{"meta":{"page":1,"per_page":50,"max_per_page":100,"total":139,"total_is_capped":false,"direct_labels_cover":0,"predictions_cover":139,"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":"d6218796fbeb","filters":{"venue":"Music Perception An Interdisciplinary Journal"}},"results":[{"id":"W2047771630","doi":"10.1525/mp.2002.20.2.151","title":"Effects of Musical Tempo and Mode on Arousal, Mood, and Spatial Abilities","year":2002,"lang":"en","type":"article","venue":"Music Perception An Interdisciplinary Journal","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":677,"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":"Arousal; Mood; Psychology; Cognitive psychology; Active listening; MOZART; Low arousal theory; MIDI; Audiology; Mode (computer interface); Communication; Neuroscience; Social psychology; Art; Acoustics; Computer science","authors":[{"name":"Gabriela Husain","is_ca":true},{"name":"William Forde Thompson","is_ca":true},{"name":"E. Glenn Schellenberg","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03664605580279334,"gpt":0.3096646446195812,"spread":0.2730185888167878,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002855817,0.0003669541,0.0003396771,0.0001723144,0.0001843306,0.0004483748,0.0001120885,0.0001905546,0.00214133],"category_scores_gemma":[0.002147743,0.0001700311,0.0001612492,0.00008325101,0.0002533116,0.0001582593,0.000313982,0.0004161475,0.0001992202],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00009892871,"about_ca_system_score_gemma":0.00008307297,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0002250764,"about_ca_topic_score_gemma":0.0005350479,"domain_scores_codex":[0.9997928,0.00006980103,0.00001758672,0.00004662131,0.00004453653,0.0000286728],"domain_scores_gemma":[0.9989883,0.0004944418,0.0001532604,0.00008463655,0.00009993797,0.0001793631],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"bench_or_experimental","study_design_gemma":"observational","study_design_scores_codex":[0.02067749,0.001951675,0.07354388,0.000268543,0.0002503067,0.0003337466,0.001319877,0.0002267184,0.8538004,0.0001612631,0.0002791452,0.04718702],"study_design_scores_gemma":[0.0003291619,0.009149655,0.9528784,0.0000159269,0.0001577709,0.0002701605,0.0003038,0.0006392415,0.03520802,0.0002465709,0.0007733142,0.00002802844],"study_design_candidate":"observational","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9983815,0.00008904651,0.0003002916,0.0000189036,0.00001073806,0.00002053536,0.00006190099,0.000007696516,0.001109472],"genre_scores_gemma":[0.9982963,0.0000892323,0.0006556495,0.00004682018,0.00001564688,0.00005556031,0.00009894284,0.000008860517,0.000732919],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.00214133,"threshold_uncertainty_score":0.007163465,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1984061769","doi":"10.1525/mp.2013.31.2.118","title":"Individual Differences in Music Reward Experiences","year":2012,"lang":"en","type":"article","venue":"Music Perception An Interdisciplinary Journal","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":434,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"McGill University; International Laboratory for Brain, Music and Sound Research","funders":"","keywords":"Psychology; Pleasure; Mood; Musical; Evocation; Cognitive psychology; Music and emotion; Social psychology; Music education; Neuroscience; Music history; Art","authors":[{"name":"Ernest Mas‐Herrero","is_ca":false},{"name":"Josep Marco‐Pallarés","is_ca":false},{"name":"Urbano Lorenzo‐Seva","is_ca":false},{"name":"Robert J. Zatorre","is_ca":true},{"name":"Antoni Rodríguez‐Fornells","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1217534905631559,"gpt":0.3525927803373052,"spread":0.2308392897741493,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004912827,0.00008592728,0.0002176577,0.0003672428,0.0001348965,0.0004147452,0.00009268396,0.000254185,0.00201107],"category_scores_gemma":[0.002893626,0.00008435645,0.000154376,0.0001844974,0.0002414014,0.0001719425,0.0003658825,0.000201689,0.0001962923],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00009172157,"about_ca_system_score_gemma":0.0000449151,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0005286703,"about_ca_topic_score_gemma":0.0008754077,"domain_scores_codex":[0.9996359,0.0001114696,0.00002974891,0.00007011376,0.0001038377,0.00004888712],"domain_scores_gemma":[0.9986834,0.0006427254,0.0002407879,0.0001131396,0.0001064708,0.0002134685],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"observational","study_design_scores_codex":[0.001317159,0.0003142072,0.930936,0.00008045859,0.0003143539,0.0004288701,0.009188927,0.0003859818,0.02194537,0.0003889857,0.0003812347,0.03431851],"study_design_scores_gemma":[0.000004844339,0.00008931546,0.9988218,0.000001705177,0.000007080001,0.0001028457,0.0004843575,0.00009314375,0.0001575085,0.00008244449,0.0001504324,0.000004592332],"study_design_candidate":"observational","study_design_consensus":"observational","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9992042,0.00003917196,0.00008502695,0.000009638321,0.000002008265,0.0000034966,0.00002870395,0.000001963539,0.000625759],"genre_scores_gemma":[0.9996794,0.00001592135,0.00004964204,0.00000651956,0.000001674213,0.000003611637,0.00003364581,0.000001072392,0.0002084544],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.00201107,"threshold_uncertainty_score":0.006727695,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2064136345","doi":"10.1525/mp.2010.28.1.3","title":"The Ecology of Entrainment: Foundations of Coordinated Rhythmic Movement","year":2010,"lang":"en","type":"article","venue":"Music Perception An Interdisciplinary Journal","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":363,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Université de Montréal","funders":"National Cancer Institute","keywords":"Entrainment (biomusicology); Rhythm; Movement (music); Cognitive science; Ecology; Communication; Psychology; Biology; Philosophy","authors":[{"name":"Jessica Phillips-Silver","is_ca":true},{"name":"Athena Aktipis","is_ca":false},{"name":"Gregory A. Bryant","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03289852734624651,"gpt":0.3342006241608025,"spread":0.301302096814556,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005469201,0.0002350973,0.0003835403,0.0007314061,0.0007467275,0.001809118,0.0008194169,0.001056891,0.002183064],"category_scores_gemma":[0.002277403,0.0002579262,0.0002949335,0.0004085458,0.004579436,0.002686122,0.001764442,0.0009543448,0.0003362547],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0007278041,"about_ca_system_score_gemma":0.0005321727,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001282462,"about_ca_topic_score_gemma":0.0008161036,"domain_scores_codex":[0.9997117,0.00007321233,0.00001296402,0.00009365912,0.00005415448,0.00005436073],"domain_scores_gemma":[0.9991022,0.0003821754,0.0001643329,0.0001238812,0.0001168334,0.0001105426],"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":[0.0000559585,0.00003017905,0.009747885,0.0002056955,0.00004381623,0.0006610859,0.001297786,0.02408902,0.02133825,0.8673224,0.0009400155,0.07426793],"study_design_scores_gemma":[0.0000192917,0.000108182,0.02985187,0.00006489742,0.00001866963,0.0006948909,0.0006790916,0.04783496,0.00199309,0.9072664,0.01140605,0.00006259829],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","genre_codex":"methods","genre_gemma":"empirical","genre_scores_codex":[0.2991472,0.01172079,0.550374,0.008018998,0.0002667097,0.00007213873,0.0001395826,0.0003673212,0.1298933],"genre_scores_gemma":[0.9784038,0.00176533,0.01713736,0.0002175817,0.0001789251,0.00004487338,0.00003559815,0.00003614977,0.002180318],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.002183064,"threshold_uncertainty_score":0.007303059,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2161400596","doi":"10.1525/mp.2009.26.5.427","title":"Synchronization of Timing and Motion Among Performing Musicians","year":2009,"lang":"en","type":"article","venue":"Music Perception An Interdisciplinary Journal","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":314,"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":"Auditory feedback; Psychology; Synchronization (alternating current); Piano; Visual feedback; Motion (physics); Communication; Rhythm; Audiology; Cognitive psychology; Speech recognition; Computer science; Acoustics; Computer vision; Neuroscience","authors":[{"name":"Werner Goebl","is_ca":true},{"name":"Caroline Palmėr","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04427111096121504,"gpt":0.3222669951288105,"spread":0.2779958841675955,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001979174,0.0001715616,0.0001668488,0.0005464957,0.0001284436,0.0001768991,0.0001109382,0.0001682751,0.001323779],"category_scores_gemma":[0.002555104,0.0001100945,0.00006237793,0.0002106841,0.0001830581,0.0001394542,0.000251625,0.0001181939,0.000199239],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001159025,"about_ca_system_score_gemma":0.0001095673,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0009442227,"about_ca_topic_score_gemma":0.001522408,"domain_scores_codex":[0.9997883,0.00004281327,0.00001383178,0.00007666723,0.00005182852,0.00002655205],"domain_scores_gemma":[0.999453,0.000200292,0.0001460016,0.0000332508,0.00007832401,0.00008927139],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"bench_or_experimental","study_design_gemma":"observational","study_design_scores_codex":[0.001720845,0.0001456614,0.2208122,0.00008190863,0.00006969756,0.0003754768,0.001718073,0.0007991059,0.7070866,0.000120436,0.0001073983,0.06696264],"study_design_scores_gemma":[0.0000177812,0.0005868443,0.9846351,0.000004761862,0.00002132117,0.0002407066,0.0002302495,0.001185,0.0127493,0.00008703421,0.0002301356,0.00001177867],"study_design_candidate":"observational","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9990063,0.00003358602,0.0005435876,0.00000474727,0.000001924715,0.000005836981,0.00003531421,0.000006361558,0.0003623938],"genre_scores_gemma":[0.9991234,0.00002974438,0.0005715002,0.000004272695,0.00000530708,0.000007364631,0.000057027,0.000003775902,0.0001976335],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.001323779,"threshold_uncertainty_score":0.004428506,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2062176563","doi":"10.1525/mp.2002.20.2.187","title":"Preference for Sensory Consonance in 2- and 4-Month-Old Infants","year":2002,"lang":"en","type":"article","venue":"Music Perception An Interdisciplinary Journal","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":239,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"McMaster University","funders":"","keywords":"Consonance and dissonance; Consonant; Cognitive dissonance; Psychology; Preference; Perception; Audiology; Tone (literature); Sensory system; Task (project management); Communication; Cognitive psychology; Speech recognition; Mathematics; Computer science; Social psychology; Linguistics; Neuroscience; Medicine; Acoustics; Statistics","authors":[{"name":"Laurel J. Trainor","is_ca":true},{"name":"Christine D. Tsang","is_ca":false},{"name":"Vivian H. W. Cheung","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1256147852256644,"gpt":0.3380744439224671,"spread":0.2124596586968027,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000455612,0.000365639,0.0006040527,0.0008373408,0.0002242271,0.0006132796,0.0002609048,0.0005027168,0.002254916],"category_scores_gemma":[0.002811482,0.0002982953,0.0002854719,0.00015544,0.0005254909,0.000298651,0.0005292714,0.0005435378,0.0004648425],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001597179,"about_ca_system_score_gemma":0.0001116459,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001185106,"about_ca_topic_score_gemma":0.001376237,"domain_scores_codex":[0.9997154,0.0000383695,0.00002804892,0.00007104121,0.00007179477,0.00007544347],"domain_scores_gemma":[0.9988897,0.0002833248,0.0002687359,0.00008947518,0.0001718891,0.0002967964],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"bench_or_experimental","study_design_gemma":"observational","study_design_scores_codex":[0.003232985,0.0003148933,0.08376857,0.0001778245,0.00007011587,0.003593412,0.003477255,0.0001229824,0.8814033,0.0002685725,0.0002973034,0.02327281],"study_design_scores_gemma":[0.00003973766,0.003715838,0.9173541,0.00003508566,0.0001175735,0.006313272,0.002357395,0.000471723,0.06801479,0.000296866,0.001193564,0.00009004021],"study_design_candidate":"observational","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9994583,0.0000968427,0.0001137306,0.00001046557,0.000006211718,0.000003456557,0.00004449506,0.00001068389,0.0002558725],"genre_scores_gemma":[0.9979146,0.0002022033,0.0004621633,0.00003328598,0.000006435795,0.00002290172,0.0001354305,0.00001398473,0.001208957],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.002254916,"threshold_uncertainty_score":0.007543385,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2046032318","doi":"10.1525/mp.2007.24.5.473","title":"Physiological and Musico-Acoustic Correlates of the Chill Response","year":2007,"lang":"en","type":"article","venue":"Music Perception An Interdisciplinary Journal","topic":"Multisensory perception and integration","field":"Psychology","cited_by":207,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of British Columbia","funders":"","keywords":"Chills; Skin conductance; Active listening; Psychology; Heart rate; Audiology; Communication; Medicine; Internal medicine","authors":[{"name":"Martin Guhn","is_ca":true},{"name":"Alfons O. Hamm","is_ca":false},{"name":"Marcel Zentner","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05785655442303411,"gpt":0.3769110191684041,"spread":0.31905446474537,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002123349,0.0002273042,0.0002111686,0.000347424,0.0001319083,0.0003019206,0.0000811308,0.0003192161,0.00165642],"category_scores_gemma":[0.002122663,0.0001067335,0.0001086577,0.0001545117,0.0002867767,0.0001550273,0.0002575834,0.0002803555,0.0002184769],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00006790118,"about_ca_system_score_gemma":0.00005390931,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0002635386,"about_ca_topic_score_gemma":0.0003182941,"domain_scores_codex":[0.9998424,0.00004128997,0.000009720686,0.00003950568,0.00004690378,0.00001999433],"domain_scores_gemma":[0.9993693,0.000221002,0.0001874979,0.00003845335,0.00008667033,0.00009700324],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"bench_or_experimental","study_design_gemma":"observational","study_design_scores_codex":[0.002249478,0.0002137458,0.1447917,0.0002847169,0.0001254127,0.000967044,0.002026245,0.0001885868,0.8239543,0.0000902971,0.0001569419,0.02495149],"study_design_scores_gemma":[0.00001549359,0.000671554,0.9901731,0.000006235887,0.00001886922,0.0008551122,0.0006163105,0.0001589982,0.007205393,0.00005103807,0.0002177364,0.00001019344],"study_design_candidate":"observational","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.998485,0.0001762857,0.0005742268,0.00001154103,0.000007516971,0.00001646759,0.00005556525,0.000007177013,0.0006662555],"genre_scores_gemma":[0.9992362,0.000106596,0.0003254377,0.00001736039,0.00001799458,0.00001981978,0.00006391817,0.000003727978,0.0002089103],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.00165642,"threshold_uncertainty_score":0.005541265,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2114803040","doi":"10.1525/mp.2007.25.2.95","title":"Poor-Pitch Singing in the Absence of \"Tone Deafness\"","year":2007,"lang":"en","type":"article","venue":"Music Perception An Interdisciplinary Journal","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":194,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Simon Fraser University","funders":"","keywords":"Semitone; Singing; Imitation; Pitch perception; Psychology; Speech