{"meta":{"page":1,"per_page":50,"max_per_page":100,"total":15,"total_is_capped":false,"direct_labels_cover":0,"predictions_cover":15,"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":"3e7414df803a","filters":{"venue":"Journal of the Society for American Music"}},"results":[{"id":"W2605237648","doi":"10.1017/s1752196315000176","title":"Who Plays the Tune in “Body and Soul”? A Performance History Using Recorded Sources","year":2015,"lang":"en","type":"article","venue":"Journal of the Society for American Music","topic":"Musicology and Musical Analysis","field":"Arts and Humanities","cited_by":22,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Soul; Jazz; Musical; Variety (cybernetics); Lyrics; History; Quarter (Canadian coin); Art history; Visual arts; Literature; Sociology; Art; Computer science; Philosophy; Epistemology; Artificial intelligence","authors":[{"name":"José A. Bowen","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.07347392661233233,"gpt":0.2349845744929662,"spread":0.1615106478806339,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007056755,0.0001090656,0.0003064784,0.00003970688,0.0003038746,0.00003875077,0.0002574801,0.00002977488,0.0001341922],"category_scores_gemma":[0.00008050892,0.00005703438,0.000533001,0.00008350575,0.001123446,0.0001450182,0.00006695365,0.0003027587,8.693452e-7],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001771368,"about_ca_system_score_gemma":0.0001446539,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000245861,"about_ca_topic_score_gemma":0.0004161949,"domain_scores_codex":[0.9991742,0.00007289358,0.0002970423,0.00009578033,0.0001729333,0.0001871695],"domain_scores_gemma":[0.9989926,0.0001353369,0.0005160553,0.0001286207,0.0001657593,0.00006161195],"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":[0.0006369489,0.0004139141,0.01272628,0.0001449755,0.001752356,0.00000449457,0.53469,0.001657645,0.0008269248,0.005371583,0.423411,0.01836393],"study_design_scores_gemma":[0.001623148,0.0006918863,0.00585927,0.0001032091,0.0008097106,0.00003942999,0.06554674,0.017418,0.00002815664,0.001447622,0.9061087,0.0003241764],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9955902,0.0007038766,0.00003786326,0.001835343,0.0006106495,0.0001068956,0.000003281686,0.000004573483,0.00110732],"genre_scores_gemma":[0.993077,0.00005402466,0.0002010118,0.004055742,0.0009765769,0.00000443617,3.530298e-7,0.00001209125,0.001618697],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.4826977,"threshold_uncertainty_score":0.4139385,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2157667051","doi":"10.1017/s1752196312000211","title":"Performing<i>Acadie</i>: Marketing Pan-Acadian Identity in the Music of Vishtèn","year":2012,"lang":"en","type":"article","venue":"Journal of the Society for American Music","topic":"Canadian Identity and History","field":"Social Sciences","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":"Musical; Identity (music); Politics; Narrative; Emic and etic; Cultural identity; Cultural exchange; Sociology; Ethnology; Anthropology; Aesthetics; Political science; Art; Literature; Law; Social science","authors":[{"name":"Meghan Forsyth","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02055759522005009,"gpt":0.2752976034820277,"spread":0.2547400082619776,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.006240625,0.00008756608,0.0002619659,0.0001134625,0.0009749723,0.000123205,0.0008231318,0.00006306978,0.0001388051],"category_scores_gemma":[0.0006813985,0.00006848745,0.001156841,0.0009102406,0.001359364,0.0006397857,0.00004588845,0.0004145711,0.000002774591],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0006363688,"about_ca_system_score_gemma":0.0005993713,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.04661644,"about_ca_topic_score_gemma":0.1983986,"domain_scores_codex":[0.9981807,0.0003226485,0.0004168305,0.00008032141,0.000576751,0.000422768],"domain_scores_gemma":[0.9983174,0.0003885393,0.0008687141,0.0001764392,0.0001246053,0.0001243595],"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":[0.00009347581,0.000324866,0.04359072,0.0001671774,0.0003383423,0.000002464754,0.4881113,0.00002111681,0.0008724117,0.005083335,0.4032848,0.05810992