{"meta":{"page":1,"per_page":50,"max_per_page":100,"total":33,"total_is_capped":false,"direct_labels_cover":0,"predictions_cover":33,"direct_label_status":"direct model label, unvalidated","prediction_status":"machine_predicted_unvalidated (Codex and Gemma teacher distillation)","score_status":"score_only:v0-immature-baseline (scores rank; they never assert a category)","snapshot":{"source":"OpenAlex, pinned release, all 482 partitions","release":"2026-06-24","frame_built":"2026-07-12","author_layer_release":"2026-06-26"},"query_hash":"ba878438b88f","filters":{"venue":"IASPM Journal"}},"results":[{"id":"W2561312372","doi":"10.5429/2079-3871(2016)v6i2.6en","title":"The Concept Album as Visual—Sonic—Textual Spectacle: The Transmedial Storyworld of Coldplay’s Mylo Xyloto","year":2016,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Radio, Podcasts, and Digital Media","field":"Social Sciences","cited_by":14,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":true,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Ottawa","funders":"Social Sciences and Humanities Research Council of Canada; Université Laval","keywords":"Spectacle; Storytelling; Context (archaeology); Variety (cybernetics); Art; Meaning (existential); Perspective (graphical); Visual arts; Aesthetics; Literature; Computer science; Narrative; History; Epistemology; Philosophy; Political science","authors":[{"name":"Lori Burns","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01297884068051133,"gpt":0.3041585721457756,"spread":0.2911797314652643,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006576518,0.0004280615,0.0001688264,0.0008690266,0.004550687,0.006336435,0.0004335036,0.0008091481,0.003677829],"category_scores_gemma":[0.001409671,0.0001674548,0.0002090268,0.0005296647,0.01000439,0.00416287,0.004184868,0.001580565,0.0002623559],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002115484,"about_ca_system_score_gemma":0.0007367501,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002980571,"about_ca_topic_score_gemma":0.007232729,"domain_scores_codex":[0.9995642,0.0002481927,0.000007686845,0.0000506227,0.00005544137,0.00007378481],"domain_scores_gemma":[0.9994853,0.000289148,0.00005928551,0.00003968532,0.00002737088,0.00009913477],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.0002614876,0.00006531403,0.003963426,0.0002614179,0.00001364926,0.002132995,0.7039794,0.0002279814,0.00877445,0.2507927,0.007604448,0.02192262],"study_design_scores_gemma":[0.00003504005,0.0002018284,0.01188289,0.0003653129,0.00002616961,0.001731024,0.6056135,0.0006531798,0.003624932,0.01572819,0.3600925,0.00004557171],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7275831,0.001346179,0.006390651,0.003939461,0.0003423443,0.00008512523,0.0001514349,0.00008000177,0.2600818],"genre_scores_gemma":[0.9877698,0.0002620575,0.0008243704,0.0001945918,0.00006438263,0.00003647196,0.00004097803,0.00003838916,0.01076894],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.006336435,"threshold_uncertainty_score":0.01534903,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4389975069","doi":"10.5429/630","title":"Contemporary Carioca: Technologies of mixing in a Brazilian Music Scene","year":2013,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":12,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"York University","funders":"","keywords":"Mixing (physics); Contemporary classical music; Art; Media studies; Visual arts; Art history; History; Sociology; Musical; Physics","authors":[{"name":"Jordan Peter Saull","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04237322073055323,"gpt":0.2046630534457997,"spread":0.1622898327152465,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001904786,0.0007927434,0.0003892686,0.001644179,0.008735027,0.01035618,0.001030306,0.002349528,0.0169738],"category_scores_gemma":[0.002977144,0.000332519,0.0004192904,0.002248694,0.009536406,0.006637902,0.005666927,0.002011915,0.001543452],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.005348804,"about_ca_system_score_gemma":0.003392744,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.03666591,"about_ca_topic_score_gemma":0.06909736,"domain_scores_codex":[0.9987783,0.0005817468,0.00003367805,0.0001578451,0.0002375515,0.0002108547],"domain_scores_gemma":[0.9992927,0.00028159,0.00005231878,0.0001240522,0.00009608398,0.0001531405],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","study_design_scores_codex":[0.00007467573,0.00006106643,0.0008103505,0.000377059,0.000007340663,0.0005932366,0.1715561,0.0001303403,0.004513539,0.6282514,0.02627167,0.1673532],"study_design_scores_gemma":[0.000006698932,0.00003773639,0.002488763,0.0003817346,0.00001540473,0.0005957818,0.06226434,0.0001904798,0.0008096708,0.01550087,0.9176809,0.00002775373],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.06226429,0.02467789,0.01100855,0.01772317,0.000796025,0.000141804,0.0001299659,0.0002822434,0.8829761],"genre_scores_gemma":[0.732695,0.01582926,0.01215575,0.002163843,0.0004184353,0.0002284335,0.0001327714,0.0004443212,0.2359322],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.03666591,"threshold_uncertainty_score":0.072905,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1576075057","doi":"10.5429/2079-3871(2015)v5i1.7en","title":"Teaching and Learning Popular Music in Higher Education Through Interdisciplinary Collaboration: Practice What You Preach","year":2015,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Diverse Music Education Insights","field":"Arts and Humanities","cited_by":9,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Toronto","funders":"","keywords":"Ethos; Music education; Context (archaeology); Sociology; Pedagogy; Autonomy; Popular music; Space (punctuation); Psychology; Visual arts; Art; Computer science; Political science","authors":[{"name":"Liz Przybylski","is_ca":false},{"name":"Nasim Niknafs","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1136404106906057,"gpt":0.3367487294522488,"spread":0.223108318761643,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.01385463,0.000949555,0.0005817821,0.001562772,0.01027225,0.01389137,0.002785023,0.01001891,0.003890966],"category_scores_gemma":[0.0159301,0.0005482474,0.0006076628,0.001601056,0.02425182,0.01905963,0.01420106,0.009267812,0.002136917],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003012601,"about_ca_system_score_gemma":0.004954634,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001230457,"about_ca_topic_score_gemma":0.002323113,"domain_scores_codex":[0.9835199,0.0124968,0.0003352876,0.001089204,0.001496712,0.001062109],"domain_scores_gemma":[0.9874766,0.007429167,0.00069348,0.001212081,0.0009541477,0.002234602],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00008837663,0.0007679389,0.004054404,0.001156174,0.00004870689,0.001302718,0.5074956,0.0003136747,0.001875346,0.1618237,0.03012975,0.2909436],"study_design_scores_gemma":[0.00006640926,0.0004850538,0.001405657,0.003332952,0.00002487423,0.002437322,0.5885264,0.0006342266,0.001188776,0.1228669,0.2789414,0.0000900887],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"commentary","genre_gemma":"empirical","genre_scores_codex":[0.1760962,0.05301423,0.05890549,0.5541055,0.008449534,0.0005245181,0.00003842761,0.0005429412,0.1483232],"genre_scores_gemma":[0.8246573,0.02974908,0.06202385,0.04876122,0.002576078,0.0007526114,0.00004223674,0.0002371621,0.03120051],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.01389137,"threshold_uncertainty_score":0.07327121,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4389968045","doi":"10.5429/683","title":"Playing it Queer: Popular Music, Identity and Queer World-making","year":2013,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Gender, Feminism, and Media","field":"Social Sciences","cited_by":7,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Lakehead University","funders":"","keywords":"Queer; Identity (music); Sexual identity; Gender studies; Sociology; Art; Human sexuality; Aesthetics","authors":[{"name":"Julia Downes","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.06189747842666266,"gpt":0.3398013068255979,"spread":0.2779038283989353,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008736811,0.0004160619,0.0003349402,0.001034807,0.004236718,0.01059067,0.0005348636,0.001956012,0.02324995],"category_scores_gemma":[0.001519256,0.0002093858,0.0001852476,0.002441963,0.0111389,0.007959664,0.002767673,0.002133145,0.001667682],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001676553,"about_ca_system_score_gemma":0.00168279,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.02074847,"about_ca_topic_score_gemma":0.0480019,"domain_scores_codex":[0.9995778,0.0002262881,0.000009135306,0.00003444211,0.00005738263,0.00009484158],"domain_scores_gemma":[0.9992411,0.0004876076,0.00008808503,0.00002700853,0.00003654097,0.0001196551],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.0002266627,0.0001593926,0.004603314,0.0004761938,0.00003085219,0.0005844099,0.1926703,0.0001283019,0.0006872527,0.444392,0.1425398,0.2135017],"study_design_scores_gemma":[0.00003681539,0.00008433872,0.02293927,0.001155158,0.00004377447,0.0005217431,0.3169803,0.0001328909,0.0002730524,0.1053771,0.5524006,0.00005507109],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.07154659,0.2179777,0.001067552,0.09562635,0.001833097,0.00003045186,0.0002483735,0.0000854006,0.6115845],"genre_scores_gemma":[0.7653224,0.1049867,0.000778328,0.006362917,0.002778827,0.0001150483,0.0001507562,0.0001038132,0.1194012],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.02324995,"threshold_uncertainty_score":0.07777882,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4389977643","doi":"10.5429/591","title":"Beyond