{"meta":{"page":1,"per_page":50,"max_per_page":100,"total":74,"total_is_capped":false,"direct_labels_cover":0,"predictions_cover":74,"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":"b3ed5fe4d18b","filters":{"venue":"Nota bene"}},"results":[{"id":"W817902631","doi":"10.5206/notabene.v5i1.6581","title":"A Neo-Riemannian Approach to Jazz Analysis","year":2013,"lang":"en","type":"article","venue":"Nota bene","topic":"Musicology and Musical Analysis","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"Queen's University","funders":"","keywords":"Jazz; Mathematics; Art; Art history","authors":[{"name":"Sara B.P. Briginshaw","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02755421499727741,"gpt":0.205465422770724,"spread":0.1779112077734466,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00008611712,0.0001386426,0.0003161458,0.0002642087,0.000278552,0.0001787137,0.0002129827,0.00005720847,0.02649812],"category_scores_gemma":[0.00002377835,0.0001063548,0.0002357212,0.0002888274,0.0001025463,0.000134096,0.00007045388,0.0001072689,0.001946272],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001576025,"about_ca_system_score_gemma":0.000008666304,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002176458,"about_ca_topic_score_gemma":0.002753536,"domain_scores_codex":[0.999024,0.00003678721,0.0002061506,0.000304604,0.0001515317,0.000276905],"domain_scores_gemma":[0.9993148,0.0000363479,0.00004636785,0.0003304991,0.0001077119,0.000164295],"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":[0.0000368638,0.001146147,0.003730408,0.00004981397,0.004531551,0.000008125116,0.05478891,0.001235385,0.0004409719,0.7291535,0.1697237,0.03515464],"study_design_scores_gemma":[0.0005056786,0.0001920907,0.06645884,0.000008828477,0.003075233,0.000001276564,0.003439469,0.009038722,0.0000973736,0.005105367,0.9112042,0.0008728824],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.5790897,0.00004156429,0.0007061407,0.003116815,0.000173846,0.0002359287,0.00001753326,0.00008825965,0.4165302],"genre_scores_gemma":[0.9619265,0.000001158443,0.0006678142,0.004905969,0.0005563009,0.0001022198,0.00004449941,0.00001039334,0.0317852],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.7414805,"threshold_uncertainty_score":0.9988309,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3176176196","doi":"10.5206/notabene.v14i1.13361","title":"Metamodernism and Vaporwave: A Study of Web 2.0 Aesthetic Culture","year":2021,"lang":"en","type":"article","venue":"Nota bene","topic":"Digital Games and Media","field":"Social Sciences","cited_by":3,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Social media; Meaning (existential); Aesthetics; Mediation; Relevance (law); Order (exchange); Sociology; Style (visual arts); Cultural studies; New media; Cyberculture; Popular culture; Media studies; World Wide Web; The Internet; Art; Epistemology; Computer science; Literature; Social science; Philosophy; Political science","authors":[{"name":"Nicholas J. Morrissey","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02614182348619214,"gpt":0.3077681882889956,"spread":0.2816263648028035,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001175209,0.00005143819,0.0001286721,0.00001798959,0.00004131073,0.00004170848,0.00006885586,0.00003918417,0.00007262374],"category_scores_gemma":[0.00006700246,0.00004315972,0.000027297,0.0001378055,0.00006825673,0.00007197973,0.00004125725,0.00004784107,0.000005935602],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000008335328,"about_ca_system_score_gemma":0.00007435804,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00008777618,"about_ca_topic_score_gemma":0.001443263,"domain_scores_codex":[0.9993738,0.00004645382,0.00009368907,0.0001340387,0.0002318909,0.0001201353],"domain_scores_gemma":[0.9996932,0.00001511757,0.00003499735,0.0001077998,0.00006695184,0.00008195912],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"design_other","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00001901236,0.001714945,0.01266269,0.00003289651,0.00008730881,0.0001477959,0.2559483,0.000008894785,0.002651904,0.02257732,0.001464949,0.702684],"study_design_scores_gemma":[0.001529936,0.0004035516,0.01321364,0.00003655822,0.0001211694,0.000009585629,0.07795039,0.00004125944,0.0006483598,0.001822378,0.9039616,0.0002615977],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.864094,0.0006849517,0.00000153848,0.0003625579,0.0001066732,0.00009615429,0.000004039887,0.00001328421,0.1346368],"genre_scores_gemma":[0.9708839,0.0001760138,0.00009804577,0.0000714461,0.00004097747,0.000004177468,0.000001576094,0.000004334759,0.0287195],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.9024966,"threshold_uncertainty_score":0.1760002,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2749613338","doi":"10.5206/notabene.v10i1.6613","title":"The Synchretic Network: Linking Music, Narrative, and Emotion in the Video Game Journey","year":2017,"lang":"en","type":"article","venue":"Nota bene","topic":"Digital Games and Media","field":"Social Sciences","cited_by":3,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Interactivity; Narrativity; Narrative; Video game; Narratology; Game studies; Meaning (existential); Musical; Set (abstract data type); Art; Visual arts; Psychology; Aesthetics; Multimedia; Computer science; Sociology; Media studies; Literature","authors":[{"name":"Ivan Mouraviev","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04119212057020245,"gpt":0.3122073188425496,"spread":0.2710151982723472,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001094101,0.00005634344,0.00007404373,0.000009809413,0.0008358475,0.0007288231,0.0003506419,0.00004737665,0.00001634721],"category_scores_gemma":[0.0004499959,0.00003210923,0.00002558199,0.00005842759,0.0003264894,0.0002338708,0.00005926488,0.0001325716,0.000005745033],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001938413,"about_ca_system_score_gemma":0.00003932414,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0002096026,"about_ca_topic_score_gemma":0.008676616,"domain_scores_codex":[0.999224,0.0000985741,0.0001005947,0.0001055723,0.0002224716,0.0002487721],"domain_scores_gemma":[0.9994096,0.0002126904,0.00009476542,0.0002068367,0.00002812312,0.0000479899],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"design_other","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00001210622,0.00002434157,0.01381525,0.000006159739,0.000009800254,0.00001071747,0.1601184,0.00003572301,0.00001719086,0.04350198,0.001643994,0.7808043],"study_design_scores_gemma":[0.0003853931,0.00006116018,0.3647323,0.000187871,0.00001669563,0.000002715215,0.02603199,0.0003539332,0.000005531363,0.01771632,0.5903439,0.0001622438],"study_design_candidate":"design_other","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8482406,0.0004657309,0.00001491631,0.009322967,0.0006360153,0.000180186,6.939669e-7,0.00001087494,0.141128],"genre_scores_gemma":[0.9962547,0.0004587086,0.00002260244,0.0003297047,0.0007175271,0.000006298328,6.980046e-7,0.000004196585,0.002205607],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.7806421,"threshold_uncertainty_score":0.7028058,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1173210565","doi":"10.5206/notabene.v8i1.6600","title":"Anton Weidinger and the Emergence of His Voice: The Keyed Trumpet","year":2015,"lang":"en","type":"article","venue":"Nota bene","topic":"Musicology and Musical Analysis","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Opera; Concerto; Style (visual arts); Musical; Art; Period (music); Singing; Baroque; Literature; Art history; Aesthetics; Acoustics; Piano","authors":[{"name":"Jeremy