],"study_design_scores_gemma":[0.0003596527,0.00006906059,0.1671741,0.00009530309,0.0001891394,0.00001554033,0.1335012,0.0000118154,0.000007647991,0.0003847502,0.6980228,0.0001689019],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9905292,0.001019257,0.00003655339,0.002839257,0.001167718,0.0002489091,0.00001447701,0.000004593501,0.004139979],"genre_scores_gemma":[0.9956555,0.0002711359,0.0004149376,0.001832115,0.001276213,0.000005451486,3.245097e-7,0.000012014,0.0005323244],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.3546101,"threshold_uncertainty_score":0.9597322,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2104689130","doi":"10.1017/s1752196309090117","title":"Tunes That Bind: Paul J. Seelig, Eva Gauthier, Charles T. Griffes, and the Javanese Other","year":2009,"lang":"en","type":"article","venue":"Journal of the Society for American Music","topic":"Music History and Culture","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":"Orientalism; German; Harmony (Music); Harmony (color); Literature; History; Turkish; Musical; Philosophy; Art; Linguistics; Visual arts","authors":[{"name":"Henry Spiller","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02245626623096065,"gpt":0.2149659606957088,"spread":0.1925096944647482,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005618861,0.0001656571,0.0003320355,0.0000168007,0.0009087424,0.00012655,0.0003415452,0.00003859493,0.0004638676],"category_scores_gemma":[0.00003269005,0.00007323313,0.00106396,0.00005194759,0.001243379,0.0001552393,0.0000267417,0.0003084411,0.000003328837],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00003583465,"about_ca_system_score_gemma":0.00004360628,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00007759065,"about_ca_topic_score_gemma":0.000133069,"domain_scores_codex":[0.9990649,0.00008298721,0.0002513377,0.000111036,0.0002716129,0.0002181428],"domain_scores_gemma":[0.9989272,0.0001121886,0.0005878751,0.0001957048,0.0001176023,0.00005941092],"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":[0.0001530754,0.00007190819,0.00003377522,0.00002549043,0.0002993849,0.000001168865,0.1825543,0.000005475178,0.0002203767,0.01169579,0.7944193,0.01051989],"study_design_scores_gemma":[0.0009985713,0.0001692125,0.0002723063,0.00005330644,0.0002294956,0.00003716928,0.03573878,0.00002958572,0.00001987089,0.00352071,0.9587925,0.0001384845],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9199685,0.01731811,0.00009885562,0.04364257,0.004031084,0.00104331,0.0001511958,0.00006418103,0.01368222],"genre_scores_gemma":[0.9517137,0.0002673235,0.0001522931,0.02500265,0.002989665,0.000008604037,0.000001549279,0.00002640513,0.01983783],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.1643732,"threshold_uncertainty_score":0.6989403,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4293221711","doi":"10.1017/s1752196321000493","title":"Defining the Songs of Incarceration: The Lomax Prison Project at a Critical Juncture","year":2022,"lang":"en","type":"article","venue":"Journal of the Society for American Music","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":"University of Toronto","funders":"","keywords":"Prison; Imprisonment; Juncture; Criminology; Sociology; Gender studies; Political science; Linguistics","authors":[{"name":"Velia Ivanova","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02303500897222987,"gpt":0.2505708872196095,"spread":0.2275358782473796,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0006406691,0.0001070754,0.0002102936,0.00001166614,0.00273794,0.00005698894,0.0004764651,0.00001777031,0.001105436],"category_scores_gemma":[0.00009130096,0.00004509939,0.00114511,0.0001091151,0.001040396,0.00007579919,0.0001404592,0.0004936905,9.025551e-7],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001464983,"about_ca_system_score_gemma":0.0001724289,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00005028648,"about_ca_topic_score_gemma":0.0001478045,"domain_scores_codex":[0.9988819,0.0001591524,0.0002966334,0.00008698502,0.000418541,0.0001567804],"domain_scores_gemma":[0.998816,0.0002641391,0.000526417,0.0002003905,0.0001712904,0.00002172065],"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":[0.00005497786