recognition; Perception; Relative pitch; Tone (literature); Audiology; Communication; Acoustics; Computer science; Linguistics; Social psychology; Physics","authors":[{"name":"Peter Q. Pfordresher","is_ca":false},{"name":"Steven Brown","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05545632716295329,"gpt":0.3712031567586526,"spread":0.3157468295956993,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008375819,0.0004133031,0.000521831,0.001357228,0.0004381003,0.0003197198,0.0002055199,0.0006053838,0.002096304],"category_scores_gemma":[0.006963542,0.0002282291,0.0001448069,0.0002421174,0.001155883,0.0003863114,0.000743474,0.0004584833,0.0002160532],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001492735,"about_ca_system_score_gemma":0.0001723486,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0007372634,"about_ca_topic_score_gemma":0.001104914,"domain_scores_codex":[0.9994041,0.0001764069,0.0001220605,0.0001145261,0.0001022117,0.00008067872],"domain_scores_gemma":[0.9964672,0.001338566,0.001148724,0.0002465055,0.0002374899,0.0005615373],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"observational","study_design_scores_codex":[0.009037433,0.0006882591,0.6714392,0.0004081674,0.0001731071,0.09539697,0.002956305,0.0004921368,0.1825425,0.0004190549,0.000532975,0.03591384],"study_design_scores_gemma":[0.00009619802,0.002756101,0.8248965,0.00003805237,0.00010927,0.1570396,0.001160115,0.0009119423,0.01187363,0.0006614598,0.0004062827,0.00005067954],"study_design_candidate":"observational","study_design_consensus":"observational","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9994544,0.0000601827,0.0001478295,0.00002665088,0.000006042289,0.000005532546,0.00002395665,0.000006918136,0.0002684622],"genre_scores_gemma":[0.9996462,0.0000354777,0.0001853788,0.00001756609,0.000006271595,0.000002387568,0.00002792661,0.000001915711,0.00007686461],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.002096304,"threshold_uncertainty_score":0.007012784,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2072170522","doi":"10.1525/mp.2007.25.1.43","title":"Perception and Production of Syncopated Rhythms","year":2007,"lang":"en","type":"article","venue":"Music Perception An Interdisciplinary Journal","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":173,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Columbia College","funders":"","keywords":"Rhythm; Psychology; Communication; Perception; Stimulus (psychology); Cognitive psychology; Neuroscience; Art; Aesthetics","authors":[{"name":"W. Tecumseh Fitch","is_ca":false},{"name":"Andrew Rosenfeld","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04680842846232508,"gpt":0.3392479401611143,"spread":0.2924395116987892,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004266625,0.0001732551,0.0001749167,0.000247223,0.00008801097,0.0005979839,0.0001217852,0.0003087449,0.001308874],"category_scores_gemma":[0.004035618,0.0001442566,0.00008170206,0.00008867766,0.0003362851,0.0004862461,0.0005546057,0.0002282554,0.0001846717],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00007373773,"about_ca_system_score_gemma":0.00006462474,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0002437708,"about_ca_topic_score_gemma":0.0002992281,"domain_scores_codex":[0.9997798,0.0000444455,0.00001526457,0.00005602012,0.00008525453,0.00001934964],"domain_scores_gemma":[0.9986431,0.0005391641,0.0003599851,0.0001024673,0.0001895203,0.0001657461],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"bench_or_experimental","study_design_gemma":"observational","study_design_scores_codex":[0.00117763,0.00005221681,0.03452855,0.0001239193,0.00003927112,0.0002007029,0.002257669,0.0002042143,0.9382245,0.0002237058,0.00008685535,0.02288083],"study_design_scores_gemma":[0.00009724608,0.002127541,0.9132046,0.00003131244,0.00005255016,0.001268942,0.002578778,0.004030314,0.07444256,0.0009788013,0.001138015,0.00004933929],"study_design_candidate":"observational","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9988598,0.00004120473,0.0006693834,0.000006876164,0.000002018766,0.000003045052,0.000009643475,0.000002991811,0.0004051097],"genre_scores_gemma":[0.9989344,0.00005327588,0.0007379703,0.000009731856,0.000002980365,0.00000409695,0.00003015607,0.000003832649,0.0002235597],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.001308874,"threshold_uncertainty_score":0.004378676,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1984187821","doi":"10.1525/mp.2008.26.1.41","title":"Memory for Verbal and Visual Material in Highly Trained Musicians","year":2008,"lang":"en","type":"article","venue":"Music Perception An Interdisciplinary Journal","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":170,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Manitoba","funders":"","keywords":"Psychology; Recall; Cognitive psychology; Cognition; Free recall; Perception; Visual perception; Neuroscience","authors":[{"name":"Lorna S. Jakobson","is_ca":true},{"name":"Samantha Lewycky","is_ca":true},{"name":"Andrea R. Kilgour","is_ca":true},{"name":"Brenda M. Stoesz","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05830332595301085,"gpt":0.3387214783984728,"spread":0.280418152445462,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003061298,0.0002239846,0.0001844081,0.0006062147,0.0002264808,0.0003238299,0.0001935528,0.0002756791,0.00237871],"category_scores_gemma":[0.001883841,0.0001095294,0.0000812171,0.0001689529,0.0005925625,0.0002751938,0.0003905627,0.0002286994,0.0002972522],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001448766,"about_ca_system_score_gemma":0.0001196892,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001320864,"about_ca_topic_score_gemma":0.002236369,"domain_scores_codex":[0.9998829,0.00001986282,0.00001405007,0.00002685994,0.00003116301,0.00002512786],"domain_scores_gemma":[0.9989323,0.0003014889,0.0003349427,0.00009624875,0.0001216224,0.0002133644],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"observational","study_design_scores_codex":[0.003005458,0.001148985,0.8995826,0.00009760499,0.0001049166,0.001312126,0.002897256,0.0002267482,0.04203063,0.00009548847,0.0002465678,0.0492516],"study_design_scores_gemma":[0.0000381399,0.001884164,0.9926856,0.000006622982,0.00002370426,0.001139826,0.0005483975,0.0001301076,0.003269606,0.0000856078,0.0001809038,0.00000735991],"study_design_candidate":"observational","study_design_consensus":"observational","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9997924,0.00002958719,0.00001603703,0.000005265096,6.734016e-7,8.331236e-7,0.000004590389,0.000001320303,0.0001493307],"genre_scores_gemma":[0.9997281,0.00002484548,0.00004842065,0.000009440735,0.00000282808,9.316311e-7,0.00001604568,4.911028e-7,0.0001687381],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.00237871,"threshold_uncertainty_score":0.007957578,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3007551847","doi":"10.1525/mp.2020.37.3.185","title":"Cross-Cultural Work in Music Cognition","year":2020,"lang":"en","type":"article","venue":"Music Perception An Interdisciplinary Journal","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":156,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Toronto; McMaster University; Université de Montréal","funders":"Japan Society for the Promotion of Science; Arts and Humanities Research Council; Harvard Data Science Initiative, Harvard University; European Commission; Vlaamse regering; Fonds Wetenschappelijk Onderzoek; National Institutes of Health; Keio University; National Science Foundation","keywords":"Terminology; Field (mathematics); Psychology; Discipline; Position paper; Work (physics); Cognition; Sociology; Engineering ethics; Cognitive science; Social science; Computer science; Engineering; Linguistics","authors":[{"name":"Nori Jacoby","is_ca":false},{"name":"Elizabeth Hellmuth Margulis","is_ca":false},{"name":"Martin Clayton","is_ca":false},{"name":"Erin E. Hannon","is_ca":false},{"name":"Henkjan Honing","is_ca":false},{"name":"John R. Iversen","is_ca":false},{"name":"Tobias Klein","is_ca":false},{"name":"Samuel A. Mehr","is_ca":false},{"name":"Lara Pearson","is_ca":false},{"name":"Isabelle Peretz","is_ca":true},{"name":"Marc Perlman","is_ca":false},{"name":"Rainer Polak","is_ca":false},{"name":"Andrea Ravignani","is_ca":false},{"name":"Patrick E. Savage","is_ca":false},{"name":"Gavin Steingo","is_ca":false},{"name":"Catherine Stevens","is_ca":false},{"name":"Laurel J. Trainor","is_ca":true},{"name":"Sandra E. Trehub","is_ca":true},{"name":"Michael E. Veal","is_ca":false},{"name":"Melanie Wald‐Fuhrmann","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1112213402255966,"gpt":0.3761982551323412,"spread":0.2649769149067447,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.01638406,0.0006315272,0.0005615309,0.004348068,0.004488938,0.008279358,0.001166401,0.001115837,0.005729027],"category_scores_gemma":[0.0198539,0.0003494781,0.0006960797,0.003651896,0.01866822,0.006721569,0.006074787,0.002122286,0.0002949746],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003078828,"about_ca_system_score_gemma":0.002017428,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01007724,"about_ca_topic_score_gemma":0.01665713,"domain_scores_codex":[0.990344,0.00647568,0.0002771387,0.001365444,0.001127972,0.000409792],"domain_scores_gemma":[0.9642043,0.02876521,0.001712215,0.00249558,0.001770657,0.001052039],"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":[0.00007692096,0.000314549,0.07396239,0.0007846951,0.0005197186,0.0005651207,0.5942439,0.001009961,0.001146252,0.1627894,0.001984233,0.1626028],"study_design_scores_gemma":[0.00003079444,0.0001436269,0.2188537,0.00217532,0.0002215917,0.001230563,0.5246862,0.0009267852,0.001616912,0.2004888,0.0494783,0.0001474767],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7036473,0.04534001,0.01265148,0.01129894,0.0006481887,0.00004013694,0.00004529503,0.00004112526,0.2262876],"genre_scores_gemma":[0.9907651,0.004998245,0.001593881,0.000746896,0.00008193403,0.00002493543,0.00001645451,0.00002234145,0.001750286],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.01638406,"threshold_uncertainty_score":0.08664823,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1993388322","doi":"10.1525/mp.2003.20.3.307","title":"Time Tagging: A Key to Musicians' Superior Memory","year":2003,"lang":"en","type":"article","venue":"Music Perception An Interdisciplinary Journal","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":149,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Queen's University","funders":"","keywords":"Recall; Psychology; Association (psychology); Key (lock); Cognitive psychology; Mechanism (biology); Cognitive science; Communication; Computer science; Epistemology; Philosophy","authors":[{"name":"Lorna S. Jakobson","is_ca":false},{"name":"Lola L. Cuddy","is_ca":true},{"name":"Andrea R. Kilgour","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04360533960068318,"gpt":0.3219115625600677,"spread":0.2783062229593845,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004954734,0.0001672305,0.0002770001,0.0004224076,0.0002578119,0.001420387,0.0003879481,0.0007098669,0.006762176],"category_scores_gemma":[0.004375603,0.0001970074,0.0001130693,0.0003403977,0.0006210133,0.00210186,0.0006792044,0.0004967244,0.0008932056],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000213953,"about_ca_system_score_gemma":0.0003137537,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0005269181,"about_ca_topic_score_gemma":0.0007754468,"domain_scores_codex":[0.9997749,0.00001819208,0.00002016426,0.00010273,0.00004708844,0.0000369373],"domain_scores_gemma":[0.9979096,0.0005295764,0.0006644698,0.0004503491,0.0001395347,0.0003064423],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"bench_or_experimental","study_design_gemma":"observational","study_design_scores_codex":[0.002436921,0.0002898789,0.05808961,0.0001671883,0.00006904217,0.0006436761,0.001300129,0.0004272932,0.7731636,0.00684178,0.001599206,0.1549716],"study_design_scores_gemma":[0.0003502813,0.002337643,0.8036059,0.00007808254,0.0001795877,0.00404924,0.001202101,0.004690704,0.1412442,0.0327065,0.009449418,0.0001064336],"study_design_candidate":"observational","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9904372,0.0006671441,0.002817197,0.0005372873,0.0001010958,0.00001042439,0.0001449952,0.00009409078,0.005190566],"genre_scores_gemma":[0.9953817,0.0002179571,0.001851273,0.0001552054,0.00007360546,0.000005375724,0.0001100191,0.00002448582,0.002180489],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.006762176,"threshold_uncertainty_score":0.02262175,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2038396298","doi":"10.1525/mp.2008.25.4.357","title":"SPEECH INTONATION PERCEPTION DEFICITS IN MUSICAL TONE DEAFNESS (CONGENITAL AMUSIA)","year":2008,"lang":"en","type":"article","venue":"Music Perception An Interdisciplinary Journal","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":137,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"Université de Montréal","funders":"","keywords":"Intonation (linguistics); Psychology; Melody; Pitch (Music); Musical tone; Perception; Tone (literature); Audiology; Speech perception; Musical; Speech recognition; Pitch perception; Cognitive psychology; Linguistics; Computer science; Neuroscience","authors":[{"name":"Aniruddh D. Patel","is_ca":false},{"name":"MEREDITH WONG","is_ca":false},{"name":"Jessica M. Foxton","is_ca":false},{"name":"Aliette Lochy","is_ca":true},{"name":"Isabelle Peretz","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.07617692488757079,"gpt":0.3532012243248905,"spread":0.2770242994373198,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004221178,0.0006384304,0.0005372313,0.001983623,0.0005558779,0.0005052533,0.0002328688,0.0006398717,0.003166139],"category_scores_gemma":[0.003040093,0.0001859499,0.0001568959,0.000581447,0.001860151,0.0007343328,0.0009115257,0.0004044915,0.0003771042],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0004926113,"about_ca_system_score_gemma":0.0005182363,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.02362047,"about_ca_topic_score_gemma":0.02329658,"domain_scores_codex":[0.9996408,0.00002791836,0.0000544539,0.00006633656,0.0001353485,0.00007511458],"domain_scores_gemma":[0.9989506,0.000247929,0.0003520466,0.00006268667,0.0001569326,0.0002297764],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"bench_or_experimental","study_design_gemma":"observational","study_design_scores_codex":[0.001912028,0.0007603165,0.4242614,0.0005050176,0.0001771827,0.0384177,0.008238199,0.0003903091,0.428514,0.001275684,0.001413364,0.09413473],"study_design_scores_gemma":[0.00003815835,0.0004916273,0.9493218,0.00003411439,0.00006005436,0.0418078,0.001434551,0.0002258955,0.005482031,0.0005407945,0.0005353449,0.0000278935],"study_design_candidate":"observational","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9987367,0.0001921824,0.000114319,0.00007796846,0.000005947531,0.00000685302,0.00008050162,0.000009899634,0.0007756862],"genre_scores_gemma":[0.9992536,0.0001396449,0.0001891296,0.00004296927,0.000006223798,0.000004433083,0.00005697669,0.000003409326,0.0003036641],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.02362047,"threshold_uncertainty_score":0.04696602,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2023220203","doi":"10.2307/40285907","title":"Perceiving Emotion in Melody: Interactive Effects of Pitch and Rhythm","year":2000,"lang":"en","type":"article","venue":"Music Perception An Interdisciplinary Journal","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":135,"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":"Melody; Rhythm; Duration (music); Psychology; Audiology; Speech recognition; Communication; Cognitive psychology; Acoustics; Computer science; Musical; Art; Physics; Literature","authors":[{"name":"E. Glenn