and Before: Progressive Rock since the 1960s","year":2012,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Archaeology and Rock Art Studies","field":"Social Sciences","cited_by":7,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"York University","funders":"","keywords":"History; Geology","authors":[{"name":"Michael Kaler","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01507548354387407,"gpt":0.3108184680563993,"spread":0.2957429845125252,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00205244,0.000531263,0.0004893853,0.002204576,0.009438608,0.007261458,0.0006285102,0.002159562,0.02764181],"category_scores_gemma":[0.003276335,0.000369289,0.0002340807,0.003298543,0.01513025,0.00477909,0.006176843,0.004582374,0.002035501],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.009642974,"about_ca_system_score_gemma":0.006730224,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.1096792,"about_ca_topic_score_gemma":0.2524187,"domain_scores_codex":[0.9980171,0.0003624011,0.00007308125,0.0003339995,0.000462748,0.0007507185],"domain_scores_gemma":[0.9992983,0.0001790055,0.0001007137,0.00009403218,0.0001164252,0.0002115643],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00009833555,0.00004096016,0.001088511,0.0001644351,0.000007965184,0.0002551806,0.03891347,0.00007057236,0.000179935,0.8786711,0.03057617,0.04993342],"study_design_scores_gemma":[0.00001818948,0.0000402614,0.006202623,0.0002750979,0.000005439671,0.0001687513,0.005920312,0.00001642521,0.0001412813,0.01143413,0.9757642,0.0000131472],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.05966724,0.02884351,0.0005060496,0.0187216,0.001337256,0.00004772625,0.0003152596,0.00003899965,0.8905223],"genre_scores_gemma":[0.7261799,0.01214471,0.0005688188,0.003673273,0.0009472945,0.00004443457,0.0001800594,0.000117709,0.2561438],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.1096792,"threshold_uncertainty_score":0.2180817,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4389968057","doi":"10.5429/ij.v5i1.706","title":"Teaching and Learning Popular Music in Higher Education Through Interdisciplinary Collaboration: Practice What You Preach","year":2015,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Diverse Music Education Insights","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Toronto","funders":"","keywords":"Music education; Ethos; Context (archaeology); Popular music; Sociology; Pedagogy; Autonomy; Ethnomusicology; Space (punctuation); Psychology; Musical; Visual arts; Art; Computer science; Political science","authors":[{"name":"Liz Przybylski","is_ca":false},{"name":"Nasim Niknafs","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1136404106906057,"gpt":0.3367487294522488,"spread":0.223108318761643,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.01385463,0.000949555,0.0005817821,0.001562772,0.01027225,0.01389137,0.002785023,0.01001891,0.003890966],"category_scores_gemma":[0.0159301,0.0005482474,0.0006076628,0.001601056,0.02425182,0.01905963,0.01420106,0.009267812,0.002136917],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003012601,"about_ca_system_score_gemma":0.004954634,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001230457,"about_ca_topic_score_gemma":0.002323113,"domain_scores_codex":[0.9835199,0.0124968,0.0003352876,0.001089204,0.001496712,0.001062109],"domain_scores_gemma":[0.9874766,0.007429167,0.00069348,0.001212081,0.0009541477,0.002234602],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00008837663,0.0007679389,0.004054404,0.001156174,0.00004870689,0.001302718,0.5074956,0.0003136747,0.001875346,0.1618237,0.03012975,0.2909436],"study_design_scores_gemma":[0.00006640926,0.0004850538,0.001405657,0.003332952,0.00002487423,0.002437322,0.5885264,0.0006342266,0.001188776,0.1228669,0.2789414,0.0000900887],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"commentary","genre_gemma":"empirical","genre_scores_codex":[0.1760962,0.05301423,0.05890549,0.5541055,0.008449534,0.0005245181,0.00003842761,0.0005429412,0.1483232],"genre_scores_gemma":[0.8246573,0.02974908,0.06202385,0.04876122,0.002576078,0.0007526114,0.00004223674,0.0002371621,0.03120051],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.01389137,"threshold_uncertainty_score":0.07327121,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1859203985","doi":"10.5429/2079-3871(2015)v5i1.1en","title":"Editorial Introduction: Popular Music in Education, Special Issue","year":2015,"lang":"en","type":"editorial","venue":"IASPM Journal","topic":"Diverse Music Education Insights","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Popular music; Music education; Jazz; Politics; Music history; Space (punctuation); Sociology; Guitar; Musicology; Visual arts; Music industry; Best practice; Media studies; Pedagogy; Aesthetics; Political science; Art; Management; Computer science; Law","authors":[{"name":"Lucy Green","is_ca":false},{"name":"Don Lebler","is_ca":false},{"name":"Rupert Till","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02607242162377147,"gpt":0.2598528576484807,"spread":0.2337804360247092,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003666169,0.002595033,0.002031356,0.003596937,0.003461272,0.008044838,0.002401342,0.00718214,0.03448107],"category_scores_gemma":[0.01525668,0.0006280835,0.001715946,0.001398703,0.001554401,0.004439357,0.001679628,0.008454137,0.02002125],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002739559,"about_ca_system_score_gemma":0.003404502,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001404886,"about_ca_topic_score_gemma":0.004028889,"domain_scores_codex":[0.9969472,0.000330268,0.0003398847,0.0004305659,0.001700028,0.0002519426],"domain_scores_gemma":[0.9888549,0.002254004,0.0006857567,0.0003132191,0.005450353,0.002441715],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00001325886,0.0000129916,0.00003585113,0.0000941598,0.000003669245,0.00006047719,0.00001136645,0.00001447774,0.00003091932,0.000150356,0.9948295,0.004743058],"study_design_scores_gemma":[0.00002521316,0.00003601729,0.0004612151,0.0003891228,0.00001340949,0.0002008497,0.00007844941,0.0001068097,0.0000696701,0.0006219611,0.9979858,0.00001146258],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"editorial","genre_gemma":"editorial","genre_scores_codex":[0.00004529846,0.001719947,0.00005451873,0.01735002,0.9776019,0.00002216457,0.00004296546,0.00004490627,0.003118221],"genre_scores_gemma":[0.0005517439,0.002357451,0.00007333455,0.009839346,0.966603,0.0000235418,0.00006246501,0.00003860871,0.02045045],"genre_candidate":"editorial","genre_consensus":"editorial","teacher_disagreement_score":0.03448107,"threshold_uncertainty_score":0.1153507,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2329580551","doi":"10.5429/2079-3871(2011)v2i1-2.3en","title":"How did popular music come to mean música popular?","year":2012,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Translation Studies and Practices","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Concordia University; Université Laval","funders":"","keywords":"Popular music; Popular culture; Confusion; Legitimacy; Sociology; Field (mathematics); Set (abstract data type); Linguistics; Aesthetics; Media studies; Political science; Art; Visual arts; Psychology; Computer science; Law; Philosophy; Mathematics","authors":[{"name":"Laura Jordán González","is_ca":true},{"name":"Douglas Smith","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1149047017210472,"gpt":0.2841207890177127,"spread":0.1692160872966655,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004658688,0.0002967279,0.0004505305,0.001349459,0.005470509,0.0101156,0.0008135898,0.002151325,0.006005653],"category_scores_gemma":[0.0118,0.0001580471,0.0001902339,0.00259425,0.03172124,0.007692429,0.002520279,0.003892903,0.00138139],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003856532,"about_ca_system_score_gemma":0.002387463,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.007218199,"about_ca_topic_score_gemma":0.00883981,"domain_scores_codex":[0.9955776,0.002838382,0.0001348129,0.0004839408,0.0006057432,0.0003596021],"domain_scores_gemma":[0.9955339,0.002325601,0.0005248034,0.0003943289,0.0007726405,0.0004487988],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","study_design_scores_codex":[0.00006548754,0.00004918351,0.006579049,0.0003010064,0.00001595952,0.0004556192,0.3362309,0.00003807928,0.0005778894,0.6106569,0.013388,0.0316419],"study_design_scores_gemma":[0.00003254002,0.00006412283,0.009509763,0.0007686873,0.00001686338,0.0006235293,0.5243335,0.0002226903,0.0006501101,0.1318259,0.3319025,0.00004977819],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.2128598,0.01448423,0.00926788,0.2141707,0.004045425,0.00007141882,0.0002086612,0.00009660958,0.5447953],"genre_scores_gemma":[0.9798266,0.00209291,0.0008130549,0.00528096,0.0006070703,0.00002639195,0.0000358889,0.00008808809,0.01122915],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.0101156,"threshold_uncertainty_score":0.02798116,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2046524172","doi":"10.5429/2079-3871(2012)v3i1.3en","title":"Chiptuning