,0.00004320582,0.00001664048,0.00002336735,0.0001352275,4.175458e-7,0.2395432,0.00006947702,0.00008437607,0.03147423,0.7273155,0.001239398],"study_design_scores_gemma":[0.0001790745,0.0002699078,0.00005229455,0.00001437468,0.0001884001,0.00004511973,0.132849,0.000162518,0.00001527735,0.0005916221,0.8655666,0.00006581552],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8475794,0.0102899,0.0004864162,0.09027995,0.007969026,0.002561936,0.000545442,0.00006834436,0.04021962],"genre_scores_gemma":[0.9842616,0.000007224044,0.0001695747,0.007231478,0.001214668,0.00004350262,0.000002842905,0.00001898687,0.007050076],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.1382511,"threshold_uncertainty_score":0.9998077,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4382939308","doi":"10.1017/s1752196323000159","title":"Affective Interruptions: Political Collectivity in Halftime","year":2023,"lang":"en","type":"article","venue":"Journal of the Society for American Music","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":"Toronto Metropolitan University","funders":"","keywords":"Temporality; Musical; Lyrics; Narrative; Aesthetics; Queer; Politics; Rhythm; Sociology; Psychology; Visual arts; Literature; Art; Psychoanalysis; Law; Philosophy","authors":[{"name":"Craig Jennex","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03908784882889375,"gpt":0.2650203827289161,"spread":0.2259325339000223,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003553568,0.00008381947,0.0002134633,0.00004449404,0.0003469881,0.00003920049,0.0001826264,0.00002404403,0.0002454154],"category_scores_gemma":[0.0001090958,0.00005328836,0.0009327966,0.0002077336,0.0005556991,0.0001126985,0.00003379898,0.0002681877,0.00001078533],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0002428021,"about_ca_system_score_gemma":0.00009448036,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001056958,"about_ca_topic_score_gemma":0.0008347306,"domain_scores_codex":[0.9992901,0.00006556311,0.0001953547,0.00008062257,0.0001502411,0.0002181034],"domain_scores_gemma":[0.9993725,0.0001658559,0.0002077662,0.00009473931,0.0001091782,0.00004996837],"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":[0.00005287586,0.0001336167,0.0001837146,0.00002900177,0.0002058777,0.000002451038,0.1207869,0.00003256781,0.0002401772,0.04753973,0.8295482,0.001244929],"study_design_scores_gemma":[0.001237989,0.0006409257,0.005385554,0.0001657374,0.0001896888,0.00003032408,0.1646352,0.0006008584,0.00003717992,0.01270455,0.8140824,0.0002895481],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9756368,0.00008919919,0.000101298,0.005026641,0.002187098,0.0003954732,0.000067637,0.00005598661,0.01643991],"genre_scores_gemma":[0.9923439,0.000002707904,0.00006613565,0.001526062,0.0008359117,0.00001417102,9.942124e-7,0.00001122189,0.005198915],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.04384829,"threshold_uncertainty_score":0.2687126,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2999970371","doi":"10.1017/s1752196319000531","title":"Pitching Opera: Innovating New Music Theater at Banff and Stratford, 1970–1990","year":2020,"lang":"en","type":"article","venue":"Journal of the Society for American Music","topic":"Theater, Performance, and Music History","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":"Opera; Flourishing; Musical; Visual arts; The arts; Music festival; Art; Period (music); History; Art history; Aesthetics; Psychology","authors":[{"name":"Colleen Renihan","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0426748652649082,"gpt":0.2171151501881967,"spread":0.1744402849232885,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002733566,0.0001920786,0.0003670024,0.00003052789,0.000784721,0.0001399815,0.0003116702,0.00003049953,0.0003340163],"category_scores_gemma":[0.00001892075,0.0001209899,0.000633504,0.0001015561,0.000460413,0.0003282035,0.0001157487,0.0003412084,0.000004887803],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001077414,"about_ca_system_score_gemma":0.000120637,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001452962,"about_ca_topic_score_gemma":0.0001202526,"domain_scores_codex":[0.9988481,0.00001823756,0.0004666437,0.0001601033,0.0002282