Sexton","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05283434735078636,"gpt":0.2327599758060915,"spread":0.1799256284553052,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0003581423,0.00006726597,0.0001494482,0.00001981386,0.000212559,0.00002760909,0.0001471886,0.00002674687,0.002524369],"category_scores_gemma":[0.00008207858,0.00003000861,0.00005674306,0.00003770699,0.0005651498,0.00004210367,0.00005890033,0.00008096083,0.00002670072],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000002856213,"about_ca_system_score_gemma":0.00001196347,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0007495123,"about_ca_topic_score_gemma":0.003501052,"domain_scores_codex":[0.9994762,0.00007507098,0.0001456958,0.0000995954,0.0001003041,0.0001031539],"domain_scores_gemma":[0.9995088,0.0001361963,0.00007150166,0.0001764055,0.00007379761,0.00003331852],"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":[0.0002184448,0.00008937153,0.0008235838,0.00002003664,0.0002141631,0.000002077107,0.06694979,0.000008250548,0.0003488768,0.8459663,0.07666165,0.008697438],"study_design_scores_gemma":[0.002003458,0.0001740762,0.004632154,0.00002107912,0.0005448546,0.000002682065,0.008863186,0.002417093,0.0007877345,0.0282347,0.9520662,0.0002527648],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.909466,0.0009962327,0.0000137147,0.01122128,0.0005176993,0.0001263623,0.00001080639,0.00001618758,0.07763166],"genre_scores_gemma":[0.993052,0.00005539509,0.00001248405,0.001036677,0.0003303471,0.000009966895,0.000002552378,0.00000409532,0.005496449],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.8754045,"threshold_uncertainty_score":0.9983875,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2739877838","doi":"10.5206/notabene.v10i1.6611","title":"Buying into the Ideal Performance of Womanhood: Gendered Marketing in the Recontextualization of “She’s Always a Woman” for John Lewis’ Advertising Campaign","year":2017,"lang":"en","type":"article","venue":"Nota bene","topic":"Media, Gender, and Advertising","field":"Social Sciences","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Heteronormativity; Ideal (ethics); Narrative; Sociology; Gender studies; Identity (music); Aesthetics; Human sexuality; Art; Literature; Political science; Law","authors":[{"name":"Emma Doherty","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05449166791384406,"gpt":0.3317491316388674,"spread":0.2772574637250233,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.004267171,0.00012181,0.0002348389,0.00007332207,0.001433622,0.0001006545,0.0007289483,0.00009085335,0.00002342005],"category_scores_gemma":[0.002081968,0.0000868717,0.00008547166,0.0001582976,0.0002701215,0.0003605371,0.0000731396,0.0001258274,9.918978e-7],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00008494616,"about_ca_system_score_gemma":0.0001920812,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.004005666,"about_ca_topic_score_gemma":0.008382943,"domain_scores_codex":[0.9981632,0.0003598204,0.000457219,0.0002203212,0.0004408835,0.000358605],"domain_scores_gemma":[0.9982371,0.0006593086,0.000501001,0.0004309835,0.0001263835,0.00004523719],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"observational","study_design_scores_codex":[0.0003040704,0.00009730117,0.1914732,0.0004199555,0.00005586826,0.00000257115,0.5310343,0.0003545328,0.005695459,0.003842708,0.000378256,0.2663418],"study_design_scores_gemma":[0.002342561,0.0002037463,0.744303,0.001305482,0.00009770511,0.000004079889,0.2224881,0.01478319,0.006535211,0.003089805,0.004260688,0.0005864789],"study_design_candidate":"observational","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9893568,0.0004996441,0.0009551413,0.000773258,0.0003405769,0.0005106457,0.000003009849,0.00001390772,0.007546982],"genre_scores_gemma":[0.9983307,0.0003018512,0.0007560601,0.0001635773,0.0002765775,0.00002436791,0.000003985243,0.00001418091,0.0001286753],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.5528298,"threshold_uncertainty_score":0.9998664,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2367595924","doi":"10.5206/notabene.v9i1.6608","title":"Socratic Dialogue as a Framework for Understanding Activist Music during the Ebola Outbreak in Liberia","year":2016,"lang":"en","type":"article","venue":"Nota bene","topic":"Education and Critical Thinking Development","field":"Social Sciences","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"Memorial University of Newfoundland","funders":"","keywords":"Socratic method; Lyrics; Musical; Socratic questioning; Soul; Epistemology; SOCRATES; Sociology; Deconstruction (building); Reflexivity; Aesthetics; Literature; Philosophy; Art; Social science; Biology","authors":[{"name":"Evan Slaney","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.07493465563374814,"gpt":0.344781736160493,"spread":0.2698470805267448,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005009461,0.00007302582,0.00009729663,0.00003712589,0.0005316472,0.00009830124,0.0001816185,0.00008227464,0.0003027135],"category_scores_gemma":[0.001183346,0.0000461594,0.00003915277,0.0001702167,0.0001862507,0.0001069092,0.00003039958,0.00009336377,0.00003600368],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0004063293,"about_ca_system_score_gemma":0.0001703708,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001853846,"about_ca_topic_score_gemma":0.001836075,"domain_scores_codex":[0.9991114,0.00009228158,0.0001391209,0.0001641739,0.0002020912,0.0002909872],"domain_scores_gemma":[0.9987458,0.0009931966,0.00003877168,0.0001242002,0.0000243227,0.00007368774],"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":[0.00001573786,0.00004941058,0.005274531,0.0000125925,0.0000106218,0.00000102316,0.02985242,3.294339e-7,0.0003396255,0.9622939,0.0001519323,0.001997933],"study_design_scores_gemma":[0.0002844853,0.00001379248,0.04332285,0.0001861434,0.000006857711,2.712885e-7,0.009478525,0.000001918481,0.0002810756,0.9436178,0.002668551,0.000137708],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9419496,0.00001783193,0.01062328,0.03431169,0.001055632,0.0004652863,0.000004439325,0.00006554151,0.01150669],"genre_scores_gemma":[0.996262,0.00001401727,0.001011721,0.0006703867,0.0002994055,0.0000795017,8.204276e-7,0.00001020716,0.001651906],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.05431242,"threshold_uncertainty_score":0.4089054,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W193982703","doi":"10.5206/notabene.v6i1.6589","title":"“Wir Arme Leut”: Undignified Death and Madness in Berg’s Wozzeck","year":2013,"lang":"en","type":"article","venue":"Nota bene","topic":"Religious Studies and Spiritual Practices","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"University of Ottawa","funders":"","keywords":"Romance; HERO; Tragedy (event); Psychoanalysis; Literature; Art; History; Sociology; Psychology","authors":[{"name":"Meaghan Parker","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04546993367422581,"gpt":0.2407216607255966,"spread":0.1952517270513708,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001004446,0.0001437846,0.0002073902,0.00006284051,0.0002696536,0.0002988379,0.0001033774,0.00004417567,0.001033845],"category_scores_gemma":[0.00003011045,0.0001139701,0.00003230777,0.00002741196,0.0001019876,0.0003371951,0.0000840158,0.0001377249,0.0002734133],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00002210894,"about_ca_system_score_gemma":0.00001049096,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01082119,"about_ca_topic_score_gemma":0.009533767,"domain_scores_codex":[0.9991382,0.00002616318,0.0002109953,0.0002199837,0.0001265949,0.0002780786],"domain_scores_gemma":[0.9995578,0.0001037082,0.00006804022,0.0001545944,0.00005717016,0.00005870354],"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":[0.0001111714,0.0005689872,0.04333599,0.0002433689,0.0002527629,0.00006816979,0.07450417,0.00003158574,0.0004876791,0.7705928,0.07661968,0.03318359],"study_design_scores_gemma":[0.00194988,0.0004313163,0.1025018,0.0001167855,0.00007737241,0.000009559692,0.01922307,0.0003366141,0.0001268224,0.04163573,0.8326728,0.0009182469],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8009676,0.0008527273,0.000001487018,0.002376257,0.0002711905,0.0001943822,0.000006315242,0.00003518851,0.1952948],"genre_scores_gemma":[0.9886995,0.0005627442,0.00004471898,0.0006351263,0.0003089779,0.00004149021,0.000005461141,0.00001616649,0.00968579],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.7560531,"threshold_uncertainty_score":0.9998794,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3036561793","doi":"10.5206/notabene.v13i1.8590","title":"Waringin: Recording a Composition with Gamelan Salukat, a Crossroads of Music and Culture","year":2020,"lang":"en","type":"article","venue":"Nota bene","topic":"Diverse Musicological Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Composition (language); Visual arts; Improvisation; Ethnography; Musicology; Feeling; Subject (documents); Perspective (graphical); History; Aesthetics; Sociology; Psychology; Art; Literature; Anthropology; Social psychology; Computer science","authors":[{"name":"Oscar