Schellenberg","is_ca":false},{"name":"Ania M. Krysciak","is_ca":false},{"name":"Ruth Campbell","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02164784982116328,"gpt":0.3142895224165642,"spread":0.2926416725954009,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005180217,0.0004592932,0.0004120835,0.0001792782,0.0001198981,0.0007528899,0.000268681,0.0003658831,0.001396039],"category_scores_gemma":[0.003643078,0.0002905905,0.0002520942,0.00009735444,0.0005157047,0.0004662023,0.000536224,0.0005922424,0.0001485577],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001509291,"about_ca_system_score_gemma":0.00009510153,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0002436976,"about_ca_topic_score_gemma":0.0003928278,"domain_scores_codex":[0.9994922,0.0001633833,0.00004327712,0.0001032781,0.000150727,0.00004714854],"domain_scores_gemma":[0.9985356,0.0008784636,0.0002076854,0.0001225556,0.0001034728,0.0001522413],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"bench_or_experimental","study_design_gemma":"observational","study_design_scores_codex":[0.0006393986,0.0000662061,0.001753255,0.00007313434,0.00002360816,0.00007263472,0.0001595197,0.0001036567,0.9941246,0.0000498085,0.00001082817,0.002923419],"study_design_scores_gemma":[0.0002198402,0.005673941,0.3266557,0.00004588438,0.0003710602,0.001155966,0.0004573499,0.006468915,0.6570755,0.0007447075,0.001044489,0.00008662468],"study_design_candidate":"observational","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9976259,0.0001032436,0.001556163,0.00001923153,0.00001038819,0.00001553497,0.00002184361,0.00001021462,0.0006375288],"genre_scores_gemma":[0.9962043,0.00008899692,0.003385836,0.00002642806,0.000006946966,0.00002457327,0.00003791275,0.0000182263,0.0002068236],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.001396039,"threshold_uncertainty_score":0.004670203,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2111300673","doi":"10.1525/mp.2006.23.4.345","title":"Infants Perception of Rhythmic Patterns","year":2006,"lang":"en","type":"article","venue":"Music Perception An Interdisciplinary Journal","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":133,"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":"Tone (literature); Context (archaeology); Rhythm; Perception; Metric (unit); Sequence (biology); Speech recognition; Metre; Computer science; Communication; Psychology; Physics; Biology; Neuroscience; Engineering; Acoustics; Art","authors":[{"name":"Tonya R. Bergeson","is_ca":true},{"name":"Sandra E. Trehub","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03631988347942407,"gpt":0.3223715720311582,"spread":0.2860516885517342,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003626666,0.0002027311,0.0002698144,0.0001773908,0.00009921524,0.0003467678,0.0001888054,0.0003555869,0.001639439],"category_scores_gemma":[0.002185676,0.0001576357,0.0001275602,0.00006274525,0.0002379103,0.0003074592,0.0003365635,0.00040508,0.0002409236],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001043044,"about_ca_system_score_gemma":0.00006695585,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000338923,"about_ca_topic_score_gemma":0.0003896848,"domain_scores_codex":[0.9998237,0.00003550306,0.00001163697,0.0000459453,0.0000561683,0.00002705218],"domain_scores_gemma":[0.9992613,0.0003015137,0.0001420655,0.00006778642,0.0001456896,0.00008155467],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"bench_or_experimental","study_design_gemma":"observational","study_design_scores_codex":[0.0004138173,0.0000635446,0.02156556,0.0001197816,0.00001739622,0.001174443,0.00241301,0.0001912288,0.9519203,0.0006405817,0.0001694723,0.02131085],"study_design_scores_gemma":[0.00005659312,0.00285055,0.6187754,0.00008856017,0.0001250557,0.006198611,0.003192322,0.003886555,0.3586449,0.001366449,0.004739263,0.00007571797],"study_design_candidate":"observational","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.997035,0.00009857846,0.001618851,0.00002069798,0.000005787157,0.000008022635,0.00003554623,0.00003675064,0.001140749],"genre_scores_gemma":[0.996759,0.0001192499,0.002319522,0.00002713116,0.000004421966,0.00001666387,0.00006064854,0.00001652155,0.0006769936],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.001639439,"threshold_uncertainty_score":0.005484402,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2136792941","doi":"10.1525/mp.2008.25.4.331","title":"ON-LINE IDENTIFICATION OF CONGENITAL AMUSIA","year":2008,"lang":"en","type":"article","venue":"Music Perception An Interdisciplinary Journal","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":121,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Université de Montréal; Queen's University; International Laboratory for Brain, Music and Sound Research","funders":"","keywords":"Psychology; Audiology; Identification (biology); Population; Developmental psychology; Cognitive psychology; Neuroscience; Medicine","authors":[{"name":"Isabelle Peretz","is_ca":true},{"name":"Nathalie Gosselin","is_ca":true},{"name":"Barbara Tillmann","is_ca":false},{"name":"Lola L. Cuddy","is_ca":true},{"name":"Benoît Gagnon","is_ca":true},{"name":"Christopher G. Trimmer","is_ca":true},{"name":"Sébastien Rioux Paquette","is_ca":true},{"name":"Bernard Bouchard","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.09191516140438642,"gpt":0.3549169819053573,"spread":0.2630018205009709,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005941454,0.0006358218,0.0004502549,0.0009121121,0.0002634886,0.0002816254,0.0005032473,0.001020214,0.005081611],"category_scores_gemma":[0.003993014,0.0001352639,0.0001743276,0.0001313543,0.0002158576,0.0003869101,0.0007866931,0.0005330797,0.001267046],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001128244,"about_ca_system_score_gemma":0.0001520541,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0005951208,"about_ca_topic_score_gemma":0.001021903,"domain_scores_codex":[0.9993027,0.0002014176,0.00005345215,0.0001826783,0.0001634893,0.00009620918],"domain_scores_gemma":[0.9984868,0.0005584747,0.0002368699,0.0001367931,0.0003107758,0.000270246],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"observational","study_design_scores_codex":[0.002026144,0.0008719114,0.4858656,0.0001982408,0.00008119554,0.03312969,0.002312023,0.000122747,0.3236848,0.000544622,0.002573685,0.1485894],"study_design_scores_gemma":[0.00003904951,0.003962801,0.7809997,0.00009642677,0.00008349404,0.1083626,0.002119767,0.002323076,0.09454634,0.0006256358,0.006766182,0.00007492649],"study_design_candidate":"observational","study_design_consensus":"observational","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9861234,0.0004683263,0.005740597,0.0001669667,0.00008989163,0.0001130471,0.0001460153,0.0001268085,0.007024905],"genre_scores_gemma":[0.989364,0.0002784017,0.007260537,0.000152633,0.00004129414,0.0000523505,0.0002009011,0.00003844657,0.00261135],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.005081611,"threshold_uncertainty_score":0.01699972,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2007242470","doi":"10.1525/mp.2011.29.2.147","title":"Associations Between Length of Music Training and Reading Skills in Children","year":2011,"lang":"en","type":"article","venue":"Music Perception An Interdisciplinary Journal","topic":"Reading and Literacy Development","field":"Psychology","cited_by":120,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"McMaster University","funders":"","keywords":"Reading (process); Psychology; Reading comprehension; Comprehension; Perception; Cognitive psychology; Association (psychology); Developmental psychology; Linguistics","authors":[{"name":"Kathleen A. Corrigall","is_ca":true},{"name":"Laurel J. Trainor","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.06570961444091261,"gpt":0.3487847687688493,"spread":0.2830751543279367,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003674816,0.000225765,0.000225863,0.0007297338,0.0001479019,0.0003493864,0.0002127023,0.0003950628,0.002238344],"category_scores_gemma":[0.004178256,0.0001630887,0.0002323993,0.0003737343,0.0003348572,0.0002880913,0.0003979821,0.0004216565,0.0002367009],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0002793502,"about_ca_system_score_gemma":0.000201212,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.003890686,"about_ca_topic_score_gemma":0.008191725,"domain_scores_codex":[0.9997427,0.00004375594,0.00003323365,0.00006126919,0.00007524713,0.00004385565],"domain_scores_gemma":[0.9960315,0.001337775,0.001744571,0.0001366858,0.000205101,0.0005443638],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"observational","study_design_scores_codex":[0.0002595867,0.0001243669,0.9914938,0.00002749953,0.00005041329,0.0001900931,0.0004386447,0.0001043034,0.00245455,0.00002517238,0.00008616366,0.004745326],"study_design_scores_gemma":[0.000001623323,0.00007092745,0.9995978,0.000003194551,0.000006168555,0.0000883344,0.00005843594,0.00003169296,0.00009607446,0.000007275935,0.00003722202,0.000001250972],"study_design_candidate":"observational","study_design_consensus":"observational","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9995667,0.0001223595,0.00002331895,0.00001973942,0.00000154101,0.000001168061,0.000047625,0.000004430127,0.0002130024],"genre_scores_gemma":[0.9993703,0.00009891731,0.00008672127,0.000008065742,0.000004730273,0.000004305004,0.0001055253,0.000003580428,0.0003178682],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.003890686,"threshold_uncertainty_score":0.007736087,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2001529747","doi":"10.1525/mp.2010.28.2.195","title":"Musical Enculturation in Preschool Children: Acquisition of Key and Harmonic Knowledge","year":2010,"lang":"en","type":"article","venue":"Music Perception An Interdisciplinary Journal","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":118,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"McMaster University","funders":"","keywords":"Chord (peer-to-peer); Harmony (color); Enculturation; Psychology; Musical; Perception; Key (lock); Harmony (Music); Cognitive psychology; Developmental psychology; Music perception; Communication; Computer science; Pedagogy; Literature; Art; Visual arts","authors":[{"name":"Kathleen A. Corrigall","is_ca":true},{"name":"Laurel J. Trainor","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02921712883792687,"gpt":0.3249642533998107,"spread":0.2957471245618838,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006824635,0.000366617,0.0005787839,0.001365942,0.0006673666,0.001164143,0.0002757286,0.000647985,0.0020216],"category_scores_gemma":[0.003073394,0.0003735475,0.0003010431,0.0005307819,0.001015863,0.001042219,0.0008547926,0.0007518642,0.0004448288],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0004927306,"about_ca_system_score_gemma":0.000685045,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01109513,"about_ca_topic_score_gemma":0.0137295,"domain_scores_codex":[0.9996675,0.00003532148,0.0000334169,0.00006896057,0.00008340164,0.0001114437],"domain_scores_gemma":[0.9985526,0.000332668,0.000443158,0.0001112871,0.0002537446,0.0003064144],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"observational","study_design_scores_codex":[0.0006804741,0.0009465673,0.9026006,0.0002251988,0.00004989027,0.006123896,0.02516127,0.0001072474,0.02920134,0.0006219678,0.0005549582,0.03372658],"study_design_scores_gemma":[0.000007644866,0.000352721,0.9914393,0.00003169217,0.0000208119,0.001086385,0.004467842,0.00004267219,0.001906174,0.0001666236,0.0004674301,0.00001055828],"study_design_candidate":"observational","study_design_consensus":"observational","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.999089,0.0002097915,0.00002539655,0.00002296723,0.000004484695,0.000004061314,0.00004157024,0.000006323094,0.0005964765],"genre_scores_gemma":[0.9985908,0.0002974181,0.0001611873,0.0000292905,0.000003196639,0.00001612555,0.0001046317,0.000003504495,0.0007938898],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.01109513,"threshold_uncertainty_score":0.02206111,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1989741614","doi":"10.1525/mp.2013.31.2.139","title":"Empathy and Emotional Contagion as a Link Between Recognized and Felt Emotions in Music Listening","year":2012,"lang":"en","type":"article","venue":"Music Perception An Interdisciplinary Journal","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":115,"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":"Psychology; Empathy; Active listening; Emotional contagion; Arousal; Preference; Situational ethics; Cognitive psychology; Valence (chemistry); Emotional expression; Emotional competence; Social psychology; Emotional intelligence; Communication","authors":[{"name":"Hauke Egermann","is_ca":false},{"name":"Stephen McAdams","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.07860561104930355,"gpt":0.3501821194098023,"spread":0.2715765083604987,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001324151,0.0002508759,0.0002334602,0.0005286955,0.0002934998,0.0008715766,0.0001760228,0.00046767,0.001996373],"category_scores_gemma":[0.01155612,0.0002596653,0.0002284849,0.0001921194,0.0007317024,0.0005144341,0.0011524,0.0007387555,0.0001044358],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0002022503,"about_ca_system_score_gemma":0.0001773597,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0003351414,"about_ca_topic_score_gemma":0.000505171,"domain_scores_codex":[0.9987286,0.0005030811,0.00008319451,0.0001807912,0.0004094024,0.00009487882],"domain_scores_gemma":[0.9942626,0.003290404,0.001454554,0.0003171276,0.0002528905,0.0004222765],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"bench_or_experimental","study_design_gemma":"observational","study_design_scores_codex":[0.005987264,0.001254486,0.4347457,0.0005944408,0.0004845153,0.001144122,0.02042567,0.001036449,0.4730263,0.001338219,0.0001979281,0.05976494],"study_design_scores_gemma":[0.00002197617,0.0004634857,0.992812,0.00001356789,0.00005534178,0.0003207309,0.00077221,0.0007389672,0.004362997,0.0003261927,0.0000925284,0.00001992986],"study_design_candidate":"observational","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9984733,0.00005271317,0.0005446804,0.00001412753,0.000002432535,0.000009212275,0.000009702886,0.000003286408,0.000890435],"genre_scores_gemma":[0.9992393,0.00004132118,0.0004613755,0.00001613384,0.000005437545,0.00001446018,0.00002064053,0.000003257874,0.0001979983],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.001996373,"threshold_uncertainty_score":0.007002831,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2021370281","doi":"10.1525/mp.2011.29.2.185","title":"Music Lessons, Emotional Intelligence, and IQ","year":2011,"lang":"en","type":"article","venue":"Music Perception An Interdisciplinary Journal","topic":"Emotional Intelligence and Performance","field":"Psychology","cited_by":108,"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":"Emotional intelligence; Psychology; Nonverbal communication; Test (biology); Intelligence quotient; Developmental psychology; Verbal reasoning; Cognitive psychology; Cognition","authors":[{"name":"E. Glenn