"about_ca_topic_score_codex":0.017064326,"about_ca_topic_score_gemma":0.034388322,"teacher_disagreement_score":0.017064326,"about_ca_system_score_codex":0.004929139,"about_ca_system_score_gemma":0.0028930274,"threshold_uncertainty_score":0.043965816},"labels":[],"label_agreement":null},{"id":"W2969523160","doi":"10.7202/1060110ar","title":"L’interprétation vocale du Verfügbar aux Enfers au XXIe siècle","year":2019,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Cultural Insights and Digital Impacts","field":"Computer Science","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Humanities; Philosophy; Political science","score_opus":0.15816474564899843,"score_gpt":0.28764601323475825,"score_spread":0.1294812675857598,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2969523160","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4053418,0.005404719,0.10626591,0.018568918,0.0046426463,0.00024749446,0.00029805722,0.0010362183,0.45819423],"genre_scores_gemma":[0.8032921,0.0020272415,0.021579914,0.0016086613,0.00052774226,0.00021633293,0.00015559321,0.0008392107,0.16975325],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9965199,0.001756894,0.00007684199,0.00042686617,0.0008554055,0.00036400318],"domain_scores_gemma":[0.9971282,0.0015281992,0.00018914966,0.00027680228,0.00051997707,0.00035776698],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004460456,0.001115714,0.00056350423,0.0012819794,0.005712187,0.0069108442,0.0010354734,0.0019502178,0.016367512],"category_scores_gemma":[0.010276956,0.00029102055,0.00038871163,0.00060900854,0.008091717,0.0046030283,0.0058267205,0.003420665,0.0029647802],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00033224872,0.00005768331,0.0028816941,0.00046198192,0.000022146069,0.0012061959,0.6723366,0.0003170332,0.017840145,0.16184337,0.015803492,0.12689745],"study_design_scores_gemma":[0.000019381881,0.00026887312,0.006061605,0.0007918267,0.00003146197,0.0012294328,0.24326204,0.000596396,0.0042910334,0.011718869,0.7316496,0.00007957263],"about_ca_topic_score_codex":0.0056461957,"about_ca_topic_score_gemma":0.010635152,"teacher_disagreement_score":0.016367512,"about_ca_system_score_codex":0.0020106386,"about_ca_system_score_gemma":0.001806331,"threshold_uncertainty_score":0.054754853},"labels":[],"label_agreement":null},{"id":"W2969545072","doi":"10.7202/1062432ar","title":"Parameters of Stretto Use inside the Contrapunctus 5 of the Art of Fugue by Johann Sebastian Bach (BWV 1080, 5)1","year":2019,"lang":"en","type":"article","venue":"Revue musicale OICRM","topic":"Bach Studies and Logistics Development","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Fugue (hash function); Art; Subject (documents); Perspective (graphical); Art history; Visual arts; Computer science; Literature; World Wide Web","score_opus":0.02725156753093209,"score_gpt":0.18006193049018604,"score_spread":0.15281036295925396,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2969545072","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.32017317,0.0023582731,0.008805529,0.0012326456,0.00033971525,0.000050263043,0.00007433584,0.00010121974,0.6668649],"genre_scores_gemma":[0.9700205,0.00035358002,0.0012071149,0.000061767,0.000064156804,0.0000142736735,0.000028400047,0.00006619318,0.028183943],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99925965,0.0003487928,0.000023246852,0.0000871587,0.000196233,0.00008497679],"domain_scores_gemma":[0.9995913,0.00024380215,0.000041036285,0.000056413974,0.0000425208,0.00002496229],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00071874895,0.00029033187,0.00011425196,0.00088927464,0.001857569,0.00360374,0.0002171509,0.0005610208,0.008156264],"category_scores_gemma":[0.0020655508,0.00012852396,0.00014819075,0.0005223383,0.006134893,0.002438306,0.002672734,0.0010336023,0.00084368483],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015659725,0.000020762283,0.0027804608,0.000117103635,0.000008165065,0.00048170832,0.089022234,0.00023616679,0.0052638752,0.83944243,0.003735592,0.058734827],"study_design_scores_gemma":[0.000022250764,0.0003059701,0.040831514,0.0006115584,0.000027559114,0.002192988,0.09328918,0.0008929567,0.009813708,0.12844476,0.72344023,0.00012734931],"about_ca_topic_score_codex":0.0010792753,"about_ca_topic_score_gemma":0.0025521491,"teacher_disagreement_score":0.008156264,"about_ca_system_score_codex":0.0011056841,"about_ca_system_score_gemma":0.00038514828,"threshold_uncertainty_score":0.027285457},"labels":[],"label_agreement":null},{"id":"W2969546891","doi":"10.7202/1060126ar","title":"La critique musicale : de la théorie à la pratique","year":2019,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Cultural Insights and Digital Impacts","field":"Computer Science","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Université de Montréal","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.06523548366821788,"score_gpt":0.3023864824009668,"score_spread":0.23715099873274895,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2969546891","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.040300224,0.09840947,0.058955584,0.31750673,0.006992441,0.00010210634,0.00010468475,0.00021732315,0.47741145],"genre_scores_gemma":[0.8849007,0.02471341,0.010950013,0.013312377,0.004179558,0.00022840338,0.000051253002,0.0002734269,0.061390877],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9812509,0.013220508,0.00033604936,0.0014449671,0.0029411495,0.0008063189],"domain_scores_gemma":[0.9809428,0.014433451,0.00082392205,0.0013783493,0.0015735622,0.00084789575],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.016107604,0.0010663144,0.0007662497,0.0039467188,0.010873468,0.018740417,0.002346365,0.005771692,0.008705342],"category_scores_gemma":[0.021286765,0.00036633786,0.00076992664,0.0033531873,0.086859286,0.012202015,0.0069133025,0.009077652,0.0010599943],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021579897,0.000010340343,0.00040124677,0.00019744116,0.000013215149,0.000087075045,0.06385022,0.00017196851,0.00021952923,0.91223776,0.00863884,0.014150777],"study_design_scores_gemma":[0.000025035322,0.000040493782,0.0011765409,0.0010371554,0.000017896904,0.00027808058,0.054013625,0.00073963497,0.00040247708,0.34810936,0.59410805,0.000051791892],"about_ca_topic_score_codex":0.035935096,"about_ca_topic_score_gemma":0.03297161,"teacher_disagreement_score":0.035935096,"about_ca_system_score_codex":0.019503571,"about_ca_system_score_gemma":0.011289506,"threshold_uncertainty_score":0.141509},"labels":[],"label_agreement":null},{"id":"W2969561791","doi":"10.7202/1060104ar","title":"Le Verfugbar aux Enfers – un document de conception orale","year":2019,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Historical Studies and Socio-cultural 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":true,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Art; Humanities","score_opus":0.018729743946806324,"score_gpt":0.21988815230827546,"score_spread":0.20115840836146914,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2969561791","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08046606,0.048280537,0.027858585,0.105571456,0.0072564343,0.00034160528,0.0008429347,0.000333083,0.7290493],"genre_scores_gemma":[0.40906227,0.020373056,0.009648754,0.0051386533,0.0010244627,0.0005991625,0.00041566722,0.00057262974,0.5531654],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9954098,0.0022682636,0.00015064346,0.00078645966,0.0009405668,0.00044421476],"domain_scores_gemma":[0.9969902,0.0014540703,0.00017225818,0.00037512538,0.00073013204,0.00027829644],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.006230246,0.0008043411,0.0006028018,0.0015918473,0.008330908,0.017104538,0.0014706329,0.0034663756,0.015481828],"category_scores_gemma":[0.0078137005,0.00041450694,0.00035224916,0.001561095,0.016747639,0.0071877996,0.0051030493,0.006536202,0.0035961117],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003802253,0.000028266672,0.0005920404,0.00028128974,0.0000059204635,0.00033336322,0.3195039,0.00011841141,0.0011696833,0.60367316,0.03051773,0.043738224],"study_design_scores_gemma":[0.000003549559,0.000020361518,0.0007349494,0.000574046,0.0000046152772,0.00019904427,0.048376296,0.000055642657,0.00047980124,0.012206442,0.9373279,0.000017369024],"about_ca_topic_score_codex":0.061741617,"about_ca_topic_score_gemma":0.05270232,"teacher_disagreement_score":0.061741617,"about_ca_system_score_codex":0.013187232,"about_ca_system_score_gemma":0.014670014,"threshold_uncertainty_score":0.12276447},"labels":[],"label_agreement":null},{"id":"W2969573207","doi":"10.7202/1060105ar","title":"Germaine Tillion","year":2019,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"French Historical and Cultural Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Dawson College","funders":"","keywords":"Humanities; Art; Futurist; Philosophy; Art history","score_opus":0.021951303243317326,"score_gpt":0.1893711356669069,"score_spread":0.16741983242358957,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2969573207","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.052204948,0.032696873,0.009464614,0.10959804,0.006124557,0.00006443731,0.00016170365,0.00044580217,0.78923905],"genre_scores_gemma":[0.5350772,0.007400935,0.0034046685,0.013583186,0.0015473971,0.000068672176,0.00006923811,0.00030723127,0.43854144],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9967055,0.0013850154,0.000061990686,0.000516423,0.0007857321,0.00054531184],"domain_scores_gemma":[0.99833006,0.00062887,0.00020025342,0.00020787465,0.00032312158,0.00030974532],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003005047,0.00096094236,0.00047599542,0.0013183119,0.00852402,0.0081681805,0.00073072687,0.0029512036,0.013961947],"category_scores_gemma":[0.004353651,0.0002543268,0.0005544553,0.0007582873,0.014532902,0.0043453844,0.0043323576,0.00485964,0.0032087287],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009172755,0.000029217068,0.0014293058,0.00016484337,0.000020242338,0.0014735045,0.101742364,0.00015026132,0.001373837,0.7482246,0.09227102,0.05302904],"study_design_scores_gemma":[0.000004511909,0.000028230026,0.00117618,0.00018572672,0.0000050895255,0.00061539887,0.011688642,0.00006528537,0.000512564,0.018615661,0.9670857,0.000017011567],"about_ca_topic_score_codex":0.020598443,"about_ca_topic_score_gemma":0.026581224,"teacher_disagreement_score":0.020598443,"about_ca_system_score_codex":0.0063237636,"about_ca_system_score_gemma":0.004563453,"threshold_uncertainty_score":0.046707332},"labels":[],"label_agreement":null},{"id":"W2969580990","doi":"10.7202/1062426ar","title":"Construire une interprétation, de l’appropriation de la partition à la répétition générale. La préparation d’un concert par le chef d’orchestre Pierre-André Valade à la lumière de l’analyse d’activité","year":2019,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Education, sociology, and vocational training","field":"Social Sciences","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"Agence Nationale de la Recherche","keywords":"Humanities; Art; Philosophy","score_opus":0.0608620902840136,"score_gpt":0.36685711577986,"score_spread":0.30599502549584645,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2969580990","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":[0.08273208,0.0027115948,0.6050635,0.004009062,0.0010599872,0.00046298452,0.0007668303,0.0011402596,0.30205366],"genre_scores_gemma":[0.6889795,0.0015105496,0.20948958,0.0013220963,0.00038740033,0.0006405085,0.0008040215,0.0008514407,0.09601483],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9965779,0.0012545511,0.00015410234,0.0011436662,0.00067710504,0.00019275198],"domain_scores_gemma":[0.997156,0.0013607697,0.0002615234,0.0005314732,0.000530268,0.00015988054],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023337821,0.0011353418,0.00048741393,0.0017714158,0.0018227994,0.0077232975,0.0013286587,0.0017766511,0.014636975],"category_scores_gemma":[0.008630569,0.0006603669,0.0010480289,0.0013846648,0.007063006,0.0062953467,0.0030919001,0.002110509,0.0030437114],"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":[0.00037111813,0.00008819381,0.009716153,0.00140885,0.00014885936,0.0013590928,0.144329,0.0018112754,0.04118207,0.5920015,0.010651997,0.19693191],"study_design_scores_gemma":[0.0000951082,0.00038880357,0.028220896,0.0012430459,0.00026728932,0.0029611536,0.06766259,0.013468322,0.0152266305,0.34381697,0.5264018,0.00024739184],"about_ca_topic_score_codex":0.005449226,"about_ca_topic_score_gemma":0.006416844,"teacher_disagreement_score":0.014636975,"about_ca_system_score_codex":0.0017423333,"about_ca_system_score_gemma":0.0020840704,"threshold_uncertainty_score":0.048965514},"labels":[],"label_agreement":null},{"id":"W2969592485","doi":"10.7202/1060115ar","title":"Les armes de l’esprit, Germaine Tillion 1939-1954, catalogue de l’exposition présentée par le Musée de la Résistance et de la Déportation de Besançon, 26 mai-20 septembre 2015, Citadelle de Besançon","year":2019,"lang":"fr","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Humanities; Exposition (narrative); Art; Literature","score_opus":0.010489369949750377,"score_gpt":0.2660338734808968,"score_spread":0.25554450353114644,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2969592485","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.057530038,0.15880293,0.0018290284,0.007760682,0.0042915344,0.0001507265,0.011024148,0.00019908385,0.75841177],"genre_scores_gemma":[0.22061786,0.051012255,0.0020221516,0.0012247396,0.0010667647,0.00023460612,0.00613886,0.0004444402,0.71723825],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992236,0.00014424056,0.00005126646,0.00012912648,0.00032248034,0.00012939818],"domain_scores_gemma":[0.9995763,0.00017969785,0.00005882204,0.000040511273,0.00009046294,0.000054181546],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010913782,0.00064824754,0.00035289486,0.003388345,0.0033407693,0.0032662787,0.0006224862,0.0013380928,0.02636737],"category_scores_gemma":[0.0022952415,0.00040130425,0.00029227874,0.0056319577,0.002446975,0.0016250621,0.0025412394,0.0016847727,0.0046862573],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00067863753,0.000045042892,0.005998573,0.0019414895,0.000043012744,0.0014336508,0.11231519,0.000527814,0.0041350382,0.13419078,0.50045496,0.23823583],"study_design_scores_gemma":[0.0000056485574,0.000009374042,0.008693652,0.00037377368,0.0000041732633,0.0001019832,0.0029434618,0.0000052792584,0.00022694033,0.0007711873,0.9868578,0.0000066496823],"about_ca_topic_score_codex":0.08637125,"about_ca_topic_score_gemma":0.17437726,"teacher_disagreement_score":0.08637125,"about_ca_system_score_codex":0.0060129534,"about_ca_system_score_gemma":0.0033293874,"threshold_uncertainty_score":0.17173702},"labels":[],"label_agreement":null},{"id":"W2969638936","doi":"10.7202/1060137ar","title":"Mon regard d’interprète. L’interprétation, un processusindissociable du texte musical","year":2019,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Cultural Insights and Digital Impacts","field":"Computer Science","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Philosophy; Humanities","score_opus":0.06622652960290082,"score_gpt":0.2579007134496234,"score_spread":0.19167418384672258,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2969638936","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.028464206,0.006601739,0.09270698,0.037578102,0.0038225355,0.00015022373,0.00021680254,0.000340267,0.83011925],"genre_scores_gemma":[0.7259379,0.006186262,0.042593125,0.006427926,0.0030675854,0.00027064438,0.0003306493,0.00091396767,0.21427187],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9915906,0.0042700353,0.00035518108,0.0010967486,0.0022256477,0.00046181388],"domain_scores_gemma":[0.99307853,0.0028867365,0.00045863324,0.0017820313,0.0013207139,0.00047333175],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0072614234,0.0010518543,0.00055256294,0.002598228,0.0052265725,0.019110668,0.0015144229,0.0032756736,0.020894555],"category_scores_gemma":[0.015973378,0.00039076176,0.0007013625,0.0019129862,0.026366185,0.011936969,0.008734173,0.0053112274,0.004257167],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007718,0.000028677527,0.00072501646,0.00024134036,0.00001954707,0.00033124434,0.045687303,0.00015318219,0.0027847136,0.901512,0.0066250702,0.0418147],"study_design_scores_gemma":[0.00002931258,0.000063233645,0.001672766,0.0007602942,0.00003899526,0.0007117206,0.036298253,0.00077913766,0.0024755618,0.26943687,0.6876883,0.000045502336],"about_ca_topic_score_codex":0.004501678,"about_ca_topic_score_gemma":0.004932637,"teacher_disagreement_score":0.020894555,"about_ca_system_score_codex":0.0045119426,"about_ca_system_score_gemma":0.0048560095,"threshold_uncertainty_score":0.06989926},"labels":[],"label_agreement":null},{"id":"W2969643300","doi":"10.7202/1060123ar","title":"Mélodie et orientalisme","year":2019,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Cultural Identity and Heritage","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Art; Humanities","score_opus":0.03257976353230114,"score_gpt":0.2378743039448586,"score_spread":0.20529454041255746,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2969643300","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.033099994,0.012217078,0.001912064,0.0017935571,0.00045155798,0.000011539142,0.000055959277,0.00006347145,0.95039475],"genre_scores_gemma":[0.8483999,0.005977031,0.0010970348,0.00045960245,0.00034756912,0.000019164538,0.00006770396,0.00009446007,0.14353754],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996562,0.000116348056,0.000014649502,0.00007508407,0.000056640223,0.00008108318],"domain_scores_gemma":[0.9998361,0.00004691681,0.000026341098,0.000032245545,0.000027956565,0.000030381343],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003673037,0.0006831113,0.00028606615,0.0008163828,0.0017152694,0.004208206,0.00035796096,0.0008323166,0.012114547],"category_scores_gemma":[0.0007694931,0.00011849304,0.000177836,0.0007145229,0.008011501,0.0018978231,0.0015686294,0.0011204606,0.0021298563],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007779926,0.000007851709,0.0005133364,0.00011732111,0.0000071157933,0.00028233256,0.016866246,0.00006859014,0.0015385947,0.9438272,0.004625507,0.03206806],"study_design_scores_gemma":[0.00002400448,0.000047406196,0.0033949027,0.00020415193,0.0000145008935,0.0008454192,0.011302876,0.00011676118,0.0012251955,0.08569653,0.89710146,0.000026754247],"about_ca_topic_score_codex":0.0062461235,"about_ca_topic_score_gemma":0.008226191,"teacher_disagreement_score":0.012114547,"about_ca_system_score_codex":0.0023690804,"about_ca_system_score_gemma":0.0005308373,"threshold_uncertainty_score":0.040527225},"labels":[],"label_agreement":null},{"id":"W2969665378","doi":"10.7202/1060109ar","title":"Reconstruire les numéros chantés du Verfügbar aux Enfers","year":2019,"lang":"fr","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.03026423654025151,"score_gpt":0.2110384519711265,"score_spread":0.180774215430875,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2969665378","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6505836,0.008891833,0.005004617,0.0057696193,0.00049349724,0.000060138445,0.00017490098,0.000055080087,0.32896668],"genre_scores_gemma":[0.95424443,0.0018330211,0.0012225631,0.00018053676,0.00006871885,0.00003302356,0.00004520885,0.000039575396,0.04233299],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981194,0.00067173305,0.00006705888,0.00029371906,0.00043008375,0.00041787798],"domain_scores_gemma":[0.9986957,0.0006456659,0.0002052468,0.00008870696,0.00021224485,0.00015243894],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002743015,0.00047946465,0.0003281363,0.0024838003,0.006736294,0.0048512993,0.0007235169,0.0009437676,0.008847932],"category_scores_gemma":[0.005641256,0.00022638471,0.00011295248,0.0021905224,0.010367785,0.0035111064,0.003447516,0.0017256999,0.0006039525],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000116021634,0.000016659058,0.007111031,0.00022394895,0.000008347377,0.0005531956,0.59437937,0.000111904075,0.0014275983,0.30711985,0.005098343,0.08383371],"study_design_scores_gemma":[0.000007729733,0.00008341371,0.03519006,0.00070314104,0.000012820361,0.00072535634,0.39228648,0.00015325735,0.000733978,0.012424115,0.55763954,0.000040177823],"about_ca_topic_score_codex":0.041948754,"about_ca_topic_score_gemma":0.10775387,"teacher_disagreement_score":0.041948754,"about_ca_system_score_codex":0.004968618,"about_ca_system_score_gemma":0.0023386679,"threshold_uncertainty_score":0.08340919},"labels":[],"label_agreement":null},{"id":"W2969689632","doi":"10.7202/1062437ar","title":"Au miroir du Lac des cygnes de Tchaïkovski, de Laurence Le Diagon-Jacquin","year":2019,"lang":"fr","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.020112155508244106,"score_gpt":0.25253454662829794,"score_spread":0.23242239112005383,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2969689632","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.020021787,0.48163092,0.00759792,0.24690126,0.029800331,0.00006666572,0.00036241187,0.00019848438,0.21342018],"genre_scores_gemma":[0.43914732,0.13614492,0.0051099695,0.02538918,0.015111683,0.00023151665,0.00034619647,0.0007723955,0.37774688],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99742764,0.0011867499,0.000055775865,0.0003837192,0.0007515702,0.00019455237],"domain_scores_gemma":[0.99715567,0.0014514291,0.00027325616,0.00009974541,0.00077479373,0.00024501415],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0024174443,0.00083551806,0.0005140491,0.0019239802,0.0036874027,0.005746502,0.0008247996,0.0024636865,0.011605334],"category_scores_gemma":[0.010053071,0.00028298027,0.0003889654,0.0012556913,0.0057880837,0.0045919996,0.0023809886,0.0044963816,0.0022372503],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003476343,0.00003463413,0.0013369058,0.00069152383,0.00004605672,0.00067900994,0.018394558,0.00019589887,0.0010994046,0.50131994,0.4146531,0.06120124],"study_design_scores_gemma":[0.000021907268,0.000014940257,0.0027244752,0.00047343416,0.00001093966,0.00043097587,0.003566126,0.0000894743,0.0005286715,0.016540686,0.97556794,0.000030449997],"about_ca_topic_score_codex":0.04430203,"about_ca_topic_score_gemma":0.047486775,"teacher_disagreement_score":0.04430203,"about_ca_system_score_codex":0.005536212,"about_ca_system_score_gemma":0.00422,"threshold_uncertainty_score":0.08808833},"labels":[],"label_agreement":null},{"id":"W2969754182","doi":"10.7202/1060103ar","title":"Présentation du numéro « Mémoire musicale et résistance. Autour du Verfügbar aux Enfers de Germaine Tillion »","year":2019,"lang":"fr","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Humanities; Art","score_opus":0.016003467485302236,"score_gpt":0.2291469461229444,"score_spread":0.21314347863764216,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2969754182","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":[0.009677398,0.16323088,0.002493017,0.14691535,0.1632408,0.00013674592,0.0005263377,0.00014867372,0.5136308],"genre_scores_gemma":[0.10565038,0.06739471,0.0014119324,0.016063318,0.045990556,0.0002737089,0.0005722469,0.0003329938,0.7623102],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99850595,0.00045162535,0.000076366596,0.00017582778,0.0006012338,0.0001889304],"domain_scores_gemma":[0.9984085,0.00063362217,0.00012698937,0.00008484071,0.0005049075,0.00024116166],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001525429,0.0008428889,0.0006504572,0.0013100791,0.0037443656,0.0056519224,0.000993025,0.002787534,0.060101274],"category_scores_gemma":[0.003805922,0.00021078375,0.00047629315,0.0013411102,0.0027554506,0.0031950136,0.0050899014,0.0039907997,0.008452398],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019357048,0.000057113775,0.00034640747,0.0013353917,0.000013133775,0.00062529993,0.0161567,0.00016424665,0.0023931104,0.09133219,0.7299658,0.15741698],"study_design_scores_gemma":[0.0000052694045,0.000019661815,0.0006188809,0.00044253096,0.0000027057295,0.00020833737,0.0030357968,0.000027578286,0.00023109256,0.0020578254,0.9933427,0.00000769145],"about_ca_topic_score_codex":0.0053329947,"about_ca_topic_score_gemma":0.007778667,"teacher_disagreement_score":0.060101274,"about_ca_system_score_codex":0.003511717,"about_ca_system_score_gemma":0.0031602702,"threshold_uncertainty_score":0.2010588},"labels":[],"label_agreement":null},{"id":"W2969781993","doi":"10.7202/1060138ar","title":"Compte rendu du douzième Forum international des jeunes compositeurs","year":2019,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Université de Montréal","funders":"","keywords":"Humanities; Art","score_opus":0.024591429557477465,"score_gpt":0.2639533298961048,"score_spread":0.23936190033862736,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2969781993","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11468803,0.055751283,0.004291352,0.07535173,0.0118635185,0.00010104128,0.0009002474,0.00024979835,0.736803],"genre_scores_gemma":[0.42578843,0.009383329,0.0026003665,0.0042482535,0.0030297094,0.0001335563,0.0005712307,0.00034978022,0.55389535],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9977836,0.00051335903,0.000059460144,0.00034571427,0.00064648135,0.0006514157],"domain_scores_gemma":[0.99646914,0.0011484688,0.00029276905,0.00030368957,0.0006829758,0.0011028165],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003700682,0.00048837357,0.00036202485,0.0027762055,0.0071309092,0.0093461685,0.0007647309,0.0027514673,0.030682212],"category_scores_gemma":[0.0062910463,0.00029572131,0.00031162196,0.002394731,0.00402484,0.004023187,0.005612447,0.003122912,0.003387907],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00028552325,0.00005410005,0.004586867,0.00055941404,0.000023836701,0.0011382753,0.10174202,0.00018497469,0.003535019,0.46677926,0.24704644,0.17406423],"study_design_scores_gemma":[0.0000045514666,0.000010852544,0.0038212524,0.00014520709,0.000002386385,0.00009586661,0.0064865053,0.00002303117,0.00016371161,0.0018442577,0.9873956,0.000006834542],"about_ca_topic_score_codex":0.023181247,"about_ca_topic_score_gemma":0.04851999,"teacher_disagreement_score":0.030682212,"about_ca_system_score_codex":0.004522071,"about_ca_system_score_gemma":0.005853772,"threshold_uncertainty_score":0.10264218},"labels":[],"label_agreement":null},{"id":"W2969788753","doi":"10.7202/1060122ar","title":"Dialogues of Cultures","year":2019,"lang":"en","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Orientalism; Orient; Russian literature; Russian culture; History; Literature; Musical; Period (music); Appeal; Modernism (music); Art; Art history; Aesthetics; Political science; Law","score_opus":0.030720925603457124,"score_gpt":0.2152142955656957,"score_spread":0.18449336996223858,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2969788753","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.043726828,0.011384046,0.009400029,0.034658805,0.002519102,0.00006842495,0.00019081686,0.00015432923,0.89789766],"genre_scores_gemma":[0.9155414,0.0032926342,0.002407979,0.0060251225,0.00066886516,0.0001344277,0.000112431284,0.00024776303,0.07156942],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.985797,0.011190715,0.00029841365,0.0009327571,0.0008298823,0.0009512982],"domain_scores_gemma":[0.9940679,0.0035277817,0.0002838173,0.0006731734,0.0006938659,0.00075349247],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0064193676,0.0008210662,0.00072375144,0.0019822689,0.017197965,0.017309014,0.0009875529,0.0031036984,0.013690354],"category_scores_gemma":[0.0103271,0.00032449,0.000496505,0.0022745088,0.021733178,0.0125652915,0.0107750995,0.0050004576,0.0019051805],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000029491473,0.0000110177,0.00029085355,0.00006925948,0.000008881909,0.0003095593,0.34401515,0.00004706023,0.0002559881,0.63331914,0.011803956,0.009839614],"study_design_scores_gemma":[0.000009398557,0.00001776339,0.00035556202,0.00029196346,0.0000075389576,0.00025867097,0.17087287,0.000117382355,0.00022042322,0.09520194,0.7326258,0.000020734971],"about_ca_topic_score_codex":0.005248196,"about_ca_topic_score_gemma":0.0051956694,"teacher_disagreement_score":0.017309014,"about_ca_system_score_codex":0.008703033,"about_ca_system_score_gemma":0.0028339536,"threshold_uncertainty_score":0.06314528},"labels":[],"label_agreement":null},{"id":"W2969802819","doi":"10.7202/1060106ar","title":"Chants de femmes triomphantes","year":2019,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Historical Studies and Socio-cultural 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":true,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Humanities; Art","score_opus":0.03558500190916304,"score_gpt":0.22746522530327162,"score_spread":0.1918802233941086,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2969802819","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":[0.90153277,0.0035510573,0.0010881692,0.003538475,0.0010224484,0.00012710193,0.00037771295,0.000083336476,0.088678874],"genre_scores_gemma":[0.7389426,0.0033775,0.0017248335,0.0029957586,0.00020825297,0.00016237839,0.00021659197,0.00006438321,0.25230768],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99967873,0.00007356953,0.000010692911,0.00006886854,0.000053455384,0.00011466323],"domain_scores_gemma":[0.99977034,0.000057357785,0.000028802442,0.000016228343,0.00006077726,0.0000664447],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00043561793,0.0005198098,0.00036035018,0.0007050006,0.005553821,0.0009902597,0.0003109521,0.0010489293,0.027499815],"category_scores_gemma":[0.0013524301,0.00036641676,0.00028972546,0.0004522344,0.0014235738,0.0010981828,0.0013249675,0.0012614959,0.0036499351],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00086722086,0.0005808486,0.06997014,0.0006548861,0.00007451556,0.018633682,0.5664426,0.0001255342,0.013921249,0.028456006,0.07337503,0.22689828],"study_design_scores_gemma":[0.00004083268,0.00081749447,0.102265246,0.00047218424,0.00004289725,0.013469866,0.28805342,0.000153506,0.0014365596,0.0018273587,0.59133387,0.00008680289],"about_ca_topic_score_codex":0.014762766,"about_ca_topic_score_gemma":0.038707938,"teacher_disagreement_score":0.027499815,"about_ca_system_score_codex":0.00062716054,"about_ca_system_score_gemma":0.0006064513,"threshold_uncertainty_score":0.09199607},"labels":[],"label_agreement":null},{"id":"W2969811835","doi":"10.7202/1062427ar","title":"Keeping Choro Alive in Brazilian Concert Music for Bassoon","year":2019,"lang":"en","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Repertoire; Popularity; Nationalism; Popular music; Taste; Raising (metalworking); History; Aesthetics; Advertising; Political science; Art; Visual arts; Literature; Psychology; Law; Engineering","score_opus":0.038927598214981915,"score_gpt":0.23070269964074056,"score_spread":0.19177510142575865,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2969811835","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.32129472,0.012988451,0.012609861,0.011827537,0.00078250736,0.000111187175,0.00021438839,0.00009548021,0.64007586],"genre_scores_gemma":[0.9745437,0.0028925084,0.0028300367,0.0005663303,0.000111816604,0.000031233176,0.00006459117,0.00008231812,0.018877558],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99870753,0.00061897584,0.000050485625,0.00018502625,0.00030789588,0.00013004734],"domain_scores_gemma":[0.99878234,0.00053457764,0.00017421943,0.00016275814,0.00021357703,0.00013256646],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018313524,0.00036328845,0.0002851439,0.0019094769,0.0060828016,0.003869036,0.00047459838,0.0006589847,0.005931516],"category_scores_gemma":[0.0049054595,0.00020891357,0.00019493836,0.002085467,0.00884058,0.002054725,0.002827673,0.0010963394,0.0005374034],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013961372,0.00003414305,0.008136749,0.00070557283,0.000020212485,0.0017179218,0.53111106,0.00016160976,0.008079745,0.31392473,0.008528485,0.12744017],"study_design_scores_gemma":[0.000012474362,0.00006711387,0.04322397,0.0015329611,0.000032750046,0.0017612333,0.24840558,0.00036568052,0.0012582287,0.029281281,0.6740105,0.000048210113],"about_ca_topic_score_codex":0.040593557,"about_ca_topic_score_gemma":0.13985771,"teacher_disagreement_score":0.040593557,"about_ca_system_score_codex":0.0030852684,"about_ca_system_score_gemma":0.0027651477,"threshold_uncertainty_score":0.08071458},"labels":[],"label_agreement":null},{"id":"W2969884498","doi":"10.7202/1060131ar","title":"Musique et effets sonores dans Star Wars : Épisode II – L’attaque des clones. Une alliance conflictuelle ?","year":2019,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Cultural Insights and Digital Impacts","field":"Computer Science","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Humanities; Art","score_opus":0.14338214376355649,"score_gpt":0.29847132872560794,"score_spread":0.15508918496205146,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2969884498","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":[0.87213296,0.0022288421,0.0037272729,0.0069347466,0.0002894693,0.00006655089,0.000051872023,0.000024351235,0.11454402],"genre_scores_gemma":[0.9861367,0.0006151427,0.0005367468,0.0006294938,0.000053959087,0.000032807027,0.000022307044,0.00002425863,0.011948542],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.997766,0.0011651124,0.00006661402,0.00023427616,0.00045275115,0.00031534294],"domain_scores_gemma":[0.99683905,0.0016950673,0.00048776055,0.00020843261,0.0003383237,0.00043133125],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002918811,0.00045524127,0.00044241012,0.00083343114,0.004948697,0.0061498904,0.0005470057,0.0016691929,0.0061120046],"category_scores_gemma":[0.008637961,0.00023455117,0.0001851583,0.0009442974,0.008538298,0.00339336,0.004772701,0.0024189649,0.00067929144],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0006291827,0.00015897144,0.019491673,0.00033809873,0.00006376149,0.0012941726,0.7146815,0.0003786878,0.0061267964,0.14479548,0.0047615035,0.10728012],"study_design_scores_gemma":[0.0000663727,0.00059727934,0.055682782,0.00033802266,0.0000675715,0.001098972,0.6619104,0.00047668247,0.0032167353,0.03148862,0.24498557,0.000071019786],"about_ca_topic_score_codex":0.006462409,"about_ca_topic_score_gemma":0.011197027,"teacher_disagreement_score":0.006462409,"about_ca_system_score_codex":0.0024522147,"about_ca_system_score_gemma":0.0016513303,"threshold_uncertainty_score":0.020446718},"labels":[],"label_agreement":null},{"id":"W2969891790","doi":"10.7202/1060136ar","title":"Quels liens établir entre la philosophie praxialiste de David Elliott et le programme de formation de niveau primaire du Ministère de l’Éducation au Québec (PFEQ) dans le domaine de la musique ?","year":2019,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Université Laval","funders":"","keywords":"Humanities; Philosophy; Art","score_opus":0.023322145308519445,"score_gpt":0.27648050023643306,"score_spread":0.2531583549279136,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2969891790","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":[0.061425015,0.084118776,0.019697336,0.4555364,0.003042695,0.00008339445,0.00009840457,0.00004862941,0.3759493],"genre_scores_gemma":[0.7951366,0.03204472,0.005407144,0.039572,0.00078731123,0.0001180131,0.00004706034,0.000079425045,0.12680778],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9962096,0.0018476873,0.000073019626,0.00048404836,0.0008062077,0.0005793988],"domain_scores_gemma":[0.9973793,0.0013039135,0.00024319907,0.00012427982,0.00058660324,0.00036270785],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0053861947,0.0004075877,0.00042435294,0.0016730942,0.010623603,0.008759747,0.0011288347,0.0037642154,0.0048479578],"category_scores_gemma":[0.006491338,0.00031313006,0.0002933787,0.0022848763,0.027152449,0.0057592965,0.0027458079,0.0068434794,0.0005415004],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020465903,0.000010325615,0.0005134197,0.00006749599,0.000005374702,0.000051797928,0.015101792,0.00009701373,0.00013056878,0.96186936,0.009290423,0.012841922],"study_design_scores_gemma":[0.00003619877,0.00003839001,0.006306192,0.0009605589,0.00001792263,0.00012447465,0.022871641,0.00043428378,0.00043776547,0.2766868,0.6920135,0.00007213857],"about_ca_topic_score_codex":0.40041092,"about_ca_topic_score_gemma":0.5858168,"teacher_disagreement_score":0.5995891,"about_ca_system_score_codex":0.03987896,"about_ca_system_score_gemma":0.028553406,"threshold_uncertainty_score":0.7961605},"labels":[],"label_agreement":null},{"id":"W2969931524","doi":"10.7202/1062438ar","title":"Teaching Stravinsky. Nadia Boulanger and the Consecration of a Modernist Icon, de Kimberly A. Francis","year":2019,"lang":"en","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Consecration; Icon; Art; Art history; Harpsichord; Humanities; Philosophy; Theology","score_opus":0.012790916356779243,"score_gpt":0.2045434442330512,"score_spread":0.19175252787627198,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2969931524","genre_codex":"commentary","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0011474121,0.40147677,0.0010668916,0.43534228,0.034652837,0.00002534161,0.000116713345,0.000091734895,0.12607999],"genre_scores_gemma":[0.05773988,0.21032669,0.0011515052,0.11854426,0.019672282,0.00008776286,0.00009080308,0.00033812676,0.5920487],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985569,0.0005363994,0.00005670575,0.00022896024,0.00047228593,0.00014873911],"domain_scores_gemma":[0.9984982,0.0006717111,0.00014283795,0.000056062603,0.00040811958,0.0002230464],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013186592,0.0008045538,0.0004203007,0.0011481926,0.0077064764,0.0057113445,0.0008594024,0.005149864,0.018341156],"category_scores_gemma":[0.0049077594,0.00049736514,0.000280726,0.0009722738,0.0066294493,0.008412826,0.0024530338,0.0076032104,0.006709416],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019939771,0.000009706236,0.00009912613,0.00013693345,0.000002875452,0.000057622907,0.003741165,0.000023337267,0.00014400213,0.04345413,0.92851084,0.023800319],"study_design_scores_gemma":[0.0000028834065,0.0000056020535,0.00020772994,0.00024976282,0.0000016472425,0.000060207993,0.002027707,0.000012313668,0.00008419264,0.003950386,0.99339044,0.0000071727786],"about_ca_topic_score_codex":0.07270047,"about_ca_topic_score_gemma":0.1762149,"teacher_disagreement_score":0.07270047,"about_ca_system_score_codex":0.006669977,"about_ca_system_score_gemma":0.0053989287,"threshold_uncertainty_score":0.14455462},"labels":[],"label_agreement":null},{"id":"W2969932064","doi":"10.7202/1060129ar","title":"Matériaux anciens dans la musique contemporaine actuelle. Postmodernisme et modernisme en questions","year":2019,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Université de Montréal","funders":"","keywords":"Art; Humanities; Philosophy","score_opus":0.02484570274624366,"score_gpt":0.28293994816043266,"score_spread":0.258094245414189,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2969932064","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.124655314,0.03788787,0.0064852326,0.06498959,0.00076936634,0.00003533682,0.000086834814,0.00004408362,0.76504636],"genre_scores_gemma":[0.9460076,0.005485414,0.0011138717,0.001731825,0.00028898203,0.000029773833,0.000020269687,0.00003136698,0.045290872],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99825126,0.0008493582,0.000042843152,0.00023149108,0.00033338787,0.0002916289],"domain_scores_gemma":[0.9988959,0.0005683268,0.000121588724,0.00011309778,0.00017656233,0.00012454811],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0025188602,0.0003602466,0.0002586404,0.0015138116,0.009492413,0.0072018667,0.00074881496,0.0021051122,0.0072104535],"category_scores_gemma":[0.003440333,0.0001950955,0.00018709681,0.0019198413,0.04261507,0.005139721,0.002624069,0.0028331492,0.0004601359],"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":[0.0000101083915,0.0000047881913,0.00032705202,0.000029609548,0.0000021348394,0.00006083608,0.03797222,0.000049102757,0.000116141855,0.9539841,0.0011197138,0.0063242656],"study_design_scores_gemma":[0.000010440816,0.000026114003,0.00517603,0.0004117433,0.0000071483346,0.00021125845,0.07668883,0.00023516169,0.00040287228,0.4338336,0.4829747,0.000021983758],"about_ca_topic_score_codex":0.12611021,"about_ca_topic_score_gemma":0.19569667,"teacher_disagreement_score":0.12611021,"about_ca_system_score_codex":0.016706849,"about_ca_system_score_gemma":0.012213677,"threshold_uncertainty_score":0.25075233},"labels":[],"label_agreement":null},{"id":"W2969939697","doi":"10.7202/1060113ar","title":"Performing Captivity, Performing Escape. Cabarets and Plays from the Terezín/Theresienstadt Ghetto, de Lisa Peschel","year":2019,"lang":"en","type":"article","venue":"Revue musicale OICRM","topic":"French Historical and Cultural 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":true,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Captivity; Humanities; Art; History; Archaeology","score_opus":0.024287050092032476,"score_gpt":0.18248379087128516,"score_spread":0.1581967407792527,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2969939697","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.017552175,0.39015153,0.0006674954,0.06955817,0.013157984,0.000067718654,0.0004598913,0.00011337162,0.50827163],"genre_scores_gemma":[0.17776516,0.091955595,0.0009549493,0.0048496276,0.002345695,0.000108689346,0.00029604565,0.0002472613,0.72147703],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99905735,0.0003465731,0.000030018311,0.00011620142,0.00020568096,0.0002442405],"domain_scores_gemma":[0.99963176,0.00009741869,0.00004380753,0.000013602413,0.000058686568,0.0001547368],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013382661,0.0014645039,0.00046803083,0.0010784571,0.008183636,0.0029852518,0.00095779385,0.0018532198,0.02807842],"category_scores_gemma":[0.0008980527,0.00045941886,0.0002541993,0.0009937704,0.0046153385,0.0016286179,0.003379695,0.0021785672,0.004304674],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022119687,0.00006668833,0.0006328974,0.00079231255,0.000010229366,0.0012566549,0.088214666,0.00010332811,0.0012732637,0.03814734,0.6945914,0.17469],"study_design_scores_gemma":[0.000005999623,0.00002225044,0.0022616866,0.00033001896,0.000002073258,0.00029998476,0.01776015,0.000005695963,0.0001378335,0.00053340563,0.9786341,0.000006604963],"about_ca_topic_score_codex":0.11390716,"about_ca_topic_score_gemma":0.38295683,"teacher_disagreement_score":0.11390716,"about_ca_system_score_codex":0.0058914013,"about_ca_system_score_gemma":0.0033821643,"threshold_uncertainty_score":0.22648829},"labels":[],"label_agreement":null},{"id":"W2969955468","doi":"10.7202/1060133ar","title":"L’analyse des ensembles microrythmiques dans l’Intelligent Dance Music","year":2019,"lang":"fr","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":false,"ca_institutions":"Université Laval","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.04559005151352584,"score_gpt":0.25093525685605955,"score_spread":0.2053452053425337,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2969955468","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.81066006,0.004630219,0.15857941,0.0003544716,0.00028623754,0.00006848376,0.00027180923,0.00040556854,0.024743864],"genre_scores_gemma":[0.9643502,0.0010723558,0.02367869,0.000035799058,0.000073552466,0.000042098727,0.00012406531,0.00009807487,0.0105251],"study_design_codex":"bench_or_experimental","study_design_gemma":"not_applicable","domain_scores_codex":[0.99973243,0.000035252433,0.000009923094,0.00009256263,0.00010500401,0.000024909807],"domain_scores_gemma":[0.9996611,0.00016602827,0.000046033343,0.000038827675,0.000065983375,0.000022088661],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004257847,0.00044098697,0.00033048968,0.00054641656,0.00043017184,0.001103785,0.00033983917,0.0004871654,0.004657833],"category_scores_gemma":[0.0010789899,0.00028232945,0.00033823246,0.0004287801,0.0008227046,0.0009901829,0.00044676656,0.0005286109,0.00055453647],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00040961,0.000047193644,0.005722801,0.00056028337,0.00008519161,0.0009454842,0.003109662,0.018426282,0.8265471,0.016087262,0.0006157396,0.12744336],"study_design_scores_gemma":[0.0001297153,0.0011543867,0.19431585,0.00032287295,0.00023804295,0.0031958816,0.0047263564,0.24456605,0.41373092,0.027233431,0.11009212,0.00029440506],"about_ca_topic_score_codex":0.0012296529,"about_ca_topic_score_gemma":0.0012818793,"teacher_disagreement_score":0.004657833,"about_ca_system_score_codex":0.0003936146,"about_ca_system_score_gemma":0.00020860325,"threshold_uncertainty_score":0.015582025},"labels":[],"label_agreement":null},{"id":"W3003886116","doi":"10.7202/1068387ar","title":"The First Mirror inside the Contrapunctus 6 of the Art of Fugue by Johann Sebastian Bach (BWV 1080, 6)1","year":2020,"lang":"en","type":"article","venue":"Revue musicale OICRM","topic":"Bach Studies and Logistics Development","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Fugue (hash function); Inversion (geology); Counterpoint; Art; Literature; Physics; Geology; Paleontology","score_opus":0.031605615675771616,"score_gpt":0.18432233303201687,"score_spread":0.15271671735624526,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3003886116","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14943646,0.00671713,0.013318406,0.006791946,0.002963272,0.000080506456,0.000113509246,0.00022090063,0.8203578],"genre_scores_gemma":[0.8604835,0.00095310295,0.0027359708,0.00040655135,0.0003383558,0.0000308732,0.00005734767,0.00011568803,0.13487852],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9992818,0.00027054138,0.00001859252,0.00011357379,0.00020020876,0.00011530765],"domain_scores_gemma":[0.9998293,0.00006962447,0.000018913,0.000027247137,0.000032886674,0.000021914726],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005855319,0.00043532898,0.00015643396,0.00066166185,0.0028122144,0.002545111,0.00028852062,0.0010541857,0.006609968],"category_scores_gemma":[0.0014902381,0.0001299162,0.0001687343,0.00029261218,0.006249928,0.0017752927,0.002183829,0.0018532553,0.0010361263],"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":[0.00008188688,0.000009905332,0.00054453436,0.000067493536,0.0000030358174,0.00029827835,0.029876193,0.00006535911,0.0020777711,0.93247837,0.009003447,0.02549372],"study_design_scores_gemma":[0.000011379329,0.00014029456,0.004682946,0.0002686917,0.0000089236755,0.0013382618,0.01440786,0.00031441505,0.0049000694,0.057798333,0.91608894,0.00003983031],"about_ca_topic_score_codex":0.0038275258,"about_ca_topic_score_gemma":0.0062883077,"teacher_disagreement_score":0.006609968,"about_ca_system_score_codex":0.0020663913,"about_ca_system_score_gemma":0.0008160111,"threshold_uncertainty_score":0.022112548},"labels":[],"label_agreement":null},{"id":"W3004112283","doi":"10.7202/1068384ar","title":"Quelques propos sur les outils et les méthodes audionumériques en musicologie. L’interdisciplinarité comme rupture épistémologique","year":2020,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Music Technology and Sound Studies","field":"Computer Science","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Philosophy; Art; Political