Intellectual Property: Digital Culture Between Creative Commons and Moral Economy","year":2013,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":true,"ca_venue":false,"about_ca":false},"ca_institutions":"York University","funders":"University of Toronto; York University","keywords":"Appropriation; Intellectual property; Commons; Craft; Law and economics; Property (philosophy); Sociology; Copyright law; Humanity; Political science; Business; Epistemology; Law","authors":[{"name":"Martin Zeilinger","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04858945188314635,"gpt":0.2014882541858378,"spread":0.1528988023026914,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.003845385,0.0002971786,0.0003118297,0.001312549,0.005276604,0.01190852,0.001077062,0.001637109,0.005349321],"category_scores_gemma":[0.007780835,0.0002078653,0.0002496687,0.001302071,0.05375541,0.01166165,0.00918167,0.003416659,0.0003394272],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.004001834,"about_ca_system_score_gemma":0.002488307,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001416529,"about_ca_topic_score_gemma":0.001395611,"domain_scores_codex":[0.9971499,0.001486564,0.00009533771,0.0002964016,0.0006689782,0.0003027836],"domain_scores_gemma":[0.9951571,0.003145179,0.0004195661,0.0008042738,0.0002377959,0.0002361313],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","study_design_scores_codex":[0.00001250131,0.00001427712,0.0004390779,0.00003045695,0.000003009877,0.00007099447,0.01590666,0.0001450518,0.000200073,0.9716177,0.0006333386,0.0109269],"study_design_scores_gemma":[0.00002622266,0.00007096613,0.002555792,0.0003922987,0.00001838415,0.0004562481,0.05082718,0.0015065,0.001621404,0.7876345,0.1548547,0.00003583734],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.2799124,0.004189435,0.02703403,0.02389286,0.0002924239,0.00003899977,0.00002908587,0.00007694507,0.6645339],"genre_scores_gemma":[0.9911394,0.0006852419,0.00152856,0.0009550364,0.00007331686,0.00002339727,0.000004797425,0.00001934659,0.005570949],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.9947234,"threshold_uncertainty_score":0.02903551,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4389975085","doi":"10.5429/ij.v5i1.745","title":"Editorial Introduction: Popular Music in Education, Special Issue","year":2015,"lang":"en","type":"editorial","venue":"IASPM Journal","topic":"Diverse Music Education Insights","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Popular music; Music education; Jazz; Politics; Music history; Sociology; Space (punctuation); Musicology; Visual arts; Best practice; Media studies; Pedagogy; Aesthetics; Political science; Art; Computer science; Law","authors":[{"name":"Lucy Green","is_ca":false},{"name":"Don Lebler","is_ca":false},{"name":"Rupert Till","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02607242162377147,"gpt":0.2598528576484807,"spread":0.2337804360247092,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003666169,0.002595033,0.002031356,0.003596937,0.003461272,0.008044838,0.002401342,0.00718214,0.03448107],"category_scores_gemma":[0.01525668,0.0006280835,0.001715946,0.001398703,0.001554401,0.004439357,0.001679628,0.008454137,0.02002125],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002739559,"about_ca_system_score_gemma":0.003404502,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001404886,"about_ca_topic_score_gemma":0.004028889,"domain_scores_codex":[0.9969472,0.000330268,0.0003398847,0.0004305659,0.001700028,0.0002519426],"domain_scores_gemma":[0.9888549,0.002254004,0.0006857567,0.0003132191,0.005450353,0.002441715],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00001325886,0.0000129916,0.00003585113,0.0000941598,0.000003669245,0.00006047719,0.00001136645,0.00001447774,0.00003091932,0.000150356,0.9948295,0.004743058],"study_design_scores_gemma":[0.00002521316,0.00003601729,0.0004612151,0.0003891228,0.00001340949,0.0002008497,0.00007844941,0.0001068097,0.0000696701,0.0006219611,0.9979858,0.00001146258],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"editorial","genre_gemma":"editorial","genre_scores_codex":[0.00004529846,0.001719947,0.00005451873,0.01735002,0.9776019,0.00002216457,0.00004296546,0.00004490627,0.003118221],"genre_scores_gemma":[0.0005517439,0.002357451,0.00007333455,0.009839346,0.966603,0.0000235418,0.00006246501,0.00003860871,0.02045045],"genre_candidate":"editorial","genre_consensus":"editorial","teacher_disagreement_score":0.03448107,"threshold_uncertainty_score":0.1153507,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4243146906","doi":"10.5429/2079-3871(2014)v4i1.14en","title":"Playing it Queer: Popular Music, Identity and Queer World-making","year":2014,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Asian Culture and Media Studies","field":"Social Sciences","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Lakehead University","funders":"","keywords":"Queer; Identity (music); Queer theory; Gender studies; Sociology; Popular music; Art; Aesthetics; Visual arts","authors":[{"name":"Julia Downes","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04359756962549152,"gpt":0.3412715879707009,"spread":0.2976740183452093,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005083834,0.0003276193,0.0002644922,0.001491279,0.01187372,0.01458103,0.0006757102,0.001831738,0.006953212],"category_scores_gemma":[0.009293763,0.0001958894,0.0002131609,0.001943168,0.03041752,0.01067515,0.003980197,0.004851281,0.0004661708],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003255659,"about_ca_system_score_gemma":0.002999696,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01111169,"about_ca_topic_score_gemma":0.02333253,"domain_scores_codex":[0.9969099,0.002294337,0.00005848018,0.0001336687,0.0002775409,0.0003261119],"domain_scores_gemma":[0.99326,0.004252264,0.0007673264,0.0004147833,0.0004651603,0.0008405118],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00004419721,0.00001963343,0.001483627,0.00008964187,0.000005617597,0.0006761895,0.7839686,0.00003746403,0.0004280112,0.1817915,0.0134198,0.01803575],"study_design_scores_gemma":[0.000009704375,0.00003363154,0.00224484,0.000370965,0.000009533425,0.0005236823,0.6972188,0.00009399225,0.0006113151,0.02300425,0.2758494,0.00002978217],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.3359699,0.02239393,0.008055949,0.2174469,0.004277925,0.00009402531,0.0002168276,0.0001683329,0.4113762],"genre_scores_gemma":[0.9501058,0.005170779,0.00103282,0.005171604,0.000808124,0.00004059285,0.0000273331,0.00009288048,0.03755002],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.01458103,"threshold_uncertainty_score":0.02688617,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2037591901","doi":"10.5429/2079-3871(2012)v3i1.1en","title":"Introduction: Digital Nation: Copyright, Technology, Politics","year":2013,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Copyright and Intellectual Property","field":"Business, Management and Accounting","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Politics; Intellectual property; Conversation; Copyright law; Revenue; Political science; Law and economics; Law; Public administration; Business; Sociology; Accounting","authors":[{"name":"Geoff Stahl","is_ca":false},{"name":"Shane Homan","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01439303802777445,"gpt":0.1931600807823934,"spread":0.178767042754619,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001042134,0.001194871,0.001184925,0.00358018,0.003398789,0.01073529,0.001015657,0.005053948,0.05943616],"category_scores_gemma":[0.003333651,0.0003958541,0.0005278126,0.005601607,0.00325281,0.008214641,0.002269945,0.006275244,0.01346028],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001954417,"about_ca_system_score_gemma":0.001990282,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002147719,"about_ca_topic_score_gemma":0.003203415,"domain_scores_codex":[0.9992132,0.0001994588,0.00006770395,0.000139219,0.0003140736,0.00006631685],"domain_scores_gemma":[0.9962304,0.002455169,0.0001917084,0.0001941208,0.0005001391,0.000428498],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00001250082,0.00003416996,0.000476378,0.0003906254,0.000005672038,0.0000923944,0.0007074264,0.00006980404,0.0001115228,0.03871639,0.9050769,0.05430622],"study_design_scores_gemma":[0.000002841337,0.00002448497,0.001092617,0.0006661201,0.000003966936,0.0002553727,0.0008278831,0.00006766394,0.00003005001,0.01298899,0.9840306,0.00000951173],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"editorial","genre_scores_codex":[0.002974424,0.2803278,0.003169297,0.189474,0.2132776,0.00009072242,0.001029166,0.0002762747,0.3093807],"genre_scores_gemma":[0.03146689,0.2266963,0.002173917,0.0481013,0.4148371,0.0001296549,0.001279446,0.000384802,0.2749306],"genre_candidate":"editorial","genre_consensus":null,"teacher_disagreement_score":0.05943616,"threshold_uncertainty_score":0.1988338,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4389975160","doi":"10.5429/599","title":"Chiptuning