{"meta":{"page":1,"per_page":50,"max_per_page":100,"total":5,"total_is_capped":false,"direct_labels_cover":0,"predictions_cover":5,"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":"7ee0ff2f457f","filters":{"venue":"Muzikologija"}},"results":[{"id":"W2763086522","doi":"10.2298/muz1722039m","title":"Years of sound living: Mikser festival in Savamala (2012-2016)","year":2017,"lang":"en","type":"article","venue":"Muzikologija","topic":"Nostalgia and Consumer Behavior","field":"Psychology","cited_by":4,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"Serbian Academy of Sciences and Arts; Ministarstvo Prosvete, Nauke i Tehnološkog Razvoja; Schweizerischer Nationalfonds zur Förderung der Wissenschaftlichen Forschung; National Science Foundation","keywords":"Nightlife; Soundscape; Tourism; Creativity; Quarter (Canadian coin); Creative economy; Exhibition; History; Visual arts; Sound (geography); Economy; Political science; Sociology; Aesthetics; Art; Law; Archaeology; Economics","authors":[{"name":"Ivana Medić","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05782367452118892,"gpt":0.3530894601708002,"spread":0.2952657856496113,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001136668,0.0003796863,0.0004507019,0.0006615357,0.003951171,0.00361152,0.0003898974,0.0006519249,0.005165638],"category_scores_gemma":[0.0009523786,0.000193757,0.0002923546,0.0004708316,0.0019087,0.0008367116,0.002733327,0.001439338,0.0008874933],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001484171,"about_ca_system_score_gemma":0.0008536637,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01332713,"about_ca_topic_score_gemma":0.06704715,"domain_scores_codex":[0.9994816,0.0001109039,0.00001546386,0.00007285737,0.0001050326,0.0002140678],"domain_scores_gemma":[0.9992871,0.00005486492,0.00006365437,0.00002629045,0.00006272843,0.000505444],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.003459999,0.000986521,0.12103,0.002575809,0.0003522662,0.008257043,0.4883497,0.0008106029,0.01444479,0.01443464,0.156833,0.1884656],"study_design_scores_gemma":[0.00002701937,0.0004624547,0.4779815,0.0004307118,0.00004124644,0.0008407091,0.1843636,0.00006234968,0.0008706051,0.0005557634,0.3342864,0.00007746538],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9262077,0.005880084,0.0004856006,0.002055317,0.001882989,0.00006409163,0.001354258,0.0001176445,0.06195238],"genre_scores_gemma":[0.979295,0.001327857,0.0003417922,0.0002476578,0.0003324962,0.00002522532,0.0005410663,0.00006286474,0.01782598],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.01332713,"threshold_uncertainty_score":0.02649909,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2761516991","doi":"10.2298/muz1722075d","title":"How music affects soundscape: Musical preferences in Skadarlija","year":2017,"lang":"en","type":"article","venue":"Muzikologija","topic":"Diverse Musicological Studies","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"Ministarstvo Prosvete, Nauke i Tehnološkog Razvoja; Schweizerischer Nationalfonds zur Förderung der Wissenschaftlichen Forschung; National Science Foundation","keywords":"Soundscape; Musical; Context (archaeology); Ethnography; Tourism; Quarter (Canadian coin); Aesthetics; Sociology; Sound (geography); Psychology; Visual arts; History; Art; Acoustics; Anthropology","authors":[{"name":"Marija Dumnić","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1827790447349537,"gpt":0.2491318233428131,"spread":0.06635277860785943,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005101818,0.0002320446,0.000302138,0.001136667,0.001152214,0.002432723,0.0002264178,0.000358071,0.002594995],"category_scores_gemma":[0.001326099,0.0001322476,0.0001566772,0.001002466,0.001582149,0.0004576001,0.0009529568,0.0003489023,0.0003068589],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0005718329,"about_ca_system_score_gemma":0.000370748,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01530423,"about_ca_topic_score_gemma":0.041686,"domain_scores_codex":[0.9994572,0.000207605,0.00003161229,0.00009832808,0.00008479466,0.0001204828],"domain_scores_gemma":[0.9994924,0.0002151645,0.0001230393,0.00002148146,0.00006258654,0.00008532087],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"observational","study_design_scores_codex":[0.0005288121,0.000181718,0.6192942,0.0004761263,0.0001675342,0.001361296,0.3125331,0.0003136555,0.01797337,0.001306521,0.0005284509,0.04533522],"study_design_scores_gemma":[0.000003307305,0.00008796973,0.8019887,0.00005467173,0.00002401138,0.0002726408,0.1950483,0.00005353907,0.0003593619,0.00009586891,0.001997296,0.0000143244],"study_design_candidate":"observational","study_design_consensus":"observational","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9963604,0.0002999548,0.00009029358,0.0000293194,0.000004677091,0.000003515164,0.0000362622,0.000001214714,0.003174401],"genre_scores_gemma":[0.9994295,0.0001445117,0.00006919511,0.00001082228,0.000002174877,0.000002529307,0.00002054766,0.000001916696,0.000318779],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.01530423,"threshold_uncertainty_score":0.03043032,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2020151902","doi":"10.2298/muz0505085m","title":"Symbolism and theatre of masques: The deathly carnival of la belle époque","year":2005,"lang":"en","type":"article","venue":"Muzikologija","topic":"Musicology and Musical Analysis","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Art; Cult; Piano; Opera; Literature; Italian Renaissance; Style (visual arts); Art history; The Renaissance; History; Ancient history","authors":[{"name":"Nadežda