Smith","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0988561729358904,"gpt":0.2136494471408733,"spread":0.1147932742049829,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00002529329,0.00008737859,0.0001682499,0.00001343781,0.0001677495,0.0001093761,0.00005342851,0.00002270961,0.0004857023],"category_scores_gemma":[0.000009976632,0.00005867828,0.00002397834,0.00003086916,0.0001827149,0.00007712921,0.00007516267,0.00007558915,0.00001055329],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000009394182,"about_ca_system_score_gemma":0.000003513192,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001204997,"about_ca_topic_score_gemma":0.0001387879,"domain_scores_codex":[0.9995517,0.00001067282,0.00009236667,0.0001441715,0.0000948563,0.0001063056],"domain_scores_gemma":[0.9997872,0.00001932824,0.00005335598,0.00004708843,0.00005140774,0.00004167094],"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":[0.0009618364,0.0004143351,0.03619724,0.0006079806,0.0006585267,0.0001023211,0.5222517,0.00011164,0.01588383,0.3539526,0.04345583,0.02540209],"study_design_scores_gemma":[0.004344258,0.004816544,0.03706699,0.0004158563,0.0004426707,0.00001131,0.0275342,0.0006924351,0.001648865,0.002348056,0.9195944,0.00108443],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9638584,0.0001826528,0.00001656501,0.001315732,0.00007581908,0.0001176097,0.00002691647,0.0000542082,0.03435215],"genre_scores_gemma":[0.9984476,0.00000940796,0.0002453399,0.0006902917,0.0002133834,0.000005623584,0.000006887321,0.000006321029,0.0003751444],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.8761386,"threshold_uncertainty_score":0.5318099,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W947802178","doi":"10.5206/notabene.v8i1.6597","title":"Less is More, and More is Less, More or Less: The Historical Progression, Aesthetic Characteristics, and Physical Limitations of Minimalism","year":2015,"lang":"en","type":"article","venue":"Nota bene","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"The King's University","funders":"","keywords":"Minimalism (technical communication); Aesthetics; Jazz; Art; Relation (database); Repetition (rhetorical device); Order (exchange); Musical; Visual arts; Literature; Philosophy; Linguistics; Computer science","authors":[{"name":"Sam Boer","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1476887323595123,"gpt":0.2810757236736699,"spread":0.1333869913141576,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00007710551,0.0001770821,0.0002838962,0.00003163118,0.0003451836,0.00006821137,0.0001411039,0.00006909056,0.00009721313],"category_scores_gemma":[0.00004529589,0.0001041103,0.00005093265,0.00003931241,0.0006424926,0.0001241619,0.0000573678,0.000163229,0.000004031567],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00004738243,"about_ca_system_score_gemma":0.00005292467,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001201355,"about_ca_topic_score_gemma":0.000200116,"domain_scores_codex":[0.9990792,0.00003674727,0.0002180328,0.00024177,0.0002657136,0.0001585406],"domain_scores_gemma":[0.9992497,0.00005363286,0.0001417797,0.0002406079,0.0001977362,0.0001165268],"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":[0.0001410125,0.0004163701,0.0005891324,0.000123356,0.00003972334,0.00001942239,0.6689168,3.753122e-7,0.0001067841,0.0223116,0.2387361,0.06859939],"study_design_scores_gemma":[0.0006461215,0.0002361205,0.002815408,0.0001211814,0.0001551568,0.00002477687,0.05468516,0.0002402004,0.00007457698,0.0005202784,0.9401765,0.0003045196],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9886645,0.001187416,0.000002576,0.007919158,0.0002790354,0.0001916005,0.000138241,0.00002789041,0.001589566],"genre_scores_gemma":[0.9881313,0.00005114527,0.00006798986,0.001192923,0.0005661714,0.00003692983,0.00002989144,0.00002174271,0.009901907],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.7014405,"threshold_uncertainty_score":0.4245493,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2910729000","doi":"10.5206/notabene.v11i1.6617","title":"Cover Songs and Tradition: A Case Study of Symphonic Metal","year":2018,"lang":"en","type":"article","venue":"Nota bene","topic":"Diverse Musicological Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Symphony; Musical; Canon; Literature; Popular music; Classical music; Key (lock); Cover (algebra); Art; Phenomenon; Aesthetics; Construct (python library); Visual arts; History; Philosophy; Epistemology; Computer science","authors":[{"name":"Benjamin Hillier","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1406812928402594,"gpt":0.2474360074678711,"spread":0.1067547146276117,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00005660942,0.00007167218,0.0001473571,0.00002257918,0.0002444962,0.00006368839,0.00004142537,0.00001452151,0.003736865],"category_scores_gemma":[0.00001223573,0.00005225974,0.00002408383,0.00001951528,0.0003158245,0.00008280175,0.00006116636,0.00003195631,0.00007374201],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001142458,"about_ca_system_score_gemma":0.000004834017,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0008550549,"about_ca_topic_score_gemma":0.001015947,"domain_scores_codex":[0.9995601,0.00001907523,0.000105214,0.0001245404,0.000101317,0.00008980985],"domain_scores_gemma":[0.9997489,0.00004150384,0.00004041196,0.00008131504,0.00006196561,0.00002587083],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.0001724522,0.004212075,0.003029346,0.00007467032,0.001081455,0.00211803,0.595256,0.000002571858,0.0002199821,0.3559711,0.02098478,0.01687746],"study_design_scores_gemma":[0.005849932,0.011375,0.01064594,0.00003333723,0.000761288,0.0002807518,0.5601115,0.0001032025,0.0001873133,0.002492218,0.4074906,0.000669],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.952626,0.00005957704,4.039254e-7,0.00006238304,0.0002168837,0.0001396936,0.00002195351,0.00002003895,0.04685299],"genre_scores_gemma":[0.9980081,0.000002360016,0.000008440858,0.00009400043,0.0003079732,0.00001023997,8.092667e-7,0.000004170813,0.001563943],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.3865058,"threshold_uncertainty_score":0.9971738,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1012708311","doi":"10.5206/notabene.v8i1.6599","title":"Harmonic Language in The Legend of Zelda: Ocarina of Time","year":2015,"lang":"en","type":"article","venue":"Nota bene","topic":"Music Technology and Sound Studies","field":"Computer Science","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"Queen's University","funders":"","keywords":"Teleportation; Legend; Subdominant; Variety (cybernetics); Chord (peer-to-peer); Computer science; Tonic (physiology); Context (archaeology); Harmonic; Theoretical physics; Mathematical economics; Linguistics; Physics; Mathematics; Artificial intelligence; History; Acoustics; Quantum mechanics; Quantum entanglement; Psychology; Art; Literature; Philosophy","authors":[{"name":"Nicholas C Gervais","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02871000019879664,"gpt":0.2530911930394837,"spread":0.2243811928406871,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002790201,0.00004377157,0.0001129033,0.00004498953,0.00001608634,0.000004228513,0.0005564959,0.00004015962,0.000005555617],"category_scores_gemma":[0.00003406079,0.00002960754,0.00002140706,0.0002042184,0.00006776068,0.00004978443,0.0001618022,0.00007398229,0.00001289736],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000007480015,"about_ca_system_score_gemma":0.00002194786,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001386362,"about_ca_topic_score_gemma":0.00007393197,"domain_scores_codex":[0.9995602,0.00003042532,0.0001113576,0.00009329231,0.000115421,0.00008935455],"domain_scores_gemma":[0.9995136,0.00005132109,0.00004505087,0.0003560863,0.00002421169,0.000009777857],"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":[0.00005263681,0.0007828946,0.04985454,0.00009409514,0.0001669488,0.0001540105,0.1815707,0.0001200488,0.01515802,0.6124793,0.02292376,0.116643],"study_design_scores_gemma":[0.006800911,0.002308637,0.7058774,0.0002105343,0.0001010316,0.0001211785,0.01315268,0.01242341,0.145002,0.08837233,0.02436614,0.00126383],"study_design_candidate":"observational","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9876792,0.0009020425,0.001130618,0.0009809758,0.00007033201,0.00005509126,0.000001869507,0.00002427781,0.009155553],"genre_scores_gemma":[0.9987425,0.000006799021,0.0009932524,0.00008085074,0.0000103577,0.000002886504,3.664784e-7,0.000001344899,0.000161627],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.6560228,"threshold_uncertainty_score":0.120736,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2366037562","doi":"10.5206/notabene.v9i1.6606","title":"The