Schellenberg","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1878629491935127,"gpt":0.3980929546914349,"spread":0.2102300054979221,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008226791,0.0004441032,0.0003208273,0.001449648,0.000318557,0.001094947,0.0003630166,0.0004348333,0.00425999],"category_scores_gemma":[0.006956733,0.0001885661,0.0002232056,0.0005741366,0.0006527562,0.0005615585,0.0007958801,0.0006087251,0.0005888568],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0002099752,"about_ca_system_score_gemma":0.0001469934,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002710784,"about_ca_topic_score_gemma":0.002854242,"domain_scores_codex":[0.9995887,0.00007709685,0.0000435019,0.0000750553,0.0001337648,0.00008186477],"domain_scores_gemma":[0.9946728,0.001203481,0.001950265,0.0004027676,0.0004693019,0.001301369],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"observational","study_design_scores_codex":[0.0005701908,0.0005953402,0.9841649,0.00001861504,0.0001201877,0.0001892856,0.00075604,0.0003278413,0.001287341,0.0002132641,0.000258977,0.01149812],"study_design_scores_gemma":[0.000007917412,0.0001935902,0.9989073,0.000003532286,0.00001528768,0.00009543809,0.0001269349,0.0002459845,0.000165999,0.0001194835,0.0001132145,0.000005273651],"study_design_candidate":"observational","study_design_consensus":"observational","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.99695,0.00009263872,0.00009117379,0.00002250709,0.000004616531,0.000007793723,0.00009682943,0.00001119646,0.002723171],"genre_scores_gemma":[0.9987351,0.00003606906,0.0001170124,0.000009217108,0.000007255277,0.000007449265,0.0001352072,0.000002927092,0.000949722],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.00425999,"threshold_uncertainty_score":0.01425111,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2095018050","doi":"10.1525/mp.2009.26.4.335","title":"Music and Motion—How Music-Related Ancillary Body Movements Contribute to the Experience of Music","year":2009,"lang":"en","type":"article","venue":"Music Perception An Interdisciplinary Journal","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":102,"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":"Motion (physics); Movement (music); Embodied cognition; Psychology; Torso; Perception; Musical; Kinematics; Communication; Motion capture; Gesture; Cognitive psychology; Performing arts; Music perception; Dynamics (music); Body posture; Computer science; Artificial intelligence; Physical medicine and rehabilitation; Aesthetics; Art; Visual arts; Neuroscience","authors":[{"name":"Manfred Nusseck","is_ca":false},{"name":"Marcelo M. Wanderley","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04257298127879774,"gpt":0.3174081425394449,"spread":0.2748351612606472,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003135438,0.0001814169,0.0001383323,0.0002231335,0.0001554115,0.0007811505,0.0001389326,0.0003788495,0.001934289],"category_scores_gemma":[0.002532407,0.0001992274,0.0001497047,0.0001097929,0.0004682687,0.0006954717,0.0005721026,0.0002393925,0.0001258986],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001084533,"about_ca_system_score_gemma":0.00009161824,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0005315142,"about_ca_topic_score_gemma":0.000574778,"domain_scores_codex":[0.9997537,0.0001155788,0.000009645609,0.00004741446,0.00004477003,0.00002893792],"domain_scores_gemma":[0.9996525,0.0001803238,0.00007521387,0.00002858796,0.00003028194,0.00003313707],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"bench_or_experimental","study_design_gemma":"observational","study_design_scores_codex":[0.001640836,0.0000937371,0.02682857,0.0003271294,0.00006348507,0.0004587257,0.006499082,0.0006235856,0.8748884,0.002251616,0.0002760863,0.08604874],"study_design_scores_gemma":[0.0001090666,0.001561089,0.9390283,0.0001598547,0.0001368176,0.001840639,0.005716703,0.00454745,0.03790121,0.004011643,0.004894423,0.00009282138],"study_design_candidate":"observational","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9925364,0.0004073059,0.002873154,0.00007859286,0.000017887,0.0000114895,0.00003243648,0.000009657278,0.004033172],"genre_scores_gemma":[0.9974821,0.0002109097,0.001624737,0.00003321997,0.000008886483,0.000009754272,0.00002347971,0.000008099109,0.0005988094],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.001934289,"threshold_uncertainty_score":0.006470859,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2325514100","doi":"10.1525/mp.2011.29.2.165","title":"Effect of Music Training on Promoting Preliteracy Skills: Preliminary Causal Evidence","year":2011,"lang":"en","type":"article","venue":"Music Perception An Interdisciplinary Journal","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":97,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"York University; Baycrest Hospital","funders":"","keywords":"Psychology; Phonological awareness; Reading (process); Training (meteorology); Music education; Cognitive psychology; Pedagogy; Linguistics; Literacy","authors":[{"name":"Sylvain Moreno","is_ca":true},{"name":"Deanna C. Friesen","is_ca":true},{"name":"Ellen Bialystok","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1032495981068955,"gpt":0.364417876167117,"spread":0.2611682780602215,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001767319,0.0004781202,0.000398003,0.0005393498,0.0004587942,0.0004506142,0.0004277762,0.0009744444,0.006661226],"category_scores_gemma":[0.0124567,0.0001963758,0.0006387,0.0002008469,0.0007580862,0.000402856,0.0005575774,0.0005114226,0.0002959108],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0002665234,"about_ca_system_score_gemma":0.0006526675,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001874982,"about_ca_topic_score_gemma":0.002692079,"domain_scores_codex":[0.9987761,0.0006035085,0.00009947549,0.0002346055,0.0001701031,0.0001162258],"domain_scores_gemma":[0.9863238,0.0100364,0.001897167,0.0006243517,0.0002525068,0.0008657678],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"observational","study_design_scores_codex":[0.07039227,0.01992783,0.6857654,0.004814546,0.003672994,0.002178928,0.002268007,0.000573218,0.02406197,0.004013534,0.0007158617,0.1816154],"study_design_scores_gemma":[0.001901088,0.01934768,0.9648767,0.0005159698,0.001966942,0.0005587294,0.0004396883,0.0003990417,0.006355541,0.001272489,0.002340688,0.00002548455],"study_design_candidate":"observational","study_design_consensus":"observational","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9901497,0.004836361,0.0004445179,0.0005333066,0.00006391411,0.0001249528,0.0001813533,0.00002589063,0.003640034],"genre_scores_gemma":[0.9947596,0.002950285,0.001229417,0.0001469172,0.00006692723,0.00007244535,0.00009118472,0.000007745313,0.0006756288],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.006661226,"threshold_uncertainty_score":0.02228403,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2017794475","doi":"10.1525/mp.2012.30.2.161","title":"The Song Remains the Same: A Replication and Extension of the MUSIC Model","year":2012,"lang":"en","type":"article","venue":"Music Perception An Interdisciplinary Journal","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":96,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"McGill University","funders":"National Institute on Aging","keywords":"Replication (statistics); Extension (predicate logic); Psychology; Cognitive science; Communication; Linguistics; Computer science; Philosophy; Mathematics; Programming language; Statistics","authors":[{"name":"Peter J. Rentfrow","is_ca":false},{"name":"Lewis R. Goldberg","is_ca":false},{"name":"David Stillwell","is_ca":false},{"name":"Michał Kosiński","is_ca":false},{"name":"Samuel D. Gosling","is_ca":false},{"name":"Daniel J. Levitin","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.08787890727752135,"gpt":0.3492336281308772,"spread":0.2613547208533559,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":["metaresearch"],"consensus_categories":[],"category_scores_codex":[0.02759915,0.0009503975,0.001342996,0.001684955,0.001851652,0.003237297,0.003493944,0.001541926,0.01276281],"category_scores_gemma":[0.09558769,0.000681741,0.00203689,0.001901571,0.005275478,0.00601638,0.003933083,0.002344592,0.001211823],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001323936,"about_ca_system_score_gemma":0.001910202,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.006922407,"about_ca_topic_score_gemma":0.005493175,"domain_scores_codex":[0.9880562,0.005584444,0.0005480595,0.003664726,0.001829363,0.0003172813],"domain_scores_gemma":[0.9164726,0.03203471,0.005538029,0.03653188,0.008203212,0.001219631],"domain_codex":null,"domain_gemma":"reproducibility","domain_candidate":"reproducibility","domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"observational","study_design_scores_codex":[0.006741348,0.002674699,0.3440704,0.003409356,0.002627618,0.003940698,0.1281763,0.002640096,0.02025758,0.1808938,0.006876794,0.2976912],"study_design_scores_gemma":[0.002022434,0.002800104,0.5218866,0.001517133,0.002620879,0.005886187,0.05686544,0.02333752,0.005208627,0.3435195,0.03370795,0.0006276701],"study_design_candidate":"observational","study_design_consensus":"observational","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8930088,0.002461225,0.0322656,0.005373829,0.0009533958,0.0009007343,0.0006969136,0.0001448015,0.06419482],"genre_scores_gemma":[0.9840008,0.000445001,0.01239232,0.0007548729,0.0001780241,0.0003878677,0.0002503813,0.00005770261,0.001533021],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.9724008,"threshold_uncertainty_score":0.14596,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2105694878","doi":"10.1525/mp.2012.29.5.521","title":"Music as an Aid to Learn New Verbal Information in Alzheimer's Disease","year":2012,"lang":"en","type":"article","venue":"Music Perception An Interdisciplinary Journal","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":86,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Université de Montréal","funders":"","keywords":"Lyrics; Psychology; Singing; Recall; Cognitive psychology; Literature; Art","authors":[{"name":"Aline Moussard","is_ca":true},{"name":"Emmanuel Bigand","is_ca":false},{"name":"Sylvie Belleville","is_ca":true},{"name":"Isabelle Peretz","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.06920180417082723,"gpt":0.3527386387066167,"spread":0.2835368345357895,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005263356,0.000263275,0.0004153956,0.0003732371,0.0002471193,0.0003167774,0.0001754059,0.0003689774,0.001122711],"category_scores_gemma":[0.001556132,0.00006733735,0.0001765583,0.0001490757,0.0002600074,0.0002707465,0.0002363432,0.0002375492,0.0001635339],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001237999,"about_ca_system_score_gemma":0.0001333389,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0006276942,"about_ca_topic_score_gemma":0.001127691,"domain_scores_codex":[0.9998591,0.00005659195,0.0000228216,0.000014526,0.00003173074,0.00001534284],"domain_scores_gemma":[0.9996278,0.0001724085,0.000062836,0.00003043823,0.0000509293,0.00005560286],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"design_other","study_design_gemma":"observational","study_design_scores_codex":[0.02281361,0.005195391,0.1534768,0.002069959,0.0005192902,0.004806436,0.002262163,0.0003378963,0.09216782,0.0002928172,0.001205495,0.7148523],"study_design_scores_gemma":[0.001577571,0.0558227,0.8723884,0.0003951162,0.001065564,0.01305529,0.002681895,0.001265054,0.04252663,0.002144956,0.007003569,0.00007324532],"study_design_candidate":"observational","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9919315,0.006747159,0.0001443049,0.00009148877,0.00002106215,0.00001524691,0.00002287274,0.00001785899,0.001008562],"genre_scores_gemma":[0.9959978,0.002321934,0.0007561222,0.00006859592,0.00003032972,0.00001010145,0.00003858509,0.000002582034,0.0007740145],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.001122711,"threshold_uncertainty_score":0.003755867,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1781461355","doi":"10.1525/mp.2012.29.5.479","title":"Memory for Melodies and Lyrics in Alzheimer's Disease","year":2012,"lang":"en","type":"article","venue":"Music Perception An Interdisciplinary Journal","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":85,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Victoria; Queen's University","funders":"","keywords":"Melody; Lyrics; Psychology; Dementia; Audiology; Developmental psychology; Cognitive psychology; Musical; Disease; Medicine; Art; Literature; Internal medicine","authors":[{"name":"Lola L. Cuddy","is_ca":true},{"name":"Jacalyn Duffin","is_ca":true},{"name":"Sudeep S. Gill","is_ca":true},{"name":"Cassandra Brown","is_ca":true},{"name":"Ritu Sikka","is_ca":true},{"name":"Ashley D. Vanstone","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.09617224923645257,"gpt":0.3654786642420645,"spread":0.269306415005612,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009949062,0.0003474798,0.0004789802,0.001146592,0.0004693048,0.0006209168,0.0003084689,0.0004752215,0.001302852],"category_scores_gemma":[0.003756366,0.0001794722,0.0002322637,0.000369537,0.0004965045,0.0008446556,0.000543885,0.0003039487,0.0003257944],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001713314,"about_ca_system_score_gemma":0.0001298639,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002122896,"about_ca_topic_score_gemma":0.002762888,"domain_scores_codex":[0.9996972,0.00005272415,0.000055698,0.00005400516,0.00009535237,0.000045057],"domain_scores_gemma":[0.9986161,0.0002812159,0.0005480989,0.0001212658,0.0002619478,0.0001714683],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"observational","study_design_scores_codex":[0.002091491,0.0004903222,0.9281662,0.0001370984,0.0001457133,0.0007245062,0.003232942,0.0001015722,0.009718092,0.00007842357,0.0002284151,0.05488527],"study_design_scores_gemma":[0.00002261033,0.001709481,0.994422,0.00001570368,0.00005131896,0.001466816,0.0007236067,0.00009160807,0.001001906,0.0002143022,0.0002712219,0.000009518535],"study_design_candidate":"observational","study_design_consensus":"observational","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9992022,0.0003602564,0.00003807067,0.00001499524,0.000003758558,0.000003133551,0.00002202273,0.000001961362,0.0003535122],"genre_scores_gemma":[0.9995426,0.0001225929,0.00006051625,0.00001765198,0.000006470376,0.000001669687,0.00004244216,5.296716e-7,0.0002056498],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.002122896,"threshold_uncertainty_score":0.0052616,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2071335018","doi":"10.1525/mp.2009.27.2.89","title":"A Distribution of Absolute Pitch Ability as Revealed by Computerized Testing","year":2009,"lang":"en","type":"article","venue":"Music Perception An Interdisciplinary Journal","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":85,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"McGill University; International Laboratory for Brain, Music and Sound Research","funders":"","keywords":"Range (aeronautics); Distribution (mathematics); Absolute (philosophy); Test (biology); Computer science; Mathematics; Speech recognition; Statistics; Psychology; Engineering","authors":[{"name":"Patrick Bermudez","is_ca":true},{"name":"Robert J. Zatorre","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0548534039324582,"gpt":0.3424914701426073,"spread":0.2876380662101491,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001379763,0.0002734882,0.0003055467,0.00149851,0.0002145733,0.0005256087,0.0003328736,0.0003584823,0.00166285],"category_scores_gemma":[0.01214186,0.0001995241,0.0001356033,0.0005170418,0.001211788,0.0005428735,0.0008511206,0.0004146743,0.0004403797],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001857533,"about_ca_system_score_gemma":0.0001741274,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0006730013,"about_ca_topic_score_gemma":0.0005472085,"domain_scores_codex":[0.9978961,0.0004465674,0.0002984559,0.0005302146,0.0006861064,0.0001424704],"domain_scores_gemma":[0.9922599,0.003598315,0.001684984,0.001269853,0.0007895801,0.0003973915],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"observational","study_design_scores_codex":[0.0008489749,0.000184513,0.9136708,0.00002770808,0.00006557079,0.0004189035,0.0008646327,0.0004457946,0.05499968,0.0002530629,0.00008828413,0.02813204],"study_design_scores_gemma":[0.00001386923,0.001132204,0.9872924,0.000005343587,0.00001203159,0.001422875,0.0002764328,0.0008738361,0.00861378,0.0001890202,0.0001528775,0.00001521635],"study_design_candidate":"observational","study_design_consensus":"observational","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9979443,0.00002959882,0.001263625,0.00001110063,0.000001701228,0.00001281519,0.00006688777,0.00001820156,0.0006517785],"genre_scores_gemma":[0.9992575,0.0000200187,0.00046361,0.00001165391,0.0000021135,0.00001269655,0.00008722246,0.000003506714,0.0001416933],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.00166285,"threshold_uncertainty_score":0.00729692,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2028427866","doi":"10.1525/mp.2014.31.5.397","title":"Perceiving