science","score_opus":0.12482364576458646,"score_gpt":0.31637775715751165,"score_spread":0.1915541113929252,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3004112283","genre_codex":"methods","genre_gemma":"methods","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"methods","genre_consensus":"methods","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.004645875,0.007082226,0.9081453,0.004557922,0.0012159576,0.00019459885,0.00043083754,0.00083701796,0.072890244],"genre_scores_gemma":[0.11986479,0.0113730235,0.78335357,0.002887221,0.001581697,0.0009221629,0.0007596085,0.0010583418,0.07819972],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.97873735,0.009483148,0.001548122,0.0034563818,0.0063673006,0.0004076773],"domain_scores_gemma":[0.96964103,0.02019848,0.0013173043,0.004528106,0.003921101,0.0003940919],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.016165813,0.0014319652,0.0012484821,0.008203037,0.002806983,0.01808942,0.0029114156,0.003344636,0.022280753],"category_scores_gemma":[0.059015933,0.0010314962,0.0018126905,0.006931896,0.010032331,0.0146561265,0.0070686936,0.004384836,0.0074591218],"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":[0.000094408715,0.000054037777,0.0018969434,0.001369847,0.00013105816,0.0002621014,0.012010733,0.0013729511,0.004261231,0.66740364,0.0050212685,0.30612174],"study_design_scores_gemma":[0.000045347824,0.00008022245,0.002659821,0.0019005593,0.00012461124,0.0010198567,0.006401503,0.007918466,0.007499759,0.3996455,0.57256955,0.0001347212],"about_ca_topic_score_codex":0.0058453954,"about_ca_topic_score_gemma":0.0071066865,"teacher_disagreement_score":0.022280753,"about_ca_system_score_codex":0.003376301,"about_ca_system_score_gemma":0.004005552,"threshold_uncertainty_score":0.08549398},"labels":[],"label_agreement":null},{"id":"W3011205329","doi":"10.7202/1060107ar","title":"L’intertextualité dans Le Verfügbar aux Enfers et d’autres témoignages concentrationnaires","year":2019,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Diverse Cultural and 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":true,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Humanities; Philosophy; Art","score_opus":0.0363568766836133,"score_gpt":0.2749551243129892,"score_spread":0.23859824762937587,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3011205329","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.72384346,0.00918924,0.008556488,0.012742565,0.0012663511,0.000080984,0.00014754831,0.00012156442,0.24405177],"genre_scores_gemma":[0.9555694,0.0018911512,0.0017901954,0.00039352907,0.0001893231,0.000044178225,0.00005488032,0.00007786331,0.039989512],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99799734,0.0010930708,0.000073870775,0.00024593718,0.0003948443,0.00019491445],"domain_scores_gemma":[0.9953426,0.0031253572,0.0004138647,0.00033271266,0.00051849603,0.0002669829],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0029717884,0.0005442395,0.00035156243,0.0018363249,0.005790864,0.005607981,0.0006993858,0.0011277964,0.009402293],"category_scores_gemma":[0.008855353,0.00017480031,0.00016877358,0.0018244323,0.008813195,0.0031580252,0.0027798212,0.0022535953,0.00079695013],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001475657,0.000030189896,0.0039046207,0.00038398255,0.000015964812,0.0012923743,0.7704947,0.00009999469,0.006342006,0.14171153,0.005400654,0.07017636],"study_design_scores_gemma":[0.000014773587,0.00013104454,0.025344368,0.0007041057,0.000028432925,0.0011376517,0.35755667,0.00017998257,0.0028172033,0.0072901743,0.6047434,0.00005212686],"about_ca_topic_score_codex":0.012561317,"about_ca_topic_score_gemma":0.024224972,"teacher_disagreement_score":0.012561317,"about_ca_system_score_codex":0.0039364058,"about_ca_system_score_gemma":0.0019362478,"threshold_uncertainty_score":0.031453848},"labels":[],"label_agreement":null},{"id":"W3011388708","doi":"10.7202/1060124ar","title":"Benjamin-Constant et le lien à la musique","year":2019,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"French Literature and Poetry","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities; Art history","score_opus":0.01113146827833989,"score_gpt":0.20490584206230958,"score_spread":0.1937743737839697,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3011388708","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.025465455,0.045301978,0.009254527,0.056598943,0.0019110579,0.000029577115,0.000111507,0.00012666418,0.8612003],"genre_scores_gemma":[0.68274903,0.01257319,0.004008789,0.00460134,0.0012757655,0.000061052386,0.000040658644,0.00028517982,0.29440495],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99835616,0.0008351132,0.000031466625,0.00024250532,0.00034262353,0.00019211964],"domain_scores_gemma":[0.99878114,0.0007467519,0.000105512714,0.00007744043,0.00018010387,0.0001090522],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015753389,0.00057636533,0.0002999673,0.0013145542,0.006936772,0.0048260535,0.00057557866,0.002310016,0.00974108],"category_scores_gemma":[0.0035158058,0.0002143982,0.00018381367,0.0011167433,0.01753885,0.0032990715,0.00160327,0.0029194953,0.0017238058],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000029246517,0.000004366177,0.0001541153,0.000058820984,0.0000030099525,0.00008490998,0.014270296,0.000049947528,0.00019435161,0.9521166,0.021230595,0.011803856],"study_design_scores_gemma":[0.000016494796,0.000020268291,0.0006505512,0.00019514005,0.0000071604736,0.0002783874,0.00723266,0.00019034407,0.00059149653,0.15897122,0.8318191,0.000027080772],"about_ca_topic_score_codex":0.032449093,"about_ca_topic_score_gemma":0.050671853,"teacher_disagreement_score":0.032449093,"about_ca_system_score_codex":0.008618937,"about_ca_system_score_gemma":0.0037310377,"threshold_uncertainty_score":0.06452042},"labels":[],"label_agreement":null},{"id":"W3015240265","doi":"10.7202/1068386ar","title":"Musicologie pratique à l’ère des réseaux sociaux. Le cas des notes de programme numériques de l’osm au sein du paysage musical francophone","year":2020,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Cultural Insights and Digital Impacts","field":"Computer Science","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Political science; Art","score_opus":0.3034843094649899,"score_gpt":0.3313003462191133,"score_spread":0.02781603675412342,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3015240265","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07375289,0.011308889,0.017404607,0.032325488,0.0011347786,0.000084164756,0.00013812968,0.00019243875,0.8636586],"genre_scores_gemma":[0.78320026,0.006680443,0.004045117,0.001985482,0.000547259,0.00007659377,0.000068835034,0.0001320377,0.2032639],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9980015,0.00080790167,0.000049597536,0.00029995327,0.0005119578,0.00032910166],"domain_scores_gemma":[0.99835145,0.0006279271,0.00015508459,0.00016755343,0.00028027184,0.00041770775],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020856715,0.0005676619,0.00022344002,0.0012811469,0.007325243,0.01039028,0.00079795584,0.001961529,0.016501194],"category_scores_gemma":[0.003876035,0.00019032601,0.00022083553,0.0014325127,0.022160945,0.0037274486,0.003897806,0.0030034946,0.0017029827],"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":[0.000052826803,0.000025599858,0.002200463,0.00026331024,0.00001099717,0.00057187694,0.21495429,0.0002302711,0.0026346974,0.68889827,0.014861227,0.07529616],"study_design_scores_gemma":[0.000010300064,0.00003506749,0.00655281,0.00033280754,0.000009041792,0.00042689813,0.08188393,0.00025637005,0.0006476511,0.027612474,0.88220066,0.000032028795],"about_ca_topic_score_codex":0.13761452,"about_ca_topic_score_gemma":0.21071784,"teacher_disagreement_score":0.8623855,"about_ca_system_score_codex":0.011542515,"about_ca_system_score_gemma":0.011424638,"threshold_uncertainty_score":0.27362704},"labels":[],"label_agreement":null},{"id":"W3015346724","doi":"10.7202/1068383ar","title":"La migration numérique d’une oeuvre pionnière avec live electronics. Mesa (1966) de Gordon Mumma","year":2020,"lang":"fr","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.021576894495727233,"score_gpt":0.23117592365550818,"score_spread":0.20959902915978096,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3015346724","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.105221555,0.017972734,0.029204888,0.030374499,0.003525242,0.00009491458,0.00015506583,0.00019864757,0.8132525],"genre_scores_gemma":[0.5901305,0.0047043646,0.0049257283,0.0011936161,0.000505579,0.00006183723,0.000043068027,0.00013658355,0.39829868],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993048,0.00024299514,0.000020469572,0.00014275633,0.00020320166,0.000085794294],"domain_scores_gemma":[0.99956304,0.0002001017,0.000036578305,0.00006591954,0.000069723654,0.00006463111],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010897242,0.00045322804,0.0001844364,0.000813736,0.0038364597,0.0040569324,0.0004566579,0.001098875,0.011312815],"category_scores_gemma":[0.0025140618,0.00020005678,0.00019633834,0.000656345,0.010226521,0.0036526688,0.0023533236,0.002221954,0.0011562901],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008502898,0.000010749999,0.0005065596,0.00006519156,0.0000029006746,0.00018871271,0.019914072,0.00018201016,0.0009695425,0.9303062,0.013190802,0.034578234],"study_design_scores_gemma":[0.000010219588,0.00004615685,0.0013720148,0.00013605393,0.0000034824025,0.0002483265,0.0066216113,0.00025156446,0.0012624539,0.05250999,0.9375166,0.00002155451],"about_ca_topic_score_codex":0.01714318,"about_ca_topic_score_gemma":0.028054234,"teacher_disagreement_score":0.01714318,"about_ca_system_score_codex":0.005538276,"about_ca_system_score_gemma":0.002083289,"threshold_uncertainty_score":0.040183127},"labels":[],"label_agreement":null},{"id":"W3015911039","doi":"10.7202/1068388ar","title":"Deux réécritures tragiques du mythe d’Orphée à l’âge classique. Orphée (1690) de Louis Lully et Michel Du Boullay et Orphée (1736) de François-Joseph de Lagrange-Chancel","year":2020,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Historical and Literary Studies","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.023214426063042724,"score_gpt":0.2635071811760819,"score_spread":0.24029275511303919,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3015911039","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.13864616,0.04072821,0.01044461,0.05830409,0.0059652748,0.00010865535,0.00029157542,0.00014141534,0.7453701],"genre_scores_gemma":[0.6991289,0.008528588,0.0026969411,0.005972807,0.0022010165,0.00014759552,0.00011815223,0.00021381794,0.2809922],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99776006,0.0010607042,0.00005882322,0.00030830217,0.00042904218,0.00038297282],"domain_scores_gemma":[0.9983997,0.0007343908,0.00025265492,0.00015289919,0.00024922346,0.00021117399],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018116427,0.00069992355,0.00025621496,0.0015060647,0.0064590755,0.005933434,0.0005545967,0.002327325,0.0070786504],"category_scores_gemma":[0.004098615,0.00027349187,0.00037790983,0.0010798234,0.0120620895,0.004878998,0.0035186273,0.006230562,0.0009045489],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000089962676,0.000019254616,0.0010850189,0.0001623203,0.000009749662,0.00047616175,0.20204182,0.00005025193,0.0012104146,0.73843944,0.02831342,0.028102195],"study_design_scores_gemma":[0.0000142801255,0.000046197583,0.0038797404,0.0003247421,0.000008633336,0.00066525885,0.03660515,0.00007662156,0.0007274485,0.014828468,0.9427896,0.000033865697],"about_ca_topic_score_codex":0.014766616,"about_ca_topic_score_gemma":0.026954068,"teacher_disagreement_score":0.014766616,"about_ca_system_score_codex":0.0050430303,"about_ca_system_score_gemma":0.0032442221,"threshold_uncertainty_score":0.03658992},"labels":[],"label_agreement":null},{"id":"W3035781678","doi":"10.7202/1069471ar","title":"Solliciter la voix des compositeurs. L’enquête de presse en France de la Première à la Seconde Guerre mondiale","year":2020,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Historical Studies and Socio-cultural Analysis","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Political science","score_opus":0.013710220801574217,"score_gpt":0.21768912057812187,"score_spread":0.20397889977654765,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3035781678","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.24037501,0.014650257,0.008175022,0.029236324,0.002996912,0.00015130283,0.00032855567,0.00028908544,0.70379746],"genre_scores_gemma":[0.7760609,0.0029760147,0.0022525815,0.0018324633,0.0010606076,0.000118813914,0.00012470201,0.00020447004,0.21536948],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9965061,0.0016247272,0.00009908607,0.0004826337,0.0007890077,0.00049841835],"domain_scores_gemma":[0.99592674,0.0019145099,0.00047360812,0.00031625075,0.0007369899,0.000631882],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0032046714,0.0005493645,0.00027733998,0.002856018,0.012210646,0.010441637,0.0006381016,0.002083735,0.016092075],"category_scores_gemma":[0.008946127,0.00032939788,0.0002613166,0.0020834901,0.008555887,0.0036476674,0.0040647774,0.00218999,0.0027034816],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014091717,0.00003334142,0.004644147,0.00041105502,0.000017534874,0.0015509904,0.53922194,0.000092506125,0.0041660764,0.3529008,0.028373864,0.06844682],"study_design_scores_gemma":[0.00000765063,0.000048751168,0.010843465,0.0002785973,0.000009037578,0.00057420926,0.09726733,0.00008879141,0.00085709157,0.004027566,0.88597137,0.000026175425],"about_ca_topic_score_codex":0.027375733,"about_ca_topic_score_gemma":0.049356032,"teacher_disagreement_score":0.027375733,"about_ca_system_score_codex":0.0059789955,"about_ca_system_score_gemma":0.0034907365,"threshold_uncertainty_score":0.05443275},"labels":[],"label_agreement":null},{"id":"W3035894775","doi":"10.7202/1069473ar","title":"La radio comme lieu pour écrire. André Boucourechliev au micro","year":2020,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Cultural Insights and Digital Impacts","field":"Computer Science","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.3620771296284384,"score_gpt":0.307776350025769,"score_spread":0.054300779602669436,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3035894775","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.01781863,0.18855192,0.03063561,0.16597077,0.020113265,0.00005668545,0.00016346309,0.00051564694,0.576174],"genre_scores_gemma":[0.17730881,0.032509945,0.0053519714,0.015845804,0.003978638,0.00008086744,0.00008003812,0.00058431487,0.76425964],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984251,0.00062100455,0.000033188866,0.00034153264,0.0004551402,0.00012404547],"domain_scores_gemma":[0.999052,0.0005190791,0.000054601907,0.00007770464,0.0001947828,0.00010183871],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010285641,0.0007355374,0.00025141824,0.00092912425,0.0041099703,0.0051827948,0.0006188493,0.0025533559,0.013955764],"category_scores_gemma":[0.0030820696,0.00035428331,0.00024561572,0.0006638849,0.005269129,0.004920395,0.0023356571,0.003795418,0.005149019],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012286621,0.00002659612,0.00093770836,0.00023185289,0.0000143698535,0.0002685876,0.01665268,0.00030553952,0.0043767393,0.60535944,0.24410191,0.1276017],"study_design_scores_gemma":[0.0000033394494,0.00001813121,0.0003046641,0.00012622839,0.0000028878621,0.00015462791,0.0016679337,0.00010488421,0.0007270295,0.012093158,0.9847852,0.000011922623],"about_ca_topic_score_codex":0.008861604,"about_ca_topic_score_gemma":0.014531039,"teacher_disagreement_score":0.013955764,"about_ca_system_score_codex":0.0032076524,"about_ca_system_score_gemma":0.0015623546,"threshold_uncertainty_score":0.04668671},"labels":[],"label_agreement":null},{"id":"W3035895384","doi":"10.7202/1069469ar","title":"Susciter un vaste forum de discussions. Les écrits de Wagner dans la presse allemande des années 1850","year":2020,"lang":"fr","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Philosophy; Art","score_opus":0.0313783675174279,"score_gpt":0.22792504418052345,"score_spread":0.19654667666309555,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3035895384","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.19655633,0.05804181,0.009525068,0.1599256,0.008328244,0.00004002995,0.00029365142,0.0001376197,0.56715167],"genre_scores_gemma":[0.82733244,0.012000099,0.0009968138,0.0087231705,0.003249384,0.000056903158,0.00010018151,0.00024027185,0.14730068],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9963858,0.0019632343,0.00011871276,0.0003549893,0.0006536254,0.0005236184],"domain_scores_gemma":[0.9951835,0.0036655872,0.00039981282,0.00019561675,0.00023948411,0.0003159078],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003515268,0.0005656373,0.0003015665,0.0029411525,0.0074590403,0.010277213,0.0006223017,0.0038803313,0.0102195395],"category_scores_gemma":[0.00822044,0.00027724376,0.0003563005,0.0026842195,0.008803574,0.0074762455,0.0046897926,0.0040034787,0.0016404095],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006964955,0.000022991167,0.0014267865,0.00017840063,0.000015258825,0.00044595293,0.12608765,0.00013878969,0.0011126075,0.8094823,0.030032488,0.03098725],"study_design_scores_gemma":[0.000007361346,0.000019634186,0.0016711277,0.00025630224,0.000009973368,0.0001357941,0.030900624,0.00009893609,0.0006876432,0.01825195,0.94793427,0.000026370919],"about_ca_topic_score_codex":0.0051031145,"about_ca_topic_score_gemma":0.015591389,"teacher_disagreement_score":0.010277213,"about_ca_system_score_codex":0.0056258296,"about_ca_system_score_gemma":0.0025899902,"threshold_uncertainty_score":0.040818453},"labels":[],"label_agreement":null},{"id":"W3036002160","doi":"10.7202/1069480ar","title":"Musique et sorties de guerres (xix-xxi siècles). Compte rendu du colloque international, 18-20 octobre 2018, Faculté de musique, Université de Montréal","year":2020,"lang":"fr","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":true,"ca_institutions":"Université de Montréal","funders":"","keywords":"Art; Humanities","score_opus":0.030666423358104107,"score_gpt":0.21432218787568513,"score_spread":0.18365576451758103,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3036002160","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.21231456,0.13584659,0.00136477,0.014653616,0.0018715789,0.00010283523,0.002249587,0.00010795411,0.63148844],"genre_scores_gemma":[0.6255425,0.024118273,0.0016873683,0.0007112166,0.00031246443,0.00007297099,0.00081475195,0.000088402994,0.34665197],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99932563,0.00018277451,0.000026435911,0.00013377095,0.00014228142,0.00018913635],"domain_scores_gemma":[0.9996358,0.00013052572,0.000057183825,0.00002320527,0.00007448893,0.00007881388],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00085868745,0.0005808201,0.00041696246,0.0017595356,0.003831768,0.002363569,0.00046923273,0.00072704477,0.023623485],"category_scores_gemma":[0.0017482883,0.00022757477,0.00020081546,0.0019211291,0.0028008006,0.0014565269,0.001837876,0.0013134016,0.0013735363],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0006507104,0.00006293662,0.011465181,0.0011027696,0.00005960521,0.0008666129,0.18166342,0.00029781894,0.0036196723,0.26667416,0.13140285,0.40213427],"study_design_scores_gemma":[0.0000132985915,0.00003861405,0.07094633,0.00046308982,0.000009356424,0.00029466974,0.023341939,0.00003479833,0.0005164458,0.0027939386,0.90152395,0.000023564935],"about_ca_topic_score_codex":0.39520884,"about_ca_topic_score_gemma":0.6376702,"teacher_disagreement_score":0.39520884,"about_ca_system_score_codex":0.007962067,"about_ca_system_score_gemma":0.0027403762,"threshold_uncertainty_score":0.7858169},"labels":[],"label_agreement":null},{"id":"W3036068650","doi":"10.7202/1069479ar","title":"Les écrits de compositeurs dans les publications liées au Congrès pour la liberté de la culture (1952-1966)","year":2020,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Historical Studies and Socio-cultural 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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.052219235498838584,"score_gpt":0.2612247484194903,"score_spread":0.2090055129206517,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3036068650","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3333426,0.08213254,0.0018221297,0.024104519,0.0029570302,0.00009199116,0.00043243685,0.000052380605,0.5550644],"genre_scores_gemma":[0.8599829,0.022269007,0.00067791744,0.0010334118,0.0012274971,0.00010295964,0.00012976388,0.00008293721,0.11449369],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9966888,0.0014296027,0.00014389923,0.00046882758,0.0007213519,0.00054762117],"domain_scores_gemma":[0.9900109,0.006548166,0.0012798941,0.0005397491,0.00087560195,0.0007456964],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0050599743,0.0004926064,0.00031302022,0.0043874322,0.008981404,0.008132955,0.00066208007,0.0013044396,0.008032363],"category_scores_gemma":[0.008176807,0.0003125288,0.00020166146,0.00647027,0.009663871,0.0034305202,0.0040516066,0.0026493603,0.0009673486],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001553777,0.000048284608,0.0043370593,0.00060714304,0.000018404482,0.0008563599,0.511443,0.000088445464,0.00085602433,0.4061282,0.018151449,0.0573102],"study_design_scores_gemma":[0.000013421258,0.000049029943,0.020485558,0.0010173614,0.00001304662,0.0002605398,0.07932307,0.00004511968,0.00085781276,0.0035079105,0.8944022,0.000024896028],"about_ca_topic_score_codex":0.02009886,"about_ca_topic_score_gemma":0.051390205,"teacher_disagreement_score":0.02009886,"about_ca_system_score_codex":0.0091557475,"about_ca_system_score_gemma":0.0046735527,"threshold_uncertainty_score":0.06642991},"labels":[],"label_agreement":null},{"id":"W3036259826","doi":"10.7202/1069470ar","title":"Orienter l’écoute et la réception. La diffusion des préfaces aux poèmes symphoniques de Liszt dans les salles et la presse en Allemagne et en France (1850-1914) : une enquête préliminaire","year":2020,"lang":"fr","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.019530806958001808,"score_gpt":0.2695632916510509,"score_spread":0.2500324846930491,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3036259826","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.45799398,0.019067395,0.009194362,0.03430896,0.0015741921,0.00008324605,0.00051433867,0.00015610004,0.47710738],"genre_scores_gemma":[0.92639625,0.001671357,0.000549451,0.00052717846,0.00022776578,0.000027275426,0.0000775626,0.00006794698,0.07045528],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9985525,0.00051687774,0.00005570112,0.00019497638,0.0003314554,0.00034853732],"domain_scores_gemma":[0.99873227,0.00054874114,0.00021806867,0.00008275059,0.00021984315,0.00019819017],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017391144,0.0005401526,0.0002675208,0.0018699337,0.0073476974,0.008055481,0.00052805746,0.0019350492,0.01071006],"category_scores_gemma":[0.002904471,0.00025303452,0.00026149928,0.002316286,0.017582096,0.005185598,0.0038783504,0.0026375228,0.001621218],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017527527,0.000014327826,0.0029065623,0.0002771873,0.000007442505,0.0006581494,0.4822218,0.00018443634,0.0014111135,0.47899896,0.0058877114,0.027257029],"study_design_scores_gemma":[0.000029142273,0.00009096844,0.01714534,0.00041045944,0.000017127317,0.0004762584,0.19641073,0.00019269591,0.00073086726,0.013921584,0.7705299,0.00004485049],"about_ca_topic_score_codex":0.045156088,"about_ca_topic_score_gemma":0.08715767,"teacher_disagreement_score":0.045156088,"about_ca_system_score_codex":0.011977078,"about_ca_system_score_gemma":0.0055049155,"threshold_uncertainty_score":0.08978653},"labels":[],"label_agreement":null},{"id":"W3036272152","doi":"10.7202/1069476ar","title":"Hector Berlioz et l’espace médiatique russe au xixe siècle","year":2020,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Historical Influence and Diplomacy","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.06160600542108538,"score_gpt":0.32411008767026567,"score_spread":0.2625040822491803,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3036272152","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.04003061,0.12154964,0.0017442739,0.10382438,0.0069690924,0.000030123434,0.00011508409,0.0001151649,0.7256216],"genre_scores_gemma":[0.50729966,0.029684108,0.0007930045,0.007672124,0.003970599,0.00005090374,0.00006407842,0.00019168259,0.4502738],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99872833,0.00046159123,0.000021585915,0.00020827533,0.00035266345,0.00022759351],"domain_scores_gemma":[0.9993575,0.0003198087,0.000069272326,0.00004269454,0.00012706015,0.000083676714],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010956284,0.00072930276,0.00033722064,0.0011523706,0.0048272423,0.006804299,0.000553689,0.002763435,0.015544072],"category_scores_gemma":[0.002138488,0.00022290081,0.00018769073,0.0007943431,0.0062748715,0.002611383,0.0019557953,0.002833063,0.0025683125],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019567189,0.000031429314,0.0010414055,0.00042034194,0.000017543167,0.00047250872,0.038850572,0.00022552989,0.0015923895,0.7312109,0.14660984,0.07933182],"study_design_scores_gemma":[0.000010385556,0.000017345854,0.001983129,0.00027324498,0.0000056828103,0.0001019666,0.004912224,0.000059286423,0.00030751774,0.008836753,0.9834842,0.000008207319],"about_ca_topic_score_codex":0.028164033,"about_ca_topic_score_gemma":0.03986316,"teacher_disagreement_score":0.028164033,"about_ca_system_score_codex":0.007497072,"about_ca_system_score_gemma":0.0036641033,"threshold_uncertainty_score":0.056000173},"labels":[],"label_agreement":null},{"id":"W3036365562","doi":"10.7202/1069472ar","title":"Rester en retrait de l’espace médiatique. Le cas Schreker","year":2020,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"French Historical and Cultural 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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Philosophy","score_opus":0.03957399442442514,"score_gpt":0.21862230813941316,"score_spread":0.17904831371498803,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3036365562","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0129171545,0.032233033,0.008911233,0.18278022,0.012216147,0.000033141943,0.00021394934,0.00022192225,0.7504732],"genre_scores_gemma":[0.5125148,0.019395107,0.004829779,0.043517694,0.018343896,0.00015076825,0.00023860017,0.0009797345,0.4000296],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9945393,0.0025896952,0.00018765245,0.0008087563,0.0013311444,0.0005433354],"domain_scores_gemma":[0.99123377,0.0055243354,0.00049847557,0.00096899905,0.0011593796,0.0006150344],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0044292468,0.0011166316,0.0005165403,0.0031069384,0.009008285,0.021495486,0.001781255,0.0065876716,0.02740699],"category_scores_gemma":[0.014546518,0.0003773437,0.0005615703,0.0023235881,0.021632856,0.021490756,0.0073932093,0.010707124,0.0054690153],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000041933687,0.000014757315,0.00030545355,0.00014255174,0.000009214481,0.00022075752,0.030658461,0.000067731424,0.00028439675,0.9000211,0.046612985,0.021620505],"study_design_scores_gemma":[0.000007648556,0.0000131169145,0.0003461794,0.00031022902,0.0000073505857,0.0001962862,0.009802464,0.00012637682,0.0002454802,0.057956193,0.9309722,0.000016490183],"about_ca_topic_score_codex":0.008527954,"about_ca_topic_score_gemma":0.011658229,"teacher_disagreement_score":0.02740699,"about_ca_system_score_codex":0.0082901865,"about_ca_system_score_gemma":0.004134184,"threshold_uncertainty_score":0.09168553},"labels":[],"label_agreement":null},{"id":"W3036375484","doi":"10.7202/1069478ar","title":"Enjeux politiques et espaces médiatiques dans les écrits de compositeurs polonais","year":2020,"lang":"fr","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.13263121330663902,"score_gpt":0.31220848781423965,"score_spread":0.17957727450760064,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3036375484","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11700598,0.0035206582,0.0040842392,0.0060043363,0.00031074943,0.00003525148,0.000030678788,0.00003139928,0.8689768],"genre_scores_gemma":[0.84460896,0.001993118,0.0010610528,0.0005271099,0.00021976558,0.00006269863,0.000033538145,0.00007684166,0.15141688],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9981806,0.00074778515,0.00003628727,0.0002627283,0.0003823356,0.00039028501],"domain_scores_gemma":[0.998968,0.0005639409,0.00011469038,0.00010824187,0.000093745766,0.00015146309],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018662572,0.0005810703,0.0002188163,0.0013020241,0.008225199,0.011544871,0.00064974464,0.0016369894,0.011088107],"category_scores_gemma":[0.002695375,0.00030946304,0.00022709944,0.0014060182,0.015970148,0.0045843404,0.005225499,0.0036405001,0.0010485606],"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":[0.000067179884,0.000014997066,0.0012286521,0.00008039728,0.000004930833,0.00045340243,0.18115316,0.00012237803,0.0006632106,0.7882581,0.0034517387,0.024501823],"study_design_scores_gemma":[0.000029771125,0.0000615325,0.009331753,0.00042460219,0.000016792463,0.00048310476,0.10800398,0.0004096418,0.00143271,0.07088076,0.80888826,0.000037067304],"about_ca_topic_score_codex":0.01718282,"about_ca_topic_score_gemma":0.030397423,"teacher_disagreement_score":0.01718282,"about_ca_system_score_codex":0.005768552,"about_ca_system_score_gemma":0.0030095093,"threshold_uncertainty_score":0.041853964},"labels":[],"label_agreement":null},{"id":"W3036548214","doi":"10.7202/1069475ar","title":"Investir les médias sociaux. L’exemple des compositeurs du Cursus de l’Ircam (2017-2018)","year":2020,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Cultural Insights and Digital Impacts","field":"Computer Science","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Political science","score_opus":0.554454140137363,"score_gpt":0.3373297012691651,"score_spread":0.21712443886819793,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3036548214","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5338719,0.0048917746,0.0020036562,0.005031197,0.0005045766,0.0001111753,0.0011761702,0.00030744766,0.45210218],"genre_scores_gemma":[0.68147135,0.0019166343,0.0018449882,0.0007046225,0.00021877025,0.00009945055,0.0005812964,0.00029878176,0.31286415],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99924916,0.00016801897,0.000022454999,0.00015213176,0.00023868243,0.0001694584],"domain_scores_gemma":[0.9986922,0.00030296054,0.00020328464,0.00012610764,0.00027905882,0.00039633532],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000995293,0.00044985564,0.00021205128,0.0023517958,0.004456428,0.004719366,0.00046986248,0.0007992656,0.023037983],"category_scores_gemma":[0.0021407236,0.00023995257,0.00022453109,0.0027771508,0.0021329953,0.0031584334,0.0028587624,0.0012555795,0.004190651],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00036535788,0.00012810116,0.06510636,0.0006756122,0.00006077257,0.0014791118,0.39700478,0.00019922665,0.010513275,0.13536836,0.048957594,0.34014142],"study_design_scores_gemma":[0.000007665686,0.00006556437,0.04943104,0.0001812766,0.000012660946,0.00028087918,0.05681082,0.00009735878,0.0010255377,0.0012704799,0.8907925,0.000024239924],"about_ca_topic_score_codex":0.034520894,"about_ca_topic_score_gemma":0.09646321,"teacher_disagreement_score":0.034520894,"about_ca_system_score_codex":0.00360062,"about_ca_system_score_gemma":0.002487469,"threshold_uncertainty_score":0.0770697},"labels":[],"label_agreement":null},{"id":"W3036647938","doi":"10.7202/1069477ar","title":"Écrits de compositeurs, médias et publics dans les années 1930. À propos des échanges sur le public de l’opéra entre Max d’Ollone et Charles Koechlin","year":2020,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Historical Studies and Socio-cultural 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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.11031854831460405,"score_gpt":0.2427257505249124,"score_spread":0.13240720221030836,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3036647938","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.15322879,0.016514538,0.0042577563,0.02941724,0.0014127255,0.000111601716,0.00040502523,0.00010209039,0.7945503],"genre_scores_gemma":[0.7314765,0.00293963,0.0008379431,0.0014998768,0.0004169876,0.000138054,0.00013055032,0.00017688911,0.2623836],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99737847,0.0008817791,0.00007715363,0.00053414557,0.00047923217,0.0006492503],"domain_scores_gemma":[0.9970872,0.001503124,0.00032091833,0.0001507256,0.00041033264,0.0005277342],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0033683185,0.00064820884,0.00033368764,0.0028261018,0.009800863,0.01042942,0.00068837905,0.0026037337,0.0135814985],"category_scores_gemma":[0.006359459,0.00050638366,0.00028789465,0.00310986,0.02159126,0.00939919,0.0050512296,0.0040786476,0.0013928177],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001501824,0.000018984825,0.0013883974,0.00006882858,0.000005476459,0.00030227704,0.16963735,0.00014488287,0.0002453437,0.7947958,0.012374373,0.02086817],"study_design_scores_gemma":[0.000023921737,0.000045447854,0.0060877316,0.00020873021,0.000005840962,0.00014360997,0.04187276,0.00011763703,0.00036670064,0.023396933,0.92768824,0.00004246504],"about_ca_topic_score_codex":0.08942703,"about_ca_topic_score_gemma":0.10708544,"teacher_disagreement_score":0.08942703,"about_ca_system_score_codex":0.027084466,"about_ca_system_score_gemma":0.0058069434,"threshold_uncertainty_score":0.19651252},"labels":[],"label_agreement":null},{"id":"W3036747346","doi":"10.7202/1069474ar","title":"Les sites Internet de compositeur·rices, ou la permanence des modèles d’écriture de soi","year":2020,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Cultural Insights and Digital Impacts","field":"Computer Science","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.32441118010153147,"score_gpt":0.31382801961539475,"score_spread":0.010583160486136722,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3036747346","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.15394436,0.0029900067,0.028304158,0.006198647,0.00036373182,0.00016147383,0.0007252819,0.00032128528,0.806991],"genre_scores_gemma":[0.8596611,0.0031559675,0.009426311,0.0005576208,0.00022192621,0.00027661838,0.0006212303,0.00025221484,0.12582703],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9972692,0.0015544631,0.000079822996,0.0003344725,0.0005571605,0.00020486453],"domain_scores_gemma":[0.99335194,0.0038329898,0.0006463632,0.0011538703,0.00059633225,0.00041846267],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0030371665,0.00044471302,0.00027593682,0.002648433,0.0025481307,0.010378936,0.0013163615,0.0011067273,0.04625786],"category_scores_gemma":[0.00758899,0.00026855659,0.0004658232,0.0035457418,0.0046385312,0.009751273,0.0036121462,0.0014189524,0.0042130626],"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":[0.00024037913,0.00016150286,0.016439643,0.00096414355,0.000057085086,0.0007835976,0.12864807,0.000978004,0.0023678944,0.6463865,0.017758906,0.18521436],"study_design_scores_gemma":[0.00003763409,0.0001395537,0.021395454,0.00091819715,0.000062580235,0.0006278357,0.112510316,0.0016548132,0.0019825257,0.0637719,0.7968202,0.00007895673],"about_ca_topic_score_codex":0.005819516,"about_ca_topic_score_gemma":0.0076241787,"teacher_disagreement_score":0.04625786,"about_ca_system_score_codex":0.0026446232,"about_ca_system_score_gemma":0.002596549,"threshold_uncertainty_score":0.15474796},"labels":[],"label_agreement":null},{"id":"W3094988088","doi":"10.7202/1072416ar","title":"Le Conservatoire de Paris et la médiation de la musique. Résistances et développements","year":2020,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Historical Studies and Socio-cultural Analysis","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.02712977134625847,"score_gpt":0.2576974248925672,"score_spread":0.23056765354630873,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3094988088","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.15229401,0.04060144,0.007412265,0.057623696,0.0012531345,0.000065668624,0.00018968298,0.00015889587,0.74040115],"genre_scores_gemma":[0.9249416,0.005502345,0.0010764833,0.0015263449,0.0002777155,0.000042830834,0.000028993456,0.00005085827,0.06655286],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9961384,0.002055226,0.00009512037,0.00044255055,0.00070532266,0.00056336133],"domain_scores_gemma":[0.9980495,0.0008670583,0.00043755546,0.00022897313,0.00018678336,0.00023005485],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0033474807,0.0006437626,0.00027337635,0.0019174363,0.009342632,0.011079331,0.0013328951,0.0023287304,0.013170921],"category_scores_gemma":[0.0037113656,0.00023191363,0.00026017157,0.003029354,0.03438834,0.005183134,0.0050260406,0.0030567935,0.00073094346],"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":[0.000022642516,0.000009142151,0.0007113575,0.00009000221,0.000008565003,0.00031346572,0.07405994,0.00018473175,0.00017242077,0.9010804,0.0041027856,0.01924453],"study_design_scores_gemma":[0.000013412427,0.000056493474,0.0064231795,0.0005492821,0.000014752813,0.0002997639,0.08956756,0.00017625622,0.0005212835,0.04986071,0.85248053,0.00003671301],"about_ca_topic_score_codex":0.055407368,"about_ca_topic_score_gemma":0.07168781,"teacher_disagreement_score":0.055407368,"about_ca_system_score_codex":0.022324184,"about_ca_system_score_gemma":0.009629636,"threshold_uncertainty_score":0.16197401},"labels":[],"label_agreement":null},{"id":"W3094990363","doi":"10.7202/1072421ar","title":"«Tout le monde a le droit de goûter à l’opéra ! ». Portrait du médiateur Pierre Vachon","year":2020,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Political science","score_opus":0.025901133984239978,"score_gpt":0.24229846122627688,"score_spread":0.2163973272420369,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3094990363","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.039017234,0.04781901,0.0048806295,0.19230202,0.0064890105,0.00011219266,0.0003835209,0.00026734933,0.7087291],"genre_scores_gemma":[0.30535203,0.012064129,0.0015593088,0.010991698,0.0013277662,0.00006178939,0.00009524566,0.00020894072,0.6683392],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988066,0.00033826343,0.000015239095,0.00014369978,0.0004076298,0.0002884753],"domain_scores_gemma":[0.9991135,0.00019111056,0.00006929479,0.000040096944,0.00026150086,0.00032439877],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010806513,0.0006377894,0.00019263667,0.0008927355,0.01300878,0.0068695047,0.0011851714,0.0021564746,0.024514169],"category_scores_gemma":[0.0019616035,0.00032491563,0.0002817806,0.0010826982,0.01195565,0.0022478376,0.0026238968,0.0033208476,0.002854974],"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":[0.00011140083,0.0000396658,0.0025750524,0.00024891956,0.000018969471,0.00094250357,0.13801473,0.00017655299,0.0023343868,0.3843951,0.41061965,0.06052307],"study_design_scores_gemma":[0.0000051507527,0.000013716674,0.0028614765,0.00011308188,0.000004495927,0.000126414,0.019037317,0.000058435046,0.0002713389,0.0026933057,0.97479624,0.000019055396],"about_ca_topic_score_codex":0.6581433,"about_ca_topic_score_gemma":0.8174812,"teacher_disagreement_score":0.6581433,"about_ca_system_score_codex":0.019759383,"about_ca_system_score_gemma":0.01663616,"threshold_uncertainty_score":0.68773997},"labels":[],"label_agreement":null},{"id":"W3095016221","doi":"10.7202/1072413ar","title":"La fabrique de la musique. Des processus créateurs à la médiation des musiques","year":2020,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Cultural Insights and Digital Impacts","field":"Computer Science","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.24242050257677525,"score_gpt":0.3198963918418612,"score_spread":0.07747588926508595,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3095016221","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08313651,0.011735539,0.034369886,0.026432114,0.0011765701,0.00012663672,0.00008285316,0.00025719235,0.8426828],"genre_scores_gemma":[0.8269781,0.0034094728,0.007615151,0.0014046637,0.00028372454,0.000125376,0.00003908834,0.0001806789,0.15996376],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981698,0.00093274756,0.000035097106,0.00023709364,0.00039005486,0.00023522119],"domain_scores_gemma":[0.99831164,0.00088628806,0.00013971953,0.000249134,0.00017911552,0.0002340884],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0025282647,0.0006492686,0.00025201368,0.0012641557,0.007009057,0.010483906,0.0009004535,0.0027331223,0.014601832],"category_scores_gemma":[0.0049039116,0.00038177456,0.00045288494,0.0009864061,0.022662176,0.0061836843,0.0052901865,0.0041816384,0.0020642783],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004719943,0.000021062922,0.00075189455,0.00020645338,0.000008270035,0.0004733699,0.14396994,0.00017071507,0.002640254,0.8122608,0.0040953783,0.035354633],"study_design_scores_gemma":[0.00002943142,0.00009325488,0.0032453546,0.00067792437,0.000021597805,0.0011747216,0.1346969,0.0007372085,0.002951912,0.15890889,0.69741726,0.00004551186],"about_ca_topic_score_codex":0.00799326,"about_ca_topic_score_gemma":0.009953476,"teacher_disagreement_score":0.014601832,"about_ca_system_score_codex":0.0033066971,"about_ca_system_score_gemma":0.003950785,"threshold_uncertainty_score":0.048847973},"labels":[],"label_agreement":null},{"id":"W3095557845","doi":"10.7202/1072420ar","title":"Entre pédagogie et médiation : au coeur du partage des pratiques. Entretien avec Jérôme Thiébaux","year":2020,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Education, sociology, and vocational training","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.24413128367924228,"score_gpt":0.4146542198006902,"score_spread":0.17052293612144795,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3095557845","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":[0.04638473,0.09228088,0.015044821,0.50866306,0.008079,0.000081164275,0.00003694826,0.000109803215,0.32931957],"genre_scores_gemma":[0.82204753,0.02751477,0.0035308793,0.02279778,0.0028257826,0.0001375223,0.000015316538,0.00014560073,0.12098481],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9932902,0.004405416,0.00011065712,0.0006125459,0.0009802607,0.0006008499],"domain_scores_gemma":[0.99271965,0.004965385,0.0004680587,0.00032115774,0.00048663025,0.0010391127],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.006247689,0.0005043193,0.00047440818,0.0014817916,0.010651979,0.012371957,0.000973177,0.0046528215,0.006711635],"category_scores_gemma":[0.013472432,0.00040284873,0.0003405681,0.0011063506,0.042069025,0.01094014,0.008140133,0.012396318,0.00079211895],"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":[0.00004091489,0.000029159377,0.00056599075,0.00013966953,0.000007809026,0.00047596838,0.23080038,0.000083965424,0.0004433248,0.71689093,0.02411531,0.026406676],"study_design_scores_gemma":[0.000024033854,0.00005810347,0.0016875679,0.0008288304,0.0000083902505,0.0006299885,0.10695898,0.00022958788,0.00040624445,0.16833137,0.720794,0.000042856253],"about_ca_topic_score_codex":0.017255742,"about_ca_topic_score_gemma":0.023678543,"teacher_disagreement_score":0.017255742,"about_ca_system_score_codex":0.00882583,"about_ca_system_score_gemma":0.009642132,"threshold_uncertainty_score":0.06403613},"labels":[],"label_agreement":null},{"id":"W3095575883","doi":"10.7202/1072423ar","title":"Le maître ignorant. Cinq leçons sur l’émancipation intellectuelle, de Jacques Rancière","year":2020,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Artistic and Creative Research","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.05829321036054149,"score_gpt":0.25129185701688217,"score_spread":0.19299864665634067,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3095575883","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":[0.014727656,0.24479441,0.0029399071,0.4384984,0.011753719,0.000036607173,0.00012204637,0.00006723868,0.28706002],"genre_scores_gemma":[0.4548403,0.13633318,0.0028365974,0.07262694,0.011104604,0.0002279371,0.0001712084,0.00032721864,0.321532],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99204355,0.004111268,0.00020609653,0.0008555093,0.0018994509,0.0008840059],"domain_scores_gemma":[0.99337256,0.0036502627,0.00061635935,0.0004639914,0.001217706,0.0006790867],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0056679244,0.0007871951,0.00073958316,0.0015092302,0.007689394,0.009255154,0.0010945377,0.0043405476,0.015980097],"category_scores_gemma":[0.011872068,0.00035409626,0.0005876519,0.001233815,0.02360503,0.011330573,0.0065084617,0.0100019965,0.0027685186],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012423079,0.000036736703,0.0010192867,0.0006428153,0.000030254316,0.00049526495,0.049664963,0.00011611111,0.0005915573,0.7301705,0.14042829,0.07668005],"study_design_scores_gemma":[0.000012843607,0.00003060297,0.0016093852,0.0009501044,0.000010753434,0.0002634833,0.013799628,0.00004501508,0.0002831936,0.048293106,0.9346674,0.000034544682],"about_ca_topic_score_codex":0.02257162,"about_ca_topic_score_gemma":0.029141163,"teacher_disagreement_score":0.02257162,"about_ca_system_score_codex":0.006827925,"about_ca_system_score_gemma":0.006754974,"threshold_uncertainty_score":0.05345875},"labels":[],"label_agreement":null},{"id":"W3095739289","doi":"10.7202/1072415ar","title":"Le parti pris disciplinaire de la médiation de la musique. Orientations politiques, pratique, recherche et enseignement au Québec","year":2020,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Contemporary art, education, critique","field":"Social Sciences","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Political science; Art","score_opus":0.1095107585389038,"score_gpt":0.39981803033108365,"score_spread":0.29030727179217986,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3095739289","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.25623167,0.028147997,0.004171755,0.08869111,0.00071153924,0.00012178819,0.0001947631,0.00008561052,0.6216437],"genre_scores_gemma":[0.90675175,0.0033252744,0.0006603578,0.0022465014,0.00005444493,0.0000425348,0.000028701683,0.000019495868,0.08687089],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9974694,0.00096224976,0.000053596883,0.00028696022,0.00055446697,0.0006732953],"domain_scores_gemma":[0.9975224,0.00075770303,0.00017355254,0.00013030655,0.0006898356,0.00072619296],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0027677286,0.0003258997,0.00028284997,0.0011032947,0.018502643,0.008749642,0.0010333281,0.0018577,0.010672499],"category_scores_gemma":[0.0035878532,0.00017317156,0.00019584324,0.0017556562,0.019367881,0.0019762707,0.002852324,0.0032068365,0.0005020208],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005382367,0.00007111558,0.009820073,0.00026021432,0.000018577899,0.00049163715,0.2833679,0.0004466007,0.001385921,0.58153003,0.024585947,0.09796812],"study_design_scores_gemma":[0.000015321397,0.00004596022,0.03543954,0.00066978124,0.00001674865,0.00017854907,0.16843705,0.00043501856,0.00057772984,0.016609505,0.7775315,0.00004324899],"about_ca_topic_score_codex":0.95394427,"about_ca_topic_score_gemma":0.97821885,"teacher_disagreement_score":0.98149735,"about_ca_system_score_codex":0.08053973,"about_ca_system_score_gemma":0.09844141,"threshold_uncertainty_score":0.5843594},"labels":[],"label_agreement":null},{"id":"W3096428895","doi":"10.7202/1069468ar","title":"Investir