064,0.00027866],"domain_scores_gemma":[0.9990138,0.00005292211,0.0005545359,0.0001266378,0.0001162962,0.0001358161],"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":[0.0002209734,0.00005258466,0.0003740304,0.0001649875,0.0005765506,0.000002376616,0.4340237,0.000090279,0.00926309,0.00359196,0.4813689,0.07027062],"study_design_scores_gemma":[0.001243345,0.0005411811,0.0002249608,0.00009512883,0.000185156,0.00003039863,0.02500957,0.0003537422,0.0001507347,0.0002596455,0.971642,0.0002641406],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9915746,0.0003361654,0.0001030428,0.003876156,0.001039609,0.0002123163,0.00001888864,0.0000243712,0.00281489],"genre_scores_gemma":[0.9788861,0.00004940651,0.0009712241,0.01391303,0.003829858,0.000004869185,0.00000182318,0.00004116757,0.00230251],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.4902731,"threshold_uncertainty_score":0.6035519,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2099690401","doi":"10.1017/s1752196310000398","title":"Paddy Cronin: Musical Influences on a Sliabh Luachra Fiddle Player in the United States","year":2010,"lang":"en","type":"article","venue":"Journal of the Society for American Music","topic":"Theater, Performance, and Music History","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":"Irish; Style (visual arts); Musical; Piano; Visual arts; History; Performance art; Art; Art history; Linguistics; Philosophy","authors":[{"name":"Matt Cranitch","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02339904955924685,"gpt":0.2411509237916356,"spread":0.2177518742323887,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006887688,0.000163309,0.0002635379,0.00007505382,0.0005457323,0.0001164997,0.0006118847,0.00003909407,0.000241692],"category_scores_gemma":[0.00004639308,0.00008149561,0.0007118639,0.0001485956,0.001151208,0.0001625529,0.00003339372,0.0007314886,0.000008058204],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00006356669,"about_ca_system_score_gemma":0.0001034571,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0004279863,"about_ca_topic_score_gemma":0.0008217815,"domain_scores_codex":[0.9988059,0.00006407606,0.000386438,0.000117942,0.00033953,0.0002860733],"domain_scores_gemma":[0.9988272,0.0002615012,0.0004684072,0.0002591395,0.0001295358,0.00005427304],"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":[0.000275768,0.0005465536,0.0007915113,0.00006499462,0.0003081084,0.000005149131,0.58062,0.0006385759,0.001195144,0.01115759,0.396991,0.007405552],"study_design_scores_gemma":[0.0006120697,0.0004801727,0.002293726,0.00005118561,0.00007555822,0.00001404937,0.04014685,0.000313506,0.00002693931,0.0005246287,0.9553167,0.0001446272],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9946072,0.00003896634,0.000006136918,0.002049867,0.001563434,0.0002045614,0.00002948609,0.00001111335,0.001489307],"genre_scores_gemma":[0.9860808,0.00003009432,0.0001137182,0.01130704,0.001561246,0.0000220067,0.000004199147,0.00001928614,0.000861586],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.5583256,"threshold_uncertainty_score":0.4241673,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2152346199","doi":"10.1017/s1752196311000289","title":"A “League Against Willan”? The Early Years of the Canadian League of Composers, 1951–1960","year":2011,"lang":"en","type":"article","venue":"Journal of the Society for American Music","topic":"Canadian Identity and History","field":"Social Sciences","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":"League; Style (visual arts); Musical; Reputation; Modernism (music); History; Literature; Political science; Art; Law","authors":[{"name":"Benita