the Classical Cadence","year":2012,"lang":"en","type":"article","venue":"Music Perception An Interdisciplinary Journal","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":81,"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":"Melody; Psychology; Perception; MOZART; Cadence; Closure (psychology); Cognitive psychology; Linguistics; Communication; Musical; Art; Visual arts; Literature; Acoustics; Philosophy","authors":[{"name":"David R. W. Sears","is_ca":true},{"name":"William E. Caplin","is_ca":true},{"name":"Stephen McAdams","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.08302846135283684,"gpt":0.3600215090096887,"spread":0.2769930476568518,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004090542,0.0002086494,0.0001849804,0.0005501442,0.0002105995,0.0009715909,0.000205249,0.000465061,0.001803661],"category_scores_gemma":[0.005373394,0.0001142423,0.0001068268,0.0001279578,0.0008273929,0.0008580204,0.0008517129,0.0003330758,0.0001454408],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0002124269,"about_ca_system_score_gemma":0.0001123158,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0009181419,"about_ca_topic_score_gemma":0.001207385,"domain_scores_codex":[0.9997048,0.00005789086,0.00001282219,0.00005276309,0.0001345858,0.00003716261],"domain_scores_gemma":[0.9987907,0.0004023268,0.0003180555,0.0000646582,0.0002068084,0.0002175696],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"bench_or_experimental","study_design_gemma":"observational","study_design_scores_codex":[0.002459376,0.0001346126,0.1036154,0.0004260247,0.0000831187,0.001055233,0.09109918,0.0006184764,0.6776826,0.007947884,0.0005951393,0.114283],"study_design_scores_gemma":[0.00007041006,0.001619365,0.8983926,0.000137332,0.00006967263,0.002315551,0.0582344,0.003826472,0.01877358,0.007257165,0.009140382,0.0001630676],"study_design_candidate":"observational","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9959227,0.0001035801,0.001123205,0.00003085624,0.000008197232,0.000003097262,0.000006466413,0.000007714626,0.002794239],"genre_scores_gemma":[0.9990991,0.0000470231,0.0004342179,0.00002117901,0.00000636921,0.000001853293,0.00001178452,0.000002612525,0.0003758922],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.001803661,"threshold_uncertainty_score":0.006033838,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2016588355","doi":"10.1525/mp.2004.21.3.373","title":"Singing in the Brain: Insights from Cognitive Neuropsychology","year":2004,"lang":"en","type":"article","venue":"Music Perception An Interdisciplinary Journal","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":76,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Université Laval; Health and Social Services Centre University Institute of Geriatrics of Sherbrooke; Université de Montréal; Institut Universitaire de Gériatrie de Montréal","funders":"","keywords":"Singing; Melody; Lyrics; Psychology; Cognitive psychology; Perception; Linguistics; Communication; Musical; Neuroscience; Art; Literature","authors":[{"name":"Isabelle Peretz","is_ca":true},{"name":"Lise Gagnon","is_ca":true},{"name":"Sylvie Hébert","is_ca":true},{"name":"Joël Macoir","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05966146542369261,"gpt":0.3548026913303271,"spread":0.2951412259066345,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004667522,0.000511595,0.0005241396,0.001659763,0.0002999765,0.001554607,0.0004501319,0.0007955032,0.001098367],"category_scores_gemma":[0.000944341,0.0001125148,0.0001457712,0.0007733046,0.002907881,0.002613638,0.0006077978,0.0007817381,0.0002266128],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0004777712,"about_ca_system_score_gemma":0.0004756598,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0008427989,"about_ca_topic_score_gemma":0.001116487,"domain_scores_codex":[0.9999058,0.00002561879,0.000009741543,0.0000217455,0.00002041137,0.00001660199],"domain_scores_gemma":[0.999658,0.0001848602,0.00005440132,0.00002433258,0.00004079366,0.00003760641],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"design_other","study_design_gemma":"theoretical_or_conceptual","study_design_scores_codex":[0.0003286161,0.0003511171,0.05938222,0.002009119,0.0002413117,0.006775253,0.004013362,0.002474652,0.01820341,0.05814864,0.003441325,0.844631],"study_design_scores_gemma":[0.00006163507,0.001115306,0.2844082,0.0009995537,0.0001431917,0.03000266,0.006004299,0.002567363,0.004952857,0.611187,0.05841391,0.0001440026],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"review","genre_gemma":"empirical","genre_scores_codex":[0.2926446,0.6152015,0.01893125,0.0141884,0.0003405134,0.00004746102,0.0002767024,0.0002094043,0.05816015],"genre_scores_gemma":[0.7779859,0.2074539,0.009010529,0.001560264,0.0007313865,0.00005962168,0.0001165981,0.00002285736,0.003058926],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.001659763,"threshold_uncertainty_score":0.003674388,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2092987312","doi":"10.1525/mp.2004.21.4.499","title":"Parsing of Melody: Quantification and Testing of the Local Grouping Rules of Lerdahl and Jackendoff's A Generative Theory of Tonal Music","year":2004,"lang":"en","type":"article","venue":"Music Perception An Interdisciplinary Journal","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":76,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Dalhousie University","funders":"","keywords":"Melody; Rhyme; Psychology; Generative grammar; Speech recognition; Sonority hierarchy; Parsing; Repetition (rhetorical device); Singing; Linguistics; Mathematics; Musical; Computer science; Artificial intelligence; Art; Philosophy; Acoustics; Literature","authors":[{"name":"Bradley W. Frankland","is_ca":true},{"name":"Annabel J. Cohen","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1007608549063094,"gpt":0.3259170644144244,"spread":0.225156209508115,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.008848433,0.0009086031,0.0004517518,0.0007325801,0.0004042959,0.001273584,0.001392081,0.0006656253,0.001301602],"category_scores_gemma":[0.02652396,0.0005985863,0.0005317412,0.0003993081,0.003106116,0.00205661,0.001707591,0.0009801917,0.0001724316],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0009355156,"about_ca_system_score_gemma":0.0005481701,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001688292,"about_ca_topic_score_gemma":0.0008583602,"domain_scores_codex":[0.9971,0.0009667155,0.0001845766,0.0009618122,0.0006212423,0.0001655627],"domain_scores_gemma":[0.9740741,0.01899017,0.002665483,0.002776227,0.001130192,0.0003638562],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"bench_or_experimental","study_design_gemma":"simulation_or_modeling","study_design_scores_codex":[0.00413991,0.001990263,0.0801366,0.000849821,0.0003861837,0.0005824884,0.00918801,0.04844533,0.6119868,0.03086425,0.0004288519,0.2110016],"study_design_scores_gemma":[0.0004698973,0.003813257,0.2700985,0.0000959205,0.0002036499,0.0006808678,0.001874238,0.4617713,0.2201116,0.03951837,0.001023349,0.0003389626],"study_design_candidate":"simulation_or_modeling","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9689375,0.00005988008,0.03000282,0.00003173254,0.000004779115,0.0001014574,0.00003762975,0.00009588706,0.0007283744],"genre_scores_gemma":[0.9805239,0.00003365584,0.01906838,0.00002838104,0.000004620475,0.00008645799,0.00009033749,0.00003755777,0.0001265485],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.008848433,"threshold_uncertainty_score":0.04679555,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2027438839","doi":"10.1525/mp.2007.25.2.153","title":"Local Processing Advantage in Musicians: Evidence from Disembedding and Constructional Tasks","year":2007,"lang":"en","type":"article","venue":"Music Perception An Interdisciplinary Journal","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":76,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Manitoba","funders":"","keywords":"Psychology; Cognitive psychology; Visual processing; Information processing; Communication; Cognitive science; Perception","authors":[{"name":"Brenda M. Stoesz","is_ca":true},{"name":"Lorna S. Jakobson","is_ca":true},{"name":"Andrea R. Kilgour","is_ca":true},{"name":"Samantha Lewycky","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05451499411590153,"gpt":0.3662794251570567,"spread":0.3117644310411552,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001056646,0.0004778561,0.0004619712,0.0009786945,0.0002455841,0.0007109231,0.0003821565,0.0004603447,0.007691205],"category_scores_gemma":[0.007336559,0.0002932227,0.0001557074,0.0003757241,0.001167151,0.001222689,0.001146534,0.0004371921,0.001044884],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001235546,"about_ca_system_score_gemma":0.0001534772,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0006112966,"about_ca_topic_score_gemma":0.001298395,"domain_scores_codex":[0.999451,0.00007343502,0.00005930168,0.0001778595,0.0001774398,0.00006101199],"domain_scores_gemma":[0.9948668,0.001998674,0.001176789,0.001055133,0.0002903457,0.0006121581],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"bench_or_experimental","study_design_gemma":"bench_or_experimental","study_design_scores_codex":[0.008358283,0.001404472,0.2205533,0.001220364,0.0003158228,0.001833489,0.007055554,0.0004382383,0.4962949,0.001809279,0.001503425,0.2592129],"study_design_scores_gemma":[0.0002595309,0.002064731,0.9584394,0.00007640395,0.0001035537,0.003316042,0.0009727404,0.0005797889,0.02826229,0.002580909,0.003308732,0.00003593924],"study_design_candidate":"bench_or_experimental","study_design_consensus":"bench_or_experimental","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9953565,0.0004502809,0.0005724877,0.00005743181,0.000006812802,0.000008847813,0.00004651334,0.00002836165,0.003472813],"genre_scores_gemma":[0.9963728,0.0003505198,0.00123756,0.0001075422,0.0000217044,0.00001306318,0.000140352,0.00003471613,0.001721705],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.007691205,"threshold_uncertainty_score":0.02572966,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1992596581","doi":"10.1525/mp.2011.28.3.247","title":"Experiential and Cognitive Changes Following Seven Minutes Exposure to Music and Speech","year":2011,"lang":"en","type":"article","venue":"Music Perception An Interdisciplinary Journal","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":72,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"The Scarborough Hospital; University of Toronto","funders":"","keywords":"Psychology; Cognition; Stimulus (psychology); Experiential learning; Arousal; Cognitive psychology; Creativity; Music and emotion; Valence (chemistry); Emotional valence; Music education; Social psychology","authors":[{"name":"G. Ilie","is_ca":true},{"name":"William Forde Thompson","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.08092508423432167,"gpt":0.3270697576451905,"spread":0.2461446734108689,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002742899,0.000476806,0.0003935369,0.0001902683,0.000203238,0.0005139009,0.0001915409,0.000366374,0.003367302],"category_scores_gemma":[0.0016661,0.0001716404,0.0002433765,0.0001307829,0.0005411493,0.0001867589,0.0005943026,0.0007741628,0.0002055001],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000163689,"about_ca_system_score_gemma":0.0001589371,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0002416723,"about_ca_topic_score_gemma":0.0005497626,"domain_scores_codex":[0.99979,0.00003423327,0.00001268103,0.00004936144,0.00006320822,0.00005056585],"domain_scores_gemma":[0.9992135,0.0003144699,0.0001382614,0.00007730081,0.0000711793,0.000185245],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"bench_or_experimental","study_design_gemma":"observational","study_design_scores_codex":[0.009961556,0.003019134,0.01492363,0.0003198343,0.0001144593,0.0007981805,0.005799355,0.0001542394,0.934853,0.0002354527,0.0002030755,0.02961817],"study_design_scores_gemma":[0.0003785896,0.02940745,0.7646974,0.00003799131,0.0002079297,0.001029198,0.005305612,0.0006947296,0.1951248,0.0009048789,0.00209751,0.0001140113],"study_design_candidate":"observational","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9991741,0.00006690298,0.0002223673,0.00001551053,0.000009529306,0.00001793266,0.00003627129,0.000007331444,0.0004501613],"genre_scores_gemma":[0.9976479,0.0001188748,0.000698651,0.00004180375,0.00001682625,0.00009122596,0.0001427581,0.00000685858,0.001235037],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.003367302,"threshold_uncertainty_score":0.01126474,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2016238244","doi":"10.1525/mp.2004.22.2.297","title":"Influences of Large-Scale Form on Continuous Ratings in Response to a Contemporary Piece in a Live Concert Setting","year":2004,"lang":"en","type":"article","venue":"Music Perception An Interdisciplinary Journal","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":70,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"McGill University; Centre for Interdisciplinary Research in Music Media and Technology","funders":"","keywords":"Dynamics (music); Musical; Active listening; Repetition (rhetorical device); Scale (ratio); Context (archaeology); Psychology; Presentation (obstetrics); Cognitive psychology; Visual arts; Communication; Art; Linguistics; History; Cartography; Geography","authors":[{"name":"Stephen McAdams","is_ca":true},{"name":"Bradley W. Vines","is_ca":true},{"name":"Sandrine Vieillard","is_ca":true},{"name":"Bennett K. Smith","is_ca":true},{"name":"Roger Reynolds","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0422753749233585,"gpt":0.3525710830345264,"spread":0.310295708111168,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005753938,0.0003513197,0.0002999862,0.0003095067,0.0001530989,0.0005589542,0.0001984117,0.0003025419,0.002297047],"category_scores_gemma":[0.01301122,0.000199637,0.0001709269,0.0001450519,0.0004310698,0.0002478675,0.000564478,0.0004320456,0.0003533571],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001251858,"about_ca_system_score_gemma":0.00008220573,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0005267564,"about_ca_topic_score_gemma":0.000958531,"domain_scores_codex":[0.9992161,0.0002418353,0.00003550759,0.000194073,0.0002620175,0.00005039999],"domain_scores_gemma":[0.9948955,0.003176423,0.0005335447,0.0004159908,0.0004531475,0.0005253383],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"bench_or_experimental","study_design_gemma":"observational","study_design_scores_codex":[0.005635411,0.0003723181,0.06116194,0.0001369374,0.0001169078,0.000625053,0.002864407,0.0006642277,0.8718296,0.0001317115,0.0002468077,0.0562146],"study_design_scores_gemma":[0.00005648547,0.002037075,0.9798893,0.00001092661,0.00005066227,0.0004437722,0.0004833415,0.0015093,0.01503828,0.0001297882,0.0003173954,0.00003363554],"study_design_candidate":"observational","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9972091,0.00003389114,0.0006341899,0.00001090916,0.000009298568,0.00002317047,0.00004220766,0.00001587034,0.002021408],"genre_scores_gemma":[0.9981682,0.00004489927,0.0008988337,0.00002472449,0.00001233515,0.00002917795,0.00009408352,0.00002789112,0.0006997915],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.002297047,"threshold_uncertainty_score":0.00768435,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2581120365","doi":"10.1525/mp.2017.34.3.327","title":"Global