les journaux à l’ère industrielle. Fatalité ou opportunisme ? L’exemple de Berlioz (1830-1838)","year":2020,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Literature and Culture 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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.11694264021110254,"score_gpt":0.2511641869009339,"score_spread":0.13422154668983136,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3096428895","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18236186,0.01980358,0.002570814,0.043390296,0.0010476533,0.000032052347,0.00007223894,0.000056603418,0.75066495],"genre_scores_gemma":[0.8116954,0.0034491061,0.00066097145,0.0019652846,0.00022758543,0.00002645644,0.000016517219,0.000059768976,0.18189888],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99868757,0.00032817415,0.000016559892,0.00020119453,0.00023880803,0.0005277406],"domain_scores_gemma":[0.99956554,0.00011894756,0.000080971666,0.000039875475,0.00006860974,0.00012592599],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016483723,0.00038602736,0.0002898335,0.0007626964,0.008931426,0.0068215285,0.00063814875,0.00301839,0.009500208],"category_scores_gemma":[0.0021881538,0.00025238612,0.00013565978,0.00073432963,0.01244409,0.0026792586,0.0026613455,0.0026973612,0.0016268975],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009451015,0.000037530568,0.002976818,0.00014334988,0.000007302868,0.00051497086,0.0911977,0.00016660403,0.0015077337,0.8410816,0.020521425,0.04175053],"study_design_scores_gemma":[0.000012666575,0.000053452,0.0081015965,0.00024699504,0.0000041086246,0.00014445522,0.023764456,0.000053192707,0.0004550254,0.017687086,0.9494608,0.000016123868],"about_ca_topic_score_codex":0.038515683,"about_ca_topic_score_gemma":0.10513505,"teacher_disagreement_score":0.038515683,"about_ca_system_score_codex":0.010210726,"about_ca_system_score_gemma":0.004836304,"threshold_uncertainty_score":0.07658303},"labels":[],"label_agreement":null},{"id":"W3096441921","doi":"10.7202/1072417ar","title":"Louise Campbell. Une médiatrice dans l’être","year":2020,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Social Sciences and Governance","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.04508728633802308,"score_gpt":0.2772018670184274,"score_spread":0.23211458068040433,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3096441921","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":[0.0029817263,0.113304116,0.0020091864,0.58043236,0.009927583,0.000034383043,0.00025243792,0.00016261898,0.29089564],"genre_scores_gemma":[0.11060357,0.05175222,0.0022683672,0.08485632,0.0046029794,0.00009456886,0.00012957059,0.00030151688,0.74539095],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99617106,0.0015777383,0.00010245866,0.00068542815,0.0010750666,0.00038824612],"domain_scores_gemma":[0.9962334,0.0014520544,0.000416721,0.00022269698,0.0008882959,0.00078676554],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021659208,0.00071429415,0.00035340793,0.00086161296,0.007163558,0.009371903,0.0010180052,0.0055770576,0.035276208],"category_scores_gemma":[0.0057220533,0.00032699053,0.00023975133,0.0012373728,0.008797946,0.0077187126,0.0029576344,0.0063070506,0.0075709075],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004390626,0.000030521445,0.00066544116,0.00026981448,0.000008917564,0.00016910034,0.010237268,0.00007284813,0.00036787373,0.34152588,0.5948364,0.05177199],"study_design_scores_gemma":[0.0000028476907,0.0000046960513,0.00025473934,0.00011855883,0.0000010298241,0.000040958417,0.0011466113,0.000016323595,0.000065371896,0.0052135577,0.9931276,0.0000077121185],"about_ca_topic_score_codex":0.11210882,"about_ca_topic_score_gemma":0.16840072,"teacher_disagreement_score":0.11210882,"about_ca_system_score_codex":0.010143641,"about_ca_system_score_gemma":0.010309837,"threshold_uncertainty_score":0.22291255},"labels":[],"label_agreement":null},{"id":"W3096869040","doi":"10.7202/1072414ar","title":"Le concert participatif. Une forme efficiente pour partager la médiation de la musique classique","year":2020,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Cultural Insights and Digital Impacts","field":"Computer Science","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.23516547602867247,"score_gpt":0.32253516341191857,"score_spread":0.0873696873832461,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3096869040","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16282631,0.0041999924,0.09179898,0.0044594035,0.0010305407,0.00072561065,0.0006447803,0.00092543015,0.733389],"genre_scores_gemma":[0.7792358,0.0016885509,0.027081836,0.00035772135,0.00033870054,0.00053578377,0.00040784664,0.00023571195,0.19011812],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99662066,0.0011151737,0.00019950447,0.0005893723,0.0010668073,0.00040856682],"domain_scores_gemma":[0.99682057,0.0009790548,0.0004479837,0.0006329116,0.0005774424,0.0005420846],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0028097897,0.0008854859,0.00044593733,0.0022748727,0.0035489544,0.008280999,0.0010813639,0.0016743985,0.031289667],"category_scores_gemma":[0.0067970934,0.0003706531,0.00064942584,0.0019699484,0.005017516,0.0046699587,0.005357375,0.0016845128,0.00536795],"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":[0.0005045828,0.0001825081,0.0140992375,0.001491255,0.00014557206,0.00066434656,0.07941241,0.0012068078,0.026700027,0.49899352,0.014647922,0.36195192],"study_design_scores_gemma":[0.00009701496,0.00059597037,0.029336633,0.0012150017,0.00016394658,0.001284688,0.051376794,0.0023055505,0.006246437,0.0457962,0.8614204,0.0001614005],"about_ca_topic_score_codex":0.004898962,"about_ca_topic_score_gemma":0.008692364,"teacher_disagreement_score":0.031289667,"about_ca_system_score_codex":0.0017956637,"about_ca_system_score_gemma":0.0023273837,"threshold_uncertainty_score":0.10467434},"labels":[],"label_agreement":null},{"id":"W3097194297","doi":"10.7202/1072418ar","title":"De Shakespeare à Diam’s en passant par George Lucas et pnl. Kenny Thomas, intervenant social et médiateur","year":2020,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Social Sciences and Governance","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Publics; Sociology; Art; Political science; Law","score_opus":0.06377959863062625,"score_gpt":0.32771957140390007,"score_spread":0.2639399727732738,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3097194297","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009881349,0.13486671,0.020819716,0.39032677,0.02364151,0.00019595816,0.0003414061,0.00026324278,0.4196633],"genre_scores_gemma":[0.17630889,0.045372102,0.009233539,0.07950831,0.0036455884,0.00035050936,0.00015143017,0.00029962792,0.68512994],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99747926,0.001205032,0.000083203515,0.0004168186,0.0005538998,0.00026176468],"domain_scores_gemma":[0.99812037,0.00091719575,0.000117283824,0.00013298061,0.00041525802,0.00029689947],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0030926086,0.0008979668,0.0004958324,0.0014780929,0.007731015,0.0066498513,0.00091499544,0.003823116,0.009902981],"category_scores_gemma":[0.0051966794,0.0003791763,0.0004954332,0.0010626039,0.012934899,0.0046064444,0.002607903,0.007383418,0.0030717829],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000068491536,0.000031954725,0.00057068525,0.0002946373,0.000017274453,0.00020173023,0.024854572,0.00016621023,0.00045987888,0.7073488,0.22937414,0.036611617],"study_design_scores_gemma":[0.000008994649,0.000020217703,0.0005852829,0.0002655473,0.0000051783213,0.00007641602,0.003922302,0.0000643339,0.00028614895,0.039730933,0.95501924,0.000015431713],"about_ca_topic_score_codex":0.05968171,"about_ca_topic_score_gemma":0.11822552,"teacher_disagreement_score":0.05968171,"about_ca_system_score_codex":0.009991222,"about_ca_system_score_gemma":0.008399877,"threshold_uncertainty_score":0.118668675},"labels":[],"label_agreement":null},{"id":"W3097638199","doi":"10.7202/1072419ar","title":"Isabelle Ronzier « à la croisée des chemins »","year":2020,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"French Urban and Social Studies","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.09507987842201018,"score_gpt":0.2607483772101328,"score_spread":0.1656684987881226,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3097638199","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.027961375,0.05831486,0.018424433,0.30421948,0.0131640965,0.00011763769,0.00015127915,0.0006815796,0.5769652],"genre_scores_gemma":[0.40620747,0.023308724,0.009272425,0.027935142,0.0026440516,0.00018851312,0.00007867874,0.00059053843,0.5297745],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99635327,0.0017912366,0.00007243171,0.00050866295,0.0008198071,0.00045458833],"domain_scores_gemma":[0.99796116,0.00075925677,0.0002611113,0.00022599995,0.0004017524,0.00039076374],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003856193,0.0009241276,0.00048194546,0.0011011275,0.009133833,0.009507722,0.00096400187,0.0030760525,0.016062424],"category_scores_gemma":[0.0064082067,0.0003492646,0.000530725,0.000807654,0.015088237,0.006408152,0.0038051703,0.0076835896,0.005240793],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000096470794,0.000036531845,0.0008792529,0.00024717776,0.000017682163,0.000366675,0.06067085,0.00015241124,0.0014484952,0.7142556,0.1705643,0.051264655],"study_design_scores_gemma":[0.0000044361004,0.000019211702,0.00056443864,0.00017013201,0.0000043504683,0.00017360227,0.0054841544,0.000050188875,0.00039353652,0.010743403,0.98237616,0.000016463746],"about_ca_topic_score_codex":0.02861896,"about_ca_topic_score_gemma":0.04114637,"teacher_disagreement_score":0.02861896,"about_ca_system_score_codex":0.006726404,"about_ca_system_score_gemma":0.005750083,"threshold_uncertainty_score":0.056904733},"labels":[],"label_agreement":null},{"id":"W3097694671","doi":"10.7202/1072412ar","title":"Évaluer la médiation culturelle de la musique. Le travail en commun du sens","year":2020,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Education, sociology, and vocational training","field":"Social Sciences","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Valuation (finance); Political science; Art; Economics","score_opus":0.12202805558342567,"score_gpt":0.3853028988810501,"score_spread":0.26327484329762446,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3097694671","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.23132043,0.010419011,0.1545627,0.0184461,0.00076633284,0.001334823,0.00025269034,0.00032903647,0.5825688],"genre_scores_gemma":[0.9168617,0.0021673746,0.042329114,0.0010545759,0.000069603695,0.00059686386,0.00009769271,0.00014663902,0.036676377],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.97362375,0.019706648,0.00047179929,0.001400011,0.004143879,0.0006538504],"domain_scores_gemma":[0.97914094,0.0131052695,0.0014941801,0.0017775991,0.003603487,0.00087855745],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.020667022,0.00081790745,0.0004984608,0.00221645,0.003845926,0.011083125,0.0011707754,0.0016905144,0.012062686],"category_scores_gemma":[0.028560618,0.00033578667,0.00067084614,0.0015483549,0.012754683,0.0066577424,0.006750653,0.0027540172,0.0010064078],"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":[0.00020319058,0.0002671877,0.013426527,0.0019434472,0.00019239541,0.00030246202,0.20947108,0.0018338141,0.0066244123,0.4725364,0.0067686155,0.28643054],"study_design_scores_gemma":[0.00010160775,0.00080071134,0.037820943,0.0036982524,0.00024516456,0.00048176496,0.30003974,0.0048483484,0.011689306,0.27689546,0.36316162,0.00021706773],"about_ca_topic_score_codex":0.010433988,"about_ca_topic_score_gemma":0.015691692,"teacher_disagreement_score":0.020667022,"about_ca_system_score_codex":0.0074057826,"about_ca_system_score_gemma":0.010420035,"threshold_uncertainty_score":0.109298944},"labels":[],"label_agreement":null},{"id":"W3108129759","doi":"10.7202/1060118ar","title":"Présentation du numéro « Musique et exotisme en France au tournant du XXe siècle. Altérités recomposées »","year":2019,"lang":"fr","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Humanities; Art","score_opus":0.014248700836667882,"score_gpt":0.2279977311628823,"score_spread":0.21374903032621442,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3108129759","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":[0.00885334,0.20012777,0.0051186406,0.16676793,0.18132634,0.00010338587,0.00095024746,0.00045192678,0.4363005],"genre_scores_gemma":[0.109308824,0.08083638,0.0035123064,0.022442654,0.08588369,0.00020422155,0.0012591488,0.0005028847,0.6960499],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99811494,0.00038869964,0.00010101662,0.0002127858,0.0009202736,0.00026233922],"domain_scores_gemma":[0.9981528,0.000512457,0.0001302543,0.00010046121,0.0008487129,0.00025519414],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017670738,0.0008910291,0.00064012385,0.0023495203,0.0026918384,0.005374745,0.0011116163,0.003212466,0.08902621],"category_scores_gemma":[0.0046321317,0.0002280907,0.00087278656,0.0014201305,0.002513091,0.0030770367,0.0036814057,0.0038455273,0.016012121],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00021293173,0.000047223693,0.0006455948,0.0008730858,0.000028704117,0.00079442246,0.0042613265,0.0003333296,0.00173046,0.10990498,0.7215218,0.1596462],"study_design_scores_gemma":[0.0000067882756,0.0000239883,0.00085512607,0.00027999023,0.0000042823326,0.00040269407,0.00073061377,0.00004319578,0.00015227233,0.00297073,0.994517,0.000013167111],"about_ca_topic_score_codex":0.0144981835,"about_ca_topic_score_gemma":0.01765178,"teacher_disagreement_score":0.08902621,"about_ca_system_score_codex":0.0054748333,"about_ca_system_score_gemma":0.0032358216,"threshold_uncertainty_score":0.29782236},"labels":[],"label_agreement":null},{"id":"W3194153125","doi":"10.7202/1079792ar","title":"Induire une écoute audiotechnique au moyen de la stéréophonie monumentale. Musique pour les premiers spectacles son et lumière1","year":2021,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.02160262790161119,"score_gpt":0.27480270816856095,"score_spread":0.25320008026694973,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3194153125","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.20086059,0.03687294,0.087808326,0.01729877,0.006638089,0.00018996972,0.0003927662,0.00070413464,0.6492345],"genre_scores_gemma":[0.6677672,0.01028143,0.024577625,0.0023206114,0.0009150735,0.00011503064,0.00013270842,0.00018721989,0.29370305],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994266,0.00010444423,0.000015757701,0.00009413667,0.0002815429,0.00007764154],"domain_scores_gemma":[0.9993358,0.00025270428,0.00006574574,0.00007345625,0.0001788667,0.000093390176],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008204146,0.00038013307,0.00012732379,0.00060664583,0.0019879795,0.002070337,0.0004770776,0.0011706761,0.01613559],"category_scores_gemma":[0.0016758841,0.00018236661,0.00022666657,0.0004438842,0.002534529,0.0016452302,0.002200733,0.0012808851,0.0026965828],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00036813912,0.00007046481,0.0044553108,0.0012618353,0.000025800324,0.0014841137,0.023953523,0.0004718868,0.13587032,0.25452894,0.027454682,0.5500549],"study_design_scores_gemma":[0.000026888438,0.00029494936,0.012020136,0.0005824082,0.000022930875,0.002373287,0.009247632,0.0006571868,0.02791443,0.016265366,0.93052435,0.000070375485],"about_ca_topic_score_codex":0.0046207877,"about_ca_topic_score_gemma":0.013916638,"teacher_disagreement_score":0.01613559,"about_ca_system_score_codex":0.001309638,"about_ca_system_score_gemma":0.0012408237,"threshold_uncertainty_score":0.05397898},"labels":[],"label_agreement":null},{"id":"W3194296725","doi":"10.7202/1079798ar","title":"Compte rendu des Rencontres nationales sur les recherches en musique, 15-16 octobre 2020, Paris","year":2021,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Cultural Insights and Digital Impacts","field":"Computer Science","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.3499057507299337,"score_gpt":0.3224143043709543,"score_spread":0.027491446358979377,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3194296725","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009927,0.07907103,0.006577843,0.1258787,0.07866234,0.00045600007,0.05009896,0.0023319595,0.6469962],"genre_scores_gemma":[0.026262468,0.016186802,0.0035971783,0.0058545205,0.002968404,0.00028907653,0.009840115,0.00083960843,0.9341617],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9940988,0.00082298956,0.00021851834,0.00078302575,0.002911153,0.0011656472],"domain_scores_gemma":[0.9933606,0.0006292866,0.00031590613,0.00032609384,0.003580549,0.0017875807],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.007143739,0.0015743535,0.0010373757,0.0038378742,0.003078901,0.010086616,0.0012940364,0.0039861,0.14416175],"category_scores_gemma":[0.008502527,0.00062661327,0.0009027778,0.0031057661,0.0020879435,0.0035406393,0.00473558,0.0044911294,0.06800898],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00028594208,0.00003718043,0.0009939667,0.0002715711,0.000022467095,0.0001976796,0.0002910747,0.00030664878,0.00062040385,0.014279281,0.9410559,0.041637976],"study_design_scores_gemma":[0.000014709133,0.00001946491,0.003048789,0.00007200084,0.0000048091483,0.000030099922,0.00017241428,0.00004101565,0.00024001699,0.00038950914,0.995956,0.000011097024],"about_ca_topic_score_codex":0.15359996,"about_ca_topic_score_gemma":0.20231777,"teacher_disagreement_score":0.15359996,"about_ca_system_score_codex":0.014988902,"about_ca_system_score_gemma":0.019428521,"threshold_uncertainty_score":0.4822691},"labels":[],"label_agreement":null},{"id":"W3194634518","doi":"10.7202/1079795ar","title":"À propos de Echo de Jean-Pascal Chaigne, oeuvre créée dans le cadre du projet de recherche « Perspectives actuelles de la musique polychorale »1","year":2021,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Cultural Insights and Digital Impacts","field":"Computer Science","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.21321905352513607,"score_gpt":0.345939724202653,"score_spread":0.13272067067751694,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3194634518","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":[0.04523097,0.08121357,0.059163112,0.39417067,0.06727019,0.00031368708,0.0006444125,0.001044652,0.35094878],"genre_scores_gemma":[0.2311889,0.029354256,0.02203112,0.04619867,0.017407186,0.00035669503,0.00026211148,0.0016712819,0.6515298],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9963568,0.001183806,0.00007445313,0.00066240295,0.0015206721,0.00020179214],"domain_scores_gemma":[0.9968641,0.0014694141,0.00014492532,0.00013540084,0.0008672744,0.00051891827],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0027066036,0.0012044843,0.0005093169,0.0014279194,0.0050624833,0.007896981,0.00095501373,0.00364381,0.015692245],"category_scores_gemma":[0.010505347,0.00037247431,0.00045866994,0.0007239204,0.004902746,0.0053429315,0.0036363653,0.0067947027,0.004652245],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00037709132,0.00011967189,0.0023355584,0.000639183,0.000040083265,0.0019514719,0.06561458,0.00064373185,0.007104377,0.2705166,0.53491455,0.11574305],"study_design_scores_gemma":[0.000007107251,0.000031079337,0.0005691476,0.00014614938,0.000004009432,0.0005509417,0.005004681,0.00015459537,0.00076197775,0.0046237116,0.98811775,0.000028819828],"about_ca_topic_score_codex":0.0097656,"about_ca_topic_score_gemma":0.014468181,"teacher_disagreement_score":0.015692245,"about_ca_system_score_codex":0.002709598,"about_ca_system_score_gemma":0.0031634474,"threshold_uncertainty_score":0.052495778},"labels":[],"label_agreement":null},{"id":"W3194826507","doi":"10.7202/1079794ar","title":"Autonomie de l’élève musicien. Analyse compréhensive des représentations et des stratégies des professeurs, entre prescription et construction du savoir","year":2021,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Diverse Music Education Insights","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Philosophy","score_opus":0.11084611302828186,"score_gpt":0.3179351877171524,"score_spread":0.20708907468887056,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3194826507","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.30107126,0.0033311816,0.16116658,0.005252894,0.00022411777,0.00021462505,0.00047579902,0.00032541592,0.5279381],"genre_scores_gemma":[0.93899673,0.0010716792,0.02050503,0.000301903,0.000043379252,0.00011290914,0.00023427668,0.00010132071,0.03863277],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9974903,0.0008283446,0.000106063446,0.00057202094,0.0007899881,0.00021324174],"domain_scores_gemma":[0.9977883,0.0010506796,0.00034713073,0.0002328234,0.0004069597,0.00017416393],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0024106381,0.00061096484,0.00024915792,0.0017988356,0.0017584297,0.006995447,0.0007047626,0.0014008591,0.013310216],"category_scores_gemma":[0.0070104217,0.00034736897,0.00054439873,0.0015412751,0.0059442464,0.0050655035,0.003332254,0.0017037352,0.0015853966],"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":[0.000121365265,0.000056060937,0.016936604,0.00067571603,0.00007128018,0.00073092326,0.2096072,0.0019023579,0.01069455,0.62234986,0.002999714,0.13385431],"study_design_scores_gemma":[0.000047917227,0.00025572587,0.10030545,0.0016229323,0.00014667648,0.001483172,0.19743067,0.007772408,0.005980321,0.2923854,0.39237046,0.00019886764],"about_ca_topic_score_codex":0.010930541,"about_ca_topic_score_gemma":0.015467605,"teacher_disagreement_score":0.013310216,"about_ca_system_score_codex":0.0030824551,"about_ca_system_score_gemma":0.0033568416,"threshold_uncertainty_score":0.044527113},"labels":[],"label_agreement":null},{"id":"W3195151672","doi":"10.7202/1079793ar","title":"La marque du musicien. Une proposition de canevas d’analyse","year":2021,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Education, sociology, and vocational training","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Proposition; Art; Political science; Philosophy; Linguistics","score_opus":0.12332250784816143,"score_gpt":0.4051514782513862,"score_spread":0.28182897040322474,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3195151672","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03803823,0.014592254,0.023231687,0.019884147,0.0008159519,0.00005902405,0.000103097744,0.00007358864,0.903202],"genre_scores_gemma":[0.8783213,0.006126275,0.0067324727,0.001632776,0.0008512578,0.00009659109,0.00007414546,0.0000795426,0.10608559],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99656314,0.00157693,0.000085499196,0.00058228074,0.0008160515,0.00037615022],"domain_scores_gemma":[0.99867874,0.00065347727,0.00017672151,0.00018228345,0.00020671936,0.000102129154],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026811094,0.00068052777,0.0003985507,0.002423648,0.004141771,0.011015763,0.0008299486,0.0028085941,0.011157758],"category_scores_gemma":[0.0043796264,0.00024995953,0.000563045,0.0015975162,0.025747275,0.006198333,0.0034571178,0.0042310087,0.0016125699],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001204497,0.0000064565916,0.0003161744,0.00005223825,0.0000051217394,0.000057895533,0.008595668,0.00010040994,0.00021640347,0.97871304,0.0009999813,0.010924653],"study_design_scores_gemma":[0.000018370312,0.000058893467,0.004031073,0.00056045584,0.000016116755,0.00028268542,0.01889051,0.00072477764,0.00081219524,0.5013793,0.47319216,0.00003345363],"about_ca_topic_score_codex":0.0097863525,"about_ca_topic_score_gemma":0.01198842,"teacher_disagreement_score":0.011157758,"about_ca_system_score_codex":0.0057892445,"about_ca_system_score_gemma":0.0034474486,"threshold_uncertainty_score":0.042004168},"labels":[],"label_agreement":null},{"id":"W3195406904","doi":"10.7202/1079790ar","title":"Performance Preparation, Anxiety, and the Teacher. Experiences of Adolescent Pianists","year":2021,"lang":"en","type":"article","venue":"Revue musicale OICRM","topic":"Diverse Music Education Insights","field":"Arts and Humanities","cited_by":24,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Memorization; Anxiety; Feeling; Psychology; Piano; Self-esteem; Music education; Mathematics education; Applied psychology; Developmental psychology; Pedagogy; Medical education; Social psychology; Medicine","score_opus":0.03263237644650739,"score_gpt":0.2361914509879146,"score_spread":0.2035590745414072,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3195406904","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9970854,0.0005409503,0.00006321452,0.0002948209,0.000019587762,0.0000056363388,0.0000108421045,0.0000048270244,0.0019747824],"genre_scores_gemma":[0.9984629,0.00046850837,0.00007443689,0.00009610843,0.00001348502,0.0000074592467,0.000015708105,0.000002433354,0.0008589804],"study_design_codex":"observational","study_design_gemma":"qualitative","domain_scores_codex":[0.9991066,0.00034531765,0.000058882608,0.000060743863,0.0002174274,0.0002109675],"domain_scores_gemma":[0.99815816,0.0004955504,0.00056207384,0.00005242395,0.00013006656,0.00060172635],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010380598,0.0002549318,0.00031644324,0.00056422123,0.0016055615,0.0019388387,0.00033134935,0.0006164103,0.0017213541],"category_scores_gemma":[0.003695724,0.00028302587,0.0002953556,0.00021834364,0.0014853022,0.0006521191,0.0016993782,0.0015729901,0.00018352066],"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":[0.00019924727,0.0007234635,0.47869176,0.00034799796,0.00005833563,0.005434786,0.4532815,0.00011489295,0.0058942754,0.0013547934,0.0018036361,0.052095313],"study_design_scores_gemma":[0.000025779682,0.0007421034,0.49755046,0.00025426387,0.000068284506,0.009976654,0.464931,0.00020342099,0.0011975456,0.0003650723,0.024635635,0.00004983719],"about_ca_topic_score_codex":0.0032403711,"about_ca_topic_score_gemma":0.008959679,"teacher_disagreement_score":0.0032403711,"about_ca_system_score_codex":0.00063965184,"about_ca_system_score_gemma":0.00068180694,"threshold_uncertainty_score":0.0064430237},"labels":[],"label_agreement":null},{"id":"W3196095787","doi":"10.7202/1079797ar","title":"Gamelan Girls. Gender, Childhood, and Politics in Balinese Music Ensembles, de Sonja Lynn Downing","year":2021,"lang":"en","type":"article","venue":"Revue musicale OICRM","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Politics; Psychology; Art; Gender studies; Sociology; Political science; Law","score_opus":0.03818471115000454,"score_gpt":0.21198518473477398,"score_spread":0.17380047358476944,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3196095787","genre_codex":"empirical","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.90422165,0.010788285,0.000056093006,0.010828578,0.00027802488,0.0000211572,0.0002255021,0.000006252351,0.07357454],"genre_scores_gemma":[0.96601915,0.0024837328,0.000046836205,0.0006496579,0.000043922744,0.0000355874,0.00006351665,0.0000104378905,0.03064721],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99966705,0.00010610511,0.000011967417,0.00004846398,0.000045946686,0.00012042746],"domain_scores_gemma":[0.99958307,0.000105735395,0.00010186409,0.000007753806,0.000038433114,0.00016302102],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004954887,0.00032400867,0.0003367089,0.00043599156,0.0065062973,0.0020326772,0.00039857047,0.0007698283,0.008933943],"category_scores_gemma":[0.00083999924,0.00033624377,0.0001314904,0.00049549463,0.002054462,0.0011502277,0.0017217188,0.0015276567,0.00059498666],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00031681382,0.0002740445,0.11751843,0.00022644147,0.000022652968,0.003187302,0.7891478,0.00004818032,0.0026158737,0.020523546,0.023186097,0.042932805],"study_design_scores_gemma":[0.000019077741,0.0001380941,0.34108484,0.00028330178,0.000018978353,0.0007307303,0.55379194,0.000020350531,0.00043223627,0.0009449515,0.10251217,0.000023335471],"about_ca_topic_score_codex":0.08198194,"about_ca_topic_score_gemma":0.31498766,"teacher_disagreement_score":0.08198194,"about_ca_system_score_codex":0.0015470461,"about_ca_system_score_gemma":0.0010180139,"threshold_uncertainty_score":0.16300952},"labels":[],"label_agreement":null},{"id":"W3196217999","doi":"10.7202/1079791ar","title":"Réinventer la forme. Le rondo dans l’oeuvre pour piano solo de Mozart","year":2021,"lang":"fr","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy; MOZART; Art history","score_opus":0.022589753406233048,"score_gpt":0.22010318441769464,"score_spread":0.1975134310114616,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3196217999","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.26066935,0.003753351,0.034099527,0.00939272,0.0009006981,0.00009111787,0.000153344,0.00029335052,0.6906466],"genre_scores_gemma":[0.8494989,0.00086873013,0.0074980664,0.00052854815,0.00012044554,0.000038021182,0.000042008945,0.00013000498,0.14127524],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991136,0.0002742995,0.00002682735,0.00021119244,0.00027040765,0.000103741855],"domain_scores_gemma":[0.99958974,0.00012351609,0.000053991735,0.00008637702,0.00008369344,0.00006272243],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009314292,0.00060839247,0.00023659624,0.00093304133,0.0036905115,0.0056422534,0.00061311154,0.0015422866,0.0116020795],"category_scores_gemma":[0.0021575657,0.00031123566,0.0003775672,0.0004985611,0.010450361,0.0034128407,0.0031856785,0.0022654666,0.001438004],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014183491,0.000021568938,0.003379081,0.00022750089,0.000017371009,0.0017073683,0.13976344,0.00035343654,0.010724563,0.78173023,0.006704528,0.055229157],"study_design_scores_gemma":[0.000015595875,0.00011510348,0.00871351,0.00031768603,0.00002492903,0.0022557722,0.082982615,0.0007714689,0.0027043037,0.043144833,0.85888165,0.0000724644],"about_ca_topic_score_codex":0.016994046,"about_ca_topic_score_gemma":0.03502466,"teacher_disagreement_score":0.016994046,"about_ca_system_score_codex":0.0022060103,"about_ca_system_score_gemma":0.0011118313,"threshold_uncertainty_score":0.038812816},"labels":[],"label_agreement":null},{"id":"W3196224666","doi":"10.7202/1079789ar","title":"« Todos juntos, nadie pierde ». Enregistrement audionumérique, processus d’internationalisation et de mise en marché des musiques afrocolombiennes au début du xxie siècle : le rôle des labels discographiques indépendants dans la ville de Bogota","year":2021,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.02078341399164261,"score_gpt":0.24735306053864328,"score_spread":0.22656964654700068,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3196224666","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5200411,0.009738133,0.0014568946,0.012217978,0.0010924725,0.00008050037,0.00060006866,0.00007972529,0.45469314],"genre_scores_gemma":[0.9214257,0.0020121015,0.00055048306,0.0006183253,0.000069845046,0.000049099173,0.00012509045,0.000043601627,0.07510576],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9996063,0.0001273491,0.000015241991,0.000067624984,0.00008405454,0.00009953501],"domain_scores_gemma":[0.99961025,0.00011252087,0.0000781975,0.00003290861,0.00007796598,0.00008823303],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005999909,0.00030439324,0.00016637571,0.0009169626,0.0061322656,0.0029722957,0.0003922814,0.0005072888,0.0074019493],"category_scores_gemma":[0.0014094469,0.00016274555,0.00008031699,0.0014937219,0.0035232643,0.0012199467,0.0023460344,0.0011021905,0.00064108055],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019749376,0.000014609398,0.014997486,0.0004646425,0.0000074335603,0.0006450409,0.8090187,0.000056835313,0.004411446,0.07302903,0.01551127,0.081645995],"study_design_scores_gemma":[0.000008063594,0.000032252497,0.077020936,0.0004761542,0.000010585695,0.00030091088,0.30208316,0.000049261,0.0007120468,0.0018022122,0.6174798,0.000024516803],"about_ca_topic_score_codex":0.18787614,"about_ca_topic_score_gemma":0.44035718,"teacher_disagreement_score":0.18787614,"about_ca_system_score_codex":0.004241295,"about_ca_system_score_gemma":0.0024539547,"threshold_uncertainty_score":0.37356514},"labels":[],"label_agreement":null},{"id":"W4206218202","doi":"10.7202/1060139ar","title":"Les auteurs","year":2019,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"","field":"","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Business","score_opus":0.03539810877302156,"score_gpt":0.2652775122474938,"score_spread":0.22987940347447222,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4206218202","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.01042811,0.027863663,0.00852677,0.1276993,0.30329755,0.00031205246,0.0044319024,0.003724935,0.5137157],"genre_scores_gemma":[0.048301104,0.0061430535,0.0029406352,0.017116258,0.03125578,0.00042157073,0.0010846762,0.0006505846,0.8920863],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99483395,0.0007686025,0.00055012136,0.0011414143,0.0022276263,0.00047816001],"domain_scores_gemma":[0.98678684,0.0027753708,0.0013415237,0.0012908704,0.006422316,0.0013830982],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0026353372,0.0015209407,0.0018315911,0.0019251398,0.0031624984,0.0073841834,0.0015033925,0.005570604,0.40428188],"category_scores_gemma":[0.020916015,0.00058449525,0.0012082459,0.0011830267,0.0012842861,0.0035818443,0.0023935316,0.0043682368,0.24318965],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005086178,0.00010700056,0.0039253007,0.0008899642,0.000111237205,0.004444594,0.00094924035,0.0004953664,0.0030972005,0.0357714,0.67878735,0.27091277],"study_design_scores_gemma":[0.00003418454,0.000023130264,0.0012742482,0.00014617188,0.00001705304,0.0021321874,0.000306073,0.00019792016,0.00047488973,0.0012114879,0.994159,0.000023740147],"about_ca_topic_score_codex":0.0053088954,"about_ca_topic_score_gemma":0.003950053,"teacher_disagreement_score":0.40428188,"about_ca_system_score_codex":0.00238719,"about_ca_system_score_gemma":0.0030705025,"threshold_uncertainty_score":0.8497196},"labels":[],"label_agreement":null},{"id":"W4206546970","doi":"10.7202/1060101ar","title":"Les auteurs","year":2019,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"","field":"","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Psychology","score_opus":0.03539810877302156,"score_gpt":0.2652775122474938,"score_spread":0.22987940347447222,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4206546970","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.01042811,0.027863663,0.00852677,0.1276993,0.30329755,0.00031205246,0.0044319024,0.003724935,0.5137157],"genre_scores_gemma":[0.048301104,0.0061430535,0.0029406352,0.017116258,0.03125578,0.00042157073,0.0010846762,0.0006505846,0.8920863],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99483395,0.0007686025,0.00055012136,0.0011414143,0.0022276263,0.00047816001],"domain_scores_gemma":[0.98678684,0.0027753708,0.0013415237,0.0012908704,0.006422316,0.0013830982],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0026353372,0.0015209407,0.0018315911,0.0019251398,0.0031624984,0.0073841834,0.0015033925,0.005570604,0.40428188],"category_scores_gemma":[0.020916015,0.00058449525,0.0012082459,0.0011830267,0.0012842861,0.0035818443,0.0023935316,0.0043682368,0.24318965],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005086178,0.00010700056,0.0039253007,0.0008899642,0.000111237205,0.004444594,0.00094924035,0.0004953664,0.0030972005,0.0357714,0.67878735,0.27091277],"study_design_scores_gemma":[0.00003418454,0.000023130264,0.0012742482,0.00014617188,0.00001705304,0.0021321874,0.000306073,0.00019792016,0.00047488973,0.0012114879,0.994159,0.000023740147],"about_ca_topic_score_codex":0.0053088954,"about_ca_topic_score_gemma":0.003950053,"teacher_disagreement_score":0.59571815,"about_ca_system_score_codex":0.00238719,"about_ca_system_score_gemma":0.0030705025,"threshold_uncertainty_score":0.8497196},"labels":[],"label_agreement":null},{"id":"W4206614519","doi":"10.7202/1060117ar","title":"Les auteurs","year":2019,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"","field":"","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Environmental science","score_opus":0.03539810877302156,"score_gpt":0.2652775122474938,"score_spread":0.22987940347447222,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4206614519","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.01042811,0.027863663,0.00852677,0.1276993,0.30329755,0.00031205246,0.0044319024,0.003724935,0.5137157],"genre_scores_gemma":[0.048301104,0.0061430535,0.0029406352,0.017116258,0.03125578,0.00042157073,0.0010846762,0.0006505846,0.8920863],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99483395,0.0007686025,0.00055012136,0.0011414143,0.0022276263,0.00047816001],"domain_scores_gemma":[0.98678684,0.0027753708,0.0013415237,0.0012908704,0.006422316,0.0013830982],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0026353372,0.0015209407,0.0018315911,0.0019251398,0.0031624984,0.0073841834,0.0015033925,0.005570604,0.40428188],"category_scores_gemma":[0.020916015,0.00058449525,0.0012082459,0.0011830267,0.0012842861,0.0035818443,0.0023935316,0.0043682368,0.24318965],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005086178,0.00010700056,0.0039253007,0.0008899642,0.000111237205,0.004444594,0.00094924035,0.0004953664,0.0030972005,0.0357714,0.67878735,0.27091277],"study_design_scores_gemma":[0.00003418454,0.000023130264,0.0012742482,0.00014617188,0.00001705304,0.0021321874,0.000306073,0.00019792016,0.00047488973,0.0012114879,0.994159,0.000023740147],"about_ca_topic_score_codex":0.0053088954,"about_ca_topic_score_gemma":0.003950053,"teacher_disagreement_score":0.40428188,"about_ca_system_score_codex":0.00238719,"about_ca_system_score_gemma":0.0030705025,"threshold_uncertainty_score":0.8497196},"labels":[],"label_agreement":null},{"id":"W4210299818","doi":"10.7202/1084968ar","title":"Temps, fiction et réalité. Les chansons originales dans Je vous aime (1980)","year":2021,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Cultural Insights and Digital Impacts","field":"Computer Science","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.24303592929468326,"score_gpt":0.3135182973457373,"score_spread":0.07048236805105401,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4210299818","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.085005,0.03140869,0.0014351576,0.022432081,0.005922527,0.00004972578,0.0001691474,0.00009490101,0.8534827],"genre_scores_gemma":[0.53300434,0.006799081,0.00062077545,0.0019290701,0.0012665709,0.000063505686,0.00009473182,0.00013947947,0.4560825],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993394,0.00024704039,0.0000124421795,0.00009977565,0.00015218469,0.00014918823],"domain_scores_gemma":[0.9994234,0.00029661675,0.000047412173,0.000053133408,0.00007272138,0.000106746294],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007010518,0.0007021196,0.00021371714,0.0012044872,0.0074043595,0.0059502544,0.00058616925,0.0015961812,0.011317638],"category_scores_gemma":[0.0019934638,0.00024981896,0.000199542,0.0012209272,0.0131217595,0.0027278466,0.0025514355,0.0031647515,0.0014530711],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000116570714,0.000030206354,0.00081776676,0.0002705516,0.0000091274505,0.0014792164,0.3185604,0.00012347999,0.0014157463,0.55620825,0.08863594,0.0323327],"study_design_scores_gemma":[0.0000067280826,0.000027600849,0.0014553491,0.00017053883,0.000004019691,0.00031538372,0.029208396,0.000033966815,0.00029331382,0.0068567796,0.96161675,0.000011131243],"about_ca_topic_score_codex":0.022920521,"about_ca_topic_score_gemma":0.05323493,"teacher_disagreement_score":0.022920521,"about_ca_system_score_codex":0.0054463763,"about_ca_system_score_gemma":0.0018878954,"threshold_uncertainty_score":0.04557419},"labels":[],"label_agreement":null},{"id":"W4210329633","doi":"10.7202/1084969ar","title":"La bande-son d’Équateur (1983). L’Afrique selon Serge Gainsbourg","year":2021,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Political and Social Issues","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.03381614738822178,"score_gpt":0.3016160525087297,"score_spread":0.2677999051205079,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4210329633","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.033912525,0.024315767,0.0018677652,0.013136239,0.0015484126,0.00004365803,0.000094534014,0.000044966455,0.9250361],"genre_scores_gemma":[0.37036008,0.0056657605,0.0010907018,0.0024484512,0.0003423141,0.00006468434,0.00007263728,0.00011146328,0.61984384],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9994973,0.00018088822,0.000011819975,0.00010256379,0.0000942905,0.00011323389],"domain_scores_gemma":[0.9998024,0.000058747937,0.000025014155,0.00002347477,0.000050790975,0.000039613544],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006383732,0.0007147456,0.0001822623,0.00069184444,0.006312498,0.003288913,0.00041156,0.0019854202,0.01687692],"category_scores_gemma":[0.001211977,0.00023226677,0.00017173374,0.00079833047,0.005018499,0.002592333,0.0015372282,0.0023014368,0.0030242286],"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":[0.00010523829,0.000024138899,0.0014316057,0.000106969375,0.000005974517,0.00041782804,0.04458308,0.000079709935,0.00049266603,0.84505165,0.051948737,0.055752378],"study_design_scores_gemma":[0.000015567955,0.00002636061,0.003919848,0.00016399214,0.000005274868,0.0003305578,0.00862025,0.00007760311,0.00046720976,0.024249611,0.9621131,0.000010769909],"about_ca_topic_score_codex":0.072631516,"about_ca_topic_score_gemma":0.17823832,"teacher_disagreement_score":0.072631516,"about_ca_system_score_codex":0.0054614292,"about_ca_system_score_gemma":0.0026436108,"threshold_uncertainty_score":0.14441746},"labels":[],"label_agreement":null},{"id":"W4210418758","doi":"10.7202/1084974ar","title":"Le classique fait pop ! Pluralité musicale et décloisonnement des genres, de Danick Trottier, Québec, Éditions xyz, 2021, 264 pages","year":2021,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Cultural Insights and Digital Impacts","field":"Computer Science","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.17467078944106176,"score_gpt":0.2943658536955392,"score_spread":0.11969506425447743,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4210418758","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":[0.004856458,0.6309711,0.0029035418,0.03892651,0.016267672,0.00008603706,0.005592194,0.00037117093,0.30002528],"genre_scores_gemma":[0.037991654,0.172098,0.0025459963,0.003048807,0.002385313,0.00007092262,0.0034522095,0.00045724865,0.7779498],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99851435,0.00012595418,0.000060798182,0.00016972538,0.00091055356,0.00021853983],"domain_scores_gemma":[0.9978033,0.00020987928,0.000097030956,0.00009060302,0.0014696368,0.00032954378],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016162059,0.0015780305,0.0010068455,0.005236357,0.004537286,0.007084434,0.001281048,0.0013218392,0.056527637],"category_scores_gemma":[0.0026216728,0.00059781293,0.0005732928,0.009461855,0.0033836018,0.0029001848,0.0015331015,0.002075554,0.01446536],"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":[0.000058946902,0.000010582203,0.0009974317,0.00043331514,0.000013438379,0.000080501275,0.0014715309,0.00017527361,0.0007435306,0.0103347115,0.85407054,0.13161017],"study_design_scores_gemma":[0.0000033590081,0.0000034517052,0.0040055094,0.00028790146,0.000004111392,0.00006662857,0.0008011596,0.000049243474,0.00010167932,0.00058036525,0.99408567,0.00001079207],"about_ca_topic_score_codex":0.9307116,"about_ca_topic_score_gemma":0.9689987,"teacher_disagreement_score":0.06928837,"about_ca_system_score_codex":0.04476621,"about_ca_system_score_gemma":0.038386483,"threshold_uncertainty_score":0.3248031},"labels":[],"label_agreement":null},{"id":"W4210528419","doi":"10.7202/1084973ar","title":"American Gamelan and the Ethnomusicological Imagination, d’Elizabeth Clendinning, Urbana, University of Illinois Press, 2020, 245 pages","year":2021,"lang":"en","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"History; Art history; Art; Media studies; Sociology","score_opus":0.05171485488287572,"score_gpt":0.20773164157846177,"score_spread":0.15601678669558605,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4210528419","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":[0.005076096,0.7314569,0.0007523039,0.1043889,0.0034559807,0.000020556128,0.000120760706,0.000044780605,0.15468372],"genre_scores_gemma":[0.13271636,0.55595493,0.001795347,0.016615644,0.004573801,0.00013696059,0.00018700237,0.00019556718,0.28782445],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990338,0.0005724321,0.000022728294,0.00009009022,0.00020409499,0.00007683107],"domain_scores_gemma":[0.9990809,0.0005699644,0.00006055213,0.000027265121,0.00011858382,0.00014270774],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012637536,0.000873356,0.00033387027,0.0017987927,0.0035461038,0.00507171,0.00058696314,0.0012955447,0.013375535],"category_scores_gemma":[0.0017099191,0.00046343068,0.00016506591,0.0028749083,0.006537113,0.0075952443,0.0024862732,0.0021972582,0.001977075],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001007004,0.00004925949,0.0006825766,0.00047928558,0.000010151978,0.00024265847,0.035203405,0.00007527223,0.00060195365,0.10001743,0.74273795,0.11979933],"study_design_scores_gemma":[0.0000045787965,0.000005410887,0.0016243643,0.00042647138,0.0000024103033,0.0001238317,0.016316304,0.000026176387,0.000086076536,0.009538497,0.9718366,0.000009214206],"about_ca_topic_score_codex":0.036741592,"about_ca_topic_score_gemma":0.104886405,"teacher_disagreement_score":0.036741592,"about_ca_system_score_codex":0.0032864395,"about_ca_system_score_gemma":0.0017874372,"threshold_uncertainty_score":0.073055446},"labels":[],"label_agreement":null},{"id":"W4242632846","doi":"10.7202/rmo","title":"Revue musicale OICRM","year":2017,"lang":"it","type":"paratext","venue":"Revue musicale OICRM","topic":"","field":"","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.056013593462082616,"score_gpt":0.2947156787797175,"score_spread":0.23870208531763487,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4242632846","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00068681827,0.007618374,0.0011784397,0.012219741,0.015117495,0.000107077714,0.0039761458,0.0017531427,0.9573429],"genre_scores_gemma":[0.010546859,0.004114335,0.00079530745,0.001998113,0.007299537,0.00023174087,0.0027816421,0.00241078,0.96982175],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99207824,0.0009686406,0.00024656122,0.0008156578,0.004576396,0.0013144709],"domain_scores_gemma":[0.99412054,0.0010443096,0.00031309488,0.00095977844,0.002321838,0.0012404417],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0047177197,0.0017229888,0.0023627833,0.006034749,0.0053506964,0.030090481,0.0026392243,0.00642014,0.5047363],"category_scores_gemma":[0.014859836,0.00047001772,0.0010394913,0.005426699,0.002857353,0.00939705,0.0063929376,0.009946139,0.41347358],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009753407,0.000060023824,0.00012765027,0.00033459638,0.000009374757,0.00011934805,0.00023365967,0.000100783516,0.00040604643,0.06977921,0.8776524,0.05107934],"study_design_scores_gemma":[0.000014467097,0.0000069493303,0.00017883819,0.00011393739,0.000002060153,0.000027941696,0.000055565204,0.000049923266,0.00012045301,0.0018077855,0.9976151,0.000006936697],"about_ca_topic_score_codex":0.020833412,"about_ca_topic_score_gemma":0.01293205,"teacher_disagreement_score":0.4952637,"about_ca_system_score_codex":0.008950187,"about_ca_system_score_gemma":0.008358208,"threshold_uncertainty_score":0.70643353},"labels":[],"label_agreement":null},{"id":"W4245913131","doi":"10.7202/1079788ar","title":"Présentation