Intellectual Property: Digital Culture Between Creative Commons and Moral Economy","year":2013,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Copyright and Intellectual Property","field":"Business, Management and Accounting","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"York University","funders":"","keywords":"Appropriation; Intellectual property; Commons; Craft; Law and economics; Sociology; Property (philosophy); Political science; Business; Epistemology; Law","authors":[{"name":"Martin Zeilinger","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03603691063824332,"gpt":0.2104394229512099,"spread":0.1744025123129666,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.004017799,0.0002694961,0.0002862585,0.00149168,0.004971349,0.01280936,0.0009458651,0.001631606,0.004891966],"category_scores_gemma":[0.008891645,0.0001964559,0.0002184428,0.001616711,0.05118687,0.01240733,0.009021622,0.003331858,0.0003057641],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.004007156,"about_ca_system_score_gemma":0.002812772,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001398716,"about_ca_topic_score_gemma":0.001389327,"domain_scores_codex":[0.9968531,0.001628231,0.0001075075,0.0002790921,0.0008090144,0.0003230453],"domain_scores_gemma":[0.9939016,0.003992138,0.0005910842,0.0008975671,0.0003134103,0.0003041463],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","study_design_scores_codex":[0.00001098711,0.00001439347,0.0005606491,0.0000280233,0.00000264219,0.00007260766,0.01663501,0.000143945,0.0001881203,0.9695469,0.0006012794,0.01219547],"study_design_scores_gemma":[0.00001931989,0.00006083975,0.003100123,0.0003726406,0.00001563794,0.0004704017,0.05361887,0.001543161,0.001289244,0.7812635,0.1582091,0.00003713948],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.3129177,0.004397011,0.02992527,0.02733578,0.0002910662,0.00003949918,0.0000271911,0.00007729687,0.6249892],"genre_scores_gemma":[0.9922531,0.0007029202,0.001579029,0.0008102553,0.00007244511,0.00001845935,0.000004313739,0.00001690386,0.004542504],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.9950287,"threshold_uncertainty_score":0.02907413,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4200584937","doi":"10.5429/2079-3871(2021)v11i2.2en","title":"Indigenizing the Mainstream: Music Festivals and Indigenous Popular Music","year":2021,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Sport and Mega-Event Impacts","field":"Social Sciences","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Indigenous; Mainstream; Performative utterance; Popular music; Dance; Music industry; Politics; Singing; Sovereignty; Media studies; Call and response; Visual arts; Sociology; Music education; Political science; History; Aesthetics; Art; Law; Management","authors":[{"name":"Liz Przybylski","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05997320619974686,"gpt":0.3069852642694255,"spread":0.2470120580696787,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001708946,0.0002546986,0.0003484489,0.001357273,0.009375015,0.008590808,0.0008353768,0.0008419541,0.009052467],"category_scores_gemma":[0.002802376,0.0001323114,0.000203382,0.001406178,0.01494102,0.003655172,0.009914058,0.001799105,0.0003048344],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.006047737,"about_ca_system_score_gemma":0.005250477,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.1023178,"about_ca_topic_score_gemma":0.2076807,"domain_scores_codex":[0.9985163,0.0005163816,0.00002573265,0.0001191963,0.0002631753,0.0005592942],"domain_scores_gemma":[0.9988467,0.0003174494,0.0001580502,0.00006110876,0.0001467827,0.0004698908],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.000204072,0.0001797316,0.01869403,0.0002620687,0.00003153388,0.0008295478,0.8129574,0.00005263614,0.0006410248,0.1064706,0.004980523,0.05469685],"study_design_scores_gemma":[0.00001042445,0.00007546158,0.03044549,0.0002994628,0.00002029776,0.0001150715,0.9089403,0.00004096078,0.000146142,0.005830969,0.05405935,0.00001612627],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.778136,0.005024217,0.0003224358,0.01364924,0.0002762101,0.00002502961,0.00006052239,0.00002017895,0.2024862],"genre_scores_gemma":[0.9928122,0.00142419,0.00007800062,0.0005169244,0.00008876911,0.000008514828,0.0000157027,0.0000117186,0.005043897],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.1023178,"threshold_uncertainty_score":0.2034445,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4200609059","doi":"10.5429/2079-3871(2021)v11i2.5en","title":"Tanya Tagaq Covers Nirvana: “Rape Me” and a History of Settler Colonial Violence","year":2021,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Indigenous Studies and Ecology","field":"Health Professions","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"Western University","funders":"","keywords":"Colonialism; Indigenous; Admiration; State (computer science); Retributive justice; Singing; History; Sociology; Art; Law; Literature; Political science; Economic Justice; Archaeology","authors":[{"name":"Ryan Shuvera","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03078636860119479,"gpt":0.3362167841785996,"spread":0.3054304155774048,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001264986,0.0003938024,0.0002455825,0.0006164752,0.02449895,0.005511038,0.0009629793,0.002437843,0.004112163],"category_scores_gemma":[0.001917422,0.0002602735,0.000186737,0.0006404637,0.01441156,0.002164525,0.004393484,0.004087637,0.000498548],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.006501586,"about_ca_system_score_gemma":0.002979184,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.06683878,"about_ca_topic_score_gemma":0.1709478,"domain_scores_codex":[0.9989439,0.0005126382,0.00002138859,0.00008114124,0.0001663301,0.0002745294],"domain_scores_gemma":[0.9993643,0.0002532777,0.00009609718,0.00004355693,0.00008688358,0.0001558781],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00003052942,0.00002625388,0.002755476,0.00007657665,0.000006755878,0.001938105,0.935676,0.00002290778,0.001032546,0.03580444,0.01262733,0.01000314],"study_design_scores_gemma":[0.000005460169,0.00005065084,0.008800085,0.0002645734,0.000009786646,0.001779419,0.6962295,0.00004881563,0.0004221063,0.002049895,0.2903117,0.00002806386],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.6673868,0.01648982,0.0007171046,0.0412582,0.002736973,0.00004155053,0.00003390735,0.0000432241,0.2712924],"genre_scores_gemma":[0.9457886,0.002754845,0.0002296203,0.003629233,0.000369291,0.00001660429,0.00001484413,0.00003629623,0.04716079],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.9331612,"threshold_uncertainty_score":0.1328995,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4389975230","doi":"10.5429/561","title":"How did popular music come to mean música popular? <br>http://dx.doi.org/10.5429/2079-3871(2011)v2i1-2.3en","year":2012,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Concordia University; Université Laval","funders":"","keywords":"Popular music; Legitimacy; Confusion; Popular culture; Sociology; Field (mathematics); Latin Americans; Aesthetics; Media studies; Art; Visual arts; Political science; Psychology; Law","authors":[{"name":"Laura González","is_ca":true},{"name":"Douglas K. Smith","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05558152120581485,"gpt":0.2258947364716671,"spread":0.1703132152658522,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001652212,0.000239569,0.0002575598,0.001671613,0.003108168,0.009228739,0.0005056238,0.001569241,0.02658736],"category_scores_gemma":[0.003318599,0.0001472945,0.0001481598,0.002718297,0.008292998,0.005158608,0.00197116,0.001336426,0.005073418],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002933518,"about_ca_system_score_gemma":0.001323052,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01246234,"about_ca_topic_score_gemma":0.0256151,"domain_scores_codex":[0.9989889,0.0004836923,0.00004938288,0.0001260292,0.000245143,0.0001068282],"domain_scores_gemma":[0.9989304,0.0003930787,0.0002144734,0.0001391036,0.0001874547,0.0001355539],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","study_design_scores_codex":[0.00008587748,0.000058458,0.01592116,0.0004149405,0.0000197133,0.0006599363,0.08368593,0.00006724767,0.001232025,0.6640176,0.06110765,0.1727294],"study_design_scores_gemma":[0.00001271321,0.00005004045,0.03280109,0.000911499,0.00001356965,0.0009816055,0.1284523,0.0002367284,0.0009218926,0.0659297,0.7696472,0.00004165073],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.07323519,0.01421756,0.004245174,0.05184409,0.001939007,0.00004033811,0.0004030733,0.0001281647,0.8539473],"genre_scores_gemma":[0.8587275,0.006655907,0.002083769,0.003201228,0.0006297246,0.00004596883,0.0001638398,0.0002104435,0.1282816],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.02658736,"threshold_uncertainty_score":0.0889436,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4389977253","doi":"10.5429/635","title":"The