Wolters-Fredlund","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02292691624110144,"gpt":0.221911857136244,"spread":0.1989849408951426,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0008861514,0.0000735603,0.0002441395,0.00007613468,0.001017335,0.00005213436,0.001067609,0.00005912756,0.00005585404],"category_scores_gemma":[0.0001570119,0.000051083,0.00129589,0.0005719932,0.003277691,0.00008852885,0.00004223001,0.000300703,0.000001866305],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0006404808,"about_ca_system_score_gemma":0.002577303,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.9091457,"about_ca_topic_score_gemma":0.968941,"domain_scores_codex":[0.9987487,0.0001459351,0.0003232729,0.00007899746,0.0004355769,0.0002674772],"domain_scores_gemma":[0.9983788,0.0001099847,0.0008758025,0.0002674464,0.0002094825,0.0001584855],"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":[0.00007677072,0.0001407277,0.02000747,0.00006044228,0.001117091,0.000004708697,0.5826248,0.0001062746,0.0008847048,0.006922509,0.3616584,0.02639606],"study_design_scores_gemma":[0.0004582079,0.0001796577,0.2253826,0.0001014839,0.0002762318,0.000005968533,0.04495183,0.00001230322,0.00004118815,0.0008059546,0.727595,0.000189621],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9875585,0.0002910841,0.00000593272,0.003919117,0.001085048,0.0003011321,0.00007704901,0.000003788065,0.006758338],"genre_scores_gemma":[0.9969186,0.00009298921,0.0001709491,0.001446775,0.0002511317,0.000001926536,2.38352e-7,0.00001203826,0.001105348],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.537673,"threshold_uncertainty_score":0.9994348,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4360615863","doi":"10.1017/s1752196323000032","title":"Ginger Smock: Narratives of Perpetual Discovery, Jazz Historiography, and the “Swinging Lady of the Violin”","year":2023,"lang":"en","type":"article","venue":"Journal of the Society for American Music","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":"University of Toronto","funders":"","keywords":"Jazz; Narrative; Violin; Historiography; Entertainment; History; Musical; Art; Art history; Literature; Visual arts; Sociology; Archaeology","authors":[{"name":"Laura Risk","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01630389120957041,"gpt":0.2082160281960833,"spread":0.1919121369865129,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005347663,0.0001146382,0.0003245044,0.00003014766,0.000720069,0.00003956417,0.0003676825,0.00002202944,0.00007751057],"category_scores_gemma":[0.00005079476,0.00004857212,0.001572972,0.0001884668,0.002365606,0.0001365247,0.0000751183,0.0002399929,2.344598e-7],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00003570769,"about_ca_system_score_gemma":0.00006962837,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00006779095,"about_ca_topic_score_gemma":0.0001055753,"domain_scores_codex":[0.9990793,0.0000928383,0.0003275489,0.00008365798,0.0002729332,0.0001437306],"domain_scores_gemma":[0.9986599,0.0001511263,0.0008397342,0.0001833405,0.0001420235,0.00002385821],"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":[0.0001009653,0.00004530432,0.0002452326,0.00007545003,0.0005197435,1.84186e-7,0.7599583,0.00005216649,0.001575568,0.02018543,0.216476,0.0007656484],"study_design_scores_gemma":[0.001051668,0.0001865783,0.0010379,0.0002036195,0.0003678618,0.000008510394,0.4149106,0.00006298492,0.00008232739,0.002642997,0.5792905,0.0001544248],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9918852,0.0009775461,0.00002739483,0.003218544,0.001912055,0.000221091,0.00005109177,0.000008851955,0.001698184],"genre_scores_gemma":[0.9945869,0.00004759494,0.00004716284,0.0006545448,0.0007952414,0.000005227766,6.249902e-7,0.00001360431,0.003849128],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.3628145,"threshold_uncertainty_score":0.8716174,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2158146819","doi":"10.1017/s1752196310000209","title":"Music of the First Nations: Tradition and Innovation in Native North America. By Tara Browner, ed. Urbana: University of Illinois Press, 2009.","year":2010,"lang":"en","type":"article","venue":"Journal of the Society for American Music","topic":"Diverse Musicological 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":"Content (measure theory); Sociology; Media studies","authors":[{"name":"Beverley