du numéro","year":2021,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Psychoanalysis and Psychopathology Research","field":"Psychology","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.04363016389936877,"score_gpt":0.36656462596211437,"score_spread":0.3229344620627456,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4245913131","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.002397759,0.059523523,0.0059296004,0.039949164,0.46891978,0.0003651635,0.0033519005,0.0012482792,0.41831487],"genre_scores_gemma":[0.033712454,0.028641723,0.0047210534,0.019361796,0.19412008,0.00090161327,0.0039116708,0.0015976425,0.71303195],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99763024,0.00047490053,0.00018173,0.0005116039,0.00092091854,0.00028053825],"domain_scores_gemma":[0.9968268,0.0008691421,0.00018046015,0.0003201069,0.0012922854,0.00051116117],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017763341,0.0016107943,0.0018024619,0.00318131,0.0026177012,0.008170839,0.00155096,0.0028301158,0.2933636],"category_scores_gemma":[0.009556596,0.0003608548,0.0013753761,0.0016730147,0.0011222878,0.0024298886,0.0028887498,0.0036595403,0.14639492],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00023634497,0.000053047872,0.00033899955,0.00058307,0.000027700218,0.0006053628,0.00008365706,0.0001494492,0.0006798713,0.013734995,0.8418899,0.14161755],"study_design_scores_gemma":[0.00001786219,0.00001622843,0.00026732864,0.0001396991,0.0000053321337,0.0005037059,0.00003667003,0.00006516021,0.00018454426,0.0011999236,0.99755573,0.000007822144],"about_ca_topic_score_codex":0.0029919867,"about_ca_topic_score_gemma":0.0023810964,"teacher_disagreement_score":0.2933636,"about_ca_system_score_codex":0.003252159,"about_ca_system_score_gemma":0.002390624,"threshold_uncertainty_score":0.981399},"labels":[],"label_agreement":null},{"id":"W4285269696","doi":"10.7202/1088246ar","title":"Les parodies de chanson liées à la covid-19. La version québécoise d’un phénomène mondial","year":2022,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Coronavirus disease 2019 (COVID-19); Philosophy; Medicine","score_opus":0.03186130502438584,"score_gpt":0.2382938419897992,"score_spread":0.20643253696541336,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4285269696","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.88405156,0.0029160471,0.002397751,0.008357568,0.000368001,0.000093021044,0.0008845874,0.000048940637,0.10088254],"genre_scores_gemma":[0.9707447,0.00069502305,0.00050292275,0.0007065681,0.00002651606,0.000049131737,0.00016313537,0.000035992816,0.02707597],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99828595,0.0007397382,0.000042001167,0.000260078,0.00036535316,0.00030682897],"domain_scores_gemma":[0.9972627,0.000886033,0.00034119567,0.00013903415,0.0007807895,0.0005901768],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018252062,0.00034524448,0.00030641977,0.0012741,0.0103960335,0.0037917602,0.0007504663,0.0013159948,0.012641949],"category_scores_gemma":[0.00484649,0.00029438737,0.00021185627,0.0014763345,0.007915076,0.002207852,0.0024418659,0.0019400932,0.0008609191],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000051137722,0.000014137921,0.021272328,0.00016699782,0.000014224423,0.0007246569,0.9417408,0.000047597456,0.0018657893,0.013808832,0.0076451446,0.012648376],"study_design_scores_gemma":[0.000004426422,0.000026951722,0.06999506,0.00029828868,0.0000118559365,0.00035941286,0.76690805,0.00012840179,0.00031546003,0.0007497622,0.16114455,0.000057768353],"about_ca_topic_score_codex":0.7321714,"about_ca_topic_score_gemma":0.87009835,"teacher_disagreement_score":0.26782858,"about_ca_system_score_codex":0.01347794,"about_ca_system_score_gemma":0.010936136,"threshold_uncertainty_score":0.53881174},"labels":[],"label_agreement":null},{"id":"W4312756932","doi":"10.7202/1090516ar","title":"Trance and Dance in Bali (1951). On the Musical Selections of Mead and Bateson’s Film","year":2022,"lang":"en","type":"article","venue":"Revue musicale OICRM","topic":"Southeast Asian Sociopolitical Studies","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Ceremony; Trance; Dance; Musical; Drama; Visual arts; Ethnography; Action (physics); Context (archaeology); Art; Relation (database); Aesthetics; Sociology; History; Literature; Anthropology; Computer science; Archaeology","score_opus":0.029648904289174684,"score_gpt":0.270075576099881,"score_spread":0.2404266718107063,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4312756932","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5723357,0.016677776,0.0015118294,0.0147695625,0.0015885822,0.000098781384,0.00023628575,0.00005648483,0.3927249],"genre_scores_gemma":[0.9329855,0.003795788,0.00088519097,0.0018663089,0.000218207,0.000052576957,0.00008747468,0.000053502597,0.060055397],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9996069,0.00021716235,0.000008366388,0.000056655637,0.000048570808,0.00006232887],"domain_scores_gemma":[0.99977773,0.000116966905,0.000022406472,0.000015229405,0.000024468913,0.00004326447],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004207916,0.00046932956,0.00017590132,0.0006911149,0.0070362366,0.00220746,0.0003349268,0.0009665218,0.0038685563],"category_scores_gemma":[0.0009497129,0.00017197807,0.00013525922,0.0005821946,0.007518031,0.0018888733,0.0021913687,0.0023493336,0.00040112832],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009830325,0.00003839407,0.0024334572,0.0002401097,0.000011864552,0.0017206357,0.8882782,0.0000749807,0.003044831,0.051389247,0.018827645,0.033842318],"study_design_scores_gemma":[0.000013065314,0.00009565085,0.019155039,0.00075038103,0.000012684017,0.0014349038,0.38433763,0.000088788234,0.001746834,0.0032948537,0.5890418,0.00002835686],"about_ca_topic_score_codex":0.01545819,"about_ca_topic_score_gemma":0.09896618,"teacher_disagreement_score":0.01545819,"about_ca_system_score_codex":0.0023886769,"about_ca_system_score_gemma":0.0005847023,"threshold_uncertainty_score":0.030736446},"labels":[],"label_agreement":null},{"id":"W4312986609","doi":"10.7202/1090520ar","title":"Parcours professionnels de musiciennes migrantes, de la théorie à l’expérience. À propos du colloque Femmes musiciennes du monde tenu les 26 et 27 novembre 2021 au Centre des musiciens du monde (Montréal)","year":2022,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Canadian Identity and History","field":"Social Sciences","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.012352966758613332,"score_gpt":0.22733599169338164,"score_spread":0.2149830249347683,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4312986609","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.481236,0.04451449,0.003190266,0.14855163,0.0018326358,0.000161904,0.00027675487,0.000035205518,0.3202012],"genre_scores_gemma":[0.9192302,0.008333108,0.00059525104,0.0065949396,0.00023109351,0.00011753387,0.00006622563,0.000025682028,0.06480601],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9967307,0.0016110472,0.000053275176,0.0003517842,0.00038222398,0.00087099243],"domain_scores_gemma":[0.997154,0.0012826251,0.00025428997,0.00011227008,0.00042276544,0.00077403145],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004562686,0.0005412831,0.0003417266,0.002064471,0.016374001,0.008208963,0.0016967949,0.0026492279,0.0129413735],"category_scores_gemma":[0.0053838654,0.00037176642,0.0003274547,0.0018699398,0.021784047,0.0047911685,0.006303976,0.003447416,0.0008936257],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022170678,0.000022337661,0.0045045647,0.00010313072,0.0000060844136,0.00043649806,0.91860753,0.000038187056,0.00017777481,0.05540761,0.006505971,0.0141681405],"study_design_scores_gemma":[0.0000066348375,0.000024106903,0.010232784,0.0005028785,0.000006613668,0.0001602362,0.8390563,0.000055414872,0.000054791577,0.0034321735,0.14645375,0.000014413654],"about_ca_topic_score_codex":0.56403255,"about_ca_topic_score_gemma":0.6405234,"teacher_disagreement_score":0.43596745,"about_ca_system_score_codex":0.01966094,"about_ca_system_score_gemma":0.018526265,"threshold_uncertainty_score":0.8770699},"labels":[],"label_agreement":null},{"id":"W4313020799","doi":"10.7202/1090519ar","title":"À propos du livre Le grand espace tonal, de Cyril Achard","year":2022,"lang":"fr","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Jazz; Art; Art history","score_opus":0.02124943986126229,"score_gpt":0.20968814960021553,"score_spread":0.18843870973895324,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4313020799","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.053308886,0.06491091,0.014097896,0.08660211,0.019496832,0.00007734484,0.00023689584,0.0002097164,0.7610595],"genre_scores_gemma":[0.38253257,0.019076563,0.003970291,0.0071669933,0.0060796426,0.0000760156,0.00011765379,0.00032413582,0.5806561],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991737,0.00029170333,0.000018300405,0.00019072625,0.00021786588,0.00010762251],"domain_scores_gemma":[0.9991917,0.00035839248,0.000039724364,0.000048684073,0.00023830187,0.0001231528],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009224495,0.0006342325,0.00029828702,0.0010616183,0.004940898,0.005725139,0.0005287409,0.0015391953,0.0093295425],"category_scores_gemma":[0.0028224732,0.00024882436,0.00023154795,0.0005752698,0.0041964455,0.0029784855,0.0019265211,0.0036671702,0.0017083861],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00020319218,0.00001951697,0.0016288521,0.00025593617,0.00001762976,0.001049634,0.045822535,0.00039026985,0.0017829003,0.67443234,0.20408991,0.07030737],"study_design_scores_gemma":[0.000008394562,0.000017341861,0.0013409338,0.00015351172,0.000005533634,0.0003253661,0.007753503,0.00026435053,0.00043120244,0.009780925,0.9798973,0.000021711778],"about_ca_topic_score_codex":0.05446039,"about_ca_topic_score_gemma":0.07583113,"teacher_disagreement_score":0.05446039,"about_ca_system_score_codex":0.004546947,"about_ca_system_score_gemma":0.0022303106,"threshold_uncertainty_score":0.1082868},"labels":[],"label_agreement":null},{"id":"W4315497853","doi":"10.7202/1096933ar","title":"L’anxiété de performance dans l’enseignement musical. Une revue de littérature","year":2023,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Diverse Music Education Insights","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.035669002102150446,"score_gpt":0.23458896711473373,"score_spread":0.1989199650125833,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4315497853","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":[0.12623344,0.58006936,0.0049456228,0.113725655,0.005501395,0.000053815096,0.00028482507,0.00008837773,0.16909756],"genre_scores_gemma":[0.5660285,0.3751394,0.001900265,0.017630966,0.003787638,0.00010748985,0.00031029878,0.000111848436,0.0349836],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9954804,0.0019904603,0.0002773767,0.00048736084,0.0013425917,0.00042177926],"domain_scores_gemma":[0.99085367,0.006478854,0.0010138736,0.00033545084,0.000842227,0.00047597426],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.006236573,0.00042479998,0.00053075433,0.0020759504,0.0023653924,0.007258124,0.0008998146,0.0026373283,0.014040789],"category_scores_gemma":[0.016041735,0.00028559336,0.0003575149,0.0023101454,0.0072422023,0.006251299,0.003997642,0.0035197723,0.001929336],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016772911,0.00009726126,0.017988339,0.0052088914,0.00008846816,0.0011150788,0.1794514,0.0001659824,0.001595541,0.13657176,0.04195316,0.61559635],"study_design_scores_gemma":[0.000014251872,0.00012581343,0.052530322,0.011366897,0.00005863424,0.0030670052,0.12909657,0.00014798452,0.000540393,0.021822132,0.7811398,0.00009018591],"about_ca_topic_score_codex":0.009552576,"about_ca_topic_score_gemma":0.01582197,"teacher_disagreement_score":0.014040789,"about_ca_system_score_codex":0.0021965024,"about_ca_system_score_gemma":0.0036063986,"threshold_uncertainty_score":0.046971142},"labels":[],"label_agreement":null},{"id":"W4317769767","doi":"10.7202/1101790ar","title":"Le bruit du monde. Transformations alchimiques et spécificité des supports chez F.J. Ossang, Marc Hurtado et Jacques Perconte","year":2023,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Cultural Insights and Digital Impacts","field":"Computer Science","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.21132115471157156,"score_gpt":0.31146413880121704,"score_spread":0.10014298408964548,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4317769767","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.22601123,0.037705384,0.009319307,0.048436187,0.0018378256,0.000047385038,0.00016937061,0.00013686337,0.6763364],"genre_scores_gemma":[0.8964091,0.0072879205,0.0019084463,0.00080091046,0.000262913,0.000036300287,0.000033832104,0.00009684527,0.093163796],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99914217,0.00032436044,0.000019691803,0.00010932096,0.00023752362,0.000166923],"domain_scores_gemma":[0.99915886,0.00034667578,0.00009130524,0.00008071896,0.00013546388,0.00018692322],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012181317,0.0003851525,0.00018888495,0.00094566774,0.005277578,0.007229262,0.00045348753,0.0011982785,0.010505952],"category_scores_gemma":[0.002679729,0.0002467186,0.00021249188,0.00090714596,0.008636764,0.0038939961,0.0038860987,0.0017014634,0.0010602853],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016929471,0.00003399263,0.00226657,0.00031800696,0.000011940834,0.0007522631,0.30610242,0.00019250186,0.003286335,0.5697801,0.025865719,0.09122088],"study_design_scores_gemma":[0.000011757028,0.000040382554,0.0045941994,0.0003069986,0.0000074278114,0.0004346107,0.08365918,0.0001680259,0.000753813,0.021413224,0.8885881,0.000022388096],"about_ca_topic_score_codex":0.019070644,"about_ca_topic_score_gemma":0.03726922,"teacher_disagreement_score":0.019070644,"about_ca_system_score_codex":0.0036331636,"about_ca_system_score_gemma":0.0017198159,"threshold_uncertainty_score":0.037919283},"labels":[],"label_agreement":null},{"id":"W4323519178","doi":"10.7202/1096936ar","title":"Réponse de l’autrice à la recension de son ouvrage Musique, langage vivant, vol. 1 révisé, paru aux Éditions Robert Martin (2021)","year":2023,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Musculoskeletal Disorders and Rehabilitation","field":"Medicine","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities; Philosophy","score_opus":0.014840170802717713,"score_gpt":0.29338822264657755,"score_spread":0.27854805184385983,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4323519178","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":[0.0026644834,0.4100431,0.0015680713,0.23675208,0.16742028,0.00007028633,0.00039293783,0.0001405872,0.18094823],"genre_scores_gemma":[0.03920446,0.22849803,0.0018664099,0.05993963,0.069428496,0.00016756235,0.00050994015,0.0003670379,0.60001844],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9959194,0.0011275926,0.00029659193,0.00049429585,0.0018974281,0.00026468464],"domain_scores_gemma":[0.9938544,0.0024861905,0.0004006503,0.00024590432,0.0024337764,0.00057908765],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0039042265,0.0008486588,0.0007072624,0.0023918902,0.0025613483,0.005100943,0.0009401552,0.003501002,0.028364182],"category_scores_gemma":[0.013240066,0.00039728638,0.0006496196,0.0011710792,0.0034742462,0.0036065576,0.0024057787,0.0059555615,0.015964888],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006691678,0.000023629413,0.00040213676,0.00060925336,0.0000117881955,0.0002306812,0.0039060211,0.00006806688,0.0007013524,0.017713174,0.8924787,0.083788276],"study_design_scores_gemma":[0.0000025476968,0.000013509062,0.00073074765,0.00042770617,0.0000029970233,0.00025578125,0.0007104425,0.00001119648,0.0001279728,0.0013286371,0.99637586,0.000012724353],"about_ca_topic_score_codex":0.020075029,"about_ca_topic_score_gemma":0.027139088,"teacher_disagreement_score":0.028364182,"about_ca_system_score_codex":0.004200187,"about_ca_system_score_gemma":0.006060141,"threshold_uncertainty_score":0.094887614},"labels":[],"label_agreement":null},{"id":"W4323519195","doi":"10.7202/1096937ar","title":"Ce que la musique fait à l’hypnose. Une relation spectaculaire au xixe siècle, par Céline Frigau Manning Dijon, Les presses du réel, 2021, 384 pages","year":2023,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Cultural Insights and Digital Impacts","field":"Computer Science","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Relation (database); Computer science","score_opus":0.12060644122424242,"score_gpt":0.2770961561400303,"score_spread":0.1564897149157879,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4323519195","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":[0.0045227553,0.62570685,0.0015889641,0.16135675,0.011871591,0.000019585228,0.00014876365,0.00007462522,0.1947101],"genre_scores_gemma":[0.19640952,0.41071367,0.0027154023,0.053923298,0.019485466,0.000120909805,0.00024963275,0.00040916717,0.31597295],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99811244,0.00081922155,0.00007071832,0.00025227532,0.0005147496,0.000230681],"domain_scores_gemma":[0.9972121,0.0016065944,0.0002824298,0.0001230114,0.00041808744,0.00035776026],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016824508,0.0007668527,0.00063636014,0.0014528863,0.0030210714,0.008903903,0.00064477883,0.003222751,0.01669158],"category_scores_gemma":[0.005335036,0.00038582832,0.00042843565,0.0014732386,0.013451376,0.0073438967,0.0033597464,0.0065178536,0.003496188],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002976132,0.00005807578,0.0013201748,0.0018993109,0.000057212597,0.0008177631,0.036068477,0.00017779715,0.0020390193,0.31983146,0.45978242,0.1776507],"study_design_scores_gemma":[0.00002305773,0.000038033213,0.0037281567,0.0014048911,0.000012140771,0.00083411275,0.012965783,0.000055932876,0.00021456892,0.01975318,0.9609406,0.000029575333],"about_ca_topic_score_codex":0.0273577,"about_ca_topic_score_gemma":0.030336618,"teacher_disagreement_score":0.0273577,"about_ca_system_score_codex":0.0041684606,"about_ca_system_score_gemma":0.0047770147,"threshold_uncertainty_score":0.055838943},"labels":[],"label_agreement":null},{"id":"W4323519197","doi":"10.7202/1096934ar","title":"Any Port(ico) in a Storm. Field Notes on an Adult Amateur Synagogue Choir during the Pandemic","year":2023,"lang":"en","type":"article","venue":"Revue musicale OICRM","topic":"COVID-19 and Mental Health","field":"Psychology","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Choir; Amateur; Rehearsing; History; Field (mathematics); Pandemic; Meaning (existential); Visual arts; Coronavirus disease 2019 (COVID-19); Art; Psychology; Medicine; Archaeology","score_opus":0.07030897521420372,"score_gpt":0.3833232815843573,"score_spread":0.3130143063701536,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4323519197","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14581895,0.002971285,0.0032688659,0.11089543,0.021559903,0.0004116769,0.00064047414,0.00042693835,0.7140065],"genre_scores_gemma":[0.490206,0.0022543226,0.00199052,0.02593606,0.0023268587,0.00019226118,0.00023242626,0.0002492398,0.47661233],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.9994288,0.00022287265,0.000015213582,0.00004033811,0.000102142425,0.00019053895],"domain_scores_gemma":[0.9987496,0.00014514917,0.000054308624,0.000053796648,0.00017355819,0.00082357315],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00095621054,0.00037070434,0.00017154013,0.0003466452,0.009593029,0.0024919834,0.00051314046,0.001311523,0.04141281],"category_scores_gemma":[0.0030211029,0.00017079672,0.00023392652,0.0002216722,0.0023416136,0.002438414,0.0037488847,0.004010088,0.006414959],"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":[0.00017391575,0.00015573837,0.0020365743,0.00020946994,0.000008489612,0.0032841242,0.1353718,0.00013155585,0.0018952833,0.020035954,0.78930247,0.04739465],"study_design_scores_gemma":[0.000011920853,0.00014253664,0.002017881,0.0001558233,0.0000019232345,0.00058839674,0.18924539,0.000049855353,0.0002534033,0.001106599,0.80640507,0.000021203057],"about_ca_topic_score_codex":0.006741068,"about_ca_topic_score_gemma":0.022184439,"teacher_disagreement_score":0.04141281,"about_ca_system_score_codex":0.0008440036,"about_ca_system_score_gemma":0.0012878536,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4323519226","doi":"10.7202/1096932ar","title":"Au diable le gorille ! Les chansons de Georges Brassens en traduction suédoise","year":2023,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Linguistics and Discourse 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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.04085221496813303,"score_gpt":0.26250938873734275,"score_spread":0.22165717376920974,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4323519226","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.73137486,0.017816078,0.013817822,0.0122964075,0.0017146216,0.00014953876,0.0008756937,0.00035763375,0.2215974],"genre_scores_gemma":[0.8826126,0.0025657576,0.006122675,0.00060039794,0.0001569774,0.000043259457,0.00036797777,0.00016614926,0.10736421],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992047,0.00034397366,0.00002524193,0.00014879275,0.00020480026,0.00007250252],"domain_scores_gemma":[0.9992735,0.00033892636,0.00008930593,0.000079812125,0.00014886927,0.00006952607],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010269295,0.00054008316,0.00031752302,0.0016407322,0.0027551793,0.0025679779,0.00036533028,0.0007120567,0.007853541],"category_scores_gemma":[0.0024411343,0.00017391438,0.00025682445,0.0018104255,0.0036454757,0.0014732919,0.0013139202,0.0013427864,0.0017976844],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003249732,0.00003680549,0.0312679,0.0008303359,0.000060840182,0.0014792634,0.5023811,0.0003059871,0.015277202,0.087553166,0.023416054,0.33706635],"study_design_scores_gemma":[0.000020072792,0.0001250424,0.06212199,0.00053718605,0.000031636813,0.0012010098,0.17676976,0.0002997812,0.0039203316,0.005116859,0.7497828,0.00007359077],"about_ca_topic_score_codex":0.03837676,"about_ca_topic_score_gemma":0.09972709,"teacher_disagreement_score":0.03837676,"about_ca_system_score_codex":0.0018771536,"about_ca_system_score_gemma":0.0011971376,"threshold_uncertainty_score":0.07630676},"labels":[],"label_agreement":null},{"id":"W4323519227","doi":"10.7202/1096938ar","title":"Une musicologie entre textes et arts. Hommages à Béatrice Ramaut-Chevassus et Alban Ramaut, dirigé par Céline Carenco, Anne Damon-Guillot, Jean-Christophe Branger et Pierre Fargeton Paris, Hermann, 2021, 286 pages","year":2023,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Nutrition, Health, and Society Studies","field":"Agricultural and Biological Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities; Art history; The arts; Visual arts","score_opus":0.04399087733726305,"score_gpt":0.2879412673303748,"score_spread":0.24395038999311175,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4323519227","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":[0.0021767635,0.77300334,0.0008585513,0.0753991,0.038734734,0.000026876236,0.00030082208,0.00015275119,0.109347075],"genre_scores_gemma":[0.04961222,0.44050616,0.0017804924,0.01498065,0.043430347,0.00010013431,0.0005408498,0.00043546042,0.44861367],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.998367,0.0006005015,0.000071470255,0.00025059353,0.0005495979,0.00016072499],"domain_scores_gemma":[0.99861395,0.00069944496,0.0001445875,0.000050163053,0.00027074994,0.00022108485],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016680968,0.0012767676,0.000957454,0.0022273192,0.003006166,0.007180916,0.00068215793,0.0021763938,0.033781424],"category_scores_gemma":[0.0034017507,0.00046675708,0.00041237238,0.0030535124,0.0038242529,0.0051067425,0.0028507363,0.0041042734,0.009326061],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016609913,0.000031628584,0.00033814073,0.00083549443,0.000018000708,0.00023500007,0.006955287,0.00009337598,0.00090522226,0.031000612,0.80608684,0.15333426],"study_design_scores_gemma":[0.0000067360506,0.000010911481,0.0012240768,0.0004608564,0.0000023977393,0.00015249726,0.0023088309,0.000020988991,0.00010900442,0.001973001,0.99372226,0.000008548298],"about_ca_topic_score_codex":0.021331873,"about_ca_topic_score_gemma":0.034615822,"teacher_disagreement_score":0.033781424,"about_ca_system_score_codex":0.0049511865,"about_ca_system_score_gemma":0.0035719038,"threshold_uncertainty_score":0.11301017},"labels":[],"label_agreement":null},{"id":"W4323519234","doi":"10.7202/1096935ar","title":"Comme un port(ique) dans la tempête. Note de terrain sur une chorale amatrice adulte de synagogue pendant la pandémie","year":2023,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Death, Funerary Practices, and Mourning","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.047564857434520845,"score_gpt":0.32362655054376466,"score_spread":0.27606169310924383,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4323519234","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7580562,0.0027946217,0.006186032,0.017867595,0.0015392666,0.000070046706,0.00012397884,0.00011471319,0.21324755],"genre_scores_gemma":[0.94512594,0.00074908376,0.0011140865,0.00067631755,0.00008555862,0.000027963346,0.000021695063,0.00003653416,0.052162845],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99930394,0.00035403704,0.000021580689,0.00006424776,0.0001198698,0.00013640872],"domain_scores_gemma":[0.99942064,0.00014704994,0.00007545316,0.00003888681,0.00007886787,0.00023920837],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00089850335,0.000214857,0.00019954944,0.00044863645,0.0059514362,0.002737913,0.000362778,0.0008875905,0.005906089],"category_scores_gemma":[0.002415357,0.00019868597,0.00019296978,0.00038152354,0.007778729,0.0025363003,0.004727364,0.0034749561,0.0007100797],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016332786,0.00005740711,0.009502498,0.00012447887,0.000009974642,0.006910851,0.8496612,0.000112660055,0.004690511,0.08460962,0.008130576,0.03602698],"study_design_scores_gemma":[0.0000127314715,0.00019479709,0.015985683,0.000297755,0.00000877156,0.00375072,0.6127477,0.00015122927,0.00092482474,0.008397661,0.35748306,0.00004502641],"about_ca_topic_score_codex":0.008332743,"about_ca_topic_score_gemma":0.018965367,"teacher_disagreement_score":0.008332743,"about_ca_system_score_codex":0.001010699,"about_ca_system_score_gemma":0.0011919389,"threshold_uncertainty_score":0.019757807},"labels":[],"label_agreement":null},{"id":"W4323530015","doi":"10.7202/1096929ar","title":"Identification des propriétés psychoacoustiques des acouphènes de huit musiciens et synthèse de portraits acouphéniques","year":2023,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Hearing Loss and Rehabilitation","field":"Neuroscience","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.07288143833377511,"score_gpt":0.3604264715233252,"score_spread":0.28754503318955005,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4323530015","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9368642,0.002233424,0.022038804,0.0008965168,0.0002683775,0.00019950516,0.00023073867,0.00009805711,0.037170365],"genre_scores_gemma":[0.95458645,0.0017976817,0.018743593,0.00038871955,0.000101950835,0.0002762108,0.00018165345,0.000113772134,0.023809984],"study_design_codex":"qualitative","study_design_gemma":"observational","domain_scores_codex":[0.9991703,0.00028620492,0.00003078422,0.00015469547,0.00029160248,0.00006655965],"domain_scores_gemma":[0.9982096,0.0010685836,0.00014144009,0.00017454915,0.00031486124,0.00009090308],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017283873,0.00049604423,0.00026384438,0.0009287525,0.0013359358,0.002166729,0.00037505152,0.000768925,0.008339473],"category_scores_gemma":[0.005055127,0.00024059492,0.00031155124,0.00053481746,0.0027428102,0.0018821465,0.002142977,0.0010505819,0.000740962],"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":[0.00092630176,0.00012343023,0.019389134,0.0022592456,0.00010139422,0.0024917312,0.5474923,0.00070497446,0.18344681,0.01976393,0.0034012985,0.21989948],"study_design_scores_gemma":[0.00007871662,0.001611908,0.1514687,0.0019154974,0.00020143711,0.0073740627,0.53558636,0.0019288867,0.053889252,0.0112880245,0.23434645,0.00031074233],"about_ca_topic_score_codex":0.0012053112,"about_ca_topic_score_gemma":0.003465641,"teacher_disagreement_score":0.008339473,"about_ca_system_score_codex":0.00052032754,"about_ca_system_score_gemma":0.0005290078,"threshold_uncertainty_score":0.027898312},"labels":[],"label_agreement":null},{"id":"W4323530028","doi":"10.7202/1096926ar","title":"Présentation du numéro","year":2023,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Musicians’ Health and Performance","field":"Medicine","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.03897931846018642,"score_gpt":0.317533308078144,"score_spread":0.2785539896179576,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4323530028","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.001968846,0.041098002,0.0018973593,0.09720382,0.66516656,0.00022412105,0.0013866081,0.0004269761,0.19062783],"genre_scores_gemma":[0.026784988,0.022963021,0.0017917992,0.048817012,0.3186672,0.00057640806,0.001699868,0.00065442506,0.57804537],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980318,0.0003955035,0.00014658479,0.00035550332,0.00074719713,0.00032349952],"domain_scores_gemma":[0.9974921,0.0006936358,0.00015206484,0.00016235856,0.00092718005,0.0005727019],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016885495,0.0012544803,0.001309224,0.0019762556,0.0020080274,0.0054673143,0.0013739956,0.004042128,0.20067343],"category_scores_gemma":[0.010072137,0.00030035223,0.0012629336,0.00089212495,0.0009861665,0.0021269803,0.0028934842,0.003810117,0.08237656],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015734765,0.000030723157,0.00027382938,0.00026781185,0.000012869626,0.000998329,0.000056753568,0.00006432218,0.00030508224,0.0043682284,0.94159585,0.05186882],"study_design_scores_gemma":[0.000019089566,0.00001645746,0.0002370065,0.00014276423,0.0000040943396,0.001036972,0.000045824592,0.000044459175,0.00012917578,0.00079241936,0.99752516,0.0000066848747],"about_ca_topic_score_codex":0.0018387063,"about_ca_topic_score_gemma":0.0021462382,"teacher_disagreement_score":0.20067343,"about_ca_system_score_codex":0.0025956193,"about_ca_system_score_gemma":0.002196189,"threshold_uncertainty_score":0.6713195},"labels":[{"model":"gemma","categories":[],"domain":null,"study_design":"not_applicable","genre":"editorial","about_ca_system":false,"about_ca_topic":false,"confidence":"low"},{"model":"gpt","categories":[],"domain":null,"study_design":"not_applicable","genre":"editorial","about_ca_system":false,"about_ca_topic":false,"confidence":"high"}],"label_agreement":"agree"},{"id":"W4323530033","doi":"10.7202/1096927ar","title":"La variabilité intra-individuelle du mouvement en performance pianistique. Une revue exploratoire","year":2023,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Sports injuries and prevention","field":"Medicine","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Political science; Philosophy","score_opus":0.014323333430344136,"score_gpt":0.24840932843655614,"score_spread":0.234085995006212,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4323530033","genre_codex":"empirical","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6451252,0.13274308,0.13827753,0.01247554,0.0021951788,0.0018120653,0.0028683248,0.00036760818,0.0641355],"genre_scores_gemma":[0.95233524,0.014812982,0.022728054,0.0016270919,0.00036372818,0.002206328,0.00068556645,0.00019546889,0.005045543],"study_design_codex":"design_other","study_design_gemma":"systematic_review","domain_scores_codex":[0.9596579,0.02138433,0.0026791715,0.006770148,0.008737396,0.00077104085],"domain_scores_gemma":[0.9022464,0.0692295,0.012825394,0.007035351,0.007992209,0.00067117607],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0429137,0.0007819061,0.0013697187,0.0030631705,0.001627439,0.0057172887,0.0020632667,0.0013454913,0.0061622337],"category_scores_gemma":[0.11285627,0.00077249954,0.0016342377,0.0035730817,0.0061848424,0.003603978,0.0040675504,0.0019445377,0.0007491041],"study_design_candidate":"systematic_review","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0014854998,0.00027617003,0.2341707,0.016015377,0.0040590805,0.0005074489,0.09136762,0.0018807099,0.003685009,0.03213034,0.00619889,0.6082232],"study_design_scores_gemma":[0.00014056233,0.0010936394,0.8123652,0.014186753,0.0024253838,0.0015054884,0.031351857,0.0027852613,0.0038517332,0.045492932,0.08435358,0.0004476361],"about_ca_topic_score_codex":0.013730822,"about_ca_topic_score_gemma":0.016072366,"teacher_disagreement_score":0.0429137,"about_ca_system_score_codex":0.0034100376,"about_ca_system_score_gemma":0.004453736,"threshold_uncertainty_score":0.22695208},"labels":[],"label_agreement":null},{"id":"W4323530228","doi":"10.7202/1096928ar","title":"The Relationship Between Pianists’ Perceptions and Spinal Posture Following Alexander Technique Lessons","year":2023,"lang":"en","type":"article","venue":"Revue musicale OICRM","topic":"Musicians’ Health and Performance","field":"Medicine","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Psychology; Perception; Body posture; Physical medicine and rehabilitation; Medicine","score_opus":0.09950482681138498,"score_gpt":0.3782716898521532,"score_spread":0.27876686304076825,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4323530228","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.99865294,0.00012773438,0.000144837,0.00007897025,0.000007681126,0.000009537188,0.000011621561,0.0000030895349,0.0009635559],"genre_scores_gemma":[0.99934644,0.00012593115,0.00013440877,0.000029932591,0.000009128751,0.0000076100787,0.000012683471,0.0000011167155,0.0003326259],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.99875057,0.00030542296,0.00009884899,0.00011754539,0.00057126675,0.00015635119],"domain_scores_gemma":[0.9953561,0.0016339013,0.0016806895,0.00015088118,0.00055643654,0.0006220073],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016229756,0.00020792076,0.00024299294,0.0006371035,0.0003937328,0.0007224191,0.00025304442,0.0005307055,0.0029603252],"category_scores_gemma":[0.009570589,0.00015722548,0.00025666997,0.00025113125,0.00070275815,0.00033116873,0.0008042376,0.0006104338,0.000285288],"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":[0.0005657745,0.00067615736,0.84698945,0.00048279949,0.00014961266,0.0009358719,0.07173431,0.00015576526,0.019152364,0.00014669345,0.00051349355,0.05849766],"study_design_scores_gemma":[0.000009269264,0.00054908235,0.9779906,0.000045553355,0.000020027705,0.0003733838,0.019983482,0.00011847766,0.00027337487,0.0000437833,0.00057496224,0.00001801501],"about_ca_topic_score_codex":0.002340737,"about_ca_topic_score_gemma":0.0034488053,"teacher_disagreement_score":0.0029603252,"about_ca_system_score_codex":0.00031052998,"about_ca_system_score_gemma":0.00030755214,"threshold_uncertainty_score":0.009903252},"labels":[],"label_agreement":null},{"id":"W4323530302","doi":"10.7202/1096930ar","title":"Bien-être en classe de musique d’élèves du primaire inscrits à un programme Arts-études","year":2023,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Psychological Well-being and Life Satisfaction","field":"Psychology","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Psychology","score_opus":0.04400368636858262,"score_gpt":0.3180902827565446,"score_spread":0.27408659638796196,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4323530302","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.99304056,0.00037262088,0.00012150207,0.00047864293,0.000051171475,0.000038548682,0.00014602164,0.0000068224012,0.0057441755],"genre_scores_gemma":[0.9762284,0.00036237328,0.00027651316,0.00020971475,0.00003551493,0.000073294,0.00020919938,0.000007492611,0.022597477],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.9992022,0.00013910224,0.000023834833,0.0000884983,0.00019769867,0.0003486211],"domain_scores_gemma":[0.99746764,0.0002723521,0.00042711876,0.00009435405,0.0004862986,0.0012521973],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012685445,0.0002641862,0.0003853747,0.00067115726,0.0019471211,0.0012097803,0.00044763574,0.00044070563,0.015727416],"category_scores_gemma":[0.0021714454,0.0001533435,0.00031589856,0.00052281027,0.00076195144,0.00043376625,0.0010650813,0.0009687102,0.0012112453],"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":[0.0006012209,0.0010893574,0.82582045,0.00031057373,0.00011015006,0.00046463712,0.035662018,0.0001338008,0.005146231,0.0009496444,0.0050898427,0.12462203],"study_design_scores_gemma":[0.000007634344,0.00024402878,0.97962314,0.00007309081,0.000016090424,0.000040668747,0.010801266,0.00004039527,0.00025598495,0.00007062058,0.0088173,0.000009906445],"about_ca_topic_score_codex":0.16099206,"about_ca_topic_score_gemma":0.4390837,"teacher_disagreement_score":0.16099206,"about_ca_system_score_codex":0.002736073,"about_ca_system_score_gemma":0.0028145555,"threshold_uncertainty_score":0.32010996},"labels":[],"label_agreement":null},{"id":"W4323530339","doi":"10.7202/1096931ar","title":"The Effectiveness of Mindfulness Training on the Experience of Music Performance Anxiety in Young Adult Musicians. A Preliminary Investigation","year":2023,"lang":"en","type":"article","venue":"Revue musicale OICRM","topic":"Diverse Music Education Insights","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Mindfulness; Anxiety; Psychology; Intervention (counseling); Clinical psychology; Trait anxiety; State-Trait Anxiety Inventory; Psychotherapist; Psychiatry","score_opus":0.0598546740398654,"score_gpt":0.23614083290872329,"score_spread":0.1762861588688579,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4323530339","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9973998,0.0005569984,0.00015903781,0.00007339117,0.000017655657,0.00010528272,0.0000141105365,0.0000086965165,0.0016651658],"genre_scores_gemma":[0.9975758,0.0007060162,0.00075414224,0.000071788294,0.000031505664,0.000091106085,0.000025879768,0.0000020405869,0.0007416732],"study_design_codex":"design_other","study_design_gemma":"observational","domain_scores_codex":[0.9998042,0.00006994763,0.0000143177,0.00001976866,0.000050513983,0.000041263003],"domain_scores_gemma":[0.9993512,0.00035694058,0.00006660091,0.000035517063,0.00003718729,0.00015256561],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00047399095,0.00022551027,0.00020593847,0.0003056903,0.0002795007,0.00022718585,0.00024845172,0.00028149062,0.0016329918],"category_scores_gemma":[0.0018362532,0.000105542626,0.0002657231,0.00008067415,0.00023204632,0.00017344258,0.0003324705,0.00038564205,0.000121163604],"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":[0.008264547,0.031535264,0.056153476,0.0014909185,0.00035369096,0.0005375653,0.00811256,0.0002183187,0.09714627,0.0002687987,0.0005140449,0.7954046],"study_design_scores_gemma":[0.0012510446,0.053080205,0.9276783,0.00021101243,0.00039402882,0.0008658604,0.0028913708,0.00049694,0.0097095445,0.00017161162,0.0032225351,0.000027635393],"about_ca_topic_score_codex":0.0011450589,"about_ca_topic_score_gemma":0.003307582,"teacher_disagreement_score":0.0016329918,"about_ca_system_score_codex":0.00015742815,"about_ca_system_score_gemma":0.00036909882,"threshold_uncertainty_score":0.005462885},"labels":[],"label_agreement":null},{"id":"W4380869213","doi":"10.7202/1101798ar","title":"Exposer la musique. Le festival du Trocadéro (Paris 1878), par Étienne Jardin, Paris, Horizons d’attente, 2022, 379 pages","year":2023,"lang":"fr","type":"preprint","venue":"Revue musicale OICRM","topic":"Historical Studies and Socio-cultural 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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.031169045019155957,"score_gpt":0.2121305017098081,"score_spread":0.18096145669065214,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380869213","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.010804211,0.45029432,0.0012894646,0.033807535,0.019377926,0.000051073977,0.002043112,0.00022361147,0.48210877],"genre_scores_gemma":[0.13979667,0.11227203,0.0017862836,0.0025756839,0.009508655,0.00009848542,0.0014348737,0.0005032228,0.7320241],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992643,0.00020815452,0.000022738179,0.00012065801,0.00026218037,0.00012198544],"domain_scores_gemma":[0.9995246,0.00015334484,0.000061648956,0.000036691737,0.000113051494,0.00011069742],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00096244545,0.0012046392,0.00045636485,0.0025825594,0.0035303344,0.004589742,0.00048718677,0.0013438213,0.049586043],"category_scores_gemma":[0.0016378079,0.0003833663,0.00042472465,0.0030008857,0.0029386126,0.0022495363,0.0020927447,0.0024790931,0.006686321],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012518807,0.000023955121,0.0008917248,0.00066232384,0.00002415551,0.00033577392,0.01271663,0.000198664,0.0006195501,0.07323095,0.8104193,0.10075176],"study_design_scores_gemma":[0.0000035626595,0.0000047731064,0.0024281945,0.00019599087,0.000002173287,0.00007521295,0.0015566654,0.000010029808,0.000062280924,0.0009839226,0.9946725,0.000004713001],"about_ca_topic_score_codex":0.088128574,"about_ca_topic_score_gemma":0.15402374,"teacher_disagreement_score":0.088128574,"about_ca_system_score_codex":0.008697486,"about_ca_system_score_gemma":0.003182963,"threshold_uncertainty_score":0.17523122},"labels":[],"label_agreement":null},{"id":"W4385648284","doi":"10.7202/1101787ar","title":"Distance and Connection. Phonograph Records as Narrative Objects in 1940s Cinema","year":2023,"lang":"en","type":"article","venue":"Revue musicale OICRM","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Phonograph; Narrative; Connection (principal bundle); Period (music); Expression (computer science); Function (biology); History; Communication; Visual arts; Psychology; Linguistics; Literature; Computer science; Art; Aesthetics; Engineering; Electrical engineering","score_opus":0.020140793423010717,"score_gpt":0.21811036314444057,"score_spread":0.19796956972142984,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385648284","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6313102,0.015682464,0.0034736947,0.0024559046,0.00024922777,0.000059795413,0.00034738102,0.000060839895,0.3463604],"genre_scores_gemma":[0.98697495,0.0017302786,0.0006075981,0.00008657731,0.00008337517,0.000028636503,0.00008464091,0.000041653308,0.010362289],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982191,0.0009829093,0.00007741288,0.00025211755,0.00029284606,0.00017558393],"domain_scores_gemma":[0.99797994,0.0012231725,0.00039611917,0.00016555397,0.00010046805,0.0001347457],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011758411,0.000308631,0.00024608546,0.0037121451,0.007503675,0.009983362,0.0006459733,0.0012015406,0.005288245],"category_scores_gemma":[0.0042457804,0.0003691456,0.00014885537,0.004146088,0.017614411,0.008540595,0.004478469,0.0016012478,0.00035998572],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006944454,0.000017435135,0.0035243433,0.00020505217,0.000010442217,0.0005412951,0.8568628,0.00004581607,0.0011619356,0.109802805,0.0011862033,0.026572457],"study_design_scores_gemma":[0.000019445162,0.00008302678,0.034258414,0.0006062462,0.000042635853,0.0013801455,0.49527094,0.000118109325,0.0011425795,0.014851238,0.45218462,0.000042611056],"about_ca_topic_score_codex":0.010732525,"about_ca_topic_score_gemma":0.02300555,"teacher_disagreement_score":0.010732525,"about_ca_system_score_codex":0.0033157554,"about_ca_system_score_gemma":0.0010272205,"threshold_uncertainty_score":0.024057627},"labels":[],"label_agreement":null},{"id":"W4385656423","doi":"10.7202/1101804ar","title":"Music in the Present Tense. Rossini’s Italian Operas in Their Time, par Emanuele Senici, Chicago, The University of Chicago Press, 2019, 358 pages","year":2023,"lang":"en","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; History; Humanities","score_opus":0.043193821896624254,"score_gpt":0.21052145827991675,"score_spread":0.1673276363832925,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385656423","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":[0.0011248328,0.76962936,0.00034587318,0.071116716,0.02161218,0.00001371015,0.00020510846,0.000077310135,0.13587502],"genre_scores_gemma":[0.03904062,0.46022844,0.0010531915,0.019136176,0.05398987,0.00005524447,0.00060596725,0.00041662413,0.42547387],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993073,0.00017924476,0.00003669278,0.000114110626,0.00028011404,0.00008256247],"domain_scores_gemma":[0.99933213,0.00027931537,0.000083034196,0.000034844885,0.0001613213,0.00010939462],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012029232,0.0011824646,0.0005180296,0.0020043394,0.0018965608,0.00558572,0.0005038992,0.0014293146,0.022120982],"category_scores_gemma":[0.0021783207,0.0004716653,0.00034534506,0.002428153,0.002560514,0.005434242,0.0019425331,0.0031030213,0.009271967],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000043647724,0.000013369117,0.0002193219,0.0002448442,0.00000648505,0.00004674833,0.0015488265,0.0000280886,0.00015883012,0.015664846,0.91666293,0.06536206],"study_design_scores_gemma":[0.0000048411707,0.0000081023945,0.0013476012,0.00048834464,0.000003920522,0.000108513836,0.0010183516,0.000015552081,0.00004543994,0.0024687182,0.99448377,0.0000068906],"about_ca_topic_score_codex":0.011480167,"about_ca_topic_score_gemma":0.036983285,"teacher_disagreement_score":0.022120982,"about_ca_system_score_codex":0.0024284835,"about_ca_system_score_gemma":0.0016561577,"threshold_uncertainty_score":0.07400209},"labels":[],"label_agreement":null},{"id":"W4385656462","doi":"10.7202/1101801ar","title":"Mozart était une femme. Histoire de la musique classique au féminin, par Aliette de Laleu, Paris, Stock, 2022, 284 pages","year":2023,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Historical Studies and Socio-cultural 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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"MOZART; Art; Humanities; Art