Mosusova","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01326132498409244,"gpt":0.1988090128895636,"spread":0.1855476879054711,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001133193,0.0003743166,0.000266409,0.0006906902,0.009166881,0.00564158,0.0004633386,0.001025074,0.006103205],"category_scores_gemma":[0.001479809,0.0002071281,0.0001338959,0.0004048748,0.007804622,0.001980589,0.003014072,0.002425969,0.0009310569],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00362101,"about_ca_system_score_gemma":0.000889648,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01676433,"about_ca_topic_score_gemma":0.05435089,"domain_scores_codex":[0.9990643,0.0004986078,0.00001451291,0.000087263,0.0001667948,0.0001686692],"domain_scores_gemma":[0.999589,0.0001185944,0.00003962459,0.00003541065,0.00007532128,0.0001419485],"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":[0.0004160953,0.0001108081,0.002322855,0.0003194376,0.00002180774,0.00107491,0.4683248,0.0002041152,0.002324704,0.3337189,0.1315764,0.05958526],"study_design_scores_gemma":[0.00001334632,0.00006761641,0.00421546,0.0002045136,0.000005585071,0.000425421,0.05828885,0.0001146748,0.0003720782,0.004047893,0.932218,0.00002659053],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.3712417,0.02095908,0.001900949,0.02305077,0.002457017,0.00003747783,0.0001679624,0.0001951328,0.57999],"genre_scores_gemma":[0.888229,0.002360682,0.000622956,0.001007422,0.0007401657,0.00002235279,0.00006270556,0.0001187036,0.106836],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.01676433,"threshold_uncertainty_score":0.03333348,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2079739348","doi":"10.2298/muz0505307m","title":"Olivier Messiaen's quartet for the end of time, secret of form: Movement VI","year":2005,"lang":"en","type":"article","venue":"Muzikologija","topic":"Musicology and Musical Analysis","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Toronto","funders":"","keywords":"Movement (music); Relation (database); Musicology; Period (music); Literature; Art; Philosophy; Tragedy (event); Aesthetics; Computer science","authors":[{"name":"Svetlana Maksimovic","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02494609475730213,"gpt":0.2321555261222117,"spread":0.2072094313649095,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001162565,0.0003933936,0.0002808979,0.0005485707,0.003939761,0.003877427,0.0003559471,0.001597671,0.006482404],"category_scores_gemma":[0.002074588,0.0001339903,0.0001793983,0.0003215641,0.006740704,0.002580423,0.00263331,0.002620886,0.001069154],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003453685,"about_ca_system_score_gemma":0.001154997,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.005823928,"about_ca_topic_score_gemma":0.01284734,"domain_scores_codex":[0.9993294,0.0002425591,0.0000216685,0.0001388962,0.0001756613,0.00009172267],"domain_scores_gemma":[0.9996233,0.0001729076,0.00004842684,0.00002554608,0.00004909862,0.00008079476],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00009687983,0.00001843308,0.000493176,0.0001204352,0.00000488318,0.0003254842,0.05494692,0.00006009546,0.0006452877,0.7406391,0.1694857,0.03316366],"study_design_scores_gemma":[0.000006214798,0.00001421567,0.0008235725,0.000148498,0.000001676729,0.0001420397,0.005608157,0.0000322614,0.0001893185,0.01777487,0.9752542,0.000005066212],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.0384094,0.06630912,0.004209935,0.158989,0.008631897,0.00007390875,0.00009178087,0.0001104053,0.7231747],"genre_scores_gemma":[0.5205442,0.01096155,0.001976724,0.01190151,0.002027903,0.00007761693,0.00004880713,0.0002016283,0.45226],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.006482404,"threshold_uncertainty_score":0.02505839,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2560709350","doi":"10.2298/muz1620053k","title":"\"To be strong and civilised at the same time is very difficult...\" musicologists about the politics: Jacques Handschin and Higini Anglés, from the correspondence of the 1930s","year":2016,"lang":"en","type":"article","venue":"Muzikologija","topic":"Historical Geopolitical and Social Dynamics","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Politics; Musicology; Quarter (Canadian coin); Art history; Philosophy; Art; History; Political science; Literature; Law","authors":[{"name":"Jeanna Kniazeva","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02230574608148097,"gpt":0.2677089574137973,"spread":0.2454032113323163,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002399798,0.0004777662,0.0002698738,0.0007386379,0.01098193,0.007475343,0.0005486198,0.003057118,0.006765267],"category_scores_gemma":[0.003995142,0.0002055734,0.0001514375,0.0009303458,0.02316826,0.004834588,0.002738215,0.005270608,0.001413686],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00530281,"about_ca_system_score_gemma":0.002611515,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01568995,"about_ca_topic_score_gemma":0.02508832,"domain_scores_codex":[0.9979175,0.0009710302,0.00003419497,0.0002060282,0.0004130194,0.0004583486],"domain_scores_gemma":[0.9986328,0.0005721442,0.0002581969,0.0001053974,0.0001653357,0.0002660238],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","study_design_scores_codex":[0.00005682811,0.0000152437,0.0009802667,0.00006123372,0.000009693425,0.0002387012,0.04805465,0.00004641967,0.0004020191,0.7666425,0.161813,0.02167936],"study_design_scores_gemma":[0.000007792519,0.00001915456,0.002404116,0.0001326894,0.000004338199,0.0001304217,0.01797923,0.00003343356,0.0001777489,0.04627941,0.9328129,0.00001869127],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"commentary","genre_gemma":"empirical","genre_scores_codex":[0.03483607,0.02244546,0.001865504,0.5354666,0.006904905,0.00003120561,0.00006493564,0.00006774743,0.3983175],"genre_scores_gemma":[0.7445389,0.01159097,0.001000427,0.08114062,0.004298374,0.00006601037,0.00002769159,0.00008575638,0.1572512],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.01568995,"threshold_uncertainty_score":0.0384748,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null}]}