Turkish Bağlama: A Sacred Symbol of Alevi Identity","year":2016,"lang":"en","type":"article","venue":"Nota bene","topic":"Turkey's Politics and Society","field":"Social Sciences","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Turkish; Symbol (formal); Identity (music); Art; Sociology; Visual arts; Gender studies; Ancient history; History; Aesthetics; Linguistics; Philosophy","authors":[{"name":"Rashid Epstein Adams","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0172678478025072,"gpt":0.3201977358174944,"spread":0.3029298880149872,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006797657,0.00006336777,0.0001147521,0.00001043882,0.0004843957,0.00006109417,0.0003715317,0.00008437849,0.0001510677],"category_scores_gemma":[0.0004088531,0.00003650366,0.0001142976,0.000129518,0.0004032591,0.0001665911,0.00006418218,0.00005643009,0.00004025271],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0000675543,"about_ca_system_score_gemma":0.0001100564,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002006656,"about_ca_topic_score_gemma":0.002874302,"domain_scores_codex":[0.9989048,0.0001011422,0.0001679269,0.0001258159,0.000389061,0.0003112455],"domain_scores_gemma":[0.9991571,0.0003231608,0.00008193695,0.0002325134,0.0001118462,0.00009345014],"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":[0.0000178102,0.00009415395,0.02555784,0.00001615494,0.00008643262,0.000002936813,0.01691585,4.691434e-7,0.006088463,0.9096022,0.02081582,0.02080193],"study_design_scores_gemma":[0.001344837,0.00009683342,0.2773783,0.0001199559,0.00008141886,9.407612e-7,0.01531538,0.0000171714,0.004143128,0.08476865,0.6162436,0.0004898059],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9748044,0.0003527486,0.00009409652,0.004831546,0.0006236186,0.0001585798,0.00003712106,0.00003866188,0.01905925],"genre_scores_gemma":[0.9940247,0.0005318871,0.00004894804,0.0001162885,0.0003488608,0.000006563166,5.186874e-7,0.00000647886,0.004915763],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.8248335,"threshold_uncertainty_score":0.3725629,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2913527367","doi":"10.5206/notabene.v11i1.6616","title":"A Mythic Heroine in Der Rosenkavalier","year":2018,"lang":"en","type":"article","venue":"Nota bene","topic":"Musicology and Musical Analysis","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"Wilfrid Laurier University","funders":"","keywords":"Character (mathematics); Context (archaeology); Musical; Literature; Art; Sociology; History; Mathematics","authors":[{"name":"Bridget Ramzy","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03398579801204313,"gpt":0.237806451941915,"spread":0.2038206539298719,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0001110291,0.00008131499,0.0001457662,0.00007946826,0.0001436453,0.00003855322,0.00009064253,0.0000517626,0.02539071],"category_scores_gemma":[0.00002802416,0.00006398889,0.00005085318,0.00005574086,0.0002594756,0.00007120242,0.00003624325,0.000106732,0.0008924186],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001343402,"about_ca_system_score_gemma":0.00001222337,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0003855208,"about_ca_topic_score_gemma":0.02461115,"domain_scores_codex":[0.9993904,0.00003145041,0.000145234,0.0001632033,0.00008302484,0.0001866547],"domain_scores_gemma":[0.999691,0.00003354276,0.00002905748,0.0001530274,0.00005407162,0.00003929165],"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":[0.0001419422,0.0006956375,0.006410758,0.00003981773,0.0002382332,0.00006436322,0.05181586,0.00001095367,0.003186464,0.8371276,0.07039568,0.02987272],"study_design_scores_gemma":[0.0006541757,0.0001756124,0.01266295,0.000022908,0.00007378489,0.000002016842,0.000445825,0.0004632043,0.0007421926,0.008926612,0.9755716,0.000259055],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.844914,0.00008043901,0.000012922,0.002292308,0.0003913589,0.00005552582,0.000005490122,0.00003469752,0.1522133],"genre_scores_gemma":[0.9766935,0.000003100794,0.00004910288,0.003783426,0.001299673,0.000008498868,0.000006429231,0.000008180251,0.01814806],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.905176,"threshold_uncertainty_score":0.9998855,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4283122354","doi":"10.5206/notabene.v15i1.15033","title":"The Postminimal is Political: Social Activism in the Music of Julius Eastman and Ann Southam","year":2022,"lang":"en","type":"article","venue":"Nota bene","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":true},"ca_institutions":"McGill University","funders":"","keywords":"Politics; Queer; Musical; Social movement; Courage; Political consciousness; Composition (language); Citizen journalism; Aesthetics; Consciousness; Sociology; Gender studies; History; Literature; Media studies; Art; Psychology; Political science; Law","authors":[{"name":"C. R. Miller","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04250930269247243,"gpt":0.2242008500114667,"spread":0.1816915473189943,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000173819,0.00007256483,0.00009469295,0.00001949427,0.00110683,0.00004566969,0.0001689224,0.00001998316,0.002813392],"category_scores_gemma":[0.000008652725,0.00004336023,0.00004661363,0.00002972085,0.0002633331,0.00003438394,0.00006254463,0.0002075935,0.000005322243],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001877229,"about_ca_system_score_gemma":0.00002117388,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001810073,"about_ca_topic_score_gemma":0.001071384,"domain_scores_codex":[0.9993128,0.00009492395,0.0001158577,0.0001072564,0.0001907053,0.0001784776],"domain_scores_gemma":[0.9997445,0.00005849093,0.0000465846,0.0001118038,0.00001875438,0.00001985123],"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":[0.00004687791,0.00008210722,0.00006052885,0.00001055967,0.0000145025,0.000006151771,0.3691586,2.689411e-7,0.000157372,0.5930869,0.03535421,0.002021954],"study_design_scores_gemma":[0.0002620193,0.0001108952,0.005953141,0.000002892111,0.00002005439,0.000006417181,0.0799698,0.000009221283,0.000009799286,0.00356606,0.9099975,0.00009223889],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9231837,0.0001406638,7.609456e-8,0.002966006,0.0002133383,0.0001000837,0.0001104052,0.0000077174,0.07327799],"genre_scores_gemma":[0.9938908,4.36258e-7,0.000001024933,0.002381423,0.0004395511,0.0000219487,0.000004730456,0.000006908837,0.003253176],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.8746433,"threshold_uncertainty_score":0.9980982,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W281041274","doi":"10.5206/notabene.v4i2.6571","title":"The Little Man and the Masses: The Politics of Sofia Gubaidulina’s Concerto for Bassoon and Low Strings","year":2012,"lang":"en","type":"article","venue":"Nota bene","topic":"Diverse Musicological Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"University of British Columbia","funders":"","keywords":"Concerto; Politics; Art; Political science; Art history; Law","authors":[{"name":"Emily Hopkins","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.07670355048857344,"gpt":0.238724549780617,"spread":0.1620209992920435,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003080445,0.00008671,0.0001383366,0.000006790984,0.0008614696,0.0001854603,0.000131637,0.00002309682,0.00008210936],"category_scores_gemma":[0.0001317902,0.0000339074,0.00004100364,0.00001141136,0.001084959,0.00006791652,0.0001605794,0.00006120435,0.000003364441],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001114467,"about_ca_system_score_gemma":0.000005924062,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0002501772,"about_ca_topic_score_gemma":0.0001878916,"domain_scores_codex":[0.9994334,0.00003595528,0.0001251008,0.0000799496,0.0001002971,0.0002253142],"domain_scores_gemma":[0.9987791,0.000929484,0.00007226652,0.0001267378,0.00006261978,0.00002986172],"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":[0.00003529303,0.00002204813,0.001233701,0.00001964789,0.00005232376,9.65444e-8,0.01023119,3.070955e-7,0.000009083794,0.9814153,0.004425997,0.002555046],"study_design_scores_gemma":[0.0008705914,0.0001039397,0.007492409,0.00001417429,0.00009235257,5.871696e-7,0.01440588,0.00005326112,0.0000750047,0.01084675,0.9659558,0.00008924241],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9488922,0.003887801,0.000007693287,0.01238387,0.0005230118,0.0006332484,0.0001240466,0.00002127087,0.03352689],"genre_scores_gemma":[0.9941664,0.0001843412,0.00002347137,0.0007205319,0.0004430637,0.00003501617,0.0000015172,0.000006298097,0.004419326],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.9705685,"threshold_uncertainty_score":0.6625814,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2392175004","doi":"10.5206/notabene.v9i1.6604","title":"Performing