Cultural Capital Project: Radical Monetization of the Music Industry","year":2013,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"McGill University","funders":"","keywords":"Monetization; Music industry; Consumption (sociology); Commodification; Cultural capital; Commodity; Sociology; Business; Public relations; Economics; Political science; Music education; Economy; Social science; Finance","authors":[{"name":"Brian Fauteux","is_ca":false},{"name":"Ian Dahlman","is_ca":true},{"name":"Andrew deWaard","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03154182948276875,"gpt":0.2101468627327238,"spread":0.178605033249955,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005128508,0.0003964357,0.0003114066,0.001701642,0.01037226,0.01479134,0.001372524,0.002396693,0.003353932],"category_scores_gemma":[0.005735101,0.0003097021,0.0002874372,0.001445695,0.06080598,0.01088554,0.0149873,0.004116795,0.0003446629],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.006329111,"about_ca_system_score_gemma":0.008805097,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00395318,"about_ca_topic_score_gemma":0.005423622,"domain_scores_codex":[0.995582,0.002444613,0.0000754435,0.0004004441,0.0007767139,0.0007207227],"domain_scores_gemma":[0.9968495,0.001349497,0.0003500801,0.0007566923,0.0001591116,0.000535079],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","study_design_scores_codex":[0.000009049239,0.00001333499,0.0002269605,0.00001327853,0.00000195393,0.00006151258,0.01119749,0.0000740191,0.00007478906,0.9789944,0.0008043596,0.008528938],"study_design_scores_gemma":[0.00003424946,0.0000898088,0.002139444,0.000210496,0.00001460909,0.0002863824,0.02988357,0.0009851506,0.001179221,0.7556821,0.2094658,0.00002918016],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1935475,0.002865654,0.02389369,0.0345372,0.0004757608,0.00008665318,0.00002610741,0.0001110267,0.7444563],"genre_scores_gemma":[0.980426,0.0006878259,0.002117165,0.001275688,0.0001399858,0.00005559755,0.000006788254,0.00002660836,0.01526429],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.01479134,"threshold_uncertainty_score":0.04592109,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4389977319","doi":"10.5429/594","title":"Everyday Tonality: Towards a Tonal Theory of What Most People Hear. By Philip Tagg","year":2012,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Diverse Musicological Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Tonality; Psychology; Sociology; Art; Aesthetics; Visual arts; Musical","authors":[{"name":"Jacopo Conti","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.09543041855419196,"gpt":0.2504095896361966,"spread":0.1549791710820046,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001427108,0.0008273839,0.0005460583,0.001275693,0.001730941,0.005573032,0.0008595384,0.002381299,0.007276997],"category_scores_gemma":[0.002289142,0.000493986,0.0003073282,0.001551239,0.01011765,0.01266099,0.003449371,0.003968429,0.002820819],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001281288,"about_ca_system_score_gemma":0.001006452,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.006899531,"about_ca_topic_score_gemma":0.008302306,"domain_scores_codex":[0.999293,0.0003544781,0.00003046009,0.0001045657,0.0001549942,0.00006250529],"domain_scores_gemma":[0.9992377,0.0004904887,0.00004218781,0.00003565692,0.0001072168,0.00008685103],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","study_design_scores_codex":[0.00009739755,0.00005133185,0.0009793814,0.0006321755,0.00002557107,0.0002299893,0.04107913,0.0003363939,0.001413774,0.4263982,0.3091843,0.2195723],"study_design_scores_gemma":[0.00002243256,0.00004767743,0.003091328,0.0008094009,0.00001403588,0.0003972454,0.02608261,0.0005056006,0.0003488164,0.2675644,0.7010717,0.0000448365],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","genre_codex":"review","genre_gemma":"empirical","genre_scores_codex":[0.01312025,0.4664877,0.02630522,0.2288608,0.008601625,0.00007939794,0.0002507851,0.0002586844,0.2560356],"genre_scores_gemma":[0.4594699,0.2885181,0.01810228,0.04256509,0.01287289,0.0002483692,0.000356717,0.0004838427,0.1773829],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.007276997,"threshold_uncertainty_score":0.02434403,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4242441556","doi":"10.5429/2079-3871(2012)v3i1.11en","title":"Cultural Globalization and Music: African Artists in Transnational Networks","year":2013,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Cultural Industries and Urban Development","field":"Social Sciences","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"York University","funders":"","keywords":"Globalization; Sociology; Aesthetics; Visual arts; Political science; Art","authors":[{"name":"Rachel Muehrer","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03317685610569797,"gpt":0.2761459288814238,"spread":0.2429690727757258,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002397697,0.000440986,0.0002471054,0.002038147,0.0126676,0.01197616,0.0007562678,0.001552976,0.006772073],"category_scores_gemma":[0.003777181,0.0002943846,0.0001782888,0.003463751,0.01490666,0.01310189,0.008470072,0.002095925,0.0002583897],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003414198,"about_ca_system_score_gemma":0.001690551,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00502137,"about_ca_topic_score_gemma":0.009139635,"domain_scores_codex":[0.9974631,0.001891749,0.00004409951,0.0001075216,0.0001476787,0.0003458436],"domain_scores_gemma":[0.9982507,0.001234154,0.0001971545,0.000071169,0.00005416933,0.0001926617],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00002704949,0.00002044488,0.002202958,0.0001311991,0.000006539688,0.001075584,0.6711935,0.00009846286,0.0001627708,0.3005612,0.002428696,0.02209158],"study_design_scores_gemma":[0.00001356846,0.00002956119,0.005713362,0.0006101682,0.00001372758,0.0007603761,0.7551777,0.0003395226,0.0001627959,0.03279429,0.2043709,0.00001405023],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.4178956,0.02153907,0.004248394,0.02208718,0.0005574322,0.00007753996,0.00002877267,0.00002634682,0.5335398],"genre_scores_gemma":[0.9799326,0.007842289,0.000645131,0.0005624802,0.00009894593,0.0000602635,0.000008149715,0.00001223419,0.01083798],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.0126676,"threshold_uncertainty_score":0.02477187,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4389965558","doi":"10.5429/592","title":"Fresh at Twenty: the Oral History of Mint Records","year":2012,"lang":"fr","type":"article","venue":"IASPM Journal","topic":"Cultural Industries and Urban Development","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"Concordia University","funders":"","keywords":"Oral history; History; Historical record; Art; Art history; Archaeology; Biography","authors":[{"name":"Brian Fauteux","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1055188786091522,"gpt":0.2946045604913943,"spread":0.1890856818822421,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002724801,0.0004871476,0.0007100232,0.002759698,0.008909817,0.01334446,0.001226356,0.002794759,0.1002376],"category_scores_gemma":[0.007297598,0.0005410786,0.0002419487,0.005298765,0.004928356,0.009121568,0.005139482,0.004473584,0.01259698],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.006286734,"about_ca_system_score_gemma":0.004573515,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.03379392,"about_ca_topic_score_gemma":0.09611152,"domain_scores_codex":[0.9977486,0.0008015998,0.0001807437,0.0002335673,0.0006687111,0.0003667481],"domain_scores_gemma":[0.9977347,0.0007692148,0.0001887267,0.0002446393,0.00058532,0.0004774414],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"not_applicable","study_design_gemma":"qualitative","study_design_scores_codex":[0.00004064188,0.00001692526,0.0003749725,0.0003366881,0.000005416975,0.0001590209,0.02383379,0.00001362607,0.0001732278,0.03465093,0.8677011,0.07269366],"study_design_scores_gemma":[3.596444e-7,0.00000235715,0.0002898567,0.0001540103,6.552738e-7,0.00002925515,0.002363064,0.000001143992,0.00001939529,0.0001708782,0.9969663,0.000002654307],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.006360223,0.2279122,0.0006102865,0.1039582,0.03836391,0.00007958311,0.001486873,0.0001666776,0.621062],"genre_scores_gemma":[0.0638887,0.06796993,0.0007930354,0.01576674,0.01382964,0.0001106461,0.0009304926,0.0007450312,0.8359658],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.1002376,"threshold_uncertainty_score":0.3353283,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4246400807","doi":"10.5429/2079-3871(2019)v9i2.1en","title":"Editorial