Music Recordings Support the Motor Constraint Hypothesis for Human and Avian Song Contour","year":2017,"lang":"en","type":"article","venue":"Music Perception An Interdisciplinary Journal","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":68,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Canadian Institute for Advanced Research","funders":"","keywords":"Melody; Ethnomusicology; Singing; Problem of universals; Constraint (computer-aided design); Musical; Psychology; Parallels; Pitch contour; Music theory; Cognitive psychology; Linguistics; Communication; Art; Literature; Artificial intelligence; Computer science; Mathematics; Acoustics; Philosophy","authors":[{"name":"Patrick E. Savage","is_ca":false},{"name":"Adam Tierney","is_ca":false},{"name":"Aniruddh D. Patel","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1074571851498588,"gpt":0.3642905457973357,"spread":0.256833360647477,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000523165,0.0002555531,0.0002410073,0.0009011325,0.0003771903,0.0007220343,0.0001863423,0.0002857718,0.003639144],"category_scores_gemma":[0.00343164,0.0001511599,0.0001696667,0.0006970313,0.001082651,0.0006153058,0.0008557294,0.0002452818,0.0004349256],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001647734,"about_ca_system_score_gemma":0.00012628,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002049897,"about_ca_topic_score_gemma":0.004377801,"domain_scores_codex":[0.9994515,0.00005861088,0.00004470018,0.0003116717,0.0001021325,0.00003147124],"domain_scores_gemma":[0.9983199,0.0005010366,0.0005037407,0.0002733569,0.0002624364,0.000139532],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"observational","study_design_scores_codex":[0.001246512,0.00005350102,0.5945543,0.0005030207,0.0004780645,0.0004710882,0.008554113,0.0008650353,0.2491305,0.002267319,0.0009842414,0.1408924],"study_design_scores_gemma":[0.000004473274,0.00004779622,0.9964753,0.0000106508,0.00001438535,0.0002876892,0.0005911661,0.0003533505,0.001189274,0.0004668116,0.0005490464,0.0000101197],"study_design_candidate":"observational","study_design_consensus":"observational","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9817981,0.000496866,0.008226167,0.00008202148,0.00001788928,0.00002158724,0.0004957403,0.00004542158,0.008816182],"genre_scores_gemma":[0.9968405,0.0001065321,0.002094429,0.00004046734,0.00001367207,0.00001323637,0.0004116534,0.00003056617,0.000448947],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.003639144,"threshold_uncertainty_score":0.01217413,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2160838747","doi":"10.1525/mp.2009.26.5.475","title":"Facial Expressions and Emotional Singing: A Study of Perception and Production with Motion Capture and Electromyography","year":2009,"lang":"en","type":"article","venue":"Music Perception An Interdisciplinary Journal","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":68,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Toronto Metropolitan University; McGill University","funders":"","keywords":"Psychology; Imitation; Facial expression; Singing; Emotional expression; Perception; Stimulus (psychology); Facial electromyography; Cognitive psychology; Communication; Electromyography; Speech recognition; Social psychology; Computer science; Acoustics; Neuroscience","authors":[{"name":"Steven R. Livingstone","is_ca":true},{"name":"William Forde Thompson","is_ca":false},{"name":"Frank Russo","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03015742905498992,"gpt":0.3057313404851292,"spread":0.2755739114301393,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003738851,0.0002002169,0.0002245598,0.0002398039,0.0001476504,0.0003198979,0.0001180214,0.0003312695,0.001128991],"category_scores_gemma":[0.002053199,0.00018907,0.0001354326,0.0002478805,0.000454531,0.0003047179,0.0002284187,0.0001933621,0.0002687361],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00009247156,"about_ca_system_score_gemma":0.00008246404,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0005502501,"about_ca_topic_score_gemma":0.0006920742,"domain_scores_codex":[0.9997681,0.00007626184,0.00001139154,0.00006588423,0.00005065079,0.00002766466],"domain_scores_gemma":[0.9996845,0.0001551993,0.00006269135,0.00002628862,0.00004710853,0.00002437248],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"bench_or_experimental","study_design_gemma":"observational","study_design_scores_codex":[0.002124282,0.000343315,0.0865429,0.0002881358,0.0001241316,0.001154687,0.008394403,0.0003218666,0.8087742,0.0004543048,0.0002742923,0.09120353],"study_design_scores_gemma":[0.0001094288,0.001802415,0.9558582,0.00002994061,0.00008137103,0.003390895,0.002467468,0.001823887,0.03201708,0.0003807707,0.002004254,0.00003434653],"study_design_candidate":"observational","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9966866,0.0002830755,0.002052755,0.00001719495,0.000005450524,0.00002901458,0.00003763786,0.000004860249,0.0008834432],"genre_scores_gemma":[0.9966609,0.0002380626,0.002230821,0.00002201263,0.00001790252,0.00004394528,0.00006145023,0.000008870534,0.0007160101],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.001128991,"threshold_uncertainty_score":0.003776908,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2021330098","doi":"10.1525/mp.2003.21.1.119","title":"Learning the “Special Note”: Evidence for a Critical Period for Absolute Pitch Acquisition","year":2003,"lang":"en","type":"article","venue":"Music Perception An Interdisciplinary Journal","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":67,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Queen's University","funders":"","keywords":"Psychology; Period (music); Tone (literature); Audiology; Set (abstract data type); Perception; Developmental psychology; Speech recognition; Medicine; Computer science; Literature; Art","authors":[{"name":"Frank Russo","is_ca":true},{"name":"Deborah Windell","is_ca":true},{"name":"Lola L. Cuddy","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1052680625992953,"gpt":0.408579778408646,"spread":0.3033117158093507,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007469627,0.0003698776,0.0004347426,0.0005534263,0.0003462661,0.0006451458,0.0004699248,0.0008958183,0.003386283],"category_scores_gemma":[0.003918433,0.0004275742,0.0002478952,0.0001424306,0.001102377,0.001008728,0.001063706,0.0009969752,0.000806178],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0002501095,"about_ca_system_score_gemma":0.000562507,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001209957,"about_ca_topic_score_gemma":0.002102862,"domain_scores_codex":[0.9995,0.00003428795,0.00005130246,0.0001345375,0.0001702371,0.0001095153],"domain_scores_gemma":[0.9952934,0.000801081,0.001848058,0.0005227848,0.0005674296,0.0009672696],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"bench_or_experimental","study_design_gemma":"observational","study_design_scores_codex":[0.004727081,0.001307723,0.2421614,0.0004599017,0.0001013888,0.004629033,0.00342129,0.0002223544,0.6278682,0.001803724,0.00142082,0.111877],"study_design_scores_gemma":[0.00006357348,0.003045301,0.9443055,0.00006334327,0.00004439736,0.003961585,0.0005291961,0.0002664223,0.04443948,0.0008658952,0.002383178,0.00003206274],"study_design_candidate":"observational","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9981027,0.0002090038,0.0004237181,0.00005143287,0.0000157239,0.000009963056,0.00007314234,0.00002519621,0.001089182],"genre_scores_gemma":[0.9971759,0.000189088,0.001369144,0.00007822213,0.00001471105,0.00003335209,0.0002331056,0.00001382702,0.0008925481],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.003386283,"threshold_uncertainty_score":0.01132828,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2083220765","doi":"10.1525/mp.2012.30.2.147","title":"The Vocal Generosity Effect: How Bad Can Your Singing Be?","year":2012,"lang":"en","type":"article","venue":"Music Perception An Interdisciplinary Journal","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":67,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Université de Montréal; International Laboratory for Brain, Music and Sound Research","funders":"","keywords":"Melody; Timbre; Mistuning; Generosity; Singing; Tone (literature); Violin; Psychology; Context (archaeology); Speech recognition; Acoustics; Audiology; Computer science; Linguistics; Art; Philosophy; Musical; History; Physics; Visual arts","authors":[{"name":"Sean Hutchins","is_ca":true},{"name":"Catherine Roquet","is_ca":true},{"name":"Isabelle Peretz","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.06637640481507727,"gpt":0.3409969996236053,"spread":0.274620594808528,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.006205684,0.0003751147,0.0005244034,0.0006398092,0.0006154965,0.001444799,0.0004161276,0.001491545,0.002783402],"category_scores_gemma":[0.04206374,0.0002491579,0.0003567062,0.0002373943,0.001600023,0.001603814,0.001292232,0.0009203141,0.0005146602],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0003403125,"about_ca_system_score_gemma":0.0002077587,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0004425438,"about_ca_topic_score_gemma":0.0008960317,"domain_scores_codex":[0.9977633,0.0007882331,0.0001855316,0.0002801463,0.0008618075,0.0001208973],"domain_scores_gemma":[0.9703887,0.01975737,0.005322851,0.001657126,0.001597323,0.001276738],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"observational","study_design_scores_codex":[0.005557453,0.0003209459,0.6508957,0.0007970465,0.0009038276,0.001107092,0.006241682,0.001128806,0.07629775,0.004972465,0.003077056,0.2487002],"study_design_scores_gemma":[0.00007496134,0.001166079,0.9676198,0.0002521774,0.000284162,0.002545853,0.004833259,0.001936113,0.00949183,0.007723296,0.003964277,0.0001081617],"study_design_candidate":"observational","study_design_consensus":"observational","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9686176,0.00230441,0.005624461,0.003347717,0.0002766245,0.00003214274,0.0001229178,0.00009829648,0.01957575],"genre_scores_gemma":[0.9980224,0.000229517,0.0007115392,0.0004064212,0.00006812083,0.000008273464,0.00003248464,0.00001759436,0.0005034576],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.006205684,"threshold_uncertainty_score":0.03281915,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2097553529","doi":"10.1525/mp.2008.26.2.157","title":"Eye Movements and Music Reading: Where Do We Look Next?","year":2008,"lang":"en","type":"article","venue":"Music Perception An Interdisciplinary Journal","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":61,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Université de Montréal","funders":"","keywords":"Reading (process); Eye movement; Cognitive psychology; Perception; Psychology; Cognitive science; Context (archaeology); Contrast (vision); Cognition; Focus (optics); Computer science; Artificial intelligence; Linguistics; History; Neuroscience","authors":[{"name":"Jaime Madell","is_ca":true},{"name":"Sylvie Hébert","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.07543793567169518,"gpt":0.3332798576551979,"spread":0.2578419219835026,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001494175,0.0007542328,0.001425022,0.001495309,0.0005417094,0.003080806,0.0009553349,0.004680225,0.006230291],"category_scores_gemma":[0.003782612,0.0002655499,0.0009881313,0.00155116,0.001549415,0.006997653,0.0008841416,0.002848287,0.001706952],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0007877114,"about_ca_system_score_gemma":0.001005267,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.004393865,"about_ca_topic_score_gemma":0.004970403,"domain_scores_codex":[0.9996498,0.0001182114,0.00003442521,0.00008974672,0.000051209,0.00005660558],"domain_scores_gemma":[0.998013,0.001186303,0.0003228434,0.00007827392,0.0003007674,0.00009874737],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"design_other","study_design_gemma":"observational","study_design_scores_codex":[0.0006859647,0.000238873,0.01315828,0.007983406,0.0003700153,0.00155229,0.002541349,0.0003605055,0.004819434,0.01999392,0.01832979,0.9299662],"study_design_scores_gemma":[0.000236688,0.002011615,0.2526011,0.02214265,0.001481623,0.01088474,0.0175196,0.001413818,0.004623168,0.2350909,0.4512474,0.0007467095],"study_design_candidate":"observational","study_design_consensus":null,"genre_codex":"review","genre_gemma":"empirical","genre_scores_codex":[0.007251616,0.9573197,0.001942168,0.02735845,0.0008845332,0.00002680396,0.00009093824,0.00004952659,0.00507619],"genre_scores_gemma":[0.06922328,0.9103327,0.003340122,0.007662692,0.004147209,0.00006753369,0.0001535765,0.00003454435,0.005038289],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.006230291,"threshold_uncertainty_score":0.02084243,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2006430088","doi":"10.1525/mp.2011.29.2.157","title":"Music Training and Reading Readiness","year":2011,"lang":"en","type":"article","venue":"Music Perception An Interdisciplinary Journal","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":61,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Saint Mary's University; Western University","funders":"","keywords":"Reading (process); Psychology; Association (psychology); Music perception; Phonological awareness; Perception; Cognitive psychology; Auditory perception; Cognition; Music education; Developmental psychology; Linguistics; Pedagogy","authors":[{"name":"Christine D. Tsang","is_ca":true},{"name":"Nicole J. Conrad","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1671742914623736,"gpt":0.3427208632146456,"spread":0.175546571752272,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001720051,0.0001704482,0.0001461144,0.0004061143,0.0001498608,0.0004113582,0.0001278178,0.0002591269,0.004526882],"category_scores_gemma":[0.002420298,0.00007246811,0.0001437344,0.0001827896,0.0001823784,0.0001634413,0.0002576193,0.000277527,0.0006071847],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001363089,"about_ca_system_score_gemma":0.0001477286,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001465018,"about_ca_topic_score_gemma":0.002451112,"domain_scores_codex":[0.9998747,0.00002878784,0.00001298535,0.00002833231,0.00002672945,0.00002851591],"domain_scores_gemma":[0.9984615,0.0004451014,0.0005913998,0.00005433926,0.0001215705,0.0003260701],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"observational","study_design_scores_codex":[0.0006645875,0.0006740086,0.9438829,0.0001070136,0.00008611519,0.0007861554,0.0004722545,0.0001808516,0.01277286,0.0001800172,0.0003670085,0.03982629],"study_design_scores_gemma":[0.000003413619,0.0001834199,0.9987884,0.000007109087,0.00001157885,0.0002533006,0.00005226969,0.00005596099,0.0004090115,0.00003425155,0.0001990574,0.000002185979],"study_design_candidate":"observational","study_design_consensus":"observational","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.997823,0.0003615653,0.0000515977,0.00004288305,0.000004426382,0.000004127648,0.00006345935,0.0000131005,0.001635937],"genre_scores_gemma":[0.998796,0.0001505607,0.00007079294,0.00001114058,0.00000616128,0.00000400744,0.00008024868,0.00000376411,0.0008773006],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.004526882,"threshold_uncertainty_score":0.01514393,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2090919538","doi":"10.1525/mp.2009.26.3.235","title":"Music Training Facilitates Lexical Stress Processing","year":2009,"lang":"en","type":"article","venue":"Music Perception An Interdisciplinary Journal","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":58,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Université de