Feminine Aging: The Marschallin’s Body in Der Rosenkavalier","year":2016,"lang":"en","type":"article","venue":"Nota bene","topic":"Musicology and Musical Analysis","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Waltz; Embodied cognition; Human sexuality; Psychoanalysis; Opera; Escapism; Musical; Aesthetics; Dance; Psychology; Art; Sociology; Gender studies; Visual arts; Philosophy; Social psychology; Epistemology","authors":[{"name":"Alexandra Krawetz","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03096441028246144,"gpt":0.2258696946890678,"spread":0.1949052844066064,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0002300787,0.0001081844,0.0001562014,0.00006281713,0.0002363831,0.00004385104,0.0001685575,0.00004789914,0.01255904],"category_scores_gemma":[0.00004051731,0.00005134499,0.00007425617,0.00003852877,0.000192886,0.0001108706,0.00006500678,0.0001160299,0.0002442089],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00002336715,"about_ca_system_score_gemma":0.00001459101,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001759409,"about_ca_topic_score_gemma":0.003797998,"domain_scores_codex":[0.9992277,0.00003885499,0.000189303,0.0001836442,0.0001162661,0.00024423],"domain_scores_gemma":[0.9994967,0.0001672998,0.00004839823,0.0002122506,0.00003674286,0.00003859799],"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":[0.0000905742,0.0004426094,0.02676015,0.00003726122,0.0003183802,0.00006147551,0.03961319,0.00001426047,0.007523465,0.7739192,0.02174479,0.1294746],"study_design_scores_gemma":[0.001031636,0.00008255196,0.02522678,0.00007673509,0.0001296908,0.000003896645,0.001262172,0.0002766973,0.00122612,0.005440568,0.9649019,0.0003412717],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9261297,0.000165699,0.00002077405,0.01316774,0.0003637355,0.00008658251,0.00000846859,0.00003208284,0.0600252],"genre_scores_gemma":[0.967896,0.00002675065,0.00001840034,0.001833693,0.0007575447,0.00001943235,0.000003273112,0.00001071042,0.02943412],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.9431571,"threshold_uncertainty_score":0.9883436,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W839092106","doi":"10.5206/notabene.v1i1.6540","title":"“Weird and Plaintive Utterances:” The Influence of Stravinsky’s The Rite of Spring on Bassoon Writing","year":2011,"lang":"en","type":"article","venue":"Nota bene","topic":"Musicology and Musical Analysis","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"Western University","funders":"","keywords":"Rite; Spring (device); Art; Literature; Linguistics; History; Philosophy; Engineering; Theology; Mechanical engineering","authors":[{"name":"Catherine T. Gray","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04332389216768937,"gpt":0.2081381267262833,"spread":0.1648142345585939,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000196078,0.00007099248,0.0001392115,0.0000289436,0.0001993115,0.00001557223,0.0001453949,0.00002481359,0.0004370943],"category_scores_gemma":[0.00002980319,0.00003713321,0.00004927974,0.00002897082,0.0004284127,0.00006507755,0.00004751658,0.0001208689,0.000004006761],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000003358313,"about_ca_system_score_gemma":0.000005312622,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001366419,"about_ca_topic_score_gemma":0.002593608,"domain_scores_codex":[0.9994726,0.00004457055,0.0001810196,0.0001052135,0.0000939462,0.0001026764],"domain_scores_gemma":[0.9994481,0.0001970689,0.0001216766,0.0001548021,0.00006307629,0.00001524811],"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":[0.0001298835,0.0001742866,0.02533073,0.00008574482,0.000235271,0.000003982692,0.08176142,0.0001365025,0.003259595,0.8716946,0.0001148,0.01707323],"study_design_scores_gemma":[0.0004154529,0.0003128891,0.9761236,0.0002081266,0.0001959543,9.05453e-7,0.005874845,0.0002059441,0.005630824,0.004570981,0.00627658,0.0001839147],"study_design_candidate":"observational","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9801678,0.00005979457,0.000002956381,0.000273213,0.00004872762,0.00006958663,0.00001225329,0.000005964501,0.01935969],"genre_scores_gemma":[0.9991447,0.00001463152,0.00001914953,0.0005496662,0.00009826626,0.000004866868,4.627891e-7,0.000003920517,0.000164319],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.9507928,"threshold_uncertainty_score":0.4785877,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W746922241","doi":"10.5206/notabene.v7i1.6595","title":"Sounds of Australia: Aboriginal Popular Music, Identity, and Place","year":2014,"lang":"en","type":"article","venue":"Nota bene","topic":"Media, Communication, and Education","field":"Social Sciences","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Indigenous; Sovereignty; Politics; Identity (music); Popular music; Viewpoints; Colonialism; Aesthetics; Negotiation; Sociology; Power (physics); Gender studies; Media studies; Political science; Social science; Law; Visual arts; Art","authors":[{"name":"James J. Wu","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.07470629768132277,"gpt":0.4053726316839155,"spread":0.3306663340025927,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000658359,0.0000411309,0.00007854974,0.0000350197,0.0002043969,0.00003955817,0.0002032694,0.00005197891,0.0001970371],"category_scores_gemma":[0.0001400593,0.00004309751,0.00001585935,0.0001300898,0.0001388345,0.0002194104,0.00001763184,0.00005598336,0.00002015136],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00002632532,"about_ca_system_score_gemma":0.00006089513,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.009239153,"about_ca_topic_score_gemma":0.01465073,"domain_scores_codex":[0.999374,0.0001081926,0.0001098478,0.00008557428,0.0002081987,0.0001142418],"domain_scores_gemma":[0.9995314,0.00006338339,0.00006764947,0.0002012515,0.00006706887,0.00006920072],"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":[0.000016486,0.0001993175,0.3628919,0.00008534873,0.00002566724,2.692132e-7,0.1144911,0.00001768428,0.001352881,0.4966304,0.01384408,0.01044479],"study_design_scores_gemma":[0.0004541206,0.00006121165,0.5140884,0.00004890512,0.00005870464,9.736606e-7,0.007208398,0.00007414308,0.0002689399,0.03477419,0.4427186,0.0002434759],"study_design_candidate":"observational","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9929058,0.0001010772,0.000117621,0.001079162,0.0004048158,0.00005678043,0.000001520211,0.00001375703,0.005319487],"genre_scores_gemma":[0.9959741,0.0002111599,0.0009649416,0.00003380329,0.0003181837,0.000003652535,0.000007984067,0.000003120408,0.002483015],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.4618562,"threshold_uncertainty_score":0.9973584,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2352282193","doi":"10.5206/notabene.v9i1.6607","title":"Paris and the Awakening of Wagner's Nationalism","year":2016,"lang":"en","type":"article","venue":"Nota bene","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":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"German; Nationality; Nationalism; Musical; Literature; Perception; History; Sociology; Art; Political science; Law; Philosophy; Politics; Immigration","authors":[{"name":"Jelisaveta Mojsilović","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01515489694097058,"gpt":0.1895231295215293,"spread":0.1743682325805587,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001295115,0.00003817797,0.00009602779,0.00002153411,0.0001314932,0.00001327166,0.00005082034,0.00001890817,0.004148641],"category_scores_gemma":[0.00004414011,0.00001616484,0.00003914375,0.00001252057,0.0004024276,0.00004417108,0.00002764467,0.00002650453,0.00001375274],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00000264999,"about_ca_system_score_gemma":0.000004830831,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001752711,"about_ca_topic_score_gemma":0.0005334533,"domain_scores_codex":[0.9996797,0.00002808586,0.0000969049,0.00006749938,0.00006899294,0.00005880758],"domain_scores_gemma":[0.999561,0.0002620148,0.00004425888,0.00007254341,0.00004567921,0.00001453849],"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":[0.00001785936,0.00001133173,0.0002784263,0.000002905025,0.00004433861,3.027976e-7,0.002778555,4.106703e-7,0.0002088566,0.986276,0.003149325,0.007231673],"study_design_scores_gemma":[0.00264288,0.00005978267,0.01094562,0.0000408784,0.0002312386,0.000001676065,0.000594332,0.0001651338,0.000806975,0.09436897,0.8899575,0.0001849581],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8787574,0.0003910084,0.00007643072,0.02472727,0.0002472165,0.00007470338,0.00002631886,0.00001858055,0.09568114],"genre_scores_gemma":[0.9916976,0.00002756118,0.00001837779,0.0007254386,0.0002529932,0.000006120075,0.000001578273,0.000002436225,0.007267894],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.891907,"threshold_uncertainty_score":0.9967617,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4283119499","doi":"10.5206/notabene.v15i1.15034","title":"Felix