Introduction","year":2019,"lang":"es","type":"article","venue":"IASPM Journal","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"York University","funders":"","keywords":"Philosophy","authors":[{"name":"Mary Fogarty","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.008206371524755202,"gpt":0.1958144426108499,"spread":0.1876080710860947,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002422635,0.001339149,0.001018218,0.002556833,0.002341439,0.007032826,0.00217206,0.005747864,0.2929474],"category_scores_gemma":[0.01241488,0.0004996317,0.001148928,0.001088038,0.001125849,0.0037996,0.002357196,0.005862331,0.1539613],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002364398,"about_ca_system_score_gemma":0.003692506,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001954546,"about_ca_topic_score_gemma":0.003153135,"domain_scores_codex":[0.9972985,0.0002657469,0.0002228639,0.0005431786,0.001307007,0.0003625339],"domain_scores_gemma":[0.9904169,0.001380602,0.0005249497,0.0006858797,0.005013052,0.001978744],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00001503851,0.000007831036,0.00003668193,0.0001306885,0.000002406562,0.00007377743,0.00001921718,0.00001246379,0.00007959255,0.0008546999,0.9860995,0.01266818],"study_design_scores_gemma":[0.00000525104,0.000006092208,0.0001032846,0.0001302383,0.000002319608,0.00006529945,0.00002732795,0.00001119043,0.00004312113,0.0003486671,0.9992537,0.000003536686],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"editorial","genre_gemma":"editorial","genre_scores_codex":[0.0001741688,0.006326157,0.0003283189,0.04403004,0.8665621,0.00008676817,0.0007253047,0.0003183018,0.08144883],"genre_scores_gemma":[0.003416601,0.009548356,0.0005297092,0.04037436,0.6211635,0.0001164116,0.001263331,0.0003919961,0.3231957],"genre_candidate":"editorial","genre_consensus":"editorial","teacher_disagreement_score":0.2929474,"threshold_uncertainty_score":0.9800066,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4214599843","doi":"10.5429/2079-3871(2019)v9i1.1en","title":"Editorial Introduction","year":2019,"lang":"es","type":"article","venue":"IASPM Journal","topic":"Posthumanist Ethics and Activism","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"York University","funders":"","keywords":"Political science","authors":[{"name":"Mary Fogarty","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01400689535098335,"gpt":0.3100862696727117,"spread":0.2960793743217283,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.006438509,0.00275754,0.002592893,0.00564369,0.003625194,0.007732643,0.002407017,0.01138072,0.09083033],"category_scores_gemma":[0.03605103,0.0009002545,0.002899155,0.001352807,0.001316686,0.002721423,0.002407559,0.01204334,0.03647124],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00276598,"about_ca_system_score_gemma":0.003956749,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002005107,"about_ca_topic_score_gemma":0.004626783,"domain_scores_codex":[0.9951501,0.0007676492,0.000534206,0.0006785805,0.002212697,0.0006567144],"domain_scores_gemma":[0.9683009,0.006040409,0.002689862,0.001096555,0.01793671,0.003935437],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00002439157,0.000005887547,0.00002239028,0.0001018841,0.00000648905,0.00005414707,0.000007055609,0.000005950332,0.0000312728,0.00008249548,0.996626,0.003032146],"study_design_scores_gemma":[0.00007362178,0.00003028474,0.0003976373,0.0006206912,0.00004310799,0.0001685062,0.00006182931,0.00006082147,0.0001402288,0.0006735717,0.9977096,0.00002013332],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"editorial","genre_gemma":"editorial","genre_scores_codex":[0.00003880827,0.001205992,0.00005755368,0.02555043,0.9698955,0.00004619068,0.0001427572,0.00005717261,0.003005561],"genre_scores_gemma":[0.0007188363,0.001606085,0.0001475295,0.02507787,0.9501051,0.00007066872,0.0001691314,0.00009394837,0.02201075],"genre_candidate":"editorial","genre_consensus":"editorial","teacher_disagreement_score":0.09083033,"threshold_uncertainty_score":0.3038577,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2561553033","doi":"10.5429/2079-3871(2016)v6i2.14en","title":"REVIEW | Making Aboriginal Men and Music in Central Australia","year":2016,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Australian Indigenous Culture and History","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"History; Geography","authors":[{"name":"Ann Werner","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05846218665979214,"gpt":0.3696898484622982,"spread":0.3112276618025061,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001419294,0.0007148723,0.001757756,0.003789902,0.0009791604,0.002715184,0.001303261,0.002342788,0.007146073],"category_scores_gemma":[0.005401525,0.0005048253,0.0008263707,0.005114561,0.0009484857,0.002368745,0.001845167,0.001809753,0.0009030453],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002532708,"about_ca_system_score_gemma":0.01093799,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.03954976,"about_ca_topic_score_gemma":0.07452478,"domain_scores_codex":[0.9991591,0.0002500959,0.0001798769,0.0001074088,0.0002266851,0.00007686672],"domain_scores_gemma":[0.9974552,0.001256187,0.0005269798,0.00005219991,0.0004957495,0.0002137704],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"design_other","study_design_gemma":"not_applicable","study_design_scores_codex":[0.0001403034,0.00006102227,0.0005755571,0.2874521,0.000466542,0.0003449032,0.003062455,0.0001422208,0.0004504831,0.002410954,0.08041761,0.6244758],"study_design_scores_gemma":[0.00003054111,0.000110604,0.008248424,0.1691475,0.0006460896,0.0008030554,0.002414399,0.00002956365,0.0001241453,0.0007704712,0.8176407,0.00003437322],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"review","genre_gemma":"review","genre_scores_codex":[0.0002097161,0.9977809,0.00001261161,0.0006790301,0.0006284039,0.00001034494,0.00001439441,0.000001909376,0.0006627591],"genre_scores_gemma":[0.001394625,0.9968452,0.0000422512,0.0006333158,0.0004875196,0.00001593895,0.00002238011,0.000001438647,0.0005572613],"genre_candidate":"review","genre_consensus":"review","teacher_disagreement_score":0.03954976,"threshold_uncertainty_score":0.07863915,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3111698101","doi":"10.5429/2079-3871(2020)v10i2.1en","title":"Editorial Introduction: \"Once the Waters Start to Rise...\"","year":2020,"lang":"en","type":"editorial","venue":"IASPM Journal","topic":"American Environmental and Regional History","field":"Environmental Science","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"York University","funders":"","keywords":"Political science","authors":[{"name":"Mary Fogarty","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.004456848108226538,"gpt":0.1955226674117075,"spread":0.1910658193034809,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004213581,0.00376212,0.002183683,0.003517838,0.005511215,0.008006497,0.003092507,0.01069716,0.03762319],"category_scores_gemma":[0.01577108,0.0008110757,0.001722548,0.001712797,0.002794407,0.004842569,0.001853895,0.01256125,0.02637194],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003208085,"about_ca_system_score_gemma":0.003666742,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002860965,"about_ca_topic_score_gemma":0.007352983,"domain_scores_codex":[0.9962451,0.0004349235,0.0003139295,0.0004897665,0.002198113,0.0003181511],"domain_scores_gemma":[0.9888969,0.00293462,0.0005814463,0.0003467878,0.0051506,0.002089728],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","study_design_scores_codex":[0.0000148995,0.000008595441,0.00001841445,0.00008722856,0.000003036529,0.0000657751,0.00001383555,0.00001196756,0.0000360019,0.0002007868,0.9965883,0.002951201],"study_design_scores_gemma":[0.00001644695,0.00001529056,0.000217497,0.0002385838,0.00001037413,0.00008491892,0.00006383699,0.00006531047,0.00005384988,0.0005415941,0.998683,0.000009244364],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"editorial","genre_gemma":"editorial","genre_scores_codex":[0.00002637333,0.0009824029,0.00005245384,0.02072004,0.9746776,0.00001671536,0.00004086788,0.00004594247,0.003437711],"genre_scores_gemma":[0.0004807619,0.001572304,0.00007771552,0.01664939,0.9556286,0.00003467869,0.00005893141,0.00005259474,0.02544499],"genre_candidate":"editorial","genre_consensus":"editorial","teacher_disagreement_score":0.03762319,"threshold_uncertainty_score":0.1258621,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4410588661","doi":"10.5429/2079-3871(2025)v15i1.14en","title":"Rude Citizenship: Jamaican Popular Music, Copyright and the Reverberations of Colonial Power","year":2025,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Caribbean history, culture, and politics","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Ottawa","funders":"","keywords":"Colonialism; Citizenship; Power (physics); Popular music; History; Literature; Art; Sociology; Gender studies; Political science; Law; Archaeology; Politics","authors":[{"name":"Jada