Montréal","funders":"","keywords":"Modularity (biology); Stress (linguistics); Psychology; Contrast (vision); Repetition (rhetorical device); Cognitive psychology; Focus (optics); Linguistics; Computer science; Artificial intelligence","authors":[{"name":"Régine Kolinsky","is_ca":false},{"name":"Héléne Cuvelier","is_ca":false},{"name":"Vincent Goetry","is_ca":false},{"name":"Isabelle Peretz","is_ca":true},{"name":"José Morais","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1143628701625262,"gpt":0.3647472173944216,"spread":0.2503843472318953,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001629973,0.0002276898,0.0002112584,0.0001546493,0.0001497303,0.0002880006,0.0002024901,0.0002412231,0.002124971],"category_scores_gemma":[0.0009215074,0.0001217782,0.00008413521,0.0000548058,0.0003759825,0.0001826863,0.0003393909,0.0002862025,0.0002424084],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001280556,"about_ca_system_score_gemma":0.0001567099,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001030702,"about_ca_topic_score_gemma":0.002147616,"domain_scores_codex":[0.9998841,0.00002312213,0.000007556634,0.00003778843,0.00002055106,0.00002695371],"domain_scores_gemma":[0.9995913,0.000132789,0.00007666207,0.00004018504,0.00003689771,0.0001221667],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"bench_or_experimental","study_design_gemma":"observational","study_design_scores_codex":[0.001181848,0.000297032,0.006244941,0.00005536334,0.0000145465,0.0001700251,0.0005985714,0.00003392592,0.9763051,0.00005659453,0.0000579505,0.01498399],"study_design_scores_gemma":[0.0002682816,0.0134296,0.6473338,0.00003757834,0.0001157654,0.001239155,0.002346151,0.002634326,0.3283768,0.0007787129,0.003390926,0.00004887673],"study_design_candidate":"observational","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9996685,0.00002832701,0.0000933696,0.00001377663,0.000002656329,0.000001506723,0.000005351188,0.000005079625,0.0001814405],"genre_scores_gemma":[0.998592,0.00005537662,0.0004878069,0.00002949794,0.000004047537,0.000006734239,0.00002423775,0.000006004621,0.0007943403],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.002124971,"threshold_uncertainty_score":0.007108688,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2103108439","doi":"10.1525/mp.2008.25.3.241","title":"Is There an Asian Advantage for Pitch Memory?","year":2008,"lang":"en","type":"article","venue":"Music Perception An Interdisciplinary Journal","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":58,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"University of Toronto","funders":"","keywords":"Tone (literature); Musical; Psychology; Task (project management); Cognitive psychology; Affect (linguistics); Isolation (microbiology); Linguistics; History; Communication; Literature; Art; Engineering; Biology","authors":[{"name":"E. Glenn Schellenberg","is_ca":true},{"name":"Sandra E. Trehub","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.09078254039685942,"gpt":0.3693405570752689,"spread":0.2785580166784095,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007731358,0.0004111873,0.0004181486,0.0005213669,0.0006212777,0.001235304,0.0005243054,0.0004235816,0.009304771],"category_scores_gemma":[0.001815333,0.0002076173,0.000379661,0.0007846634,0.0006726691,0.001152022,0.0005660917,0.0004549647,0.0009610777],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0003150861,"about_ca_system_score_gemma":0.0004736423,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01384353,"about_ca_topic_score_gemma":0.01873176,"domain_scores_codex":[0.9996634,0.0000387096,0.0000404265,0.000104716,0.00007350079,0.00007925336],"domain_scores_gemma":[0.9986662,0.0002465746,0.0003802564,0.0001760412,0.0002234282,0.0003075679],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"observational","study_design_scores_codex":[0.001027326,0.0002511088,0.9144706,0.0001632473,0.0003638213,0.002723925,0.005447507,0.00002738254,0.01963363,0.001653772,0.001036533,0.05320124],"study_design_scores_gemma":[0.00003742547,0.0005109957,0.9824499,0.00007101191,0.0002106881,0.004128979,0.00688887,0.00009577785,0.001949093,0.0007777544,0.002850998,0.000028565],"study_design_candidate":"observational","study_design_consensus":"observational","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9938985,0.0005367238,0.0000957832,0.0005862971,0.00003866302,0.000003034914,0.0001583203,0.000009381917,0.004673334],"genre_scores_gemma":[0.9981194,0.000317319,0.00020756,0.0002602946,0.00002481025,0.000003006623,0.00009149426,0.000009169459,0.0009668804],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.01384353,"threshold_uncertainty_score":0.03112751,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2032589776","doi":"10.1525/mp.2010.28.2.155","title":"Sound Source Mechanics and Musical Timbre Perception: Evidence From Previous Studies","year":2010,"lang":"en","type":"article","venue":"Music Perception An Interdisciplinary Journal","topic":"Music and Audio Processing","field":"Computer Science","cited_by":57,"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":"Timbre; Perception; Multidimensional scaling; Musical; Pitch (Music); Identification (biology); Psychology; Sound (geography); Focus (optics); Acoustics; Cognitive psychology; Computer science; Speech recognition; Physics; Art","authors":[{"name":"Bruno L. Giordano","is_ca":true},{"name":"Stephen McAdams","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.06183478687673855,"gpt":0.3505562837196472,"spread":0.2887214968429087,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005360107,0.0004195255,0.0006089154,0.001843232,0.000565681,0.001796773,0.0007507163,0.001110671,0.007243111],"category_scores_gemma":[0.03860165,0.0004702487,0.000391437,0.001456897,0.001788033,0.001581159,0.001725858,0.0005549944,0.0009866877],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0002112999,"about_ca_system_score_gemma":0.0002163402,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0009215109,"about_ca_topic_score_gemma":0.001107789,"domain_scores_codex":[0.9984002,0.0003441513,0.0002237371,0.0004460509,0.0005120685,0.00007384],"domain_scores_gemma":[0.9511911,0.03257899,0.008493212,0.003419226,0.003551087,0.0007665071],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"systematic_review","study_design_scores_codex":[0.005376755,0.0009939226,0.7601957,0.004325553,0.001407718,0.001050624,0.01499797,0.0009816467,0.06763729,0.002653999,0.0005176029,0.1398611],"study_design_scores_gemma":[0.00002934437,0.0003391591,0.9928032,0.0001223908,0.0001297158,0.0005673183,0.0009027646,0.0003170404,0.002614147,0.001076396,0.001068587,0.00002991889],"study_design_candidate":"systematic_review","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"review","genre_scores_codex":[0.9814855,0.006975612,0.003086823,0.0002800213,0.00004372436,0.0000323354,0.000130485,0.00001805101,0.007947465],"genre_scores_gemma":[0.9956641,0.002489726,0.0009604989,0.0001175905,0.0001168414,0.00002285648,0.0001560617,0.00001609642,0.0004563508],"genre_candidate":"review","genre_consensus":null,"teacher_disagreement_score":0.007243111,"threshold_uncertainty_score":0.02834731,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1998549181","doi":"10.1525/mp.2003.21.1.105","title":"On the Nature of Early Music Training and Absolute Pitch: A Reply to Brown, Sachs, Cammuso, and Folstein","year":2003,"lang":"en","type":"article","venue":"Music Perception An Interdisciplinary Journal","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":54,"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":"Absolute (philosophy); Absolute pitch; Perception; Psychology; Point (geometry); Musical; Cognitive psychology; Speech recognition; Computer science; Mathematics; Epistemology; Art; Philosophy; Visual arts; Neuroscience","authors":[{"name":"Daniel J. Levitin","is_ca":true},{"name":"Robert J. Zatorre","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.06598657986200021,"gpt":0.3226443224763816,"spread":0.2566577426143813,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.02045446,0.00141844,0.003028147,0.001381208,0.003788534,0.00466623,0.007635248,0.03748245,0.002694439],"category_scores_gemma":[0.0528085,0.0008476906,0.001290247,0.001437417,0.01556468,0.01399347,0.006009964,0.06130961,0.002343052],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003018908,"about_ca_system_score_gemma":0.003310803,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.004970271,"about_ca_topic_score_gemma":0.00664296,"domain_scores_codex":[0.9931318,0.002055386,0.0008188411,0.001591093,0.001962119,0.0004408434],"domain_scores_gemma":[0.9241295,0.05758817,0.002605764,0.002063247,0.01062661,0.002986751],"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":[0.0002426941,0.00007289835,0.001179641,0.0003008223,0.00007919103,0.0003912601,0.001509639,0.0001629022,0.0004151239,0.02245239,0.9445524,0.0286411],"study_design_scores_gemma":[0.0003125463,0.0002118389,0.006865669,0.001769286,0.0001860032,0.002206325,0.006093781,0.0009616348,0.001854439,0.1782507,0.8008296,0.0004581704],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"commentary","genre_gemma":"commentary","genre_scores_codex":[0.0004011862,0.008882234,0.0002808271,0.9784231,0.01171985,0.000001824303,0.00001680404,0.00001588088,0.0002583693],"genre_scores_gemma":[0.01108423,0.008915526,0.0007861917,0.92731,0.04913471,0.00003111747,0.00002630482,0.00005751745,0.002654414],"genre_candidate":"commentary","genre_consensus":"commentary","teacher_disagreement_score":0.03748245,"threshold_uncertainty_score":0.1081749,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2053208494","doi":"10.1525/mp.2006.24.2.147","title":"Pitch and Timing in the Songs of Deaf Children With Cochlear Implants","year":2006,"lang":"en","type":"article","venue":"Music Perception An Interdisciplinary Journal","topic":"Hearing Loss and Rehabilitation","field":"Neuroscience","cited_by":53,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":true,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Toronto","funders":"Social Sciences and Humanities Research Council of Canada; University of Toronto","keywords":"Cochlear implant; Audiology; Rhythm; Psychology; Pleasure; Cochlear implantation; Medicine; Acoustics; Physics; Neuroscience","authors":[{"name":"Takayuki Nakata","is_ca":true},{"name":"Sandra E. Trehub","is_ca":true},{"name":"Chisato Mitani","is_ca":false},{"name":"Yukihiko Kanda","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03328357514269674,"gpt":0.3146116203338145,"spread":0.2813280451911177,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003475884,0.0002564946,0.0003569706,0.0009043166,0.0001883801,0.0003795137,0.0001682584,0.0002138119,0.00172196],"category_scores_gemma":[0.002385501,0.0001337613,0.0001972777,0.0003910629,0.0004624803,0.0002638366,0.0004575894,0.0002324671,0.0003050929],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001950248,"about_ca_system_score_gemma":0.0001754703,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.003430184,"about_ca_topic_score_gemma":0.003672668,"domain_scores_codex":[0.9997846,0.00002064926,0.00003280736,0.00004985389,0.00006372555,0.00004829476],"domain_scores_gemma":[0.9990945,0.000272698,0.0002447915,0.00005740561,0.0001567186,0.0001739853],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"observational","study_design_scores_codex":[0.002319067,0.000280158,0.8383192,0.000251114,0.0001273881,0.00310635,0.01323035,0.0003768525,0.08367348,0.0002155308,0.0003214889,0.05777901],"study_design_scores_gemma":[0.00001342139,0.0004252438,0.9919516,0.000006181206,0.00002397098,0.002251283,0.001687074,0.0001584327,0.00305939,0.00003457029,0.0003714936,0.00001733656],"study_design_candidate":"observational","study_design_consensus":"observational","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9996252,0.0000487832,0.00004366884,0.000003362069,0.000002532098,0.000002757356,0.00007857483,0.000002557044,0.0001925376],"genre_scores_gemma":[0.9992471,0.00007935866,0.0001976883,0.000006206687,0.000002598033,0.00000577848,0.0001445184,0.000002446028,0.0003143138],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.003430184,"threshold_uncertainty_score":0.00682044,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2095313760","doi":"10.1525/mp.2005.22.3.563","title":"The Neural Locus of Temporal Structure and Expectancies in Music: Evidence From Functional Neuroimaging At 3 Tesla","year":2005,"lang":"en","type":"article","venue":"Music Perception An Interdisciplinary Journal","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":50,"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":"Timbre; Psychology; Functional magnetic resonance imaging; Neuroimaging; Temporal cortex; Loudness; Auditory cortex; Stimulus (psychology); Lateralization of brain function; Cognitive psychology; Neural correlates of consciousness; Neuroscience; Musical; Audiology; Cognition; Art; Literature","authors":[{"name":"Daniel J. Levitin","is_ca":true},{"name":"Vinod Menon","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.06420979742259632,"gpt":0.3208142990326746,"spread":0.2566045016100783,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002082573,0.0001015207,0.00009660657,0.000248551,0.000182591,0.000349323,0.0001829577,0.0002953393,0.001384427],"category_scores_gemma":[0.001036953,0.0001828184,0.00009294,0.000138564,0.0005242911,0.000428825,0.0002032323,0.0003104944,0.0001110064],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001882329,"about_ca_system_score_gemma":0.0001339056,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001044938,"about_ca_topic_score_gemma":0.003812373,"domain_scores_codex":[0.9999615,0.000006486015,0.000002514523,0.00001233511,0.000009364237,0.000007806798],"domain_scores_gemma":[0.9996476,0.0001095905,0.0001416018,0.00002340732,0.00003581512,0.00004188115],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"bench_or_experimental","study_design_gemma":"observational","study_design_scores_codex":[0.0003562437,0.00003982371,0.0118972,0.00009476374,0.00003176089,0.0004629703,0.000460278,0.00008536357,0.9772471,0.0004422497,0.0001094056,0.008772785],"study_design_scores_gemma":[0.00006529051,0.0002941396,0.8998491,0.00002792125,0.00007877342,0.003378133,0.000481185,0.001090649,0.09162953,0.002055682,0.001027027,0.00002268285],"study_design_candidate":"observational","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9964048,0.0002338334,0.002107341,0.0001262185,0.00000452479,0.000005746497,0.00006028113,0.00001345263,0.001043785],"genre_scores_gemma":[0.996992,0.0002391791,0.002272091,0.00005041592,0.00001069189,0.00001208205,0.00009540892,0.000007803877,0.0003202702],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.001384427,"threshold_uncertainty_score":0.0046314,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1965781664","doi":"10.1525/mp.2013.30.4.361","title":"Facial Mimicry in Response to Song","year":2012,"lang":"en","type":"article","venue":"Music Perception An Interdisciplinary Journal","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":49,"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":"Singing; Psychology; Facial electromyography; Mimicry; Facial expression; Facial muscles; Stimulus (psychology); Audiology; Communication; Cognitive psychology; Electromyography; Emotional expression; Neuroscience; Acoustics; Medicine","authors":[{"name":"Lisa P. Chan","is_ca":true},{"name":"Steven R. Livingstone","is_ca":true},{"name":"Frank