Mendelssohn’s Religious Hybridity Revealed Through His Oratorios","year":2022,"lang":"en","type":"article","venue":"Nota bene","topic":"Reformation and Early Modern Christianity","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"Western University","funders":"","keywords":"Oratorio; Discernment; Faith; Judaism; Literature; Jewish music; Liturgy; Philosophy; Religious studies; Musical; Theology; Art; Haskalah; Jewish studies","authors":[{"name":"Adam MacNeil","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04070787760662925,"gpt":0.2327691937751518,"spread":0.1920613161685225,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0002281842,0.0001569838,0.0002038648,0.00005114792,0.001098219,0.0001483635,0.0002542204,0.00002579368,0.01147162],"category_scores_gemma":[0.00002788915,0.0001426275,0.00009429546,0.00005551105,0.00006354301,0.000325747,0.0001578263,0.0002961206,0.0004214262],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001845053,"about_ca_system_score_gemma":0.00005118316,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001527501,"about_ca_topic_score_gemma":0.0004352648,"domain_scores_codex":[0.9986665,0.00009528659,0.0003110007,0.0002322107,0.0004246756,0.0002702832],"domain_scores_gemma":[0.999311,0.00002848732,0.0001440814,0.0003515663,0.00009616298,0.00006870774],"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":[0.0001209429,0.0003326598,0.0003840773,0.00007033253,0.0000931761,0.00005420889,0.1032319,0.000296009,0.0001863815,0.09343225,0.7969069,0.004891087],"study_design_scores_gemma":[0.0004558701,0.0001032422,0.00026118,0.000004853256,0.0000184434,0.000009378832,0.002221773,0.0002902737,0.0001042537,0.004305521,0.9919964,0.0002287863],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7095666,0.0007208081,0.0001416412,0.003433095,0.00341416,0.0004703728,0.0005869082,0.0004939789,0.2811725],"genre_scores_gemma":[0.9886577,0.00007397795,0.00008389321,0.001588184,0.0006309703,0.00005682535,0.0001351607,0.00002480585,0.00874846],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.2790911,"threshold_uncertainty_score":0.989432,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4381431301","doi":"10.5206/notabene.v16i1.16612","title":"\"An Airy Spirit\": Developing Identity Through Music, Performance, and Perception","year":2023,"lang":"en","type":"article","venue":"Nota bene","topic":"Shakespeare, Adaptation, and Literary Criticism","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"University of Victoria","funders":"","keywords":"Tempest; MAGIC (telescope); Identity (music); Aesthetics; Cultural identity; Literature; Perception; Musical; Sociology; Character (mathematics); Art; Visual arts; Epistemology; Philosophy; Social science","authors":[{"name":"Kiara Hosie","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.08138101303774561,"gpt":0.2858934943330398,"spread":0.2045124812952942,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000140016,0.0001122132,0.0001145018,0.00008950022,0.0005497633,0.0003099644,0.00009603037,0.00003697222,0.001324794],"category_scores_gemma":[0.00001023603,0.0001081167,0.00002801498,0.00007511987,0.0001076149,0.001921097,0.00002919776,0.00007697917,0.0002827032],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00002237993,"about_ca_system_score_gemma":0.00002161574,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0002516653,"about_ca_topic_score_gemma":0.001003677,"domain_scores_codex":[0.9992062,0.00002518936,0.0001796177,0.0002109245,0.0001748102,0.0002032574],"domain_scores_gemma":[0.9996768,0.00002522659,0.0000311176,0.0001439759,0.00008352796,0.00003939379],"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":[0.00002889246,0.00006640744,0.006627316,0.0002856249,0.00003437375,0.00001558166,0.3867311,0.00002394495,0.0007651206,0.5504035,0.007569348,0.04744883],"study_design_scores_gemma":[0.0005686536,0.0001597577,0.5371776,0.0001243809,0.00003664468,0.00000736465,0.02409373,0.001929839,0.00007771394,0.009685849,0.4256588,0.0004797381],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9753357,0.00005351058,0.0001041314,0.0003372224,0.0006385221,0.00009508726,0.00001937807,0.0002019861,0.02321444],"genre_scores_gemma":[0.9941006,0.0001331177,0.0003982025,0.0007885756,0.001005663,0.00001176507,0.0001256246,0.00001922004,0.003417242],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.5407176,"threshold_uncertainty_score":0.9995881,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W795769820","doi":"10.5206/notabene.v6i1.6587","title":"Figures Pointing to an End: Operatic Analysis and Modern Sound Design","year":2013,"lang":"en","type":"article","venue":"Nota bene","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":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Sound (geography); Opera; Tragedy (event); Sound analysis; Sound design; Literature; Art; Semiotics; History; Philosophy; Linguistics; Acoustics; Physics","authors":[{"name":"Martin Dawson","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04969102486959738,"gpt":0.2445108272477698,"spread":0.1948198023781725,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001387677,0.000121379,0.0002527888,0.0001846385,0.0003832583,0.0003532225,0.0001130098,0.00004233908,0.01454631],"category_scores_gemma":[0.00004243828,0.00009378092,0.00007352058,0.00009637725,0.00008329041,0.0002469116,0.00004787411,0.00007738786,0.0001493457],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000009602112,"about_ca_system_score_gemma":0.000008026776,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001711176,"about_ca_topic_score_gemma":0.009020817,"domain_scores_codex":[0.9991714,0.00007402625,0.0001763383,0.0002641093,0.0001047465,0.000209343],"domain_scores_gemma":[0.9994516,0.0001029163,0.00003593347,0.0002020671,0.0000759625,0.000131555],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"simulation_or_modeling","study_design_scores_codex":[0.0001578629,0.001470241,0.01903033,0.0001800716,0.009022411,0.00005052946,0.3093239,0.0261164,0.03007062,0.312287,0.02740976,0.2648809],"study_design_scores_gemma":[0.002139778,0.001966335,0.136337,0.00007924879,0.01080681,0.000009009291,0.0110163,0.6247463,0.003317638,0.1793172,0.02682325,0.003441274],"study_design_candidate":"simulation_or_modeling","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.985832,0.00006411042,0.006417494,0.0008831793,0.00005977033,0.0001589386,0.000006674691,0.00004142048,0.006536404],"genre_scores_gemma":[0.991257,0.000002591598,0.001413301,0.002598395,0.000296095,0.00003981042,0.00001523211,0.000009492125,0.00436811],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.5986298,"threshold_uncertainty_score":0.9863545,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W154980203","doi":"10.5206/notabene.v6i1.6588","title":"Performance Practice of Early American Hymnody: Tempo and the “Moods of Time”","year":2013,"lang":"en","type":"article","venue":"Nota bene","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":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Repertoire; Notation; History; Literature; Linguistics; Art; Philosophy","authors":[{"name":"Erin