Watson","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01216187527459739,"gpt":0.2822173271871493,"spread":0.2700554519125519,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001166515,0.0001324876,0.000168663,0.0008773191,0.008092031,0.00818068,0.0004723008,0.001582156,0.007021041],"category_scores_gemma":[0.004031765,0.0001166018,0.00007528359,0.001322879,0.01652936,0.002644025,0.002497681,0.002672379,0.0001752855],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003586447,"about_ca_system_score_gemma":0.003095138,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.06635308,"about_ca_topic_score_gemma":0.1674038,"domain_scores_codex":[0.9992166,0.0003007091,0.00001572395,0.00006692803,0.0001184141,0.000281625],"domain_scores_gemma":[0.9977449,0.001265956,0.0004394781,0.0001008649,0.000170811,0.0002780395],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00007260084,0.0001422987,0.02683884,0.00006883241,0.00001226075,0.001788951,0.5515507,0.00007203098,0.0005897986,0.3824778,0.007534548,0.02885128],"study_design_scores_gemma":[0.00002507148,0.00005002359,0.0725666,0.0002563804,0.00001848747,0.000426376,0.7372928,0.0001706032,0.0004999397,0.01779635,0.1708674,0.00002999039],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.724815,0.001632713,0.00008410886,0.01685844,0.00006279836,0.000007299762,0.00002420171,0.000005055057,0.2565104],"genre_scores_gemma":[0.990213,0.0004418644,0.00001975257,0.000672938,0.0000535653,0.000002607706,0.000004264772,0.000002645669,0.008589374],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.06635308,"threshold_uncertainty_score":0.1319337,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1987120664","doi":"10.5429/2079-3871(2014)v4i1.1en","title":"Introduction: Popular Music Perfomance","year":2014,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Carleton University","funders":"","keywords":"Performing arts; Prosumer; Aesthetics; Meaning (existential); Perspective (graphical); Popular music; Sociology; Psychology; Visual arts; Art; Engineering","authors":[{"name":"Carlo Nardi","is_ca":false},{"name":"Hillegonda C. Rietveld","is_ca":false},{"name":"William Echard","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02115287759770373,"gpt":0.1824030474605439,"spread":0.1612501698628402,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009934012,0.000497085,0.0003212114,0.001825799,0.003476816,0.006992079,0.0007428232,0.001893196,0.03446417],"category_scores_gemma":[0.003563738,0.0001546827,0.0002567877,0.002366625,0.004325148,0.004265355,0.002810988,0.003485004,0.005127924],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001702321,"about_ca_system_score_gemma":0.001140612,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00277067,"about_ca_topic_score_gemma":0.004686257,"domain_scores_codex":[0.9989806,0.0002595672,0.00004350708,0.0002059454,0.0003972133,0.0001132379],"domain_scores_gemma":[0.9980674,0.0009714981,0.0001387929,0.0001431619,0.0003998293,0.000279235],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00004894411,0.00003293023,0.0009744026,0.0005891702,0.00000746365,0.000143935,0.01230782,0.0000573946,0.0004174784,0.1749955,0.7426423,0.06778263],"study_design_scores_gemma":[0.000002351542,0.00001931842,0.001780788,0.0003296099,0.00000364274,0.0001629134,0.003511203,0.00006155654,0.0001391682,0.005867177,0.9881144,0.000007937202],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.01642856,0.03305003,0.002789757,0.1226549,0.08661572,0.00006759571,0.0007869411,0.0002648163,0.7373418],"genre_scores_gemma":[0.3173575,0.03175995,0.001765117,0.03431801,0.1203737,0.0001673326,0.001128074,0.0007129677,0.4924174],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.03446417,"threshold_uncertainty_score":0.1152942,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1982882476","doi":"10.5429/2079-3871(2014)v4i1.17en","title":"Contemporary Carioca: Technologies of mixing in a Brazilian Music Scene","year":2014,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"York University","funders":"","keywords":"Mixing (physics); Contemporary classical music; Art; Visual arts; Geography; Physics; Musical","authors":[{"name":"Jordan Peter Saull","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03956438413776471,"gpt":0.2085742071470419,"spread":0.1690098230092772,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002779313,0.000720066,0.0004051184,0.002203601,0.01281235,0.00875217,0.001216163,0.002138703,0.006188742],"category_scores_gemma":[0.005155373,0.000427334,0.0005401843,0.002042105,0.01288354,0.004795547,0.00699343,0.002091452,0.0005735404],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.006242856,"about_ca_system_score_gemma":0.003819464,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.03520766,"about_ca_topic_score_gemma":0.07325134,"domain_scores_codex":[0.9979474,0.0009629147,0.00005688128,0.0002568988,0.0004518322,0.000324069],"domain_scores_gemma":[0.998926,0.0004936207,0.00008733317,0.000174906,0.0001470245,0.0001711202],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00008080975,0.00006421026,0.002400271,0.0003256882,0.00001400386,0.00121528,0.5631165,0.000265766,0.006548376,0.3131361,0.007223273,0.1056097],"study_design_scores_gemma":[0.00001835563,0.0001015522,0.006233809,0.0006377782,0.00003435077,0.001477766,0.24675,0.0005774793,0.001706625,0.01999911,0.722406,0.00005712543],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.2949054,0.01237937,0.01518501,0.01797698,0.000542536,0.0002433527,0.0001146792,0.0003129047,0.6583398],"genre_scores_gemma":[0.9528329,0.003265276,0.005922268,0.0009515523,0.00008739016,0.0001537377,0.00004418146,0.0001305397,0.03661225],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.03520766,"threshold_uncertainty_score":0.07000548,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4389975216","doi":"10.5429/662","title":"Introduction: Digital Nation: Copyright, Technology, Politics","year":2013,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Copyright and Intellectual Property","field":"Business, Management and Accounting","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Politics; Intellectual property; Conversation; Copyright law; Revenue; Political science; Law and economics; Law; Public administration; Business; Sociology; Accounting","authors":[{"name":"Geoff Stahl","is_ca":false},{"name":"Shane Homan","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01439303802777445,"gpt":0.1931600807823934,"spread":0.178767042754619,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.001042134,0.001194871,0.001184925,0.00358018,0.003398789,0.01073529,0.001015657,0.005053948,0.05943616],"category_scores_gemma":[0.003333651,0.0003958541,0.0005278126,0.005601607,0.00325281,0.008214641,0.002269945,0.006275244,0.01346028],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001954417,"about_ca_system_score_gemma":0.001990282,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002147719,"about_ca_topic_score_gemma":0.003203415,"domain_scores_codex":[0.9992132,0.0001994588,0.00006770395,0.000139219,0.0003140736,0.00006631685],"domain_scores_gemma":[0.9962304,0.002455169,0.0001917084,0.0001941208,0.0005001391,0.000428498],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00001250082,0.00003416996,0.000476378,0.0003906254,0.000005672038,0.0000923944,0.0007074264,0.00006980404,0.0001115228,0.03871639,0.9050769,0.05430622],"study_design_scores_gemma":[0.000002841337,0.00002448497,0.001092617,0.0006661201,0.000003966936,0.0002553727,0.0008278831,0.00006766394,0.00003005001,0.01298899,0.9840306,0.00000951173],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.002974424,0.2803278,0.003169297,0.189474,0.2132776,0.00009072242,0.001029166,0.0002762747,0.3093807],"genre_scores_gemma":[0.03146689,0.2266963,0.002173917,0.0481013,0.4148371,0.0001296549,0.001279446,0.000384802,0.2749306],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.9966012,"threshold_uncertainty_score":0.1988338,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4410588696","doi":"10.5429/2079.387(2025)v15i1.11en","title":"At the Threshold of the Underworld: Deep Time, Music, and Ecstatic Truth","year":2025,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Philosophy, Ethics, and Existentialism","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"York University","funders":"","keywords":"Art; Literature; Art history","authors":[{"name":"Sean