history","score_opus":0.0251703778572899,"score_gpt":0.2344987838021129,"score_spread":0.209328405944823,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385656462","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":[0.0090648495,0.6267053,0.002159072,0.10627758,0.010510046,0.000031952117,0.0003990495,0.000110568086,0.24474157],"genre_scores_gemma":[0.13460547,0.15986331,0.0021262553,0.010109508,0.003521398,0.00006951381,0.00018852181,0.00024580376,0.68927026],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991242,0.0003013042,0.000034792116,0.00013843643,0.0002978936,0.00010334432],"domain_scores_gemma":[0.9996001,0.0001528722,0.0000576384,0.000019055913,0.00012779336,0.00004253379],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009395311,0.0007685837,0.00038632355,0.0012336933,0.0042318366,0.0027013817,0.00047878327,0.0018412216,0.018492991],"category_scores_gemma":[0.0018477303,0.00048299425,0.0003824647,0.0015949643,0.004213987,0.0031066875,0.0012787367,0.002618483,0.0045292983],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017175297,0.000018023184,0.0014780757,0.0005406032,0.00002502042,0.000616953,0.027286887,0.00016694084,0.0014411205,0.13647816,0.68023854,0.15153801],"study_design_scores_gemma":[0.0000028975085,0.000010587029,0.0029484588,0.00022485541,0.000004264016,0.00020804474,0.004165602,0.000018193334,0.00019909386,0.0021896735,0.99001956,0.000008645102],"about_ca_topic_score_codex":0.09075874,"about_ca_topic_score_gemma":0.15719244,"teacher_disagreement_score":0.09075874,"about_ca_system_score_codex":0.0045146076,"about_ca_system_score_gemma":0.0024082563,"threshold_uncertainty_score":0.18046093},"labels":[],"label_agreement":null},{"id":"W4385656470","doi":"10.7202/1101797ar","title":"Claiming Wagner for France. Music and Politics in the Parisian Press, 1933-1944, par Rachel Orzech, Rochester, University of Rochester Press, 2022, xii+250 pages","year":2023,"lang":"en","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Politics; Art; Art history; Media studies; Humanities; Sociology; Political science; Law","score_opus":0.056905519745574375,"score_gpt":0.22286282305606886,"score_spread":0.1659573033104945,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385656470","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":[0.003694872,0.71228105,0.0002469528,0.14248842,0.009783992,0.000011814233,0.00053865917,0.00007746741,0.13087685],"genre_scores_gemma":[0.17499383,0.3991518,0.0005799554,0.030410675,0.021867905,0.00008530688,0.0008165853,0.00023112203,0.37186274],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99773407,0.0005790733,0.000087153625,0.00024220817,0.0008783823,0.00047910272],"domain_scores_gemma":[0.9982815,0.00079774886,0.00037796775,0.000068129804,0.00028968326,0.00018504259],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021261768,0.0013767002,0.00062007294,0.004004692,0.0046975184,0.007993301,0.0011774242,0.0044111395,0.024466788],"category_scores_gemma":[0.005802301,0.0005871058,0.0006083731,0.0047717947,0.0065658446,0.005763355,0.0028374498,0.0038418686,0.0057246718],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006939005,0.000014359993,0.000685274,0.00028193102,0.00002803483,0.00021140231,0.005527256,0.00012358464,0.00009201143,0.10763297,0.83971596,0.045617912],"study_design_scores_gemma":[0.000009375407,0.000007159721,0.0032550613,0.00034238328,0.000008012942,0.00009327468,0.0028440268,0.000022004837,0.000082056045,0.0056142877,0.9877059,0.000016515289],"about_ca_topic_score_codex":0.1029968,"about_ca_topic_score_gemma":0.13013452,"teacher_disagreement_score":0.1029968,"about_ca_system_score_codex":0.016400924,"about_ca_system_score_gemma":0.0054921308,"threshold_uncertainty_score":0.20479459},"labels":[],"label_agreement":null},{"id":"W4385656480","doi":"10.7202/1101788ar","title":"Sound and Fury. Lending an Ear to Francis Bacon in The Shout (dir. Jerzy Skolimowski, 1978, uk)","year":2023,"lang":"en","type":"article","venue":"Revue musicale OICRM","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Queer; Narrative; Painting; Art; Studio; Art history; Sound (geography); Literature; Visual arts; Psychoanalysis; Acoustics; Psychology","score_opus":0.06429621894817077,"score_gpt":0.2601666231392741,"score_spread":0.1958704041911033,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385656480","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0015766548,0.6263698,0.001051928,0.2807009,0.024432639,0.000018976561,0.00013480822,0.000098933204,0.065615416],"genre_scores_gemma":[0.044244062,0.27723962,0.0016402488,0.057675768,0.031219944,0.000074469244,0.0001273775,0.00032082674,0.58745766],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99920803,0.0002560791,0.000046469962,0.00017155224,0.00023749602,0.00008040907],"domain_scores_gemma":[0.9990508,0.00044479023,0.00011573506,0.000035324945,0.00017929688,0.00017407823],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010347698,0.0009569277,0.0004449276,0.001499879,0.0031155637,0.005170806,0.00055145985,0.0032139993,0.017520849],"category_scores_gemma":[0.003724581,0.000463413,0.00017324538,0.0012580258,0.0041527105,0.0052138497,0.0016713977,0.0037888472,0.008193336],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000033230826,0.000007900912,0.00016267694,0.00011620709,0.0000035744665,0.000121939825,0.0019361883,0.00001804478,0.00018129034,0.02095883,0.9346493,0.04181081],"study_design_scores_gemma":[0.0000023789823,0.000005632966,0.00063876295,0.0001384118,0.0000010701121,0.00011188604,0.00087522174,0.000014632234,0.00005223798,0.0015512937,0.9966017,0.0000066915263],"about_ca_topic_score_codex":0.03262823,"about_ca_topic_score_gemma":0.075668514,"teacher_disagreement_score":0.03262823,"about_ca_system_score_codex":0.0027690572,"about_ca_system_score_gemma":0.0012144274,"threshold_uncertainty_score":0.064876616},"labels":[],"label_agreement":null},{"id":"W4385656493","doi":"10.7202/1101799ar","title":"La violence en musique, dirigé par Muriel Joubert et Denis Le Touzé, Lyon, Presses universitaires de Lyon, 2022, 457 pages","year":2023,"lang":"fr","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.01625970466757851,"score_gpt":0.2628419283043892,"score_spread":0.24658222363681068,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385656493","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":[0.0011144452,0.9230895,0.0001193637,0.050587192,0.0061235013,0.000006060361,0.00011104031,0.000028173448,0.018820707],"genre_scores_gemma":[0.047436766,0.8047058,0.00054583215,0.01142376,0.015986316,0.000060115934,0.0003454661,0.00012662308,0.11936933],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9979418,0.000933208,0.000109125904,0.00021552948,0.00054889615,0.0002514936],"domain_scores_gemma":[0.99849117,0.0007682545,0.00017344396,0.000048107733,0.00033000344,0.00018913294],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001967237,0.0016950994,0.0010416141,0.0034503317,0.0038696337,0.0069201025,0.0010805663,0.00429608,0.017102327],"category_scores_gemma":[0.0032688505,0.00060018216,0.0006165924,0.0045119016,0.004514625,0.004558121,0.0026916307,0.0037731004,0.004317715],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000101492464,0.00003597587,0.00089561695,0.0015235716,0.00003887668,0.00028232037,0.012700904,0.00017210151,0.0002515537,0.042702887,0.84104043,0.100254215],"study_design_scores_gemma":[0.000011446627,0.000019222509,0.006121717,0.001684745,0.000010359447,0.00040282292,0.010725449,0.00003555788,0.00008791508,0.0032680025,0.97760653,0.00002625722],"about_ca_topic_score_codex":0.09014032,"about_ca_topic_score_gemma":0.13266535,"teacher_disagreement_score":0.09014032,"about_ca_system_score_codex":0.010033244,"about_ca_system_score_gemma":0.006386744,"threshold_uncertainty_score":0.17923129},"labels":[],"label_agreement":null},{"id":"W4385656503","doi":"10.7202/1101786ar","title":"Rutherford Chang. The Record Collector as Artist-Curator","year":2023,"lang":"en","type":"article","venue":"Revue musicale OICRM","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Creativity; White (mutation); Art; Commodity; Art history; Interrogation; Visual arts; Law; Political science; Business","score_opus":0.04690978101483727,"score_gpt":0.21684194777179483,"score_spread":0.16993216675695755,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385656503","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0045699957,0.023627805,0.002384897,0.09472855,0.0096152155,0.0000766025,0.0003215113,0.000733245,0.86394215],"genre_scores_gemma":[0.062466502,0.005295144,0.0018050952,0.011774764,0.0013013881,0.000068487265,0.00010147616,0.00033438564,0.9168527],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99856913,0.00049063377,0.000058093952,0.00029959736,0.0004526781,0.00012977126],"domain_scores_gemma":[0.9977794,0.0007465638,0.00018865147,0.00038101233,0.00045237702,0.00045206564],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012251886,0.00049762265,0.00013203506,0.00092452386,0.005397093,0.0052708033,0.00093776523,0.003044439,0.0941404],"category_scores_gemma":[0.0064903665,0.00026495632,0.00012476444,0.0012247149,0.003828699,0.0056586154,0.002656457,0.0022692527,0.022869226],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019683164,0.000019539175,0.00045563187,0.000095539566,0.0000021337212,0.0001557437,0.007585939,0.000017289398,0.00034696233,0.07783646,0.83974993,0.07371519],"study_design_scores_gemma":[0.0000017605066,0.000003730744,0.00031537475,0.000066731955,8.951558e-7,0.00009164721,0.0018956016,0.000015395273,0.0001181146,0.0018317918,0.9956546,0.0000043568302],"about_ca_topic_score_codex":0.020827862,"about_ca_topic_score_gemma":0.06544654,"teacher_disagreement_score":0.0941404,"about_ca_system_score_codex":0.002639488,"about_ca_system_score_gemma":0.0023704097,"threshold_uncertainty_score":0.31493104},"labels":[],"label_agreement":null},{"id":"W4385656504","doi":"10.7202/1101792ar","title":"Locked Grooves, a Circle of Hands. Paranormal Affects in Georgina Starr’s I am the Medium","year":2023,"lang":"en","type":"article","venue":"Revue musicale OICRM","topic":"Art, Technology, and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Mantra; Art; Aside; Situated; Art history; Visual arts; Literature; Philosophy; Computer science; Theology","score_opus":0.022139570430084507,"score_gpt":0.2169142752487386,"score_spread":0.1947747048186541,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385656504","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":[0.6743349,0.01018085,0.0070121726,0.027685294,0.00079606567,0.000039425082,0.00005844714,0.0002447498,0.2796481],"genre_scores_gemma":[0.9887404,0.0010937888,0.000404117,0.0011235314,0.000051507322,0.0000076231813,0.0000054395337,0.000040188996,0.008533388],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99774015,0.0012099182,0.00005263881,0.00022235524,0.0005083653,0.000266561],"domain_scores_gemma":[0.9990408,0.00045482794,0.00018568609,0.00012083332,0.000056667308,0.00014116085],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012873668,0.0004860103,0.00024958042,0.0008060268,0.0060849576,0.004514616,0.00045486426,0.0018720324,0.0029148157],"category_scores_gemma":[0.0034652196,0.00029140228,0.00017625742,0.00045535716,0.030051265,0.0042778044,0.0055188546,0.0038334248,0.00049394317],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005315246,0.000025976826,0.002574123,0.00006655771,0.000012937474,0.0039010455,0.80731094,0.00009663664,0.002041918,0.15527046,0.0075915745,0.02105463],"study_design_scores_gemma":[0.000022963273,0.00013432473,0.005372985,0.00029513772,0.00001673409,0.016964722,0.6126625,0.00022216476,0.0011025289,0.03437085,0.3287579,0.0000772274],"about_ca_topic_score_codex":0.0065533593,"about_ca_topic_score_gemma":0.009517706,"teacher_disagreement_score":0.0065533593,"about_ca_system_score_codex":0.0021024274,"about_ca_system_score_gemma":0.00091044075,"threshold_uncertainty_score":0.015254319},"labels":[],"label_agreement":null},{"id":"W4385656505","doi":"10.7202/1101794ar","title":"Musique et musiciens à Paris pendant la Grande Guerre. Les chemins du patriotisme, par Charlotte Second-Genovesi, Paris, Vrin, 2021, 507 pages","year":2023,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Historical Studies and Socio-cultural 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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.024276799315332317,"score_gpt":0.22022028553210385,"score_spread":0.19594348621677155,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385656505","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":[0.009593301,0.8406143,0.00025363322,0.03336321,0.004920995,0.00000932966,0.00025485278,0.000051136194,0.11093926],"genre_scores_gemma":[0.25588298,0.47404343,0.00081647607,0.003840125,0.008353641,0.000041970965,0.0003793705,0.00013508166,0.25650683],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99922574,0.00021961998,0.000027873948,0.00013900432,0.00024552093,0.00014220642],"domain_scores_gemma":[0.9993569,0.00022034514,0.00014039114,0.000030198587,0.00010859798,0.00014350799],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007585518,0.0011640365,0.00043083975,0.0029971446,0.004306459,0.004451783,0.0006260918,0.001954091,0.01866519],"category_scores_gemma":[0.0015021246,0.00037257964,0.00026974134,0.0044198446,0.005282429,0.0027562983,0.0018891457,0.0026332815,0.0025778017],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00023209793,0.0000492322,0.0022708252,0.0018749271,0.00005293725,0.0009174942,0.07478558,0.00037264393,0.0010273983,0.15970421,0.5031812,0.25553137],"study_design_scores_gemma":[0.0000057256466,0.00001886211,0.008883939,0.00061117695,0.0000059685453,0.00021401462,0.009302785,0.000018083274,0.00011523883,0.0015710453,0.97924304,0.000010036793],"about_ca_topic_score_codex":0.105782114,"about_ca_topic_score_gemma":0.18710725,"teacher_disagreement_score":0.105782114,"about_ca_system_score_codex":0.009546338,"about_ca_system_score_gemma":0.0037763948,"threshold_uncertainty_score":0.21033281},"labels":[],"label_agreement":null},{"id":"W4385656506","doi":"10.7202/1101800ar","title":"Musicologies francophones et circulation des savoirs en contextes multiculturels, dirigé par Achille Davy-Rigaux, Catherine Deutsch, Hamdi Makhlouf et Anas Ghrab, Tunis, Centre des Musiques Arabes et Méditerranéennes, 2022, 296 pages","year":2023,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Cultural Identity and Heritage","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.058195813989627435,"score_gpt":0.26997428917406835,"score_spread":0.21177847518444093,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385656506","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":[0.033438705,0.7992391,0.0005230464,0.06085412,0.010389895,0.000024694795,0.00044256038,0.00006648844,0.095021434],"genre_scores_gemma":[0.40623313,0.42984292,0.001093085,0.0050792545,0.008228678,0.0000759668,0.0004937494,0.00012945429,0.14882377],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988802,0.00037623494,0.000057293608,0.00015573156,0.00033618134,0.00019443048],"domain_scores_gemma":[0.9991547,0.00028344186,0.0001541808,0.000045009572,0.0002130942,0.00014961313],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019104696,0.0009953603,0.00049534824,0.0021105935,0.004118004,0.008592327,0.00051764067,0.0020410595,0.011405402],"category_scores_gemma":[0.0019773855,0.0003147607,0.0002691341,0.004787182,0.004261746,0.004775556,0.0028867302,0.001988944,0.0019688893],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004066653,0.00008718586,0.008850156,0.0021216106,0.00008633561,0.0015043067,0.12185976,0.0002490716,0.0031926574,0.07887082,0.36286587,0.41990557],"study_design_scores_gemma":[0.000015819362,0.000025341833,0.01996094,0.0012943435,0.000010652021,0.00065421365,0.04637219,0.000044928103,0.00029772724,0.001901001,0.9293984,0.000024464334],"about_ca_topic_score_codex":0.09833048,"about_ca_topic_score_gemma":0.14340469,"teacher_disagreement_score":0.09833048,"about_ca_system_score_codex":0.0073850537,"about_ca_system_score_gemma":0.0054914905,"threshold_uncertainty_score":0.19551629},"labels":[],"label_agreement":null},{"id":"W4385656516","doi":"10.7202/1101803ar","title":"L’analyse de la musique de film. Histoire, concepts et méthodes, par Jérôme Rossi, Lyon, Symétrie, 2021 (série 20-21), 732 pages","year":2023,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Cultural Insights and Digital Impacts","field":"Computer Science","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Physics; Philosophy","score_opus":0.1589875030113488,"score_gpt":0.34302327125454984,"score_spread":0.18403576824320103,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385656516","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":[0.02070345,0.38550738,0.17634583,0.043655246,0.006959707,0.00051955815,0.0022630948,0.0011335246,0.3629123],"genre_scores_gemma":[0.23330262,0.2427659,0.16887051,0.0051262514,0.0032961867,0.0011060329,0.0025275536,0.0022184437,0.34078646],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99645245,0.0019543173,0.00016776248,0.00045412788,0.00084978295,0.00012159914],"domain_scores_gemma":[0.9968106,0.0020297365,0.00017946164,0.00025418302,0.0005913952,0.0001345551],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0045156344,0.001049485,0.0005746355,0.0035930153,0.0016485607,0.007949482,0.00089833257,0.0012222385,0.021637378],"category_scores_gemma":[0.00873805,0.00049573084,0.00067544973,0.0029693085,0.0058963913,0.005932385,0.0027113974,0.002450939,0.004168851],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013661876,0.000046338486,0.0023342345,0.0032974174,0.0000934192,0.00034509265,0.048305295,0.00066550396,0.0058215815,0.13762903,0.11328248,0.688043],"study_design_scores_gemma":[0.000012871003,0.00003801312,0.006718586,0.002248386,0.00003097039,0.00054221484,0.022457706,0.00043781401,0.002090621,0.029470254,0.9359173,0.00003527595],"about_ca_topic_score_codex":0.012534569,"about_ca_topic_score_gemma":0.016246269,"teacher_disagreement_score":0.021637378,"about_ca_system_score_codex":0.0045421473,"about_ca_system_score_gemma":0.0030129035,"threshold_uncertainty_score":0.07238424},"labels":[],"label_agreement":null},{"id":"W4385656533","doi":"10.7202/1101789ar","title":"Le film d’archives ou l’archive du film. Retour sur Le Huitième Jour et Le Son d’un espace de Charles Gagnon","year":2023,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Cultural Insights and Digital Impacts","field":"Computer Science","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.12834262097713767,"score_gpt":0.26557918541543407,"score_spread":0.1372365644382964,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385656533","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.058618672,0.03310884,0.0011262455,0.021784186,0.001737521,0.00004394545,0.00020461738,0.000074226686,0.88330173],"genre_scores_gemma":[0.54795676,0.014973278,0.0008773136,0.0021593876,0.0007904657,0.00004588171,0.000099936755,0.0001289423,0.432968],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989774,0.00032545612,0.000020716361,0.00014662478,0.0003399363,0.00018984919],"domain_scores_gemma":[0.9990721,0.00037027232,0.000081840175,0.0000989678,0.00021156404,0.0001652651],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00067774724,0.00040132357,0.00019659798,0.0009833149,0.007927363,0.009261505,0.0005922201,0.0015160152,0.012120604],"category_scores_gemma":[0.0022217394,0.00021172661,0.00016122172,0.0014125953,0.010064386,0.0026461682,0.0019857197,0.0021939478,0.0009386145],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007662949,0.000016469407,0.0016224855,0.00017727146,0.000009482013,0.0010388616,0.16578385,0.00015461538,0.0010377531,0.71092606,0.06835562,0.050801016],"study_design_scores_gemma":[0.0000038590615,0.000007783001,0.0026070264,0.00025373886,0.00000513106,0.0002225476,0.02095285,0.00004470252,0.00034877402,0.0049007186,0.9706406,0.000012197155],"about_ca_topic_score_codex":0.46103057,"about_ca_topic_score_gemma":0.54340434,"teacher_disagreement_score":0.46103057,"about_ca_system_score_codex":0.013271203,"about_ca_system_score_gemma":0.010290394,"threshold_uncertainty_score":0.91669416},"labels":[],"label_agreement":null},{"id":"W4385656541","doi":"10.7202/1101791ar","title":"The Hole is the Untrue. The Art of Spinning a Broken Record","year":2023,"lang":"en","type":"article","venue":"Revue musicale OICRM","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Sculpture; Hegelianism; Art; Work of art; Ideology; Relation (database); Aesthetics; Philosophy; Art history; Politics; Literature; Law; Epistemology; Computer science","score_opus":0.04635938092642236,"score_gpt":0.22962076036853166,"score_spread":0.1832613794421093,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385656541","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.030297823,0.018062815,0.025162984,0.12692027,0.004678585,0.000040744577,0.0001741388,0.00017798775,0.7944847],"genre_scores_gemma":[0.82748145,0.007242995,0.0040597394,0.010399708,0.0032246255,0.00004998741,0.00007377543,0.00027710875,0.14719059],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99835336,0.0008111636,0.000043403285,0.00028940119,0.00033771404,0.00016486735],"domain_scores_gemma":[0.997451,0.0014744229,0.0002737349,0.0004321743,0.00017901642,0.00018962528],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016840853,0.00037627778,0.00031427672,0.0009618409,0.0044505913,0.009623104,0.0007642254,0.0022332466,0.009342778],"category_scores_gemma":[0.008614656,0.00021398526,0.00028230256,0.00069791736,0.025153104,0.0092663765,0.0027656697,0.0038766651,0.0014380134],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013614858,0.000005547461,0.00019877375,0.000036768637,0.0000028338034,0.00005629742,0.006064538,0.00005814263,0.000083945495,0.97058076,0.014022166,0.008876505],"study_design_scores_gemma":[0.000010658972,0.00004612013,0.0011753732,0.0003807588,0.000009981172,0.00041729477,0.014685015,0.00038910206,0.00032848184,0.3510434,0.63148993,0.000023904002],"about_ca_topic_score_codex":0.004482312,"about_ca_topic_score_gemma":0.0049244077,"teacher_disagreement_score":0.009623104,"about_ca_system_score_codex":0.0022186507,"about_ca_system_score_gemma":0.0014474143,"threshold_uncertainty_score":0.03125477},"labels":[],"label_agreement":null},{"id":"W4385656547","doi":"10.7202/1101793ar","title":"« Paul Is Dead ». Une histoire médiatique du disque-conspiration","year":2023,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.0280830314808517,"score_gpt":0.21328122990257864,"score_spread":0.18519819842172694,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385656547","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.09204158,0.0592069,0.0063381568,0.12060797,0.007542211,0.00006950549,0.00019509124,0.00007900965,0.7139195],"genre_scores_gemma":[0.8419539,0.015940772,0.0009526112,0.008937504,0.0014657057,0.000076720804,0.0000551693,0.00010694164,0.13051061],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99732023,0.0014251855,0.00006820071,0.00035588956,0.0004999643,0.0003304984],"domain_scores_gemma":[0.996968,0.0019193027,0.00036885208,0.00018693715,0.0003540433,0.00020286128],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0027336057,0.0007601583,0.0002648202,0.0019052069,0.01092292,0.010620692,0.0009087593,0.0032083446,0.0051316055],"category_scores_gemma":[0.006290954,0.00039663608,0.0002451366,0.0017310288,0.031437803,0.008342197,0.0042163585,0.0053668586,0.00080848683],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000048949685,0.000009803876,0.00083122175,0.00018966447,0.000007741804,0.00036166233,0.34880412,0.000064527994,0.00032783113,0.61436737,0.018928645,0.016058443],"study_design_scores_gemma":[0.0000072596363,0.000028712364,0.0012486079,0.0004947603,0.000010542983,0.00030109144,0.14367244,0.00006642281,0.00048842566,0.021966856,0.8316936,0.000021198606],"about_ca_topic_score_codex":0.03730824,"about_ca_topic_score_gemma":0.056546926,"teacher_disagreement_score":0.03730824,"about_ca_system_score_codex":0.007213322,"about_ca_system_score_gemma":0.003431611,"threshold_uncertainty_score":0.07418215},"labels":[],"label_agreement":null},{"id":"W4385656551","doi":"10.7202/1101784ar","title":"Présentation du numéro","year":2023,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Psychoanalysis and Psychopathology Research","field":"Psychology","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.05865954283582644,"score_gpt":0.3844284429103118,"score_spread":0.3257689000744854,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385656551","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.002399944,0.059806112,0.006049173,0.03990513,0.46873406,0.00036432734,0.0032976174,0.0012702328,0.4181734],"genre_scores_gemma":[0.03389832,0.028749993,0.004785038,0.019274466,0.19616114,0.0008956413,0.0038010108,0.0016018572,0.7108325],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9976451,0.00047219542,0.0001805809,0.00050638407,0.00091824436,0.00027749725],"domain_scores_gemma":[0.99682957,0.00086389703,0.00017876795,0.0003203872,0.0012979457,0.0005094578],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017684181,0.0016120042,0.0017931705,0.0031879868,0.002607522,0.008189207,0.0015520842,0.0028516066,0.29219636],"category_scores_gemma":[0.009499213,0.00036200826,0.0013823833,0.0016779957,0.0011227395,0.0024294932,0.0028898886,0.0036688608,0.1454838],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00023701321,0.00005349533,0.00033440706,0.00058250997,0.000027798465,0.00060969323,0.00008397108,0.00015193514,0.00069809397,0.013857489,0.84008104,0.1432827],"study_design_scores_gemma":[0.000018170982,0.00001641051,0.00026758807,0.00014117437,0.0000053742683,0.0005094732,0.00003642946,0.000066745604,0.00018845838,0.001224336,0.99751794,0.000007949912],"about_ca_topic_score_codex":0.003003873,"about_ca_topic_score_gemma":0.002377428,"teacher_disagreement_score":0.29219636,"about_ca_system_score_codex":0.003245556,"about_ca_system_score_gemma":0.0023958804,"threshold_uncertainty_score":0.97749424},"labels":[],"label_agreement":null},{"id":"W4385656559","doi":"10.7202/1101785ar","title":"Records Reformed and Reused. Nostalgic and Ecological Concerns in Contemporary Media Art","year":2023,"lang":"en","type":"article","venue":"Revue musicale OICRM","topic":"Nostalgia and Consumer Behavior","field":"Psychology","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Generative grammar; Media arts; Visual arts; Art; Aesthetics; Sociology; Ecology; History; Computer science","score_opus":0.10778454141055469,"score_gpt":0.33859232051425964,"score_spread":0.23080777910370495,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385656559","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2183473,0.01767879,0.0037843946,0.039871655,0.00055171136,0.00003654567,0.0000703224,0.00009015489,0.7195691],"genre_scores_gemma":[0.9668577,0.0033956403,0.00053357834,0.0016577343,0.0003336624,0.000017366105,0.000015169334,0.000042225263,0.027146967],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9974119,0.0013316,0.00009491083,0.00029892873,0.0006340427,0.00022862879],"domain_scores_gemma":[0.99697495,0.0017096599,0.00048947835,0.00039886293,0.00022473407,0.00020220986],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002906464,0.00022463387,0.00017011701,0.0015817365,0.006439838,0.012097376,0.0005858788,0.0019745596,0.0068859914],"category_scores_gemma":[0.0064495536,0.00018318971,0.00013264899,0.001493992,0.037130356,0.008666645,0.0042345924,0.0028031147,0.00046684852],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004500407,0.000032821914,0.0010871707,0.00012725223,0.000005623238,0.00019186133,0.18265542,0.00004509077,0.0006260153,0.7803942,0.003940031,0.03084955],"study_design_scores_gemma":[0.00002148737,0.00008619442,0.008199895,0.0007058808,0.000017115532,0.00057845307,0.20558229,0.00017673438,0.00087060925,0.13777792,0.64594346,0.00003991811],"about_ca_topic_score_codex":0.0046217307,"about_ca_topic_score_gemma":0.006805404,"teacher_disagreement_score":0.012097376,"about_ca_system_score_codex":0.0034740353,"about_ca_system_score_gemma":0.0012842378,"threshold_uncertainty_score":0.02520603},"labels":[],"label_agreement":null},{"id":"W4385656578","doi":"10.7202/1101795ar","title":"Ballets russes et Ballets suédois. La musique à la croisée des arts 1917-1924, by Jacinthe Harbec, Paris, Vrin, 2021, 504 pages","year":2023,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Historical Studies and Socio-cultural 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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities; The arts; Visual arts","score_opus":0.03195634936019295,"score_gpt":0.2434872828792522,"score_spread":0.21153093351905924,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385656578","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":[0.0019561448,0.9217728,0.00022699719,0.0141827315,0.00703762,0.000009491025,0.00020881549,0.000022231292,0.05458323],"genre_scores_gemma":[0.09720031,0.60464597,0.00078971055,0.002550007,0.008817771,0.0000486479,0.00049282546,0.000104949766,0.28534973],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993593,0.00019427328,0.000037398633,0.00011420617,0.0002126441,0.00008211478],"domain_scores_gemma":[0.9996123,0.0001648517,0.00006221145,0.000016841643,0.000084081905,0.000059743434],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008703202,0.0013354269,0.00050951896,0.0024048644,0.0022778648,0.0033949306,0.00055227726,0.0013083757,0.018338013],"category_scores_gemma":[0.0014710837,0.0004238108,0.00032760086,0.0034037512,0.003238257,0.0028896388,0.0017689923,0.0020669694,0.0035072013],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014972882,0.000029301269,0.0011745808,0.0015321064,0.000034838686,0.00021866386,0.013712505,0.00022553121,0.00048289748,0.062636025,0.688558,0.23124583],"study_design_scores_gemma":[0.0000051721845,0.000011143369,0.003219276,0.0005846403,0.0000035311652,0.00008821468,0.0028649264,0.00001557698,0.00007706808,0.0014809855,0.99164385,0.0000055270625],"about_ca_topic_score_codex":0.07010827,"about_ca_topic_score_gemma":0.14058237,"teacher_disagreement_score":0.07010827,"about_ca_system_score_codex":0.005229457,"about_ca_system_score_gemma":0.0028041452,"threshold_uncertainty_score":0.13940036},"labels":[],"label_agreement":null},{"id":"W4385656579","doi":"10.7202/1101796ar","title":"Fidélité et infidélité dans les mises en scène d’opéra, par Jean-Jacques Nattiez, Paris, Vrin, 2019, 311 pages","year":2023,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Cultural Insights and Digital Impacts","field":"Computer Science","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.17907588176020164,"score_gpt":0.31248807266091017,"score_spread":0.13341219090070852,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385656579","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":[0.0077398038,0.62355345,0.008185417,0.1317532,0.0356297,0.000035416244,0.000471996,0.00050647435,0.19212449],"genre_scores_gemma":[0.13971265,0.39092234,0.0072180294,0.011537156,0.022239972,0.00007672451,0.00061985943,0.0011245729,0.4265487],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99796706,0.0006456562,0.00008392735,0.00030101926,0.00082291214,0.00017945339],"domain_scores_gemma":[0.9981468,0.00079326826,0.00018281954,0.00007556079,0.0005611577,0.00024045298],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019892373,0.001192346,0.00057203905,0.0021282174,0.0033893,0.009836193,0.0008225216,0.0024778151,0.025420059],"category_scores_gemma":[0.005265616,0.00043304285,0.00037742272,0.0021714123,0.005038071,0.0068136086,0.0030468034,0.004894715,0.0069656656],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018953612,0.000025192747,0.0010344369,0.0010332129,0.000033374963,0.0003489497,0.016039882,0.00037416694,0.0011646647,0.09743603,0.6440358,0.2382848],"study_design_scores_gemma":[0.0000029250991,0.000009035513,0.0010854152,0.00045739347,0.000005104855,0.00017914995,0.0041445885,0.000051732703,0.00017595752,0.0026583713,0.9912151,0.0000152311595],"about_ca_topic_score_codex":0.03618677,"about_ca_topic_score_gemma":0.053312503,"teacher_disagreement_score":0.03618677,"about_ca_system_score_codex":0.007375748,"about_ca_system_score_gemma":0.003873869,"threshold_uncertainty_score":0.0850386},"labels":[],"label_agreement":null},{"id":"W4385656591","doi":"10.7202/1101802ar","title":"Narratologie musicale. Topiques, théories et stratégies analytiques, dirigé par Márta Grabócz, Paris, Hermann, 2021, 568 pages","year":2023,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Cultural Insights and Digital Impacts","field":"Computer Science","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.22641790650224522,"score_gpt":0.32924586663374006,"score_spread":0.10282796013149484,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385656591","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0048312605,0.67604405,0.014353845,0.048554655,0.011078484,0.00006983778,0.0011235456,0.0005029797,0.24344127],"genre_scores_gemma":[0.16449754,0.48433676,0.013043711,0.0055412143,0.00872731,0.00037280814,0.001808095,0.0011436839,0.32052895],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99853516,0.0006643768,0.000072614275,0.00021859421,0.00040271133,0.00010660413],"domain_scores_gemma":[0.9987072,0.00065569486,0.00012781564,0.000081536964,0.00027707886,0.0001506285],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014199669,0.0013317474,0.0006395571,0.0024699687,0.0020389345,0.0075076134,0.00068263203,0.0016444096,0.02985692],"category_scores_gemma":[0.004058491,0.00049033103,0.00037941727,0.0032382202,0.003838554,0.0075027975,0.0031353722,0.0032475065,0.009100237],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013688725,0.000031939177,0.0005244869,0.0014961958,0.00002546326,0.0003703507,0.015623749,0.00044989755,0.0013033459,0.19133279,0.5245832,0.26412168],"study_design_scores_gemma":[0.0000049380683,0.000011362427,0.0013339921,0.0007011767,0.000005842944,0.00034627595,0.0052159782,0.00013551758,0.00025037566,0.017240528,0.9747395,0.000014490804],"about_ca_topic_score_codex":0.011141135,"about_ca_topic_score_gemma":0.010147205,"teacher_disagreement_score":0.02985692,"about_ca_system_score_codex":0.0047943913,"about_ca_system_score_gemma":0.002176373,"threshold_uncertainty_score":0.09988135},"labels":[],"label_agreement":null},{"id":"W4389235951","doi":"10.7202/1108281ar","title":"Les pérégrinations du Ring en France. Premières conclusions et perspectives de recherches1","year":2023,"lang":"fr","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.06545309460748149,"score_gpt":0.3107329221936756,"score_spread":0.2452798275861941,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4389235951","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.321242,0.08056619,0.011166877,0.074381836,0.0024990458,0.0001139456,0.0010326639,0.00023395733,0.50876355],"genre_scores_gemma":[0.86417526,0.01730343,0.0033666387,0.0027085224,0.0009207772,0.00007777483,0.00028224228,0.00019806591,0.110967316],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9935614,0.0032576825,0.00015059793,0.0007907842,0.001437559,0.0008021292],"domain_scores_gemma":[0.99308985,0.0034969044,0.00087802444,0.00063450506,0.001457954,0.00044280896],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.006939627,0.0005809856,0.0003498569,0.0042614485,0.0041290005,0.008908584,0.0011336661,0.0018014044,0.015828973],"category_scores_gemma":[0.011369468,0.0002471353,0.000411319,0.0037133954,0.006652312,0.0060274485,0.0028380626,0.0024375939,0.0012470494],"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":[0.00011083746,0.000046432033,0.005527614,0.00037173324,0.00003407563,0.00061407074,0.14507453,0.00058154465,0.0009735804,0.68951297,0.02820195,0.12895066],"study_design_scores_gemma":[0.0000100145635,0.00008641351,0.026815569,0.00070962874,0.000016212309,0.00041531288,0.06192985,0.00037200368,0.00077056186,0.015764853,0.8930636,0.00004610734],"about_ca_topic_score_codex":0.07898368,"about_ca_topic_score_gemma":0.09117071,"teacher_disagreement_score":0.07898368,"about_ca_system_score_codex":0.016901834,"about_ca_system_score_gemma":0.005170983,"threshold_uncertainty_score":0.15704787},"labels":[],"label_agreement":null},{"id":"W4390657767","doi":"10.7202/1108270ar","title":"Présentation du numéro","year":2023,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Psychoanalysis and Psychopathology Research","field":"Psychology","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.05865954283582644,"score_gpt":0.3844284429103118,"score_spread":0.3257689000744854,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4390657767","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0013106223,0.019931255,0.0018030313,0.04661548,0.5479624,0.00022396116,0.0013817211,0.0006043167,0.3801672],"genre_scores_gemma":[0.015633613,0.007852684,0.0008667858,0.011300756,0.19212441,0.00034103345,0.0011955085,0.0006907891,0.7699945],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.998314,0.0003009413,0.000109706496,0.00035172648,0.0006778545,0.0002456888],"domain_scores_gemma":[0.9972888,0.0004487065,0.00018153811,0.00020590315,0.0011971215,0.0006779338],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0013595523,0.0014822467,0.0014685113,0.0022271073,0.0024263011,0.006692068,0.0012350908,0.0032521402,0.32818323],"category_scores_gemma":[0.00694946,0.00027634043,0.0010120773,0.0010421888,0.00096815627,0.0024157567,0.0032488974,0.003043759,0.16005623],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008704661,0.000016784792,0.0001205271,0.00022779811,0.000007011746,0.00013425396,0.000045287146,0.000042858817,0.000339314,0.004260957,0.94724697,0.047471255],"study_design_scores_gemma":[0.000010167514,0.000014558932,0.00022478473,0.00012369758,0.0000031715783,0.00013685496,0.000041180123,0.000051966577,0.00013285225,0.00070221216,0.9985538,0.0000047352646],"about_ca_topic_score_codex":0.0012739707,"about_ca_topic_score_gemma":0.0016940548,"teacher_disagreement_score":0.32818323,"about_ca_system_score_codex":0.002275849,"about_ca_system_score_gemma":0.0016672275,"threshold_uncertainty_score":0.95826507},"labels":[],"label_agreement":null},{"id":"W4390879529","doi":"10.7202/1108286ar","title":"Comment le temperament egal a detruit l’harmonie (et pourquoi vous devriez vous en preoccuper), par Ross W. Duffin, traduction de Ziad Kreidy et Bernard Bessone, Lyon, Symétrie, 2022, 144 pages","year":2023,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Cultural Insights and Digital Impacts","field":"Computer Science","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Philosophy; Art","score_opus":0.15013750977624338,"score_gpt":0.31259643833235606,"score_spread":0.1624589285561127,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4390879529","genre_codex":"commentary","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.004160202,0.25580204,0.0029289555,0.54071605,0.044755284,0.000032519267,0.00025818992,0.00019810385,0.15114874],"genre_scores_gemma":[0.13367456,0.1908084,0.0037543972,0.2029325,0.039162938,0.00021748448,0.00038565876,0.0011610212,0.42790297],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9956377,0.0015429944,0.00016015618,0.000769899,0.0015010606,0.00038825924],"domain_scores_gemma":[0.9979352,0.00095713406,0.00022548772,0.00013639087,0.00050214626,0.00024378735],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0044372017,0.0011303185,0.0007211888,0.0011076992,0.0068531833,0.014961534,0.0019573038,0.007457822,0.015509369],"category_scores_gemma":[0.0076623713,0.0004874311,0.0007219387,0.0019826074,0.0153724775,0.014746185,0.005687398,0.010387001,0.008328973],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008844055,0.000021440754,0.00038543117,0.00037284358,0.000019990031,0.00024024291,0.025438046,0.00008326543,0.00050255726,0.17636913,0.7520477,0.044430908],"study_design_scores_gemma":[0.0000086580985,0.000012541037,0.0007334374,0.0002659987,0.000005219707,0.00016969246,0.0079614,0.000032828968,0.00018384052,0.008862047,0.9817395,0.000024837082],"about_ca_topic_score_codex":0.039290003,"about_ca_topic_score_gemma":0.053875025,"teacher_disagreement_score":0.039290003,"about_ca_system_score_codex":0.0070947153,"about_ca_system_score_gemma":0.0049010296,"threshold_uncertainty_score":0.078122616},"labels":[],"label_agreement":null},{"id":"W4390879544","doi":"10.7202/1108284ar","title":"La portée musicale du poème. Des paradoxes de l’autonomie à la communauté sonore, dirigé par Céline Barral, Katerina Paplomata et Marina Seretti, Sampzon, Éditions Delatour France, 2022, 340 pages","year":2023,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Cultural Insights and Digital Impacts","field":"Computer Science","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.12604266514571968,"score_gpt":0.29366351620077874,"score_spread":0.16762085105505906,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4390879544","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.022642326,0.34431666,0.009606405,0.19570075,0.00988763,0.000029481389,0.00028356374,0.0002184684,0.4173147],"genre_scores_gemma":[0.5197203,0.16189434,0.007020658,0.015045224,0.010840891,0.00017438896,0.00029763117,0.00047002896,0.28453648],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986981,0.0005875336,0.000038781982,0.00017879807,0.0003972703,0.000099388446],"domain_scores_gemma":[0.9982851,0.0011536194,0.00014259924,0.000119052536,0.00016910564,0.00013046937],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015723536,0.0006368391,0.0004618345,0.0010624314,0.0032839754,0.0081894975,0.00067631516,0.002746253,0.014258135],"category_scores_gemma":[0.004752245,0.0003189672,0.00037985863,0.0014322958,0.009887465,0.010043642,0.0030744094,0.0036537086,0.002098119],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010174525,0.000026580085,0.00040465736,0.000525226,0.000016099204,0.00028463072,0.01894867,0.00031250314,0.0007248827,0.7124172,0.17151335,0.09472445],"study_design_scores_gemma":[0.000021276943,0.00002709781,0.0022645735,0.0006258865,0.000008336264,0.0004069349,0.009961544,0.0003200312,0.00031260887,0.15669486,0.8293252,0.000031524585],"about_ca_topic_score_codex":0.007154824,"about_ca_topic_score_gemma":0.010580068,"teacher_disagreement_score":0.014258135,"about_ca_system_score_codex":0.0036040137,"about_ca_system_score_gemma":0.0019813776,"threshold_uncertainty_score":0.04769826},"labels":[],"label_agreement":null},{"id":"W4390879546","doi":"10.7202/1108283ar","title":"Ennio Morricone. Et pour quelques notes de plus..., dirigé par Chloé Huvet, Dijon, Éditions Universitaires de Dijon, 2022, 320 pages","year":2023,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Cultural Insights and Digital Impacts","field":"Computer Science","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Political science","score_opus":0.1673143046425964,"score_gpt":0.3009959574518131,"score_spread":0.13368165280921673,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4390879546","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":[0.001977415,0.6726964,0.0043776482,0.048863076,0.052706562,0.000053104337,0.0012257979,0.0008087477,0.21729131],"genre_scores_gemma":[0.016122395,0.16704717,0.003204877,0.0057710507,0.009573553,0.00007770649,0.0010659037,0.0010588598,0.79607856],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987521,0.00020638549,0.000056510533,0.00025007414,0.00057769957,0.00015716963],"domain_scores_gemma":[0.99876165,0.00029329234,0.00009481965,0.000073324205,0.000502985,0.0002739838],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012748629,0.0016526097,0.00094022736,0.002416736,0.0020969273,0.006703311,0.0008079896,0.001639073,0.108755074],"category_scores_gemma":[0.0022096816,0.00053045264,0.00047790032,0.0031197413,0.0012089545,0.005043775,0.0020980241,0.0027288715,0.054777913],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011298436,0.000015307258,0.00027541438,0.0007179727,0.00001097842,0.00009856372,0.0010200626,0.000120507626,0.00097532873,0.010938724,0.835994,0.14971998],"study_design_scores_gemma":[0.0000027256597,0.0000043613068,0.0003422163,0.00010826788,0.0000023193097,0.00006998812,0.0002323771,0.000017487637,0.00012054796,0.0003146969,0.9987804,0.0000045947345],"about_ca_topic_score_codex":0.024507595,"about_ca_topic_score_gemma":0.04007473,"teacher_disagreement_score":0.108755074,"about_ca_system_score_codex":0.003695703,"about_ca_system_score_gemma":0.0030736716,"threshold_uncertainty_score":0.36382198},"labels":[],"label_agreement":null},{"id":"W4390879551","doi":"10.7202/1108282ar","title":"Led Zeppelin. Contexte, analyse, réception, dirigé par Philippe Gonin, Coll. Musiques, Dijon, Éditions universitaires de Dijon, 2021, 240 pages","year":2023,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Cultural Insights and Digital Impacts","field":"Computer Science","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.11342997270044304,"score_gpt":0.28540324560324865,"score_spread":0.17197327290280562,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4390879551","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":[0.0018929022,0.81685853,0.0029378198,0.05621047,0.030361928,0.000052210075,0.0009215652,0.0003286768,0.09043596],"genre_scores_gemma":[0.037569523,0.40479052,0.0028773414,0.0069649466,0.008200477,0.0001586207,0.0010583275,0.00079929427,0.537581],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986864,0.00038412615,0.00005449413,0.0002251699,0.0005073517,0.00014234752],"domain_scores_gemma":[0.9988205,0.0003938963,0.000077988676,0.00003372956,0.00048209986,0.00019177687],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017361523,0.001813116,0.0008710029,0.0026180397,0.0026467938,0.005784073,0.00093350414,0.0016145171,0.049043752],"category_scores_gemma":[0.00324083,0.0006463139,0.00037909625,0.0039264304,0.0015463372,0.004567629,0.002516755,0.0032733046,0.023912914],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011733499,0.000011960511,0.00025765257,0.0008343272,0.000009603972,0.00022773177,0.0030002499,0.00014957279,0.00043419166,0.012884904,0.8883338,0.09373859],"study_design_scores_gemma":[0.0000030338729,0.000004334031,0.00046930186,0.00027750176,0.0000026559503,0.0000977915,0.0012060424,0.000017512546,0.00011765718,0.0009309495,0.9968644,0.000008858631],"about_ca_topic_score_codex":0.029732838,"about_ca_topic_score_gemma":0.035473578,"teacher_disagreement_score":0.049043752,"about_ca_system_score_codex":0.0057770764,"about_ca_system_score_gemma":0.0031109184,"threshold_uncertainty_score":0.16406769},"labels":[],"label_agreement":null},{"id":"W4390879554","doi":"10.7202/1108278ar","title":"Une maison dans la main : un opéra en réalité augmentée. Retour sur un processus interdisciplinaire de cocréation","year":2023,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Cultural Insights and Digital Impacts","field":"Computer Science","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.08530531139079292,"score_gpt":0.29232848721954335,"score_spread":0.20702317582875043,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4390879554","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16645153,0.003981489,0.27745152,0.012174773,0.0017314794,0.00045040713,0.00023218583,0.0022427572,0.53528386],"genre_scores_gemma":[0.54629296,0.0027615991,0.1666569,0.0013143879,0.00029117745,0.00046668542,0.00028689398,0.0016223297,0.280307],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9974558,0.0009396076,0.00007387618,0.00038089236,0.00083692535,0.00031295902],"domain_scores_gemma":[0.9974624,0.0008951636,0.00013022282,0.0005097116,0.0004564753,0.00054602104],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0031859768,0.0007569909,0.00039477635,0.0011098577,0.0039844513,0.008675014,0.0012762472,0.0017519998,0.027725277],"category_scores_gemma":[0.005082238,0.00043711456,0.0006992316,0.0010486171,0.007157226,0.00801894,0.009126568,0.002514477,0.0038221064],"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":[0.00040359958,0.00024320028,0.0038701096,0.001170557,0.000041907184,0.0031713552,0.18330546,0.0027374742,0.040790666,0.4595587,0.022737894,0.28196916],"study_design_scores_gemma":[0.000028195805,0.00032251133,0.003399554,0.0009623232,0.000052606167,0.0012423886,0.047216415,0.0032416799,0.009116417,0.042037606,0.8922774,0.00010287163],"about_ca_topic_score_codex":0.004627442,"about_ca_topic_score_gemma":0.007943122,"teacher_disagreement_score":0.027725277,"about_ca_system_score_codex":0.002246296,"about_ca_system_score_gemma":0.0031832277,"threshold_uncertainty_score":0.09275031},"labels":[],"label_agreement":null},{"id":"W4390879556","doi":"10.7202/1108280ar","title":"Notes