Fulton","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.009904676839422272,"gpt":0.2042312746071186,"spread":0.1943265977676963,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001613685,0.00006157755,0.0002102116,0.00003134902,0.0001031163,0.00002133036,0.00009601796,0.00001760102,0.002360968],"category_scores_gemma":[0.00006473066,0.00003540702,0.00004564468,0.0000430394,0.0009903925,0.0001652787,0.00004269389,0.00007487953,0.00005898373],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00000246436,"about_ca_system_score_gemma":0.000008466031,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00308881,"about_ca_topic_score_gemma":0.0001189768,"domain_scores_codex":[0.9995005,0.00006097246,0.000168716,0.00008506988,0.00009543222,0.00008928768],"domain_scores_gemma":[0.9992293,0.0002941056,0.0001813218,0.0001502124,0.0001220189,0.00002306013],"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":[0.001603939,0.001306724,0.032571,0.0003520394,0.002217363,0.000003615852,0.1475582,0.0000615917,0.009104287,0.5176693,0.02606177,0.2614902],"study_design_scores_gemma":[0.006545278,0.004061891,0.3600119,0.0001747444,0.002649697,0.00001312198,0.01454545,0.01360031,0.005080703,0.003903019,0.5882493,0.00116455],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9175097,0.0000600467,0.0000015611,0.001729536,0.00003639095,0.00008939254,0.000004434323,0.000006691105,0.08056228],"genre_scores_gemma":[0.9957713,0.0000422484,0.00008072519,0.0006170593,0.000107139,0.00001145964,0.000001687655,0.000004454535,0.003363853],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.5621876,"threshold_uncertainty_score":0.998551,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4381435428","doi":"10.5206/notabene.v16i1.16613","title":"The Wicked Weeping Woman: A Reconsideration of Women's Agency in the Lament","year":2023,"lang":"en","type":"article","venue":"Nota bene","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":true,"about_ca":false},"ca_institutions":"Mount Allison University","funders":"","keywords":"Lament; Agency (philosophy); Abandonment (legal); Autonomy; Grief; Sociology; Invocation; Gender studies; Art; Psychology; Literature; Political science; Law; Social science; Anthropology","authors":[{"name":"Annika Williams","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04982846091659961,"gpt":0.2481318170582307,"spread":0.1983033561416311,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005997692,0.00005026015,0.00009953908,0.0000500653,0.0003254599,0.00004581864,0.0001069721,0.00002066734,0.001080205],"category_scores_gemma":[0.00007268356,0.00002706815,0.00004363344,0.00008946701,0.0001470717,0.00004388863,0.00002536028,0.0000770171,0.00005815883],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00002378141,"about_ca_system_score_gemma":0.00001412568,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001438352,"about_ca_topic_score_gemma":0.005655481,"domain_scores_codex":[0.9993674,0.00009992612,0.0001759114,0.00008657637,0.00009871669,0.0001714622],"domain_scores_gemma":[0.9994704,0.0002923837,0.00005419898,0.0001449131,0.00002455093,0.00001351079],"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":[0.00003677827,0.0001124055,0.0003478949,0.00002581721,0.0001098107,0.00001329767,0.3384679,0.00008612208,0.0005697724,0.6247739,0.01132207,0.02413431],"study_design_scores_gemma":[0.001050101,0.0003779985,0.05889262,0.00007384285,0.0001162488,0.000002052595,0.1036735,0.003109295,0.00039658,0.1282034,0.7037159,0.0003884145],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.981699,0.00003935924,0.000001756781,0.007187961,0.0001867874,0.00009692273,0.00000213838,0.00001602169,0.01077004],"genre_scores_gemma":[0.9963084,0.00003180226,0.000003856976,0.001322436,0.0001750915,0.00006588364,0.000005298014,0.000003243222,0.002083974],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.6923938,"threshold_uncertainty_score":0.9998329,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2914477539","doi":"10.5206/notabene.v11i1.6614","title":"Behind the Bandstand: Jay G. Sims and the Internal Workings of the Sousa Band","year":2018,"lang":"en","type":"article","venue":"Nota bene","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Purchasing; Scholarship; Position (finance); Broad band; History; Management; Engineering; Media studies; Sociology; Political science; Physics; Business; Law; Operations management; Optics","authors":[{"name":"Caitlin D. McAlister","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01048026900525584,"gpt":0.177826516527833,"spread":0.1673462475225771,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003175728,0.00009753425,0.0001271828,0.00002046208,0.0006532554,0.00008198684,0.000288143,0.00002645561,0.0008682581],"category_scores_gemma":[0.00001104213,0.00003837203,0.00006477049,0.00001561681,0.001704523,0.00006808445,0.00006980464,0.0001362249,0.00001261975],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001335558,"about_ca_system_score_gemma":0.00001678613,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0003643526,"about_ca_topic_score_gemma":0.003060731,"domain_scores_codex":[0.9993827,0.0000422206,0.0001724768,0.0001065576,0.0001524288,0.0001435646],"domain_scores_gemma":[0.9994686,0.00008013281,0.0001002587,0.0002820729,0.00004797201,0.00002093005],"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":[0.0008279114,0.00008663103,0.003579279,0.00005424923,0.0001871169,0.000001498319,0.7893504,0.000003094872,0.0007964344,0.1064426,0.05761005,0.04106074],"study_design_scores_gemma":[0.0008542891,0.00006368959,0.001786519,0.00005919915,0.00004522235,0.000003703833,0.001823125,0.00005251474,0.0007496619,0.0009231394,0.993561,0.00007790309],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8739917,0.0005601168,0.000004795165,0.0008336317,0.001364275,0.000155362,0.00001403621,0.0000122727,0.1230639],"genre_scores_gemma":[0.9827538,0.00004321243,0.000002309925,0.0008035726,0.001389698,0.000009041471,6.860702e-7,0.00001017001,0.0149875],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.935951,"threshold_uncertainty_score":0.9506817,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4399762759","doi":"10.5206/notabene.v17i1.17181","title":"Liberatory Praxis in Operatic Rehearsal Processes","year":2024,"lang":"en","type":"article","venue":"Nota bene","topic":"Artistic and Creative Research","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"Mount Allison University","funders":"","keywords":"Praxis; Aesthetics; Psychology; Visual arts; Art; Epistemology; Philosophy","authors":[{"name":"Emma Yee","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04094828816845059,"gpt":0.2984528754985922,"spread":0.2575045873301416,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001216714,0.00007865883,0.00009836032,0.00008274216,0.000110691,0.0002603263,0.00008115001,0.00002267675,0.005104203],"category_scores_gemma":[0.00008512844,0.00006028575,0.00001824361,0.00007277647,0.0001325082,0.0001993132,0.0000335419,0.000141546,0.0005938441],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00003631386,"about_ca_system_score_gemma":0.0001631473,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001426603,"about_ca_topic_score_gemma":0.001414826,"domain_scores_codex":[0.999323,0.00003145726,0.0001266743,0.0001741807,0.00015854,0.0001861675],"domain_scores_gemma":[0.9996665,0.000135183,0.00000686715,0.00008996455,0.00005919317,0.00004235625],"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":[0.00003096681,0.0001614149,0.001770998,0.0009046975,0.00004590325,0.0001943324,0.03581819,0.000009526264,0.0002715682,0.9088742,0.03017956,0.02173872],"study_design_scores_gemma":[0.0003431024,0.0003263085,0.002448953,0.0007069858,0.00001957009,0.000006171599,0.008792866,0.001628799,0.001028363,0.004803398,0.9795228,0.0003726926],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.3692892,0.006613004,0.00007504327,0.001974109,0.0002211957,0.0003146112,0.00005318301,0.0001842526,0.6212754],"genre_scores_gemma":[0.9669724,0.00006715429,0.00004382824,0.00009564238,0.0004247633,0.00004135484,0.000007599624,0.00001582563,0.03233149],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.9493432,"threshold_uncertainty_score":0.9958053,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W249310759","doi":"10.5206/notabene.v7i1.6593","title":"Lachrimae, or Seaven Teares by John Dowland: Tears of Lost Innocence","year":2014,"lang":"en","type":"article","venue":"Nota bene","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"Western University","funders":"","keywords":"Lute; Innocence; Art; Literature; Scholarship; Classics; History; Psychology; Psychoanalysis","authors":[{"name":"Rebecca