Diamond","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03523020414721378,"gpt":0.1994959149303057,"spread":0.164265710783092,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001653462,0.00009287007,0.0002483736,0.00005150673,0.0004171578,0.00002380682,0.0002621188,0.00002621522,0.00009161733],"category_scores_gemma":[0.0001537784,0.00005645705,0.0003144409,0.0003958169,0.001769226,0.000171129,0.00007323786,0.0002437313,2.022379e-7],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00005551605,"about_ca_system_score_gemma":0.00004371829,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0007622015,"about_ca_topic_score_gemma":0.002614484,"domain_scores_codex":[0.9992718,0.00002760561,0.0002940734,0.00008956932,0.0002131222,0.0001038497],"domain_scores_gemma":[0.9981589,0.0002207754,0.001104287,0.00009543602,0.0004041177,0.00001654],"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":[0.0002118216,0.001102966,0.01191942,0.0001936941,0.001175972,9.054173e-7,0.161394,0.0003944643,0.001192578,0.04972145,0.7609621,0.01173071],"study_design_scores_gemma":[0.001299961,0.0004856376,0.04435368,0.0000846445,0.0002770001,0.000001865547,0.04795665,0.0002112698,0.00007950055,0.001280017,0.9037691,0.0002006919],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9960841,0.0001724638,0.00004259036,0.001524593,0.0003682067,0.0002759792,0.0003187667,0.000004222375,0.001209066],"genre_scores_gemma":[0.9986302,0.0001432468,0.0002007772,0.0005364585,0.0001261323,0.000001946097,0.000003709165,0.000005812511,0.0003516637],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.142807,"threshold_uncertainty_score":0.6518788,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2129986116","doi":"10.1017/s175219631100040x","title":"Journeys of an Immigrant Violinist: Jacques Oliveira in Civil War–Era New York and New Orleans","year":2012,"lang":"en","type":"article","venue":"Journal of the Society for American Music","topic":"Theater, Performance, and Music History","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":"Thompson Rivers University","funders":"","keywords":"Musical; Violin; Spanish Civil War; Immigration; Newspaper; History; Art history; Cultural history; Sociology; Art; Economic history; Literature; Media studies; Archaeology","authors":[{"name":"Brian Thompson","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03768745355352245,"gpt":0.2339355043206701,"spread":0.1962480507671476,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005328924,0.0001664695,0.0004413589,0.00006901675,0.0002408402,0.00003629694,0.0002914097,0.00003810405,0.0002279396],"category_scores_gemma":[0.00001762543,0.0001080919,0.0006863468,0.00007896834,0.000573453,0.0003831011,0.0000329216,0.000302449,0.000001536567],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00009287075,"about_ca_system_score_gemma":0.0002320573,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002291634,"about_ca_topic_score_gemma":0.001928305,"domain_scores_codex":[0.9987842,0.00004932626,0.000534272,0.00009602447,0.0002159834,0.0003201332],"domain_scores_gemma":[0.9987327,0.00006173661,0.0007332813,0.0001848208,0.00006863993,0.0002188611],"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":[0.0002224184,0.0003177163,0.001767144,0.0001037873,0.0003183855,9.005716e-7,0.727809,0.00002768695,0.001041591,0.002205612,0.2198134,0.04637245],"study_design_scores_gemma":[0.001832317,0.0009346141,0.006425445,0.000272825,0.000284847,0.00005279635,0.06987838,0.0000715915,0.0001792027,0.0008159894,0.9189439,0.0003080912],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9925449,0.003848175,0.00007019352,0.0004994599,0.001369052,0.0001747427,0.00001996606,0.0000106857,0.001462758],"genre_scores_gemma":[0.9922506,0.0003268612,0.0009755584,0.00129654,0.003225365,0.00000232142,0.000001293408,0.00002831639,0.001893142],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.6991305,"threshold_uncertainty_score":0.440786,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2058486910","doi":"10.1017/s1752196313000370","title":"The Search for the Past: Postmodern Historical Consciousness in the Operas of Istvan Anhalt","year":2013,"lang":"en","type":"article","venue":"Journal of the Society for American Music","topic":"Musicology and Musical Analysis","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":"Temporality; Postmodernism; Subjectivity; Identity (music); Literature; Consciousness; History; Art; Aesthetics; Philosophy; Epistemology","authors":[{"name":"Colleen