de terrain. Séminaire opéra 21-22","year":2023,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Contemporary art, education, critique","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.04419861060277655,"score_gpt":0.32207983171810317,"score_spread":0.27788122111532665,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4390879556","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0046460056,0.026101116,0.0037699908,0.035806883,0.023453157,0.00014044862,0.000770955,0.00025026212,0.9050611],"genre_scores_gemma":[0.03594943,0.004931887,0.00096236315,0.0030607558,0.0024488042,0.00008789092,0.00022182468,0.00017858279,0.9521584],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.99908185,0.00021882176,0.000028218472,0.000121817975,0.00035938737,0.00018986397],"domain_scores_gemma":[0.9993777,0.00015172084,0.00003293473,0.000053528238,0.00022911152,0.00015506217],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00087762,0.00089299586,0.00026716245,0.0011578519,0.006144882,0.004350329,0.00088347006,0.0019034686,0.073854595],"category_scores_gemma":[0.0023362604,0.00028085904,0.0005179316,0.0009742044,0.0039790864,0.0015145679,0.002281166,0.0044490364,0.013903542],"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":[0.000100171645,0.000032639415,0.00033890412,0.00015472953,0.000006800922,0.00038321095,0.004872504,0.00017482128,0.0011275751,0.21190135,0.7405055,0.040401768],"study_design_scores_gemma":[0.0000024469234,0.0000070326073,0.00038966892,0.000055977394,0.0000011228576,0.000048925496,0.0005875697,0.000023630006,0.000093819624,0.0020817632,0.99670297,0.000004959145],"about_ca_topic_score_codex":0.14342108,"about_ca_topic_score_gemma":0.27089116,"teacher_disagreement_score":0.14342108,"about_ca_system_score_codex":0.009667303,"about_ca_system_score_gemma":0.0057557835,"threshold_uncertainty_score":0.28517258},"labels":[],"label_agreement":null},{"id":"W4390879566","doi":"10.7202/1108277ar","title":"Musique parallèle. Structures anonymes et créativité distribuée de la library music dans les années 1960 et 1970","year":2023,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"French Literature and Poetry","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.03047331359626747,"score_gpt":0.25071658550995035,"score_spread":0.22024327191368287,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4390879566","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.115717396,0.011711062,0.006846079,0.0068846107,0.0005227555,0.00006318906,0.00021675536,0.00014486066,0.8578932],"genre_scores_gemma":[0.7436796,0.0041293763,0.0020569426,0.0008603757,0.00047036223,0.00009187569,0.00012461736,0.00014349322,0.24844337],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9974699,0.0009786999,0.000112218935,0.00046156632,0.0005825371,0.00039507073],"domain_scores_gemma":[0.99819726,0.0008460007,0.0002747314,0.00026085172,0.0002208013,0.00020025464],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023623663,0.0005490768,0.00029443033,0.0037340203,0.007415832,0.010742584,0.0005667517,0.0014052545,0.016342329],"category_scores_gemma":[0.0045678588,0.0003428838,0.0003166847,0.0040782387,0.018311692,0.0044845683,0.004241025,0.0026558922,0.0025204255],"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":[0.00015511499,0.000016603784,0.0019283846,0.00013112053,0.000010792178,0.00022640216,0.1307527,0.00016905103,0.00097370055,0.8182934,0.0046900283,0.042652696],"study_design_scores_gemma":[0.000024906218,0.000092255585,0.011774445,0.00029671722,0.000014077918,0.00028777693,0.034323525,0.00016171545,0.00099698,0.03412203,0.91787326,0.00003229248],"about_ca_topic_score_codex":0.02309334,"about_ca_topic_score_gemma":0.03849358,"teacher_disagreement_score":0.02309334,"about_ca_system_score_codex":0.011446319,"about_ca_system_score_gemma":0.0038540324,"threshold_uncertainty_score":0.08304918},"labels":[],"label_agreement":null},{"id":"W4390879569","doi":"10.7202/1108287ar","title":"« Causer musique par la rencontre de l’image et du verbe ». Compte rendu de Conversation imagée 2019-2021, par Georges Aperghis et Nicolas Donin, Écrits de compositeurs/Entretiens, Paris, Philharmonie de Paris Éditions, 2022, 232 pages","year":2023,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Cultural Insights and Digital Impacts","field":"Computer Science","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Conversation; Art; Philosophy; Linguistics","score_opus":0.05212252427625815,"score_gpt":0.27655028803283593,"score_spread":0.22442776375657777,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4390879569","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00634549,0.17956078,0.00818857,0.113227524,0.02531132,0.000066123255,0.0005425228,0.0005747132,0.66618305],"genre_scores_gemma":[0.08204081,0.055014122,0.005200705,0.009545877,0.007872206,0.00015707016,0.00053322985,0.00097079854,0.83866525],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9976221,0.00083449914,0.000074643,0.00028141646,0.0009109428,0.00027640638],"domain_scores_gemma":[0.99868554,0.00056140387,0.000092033915,0.00008741713,0.0002964246,0.0002771495],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022396317,0.0010837808,0.0005743242,0.0013845144,0.0038321323,0.009613002,0.0010592464,0.0029625192,0.047270257],"category_scores_gemma":[0.004519372,0.0004920822,0.00048490358,0.00161213,0.0056400876,0.009207743,0.0051412354,0.004951833,0.013963502],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012417724,0.000023867033,0.00028939545,0.000565839,0.000012060587,0.0002112997,0.018804492,0.000085366046,0.0012221086,0.114491746,0.7360369,0.12813278],"study_design_scores_gemma":[0.000003795765,0.0000054444054,0.00046779678,0.0001788196,0.000001925083,0.00008488387,0.003840542,0.000029681298,0.00020669226,0.0028151406,0.99235815,0.0000071500276],"about_ca_topic_score_codex":0.023210155,"about_ca_topic_score_gemma":0.044678904,"teacher_disagreement_score":0.047270257,"about_ca_system_score_codex":0.0070328093,"about_ca_system_score_gemma":0.003820418,"threshold_uncertainty_score":0.15813482},"labels":[],"label_agreement":null},{"id":"W4390879570","doi":"10.7202/1108285ar","title":"Nothing but Noise. Timbre and Musical Meaning at the Edge, par Zachary Wallmark, New York, Oxford University Press, 2022, 215 pages","year":2023,"lang":"en","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Nothing; Meaning (existential); Timbre; Musical; Noise (video); Art; Art history; Humanities; Philosophy; Computer science; Literature; Artificial intelligence; Epistemology","score_opus":0.10717678770286433,"score_gpt":0.2058222845919171,"score_spread":0.09864549688905276,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4390879570","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":[0.00038238868,0.94683427,0.001003954,0.015909169,0.0047563086,0.000007334699,0.000111291,0.00004797736,0.030947268],"genre_scores_gemma":[0.018443568,0.8043257,0.0020712004,0.0075229616,0.01310614,0.000073278825,0.0002990154,0.00026678958,0.15389134],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99889815,0.00032700982,0.000090034526,0.00016787236,0.00043539828,0.00008153226],"domain_scores_gemma":[0.99860436,0.0008549872,0.00013517996,0.00008211333,0.00020351366,0.00011976566],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016433616,0.0020764302,0.0015685091,0.0023849925,0.0019396759,0.0074139647,0.0014055617,0.0032063215,0.03263069],"category_scores_gemma":[0.0035282685,0.0010692033,0.0006424558,0.0040601953,0.0063332296,0.012932106,0.0027493774,0.005683277,0.013652616],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00024645278,0.000042803265,0.0004451793,0.0024934423,0.00004221943,0.0001742109,0.0053892853,0.00019052661,0.0012418572,0.07547659,0.5943281,0.31992924],"study_design_scores_gemma":[0.000015843882,0.000029242612,0.0026307786,0.0018878281,0.000019593283,0.0003582721,0.0030370946,0.00006239048,0.00020662376,0.02662371,0.96510535,0.000023283312],"about_ca_topic_score_codex":0.010232696,"about_ca_topic_score_gemma":0.017245825,"teacher_disagreement_score":0.03263069,"about_ca_system_score_codex":0.0023026417,"about_ca_system_score_gemma":0.0018498474,"threshold_uncertainty_score":0.10916048},"labels":[],"label_agreement":null},{"id":"W4390879586","doi":"10.7202/1108279ar","title":"Un opéra en xr. Retour d’expérience et leçons de prototypage","year":2023,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Cultural Insights and Digital Impacts","field":"Computer Science","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Political science; Art; Philosophy","score_opus":0.20313202898737825,"score_gpt":0.32741683782653913,"score_spread":0.12428480883916088,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4390879586","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.42017564,0.0008311321,0.046547543,0.0050618122,0.0004764543,0.00023881845,0.00021244367,0.00058300677,0.5258732],"genre_scores_gemma":[0.849041,0.00050311827,0.010149742,0.00059715466,0.00006325224,0.00018181663,0.00010170879,0.00032461382,0.13903765],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9975169,0.0014056693,0.00006366948,0.00028868066,0.0004583031,0.00026687954],"domain_scores_gemma":[0.9991934,0.00034306722,0.00004392475,0.0001279241,0.00010114786,0.0001905304],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020153404,0.00048958755,0.00023113372,0.0006267718,0.0036935234,0.004875686,0.00088150066,0.0011002886,0.015199681],"category_scores_gemma":[0.0024694402,0.00018941755,0.0002943335,0.0006177483,0.0071287863,0.003539623,0.003700069,0.001963562,0.0019632846],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00027173813,0.00015897988,0.0031410577,0.00026877393,0.000009526918,0.0025449204,0.59220856,0.0004960979,0.012227935,0.31792292,0.011340679,0.059408862],"study_design_scores_gemma":[0.000026805306,0.00029546372,0.0044470346,0.00021286446,0.000012283346,0.0018671994,0.282357,0.0011292739,0.0037884293,0.013901739,0.69190013,0.00006176552],"about_ca_topic_score_codex":0.008736447,"about_ca_topic_score_gemma":0.010038115,"teacher_disagreement_score":0.015199681,"about_ca_system_score_codex":0.0021696226,"about_ca_system_score_gemma":0.0009372793,"threshold_uncertainty_score":0.050848007},"labels":[],"label_agreement":null},{"id":"W4390890584","doi":"10.7202/1108271ar","title":"Les nouvelles technologies à l’opéra. Trois oeuvres lyriques revisitent le genre opératique","year":2023,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Artistic and Creative Research","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Opera; Art history","score_opus":0.07056642453538954,"score_gpt":0.30006286023796186,"score_spread":0.22949643570257233,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4390890584","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.043209225,0.022886356,0.044928953,0.012039805,0.0021670356,0.00022227062,0.0003820382,0.00054888934,0.8736154],"genre_scores_gemma":[0.50710744,0.04121419,0.044255964,0.0036396848,0.0020059538,0.0005552304,0.0007722802,0.0004787221,0.39997044],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9973736,0.00080378447,0.000119679324,0.00041075674,0.0010332093,0.00025889146],"domain_scores_gemma":[0.99761593,0.0011928783,0.00018527261,0.00031384022,0.0003852357,0.0003068878],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0024760587,0.0008560331,0.00030441993,0.0024954823,0.0027122407,0.011470386,0.0011762864,0.0020275994,0.03906057],"category_scores_gemma":[0.00529047,0.00028927226,0.0006101575,0.0024640944,0.0054284697,0.0075312997,0.004556492,0.0029057858,0.007890524],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001936115,0.00011819318,0.004439936,0.0019025014,0.000034649423,0.0005335639,0.03453358,0.0006833862,0.009005578,0.45676777,0.025710829,0.46607634],"study_design_scores_gemma":[0.000009797456,0.000106126216,0.005573374,0.0010883161,0.000019769484,0.00059840526,0.014844037,0.0004181679,0.0015609842,0.019648029,0.9560963,0.00003664341],"about_ca_topic_score_codex":0.0052419016,"about_ca_topic_score_gemma":0.0066541266,"teacher_disagreement_score":0.03906057,"about_ca_system_score_codex":0.0030553916,"about_ca_system_score_gemma":0.0028304763,"threshold_uncertainty_score":0.1306706},"labels":[],"label_agreement":null},{"id":"W4390898292","doi":"10.7202/1108272ar","title":"Les technologies immersives vues à travers des lunettes d’opéra","year":2023,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Virtual Reality Applications and Impacts","field":"Computer Science","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.10919816609058504,"score_gpt":0.3082220993474626,"score_spread":0.19902393325687756,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4390898292","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.17250375,0.012246318,0.21638364,0.0068071503,0.001600742,0.00021381903,0.00036551582,0.0019018837,0.58797723],"genre_scores_gemma":[0.72154504,0.012118485,0.08076209,0.0014861074,0.0006741335,0.00036342366,0.00033346226,0.0004538628,0.1822635],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99911946,0.00031445295,0.000031663203,0.0001308795,0.0002874601,0.000115975825],"domain_scores_gemma":[0.99899656,0.0005495251,0.00007325687,0.00013506175,0.00012295214,0.00012274606],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010691156,0.00077761384,0.00032049743,0.0008323788,0.0016347675,0.0071287216,0.00074322254,0.0015572365,0.02100037],"category_scores_gemma":[0.003041789,0.00040850625,0.00052363967,0.00060060876,0.0027433347,0.005916984,0.0041097067,0.0018165566,0.0033026484],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004383991,0.0002416855,0.0028310602,0.001808275,0.000078199795,0.0015211627,0.092719115,0.002394972,0.094275616,0.38028446,0.019735282,0.40367183],"study_design_scores_gemma":[0.000036821162,0.0004241727,0.0038685563,0.00075622875,0.00007450645,0.0020256133,0.024333987,0.0020301067,0.016988175,0.026952483,0.92238307,0.00012638199],"about_ca_topic_score_codex":0.00094820425,"about_ca_topic_score_gemma":0.0013039936,"teacher_disagreement_score":0.02100037,"about_ca_system_score_codex":0.00047709086,"about_ca_system_score_gemma":0.000623394,"threshold_uncertainty_score":0.07025319},"labels":[],"label_agreement":null},{"id":"W4390898361","doi":"10.7202/1108276ar","title":"Altitudo sonorum. La conceptualisation de la hauteur de son dans les gloses sur Martianus Capella de Jean Scot, dit l’Érigène","year":2023,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Historical and Literary Studies","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Philosophy; Art","score_opus":0.03568637926613372,"score_gpt":0.279429670809257,"score_spread":0.2437432915431233,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4390898361","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.13600451,0.046837732,0.002358833,0.045278993,0.003671674,0.00007277181,0.00016059227,0.000053571028,0.7655613],"genre_scores_gemma":[0.8305923,0.0055612437,0.0008120668,0.0017817011,0.00050829013,0.000039833852,0.000035368466,0.000045152563,0.16062394],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99949706,0.00019529281,0.000012510754,0.000068447545,0.0001309412,0.00009577369],"domain_scores_gemma":[0.9993643,0.00030733828,0.00008434242,0.000020922216,0.00012377732,0.00009935673],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006672757,0.00042265994,0.00016330984,0.00092144636,0.005176517,0.002440801,0.00042125938,0.001255072,0.004296001],"category_scores_gemma":[0.0015054581,0.00015191565,0.0001109178,0.0006061109,0.0072250403,0.001356303,0.0013755582,0.001628459,0.0004440996],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014795875,0.000017864575,0.0032573473,0.00028746962,0.000008602578,0.0015246867,0.31751376,0.00011003596,0.0022859932,0.5762678,0.044324435,0.05425401],"study_design_scores_gemma":[0.000016410608,0.00004518466,0.011838066,0.00046918372,0.00000915748,0.000492928,0.051768914,0.00012938741,0.0006740272,0.01267911,0.92185605,0.000021549171],"about_ca_topic_score_codex":0.1430776,"about_ca_topic_score_gemma":0.2786248,"teacher_disagreement_score":0.1430776,"about_ca_system_score_codex":0.0050893286,"about_ca_system_score_gemma":0.0023734616,"threshold_uncertainty_score":0.28448963},"labels":[],"label_agreement":null},{"id":"W4390898380","doi":"10.7202/1108273ar","title":"L’opéra d’un médium à un autre. Pour une perception différente des corps","year":2023,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.049289016052987425,"score_gpt":0.26105871675274284,"score_spread":0.21176970069975543,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4390898380","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11671105,0.0045318,0.02314491,0.011223171,0.0014987985,0.000043024345,0.000118177064,0.00012738809,0.8426017],"genre_scores_gemma":[0.86430657,0.0021827722,0.004621664,0.0012483927,0.00035008066,0.000056072204,0.000072432216,0.00014046549,0.12702152],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99888915,0.00034542548,0.000034731824,0.00022185766,0.00032618706,0.00018266],"domain_scores_gemma":[0.9990736,0.00033977063,0.000082064216,0.00010906531,0.0001721639,0.00022328949],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009939058,0.00074560463,0.00021963776,0.0015053047,0.0038845504,0.010801408,0.0005762395,0.001541071,0.018266117],"category_scores_gemma":[0.0023261206,0.0002116154,0.0004951915,0.0009827442,0.013895276,0.007522327,0.0053422577,0.003350492,0.0016778584],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015644498,0.000028262884,0.0021064132,0.00023869009,0.000019505902,0.0005201874,0.12051022,0.00017147024,0.005405411,0.8176813,0.0063985786,0.04676342],"study_design_scores_gemma":[0.000024125808,0.00017228551,0.008836135,0.000834239,0.00005092084,0.0014714707,0.16864169,0.0008290425,0.002976201,0.0891962,0.72690004,0.0000677743],"about_ca_topic_score_codex":0.010243152,"about_ca_topic_score_gemma":0.0089886775,"teacher_disagreement_score":0.018266117,"about_ca_system_score_codex":0.0025473272,"about_ca_system_score_gemma":0.001702836,"threshold_uncertainty_score":0.061106205},"labels":[],"label_agreement":null},{"id":"W4390898437","doi":"10.7202/1108275ar","title":"Opéra et théâtre en dialogue. La question de l’appropriation culturelle dans la création opératique contemporaine","year":2023,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Social Issues and Sustainability","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.0185990444013475,"score_gpt":0.33154900687985006,"score_spread":0.31294996247850254,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4390898437","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.05333353,0.012849428,0.019701201,0.041518986,0.0012475394,0.00007599573,0.00016228852,0.00015611674,0.870955],"genre_scores_gemma":[0.79967487,0.0040494557,0.004104311,0.0026753186,0.00023879342,0.00010402268,0.000071491966,0.00021936063,0.18886238],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9936679,0.0035457492,0.00010812155,0.0007132563,0.001152567,0.0008123297],"domain_scores_gemma":[0.9965397,0.0015542742,0.00025131297,0.00040441492,0.00060858444,0.00064183155],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004936729,0.0007285814,0.00048486548,0.0016649266,0.01585155,0.016241468,0.0013601596,0.0032019278,0.015314651],"category_scores_gemma":[0.0053586,0.00029049744,0.00047456985,0.0023273306,0.050732184,0.007386784,0.0073927194,0.005135629,0.0017662578],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000030347817,0.000011210471,0.00038807807,0.00009364417,0.0000052148253,0.0001507394,0.12411818,0.00015252618,0.00039274324,0.8560899,0.0062303003,0.012337165],"study_design_scores_gemma":[0.000010306326,0.000026614547,0.0024125248,0.0003349461,0.000011275801,0.0002070768,0.112684384,0.00039389174,0.0005513313,0.07624169,0.8070824,0.00004353467],"about_ca_topic_score_codex":0.3433214,"about_ca_topic_score_gemma":0.42877713,"teacher_disagreement_score":0.3433214,"about_ca_system_score_codex":0.033374805,"about_ca_system_score_gemma":0.024010342,"threshold_uncertainty_score":0.68264616},"labels":[],"label_agreement":null},{"id":"W4390898523","doi":"10.7202/1108274ar","title":"XO (Expanded Opera). Une cartographie de la scène reconfigurée par les technologies","year":2023,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Virtual Reality Applications and Impacts","field":"Computer Science","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Physics","score_opus":0.05071703882306121,"score_gpt":0.30041845875773016,"score_spread":0.24970141993466893,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4390898523","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0042786426,0.0015751885,0.040831536,0.0029151428,0.0021265014,0.00026913075,0.0066532693,0.006578592,0.9347721],"genre_scores_gemma":[0.05392123,0.0032238585,0.047540534,0.001273473,0.0009297187,0.00048154854,0.00772666,0.0056288745,0.8792741],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995253,0.000086504406,0.000025303063,0.00009297897,0.000179694,0.00009029362],"domain_scores_gemma":[0.99958116,0.00011257535,0.000033893437,0.000105053114,0.00009874165,0.000068587855],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0006848955,0.00094833254,0.00033665565,0.0017665582,0.0016013591,0.005003165,0.000988911,0.0015001105,0.34865195],"category_scores_gemma":[0.001510466,0.00040413672,0.00069025886,0.0019189059,0.0015776625,0.0048463205,0.0037417982,0.0016413687,0.07465289],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004002241,0.000053028227,0.0012587059,0.00067746534,0.000018172494,0.0007333125,0.004849524,0.00058940856,0.006841127,0.29022348,0.45796543,0.2363901],"study_design_scores_gemma":[0.000007196365,0.000014953052,0.00068252377,0.00009287303,0.0000049832843,0.00015834149,0.0004077114,0.00019824404,0.0004316928,0.0036131858,0.99437755,0.000010707165],"about_ca_topic_score_codex":0.008628411,"about_ca_topic_score_gemma":0.009491602,"teacher_disagreement_score":0.34865195,"about_ca_system_score_codex":0.0008896276,"about_ca_system_score_gemma":0.0011308974,"threshold_uncertainty_score":0.9290689},"labels":[],"label_agreement":null},{"id":"W4392197344","doi":"10.7202/1116726ar","title":"« Epilogue » des Daft Punk. Un outil-oeuvre de communication à l’ère du Web1","year":2024,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Linguistic and Sociocultural Studies","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Punk; Humanities; Art; Art history","score_opus":0.047874946426384686,"score_gpt":0.30185050446072714,"score_spread":0.25397555803434246,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4392197344","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11553717,0.005756931,0.023706533,0.023256255,0.0057104905,0.00030210652,0.0016152688,0.0014711069,0.8226441],"genre_scores_gemma":[0.6085821,0.00299751,0.008566313,0.004694841,0.0008494443,0.00028188073,0.0010222858,0.0010730735,0.37193257],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99773264,0.00089719996,0.000077281205,0.0002925638,0.00073245104,0.0002678801],"domain_scores_gemma":[0.9969067,0.0011526557,0.00025595244,0.00037674702,0.00078953186,0.0005183376],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001838141,0.0007140964,0.00023053132,0.002367565,0.008666976,0.007473603,0.000680856,0.0021572956,0.033310983],"category_scores_gemma":[0.0074907024,0.00036681487,0.0003107607,0.0015344474,0.0063512325,0.009639596,0.0045437,0.0033306822,0.0064949705],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00029301233,0.00010106511,0.007293864,0.0006776819,0.000017324566,0.003272168,0.27101696,0.0002534639,0.004299939,0.3665835,0.1621209,0.18407],"study_design_scores_gemma":[0.0000058915484,0.000028591912,0.0024163872,0.00024031648,0.000004304007,0.00077771745,0.031048162,0.00014454186,0.00075365556,0.007897372,0.95665276,0.000030246205],"about_ca_topic_score_codex":0.012422522,"about_ca_topic_score_gemma":0.017193759,"teacher_disagreement_score":0.033310983,"about_ca_system_score_codex":0.0033835405,"about_ca_system_score_gemma":0.0028558387,"threshold_uncertainty_score":0.11143631},"labels":[],"label_agreement":null},{"id":"W4403307120","doi":"10.7202/1113314ar","title":"L’apport d’une formation professionnelle Kodály sur le développement des compétences en solfège des enseignant·e·s de musique","year":2024,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Diverse Music Education Insights","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Political science; Sociology; Humanities; Philosophy","score_opus":0.10837707571321198,"score_gpt":0.2678900359414905,"score_spread":0.15951296022827854,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4403307120","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9598186,0.0013201992,0.0072807022,0.0018341828,0.0003854274,0.0007280195,0.00011913074,0.00018156592,0.028332211],"genre_scores_gemma":[0.88262516,0.0027599398,0.037558984,0.0005318001,0.000071117865,0.0012941686,0.00024033591,0.00011435268,0.07480412],"study_design_codex":"design_other","study_design_gemma":"observational","domain_scores_codex":[0.9987638,0.00042447797,0.00007248455,0.0002279211,0.00029653494,0.00021470423],"domain_scores_gemma":[0.9964401,0.0014062311,0.00033939883,0.0003003744,0.00044727835,0.0010666965],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0024634674,0.00050622516,0.0006266497,0.00050325115,0.0011911301,0.0013735495,0.0007137759,0.000704552,0.023651844],"category_scores_gemma":[0.0051738312,0.00038687617,0.0007069275,0.0002417596,0.0010972421,0.0015348814,0.003154852,0.0015893793,0.0027432316],"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":[0.0040975926,0.00920264,0.026585475,0.0036252947,0.0001751234,0.0004059353,0.05650988,0.00045595548,0.052513324,0.010661239,0.006676814,0.8290908],"study_design_scores_gemma":[0.0022781712,0.034929782,0.44068137,0.0035644197,0.0009868939,0.0017292682,0.08811635,0.0027891784,0.049436428,0.016337784,0.35877052,0.0003798535],"about_ca_topic_score_codex":0.002014716,"about_ca_topic_score_gemma":0.007386749,"teacher_disagreement_score":0.023651844,"about_ca_system_score_codex":0.0010498046,"about_ca_system_score_gemma":0.00439011,"threshold_uncertainty_score":0.07912326},"labels":[],"label_agreement":null},{"id":"W4403307140","doi":"10.7202/1113318ar","title":"Folklore (« Le discours esthétique dans la presse musicale française, 1900-1940. Une anthologie » / Mots clés, 5)","year":2024,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"French Literature and Poetry","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Folklore; Humanities; Literature","score_opus":0.01687839194612917,"score_gpt":0.2399156231713207,"score_spread":0.22303723122519153,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4403307140","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10156515,0.18761338,0.0009907008,0.045402486,0.0029023497,0.000046720357,0.00070216676,0.000065710316,0.6607114],"genre_scores_gemma":[0.6551458,0.022367585,0.000358956,0.002636991,0.0012177628,0.000040373598,0.00016741798,0.000042200587,0.31802294],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993456,0.00017539391,0.000029345108,0.00009792895,0.00014359564,0.00020826359],"domain_scores_gemma":[0.9995322,0.00014992851,0.000064601205,0.000021688422,0.00013868065,0.00009290152],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008364573,0.0006017467,0.00016920944,0.0016088102,0.00839543,0.0048321793,0.0005233305,0.0012511088,0.013868394],"category_scores_gemma":[0.0010532521,0.00014854358,0.00017623659,0.00209613,0.0055464576,0.0014605152,0.001017724,0.001235209,0.0012417401],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016938512,0.00007666225,0.0093908105,0.0010669826,0.000035164703,0.0010270926,0.19883414,0.00019464377,0.0016003961,0.4615196,0.20157932,0.1245059],"study_design_scores_gemma":[0.000006707447,0.000030032927,0.01571045,0.00031544626,0.000006309464,0.00014687168,0.015845807,0.000023507942,0.00016689344,0.0014867958,0.96625173,0.000009428836],"about_ca_topic_score_codex":0.32297045,"about_ca_topic_score_gemma":0.56178045,"teacher_disagreement_score":0.32297045,"about_ca_system_score_codex":0.015253361,"about_ca_system_score_gemma":0.007518622,"threshold_uncertainty_score":0.6421811},"labels":[],"label_agreement":null},{"id":"W4403307259","doi":"10.7202/1113320ar","title":"Recentrer la musique. 1. Audiotactilité et ontologie de l’oeuvre musicale : musique d’écriture, jazz, pop, rock, by Laurent Cugny, Lyon, Symétrie, 2021, 368 pages","year":2024,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Cultural Insights and Digital Impacts","field":"Computer Science","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Jazz; Art; Humanities; Art history","score_opus":0.11512035888828674,"score_gpt":0.3073869305125877,"score_spread":0.19226657162430094,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4403307259","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":[0.0052733095,0.60746855,0.009104191,0.04355791,0.024346946,0.000053532218,0.00055846944,0.00054133724,0.30909577],"genre_scores_gemma":[0.078748435,0.36964738,0.008569845,0.0074616456,0.03972903,0.00015666263,0.0013576257,0.0007644631,0.49356493],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987173,0.00034450958,0.000061400744,0.00028763365,0.0004857062,0.00010335081],"domain_scores_gemma":[0.99864274,0.0005655774,0.00009666842,0.00009686683,0.00041682553,0.0001813323],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012671353,0.0011111689,0.00065587723,0.002326018,0.0015802687,0.006124099,0.00087056775,0.00228402,0.037043698],"category_scores_gemma":[0.0032850653,0.000369426,0.00056984974,0.0026421063,0.0028321757,0.005035614,0.0029079847,0.003392078,0.009721821],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016103784,0.000037709913,0.00083458214,0.0024348244,0.00003636799,0.00025581685,0.006522982,0.00029200374,0.003590298,0.09368642,0.47795352,0.41419452],"study_design_scores_gemma":[0.000004339295,0.000018809247,0.0010506641,0.00041873977,0.0000066807715,0.00027446717,0.0009168881,0.00005596591,0.00023071973,0.0032799002,0.99372923,0.000013533628],"about_ca_topic_score_codex":0.008132906,"about_ca_topic_score_gemma":0.014105143,"teacher_disagreement_score":0.037043698,"about_ca_system_score_codex":0.0033337718,"about_ca_system_score_gemma":0.0018107668,"threshold_uncertainty_score":0.12392348},"labels":[],"label_agreement":null},{"id":"W4403307311","doi":"10.7202/1113309ar","title":"Présentation du numéro","year":2024,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Psychoanalysis and Psychopathology Research","field":"Psychology","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.040851029540608416,"score_gpt":0.37933108469604127,"score_spread":0.33848005515543284,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4403307311","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0024412957,0.059537653,0.006142851,0.039283868,0.46126693,0.0003703126,0.003376268,0.0013020212,0.42627874],"genre_scores_gemma":[0.033719,0.028320683,0.0048098476,0.018753812,0.19031581,0.00089967187,0.0038746656,0.0016166964,0.7176899],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9976265,0.00047605936,0.00018193135,0.000510216,0.0009262775,0.00027893973],"domain_scores_gemma":[0.9968405,0.0008644018,0.00017848557,0.00031947353,0.0012913359,0.00050577713],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.001777332,0.0016243675,0.0018048278,0.003216209,0.0026160008,0.008220354,0.0015607338,0.0028406573,0.29809508],"category_scores_gemma":[0.00951807,0.00036440016,0.0013895174,0.0016731365,0.0011232697,0.0024322523,0.0028976887,0.003665021,0.14846906],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00024138461,0.000054841363,0.00033938713,0.00059210707,0.000028462504,0.0006225139,0.000084784086,0.00015569854,0.0007118538,0.013982819,0.8378947,0.14529149],"study_design_scores_gemma":[0.0000182739,0.000016410373,0.00026540982,0.0001396704,0.000005389046,0.00050593424,0.00003644191,0.000066408356,0.00018799063,0.0012129142,0.99753726,0.000007930197],"about_ca_topic_score_codex":0.0030297455,"about_ca_topic_score_gemma":0.0023870221,"teacher_disagreement_score":0.7019049,"about_ca_system_score_codex":0.0032688703,"about_ca_system_score_gemma":0.002393881,"threshold_uncertainty_score":0.9972274},"labels":[],"label_agreement":null},{"id":"W4403307354","doi":"10.7202/1113310ar","title":"Debussy librettiste. L’écriture des livrets d’opéra d’après Poe","year":2024,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Historical and Literary Studies","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.05034526025087521,"score_gpt":0.2715453605113054,"score_spread":0.2212001002604302,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4403307354","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.09760188,0.009447299,0.023557605,0.018907176,0.0017685893,0.00012697486,0.00018753503,0.0003271945,0.84807575],"genre_scores_gemma":[0.51494706,0.0021924246,0.004431895,0.0022604982,0.00027018177,0.000092337184,0.00007848709,0.00036742282,0.47535965],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985007,0.000705667,0.00003280165,0.0002820931,0.00032168516,0.00015693555],"domain_scores_gemma":[0.99840003,0.00077774597,0.0001529061,0.00019529347,0.00026357415,0.00021037545],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019393335,0.00053404423,0.00028709183,0.0015490317,0.008314387,0.0066733174,0.00061332394,0.0018840384,0.016933795],"category_scores_gemma":[0.005503185,0.00036429527,0.00027603758,0.0010689782,0.013479742,0.004156068,0.004384957,0.00343135,0.0033190728],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012287073,0.000023730967,0.002368568,0.00021876559,0.00000820035,0.0006410182,0.19254151,0.00008941636,0.002132475,0.7217043,0.021318404,0.05883067],"study_design_scores_gemma":[0.000010863142,0.000050477876,0.003311132,0.00033993585,0.00001100739,0.0008612516,0.039243586,0.0001323798,0.0016696826,0.028683048,0.92565614,0.000030452582],"about_ca_topic_score_codex":0.011964097,"about_ca_topic_score_gemma":0.031026417,"teacher_disagreement_score":0.016933795,"about_ca_system_score_codex":0.004817439,"about_ca_system_score_gemma":0.0030533893,"threshold_uncertainty_score":0.056649208},"labels":[],"label_agreement":null},{"id":"W4403307564","doi":"10.7202/1113317ar","title":"Fantastique Debussy. Entretien avec Denis Herlin","year":2024,"lang":"fr","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.017917991631017514,"score_gpt":0.23183976149345203,"score_spread":0.21392176986243452,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4403307564","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":[0.02177797,0.20102467,0.005810414,0.40218905,0.018914506,0.00004413855,0.00021613561,0.00045159503,0.3495716],"genre_scores_gemma":[0.22877567,0.03908274,0.0022549022,0.037875738,0.0062465086,0.00008031353,0.000111568224,0.00070501084,0.68486756],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981945,0.00076398323,0.000047229125,0.00035453684,0.00048283036,0.00015691614],"domain_scores_gemma":[0.99812096,0.0009044748,0.00015977297,0.00009108817,0.00039503726,0.0003286041],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017270566,0.0007389438,0.00054776215,0.00125097,0.0051670694,0.004304341,0.0004929429,0.0023761413,0.020354876],"category_scores_gemma":[0.004888272,0.00033637846,0.00020661052,0.0006941298,0.005626302,0.004294995,0.0027938944,0.0047746603,0.0053113233],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011405693,0.000034436544,0.0011187711,0.00035513472,0.000014120214,0.00082647585,0.043864995,0.00009931169,0.0017103752,0.30630532,0.5618153,0.08374171],"study_design_scores_gemma":[0.0000032864912,0.0000110138435,0.00047748425,0.00012478349,0.0000014932592,0.00050428155,0.0030701277,0.00003994083,0.00019942781,0.0038716411,0.9916877,0.0000088458555],"about_ca_topic_score_codex":0.0164756,"about_ca_topic_score_gemma":0.023979668,"teacher_disagreement_score":0.020354876,"about_ca_system_score_codex":0.004769388,"about_ca_system_score_gemma":0.0022055106,"threshold_uncertainty_score":0.06809384},"labels":[],"label_agreement":null},{"id":"W4403307618","doi":"10.7202/1113311ar","title":"L’<i>Étude pour le Palais hanté d’Edgar Poe </i>de Florent Schmitt, entre référence poétique et quête d’autonomie1","year":2024,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Political Theology and Sovereignty","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Philosophy; Art","score_opus":0.022967153012731122,"score_gpt":0.2985777516192508,"score_spread":0.2756105986065197,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4403307618","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.093645856,0.06369905,0.0036806995,0.10206254,0.0069850204,0.00007291824,0.00013676839,0.00007762736,0.7296396],"genre_scores_gemma":[0.65815216,0.019728336,0.0010890441,0.010086912,0.0012826173,0.000057833702,0.00007020171,0.00008650304,0.30944642],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989837,0.0004126065,0.000015601223,0.00015143599,0.00021358096,0.00022307783],"domain_scores_gemma":[0.9994997,0.00022659544,0.000055338332,0.000034966546,0.00008521131,0.00009825053],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00096954824,0.00058979535,0.0002190075,0.00094493997,0.010359921,0.005492654,0.00071806123,0.002344814,0.01330837],"category_scores_gemma":[0.0014976313,0.00025971577,0.00020222948,0.0010833276,0.013189298,0.0039327596,0.0032480392,0.004561289,0.0014896387],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005122416,0.000023479362,0.0015596065,0.00016260619,0.000006409976,0.00072196464,0.1383022,0.00006928468,0.00061078387,0.76693135,0.052069996,0.03949095],"study_design_scores_gemma":[0.000003993478,0.000031174186,0.0031394444,0.00029827788,0.0000032294956,0.0004184409,0.038293872,0.0000432152,0.00028885587,0.013047735,0.94441485,0.000016891569],"about_ca_topic_score_codex":0.069575846,"about_ca_topic_score_gemma":0.13618818,"teacher_disagreement_score":0.069575846,"about_ca_system_score_codex":0.007050634,"about_ca_system_score_gemma":0.0056241658,"threshold_uncertainty_score":0.13834172},"labels":[],"label_agreement":null},{"id":"W4403307695","doi":"10.7202/1113313ar","title":"L’influence de Debussy dans la musique de film fantastique sombre","year":2024,"lang":"fr","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.012578583246515672,"score_gpt":0.2729193827588562,"score_spread":0.2603407995123405,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4403307695","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.21354958,0.01717909,0.008548886,0.033078708,0.0012017504,0.000041928608,0.00008681813,0.000082958424,0.7262303],"genre_scores_gemma":[0.88172203,0.003870753,0.0011960631,0.0019513661,0.00032986948,0.000031459334,0.000034610814,0.00013073599,0.11073323],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99843746,0.00087250385,0.000028941688,0.00020158257,0.00029306687,0.00016653807],"domain_scores_gemma":[0.99855834,0.0008229122,0.00017892792,0.00010548445,0.00017746068,0.00015690508],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016355912,0.00039083816,0.000222699,0.0006001264,0.0043866825,0.006233007,0.0004491893,0.0012734691,0.0080831675],"category_scores_gemma":[0.0033679232,0.00021395812,0.00020897872,0.00046503215,0.0094201015,0.0040933476,0.0035198173,0.0033329923,0.00092175324],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012642962,0.000025695437,0.0023511937,0.0002519134,0.000017271825,0.00051370123,0.28577042,0.00011709344,0.004342464,0.64254385,0.013923588,0.050016396],"study_design_scores_gemma":[0.000025490555,0.00008985623,0.012696594,0.00053387514,0.000026737884,0.0009958678,0.08364941,0.0003207813,0.002574569,0.027511327,0.8715265,0.000049091144],"about_ca_topic_score_codex":0.015083258,"about_ca_topic_score_gemma":0.024932347,"teacher_disagreement_score":0.015083258,"about_ca_system_score_codex":0.0038512892,"about_ca_system_score_gemma":0.0017178914,"threshold_uncertainty_score":0.029990911},"labels":[],"label_agreement":null},{"id":"W4403307718","doi":"10.7202/1113316ar","title":"Musicians’ Health and Wellness Resources in Canadian Post-Secondary Music Programs","year":2024,"lang":"en","type":"article","venue":"Revue musicale OICRM","topic":"Musicians’ Health and Performance","field":"Medicine","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Psychology","score_opus":0.02305736020761282,"score_gpt":0.27425742929681,"score_spread":0.2512000690891972,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4403307718","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.98581946,0.00063791074,0.000042868756,0.0014357606,0.000024924986,0.00006213714,0.00060149876,0.0000114702125,0.01136394],"genre_scores_gemma":[0.99616677,0.00063006603,0.00010651196,0.0002144932,0.0000115139155,0.000021814365,0.00028393845,0.0000044426224,0.0025604374],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.99834216,0.0001042754,0.00002994589,0.00009803712,0.00043596135,0.0009896394],"domain_scores_gemma":[0.9960871,0.00015826391,0.0004437529,0.000040696268,0.0006850083,0.0025851994],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00094918325,0.00025396334,0.00029720066,0.0023996856,0.0053969724,0.0018820362,0.0012971906,0.00042895856,0.0070560905],"category_scores_gemma":[0.0029470143,0.00022497724,0.00030241354,0.003845712,0.0010168484,0.0004400061,0.0019554668,0.00091695524,0.00029271824],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002584633,0.00059342565,0.85589755,0.0003229065,0.000049284994,0.000494432,0.029322196,0.00013011246,0.00078750326,0.0015739435,0.009397062,0.10117311],"study_design_scores_gemma":[0.000008828683,0.000061552695,0.9718711,0.00010933021,0.000013707712,0.000050052775,0.021133797,0.00010361468,0.00007965115,0.00005248889,0.006502383,0.000013497047],"about_ca_topic_score_codex":0.9806836,"about_ca_topic_score_gemma":0.99445844,"teacher_disagreement_score":0.96991277,"about_ca_system_score_codex":0.03008725,"about_ca_system_score_gemma":0.057693068,"threshold_uncertainty_score":0.21829927},"labels":[],"label_agreement":null},{"id":"W4403307829","doi":"10.7202/1113322ar","title":"De Franz Liszt à la musique contemporaine : musicologie et significations. Hommage à Márta Grabócz, dirigé par Laurence Le Diagon-Jacquin et Geneviève Mathon, Dijon, Éditions universitaires de Dijon, 2023, 488 pages","year":2024,"lang":"fr","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Art history","score_opus":0.029077247914565448,"score_gpt":0.25628614839280384,"score_spread":0.22720890047823838,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4403307829","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":[0.0016694358,0.8724051,0.00042297592,0.039465256,0.016472345,0.000011557151,0.00032860774,0.00009092622,0.06913385],"genre_scores_gemma":[0.04159281,0.43089104,0.001102545,0.012259897,0.014434552,0.000060784554,0.00065385527,0.00033106614,0.4986735],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992919,0.00015796072,0.000034568966,0.0001267756,0.00027897165,0.000109754284],"domain_scores_gemma":[0.999323,0.00025172543,0.0000712227,0.000035255132,0.00018687532,0.00013184836],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011281924,0.0016216842,0.00094175426,0.0027472563,0.0035995492,0.005906383,0.00070636015,0.0022224763,0.038397722],"category_scores_gemma":[0.0017753511,0.00047530033,0.00040806644,0.003291332,0.0027279544,0.004404738,0.0028585733,0.002730916,0.012754292],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000086773995,0.000016799879,0.00030877965,0.0005705942,0.000014258769,0.00013366985,0.0048581497,0.00007244695,0.00040136575,0.016482119,0.8796148,0.09744024],"study_design_scores_gemma":[0.0000043331916,0.00000557217,0.0011568851,0.00034272062,0.0000032990658,0.00019302852,0.0018389917,0.000011322197,0.000053843552,0.0011097463,0.9952742,0.0000059989106],"about_ca_topic_score_codex":0.05979125,"about_ca_topic_score_gemma":0.11697196,"teacher_disagreement_score":0.05979125,"about_ca_system_score_codex":0.005946924,"about_ca_system_score_gemma":0.004857051,"threshold_uncertainty_score":0.1284532},"labels":[],"label_agreement":null},{"id":"W4403307937","doi":"10.7202/1113321ar","title":"Berlioz in Time. From Early Recognition to Lasting Renown, par Peter Bloom, Rochester, University of Rochester Press, 2022, xxii, 352 pages","year":2024,"lang":"en","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Bloom; Gerontology; Art; Art history; History; Medicine; Oceanography; Geology","score_opus":0.033662940240524,"score_gpt":0.1913019643921807,"score_spread":0.1576390241516567,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4403307937","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":[0.0004261908,0.86243546,0.00061755534,0.0578851,0.014535843,0.000011194613,0.00019068092,0.00010205754,0.063795924],"genre_scores_gemma":[0.020532748,0.536501,0.0013215063,0.012806616,0.017054565,0.000063182466,0.0003480998,0.00051469146,0.41085762],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990324,0.00023053432,0.000051687046,0.00015660844,0.00040643965,0.00012238951],"domain_scores_gemma":[0.9992481,0.00031016945,0.00010146063,0.000028452392,0.00019040314,0.000121457495],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001199914,0.0012905311,0.0008051317,0.0017352651,0.0019776432,0.0056660543,0.000700095,0.0020576732,0.038626414],"category_scores_gemma":[0.0027890005,0.0005846697,0.00031575072,0.00237066,0.0026051062,0.009698835,0.0024139336,0.0037670953,0.018439472],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000050660707,0.000007735175,0.00012023526,0.0003037812,0.000004246148,0.000046317393,0.0015103363,0.00003750471,0.00011997389,0.025213063,0.9032524,0.06933364],"study_design_scores_gemma":[0.0000029087885,0.000004415406,0.00053621817,0.00023748878,0.0000019026155,0.0000667947,0.0007426804,0.000012185608,0.00003344317,0.0029362792,0.99542075,0.000004930319],"about_ca_topic_score_codex":0.021087997,"about_ca_topic_score_gemma":0.04231896,"teacher_disagreement_score":0.038626414,"about_ca_system_score_codex":0.0036178587,"about_ca_system_score_gemma":0.0024030257,"threshold_uncertainty_score":0.12921816},"labels":[],"label_agreement":null},{"id":"W4403308066","doi":"10.7202/1113315ar","title":"Pilot Study on the Effects of Music-making on Cortisol, Alpha-amylase and Immunoglobulin-a Among Older Amateur Musicians","year":2024,"lang":"en","type":"article","venue":"Revue musicale OICRM","topic":"Music Therapy and Health","field":"Psychology","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Amateur; Alpha-amylase; Alpha (finance); Antibody; Amylase; Psychology; Clinical