Steele","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04199273850931941,"gpt":0.2555005805126082,"spread":0.2135078420032888,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001168262,0.0002059241,0.0001679633,0.0005000517,0.003780097,0.005549554,0.0004856041,0.001268344,0.004604971],"category_scores_gemma":[0.002533112,0.0001022092,0.0001103761,0.0004284694,0.02250612,0.005290967,0.003549656,0.002702897,0.0003795991],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001524058,"about_ca_system_score_gemma":0.0005881655,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001852164,"about_ca_topic_score_gemma":0.003141817,"domain_scores_codex":[0.9992435,0.0004385753,0.00001349224,0.00007444294,0.0001340589,0.0000959807],"domain_scores_gemma":[0.9991937,0.0005547553,0.00005109956,0.00007392951,0.00004368831,0.00008277272],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","study_design_scores_codex":[0.00004805245,0.00002830748,0.0005321029,0.0000546984,0.000002706176,0.0002294589,0.08856905,0.00008038443,0.0006900962,0.8934932,0.00528993,0.01098205],"study_design_scores_gemma":[0.00003441422,0.0001146605,0.003458974,0.0004186014,0.00001175636,0.0005491641,0.2243188,0.0005883756,0.002253355,0.4300867,0.3381371,0.00002820596],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.2779095,0.007376903,0.0115116,0.04123365,0.001119933,0.00003774705,0.0000696117,0.00005635968,0.6606846],"genre_scores_gemma":[0.9817716,0.001014899,0.000727186,0.001170091,0.0001982571,0.00001652126,0.00001573753,0.0000299725,0.01505565],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.005549554,"threshold_uncertainty_score":0.01540512,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4410588673","doi":"10.5429/2079-3871(2025)v15i1.18en","title":"Obituary: Remembering Jonathan Sterne (1970-2025)","year":2025,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Obituary; Psychoanalysis; Psychology; History; Philosophy; Theology","authors":[{"name":"Jessica Holmes","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03091809320426334,"gpt":0.2580287814010653,"spread":0.227110688196802,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001717066,0.001399006,0.001291053,0.001640229,0.003970265,0.005760566,0.001424761,0.007157097,0.07369923],"category_scores_gemma":[0.009582127,0.0005028016,0.0007094311,0.001278547,0.00136355,0.004295038,0.003365666,0.009044009,0.07497244],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002270145,"about_ca_system_score_gemma":0.002170332,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.007203153,"about_ca_topic_score_gemma":0.01091124,"domain_scores_codex":[0.9987929,0.0002044453,0.0001172883,0.0002179239,0.0005046609,0.0001626674],"domain_scores_gemma":[0.9956633,0.0008271694,0.0004367327,0.0001723475,0.001830569,0.001069807],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00001084745,0.000002404724,0.00001886258,0.00002722161,0.000001107429,0.0000545034,0.00001564867,0.000004794038,0.00001469479,0.0001539041,0.9966059,0.003090068],"study_design_scores_gemma":[0.000004114063,0.000007338847,0.00018665,0.0001527026,0.000002043675,0.0001149307,0.00006831251,0.000008964943,0.00003510038,0.0001440358,0.9992686,0.000007327147],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"editorial","genre_gemma":"other","genre_scores_codex":[0.0001469514,0.02778468,0.0001281118,0.183034,0.7696773,0.0000287102,0.0003314384,0.0001632984,0.01870543],"genre_scores_gemma":[0.004140839,0.02114692,0.0001914255,0.1895211,0.3915914,0.0001276052,0.0004149279,0.0003043642,0.3925615],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.07369923,"threshold_uncertainty_score":0.2465485,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4389968080","doi":"10.5429/628","title":"Cultural Globalization and Music: African Artists in Transnational Networks","year":2013,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Cultural Industries and Urban Development","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"York University","funders":"","keywords":"Globalization; Visual arts; Aesthetics; Sociology; Political science; Art","authors":[{"name":"Rachel Muehrer","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03317685610569797,"gpt":0.2761459288814238,"spread":0.2429690727757258,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00265858,0.0006374309,0.0003711623,0.002018033,0.0129155,0.01824937,0.0007776924,0.005247529,0.01825888],"category_scores_gemma":[0.003439181,0.000357906,0.0002409912,0.004667315,0.02429985,0.01927097,0.009381779,0.00398223,0.0005985584],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00583941,"about_ca_system_score_gemma":0.003385894,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01995792,"about_ca_topic_score_gemma":0.04151101,"domain_scores_codex":[0.9982849,0.001037241,0.00002802883,0.00008303662,0.0001105452,0.0004561277],"domain_scores_gemma":[0.9985039,0.0009633515,0.0001175522,0.00005592393,0.00006069704,0.0002985485],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00004546643,0.00003799885,0.001128436,0.0001605788,0.000004931216,0.0004519431,0.2700242,0.00006900897,0.0001432845,0.6640239,0.02863407,0.03527624],"study_design_scores_gemma":[0.00002857941,0.00003484832,0.005470377,0.0009259349,0.00001008635,0.0003370901,0.453647,0.0001783768,0.0001259564,0.0982633,0.4409528,0.00002561844],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1040554,0.08757905,0.001010862,0.1619933,0.00149693,0.00005653741,0.00007059107,0.00002531014,0.643712],"genre_scores_gemma":[0.89284,0.04362417,0.0004577897,0.00679368,0.001123376,0.0001367348,0.00003379365,0.00003529255,0.05495502],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.01995792,"threshold_uncertainty_score":0.06108212,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4392914340","doi":"10.5429/2079-3871(2024)v14i1.2en","title":"Jacques Greene’s Aging Temporalities","year":2024,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Evelyn Waugh and Hans Urs von Balthasar Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Temporalities; Sociology; History; Philosophy; Theology","authors":[{"name":"David Madden","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05913398211671585,"gpt":0.276934481753711,"spread":0.2178004996369952,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001703587,0.0003260865,0.0001730113,0.001267352,0.009162819,0.003922911,0.0007309811,0.00134654,0.00690807],"category_scores_gemma":[0.00244225,0.0001281873,0.0001540816,0.001024016,0.01148243,0.002552758,0.001764781,0.002066382,0.0005248064],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.01368558,"about_ca_system_score_gemma":0.007427124,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.5544342,"about_ca_topic_score_gemma":0.7001494,"domain_scores_codex":[0.9992228,0.0002627529,0.00001158808,0.0001342121,0.0002229151,0.0001458273],"domain_scores_gemma":[0.9987856,0.0003979384,0.0001270062,0.00005165034,0.0003449684,0.0002928454],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00007529462,0.00003916704,0.005870562,0.0001058485,0.00000835215,0.0007129578,0.2119193,0.0002226171,0.000668084,0.5881488,0.1505122,0.04171676],"study_design_scores_gemma":[0.000004401864,0.00001730072,0.01224025,0.0001945711,0.000004762469,0.0003388669,0.07656867,0.0001479808,0.000166297,0.01932675,0.8909613,0.0000287212],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1470291,0.03998927,0.004153738,0.2682316,0.003604546,0.00004390258,0.0003536944,0.00008740751,0.5365067],"genre_scores_gemma":[0.8211065,0.0105525,0.001170538,0.01644415,0.000797409,0.00004137836,0.000047218,0.00007255199,0.1497677],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.5544342,"threshold_uncertainty_score":0.8963797,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4389968058","doi":"10.5429/694","title":"Introduction: Popular Music Performance","year":2014,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Carleton University","funders":"","keywords":"Performing arts; Prosumer; Aesthetics; Meaning (existential); Popular music; Perspective (graphical); Sociology; Psychology; Visual arts; Art; Engineering","authors":[{"name":"Carlo Nardi","is_ca":false},{"name":"Hillegonda C. Rietveld","is_ca":false},{"name":"William Echard","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02110826616002898,"gpt":0.1755780414172924,"spread":0.1544697752572635,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001011289,0.0006187673,0.0003847984,0.001792685,0.003403931,0.00665217,0.0008870499,0.001975693,0.05576175],"category_scores_gemma":[0.003424175,0.0001547339,0.0002712094,0.002118316,0.003134164,0.00406256,0.003366752,0.002962945,0.01145275],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001659118,"about_ca_system_score_gemma":0.001223146,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002890402,"about_ca_topic_score_gemma":0.005089974,"domain_scores_codex":[0.9988087,0.0002680826,0.00005879559,0.0002365599,0.0004750407,0.0001527535],"domain_scores_gemma":[0.9983152,0.0005896146,0.0001439051,0.0001426122,0.0004319626,0.0003767411],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00005387428,0.00003845384,0.00104198,0.0005602575,0.000006144341,0.000139943,0.01020799,0.0000510447,0.0005218968,0.08635859,0.8275914,0.07342843],"study_design_scores_gemma":[0.000002041593,0.00002126334,0.002172141,0.0002568593,0.000002594376,0.0001553062,0.002993023,0.00004091595,0.0001050886,0.002753868,0.9914896,0.00000722611],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.01445306,0.02296011,0.002264346,0.073207,0.07224949,0.00009745136,0.001142501,0.0003174542,0.8133086],"genre_scores_gemma":[0.2076963,0.02146355,0.001451657,0.02314112,0.08680835,0.0001848032,0.001538856,0.0006195226,0.6570958],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.05576175,"threshold_uncertainty_score":0.1865417,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null}]}