Renihan","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03495422946721059,"gpt":0.253817603740621,"spread":0.2188633742734104,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001336358,0.0001289581,0.0003408922,0.00002417987,0.00120314,0.0001249088,0.001029094,0.00003742409,0.0001369044],"category_scores_gemma":[0.0001122413,0.00004608495,0.001505967,0.0001454576,0.001561177,0.00009605832,0.00007746323,0.0004087481,0.000002152131],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001241983,"about_ca_system_score_gemma":0.0001140792,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00121086,"about_ca_topic_score_gemma":0.001002178,"domain_scores_codex":[0.9986107,0.0001775671,0.0004696384,0.0001105459,0.0003331713,0.0002983858],"domain_scores_gemma":[0.9965157,0.002177984,0.0004820894,0.0003099137,0.0004729485,0.00004138684],"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":[0.0002271146,0.0004678007,0.001005657,0.00007113924,0.001455806,8.650525e-7,0.1664442,0.0002885535,0.0003399278,0.03197315,0.7587795,0.03894639],"study_design_scores_gemma":[0.00100503,0.0007862529,0.005514053,0.00003342085,0.0007469865,0.00001903406,0.08304202,0.002626273,0.00002463302,0.005463811,0.9005306,0.0002079175],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8578781,0.001202592,0.0007927746,0.1364958,0.001518655,0.00118434,0.00003247949,0.000007253179,0.0008880433],"genre_scores_gemma":[0.9894828,0.00007505727,0.0000965409,0.006855542,0.001222357,0.00006912263,7.665802e-7,0.00001428347,0.002183541],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.1417511,"threshold_uncertainty_score":0.9253705,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4386486191","doi":"10.1017/s1752196323000196","title":"Agave Baroque and Reginald L. Mobley. American Originals: A New World, A New Canon Acis Productions LLC. 2021.","year":2023,"lang":"en","type":"article","venue":"Journal of the Society for American Music","topic":"Historical Studies and Socio-cultural Analysis","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":"McGill University","funders":"","keywords":"Baroque; Canon; Art; Agave; Acis; Humanities; Art history; Literature; Archaeology; History; Botany; Biology","authors":[{"name":"Karin A. Cuellar Rendon","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03338254729682572,"gpt":0.247794916762968,"spread":0.2144123694661423,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0002607266,0.0002130867,0.0006027616,0.00007667944,0.002109107,0.0001470617,0.0003001725,0.00001955423,0.0001881754],"category_scores_gemma":[0.0001047113,0.0001274353,0.001508962,0.0008937168,0.0008398631,0.0001703743,0.00008588519,0.0003242604,0.00001124002],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0006906205,"about_ca_system_score_gemma":0.0002043105,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.004572747,"about_ca_topic_score_gemma":0.006445071,"domain_scores_codex":[0.9986153,0.000047337,0.000388703,0.0002282031,0.000355133,0.0003652803],"domain_scores_gemma":[0.998432,0.0001333259,0.000746815,0.0001992157,0.0002588149,0.0002298334],"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":[0.00002925509,0.00003107261,0.0001193163,0.00001554686,0.0007246746,0.000001747355,0.08013241,0.00007852953,0.00005602048,0.001431023,0.8887345,0.02864592],"study_design_scores_gemma":[0.0002824054,0.0002561733,0.0001431035,0.00003725609,0.0005638427,0.000008125746,0.0339396,0.00004844105,0.000004713585,0.002370284,0.962152,0.0001940381],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"commentary","genre_gemma":"other","genre_scores_codex":[0.4094831,0.00264086,0.0003415138,0.5836368,0.002109132,0.0006312029,0.00006223145,0.00009351914,0.001001638],"genre_scores_gemma":[0.1935502,0.008921556,0.004553269,0.006904146,0.02127868,0.00005893552,0.00001250167,0.0001250962,0.7645956],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.7635939,"threshold_uncertainty_score":0.99919,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4319081376","doi":"10.1017/s1752196322000402","title":"Against the Grain Theatre's<i>Messiah/Complex</i>and Indigenous Sovereignty","year":2023,"lang":"en","type":"article","venue":"Journal of the Society for American Music","topic":"Theatre and Performance Studies","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":"Brock