psychology; Medicine; Chemistry; Enzyme; Immunology; Biochemistry; History","score_opus":0.041669549975932696,"score_gpt":0.32267099815120087,"score_spread":0.2810014481752682,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4403308066","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9995376,0.000023133543,0.000067425484,0.000014283446,0.0000070673527,0.000106061925,0.000024285791,0.0000029462065,0.00021726661],"genre_scores_gemma":[0.9980058,0.0000730704,0.0005270809,0.00006287359,0.000042109805,0.00024978223,0.000060177477,0.000002200529,0.0009769022],"study_design_codex":"bench_or_experimental","study_design_gemma":"observational","domain_scores_codex":[0.99967325,0.000117105235,0.000024540528,0.000057365403,0.00006414378,0.000063663545],"domain_scores_gemma":[0.99878865,0.0003455622,0.000085915075,0.00011887722,0.00016723385,0.00049371406],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00082540425,0.0005198301,0.0004700291,0.0002830318,0.00076702365,0.000244408,0.00024703305,0.00040534438,0.002820968],"category_scores_gemma":[0.0014814404,0.00015121442,0.00031981862,0.00012650847,0.0004497122,0.00017864855,0.0004366423,0.00043635437,0.00036759992],"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":[0.11200591,0.14730875,0.24703467,0.00068454124,0.0004954938,0.003079249,0.018500268,0.00037367878,0.31460717,0.00016474874,0.0011785094,0.15456694],"study_design_scores_gemma":[0.0015675626,0.30998576,0.6762407,0.000022276026,0.00016622426,0.00041802644,0.003248401,0.00027445424,0.0068571763,0.000091120906,0.0010955223,0.000032759974],"about_ca_topic_score_codex":0.0014204213,"about_ca_topic_score_gemma":0.002112036,"teacher_disagreement_score":0.002820968,"about_ca_system_score_codex":0.000151522,"about_ca_system_score_gemma":0.0003418263,"threshold_uncertainty_score":0.009437084},"labels":[],"label_agreement":null},{"id":"W4403308082","doi":"10.7202/1113312ar","title":"Un fantastique instrumental ? La harpe dans la musique d’inspiration fantastique d’André Caplet et d’Henriette Renié","year":2024,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Historical and Literary Studies","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.014015311315393507,"score_gpt":0.2649607076270818,"score_spread":0.2509453963116883,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4403308082","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.21946579,0.012773467,0.014141083,0.017901035,0.0009264366,0.000043243494,0.000055099685,0.000055410106,0.7346384],"genre_scores_gemma":[0.9275955,0.0026991796,0.0012604971,0.0012084863,0.00018402908,0.000027992139,0.00002374124,0.000040768777,0.06695982],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99841094,0.0010005616,0.000019286088,0.00015081577,0.00026522638,0.00015321883],"domain_scores_gemma":[0.9992299,0.00039100277,0.00007912628,0.000059207254,0.00013506974,0.00010565389],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022300093,0.00045184224,0.00031208992,0.00058355514,0.0032195768,0.004518447,0.00045077511,0.0010881226,0.005152056],"category_scores_gemma":[0.002419027,0.00018397656,0.00024056397,0.00043044734,0.012136503,0.0028480662,0.001977615,0.0025613897,0.00074618723],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008202868,0.000019991776,0.0017666827,0.0001134012,0.000011526596,0.00043813596,0.17248896,0.00013290059,0.0012603499,0.7934277,0.0056847637,0.024573687],"study_design_scores_gemma":[0.000029021137,0.00018110641,0.012984268,0.0005789605,0.000021379792,0.0013972516,0.12189284,0.000431944,0.0015219315,0.04755535,0.8133253,0.00008070712],"about_ca_topic_score_codex":0.007426446,"about_ca_topic_score_gemma":0.013795384,"teacher_disagreement_score":0.007426446,"about_ca_system_score_codex":0.0025917436,"about_ca_system_score_gemma":0.0017649544,"threshold_uncertainty_score":0.01880449},"labels":[],"label_agreement":null},{"id":"W4403308158","doi":"10.7202/1113319ar","title":"Présentation du livre de Sylveline Bourion, <i>Analyser le langage tonal </i>(MusicologieS, Paris, Vrin, 2023, 549 p.)","year":2024,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Cultural Insights and Digital Impacts","field":"Computer Science","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Philosophy; Physics","score_opus":0.13957690188344307,"score_gpt":0.3073339286006136,"score_spread":0.16775702671717052,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4403308158","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0032826166,0.29032907,0.010043724,0.1180573,0.2716567,0.00016776657,0.0012899017,0.000887002,0.30428594],"genre_scores_gemma":[0.022375485,0.08935751,0.002745935,0.01827305,0.08786975,0.00012737898,0.0013949564,0.0013513317,0.7765047],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990452,0.00016921035,0.000037724763,0.00017060743,0.0004945037,0.00008271678],"domain_scores_gemma":[0.99858296,0.00031926803,0.0000745077,0.00004026774,0.0007747556,0.00020823805],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001110222,0.00097098394,0.00065067114,0.001882772,0.0017333835,0.0042911754,0.00082128803,0.0014565227,0.09261321],"category_scores_gemma":[0.0032057255,0.0002760155,0.00044918098,0.0012400846,0.0011120896,0.0034700641,0.0022324529,0.0032965215,0.04625276],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000043511325,0.0000087820345,0.00008749135,0.00029086348,0.000005006793,0.00014484633,0.00047676932,0.000058230526,0.00078712084,0.0047197286,0.9493387,0.044039],"study_design_scores_gemma":[0.0000023940925,0.000009437843,0.00019789134,0.00015055454,0.0000024061228,0.00021225197,0.00026936355,0.000025037323,0.0002620172,0.00058673124,0.9982759,0.000006057178],"about_ca_topic_score_codex":0.0063073672,"about_ca_topic_score_gemma":0.008113438,"teacher_disagreement_score":0.09261321,"about_ca_system_score_codex":0.0023535665,"about_ca_system_score_gemma":0.001479477,"threshold_uncertainty_score":0.30982208},"labels":[],"label_agreement":null},{"id":"W4406827125","doi":"10.7202/1116731ar","title":"Les vidéoclips opératiques en temps de pandémie. Le cas du Teatro Colón à Buenos Aires","year":2024,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Contemporary art, education, critique","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.0287795333450682,"score_gpt":0.31993223656832515,"score_spread":0.2911527032232569,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4406827125","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.90010136,0.0012421603,0.0011671165,0.0046208533,0.00026181366,0.00008086527,0.00020006408,0.000051251503,0.09227454],"genre_scores_gemma":[0.9518817,0.0009338653,0.00068187556,0.0003069671,0.0000585327,0.000059684247,0.000109599765,0.000039745617,0.04592804],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99949837,0.0001277996,0.000009576976,0.00009011243,0.000077263154,0.00019696317],"domain_scores_gemma":[0.9990833,0.00022665274,0.0001643652,0.000057187604,0.00013398795,0.0003345531],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006888651,0.00034940327,0.00019339434,0.0007620568,0.006377863,0.00319401,0.000622755,0.0009463875,0.013395722],"category_scores_gemma":[0.0018823112,0.00020958114,0.000108496206,0.00092009443,0.0045973165,0.0016257052,0.0026708548,0.0014631742,0.00089434854],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0006330113,0.00021747255,0.06796463,0.00057094544,0.00001935888,0.007429529,0.69727516,0.00040428294,0.016059373,0.051762987,0.021506477,0.13615668],"study_design_scores_gemma":[0.000014195748,0.00015154615,0.08566668,0.00034273262,0.000016866778,0.0009235421,0.58498454,0.0002578966,0.0010160718,0.001484035,0.32509592,0.000046027224],"about_ca_topic_score_codex":0.11476291,"about_ca_topic_score_gemma":0.24671668,"teacher_disagreement_score":0.11476291,"about_ca_system_score_codex":0.003955176,"about_ca_system_score_gemma":0.003143459,"threshold_uncertainty_score":0.22818983},"labels":[],"label_agreement":null},{"id":"W4407287461","doi":"10.7202/1116734ar","title":"Black Flag, Minor Threat, and the Revival of Traditional Values in American Hardcore Punk","year":2024,"lang":"en","type":"article","venue":"Revue musicale OICRM","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Flag (linear algebra); Punk; Minor (academic); Art; Ancient history; History; Art history; Humanities; Mathematics","score_opus":0.046234471838380795,"score_gpt":0.21721070700735234,"score_spread":0.17097623516897154,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4407287461","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.89955014,0.00064909045,0.0002224754,0.011140115,0.00028726744,0.00001653766,0.000012817577,0.000017782924,0.08810386],"genre_scores_gemma":[0.97500503,0.00022532395,0.00016770318,0.0023823986,0.00003359349,0.000008278116,0.0000060651273,0.000024983972,0.022146596],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987907,0.00029813853,0.000018015891,0.00013195002,0.0002378993,0.0005233914],"domain_scores_gemma":[0.99920326,0.00012806892,0.0000724141,0.000046996887,0.0001224861,0.00042676617],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019705081,0.0003044635,0.0002823677,0.0008832647,0.02467,0.008225771,0.00068830035,0.0013740328,0.005069992],"category_scores_gemma":[0.0017318586,0.00029865722,0.00012015183,0.00088374235,0.016751025,0.0030191306,0.008214085,0.006740583,0.00036517496],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00020408219,0.00035979218,0.017341789,0.00007878912,0.000009814356,0.0015700351,0.7189825,0.00006495216,0.0018153135,0.16761908,0.02731829,0.06463552],"study_design_scores_gemma":[0.00002408269,0.00015060786,0.034579415,0.00016296601,0.0000070771853,0.0005560793,0.61763746,0.00021992806,0.0006293758,0.013594451,0.3323678,0.00007078094],"about_ca_topic_score_codex":0.043614052,"about_ca_topic_score_gemma":0.16819194,"teacher_disagreement_score":0.043614052,"about_ca_system_score_codex":0.0053659906,"about_ca_system_score_gemma":0.0037677095,"threshold_uncertainty_score":0.08672041},"labels":[],"label_agreement":null},{"id":"W4408846772","doi":"10.7202/1116736ar","title":"Musico perfetto, Gioseffo Zarlino. His time, his work, his influence, dirigé par Jonathan Pradella, Venise, Edizioni Fondazione Levi, 2022, 475 pages (Antiquae Musicae Libri, 3)","year":2024,"lang":"it","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"History; Humanities; Art","score_opus":0.044586303083101075,"score_gpt":0.22102459189035117,"score_spread":0.1764382888072501,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4408846772","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":[0.002336976,0.39055666,0.0014635017,0.20850316,0.047846638,0.000048205227,0.00043046183,0.00043587628,0.34837848],"genre_scores_gemma":[0.031421304,0.10796135,0.001224173,0.0393431,0.021508051,0.000077897996,0.0003157834,0.00083275046,0.7973155],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99917513,0.00019184404,0.000024493775,0.00018158338,0.0003318782,0.00009499379],"domain_scores_gemma":[0.9992681,0.0002766608,0.0000696973,0.00003783725,0.00019523394,0.00015247888],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007643714,0.0012432815,0.00057657826,0.0015544306,0.0030436548,0.004317608,0.00078106974,0.0022149687,0.056419857],"category_scores_gemma":[0.0022828695,0.00037085847,0.00028443412,0.0015476973,0.0019205733,0.0038062944,0.0021719,0.003611362,0.031667575],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000303115,0.000011871207,0.0002344174,0.00021479247,0.000004984496,0.0000822487,0.0014520106,0.000024656898,0.00023176943,0.0079426095,0.947911,0.041859392],"study_design_scores_gemma":[0.000003827716,0.000006004449,0.0006170461,0.00011322111,0.0000025250192,0.00012950966,0.00070612936,0.00001722854,0.000087045904,0.0008949018,0.9974165,0.000005972279],"about_ca_topic_score_codex":0.011944294,"about_ca_topic_score_gemma":0.026137408,"teacher_disagreement_score":0.056419857,"about_ca_system_score_codex":0.0022494958,"about_ca_system_score_gemma":0.0011869344,"threshold_uncertainty_score":0.18874317},"labels":[],"label_agreement":null},{"id":"W4408846774","doi":"10.7202/1116737ar","title":"Fragments accordés. La composition musicale contemporaine et le monde arabe, par Anis Fariji, Marseille, Diacritiques Éditions, 2023, 208 pages","year":2024,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Political and Social Issues","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities; Philosophy","score_opus":0.029464778234515696,"score_gpt":0.3169262201415005,"score_spread":0.2874614419069848,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4408846774","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":[0.0016051832,0.626795,0.0017779828,0.02085196,0.04323761,0.00004948761,0.0018188667,0.00049456285,0.30336934],"genre_scores_gemma":[0.017070027,0.14994138,0.002238116,0.0024842853,0.016494282,0.000086941676,0.0014794983,0.00059995876,0.8096055],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993081,0.000081030674,0.000043597116,0.000089704845,0.0004150217,0.00006249551],"domain_scores_gemma":[0.99914896,0.0002187699,0.00009237267,0.000054627315,0.00034819217,0.00013701503],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009011406,0.0016526027,0.00069075904,0.00235358,0.0017216909,0.0044723037,0.0006627533,0.0012557893,0.12639749],"category_scores_gemma":[0.0020971468,0.00045394668,0.0005063453,0.0033177037,0.0011129762,0.0029806856,0.0017450684,0.0024547274,0.035567094],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008328707,0.000014850123,0.00021025511,0.00045083906,0.000009563833,0.000070832066,0.00048399784,0.00008053536,0.0006928269,0.0067694965,0.87547475,0.11565869],"study_design_scores_gemma":[0.0000039720067,0.000007983776,0.0011475623,0.00017910666,0.000002850759,0.0000904673,0.00027673467,0.000020778903,0.00007663618,0.00057464803,0.997615,0.000004285655],"about_ca_topic_score_codex":0.027983801,"about_ca_topic_score_gemma":0.042313393,"teacher_disagreement_score":0.12639749,"about_ca_system_score_codex":0.0028583084,"about_ca_system_score_gemma":0.0018964587,"threshold_uncertainty_score":0.42284173},"labels":[],"label_agreement":null},{"id":"W4408846788","doi":"10.7202/1116735ar","title":"D’audace et de nuances : Musiques classiques au xxie siècle. Le pari de la nouveauté et de la différence, par Danick Trottier Dijon, Éditions Universitaires de Dijon, 2023, 130 pages","year":2024,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Historical and Literary Studies","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.012952049623055144,"score_gpt":0.2867284415097828,"score_spread":0.2737763918867277,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4408846788","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":[0.008430987,0.65035063,0.0031399298,0.023253672,0.01245257,0.00006350489,0.0009306077,0.00016718869,0.30121094],"genre_scores_gemma":[0.10820061,0.21169691,0.0049214046,0.00447056,0.0045884196,0.00016552047,0.0017479555,0.0004623267,0.6637463],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986947,0.00029165138,0.00009956761,0.0001676574,0.0005499138,0.0001966112],"domain_scores_gemma":[0.9990478,0.00024604675,0.00010988905,0.00006562088,0.00030537086,0.00022523204],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014011846,0.0014328784,0.0007209919,0.004081845,0.0029126646,0.007981981,0.00086711714,0.0015386121,0.028996453],"category_scores_gemma":[0.0022384354,0.00047471104,0.0004772084,0.0043784208,0.0050211116,0.00501673,0.002753627,0.0034260286,0.0062817084],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002747608,0.000044324377,0.0018058157,0.0014559317,0.000028643526,0.00024266963,0.018739928,0.0002699422,0.001789117,0.18129882,0.48060194,0.31344813],"study_design_scores_gemma":[0.000005616609,0.0000141236005,0.0035308483,0.00050897076,0.0000043367118,0.00020217056,0.0037118902,0.00003786267,0.00015741185,0.0044112927,0.9874041,0.000011321737],"about_ca_topic_score_codex":0.06496998,"about_ca_topic_score_gemma":0.071823336,"teacher_disagreement_score":0.06496998,"about_ca_system_score_codex":0.008565661,"about_ca_system_score_gemma":0.0056882557,"threshold_uncertainty_score":0.12918365},"labels":[],"label_agreement":null},{"id":"W4408846818","doi":"10.7202/1116732ar","title":"Du <i>loggione</i> aux mèmes. Les <i>fans </i>d’opéra à l’ère numérique à Milan et à New York","year":2024,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Cultural Industries and Urban Development","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Physics; Humanities; Art","score_opus":0.08193746161871988,"score_gpt":0.29040704547540974,"score_spread":0.20846958385668984,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4408846818","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8081323,0.00141444,0.0023525748,0.0060387147,0.00056641334,0.000109127126,0.00031898663,0.00006447047,0.18100289],"genre_scores_gemma":[0.8934774,0.00066573854,0.0009923889,0.00045315703,0.000096732096,0.000109148365,0.00012957957,0.0000690614,0.10400683],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9994912,0.00014291293,0.000013509184,0.00012338218,0.00009971974,0.00012933486],"domain_scores_gemma":[0.99914503,0.00018003602,0.00015206689,0.00006047015,0.00013403918,0.0003283539],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000842198,0.00027367863,0.00018472977,0.0008548493,0.004121196,0.0035750347,0.00034315995,0.00038013558,0.016324477],"category_scores_gemma":[0.0019086775,0.00018220392,0.00015238381,0.0010862605,0.00482949,0.0019958862,0.0019275859,0.0011777933,0.0011847515],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00034779072,0.000080554455,0.07897508,0.00044837513,0.00002256427,0.0009191869,0.6872864,0.00017658288,0.0063394625,0.0957763,0.029757665,0.09987004],"study_design_scores_gemma":[0.00002221975,0.00011543191,0.15553656,0.00033055857,0.000025699539,0.00036058336,0.32641262,0.0001876633,0.0009509511,0.0025749465,0.51342726,0.000055454282],"about_ca_topic_score_codex":0.09433787,"about_ca_topic_score_gemma":0.21079494,"teacher_disagreement_score":0.09433787,"about_ca_system_score_codex":0.0042349924,"about_ca_system_score_gemma":0.0022718138,"threshold_uncertainty_score":0.18757755},"labels":[],"label_agreement":null},{"id":"W4408846887","doi":"10.7202/1116733ar","title":"Jean Nattiez, critique musical à Amiens, 1946-1963. Les défis de la reconstruction musicale de l’après-guerre","year":2024,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Historical Studies and Socio-cultural 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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.02396177070170153,"score_gpt":0.24469429471498236,"score_spread":0.22073252401328083,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4408846887","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.030250095,0.28938428,0.0025002216,0.12181524,0.0073623266,0.000064079635,0.00022784705,0.00008404092,0.5483119],"genre_scores_gemma":[0.5128053,0.070319615,0.0016827293,0.013222476,0.0042371904,0.00016486815,0.000109496235,0.00020029239,0.39725804],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.998336,0.0007396646,0.000048273465,0.0002597693,0.0004384558,0.00017785485],"domain_scores_gemma":[0.9995222,0.00022575371,0.00006295796,0.000020754202,0.00009962236,0.0000687215],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017303943,0.0012549673,0.00038391928,0.0011837098,0.009978985,0.004073899,0.0008228681,0.002869353,0.0059965653],"category_scores_gemma":[0.0029635488,0.0002458875,0.00025330027,0.0011185224,0.012760052,0.0039851475,0.0024406884,0.0045280387,0.001426974],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022250874,0.0000327262,0.0013691578,0.00040400613,0.000017094684,0.00049097004,0.14257643,0.00017965354,0.0009619407,0.65611434,0.1430046,0.054626636],"study_design_scores_gemma":[0.000011800566,0.000021461397,0.0025995725,0.00037344167,0.000004286553,0.00015390967,0.012301178,0.000051756288,0.00025380377,0.018246127,0.96597,0.00001264924],"about_ca_topic_score_codex":0.061989635,"about_ca_topic_score_gemma":0.11051256,"teacher_disagreement_score":0.061989635,"about_ca_system_score_codex":0.011023839,"about_ca_system_score_gemma":0.0043039136,"threshold_uncertainty_score":0.12325764},"labels":[],"label_agreement":null},{"id":"W4408846937","doi":"10.7202/1116729ar","title":"Les nouveaux avatars du <i>live</i> sur Internet","year":2024,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Education, sociology, and vocational training","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.20374775899046998,"score_gpt":0.40524755055949785,"score_spread":0.20149979156902786,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4408846937","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.106498495,0.0047103674,0.07004495,0.018408585,0.002297941,0.00014049289,0.00024988165,0.0012361895,0.7964132],"genre_scores_gemma":[0.48033908,0.005346363,0.023332192,0.0021253997,0.0009397008,0.00014028532,0.0002469595,0.000560294,0.4869698],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989127,0.00040272533,0.00003248807,0.00016876924,0.00033472478,0.00014853352],"domain_scores_gemma":[0.99830437,0.00069864385,0.00011826654,0.00017958562,0.00029626174,0.00040292708],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012112096,0.00039671737,0.00020085185,0.0005977537,0.002665746,0.0060335454,0.0006807282,0.0013187865,0.033691388],"category_scores_gemma":[0.003818526,0.00015925623,0.00024015398,0.00053202565,0.0028656623,0.005578412,0.0032761747,0.0023016143,0.0055797],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00020720401,0.00016345145,0.0034712537,0.00071347127,0.000015276619,0.0010022604,0.11217601,0.0004698098,0.020933539,0.4176502,0.071168885,0.37202865],"study_design_scores_gemma":[0.000008550516,0.00008266436,0.0021353809,0.0003593258,0.0000075713574,0.00060742383,0.02238498,0.0006941035,0.0030802211,0.013813443,0.95679605,0.000030216712],"about_ca_topic_score_codex":0.0036449651,"about_ca_topic_score_gemma":0.0057890443,"teacher_disagreement_score":0.033691388,"about_ca_system_score_codex":0.0011294101,"about_ca_system_score_gemma":0.0013061882,"threshold_uncertainty_score":0.11270887},"labels":[],"label_agreement":null},{"id":"W4408846944","doi":"10.7202/1116730ar","title":"Le <i>live streaming</i> sur YouTube et ses valeurs ajoutées. Étude d’un cas de <i>roots music</i>1","year":2024,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Cultural Insights and Digital Impacts","field":"Computer Science","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Live streaming; Humanities; Art; Computer science; Multimedia","score_opus":0.13454421069386974,"score_gpt":0.2820434962740916,"score_spread":0.14749928558022185,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4408846944","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6625187,0.0069518816,0.00472541,0.008302287,0.001120765,0.00038693595,0.008391321,0.0005639703,0.3070387],"genre_scores_gemma":[0.8238542,0.0070010065,0.0048554647,0.0013433243,0.0006257858,0.00040365115,0.007034017,0.00063768786,0.15424488],"study_design_codex":"design_other","study_design_gemma":"qualitative","domain_scores_codex":[0.998374,0.00038841582,0.00006682302,0.00024089932,0.0007385734,0.00019126493],"domain_scores_gemma":[0.9976367,0.0008145388,0.00032437616,0.00014143712,0.0007893321,0.00029363527],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011611687,0.00044156075,0.00018817579,0.002276213,0.0023538552,0.0037361423,0.0006317616,0.00090543006,0.011464619],"category_scores_gemma":[0.0051104818,0.0002077242,0.00023406128,0.0031005116,0.0012749054,0.0032301762,0.0017096357,0.0009420993,0.0034944625],"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":[0.0005819602,0.00021951756,0.09084407,0.0016385842,0.000091599686,0.007255744,0.15056375,0.0006517105,0.02008844,0.023173159,0.13208169,0.57280976],"study_design_scores_gemma":[0.000026906013,0.000222693,0.2011132,0.0008123475,0.000052643056,0.0030248533,0.10081756,0.0016607741,0.0059195235,0.0020441588,0.68415505,0.00015029842],"about_ca_topic_score_codex":0.110564366,"about_ca_topic_score_gemma":0.14330675,"teacher_disagreement_score":0.110564366,"about_ca_system_score_codex":0.0023061694,"about_ca_system_score_gemma":0.001483594,"threshold_uncertainty_score":0.2198416},"labels":[],"label_agreement":null},{"id":"W4408846966","doi":"10.7202/1116727ar","title":"Entre musique, nature et technologie. <i>Biophilia </i>de Björk, une oeuvre d’art totale","year":2024,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Urban Green Space and Health","field":"Environmental Science","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.010509363519561053,"score_gpt":0.2570956581862356,"score_spread":0.24658629466667453,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4408846966","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0119735245,0.10210135,0.01953603,0.057194166,0.0032918826,0.00009918678,0.00021389432,0.00019533577,0.8053946],"genre_scores_gemma":[0.4314205,0.06765038,0.020763226,0.023997722,0.0015758022,0.0004806042,0.00030812394,0.00039593378,0.4534078],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9961843,0.0019169173,0.00014700001,0.0006116759,0.0007124328,0.00042772837],"domain_scores_gemma":[0.9976712,0.0012214753,0.00023896803,0.0002582111,0.00026849608,0.00034162265],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023874626,0.0009203136,0.0005380379,0.0022967402,0.007365003,0.016390342,0.0009868213,0.0043050623,0.017761147],"category_scores_gemma":[0.0036736047,0.00042310017,0.00040175303,0.002904022,0.023967868,0.008997903,0.0073877703,0.0061042,0.0043812133],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000049468028,0.000025261075,0.0005450965,0.00048436204,0.000012605946,0.00011554896,0.014735655,0.00012442347,0.00047035693,0.9119318,0.028174566,0.04333091],"study_design_scores_gemma":[0.000010096519,0.000031109972,0.0013292799,0.001106978,0.000010963891,0.00024053763,0.010111417,0.00010186266,0.00048588455,0.1695252,0.8170212,0.000025544132],"about_ca_topic_score_codex":0.02087344,"about_ca_topic_score_gemma":0.02835609,"teacher_disagreement_score":0.02087344,"about_ca_system_score_codex":0.008824003,"about_ca_system_score_gemma":0.009934651,"threshold_uncertainty_score":0.06402296},"labels":[],"label_agreement":null},{"id":"W4408846971","doi":"10.7202/1116724ar","title":"Musique et intermédialité dans le cyberespace. <i>Popular music</i>, <i>live streaming</i>, opéra (décembre 2024)","year":2024,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Cultural Insights and Digital Impacts","field":"Computer Science","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Live streaming; Humanities; Computer science; Computer network","score_opus":0.1397719776283188,"score_gpt":0.2954113764689602,"score_spread":0.1556393988406414,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4408846971","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.020546174,0.19696288,0.010401265,0.042462636,0.010719541,0.00004291778,0.00039538115,0.00021726363,0.71825194],"genre_scores_gemma":[0.41380268,0.17645691,0.0096257655,0.008439009,0.010071057,0.00011982343,0.0007844289,0.00045709536,0.38024327],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989385,0.00025043206,0.000053731135,0.00016732165,0.00045582434,0.00013418795],"domain_scores_gemma":[0.9990441,0.0003901857,0.00009550115,0.0000877932,0.00020035727,0.00018203096],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011974137,0.0006276494,0.00032149538,0.0014294541,0.0018438664,0.0061943964,0.0006032254,0.0016509892,0.027738905],"category_scores_gemma":[0.0022685176,0.00021681118,0.00028191472,0.0016329709,0.005718197,0.0055761803,0.0035530915,0.0034309276,0.0030825858],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012322892,0.000029231276,0.0008485873,0.0010010012,0.000019637548,0.00036399544,0.01028197,0.00025460898,0.003687806,0.6323785,0.09231238,0.25869897],"study_design_scores_gemma":[0.000008927631,0.000031267835,0.0027031712,0.00065851427,0.000008133384,0.00038729614,0.0048279604,0.00013520251,0.0007835466,0.0335217,0.9569137,0.000020653046],"about_ca_topic_score_codex":0.007942802,"about_ca_topic_score_gemma":0.01752868,"teacher_disagreement_score":0.027738905,"about_ca_system_score_codex":0.0031619335,"about_ca_system_score_gemma":0.0022352864,"threshold_uncertainty_score":0.09279585},"labels":[],"label_agreement":null},{"id":"W4408846982","doi":"10.7202/1116728ar","title":"De la scène au virtuel. Les redéfinitions du flamenco à travers ses différents supports de production et de diffusion","year":2024,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Spanish Literature and Culture 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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.01325006352614541,"score_gpt":0.2481704953973909,"score_spread":0.23492043187124548,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4408846982","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.04146584,0.0037910272,0.0068210876,0.010847775,0.00065338804,0.0000521266,0.000057532896,0.00006840258,0.9362429],"genre_scores_gemma":[0.7011737,0.002962506,0.004876625,0.0017664769,0.00043463657,0.00009844361,0.000056011988,0.00019956678,0.2884321],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978809,0.0007591393,0.00005116858,0.00029485414,0.00074437243,0.00026952877],"domain_scores_gemma":[0.99861956,0.00039315326,0.00014725317,0.0002772586,0.00036024512,0.00020249069],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021518213,0.00042570333,0.0002762037,0.001686509,0.0068732076,0.009857095,0.0007795681,0.001999952,0.012505695],"category_scores_gemma":[0.004344811,0.00021145467,0.00031706292,0.0015900878,0.013842087,0.0050431504,0.0050174706,0.0030826733,0.00166761],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000049688,0.000021705318,0.001272102,0.000111384674,0.0000046152027,0.0002824803,0.07199131,0.000080470425,0.0008728911,0.8715196,0.009556583,0.044237163],"study_design_scores_gemma":[0.000012471968,0.000025486941,0.003215275,0.0003114007,0.0000065889594,0.00026684967,0.034743804,0.00014544523,0.00044954746,0.029632552,0.93117106,0.000019516132],"about_ca_topic_score_codex":0.025257835,"about_ca_topic_score_gemma":0.04225691,"teacher_disagreement_score":0.025257835,"about_ca_system_score_codex":0.0061621107,"about_ca_system_score_gemma":0.004905615,"threshold_uncertainty_score":0.050221622},"labels":[],"label_agreement":null},{"id":"W4408846984","doi":"10.7202/1116725ar","title":"Les voyages de « Despacito ». La circulation des musiques populaires à l’ère du <i>streaming</i>","year":2024,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.03154037993856292,"score_gpt":0.2381901455851247,"score_spread":0.20664976564656176,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4408846984","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3292077,0.01098185,0.0040645325,0.042662557,0.0007296881,0.00006354831,0.00028072888,0.00008677801,0.6119226],"genre_scores_gemma":[0.9339629,0.0025601173,0.00072068046,0.0021876928,0.00023653844,0.000050726012,0.000081984166,0.000100634345,0.060098767],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9973476,0.0011800798,0.00007625124,0.00045754807,0.00054862536,0.00039000166],"domain_scores_gemma":[0.9976802,0.00096296717,0.00038737897,0.00019527516,0.0003387584,0.0004354314],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023243332,0.00033310376,0.0002831468,0.0015446933,0.008146441,0.009445752,0.0005733171,0.0013103724,0.01500566],"category_scores_gemma":[0.0050492864,0.00021734145,0.00026316405,0.0022508565,0.01603946,0.0047425856,0.0055220067,0.0025914821,0.0014223855],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013814686,0.000025389754,0.011311835,0.0003205178,0.000016812808,0.00029498548,0.38015562,0.000097964905,0.0012621398,0.53519434,0.0078019677,0.0633802],"study_design_scores_gemma":[0.000024865454,0.00008173778,0.030253047,0.0007925925,0.00001628253,0.00033157322,0.26359725,0.00014788621,0.000625395,0.037755653,0.66633403,0.000039701736],"about_ca_topic_score_codex":0.029776836,"about_ca_topic_score_gemma":0.0435662,"teacher_disagreement_score":0.029776836,"about_ca_system_score_codex":0.0053369342,"about_ca_system_score_gemma":0.0054049385,"threshold_uncertainty_score":0.059207022},"labels":[],"label_agreement":null},{"id":"W4413781708","doi":"10.7202/1119029ar","title":"De la musique de film à la musicalité du cinéma. Trois propositions d’Edgard Varèse","year":2025,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"French Historical and Cultural 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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.011028147480332354,"score_gpt":0.21383047012677017,"score_spread":0.20280232264643783,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413781708","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.015651898,0.07795456,0.0062971907,0.047141794,0.0028378386,0.000024512201,0.00005352006,0.000064177184,0.8499746],"genre_scores_gemma":[0.6945226,0.02492329,0.002606947,0.0059109647,0.002342246,0.000057095218,0.000037361522,0.00009771265,0.26950175],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986456,0.0006978553,0.000028247607,0.00020311374,0.00026636536,0.0001589632],"domain_scores_gemma":[0.99926895,0.000392209,0.000061032133,0.00005402338,0.00013770603,0.00008616914],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015019423,0.0005884461,0.00022321324,0.0012701785,0.005181074,0.008049649,0.0006991882,0.0024326423,0.008000568],"category_scores_gemma":[0.0026964569,0.00022987048,0.00019928819,0.0007049349,0.014896157,0.0038092015,0.002199615,0.0034734195,0.0008870148],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019248566,0.0000062078475,0.00013512836,0.0000629051,0.0000024986355,0.00012607979,0.019567674,0.00006244975,0.00033744983,0.9465104,0.01725446,0.015915623],"study_design_scores_gemma":[0.000006346657,0.000014860897,0.0010272876,0.0002302062,0.0000041788326,0.0002464228,0.009096292,0.00013246662,0.00030504202,0.04584186,0.943083,0.000012006933],"about_ca_topic_score_codex":0.05317779,"about_ca_topic_score_gemma":0.055034254,"teacher_disagreement_score":0.05317779,"about_ca_system_score_codex":0.008078344,"about_ca_system_score_gemma":0.0028434193,"threshold_uncertainty_score":0.105736494},"labels":[],"label_agreement":null},{"id":"W4413781722","doi":"10.7202/1119028ar","title":"<i>Les noces </i>d’Igor Stravinski en <i>dialogue</i> avec l’espace scénique contemporain (Pokrovski, Preljocaj, De Keersmaeker)","year":2025,"lang":"fr","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.015784266630564855,"score_gpt":0.24928965703199127,"score_spread":0.23350539040142643,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413781722","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18294622,0.06677158,0.037834756,0.041254994,0.004717458,0.00012398929,0.00033622273,0.000245689,0.6657691],"genre_scores_gemma":[0.9066469,0.011050418,0.0038815634,0.0024744845,0.0005630709,0.00007022746,0.00010641829,0.00024144803,0.07496546],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991984,0.0003856632,0.000029012564,0.00014394244,0.00015117672,0.00009177127],"domain_scores_gemma":[0.9995745,0.0002243374,0.00007067651,0.000038924558,0.000057535763,0.000034074215],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010369626,0.00049662543,0.0002550699,0.0011283256,0.0035349121,0.0059502423,0.0005954669,0.0010185125,0.00489648],"category_scores_gemma":[0.0019635689,0.0002537201,0.00022457584,0.0012990667,0.007905545,0.003920365,0.0023106534,0.0029065553,0.0010959363],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013217345,0.000017698747,0.002009797,0.00039505222,0.000022862003,0.0003627994,0.11762994,0.00025109106,0.0021721565,0.82057256,0.018195549,0.038238313],"study_design_scores_gemma":[0.000015476988,0.000050675557,0.0056121736,0.0005748194,0.000030285624,0.00078346615,0.050376214,0.00040958577,0.0016995763,0.055422913,0.8849843,0.00004046798],"about_ca_topic_score_codex":0.01046713,"about_ca_topic_score_gemma":0.019541487,"teacher_disagreement_score":0.01046713,"about_ca_system_score_codex":0.0029411763,"about_ca_system_score_gemma":0.0017650157,"threshold_uncertainty_score":0.021339834},"labels":[],"label_agreement":null},{"id":"W4413781726","doi":"10.7202/1119022ar","title":"Analyse des facteurs prédictifs de l’anxiété de performance musicale perçue d’élèves de 9 à 12 ans","year":2025,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Diverse Music Education Insights","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.04071454652157804,"score_gpt":0.2569823914753927,"score_spread":0.21626784495381465,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413781726","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9943283,0.0009851098,0.00053882203,0.00029743358,0.00004048657,0.000030153387,0.00031829302,0.000010820862,0.0034505583],"genre_scores_gemma":[0.9936865,0.0008240687,0.00046738124,0.00008044653,0.000047931113,0.000070637034,0.00037874567,0.000008891937,0.004435375],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.9990081,0.00027128437,0.00008239509,0.00016343083,0.0002971936,0.00017749338],"domain_scores_gemma":[0.99425226,0.0022818912,0.0015273748,0.0002127844,0.0010432992,0.0006823786],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001826015,0.00038903413,0.0004001832,0.000768599,0.0005462057,0.001323686,0.00036711135,0.0006724656,0.00633942],"category_scores_gemma":[0.0077703753,0.00019623878,0.00048985874,0.0006141186,0.00039352773,0.0005091473,0.0006686355,0.00090969977,0.0008951681],"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":[0.00031054261,0.00016931299,0.95479304,0.0001847669,0.00020158793,0.00020589253,0.0052069277,0.00013722674,0.0018836712,0.00024213169,0.00067228184,0.03599262],"study_design_scores_gemma":[0.000004069823,0.00012165661,0.9958847,0.00006018506,0.00003968127,0.00007251622,0.0021843002,0.00012842797,0.00015811954,0.0000799706,0.0012570883,0.000009284377],"about_ca_topic_score_codex":0.010480943,"about_ca_topic_score_gemma":0.018106883,"teacher_disagreement_score":0.010480943,"about_ca_system_score_codex":0.00057289755,"about_ca_system_score_gemma":0.0008405169,"threshold_uncertainty_score":0.021207511},"labels":[],"label_agreement":null},{"id":"W4413781745","doi":"10.7202/1119027ar","title":"Les partitions sonores. Un outil collaboratif entre l’interprétation et la composition","year":2025,"lang":"fr","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Composition (language); Humanities; Art; Philosophy; Linguistics","score_opus":0.01885879709320784,"score_gpt":0.30669055434093423,"score_spread":0.28783175724772636,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413781745","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.12976444,0.004554625,0.2552769,0.008675105,0.0021265366,0.00040499898,0.00046442045,0.0016236493,0.5971094],"genre_scores_gemma":[0.6878979,0.0022052398,0.10214692,0.0016116602,0.000488418,0.00042368213,0.0005531261,0.0012775706,0.2033955],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9955771,0.0019626182,0.00013097648,0.00080600905,0.0011297218,0.00039359045],"domain_scores_gemma":[0.99638164,0.0013733531,0.0002747534,0.0007476856,0.00068723963,0.00053530623],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003481321,0.0011472147,0.00042398417,0.0014367364,0.0054023787,0.009124861,0.0011321381,0.0019703216,0.025737246],"category_scores_gemma":[0.007540372,0.0005941126,0.00077595754,0.0011674117,0.009314209,0.009379684,0.007338417,0.0029578845,0.004895572],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00035717204,0.000063092906,0.0041081402,0.00042082078,0.000045708206,0.00075784593,0.13422729,0.0011724294,0.016708571,0.68423325,0.014154033,0.14375158],"study_design_scores_gemma":[0.000041416013,0.00018331675,0.0046695266,0.0005005965,0.00004379283,0.000884936,0.0449786,0.002465396,0.006855465,0.1097807,0.8294853,0.00011099483],"about_ca_topic_score_codex":0.007151156,"about_ca_topic_score_gemma":0.01362616,"teacher_disagreement_score":0.025737246,"about_ca_system_score_codex":0.0029045092,"about_ca_system_score_gemma":0.004065849,"threshold_uncertainty_score":0.086099684},"labels":[],"label_agreement":null},{"id":"W4413781760","doi":"10.7202/1119020ar","title":"L’improvisation éducative. Outil pédagogique de découverte et <i>outil du doute</i> dans le contexte hypermoderne1","year":2025,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Education, sociology, and vocational training","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Improvisation; Philosophy; Psychology; Art","score_opus":0.11563043513070859,"score_gpt":0.3963712263869152,"score_spread":0.2807407912562066,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413781760","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.041655365,0.045533713,0.049123317,0.07054028,0.0027021018,0.000121563506,0.00006773808,0.00022132142,0.7900346],"genre_scores_gemma":[0.82937485,0.018399615,0.010638044,0.0065511535,0.0019475834,0.00027533554,0.000045228673,0.00021327107,0.1325549],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99368906,0.004236974,0.0001465696,0.0004910296,0.0010374689,0.00039889538],"domain_scores_gemma":[0.99365175,0.004524626,0.00045688404,0.000608175,0.00032153624,0.00043713037],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0050990395,0.00066754536,0.00037078705,0.0018577025,0.005593043,0.010861873,0.0013476695,0.0036047401,0.008334769],"category_scores_gemma":[0.0064007905,0.0002972477,0.00029496106,0.0017582941,0.05021841,0.008156936,0.0078096716,0.0070361104,0.0013392211],"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":[0.000012450469,0.000016537,0.00022603756,0.00012234862,0.0000018798669,0.00009054295,0.03808999,0.00009052326,0.0002778046,0.9383659,0.0026717992,0.020034205],"study_design_scores_gemma":[0.000014190354,0.00006343042,0.0012025053,0.0008688088,0.000006018983,0.0005725384,0.031584505,0.00050974026,0.0009214693,0.28705782,0.6771687,0.000030369827],"about_ca_topic_score_codex":0.004025429,"about_ca_topic_score_gemma":0.0057088407,"teacher_disagreement_score":0.010861873,"about_ca_system_score_codex":0.0068121115,"about_ca_system_score_gemma":0.006786341,"threshold_uncertainty_score":0.049425542},"labels":[],"label_agreement":null},{"id":"W4413781769","doi":"10.7202/1119023ar","title":"Sentiment de compétence des enseignant·e·s des cycles 1 et 2 face à l’enseignement musical. Une étude exploratoire","year":2025,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Diverse Music Education Insights","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Psychology; Sociology; Art","score_opus":0.05673971331159232,"score_gpt":0.27008572215728,"score_spread":0.21334600884568766,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413781769","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.76519424,0.0015094604,0.015196703,0.006506808,0.00047032087,0.0002630567,0.00027390098,0.000117977674,0.21046749],"genre_scores_gemma":[0.96578413,0.00064031995,0.0028163174,0.0006215132,0.000049399583,0.000121205776,0.00016447743,0.000064235515,0.029738272],"study_design_codex":"qualitative","study_design_gemma":"observational","domain_scores_codex":[0.99429685,0.002427642,0.00028146803,0.00063323847,0.0017039928,0.00065678085],"domain_scores_gemma":[0.98837066,0.0039211223,0.0016711184,0.00051953987,0.0029276297,0.0025899136],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00481623,0.0003932047,0.00047176826,0.0009867215,0.003072928,0.006664365,0.00074370427,0.0016017251,0.014221062],"category_scores_gemma":[0.017903546,0.00025351578,0.0004624422,0.0008323586,0.0041900342,0.0040243566,0.0036157107,0.0020530098,0.0018741756],"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":[0.00052594393,0.00027826862,0.11150562,0.0014109502,0.000119584925,0.0010358494,0.58801377,0.0009916482,0.011457998,0.100663364,0.013544182,0.17045286],"study_design_scores_gemma":[0.00003645585,0.00035814804,0.19843997,0.00079688703,0.00006966901,0.0006018915,0.48684895,0.0016157252,0.002294515,0.021689188,0.28707838,0.00017016167],"about_ca_topic_score_codex":0.0074995556,"about_ca_topic_score_gemma":0.011296522,"teacher_disagreement_score":0.014221062,"about_ca_system_score_codex":0.003627675,"about_ca_system_score_gemma":0.004376089,"threshold_uncertainty_score":0.047574222},"labels":[],"label_agreement":null},{"id":"W4413781811","doi":"10.7202/1119025ar","title":"Un choeur intergénérationnel pour harmoniser le bien-être dans une résidence pour personnes aînées. Un accord parfait majeur contre le vieillissement !","year":2025,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Aging, Elder Care, and Social Issues","field":"Health Professions","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Physics; Philosophy","score_opus":0.026899497044435765,"score_gpt":0.3121876321090109,"score_spread":0.2852881350645751,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413781811","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7481096,0.0106032565,0.013649361,0.07407513,0.0018485195,0.00040190978,0.00032968447,0.00016423622,0.15081833],"genre_scores_gemma":[0.9402184,0.0036445006,0.005280996,0.0040975306,0.000092044786,0.00021097771,0.00010546999,0.000077159595,0.04627294],"study_design_codex":"qualitative","study_design_gemma":"observational","domain_scores_codex":[0.9969897,0.0016944966,0.00007937679,0.00030318886,0.00038387493,0.0005493267],"domain_scores_gemma":[0.9968438,0.00060583785,0.00040307807,0.0003592563,0.0006986323,0.0010894353],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004329049,0.00029089514,0.00027205446,0.00068861595,0.0061392295,0.0044793496,0.0008294288,0.0010363656,0.011138703],"category_scores_gemma":[0.005460893,0.00024333467,0.00035968897,0.0007036495,0.0060719885,0.0037853855,0.0065451288,0.0018374991,0.0012350732],"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":[0.00021154515,0.00028480508,0.110944346,0.000980327,0.00011054403,0.0014799143,0.4554032,0.00029453807,0.0067557204,0.084966,0.02243764,0.31613138],"study_design_scores_gemma":[0.00002895762,0.00034148459,0.1125254,0.0016445467,0.000056681885,0.000735064,0.46212676,0.0001458829,0.0008661629,0.010214245,0.41121742,0.000097374905],"about_ca_topic_score_codex":0.08979415,"about_ca_topic_score_gemma":0.20467249,"teacher_disagreement_score":0.08979415,"about_ca_system_score_codex":0.00609033,"about_ca_system_score_gemma":0.013465724,"threshold_uncertainty_score":0.17854297},"labels":[],"label_agreement":null},{"id":"W4413781815","doi":"10.7202/1119026ar","title":"De l’analogique au numérique. Pratiques de création et discours sur l’authenticité dans les <i>home studios </i>techno","year":2025,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Cultural Insights and Digital Impacts","field":"Computer Science","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.11474293221070782,"score_gpt":0.3171569504837098,"score_spread":0.20241401827300198,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413781815","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.13877794,0.010135567,0.05500578,0.019309955,0.0007205616,0.00009183402,0.00006715857,0.00015497663,0.7757363],"genre_scores_gemma":[0.9458956,0.0025887324,0.0053803627,0.0011475211,0.00027951857,0.00008890629,0.000020482366,0.000097230666,0.044501707],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99215686,0.004485335,0.00019496902,0.00083739293,0.0019298125,0.00039571],"domain_scores_gemma":[0.99193996,0.0056792856,0.00070347684,0.00077065814,0.000584857,0.00032174855],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0051491167,0.000550694,0.00041020184,0.0021118151,0.005957041,0.012080868,0.0009632858,0.0022882072,0.010933862],"category_scores_gemma":[0.012201658,0.0003325729,0.00033824905,0.0018443282,0.038299575,0.0077785267,0.0060708667,0.0045132083,0.0012765323],"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":[0.000049562514,0.00002012462,0.0010588296,0.00018013213,0.000006661302,0.00023007303,0.12589043,0.00019800311,0.0010552952,0.8444018,0.0014795718,0.02542953],"study_design_scores_gemma":[0.000031868458,0.00011057103,0.0047072438,0.0007722813,0.000018057044,0.0008611925,0.093946844,0.00074417633,0.0017152161,0.18780462,0.70923024,0.000057703677],"about_ca_topic_score_codex":0.006011668,"about_ca_topic_score_gemma":0.0071020178,"teacher_disagreement_score":0.012080868,"about_ca_system_score_codex":0.0047123916,"about_ca_system_score_gemma":0.0026933276,"threshold_uncertainty_score":0.036577463},"labels":[],"label_agreement":null},{"id":"W4413781819","doi":"10.7202/1119024ar","title":"Le