Russo","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.07010446398721096,"gpt":0.3644178628390093,"spread":0.2943133988517984,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001515453,0.0001893486,0.0002291621,0.0001635472,0.00008773577,0.000143393,0.000121805,0.0003074747,0.001626912],"category_scores_gemma":[0.001464488,0.00009443182,0.0001503392,0.00006662859,0.0001653354,0.0001298366,0.0002965121,0.0002853555,0.0001986148],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001327912,"about_ca_system_score_gemma":0.00007985473,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0003574755,"about_ca_topic_score_gemma":0.0005629811,"domain_scores_codex":[0.9998387,0.00003294735,0.000007270266,0.00004132153,0.00004962406,0.00003010451],"domain_scores_gemma":[0.9997476,0.00009372868,0.00004987435,0.00002879887,0.00003693577,0.00004308389],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"bench_or_experimental","study_design_gemma":"observational","study_design_scores_codex":[0.0004427113,0.00002017416,0.002408931,0.00003702837,0.000007970072,0.000268571,0.0001842603,0.00005593319,0.9914497,0.00004054885,0.00005393533,0.005030316],"study_design_scores_gemma":[0.00008858387,0.00495882,0.6283755,0.00003542515,0.00009551582,0.004226513,0.0008088469,0.004324106,0.3543307,0.0002979047,0.002422178,0.00003600828],"study_design_candidate":"observational","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9975989,0.0001215945,0.0007838767,0.00002419407,0.00002123309,0.00002003564,0.00004347799,0.00001755089,0.001369055],"genre_scores_gemma":[0.9979241,0.00006858657,0.0008314962,0.00003227465,0.0000106082,0.00002503652,0.00005767878,0.000007172776,0.001043059],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.001626912,"threshold_uncertainty_score":0.00544256,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2225000570","doi":"10.1525/mp.2014.31.3.254","title":"The Tonal-Metric Hierarchy","year":2012,"lang":"en","type":"article","venue":"Music Perception An Interdisciplinary Journal","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":46,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"The Scarborough Hospital; University of Toronto","funders":"","keywords":"Tonality; Hierarchy; Metric (unit); Mathematics; Speech recognition; Computer science; Musical; Engineering; Art","authors":[{"name":"Jon B. Prince","is_ca":false},{"name":"Mark A. Schmuckler","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.06497391990286945,"gpt":0.3565673461294791,"spread":0.2915934262266097,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004627571,0.0001574164,0.000233807,0.001236013,0.0005943227,0.001681905,0.0003102332,0.0002174478,0.004070627],"category_scores_gemma":[0.00370925,0.0002216798,0.0001887303,0.001158354,0.001511652,0.002002488,0.0009894557,0.0005912883,0.0006932797],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0004287033,"about_ca_system_score_gemma":0.0004754671,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.003034029,"about_ca_topic_score_gemma":0.003736602,"domain_scores_codex":[0.9994233,0.0001000109,0.00003655391,0.000175431,0.0001982121,0.00006643309],"domain_scores_gemma":[0.9989417,0.0003140359,0.0001529612,0.0002045949,0.0002892927,0.00009746553],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"design_other","study_design_gemma":"theoretical_or_conceptual","study_design_scores_codex":[0.00114622,0.00009778316,0.129015,0.0006750941,0.0002008807,0.0006260516,0.01332145,0.003433926,0.1680229,0.1630888,0.005551603,0.5148204],"study_design_scores_gemma":[0.00004496727,0.0003105696,0.7956571,0.00009536635,0.00008625769,0.001385167,0.004191986,0.0184551,0.006073054,0.1316366,0.0419077,0.0001560481],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8621565,0.0020479,0.07069926,0.0007827711,0.00008890541,0.00007828393,0.0008906735,0.0003071272,0.06294858],"genre_scores_gemma":[0.9899197,0.0002787961,0.007482573,0.00007242999,0.00002944616,0.00001850686,0.0002595862,0.00005216175,0.001886862],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.004070627,"threshold_uncertainty_score":0.01361763,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4281563126","doi":"10.1525/mp.2022.39.5.423","title":"Perceived Motor Synchrony With the Beat is More Strongly Related to Groove Than Measured Synchrony","year":2022,"lang":"en","type":"article","venue":"Music Perception An Interdisciplinary Journal","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":46,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Concordia University","funders":"","keywords":"Beat (acoustics); Groove (engineering); Psychology; Communication; Physics; Acoustics; Engineering; Mechanical engineering","authors":[{"name":"Tomas E. Matthews","is_ca":false},{"name":"Maria A. G. Witek","is_ca":false},{"name":"Joseph Thibodeau","is_ca":true},{"name":"Peter Vuust","is_ca":false},{"name":"Virginia B. Penhune","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03356732721889483,"gpt":0.3069145482415187,"spread":0.2733472210226239,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005828253,0.0002615437,0.0001940173,0.0003260262,0.0001030193,0.000551417,0.0002064569,0.000400412,0.004271592],"category_scores_gemma":[0.01410223,0.0001721423,0.0002144184,0.000162579,0.0003285332,0.0004321826,0.0008511429,0.000361897,0.0002876642],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00009699074,"about_ca_system_score_gemma":0.00007667526,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00046958,"about_ca_topic_score_gemma":0.0007575557,"domain_scores_codex":[0.9994946,0.00008902345,0.00006040494,0.0001303922,0.00018346,0.00004206493],"domain_scores_gemma":[0.9940614,0.002401287,0.002267086,0.0003659527,0.0004545041,0.000449784],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"observational","study_design_scores_codex":[0.002325014,0.0002141699,0.6874114,0.0007188782,0.0003267334,0.0004665954,0.004090311,0.001069369,0.25701,0.0005655826,0.000400029,0.04540195],"study_design_scores_gemma":[0.00001574237,0.0003471573,0.9958417,0.00002279807,0.00002129103,0.000168296,0.0004765297,0.0006637294,0.00192592,0.000289315,0.0002126414,0.00001491278],"study_design_candidate":"observational","study_design_consensus":"observational","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9945818,0.0001530011,0.002714155,0.00003696004,0.00002111299,0.00002808167,0.00009507448,0.00002667059,0.002343162],"genre_scores_gemma":[0.9988798,0.00005285638,0.0007555793,0.000014749,0.000009744698,0.00001329142,0.00007029759,0.000007458534,0.0001960933],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.004271592,"threshold_uncertainty_score":0.01428992,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2058140299","doi":"10.1525/mp.2010.27.5.413","title":"On the Prevalence of Congenital Amusia","year":2010,"lang":"en","type":"article","venue":"Music Perception An Interdisciplinary Journal","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":45,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Audiology; Psychology; Meaning (existential); Cutoff; Test (biology); Tone (literature); Developmental psychology; Medicine; Linguistics","authors":[{"name":"Molly J. Henry","is_ca":false},{"name":"J. Devin McAuley","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04770783793221279,"gpt":0.3304132544472401,"spread":0.2827054165150273,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002997311,0.0002108865,0.0003029523,0.003583107,0.0002793105,0.0007487719,0.0005485007,0.0008920804,0.002687762],"category_scores_gemma":[0.0171982,0.0001658144,0.0002223063,0.001370959,0.001031809,0.001041469,0.0008340473,0.0004357718,0.0006502951],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0003188526,"about_ca_system_score_gemma":0.000250622,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.004054253,"about_ca_topic_score_gemma":0.003191594,"domain_scores_codex":[0.9968362,0.001213081,0.0003196532,0.0004428557,0.001013374,0.0001747521],"domain_scores_gemma":[0.9909593,0.004196211,0.002256217,0.0004176664,0.001861778,0.00030888],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"observational","study_design_scores_codex":[0.00009553339,0.00002349061,0.9834072,0.00004184285,0.00003813543,0.0002139037,0.0005901653,0.00003808567,0.0007041665,0.0002999152,0.0003405645,0.01420698],"study_design_scores_gemma":[0.000001649922,0.00007892395,0.9969648,0.00003939566,0.00002550225,0.001178688,0.0005365014,0.000137967,0.0002100362,0.0001493866,0.000666836,0.00001037442],"study_design_candidate":"observational","study_design_consensus":"observational","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9896922,0.001909712,0.0006879508,0.0004079333,0.00003666494,0.0000152731,0.0008153945,0.00001487332,0.006420021],"genre_scores_gemma":[0.9981494,0.0008367577,0.0003168003,0.00009152511,0.00004177214,0.00001076702,0.000297536,0.000005191876,0.0002501784],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.004054253,"threshold_uncertainty_score":0.0158515,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2580973729","doi":"10.1525/mp.2017.34.3.253","title":"Individual Differences in Music-Perceived Emotions","year":2017,"lang":"en","type":"article","venue":"Music Perception An Interdisciplinary Journal","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":44,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Psychology; Sadness; Anger; Alexithymia; Emotion classification; Happiness; Perception; Cognitive psychology; Social psychology","authors":[{"name":"Liila Taruffi","is_ca":false},{"name":"Rory Allen","is_ca":false},{"name":"John Downing","is_ca":false},{"name":"Pamela Heaton","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1332568358129051,"gpt":0.3644769823615867,"spread":0.2312201465486816,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004072909,0.0001644194,0.0002009555,0.0004245577,0.0001365712,0.0005081587,0.0001034846,0.0002704168,0.002880976],"category_scores_gemma":[0.003347727,0.00009815302,0.0001304083,0.0001626767,0.0001864338,0.0001913202,0.0002859953,0.0002348566,0.0002867013],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00007088145,"about_ca_system_score_gemma":0.00004505276,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0004201194,"about_ca_topic_score_gemma":0.0007234563,"domain_scores_codex":[0.9997614,0.00004475616,0.00002857723,0.0000610047,0.00007191017,0.00003237032],"domain_scores_gemma":[0.9987031,0.0005700133,0.0003439627,0.0000942526,0.0001192131,0.0001694212],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"observational","study_design_scores_codex":[0.00143162,0.0004179442,0.8736522,0.0001004693,0.0002379409,0.0004997364,0.005914202,0.0002853429,0.08874923,0.0001869491,0.0002352915,0.02828922],"study_design_scores_gemma":[0.000007020672,0.0001681327,0.9983115,0.000002108434,0.000009743799,0.0001904516,0.0003578761,0.0001520551,0.0006574713,0.00005077631,0.00008758312,0.000005297531],"study_design_candidate":"observational","study_design_consensus":"observational","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.999275,0.00002639555,0.0000904626,0.000005747561,0.000002544787,0.000006563446,0.00002726691,0.000002410462,0.0005637308],"genre_scores_gemma":[0.9994895,0.00002093733,0.0001132561,0.000007153994,0.000002591793,0.000007823329,0.00004881986,0.000001530259,0.0003083172],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.002880976,"threshold_uncertainty_score":0.009637773,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2144682649","doi":"10.1525/mp.2005.23.2.137","title":"Analyzing Temporal Dynamics in Music","year":2005,"lang":"en","type":"article","venue":"Music Perception An Interdisciplinary Journal","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":44,"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":"Musical; Dynamics (music); Computer science; Tension (geology); Proxy (statistics); Psychology; Visual arts; Art; Machine learning","authors":[{"name":"Bradley W. Vines","is_ca":true},{"name":"Regina Nuzzo","is_ca":true},{"name":"Daniel J. Levitin","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05240900692009149,"gpt":0.3403025248750621,"spread":0.2878935179549706,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004711701,0.0002853277,0.0002270804,0.001349183,0.0004151919,0.001357387,0.0003182667,0.0002896352,0.003047155],"category_scores_gemma":[0.003667411,0.0001455251,0.0002777141,0.001141093,0.001008322,0.001576619,0.0007730669,0.0004254794,0.0002914223],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0004088549,"about_ca_system_score_gemma":0.0002540733,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001518582,"about_ca_topic_score_gemma":0.0008345474,"domain_scores_codex":[0.9997892,0.00004363117,0.00001379572,0.00005819539,0.00007185117,0.00002334522],"domain_scores_gemma":[0.9995351,0.0002508023,0.0000739281,0.00005711408,0.00005800603,0.00002517367],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"observational","study_design_scores_codex":[0.0002198166,0.00004655123,0.006112381,0.000304381,0.00005200228,0.0004427319,0.002791035,0.04809431,0.0851935,0.4369166,0.001911335,0.4179153],"study_design_scores_gemma":[0.00003426632,0.0001227729,0.02475994,0.0001077936,0.00005893406,0.0008353639,0.001335159,0.4224604,0.01387425,0.4979814,0.03833722,0.00009249947],"study_design_candidate":"observational","study_design_consensus":null,"genre_codex":"methods","genre_gemma":"empirical","genre_scores_codex":[0.1730704,0.002901754,0.8045923,0.0005894209,0.0001515567,0.00006577764,0.0003118978,0.000480987,0.01783591],"genre_scores_gemma":[0.8162076,0.002170468,0.1774996,0.00007616761,0.0001591577,0.00007597652,0.0002495383,0.0001446115,0.003416911],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.003047155,"threshold_uncertainty_score":0.01019377,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2145196605","doi":"10.1525/mp.2010.28.2.169","title":"Melodic Contour Similarity Using Folk Melodies","year":2010,"lang":"en","type":"article","venue":"Music Perception An Interdisciplinary Journal","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":44,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"The Scarborough Hospital; University of Toronto","funders":"","keywords":"Melody; Similarity (geometry); Fourier analysis; Pitch contour; Fourier transform; Artificial intelligence; Centrality; Computer science; Speech recognition; Pattern recognition (psychology); Psychology; Communication; Mathematics; Statistics; Mathematical analysis; Art","authors":[{"name":"Mark A. Schmuckler","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.08302497195713299,"gpt":0.3662373097010279,"spread":0.2832123377438949,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007298695,0.0002996783,0.000281883,0.00129912,0.0002490579,0.001637046,0.0002549481,0.0003271823,0.002061602],"category_scores_gemma":[0.00861576,0.0001617402,0.0004104236,0.0005522755,0.0005447652,0.001771437,0.0008498054,0.0003677359,0.000381057],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0003525611,"about_ca_system_score_gemma":0.0001424433,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000831026,"about_ca_topic_score_gemma":0.001024516,"domain_scores_codex":[0.999577,0.00008231262,0.00003044092,0.0001546345,0.000136263,0.00001934356],"domain_scores_gemma":[0.9976268,0.001194044,0.0004793286,0.0003298804,0.0002538042,0.0001162311],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"bench_or_experimental","study_design_gemma":"observational","study_design_scores_codex":[0.002981856,0.000489184,0.2055344,0.0008673809,0.0006061662,0.0003461597,0.004868428,0.01521907,0.5054381,0.01096263,0.0008051812,0.2518814],"study_design_scores_gemma":[0.00009538615,0.001305159,0.7283373,0.00008807427,0.0001549104,0.0007289588,0.001106721,0.1986653,0.05343795,0.01462452,0.001283686,0.0001720083],"study_design_candidate":"observational","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9738497,0.00007960421,0.02213411,0.00002529019,0.00001028697,0.00004633319,0.0001363161,0.0001107929,0.003607556],"genre_scores_gemma":[0.9941695,0.00003494845,0.005435424,0.000007743059,0.000004457635,0.0000197512,0.0001168053,0.00001713127,0.0001942276],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.002061602,"threshold_uncertainty_score":0.006896734,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null}]}