University","funders":"","keywords":"Messiah; Indigenous; Sovereignty; Colonialism; Power (physics); Sociology; Racism; Visual arts; Media studies; Aesthetics; Law; History; Gender studies; Political science; Art; Politics; Archaeology","authors":[{"name":"Nina Penner","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03382222633688498,"gpt":0.2444657796679514,"spread":0.2106435533310665,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.000524007,0.0001432978,0.000271631,0.00002887037,0.001518116,0.0001118626,0.000355188,0.00001769718,0.0000736503],"category_scores_gemma":[0.00001375092,0.00006644034,0.0009490554,0.0001409779,0.001017987,0.0001134516,0.0001058448,0.0002344843,0.000006816389],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00003554331,"about_ca_system_score_gemma":0.00006515223,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00006233028,"about_ca_topic_score_gemma":0.0001080719,"domain_scores_codex":[0.9990696,0.00004037209,0.0002723582,0.00009131368,0.0002350953,0.0002913077],"domain_scores_gemma":[0.9991016,0.0001959198,0.0003925051,0.0001765394,0.0000933572,0.00004005344],"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":[0.00007116397,0.00006078485,0.0009268814,0.00007690314,0.001244492,0.000001781365,0.4847281,0.00006950834,0.0001982258,0.005889919,0.4007749,0.1059573],"study_design_scores_gemma":[0.0005866007,0.0003253346,0.004107138,0.00005427335,0.0002338119,0.00001733211,0.1650244,0.0001433747,0.00002200167,0.006518192,0.8227635,0.0002040716],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9758495,0.0007280546,0.00001175994,0.007423328,0.001274441,0.0003423003,0.0001081974,0.00004222078,0.01422021],"genre_scores_gemma":[0.992043,0.0006867331,0.00005811725,0.004051537,0.001740281,0.00001098078,0.000002396696,0.000022613,0.001384349],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.4219886,"threshold_uncertainty_score":0.9997818,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2791516178","doi":"10.1017/s1752196317000591","title":"<i>Beep: A Documentary History of Game Sound</i>. Directed by Karen Collins./<i>Beep: Documenting the History of Game Sound</i>. Interviews by Karen Collins with Chris Greening. Waterloo, Canada: Ehtonal Inc., 2016.","year":2018,"lang":"en","type":"article","venue":"Journal of the Society for American Music","topic":"Digital Games and Media","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":"Sound (geography); History; Visual arts; Media studies; Art; Sociology; Acoustics","authors":[{"name":"Dana Plank","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01443918841116286,"gpt":0.2335275870686533,"spread":0.2190883986574904,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.001552012,0.0003719919,0.0009334629,0.00006306681,0.0002218409,0.00005934065,0.001412533,0.0001041353,0.0002280849],"category_scores_gemma":[0.0001874516,0.0002352201,0.001102232,0.000498142,0.004117409,0.0004606089,0.0002045015,0.0004719827,0.000001468309],"about_ca_system_candidate":true,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.004729968,"about_ca_system_score_gemma":0.004955943,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.2595228,"about_ca_topic_score_gemma":0.216537,"domain_scores_codex":[0.9960479,0.0003074645,0.001142937,0.0003376081,0.001438617,0.0007254348],"domain_scores_gemma":[0.9948847,0.0004548288,0.003129727,0.000420189,0.0008021062,0.0003084629],"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":[0.0002175616,0.0001931854,0.001370796,0.00006009217,0.0008630419,0.000001569243,0.07880907,0.000008997156,0.00118144,0.00001604711,0.9098911,0.007387072],"study_design_scores_gemma":[0.001129478,0.0008055621,0.0003138858,0.0002235996,0.0004475723,0.0000105121,0.01620921,0.00005379442,0.0001383527,0.0001082417,0.9802444,0.0003154054],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9624117,0.01665976,0.0005739979,0.005085886,0.006314177,0.001618603,0.000703328,0.00006453272,0.006567993],"genre_scores_gemma":[0.9381645,0.0007826429,0.001139525,0.005354721,0.001086687,0.00005252089,0.00003892225,0.00009629085,0.05328422],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.07035325,"threshold_uncertainty_score":0.9990907,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null}]}