numérique pédagogique dans les Hautes écoles de musique de Suisse romande. Autoévaluation des compétences, Pratiques déclarées","year":2025,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Diverse Music Education Insights","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Political science; Humanities; Art","score_opus":0.04253320210282118,"score_gpt":0.2772456242040092,"score_spread":0.23471242210118803,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413781819","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9334846,0.0013259855,0.0011890661,0.0013513531,0.000045345605,0.000057222922,0.00008554362,0.000018427014,0.0624426],"genre_scores_gemma":[0.98494947,0.0005315055,0.0014395561,0.00011731371,0.000010108787,0.00006174228,0.000048192906,0.000011785146,0.012830349],"study_design_codex":"qualitative","study_design_gemma":"observational","domain_scores_codex":[0.9981351,0.00080172264,0.000057456524,0.00023183395,0.0003773716,0.0003964043],"domain_scores_gemma":[0.99694437,0.001241628,0.00043287524,0.00017226933,0.00063874404,0.0005701374],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0031630457,0.00034646413,0.00042879442,0.0016419761,0.0027697182,0.0034069165,0.0005048809,0.0005088896,0.0075760367],"category_scores_gemma":[0.0067878873,0.00022665644,0.00026748487,0.0016517044,0.003868088,0.0016014704,0.0030496987,0.0011932037,0.00062444736],"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":[0.0002503799,0.00026372072,0.33485746,0.0005257523,0.00004919826,0.0005027269,0.34715348,0.00096045114,0.002685599,0.057022028,0.0035530732,0.25217608],"study_design_scores_gemma":[0.000016501659,0.00016772292,0.72327423,0.0006018545,0.000021562673,0.00023434013,0.18920538,0.0008085764,0.0011605658,0.0064188293,0.07803456,0.000055868335],"about_ca_topic_score_codex":0.052663647,"about_ca_topic_score_gemma":0.14080013,"teacher_disagreement_score":0.052663647,"about_ca_system_score_codex":0.0072760913,"about_ca_system_score_gemma":0.009072725,"threshold_uncertainty_score":0.104714215},"labels":[],"label_agreement":null},{"id":"W4413781839","doi":"10.7202/1119021ar","title":"L’orchestre à l’école et les capacités d’autorégulation des élèves de primaire1","year":2025,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Diverse Music Education Insights","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities; Political science","score_opus":0.05358669729706722,"score_gpt":0.27209213102451807,"score_spread":0.21850543372745085,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413781839","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9149165,0.004453823,0.029332496,0.0011285482,0.00016386354,0.000078347446,0.0004073914,0.00022421236,0.049294837],"genre_scores_gemma":[0.9806964,0.0015349624,0.0053490936,0.00017451533,0.000067419176,0.000081198275,0.00019063233,0.00008104664,0.011824802],"study_design_codex":"bench_or_experimental","study_design_gemma":"observational","domain_scores_codex":[0.99923503,0.00015563748,0.000029472494,0.00022051166,0.00020256331,0.00015683513],"domain_scores_gemma":[0.9977537,0.0008970272,0.00040236817,0.00016024939,0.0003671827,0.00041955584],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010149383,0.0006180077,0.00046234834,0.0005923508,0.000862254,0.0029680044,0.0007116952,0.00088264333,0.011016349],"category_scores_gemma":[0.0040770206,0.0005114497,0.00056445465,0.00044374398,0.0010720213,0.00094808056,0.0017880193,0.0010199657,0.0016530055],"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":[0.0015681197,0.00048754003,0.16310692,0.0013410926,0.0004259584,0.0009795038,0.010155057,0.008045401,0.52503705,0.031106174,0.002346991,0.25540018],"study_design_scores_gemma":[0.00006744294,0.0011876322,0.8942685,0.00047123525,0.0002922333,0.00066326896,0.0044950796,0.011721219,0.03678755,0.01664068,0.033239476,0.00016564521],"about_ca_topic_score_codex":0.008889599,"about_ca_topic_score_gemma":0.007628253,"teacher_disagreement_score":0.011016349,"about_ca_system_score_codex":0.0011827626,"about_ca_system_score_gemma":0.0013281779,"threshold_uncertainty_score":0.036853313},"labels":[],"label_agreement":null},{"id":"W4413781847","doi":"10.7202/1119032ar","title":"Du concert au showbusiness. Les imprésarios au coeur des échanges internationaux, 1850-1930, par Laetitia Corbière, Lyon, Éditions Symétrie, 2023, 434 pages","year":2025,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"European Political History 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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.03816087105091987,"score_gpt":0.24353108191439676,"score_spread":0.2053702108634769,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413781847","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.015604391,0.47014722,0.0008587102,0.01976048,0.0047041187,0.000043320422,0.002931714,0.0001675389,0.4857825],"genre_scores_gemma":[0.17707866,0.1350783,0.0010346918,0.0016124902,0.0025976663,0.00010273327,0.0025168695,0.00033428255,0.6796443],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991099,0.00016464823,0.000040401344,0.0001466027,0.00033899388,0.00019941179],"domain_scores_gemma":[0.9994061,0.00016695514,0.000090213405,0.00004293475,0.00016145346,0.00013243122],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011784616,0.00089894346,0.00036992767,0.0028926712,0.0027111329,0.004794919,0.0006138032,0.0011024053,0.03205206],"category_scores_gemma":[0.001796792,0.00035553792,0.00036958046,0.0064900154,0.0024329373,0.002337708,0.0016722669,0.0018021334,0.0048932335],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00025809824,0.000030839026,0.0035675606,0.0010821016,0.000028828314,0.00024744408,0.020417267,0.00036164446,0.0009810567,0.09869465,0.6435969,0.2307337],"study_design_scores_gemma":[0.0000037017255,0.000006798212,0.0070429975,0.00018608086,0.0000026499886,0.000037614594,0.002039671,0.000011902514,0.00008137795,0.00044002998,0.9901427,0.000004478695],"about_ca_topic_score_codex":0.18574809,"about_ca_topic_score_gemma":0.3202298,"teacher_disagreement_score":0.18574809,"about_ca_system_score_codex":0.011801014,"about_ca_system_score_gemma":0.0059979213,"threshold_uncertainty_score":0.36933386},"labels":[],"label_agreement":null},{"id":"W7155166224","doi":"10.7202/1124295ar","title":"Pressing Rhythms and Korean Percussion Music","year":2025,"lang":"en","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Percussion; Rhythm; Pressing; Jazz; Exploit","score_opus":0.026654401484762336,"score_gpt":0.2244167555407104,"score_spread":0.19776235405594805,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7155166224","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.71043223,0.020406539,0.017766526,0.0037648526,0.00094631815,0.00006477144,0.00017808759,0.00016854258,0.24627212],"genre_scores_gemma":[0.9715427,0.0052810167,0.0047642672,0.00040600018,0.000197655,0.000012992389,0.00008131085,0.000060462222,0.017653555],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9998066,0.000059352715,0.000015523088,0.00004084554,0.000049220664,0.000028518212],"domain_scores_gemma":[0.9997079,0.00009766314,0.00005860216,0.00003239014,0.000051567542,0.00005185248],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00028403333,0.00034716175,0.00009213655,0.0010964894,0.00088918826,0.002455372,0.00024626948,0.00035453148,0.0036671113],"category_scores_gemma":[0.00080333464,0.0001322055,0.00017719062,0.00097014336,0.0021990142,0.0019097851,0.0011399129,0.0007923239,0.0005087781],"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":[0.00056358904,0.000106272404,0.026781127,0.00074052927,0.00006399509,0.0026198768,0.087775424,0.00085413904,0.033237807,0.4712106,0.008867604,0.36717898],"study_design_scores_gemma":[0.00006838537,0.0004522863,0.15097205,0.0006978063,0.00009839852,0.0056284987,0.124503985,0.0029817636,0.0106706545,0.12879965,0.57497704,0.00014944033],"about_ca_topic_score_codex":0.0019431047,"about_ca_topic_score_gemma":0.004991571,"teacher_disagreement_score":0.0036671113,"about_ca_system_score_codex":0.0005998671,"about_ca_system_score_gemma":0.00038977325,"threshold_uncertainty_score":0.012267709},"labels":[],"label_agreement":null},{"id":"W7155169859","doi":"10.7202/1124291ar","title":"Paradigmatic Analysis and the Performance of Xenakis’s Solo Percussion Music","year":2025,"lang":"en","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Percussion; Interpretation (philosophy); Musical; Repetition (rhetorical device); Value (mathematics); Process (computing); Musical analysis","score_opus":0.01444146165715407,"score_gpt":0.20853309689674354,"score_spread":0.19409163523958947,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7155169859","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.31383166,0.0036119442,0.23399962,0.013950532,0.00085280184,0.00024938284,0.000098985016,0.00029210164,0.43311295],"genre_scores_gemma":[0.9569253,0.0010228385,0.025715569,0.00032351495,0.00010278328,0.0000888763,0.00004181549,0.000088120934,0.015691152],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9951988,0.0031917717,0.00013336865,0.00033896003,0.0009389193,0.00019824246],"domain_scores_gemma":[0.99720204,0.0016534842,0.00030125325,0.00029862794,0.00039245817,0.000152169],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004657596,0.0006490564,0.00024368482,0.0020694535,0.0044626184,0.0053039147,0.0010961666,0.0010336171,0.00316656],"category_scores_gemma":[0.008310628,0.0002155109,0.0002841693,0.0011693761,0.016398802,0.0034391545,0.0047052274,0.0020207325,0.0005174744],"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":[0.000117408286,0.00004412075,0.0015117058,0.0002888179,0.000016022508,0.0007532832,0.31918326,0.001019333,0.0049099177,0.6141787,0.002994931,0.054982446],"study_design_scores_gemma":[0.000039236125,0.0002492691,0.004179505,0.00065880606,0.000027893753,0.0027299826,0.3176879,0.0058355075,0.0074194367,0.38338965,0.27767125,0.000111611414],"about_ca_topic_score_codex":0.001911591,"about_ca_topic_score_gemma":0.0032119118,"teacher_disagreement_score":0.0053039147,"about_ca_system_score_codex":0.0024651824,"about_ca_system_score_gemma":0.0026519885,"threshold_uncertainty_score":0.024632037},"labels":[],"label_agreement":null},{"id":"W7155171789","doi":"10.7202/1124284ar","title":"Rhythm in Music since 1900. Views from Theory and Practice","year":2025,"lang":"en","type":"article","venue":"Revue musicale OICRM","topic":"Musicology and Musical Analysis","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Rhythm; Active listening; Key (lock)","score_opus":0.04453099787313414,"score_gpt":0.2694542215489062,"score_spread":0.22492322367577205,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7155171789","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":[0.037647642,0.5025173,0.0038245867,0.061817396,0.004313661,0.000030145467,0.00010996603,0.000048664588,0.38969073],"genre_scores_gemma":[0.7334128,0.19306995,0.0020571332,0.006277748,0.008233859,0.00006794132,0.00009131212,0.000093612136,0.056695666],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9985886,0.0006042846,0.00008507301,0.00021634177,0.00035400907,0.00015160798],"domain_scores_gemma":[0.9977709,0.0013228984,0.00018783733,0.00016626158,0.00026282217,0.00028933882],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0033361616,0.0004966872,0.00044403042,0.0021085218,0.003117475,0.0062721274,0.0007269495,0.0018304748,0.005468318],"category_scores_gemma":[0.007276033,0.00023379497,0.00022967243,0.0019738672,0.017802404,0.004215964,0.0023148584,0.003358758,0.000811185],"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":[0.0001859996,0.00006632406,0.0011095327,0.0006666678,0.000018550225,0.00014999504,0.040352028,0.0003074366,0.00046908623,0.7185307,0.019781474,0.21836227],"study_design_scores_gemma":[0.00005667646,0.0001310577,0.006729422,0.001980216,0.000017592914,0.00045675196,0.011237293,0.00021677176,0.0003495699,0.13913776,0.83965385,0.00003307397],"about_ca_topic_score_codex":0.009002297,"about_ca_topic_score_gemma":0.010114086,"teacher_disagreement_score":0.009002297,"about_ca_system_score_codex":0.004629892,"about_ca_system_score_gemma":0.00274474,"threshold_uncertainty_score":0.033592403},"labels":[],"label_agreement":null},{"id":"W7155172204","doi":"10.7202/1124300ar","title":"Binômes interartistiques. L’impact du théâtre et de la danse sur les méthodes de création musicale de Georges Aperghis et Thierry De Mey","year":2025,"lang":"en","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Metanarrative; Context (archaeology); Identity (music)","score_opus":0.02509822951971956,"score_gpt":0.3555842679687674,"score_spread":0.33048603844904784,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7155172204","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11059339,0.014851145,0.124827005,0.01225411,0.0022777482,0.0004455761,0.00022827856,0.00043076888,0.734092],"genre_scores_gemma":[0.6913108,0.00599589,0.047316525,0.0016662877,0.00054668536,0.00062136963,0.00016468787,0.00071667676,0.251661],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9911345,0.0049426076,0.00025212366,0.0012031572,0.0021079155,0.0003595957],"domain_scores_gemma":[0.9909763,0.005843069,0.00046762655,0.0013068446,0.00091192714,0.0004944373],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.007395803,0.0009567122,0.0005255157,0.0020270178,0.0047605084,0.011668607,0.0013180382,0.0020718744,0.024500262],"category_scores_gemma":[0.01669984,0.0004991723,0.0005998159,0.001484039,0.012753093,0.007214373,0.008858756,0.0037572535,0.0034223543],"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":[0.00022475873,0.00006506609,0.0026867923,0.0009698541,0.000049968752,0.00032132166,0.21466997,0.0004896076,0.0048736418,0.604486,0.008118835,0.16304424],"study_design_scores_gemma":[0.000045693876,0.00016391471,0.005875422,0.0012877224,0.000070347254,0.00092884916,0.065746315,0.0013482479,0.0047832076,0.07586934,0.8438083,0.00007266121],"about_ca_topic_score_codex":0.005741674,"about_ca_topic_score_gemma":0.010478575,"teacher_disagreement_score":0.024500262,"about_ca_system_score_codex":0.00431569,"about_ca_system_score_gemma":0.0038096176,"threshold_uncertainty_score":0.08196151},"labels":[],"label_agreement":null},{"id":"W7155180296","doi":"10.7202/1124289ar","title":"Finding a Fingerprint. Microtiming and Tempo Variability in Five Renowned Rock Drummers","year":2025,"lang":"en","type":"article","venue":"Revue musicale OICRM","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Variation (astronomy); Studio; Style (visual arts); Absolute (philosophy); Beat (acoustics); Correlation coefficient","score_opus":0.031477553895045494,"score_gpt":0.28495564307543436,"score_spread":0.2534780891803889,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7155180296","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.999017,0.000066838584,0.00045761076,0.000009823112,0.0000024758583,0.00000489242,0.000053792835,0.000009411437,0.0003781063],"genre_scores_gemma":[0.99844474,0.000054742708,0.0008391584,0.000008637583,0.0000059504955,0.0000038519156,0.00008645681,0.000007543763,0.00054891704],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.9998354,0.000022070633,0.00001320099,0.000048925882,0.000054306154,0.000025969623],"domain_scores_gemma":[0.99935275,0.00012251284,0.00020518275,0.000072403454,0.00012511437,0.00012210356],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00030599444,0.0001750627,0.0002232262,0.0013445946,0.00031113185,0.0004844776,0.00021614038,0.00025275818,0.0012350702],"category_scores_gemma":[0.0011059532,0.00009569931,0.00011065264,0.0006546173,0.00037902486,0.00022248103,0.0004524202,0.00015444656,0.00045252868],"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":[0.0012506107,0.00012436156,0.6167122,0.00020460783,0.00013076293,0.0024391436,0.014974205,0.00048162395,0.20440729,0.00033371808,0.0004961036,0.15844533],"study_design_scores_gemma":[0.0000055372916,0.00022671036,0.987333,0.000010544623,0.000023424522,0.0018712552,0.003126749,0.0006598355,0.0052489885,0.000073249714,0.0014003371,0.000020309502],"about_ca_topic_score_codex":0.0022168676,"about_ca_topic_score_gemma":0.0072760023,"teacher_disagreement_score":0.0022168676,"about_ca_system_score_codex":0.00013476524,"about_ca_system_score_gemma":0.00008866702,"threshold_uncertainty_score":0.0044079423},"labels":[],"label_agreement":null},{"id":"W7155182667","doi":"10.7202/1124290ar","title":"“Dream Away the Time”. Metric Play in Benjamin Britten’s <i>A Midsummer Night’s Dream</i>","year":2025,"lang":"en","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Metric (unit); Variety (cybernetics); Key (lock); Narrative; Scholarship; Character (mathematics)","score_opus":0.013374359268453736,"score_gpt":0.21404718635681755,"score_spread":0.20067282708836381,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7155182667","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2607561,0.0060560945,0.014110651,0.014473445,0.0015567717,0.000078824494,0.0003480491,0.00036589755,0.7022541],"genre_scores_gemma":[0.896368,0.0010504272,0.0025380745,0.0010944027,0.000157068,0.000041365078,0.00009960835,0.00023942451,0.098411605],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9996132,0.00014318194,0.000008476339,0.0000507496,0.0001228305,0.000061504834],"domain_scores_gemma":[0.9997665,0.00009214496,0.000024826084,0.00002025251,0.000027764045,0.00006857846],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00045746696,0.0004394844,0.00019513196,0.0009534936,0.004920577,0.0029682654,0.00053226936,0.0007586758,0.004690216],"category_scores_gemma":[0.0014649866,0.00021241189,0.0001745119,0.0005211418,0.0087095685,0.002198057,0.002200825,0.0022492004,0.0007835537],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00020551216,0.0000347526,0.0018994763,0.00021379952,0.0000125343195,0.001536208,0.51002365,0.00026714863,0.004713565,0.40236342,0.043775704,0.03495415],"study_design_scores_gemma":[0.000014355213,0.000043850818,0.0069607114,0.00023070884,0.000009915044,0.0017766841,0.1503345,0.0004907704,0.0015627724,0.018823974,0.8196914,0.000060204722],"about_ca_topic_score_codex":0.01763625,"about_ca_topic_score_gemma":0.058610305,"teacher_disagreement_score":0.01763625,"about_ca_system_score_codex":0.0023063999,"about_ca_system_score_gemma":0.00071818783,"threshold_uncertainty_score":0.03506714},"labels":[],"label_agreement":null},{"id":"W7155191788","doi":"10.7202/1124286ar","title":"Meter in Contemporary Jazz. A Practitioner-Based Approach","year":2025,"lang":"en","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Jazz; Improvisation; Metric (unit); Ethnography; Metric system; Feature (linguistics)","score_opus":0.07966248040971069,"score_gpt":0.2620618096263254,"score_spread":0.18239932921661473,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7155191788","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.22467898,0.0559042,0.09104651,0.15419328,0.003119401,0.00029789397,0.00007472335,0.00034054302,0.47034448],"genre_scores_gemma":[0.9388498,0.013516302,0.0097761685,0.0059993844,0.00075074023,0.00013354069,0.000024894576,0.00009909979,0.030850122],"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9946943,0.0033712205,0.00020084291,0.00050478807,0.0008401537,0.00038867304],"domain_scores_gemma":[0.99465746,0.0038486968,0.0002925898,0.00027116836,0.0005071671,0.0004228763],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.007407518,0.0004829839,0.00039535333,0.003637953,0.0072296313,0.011475946,0.001613585,0.0045465194,0.0045171324],"category_scores_gemma":[0.009753539,0.0003489722,0.00017441939,0.0028450654,0.023206176,0.01102271,0.0051755,0.005884345,0.00070005364],"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":[0.000024364506,0.000058784663,0.0011618419,0.000321145,0.0000036303027,0.00035990283,0.51052654,0.00017958348,0.00076134305,0.43784952,0.006253422,0.042499904],"study_design_scores_gemma":[0.0000090225885,0.000082397244,0.001742966,0.00073126965,0.0000059793074,0.00086698757,0.5379967,0.0008462337,0.0004708931,0.074518785,0.3827034,0.000025367395],"about_ca_topic_score_codex":0.0030139147,"about_ca_topic_score_gemma":0.005875777,"teacher_disagreement_score":0.011475946,"about_ca_system_score_codex":0.0062213484,"about_ca_system_score_gemma":0.0031669557,"threshold_uncertainty_score":0.045139313},"labels":[],"label_agreement":null},{"id":"W7155195173","doi":"10.7202/1124296ar","title":"Post-Quantization and Glitch in the Music of Nicole Lizée. Nicole Lizée in Conversation with Ben Duinker","year":2025,"lang":"en","type":"article","venue":"Revue musicale OICRM","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Glitch; Conversation; Pleasure; Music industry; Wizard of oz; Session (web analytics)","score_opus":0.013696014397205256,"score_gpt":0.19302985201671938,"score_spread":0.17933383761951413,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7155195173","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2940381,0.041522305,0.0030974662,0.28093687,0.014512051,0.00011085631,0.00014520003,0.00035716634,0.36527997],"genre_scores_gemma":[0.70145804,0.0075386693,0.0011093703,0.020131625,0.0025679695,0.00011250454,0.0000564695,0.0003276074,0.2666978],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986442,0.00064196624,0.000022252092,0.00015233457,0.00030834472,0.0002309131],"domain_scores_gemma":[0.9991881,0.00029653788,0.000073019655,0.000038209295,0.00014922625,0.00025487188],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014116014,0.0003860472,0.0003331193,0.00073517166,0.011096538,0.0046184985,0.0008648653,0.0022611583,0.0066184616],"category_scores_gemma":[0.005451529,0.00024369829,0.00019242555,0.0003446665,0.00693608,0.0030008743,0.0038400425,0.0051764213,0.0013506615],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00028773968,0.000072803174,0.002357369,0.0002778363,0.000028448967,0.0025451877,0.61080235,0.00013206105,0.0036350575,0.0589034,0.26404217,0.056915607],"study_design_scores_gemma":[0.0000073430692,0.00005650904,0.004060447,0.00029558135,0.000007872593,0.0011546593,0.19832589,0.00008877115,0.0008454152,0.0014590778,0.7936623,0.000036141235],"about_ca_topic_score_codex":0.023766361,"about_ca_topic_score_gemma":0.058834236,"teacher_disagreement_score":0.023766361,"about_ca_system_score_codex":0.0037374205,"about_ca_system_score_gemma":0.0013314398,"threshold_uncertainty_score":0.047256052},"labels":[],"label_agreement":null},{"id":"W7155195237","doi":"10.7202/1124298ar","title":"Conference Report : AAWM Special Topics Symposium 2023. Theoretical, Analytical, and Cognitive Approaches to Rhythm and Meter in World Musics","year":2025,"lang":"en","type":"article","venue":"Revue musicale OICRM","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Temporality; Documentation; Musicology; Session (web analytics); Panel discussion; Fourth World; Cognition; Music theory","score_opus":0.10641434927037419,"score_gpt":0.2939094631240913,"score_spread":0.1874951138537171,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7155195237","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0056948815,0.02848481,0.0029051998,0.108348675,0.29845044,0.00075514347,0.0045419186,0.0005884929,0.55023044],"genre_scores_gemma":[0.01073884,0.007031134,0.0017695699,0.0051113116,0.037646867,0.00039327657,0.0022549613,0.00028773551,0.93476623],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987728,0.00016448753,0.000062807405,0.00020126064,0.000542057,0.00025643644],"domain_scores_gemma":[0.9972156,0.00023506,0.000103029124,0.000100762976,0.0011381863,0.0012073093],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0029559992,0.0011052517,0.000538588,0.0017283214,0.0025320626,0.005825467,0.0013576503,0.0050051594,0.20078246],"category_scores_gemma":[0.0025299848,0.00029923124,0.0010157857,0.0010866278,0.00059196923,0.0026399523,0.002518429,0.0031997778,0.07828895],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008402597,0.00008532624,0.00017791893,0.00013905905,0.0000061535447,0.000083241626,0.00007957604,0.000035473025,0.0005793978,0.0020659016,0.96745235,0.029211553],"study_design_scores_gemma":[0.000016021642,0.000041047722,0.0009853465,0.00010092419,0.000005269679,0.00005076636,0.00016197002,0.00007933228,0.0002087,0.0010962272,0.99724823,0.0000061621367],"about_ca_topic_score_codex":0.0039885635,"about_ca_topic_score_gemma":0.008620196,"teacher_disagreement_score":0.20078246,"about_ca_system_score_codex":0.0017798286,"about_ca_system_score_gemma":0.0054185363,"threshold_uncertainty_score":0.67168427},"labels":[],"label_agreement":null},{"id":"W7155196769","doi":"10.7202/1124285ar","title":"Le rythme dans la musique depuis 1900. Perspectives théoriques et pratiques","year":2025,"lang":"en","type":"article","venue":"Revue musicale OICRM","topic":"Contemporary art, education, critique","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Focus (optics); Field (mathematics); Order (exchange); Subject (documents)","score_opus":0.01332475395410751,"score_gpt":0.3155113594281557,"score_spread":0.3021866054740482,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7155196769","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.15423985,0.33030736,0.005548966,0.049638815,0.003057604,0.00006165833,0.00018564981,0.00004060024,0.45691946],"genre_scores_gemma":[0.8635259,0.06292425,0.0012738974,0.0024352113,0.0010674108,0.00010093598,0.00007859133,0.000057092064,0.06853662],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9977374,0.0012731866,0.00008111035,0.00026787908,0.00031169908,0.00032862573],"domain_scores_gemma":[0.99908614,0.00052417145,0.00009701544,0.000032313124,0.00012057554,0.00013979139],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0032654838,0.0006546302,0.0005694542,0.0022788057,0.004984341,0.004561636,0.0006497094,0.0023503173,0.0047354386],"category_scores_gemma":[0.0034026692,0.00034237566,0.00037598656,0.0022835082,0.01720435,0.0050367634,0.002504852,0.0047134766,0.0006554458],"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":[0.00010361564,0.00003479571,0.00076902454,0.00027066967,0.000008486088,0.00016345442,0.12127467,0.00021186612,0.00058818934,0.83346504,0.007530302,0.035579935],"study_design_scores_gemma":[0.0000621348,0.00019259968,0.009105717,0.0011523922,0.0000151652985,0.00029790707,0.045570284,0.0002554582,0.00048934744,0.088870116,0.85395217,0.00003668909],"about_ca_topic_score_codex":0.034716383,"about_ca_topic_score_gemma":0.043339033,"teacher_disagreement_score":0.034716383,"about_ca_system_score_codex":0.012943833,"about_ca_system_score_gemma":0.0050483258,"threshold_uncertainty_score":0.09391451},"labels":[],"label_agreement":null},{"id":"W7155198662","doi":"10.7202/1124302ar","title":"Une synthèse réussie pour un grand public : Les musiciens et le pouvoir en France. De Lully à Boulez par Maryvonne de Saint Pulgent, Paris, Gallimard, 2025, 534 pages","year":2025,"lang":"en","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"SAINT; Power (physics); Pretext; Context (archaeology)","score_opus":0.019052845820308823,"score_gpt":0.2691882013525674,"score_spread":0.2501353555322586,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7155198662","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":[0.0038962758,0.7966848,0.0010414411,0.13163269,0.009030737,0.000014256088,0.00018431294,0.00006934799,0.05744626],"genre_scores_gemma":[0.2641471,0.5054874,0.0024433015,0.022370597,0.01592634,0.00015236804,0.0004981891,0.0004840838,0.1884906],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9969614,0.001773861,0.00008065957,0.0002818506,0.00064627646,0.00025589325],"domain_scores_gemma":[0.9977108,0.0012680416,0.00019629054,0.00007050997,0.00057223235,0.00018212345],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0038840927,0.0016373354,0.0009434448,0.00414055,0.0066728177,0.007921582,0.0010913507,0.0037547948,0.02007041],"category_scores_gemma":[0.005216571,0.00052404584,0.0006610819,0.0046568536,0.0067545194,0.009798845,0.0033028163,0.004853176,0.0028673508],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000111422145,0.00004225201,0.0007234467,0.0010997076,0.000043868356,0.0005847929,0.08044456,0.00020495194,0.0003430277,0.15016003,0.6394752,0.12676677],"study_design_scores_gemma":[0.000008405739,0.000012530799,0.0019473046,0.0013978477,0.000008269495,0.00017682243,0.017885901,0.000034994333,0.00010989274,0.0053339815,0.97306955,0.000014589534],"about_ca_topic_score_codex":0.083017506,"about_ca_topic_score_gemma":0.09398445,"teacher_disagreement_score":0.083017506,"about_ca_system_score_codex":0.014432834,"about_ca_system_score_gemma":0.0070263925,"threshold_uncertainty_score":0.16506857},"labels":[],"label_agreement":null},{"id":"W7155201315","doi":"10.7202/1124299ar","title":"Conference Report on <i>Música Analítica 2023</i> . Interdisciplinary Approaches to Musical Time","year":2025,"lang":"en","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Musical; Cognition; Music psychology; New Interfaces for Musical Expression; Thematic map; Period (music)","score_opus":0.10780253919864036,"score_gpt":0.2649191492642169,"score_spread":0.15711661006557653,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7155201315","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.013271539,0.05671547,0.0071263756,0.13644491,0.22191568,0.0011665663,0.0034077466,0.0005654522,0.5593864],"genre_scores_gemma":[0.076236196,0.026962403,0.0038303754,0.022226967,0.04935101,0.001798184,0.0033847166,0.0010962399,0.81511384],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9967828,0.0005362531,0.00013183932,0.0004186925,0.0012353527,0.00089500466],"domain_scores_gemma":[0.9959578,0.0011193,0.00018630321,0.0002444313,0.0011606524,0.0013315513],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0044341316,0.0011078233,0.00069933356,0.002543469,0.00447947,0.008690462,0.001996135,0.0047154482,0.086626],"category_scores_gemma":[0.0059404727,0.00035169936,0.0014497567,0.0028248806,0.0016639543,0.0036111013,0.006246718,0.006860447,0.019040627],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015673705,0.00008346396,0.0003936155,0.0008752093,0.000016045253,0.00033073095,0.0020236652,0.00019360405,0.0028753632,0.023803953,0.9197163,0.0495313],"study_design_scores_gemma":[0.000005632952,0.000027343347,0.0010553419,0.00021308013,0.000004703649,0.00009975594,0.0010694879,0.000053274198,0.00041309182,0.000943548,0.9961004,0.000014225995],"about_ca_topic_score_codex":0.008470966,"about_ca_topic_score_gemma":0.011050201,"teacher_disagreement_score":0.086626,"about_ca_system_score_codex":0.0035526105,"about_ca_system_score_gemma":0.006058366,"threshold_uncertainty_score":0.28979284},"labels":[],"label_agreement":null},{"id":"W7155203418","doi":"10.7202/1124292ar","title":"Thoughts on “Onelessness”","year":2025,"lang":"en","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Rhythm; Argument (complex analysis); Field (mathematics); Orientation (vector space); Movement (music); Absolute (philosophy); First person","score_opus":0.02303423824116454,"score_gpt":0.23116480205862514,"score_spread":0.2081305638174606,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7155203418","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0109459385,0.009677254,0.013024522,0.39091188,0.014357542,0.00004704562,0.00012640134,0.00022017471,0.5606893],"genre_scores_gemma":[0.57741356,0.0049747964,0.004502462,0.20081316,0.008542322,0.00016946734,0.0001419449,0.000475577,0.20296673],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9967068,0.0019251914,0.00006896364,0.0004501019,0.00048290312,0.00036618617],"domain_scores_gemma":[0.9968369,0.0015600258,0.00024499142,0.0004550934,0.0005307776,0.00037205275],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004901792,0.0006960263,0.0003198079,0.0011052901,0.0070223813,0.0068622404,0.0016099524,0.0040111714,0.015494467],"category_scores_gemma":[0.009216561,0.00020187964,0.00047028836,0.0005746919,0.039890345,0.014271184,0.0047910274,0.011693604,0.0032312647],"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":[0.000020455565,0.00000770584,0.00009679241,0.0000286081,0.000003211228,0.00012493087,0.015686395,0.000041995358,0.00007606995,0.8992352,0.0790125,0.0056661847],"study_design_scores_gemma":[0.00000868045,0.000017170287,0.00016576177,0.00019044252,0.0000027532865,0.00026232173,0.017326789,0.00011828183,0.00014172582,0.23177592,0.7499718,0.000018397996],"about_ca_topic_score_codex":0.0039018958,"about_ca_topic_score_gemma":0.0050130663,"teacher_disagreement_score":0.015494467,"about_ca_system_score_codex":0.0031366437,"about_ca_system_score_gemma":0.0014955691,"threshold_uncertainty_score":0.051834166},"labels":[],"label_agreement":null},{"id":"W7155208438","doi":"10.7202/1124297ar","title":"Lizée’s <i>Katana of Choice</i> (2014/2016)","year":2025,"lang":"en","type":"article","venue":"Revue musicale OICRM","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Identification (biology); Process (computing); Product (mathematics)","score_opus":0.023464300283138013,"score_gpt":0.22353618095916308,"score_spread":0.20007188067602508,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7155208438","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":[0.0013631495,0.14264345,0.0026041633,0.6100815,0.058244977,0.000048882393,0.0019353791,0.00033992107,0.18273859],"genre_scores_gemma":[0.049002625,0.054943632,0.0026012924,0.059778765,0.02530034,0.00015319469,0.0011786808,0.0007654039,0.80627614],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99859947,0.00049713114,0.00004973357,0.00025117857,0.00040179474,0.00020068069],"domain_scores_gemma":[0.99742585,0.0010972032,0.00016748511,0.00014369724,0.0006362164,0.0005294951],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020093475,0.0006599737,0.00050973974,0.0012923293,0.0035885246,0.0070349807,0.0007513901,0.003480147,0.07645297],"category_scores_gemma":[0.008206014,0.00028728598,0.00039018423,0.0012025561,0.0021455532,0.007153604,0.0027078823,0.004791612,0.019692421],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013968886,0.0000070257192,0.00009406926,0.000050794446,0.0000036134447,0.000017287677,0.00035278924,0.00001051259,0.00003746019,0.031561773,0.95555675,0.012293999],"study_design_scores_gemma":[0.0000025050658,0.0000026124217,0.00034467547,0.00014566911,0.000001571483,0.000024204042,0.00026724208,0.000020004847,0.00005261726,0.004418275,0.99471384,0.000006657052],"about_ca_topic_score_codex":0.011810594,"about_ca_topic_score_gemma":0.027931605,"teacher_disagreement_score":0.07645297,"about_ca_system_score_codex":0.0034249332,"about_ca_system_score_gemma":0.0025910854,"threshold_uncertainty_score":0.25576067},"labels":[],"label_agreement":null},{"id":"W7155211053","doi":"10.7202/1124293ar","title":"Rhythmic Self-Entrainment. A Panacea","year":2025,"lang":"en","type":"article","venue":"Revue musicale OICRM","topic":"Diverse Music Education Insights","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Panacea (medicine); Mental health; Context (archaeology); Affect (linguistics); Malaise","score_opus":0.023131734756243135,"score_gpt":0.2235133931372172,"score_spread":0.20038165838097405,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7155211053","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06301821,0.17057768,0.08750127,0.13315365,0.016542014,0.00028849058,0.00017880462,0.0006372481,0.5281027],"genre_scores_gemma":[0.73769444,0.08505755,0.03055469,0.03170471,0.00827618,0.00023761725,0.00013893838,0.00031815298,0.106017776],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99927443,0.00023542649,0.000040645224,0.000145258,0.00022282847,0.000081412916],"domain_scores_gemma":[0.9993693,0.0002613334,0.00009674613,0.0000748333,0.000087321605,0.000110484696],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001342172,0.0005326046,0.0003787007,0.0008170459,0.001698352,0.0037635362,0.0008059036,0.0020926222,0.008804682],"category_scores_gemma":[0.0023258561,0.00015641547,0.000535549,0.00039089104,0.008578856,0.0031159592,0.0048668883,0.003462038,0.0016013859],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00026123662,0.00021497248,0.0029056538,0.0019892836,0.00008235657,0.0007432903,0.023309242,0.0004849081,0.008091785,0.4962588,0.020499391,0.44515902],"study_design_scores_gemma":[0.000054939756,0.00041845976,0.005512949,0.0019043048,0.000060392707,0.002117994,0.0147558,0.0005547771,0.0020736272,0.1543589,0.818124,0.000063972366],"about_ca_topic_score_codex":0.00088186376,"about_ca_topic_score_gemma":0.0016092238,"teacher_disagreement_score":0.008804682,"about_ca_system_score_codex":0.0009710843,"about_ca_system_score_gemma":0.0014367466,"threshold_uncertainty_score":0.029454589},"labels":[],"label_agreement":null},{"id":"W7155213573","doi":"10.7202/1124303ar","title":"Faites vos jeux ! La vie musicale dans les casinos français (XIXe-XXe siècle), dirigé par Martin Guerpin et Étienne Jardin, Arles/Venise, Actes Sud/Palazzetto Bru Zane, 2024, 548 pages","year":2025,"lang":"en","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Object (grammar); Verisimilitude; Context (archaeology); Field (mathematics)","score_opus":0.021166702228520743,"score_gpt":0.232551675366942,"score_spread":0.21138497313842125,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7155213573","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":[0.00852998,0.8358752,0.00024858944,0.06297255,0.013331456,0.000023913211,0.00043500858,0.000046087018,0.0785372],"genre_scores_gemma":[0.12085516,0.45718312,0.00096148567,0.007879423,0.0072817183,0.000103492195,0.0006684671,0.00018595689,0.4048812],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994388,0.0001363976,0.000027856824,0.00008719104,0.00018970137,0.00011999429],"domain_scores_gemma":[0.99964404,0.00011163197,0.00004072188,0.00001314138,0.00011908812,0.00007139937],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009185738,0.001141239,0.00048344154,0.0012243278,0.0038877695,0.0042806226,0.00047338795,0.0019019427,0.019067807],"category_scores_gemma":[0.001232446,0.0004139336,0.00029327662,0.0020481932,0.002072042,0.0028813619,0.0016144525,0.0022432907,0.0034620678],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010529554,0.000023890194,0.001611601,0.00079105684,0.000024048515,0.0003064363,0.013642218,0.00011270823,0.00063320284,0.018079985,0.81276304,0.15190656],"study_design_scores_gemma":[0.000007534323,0.000010220902,0.008695501,0.0006039887,0.0000051774196,0.0001709582,0.007480169,0.000025682608,0.00007861291,0.0007374559,0.9821707,0.000014110268],"about_ca_topic_score_codex":0.2856548,"about_ca_topic_score_gemma":0.51113653,"teacher_disagreement_score":0.2856548,"about_ca_system_score_codex":0.005813549,"about_ca_system_score_gemma":0.0041180486,"threshold_uncertainty_score":0.5679842},"labels":[],"label_agreement":null},{"id":"W7155213610","doi":"10.7202/1124287ar","title":"Expressive Timing or Thematic Transformation? Onset Displacement in Performances of Jazz Standard Melodies","year":2025,"lang":"en","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Jazz; Melody; Improvisation; Variety (cybernetics); Transformational leadership; Repetition (rhetorical device); Flexibility (engineering)","score_opus":0.04196309173217938,"score_gpt":0.2797053008200875,"score_spread":0.2377422090879081,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7155213610","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.60279286,0.00173264,0.0983762,0.0029013797,0.0005057059,0.00009408268,0.0001617967,0.00037177544,0.29306355],"genre_scores_gemma":[0.9907595,0.00025634136,0.00400795,0.00012234139,0.00006571623,0.00002681879,0.000042472053,0.00010289953,0.004615969],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99852127,0.00051976455,0.0000714165,0.00030932136,0.00039422058,0.00018404186],"domain_scores_gemma":[0.99832517,0.00063618907,0.00031256935,0.0003977648,0.00018764635,0.00014063863],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016602009,0.000272522,0.00024054857,0.0008773872,0.0014991567,0.0047805347,0.00089877343,0.0009204263,0.0044800444],"category_scores_gemma":[0.0063514463,0.00023761987,0.00032670354,0.00086223765,0.006950921,0.007396591,0.002752276,0.0016493473,0.00056866586],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00047538697,0.00007031298,0.010570469,0.00031173578,0.000035814875,0.0006677716,0.15168984,0.0008811354,0.04093852,0.693401,0.001306729,0.09965126],"study_design_scores_gemma":[0.000105016275,0.00052973436,0.11097916,0.00057301053,0.00009995154,0.002334215,0.24034475,0.006225074,0.023443889,0.44183394,0.17330374,0.00022751978],"about_ca_topic_score_codex":0.0019019581,"about_ca_topic_score_gemma":0.0019759068,"teacher_disagreement_score":0.0047805347,"about_ca_system_score_codex":0.0011489618,"about_ca_system_score_gemma":0.0006462954,"threshold_uncertainty_score":0.01498723},"labels":[],"label_agreement":null},{"id":"W7155214507","doi":"10.7202/1124294ar","title":"Meter as a Prism. Interpreting a Theme in Sibelius’s Violin Concerto","year":2025,"lang":"en","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Theme (computing); Concerto; Exposition (narrative); Violin; Violin concerto; Metric (unit); Meaning (existential)","score_opus":0.020222667836760647,"score_gpt":0.2542723174708396,"score_spread":0.23404964963407898,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7155214507","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.083589666,0.004356473,0.024969155,0.017304447,0.0030842626,0.000041241306,0.00014725578,0.00027447555,0.866233],"genre_scores_gemma":[0.9017384,0.0010391289,0.0033770471,0.0012076647,0.0008565332,0.00004623544,0.00005817785,0.00016616534,0.0915107],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993642,0.00029031816,0.000015478916,0.00009798738,0.00016694416,0.000065123386],"domain_scores_gemma":[0.99968684,0.00014580756,0.00003283282,0.000040994983,0.000046091947,0.000047332134],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006699095,0.00044168197,0.00014417722,0.0010462382,0.0022887015,0.004591862,0.00045292746,0.0008860079,0.0058043012],"category_scores_gemma":[0.0027766055,0.00012577619,0.000160873,0.00064191787,0.009787465,0.0025925178,0.0019873742,0.0022657586,0.000802217],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006431872,0.000014276013,0.000828,0.000065544016,0.0000038444623,0.00020663886,0.055665817,0.00023708348,0.0016708809,0.9030657,0.014063715,0.024114255],"study_design_scores_gemma":[0.00002299793,0.000100190984,0.0067510386,0.0002931976,0.000011263298,0.00064030784,0.051302657,0.0013567177,0.0022646263,0.17679116,0.76042837,0.00003740898],"about_ca_topic_score_codex":0.0034365703,"about_ca_topic_score_gemma":0.004777788,"teacher_disagreement_score":0.0058043012,"about_ca_system_score_codex":0.0019833408,"about_ca_system_score_gemma":0.00083216385,"threshold_uncertainty_score":0.019417346},"labels":[],"label_agreement":null},{"id":"W7155221525","doi":"10.7202/1124301ar","title":"Charles Koechlin, Portraits musicaux 1909-1949. Textes rassemblés, présentés et annotés par Liouba Bouscant, préface de Michel Duchesneau, Paris, Vrin, 2025, 384 pages","year":2025,"lang":"en","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Portrait; Paraphernalia; Line drawings","score_opus":0.028911351219370274,"score_gpt":0.27357843950851335,"score_spread":0.24466708828914308,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7155221525","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0014100013,0.7944541,0.0010675697,0.027613379,0.015558407,0.0000416516,0.00073404,0.00011101979,0.1590098],"genre_scores_gemma":[0.025339592,0.38502857,0.0013294336,0.00992538,0.010039973,0.00012308877,0.0009151871,0.0003687186,0.56693006],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99948907,0.00011816502,0.000023938575,0.000106151696,0.00021827637,0.000044330904],"domain_scores_gemma":[0.99957544,0.00018847502,0.00003652964,0.000012768574,0.00014036548,0.000046350964],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00060537684,0.0013044438,0.00046746305,0.0026770337,0.0027799413,0.0030699435,0.00089898845,0.001632311,0.02729132],"category_scores_gemma":[0.0014462866,0.00036404355,0.00026703282,0.0029339432,0.0018904698,0.0041824547,0.0013298899,0.0029013432,0.014851589],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005443585,0.000009782529,0.00018982249,0.00038003837,0.000006837054,0.0001320056,0.003082556,0.00005724841,0.00054268044,0.01729486,0.93908495,0.039164703],"study_design_scores_gemma":[0.0000032237203,0.0000029660405,0.00057167595,0.00019832225,0.0000016145657,0.0000838002,0.00060516055,0.000009778953,0.00008383529,0.0010439856,0.9973907,0.000004899351],"about_ca_topic_score_codex":0.036000818,"about_ca_topic_score_gemma":0.07054254,"teacher_disagreement_score":0.036000818,"about_ca_system_score_codex":0.004952761,"about_ca_system_score_gemma":0.0016165714,"threshold_uncertainty_score":0.09129858},"labels":[],"label_agreement":null},{"id":"W7155224467","doi":"10.7202/1124288ar","title":"Rhythmic Regularity Beyond Meter and Isochrony","year":2025,"lang":"en","type":"article","venue":"Revue musicale OICRM","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":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Rhythm; Timeline; Representation (politics); Metre; Function (biology); Key (lock); Jazz","score_opus":0.012391169336589227,"score_gpt":0.20975494838479514,"score_spread":0.1973637790482059,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7155224467","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":[0.09191599,0.010692937,0.44912314,0.003645068,0.0015247264,0.000080721045,0.00039294286,0.00079156813,0.4418329],"genre_scores_gemma":[0.9227878,0.0029559082,0.044585045,0.00067628734,0.0012449741,0.00009718651,0.0002801344,0.00045338538,0.026919441],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99886036,0.00027379824,0.00009715543,0.00038300303,0.00028362763,0.00010210565],"domain_scores_gemma":[0.9984931,0.00056514173,0.00018406282,0.00043156432,0.00022569037,0.000100536105],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010602595,0.0004831165,0.00057489576,0.0013068533,0.001061722,0.0031069887,0.00073723076,0.0008158564,0.0053919735],"category_scores_gemma":[0.004599281,0.0002488958,0.0006774786,0.0009033043,0.0072741634,0.004983546,0.002312733,0.0019505138,0.0012488223],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003400023,0.0000048383354,0.00044704997,0.00007195166,0.000009294828,0.000047742593,0.00062817865,0.0009377498,0.00095364155,0.9787275,0.00068886275,0.017449232],"study_design_scores_gemma":[0.000019803454,0.00007034559,0.002007704,0.000085122316,0.00001463966,0.0002514099,0.0003537133,0.0034405156,0.0008141564,0.9296989,0.06321121,0.000032524196],"about_ca_topic_score_codex":0.0011282363,"about_ca_topic_score_gemma":0.0006740126,"teacher_disagreement_score":0.0053919735,"about_ca_system_score_codex":0.0009750591,"about_ca_system_score_gemma":0.00061470567,"threshold_uncertainty_score":0.018037975},"labels":[],"label_agreement":null}]}