Shaw","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01501680541396567,"gpt":0.2009366544125027,"spread":0.1859198489985371,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001415737,0.0001222816,0.0002016246,0.00006789833,0.0001525415,0.00003514581,0.0001869062,0.00004215406,0.003203207],"category_scores_gemma":[0.00001862873,0.00008996811,0.00004217156,0.00002926019,0.0002295559,0.0001458323,0.00003676616,0.0001011381,0.000215175],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00002439556,"about_ca_system_score_gemma":0.0000318925,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0004748462,"about_ca_topic_score_gemma":0.0007513786,"domain_scores_codex":[0.9992219,0.00002581393,0.0002176251,0.000161028,0.000167912,0.0002057576],"domain_scores_gemma":[0.9995167,0.00003767982,0.00008771966,0.0002422805,0.00006022193,0.00005542748],"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":[0.0004196564,0.0004550229,0.004095467,0.0004499489,0.00009204041,0.000006699173,0.06036937,0.00001351838,0.01034278,0.03970213,0.8184832,0.06557013],"study_design_scores_gemma":[0.0004175464,0.0001872895,0.001070907,0.00004735447,0.00001436473,0.000001305141,0.0003419986,0.00005062501,0.0009692243,0.00005568021,0.9966996,0.000144105],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7630849,0.0002315552,0.000009425646,0.0001209397,0.0006280201,0.0001172109,0.0001185451,0.00005256261,0.2356369],"genre_scores_gemma":[0.9475957,0.00004516864,0.0000435544,0.000368323,0.0005014758,0.000007903501,0.00001847803,0.00001809329,0.05140128],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.1845109,"threshold_uncertainty_score":0.997708,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W845188105","doi":"10.5206/notabene.v5i1.6583","title":"“Adventure is out there!”: Pastiche and Postmodernism in the Music of Up","year":2013,"lang":"en","type":"article","venue":"Nota bene","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"Wilfrid Laurier University","funders":"","keywords":"Musical; Hollywood; Highbrow; Literature; Art; Adventure; Popular music; Aesthetics; Narrative; Visual arts; Music history; Art history","authors":[{"name":"Bradley Michael Spiers","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04651373153871444,"gpt":0.2223294305941643,"spread":0.1758156990554498,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001223384,0.00007322864,0.0001964701,0.00004990371,0.00002847271,0.00001483006,0.0001004494,0.00004530626,0.0004103234],"category_scores_gemma":[0.00005717767,0.00005462905,0.00003355587,0.0000566802,0.00003852957,0.0000516076,0.00004006661,0.0000820132,0.0001175868],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000007285042,"about_ca_system_score_gemma":0.000003193988,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0003810698,"about_ca_topic_score_gemma":0.0002387702,"domain_scores_codex":[0.9994923,0.000005767955,0.000211347,0.0001420609,0.00002385702,0.0001245956],"domain_scores_gemma":[0.9996433,0.00006628878,0.00008723552,0.0001691646,0.00001418356,0.00001983184],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"observational","study_design_scores_codex":[0.00003757735,0.0003296801,0.731456,0.0002145131,0.000178198,0.000006431434,0.1056735,0.00001153707,0.0006733339,0.07025695,0.04748204,0.04368032],"study_design_scores_gemma":[0.0006652917,0.00008621215,0.9472244,0.0000188737,0.000008327098,0.000001462046,0.001417033,0.0003240947,0.0001047321,0.02876496,0.02124552,0.0001390759],"study_design_candidate":"observational","study_design_consensus":"observational","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.980811,0.004959147,0.00003341851,0.003560063,0.0002633745,0.0001753384,0.00003499913,0.000004131095,0.01015855],"genre_scores_gemma":[0.9978631,0.0003855195,0.00006035226,0.0008122546,0.00006899396,0.0000228564,0.000002094166,0.00000670805,0.0007781778],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.2157684,"threshold_uncertainty_score":0.4492753,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3174197500","doi":"10.5206/notabene.v14i1.13410","title":"Completing Mahler’s Piano Quartet: A Study of Unfinished Music, Ethics, and Authenticities","year":2021,"lang":"en","type":"article","venue":"Nota bene","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":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Piano; Musical; Harmony (color); Art; Style (visual arts); Literature; Psychology; Aesthetics; Visual arts; Art history","authors":[{"name":"Isabella Spinelli","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1341997204343804,"gpt":0.2766842362438064,"spread":0.142484515809426,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000288412,0.0001204429,0.0003374296,0.00006409648,0.0004516222,0.00008148645,0.0000903034,0.00006454481,0.007652478],"category_scores_gemma":[0.0001546313,0.000105717,0.00006722211,0.00005321618,0.0001960476,0.00005854898,0.00009899743,0.0002967106,0.00001706072],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001059255,"about_ca_system_score_gemma":0.00003110765,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001373323,"about_ca_topic_score_gemma":0.03910831,"domain_scores_codex":[0.9988711,0.0002224921,0.0003005131,0.0002462449,0.0001874356,0.0001722018],"domain_scores_gemma":[0.9990304,0.0004175488,0.0001023717,0.0002094363,0.0001924216,0.00004784476],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00005620396,0.001650068,0.004457241,0.0002104939,0.0006442145,0.00007371661,0.6000919,0.00001368253,0.00171714,0.3846992,0.003094042,0.003292014],"study_design_scores_gemma":[0.00637515,0.00219225,0.06099444,0.0002979362,0.002130553,0.00001635545,0.6525155,0.00133858,0.00153253,0.0226219,0.2485473,0.001437519],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9821582,0.0001347516,0.00001038049,0.002008291,0.0002883933,0.00009871113,0.0000220463,0.00002850434,0.01525068],"genre_scores_gemma":[0.9929792,0.000006374147,0.00004837396,0.001036894,0.0002576577,0.000009531933,0.00001486179,0.00001045375,0.005636649],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.3620774,"threshold_uncertainty_score":0.9932547,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4381435944","doi":"10.5206/notabene.v16i1.16614","title":"Ballroom Refuses to Burn: Exploitation versus Community Education in Documentaries about Voguing and the Ballroom Community","year":2023,"lang":"en","type":"article","venue":"Nota bene","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"Queen's University","funders":"","keywords":"Ballroom; Mainstream; Queer; Media studies; Racism; Sociology; Art; Gender studies; History; Visual arts; Performance art; Political science; Art history; Law","authors":[{"name":"Andie Winsor","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.06499774810801627,"gpt":0.2909422180299782,"spread":0.2259444699219619,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0006933454,0.0001163158,0.0001467336,0.00008291865,0.001813171,0.0002017406,0.0002324338,0.0000387497,0.0006789137],"category_scores_gemma":[0.0001737596,0.00008822772,0.00003148982,0.00009752528,0.0002272998,0.0002832821,0.0001158469,0.0004429231,0.00006946543],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00008106068,"about_ca_system_score_gemma":0.00004371461,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.01722743,"about_ca_topic_score_gemma":0.2082229,"domain_scores_codex":[0.9989144,0.0005361073,0.0001882579,0.00009012188,0.0001208639,0.000150201],"domain_scores_gemma":[0.9990914,0.000429418,0.00005841958,0.0003060979,0.00006865683,0.00004593165],"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":[0.0003772767,0.0001432483,0.0003616136,0.00006520359,0.00002833833,6.211404e-7,0.7684968,0.00005558381,0.0001027405,0.1714981,0.04779966,0.0110708],"study_design_scores_gemma":[0.002069611,0.0001462077,0.01903275,0.0001637156,0.00004315315,9.169793e-7,0.3707039,0.00003230144,0.00004790067,0.00681488,0.6006756,0.0002690653],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9647849,0.0002128162,0.000002020042,0.001145214,0.0008681974,0.000236236,0.00001627207,0.00007224355,0.03266208],"genre_scores_gemma":[0.9937553,0.00002664949,0.00002587028,0.001090324,0.0002194464,0.00007504307,0.0001359479,0.00001120829,0.004660209],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.5528759,"threshold_uncertainty_score":0.9994863,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4283118296","doi":"10.5206/notabene.v15i1.15030","title":"Music of Contingency: A Musical Topic of Cosmic Horror in Depictions of “The Music of Erich Zann”","year":2022,"lang":"en","type":"article","venue":"Nota bene","topic":"Gothic Literature and Media Analysis","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"University of Saskatchewan","funders":"","keywords":"Sublime; Musical; Subject (documents); Pleasure; Art; Literature; Musical analysis; Foundation (evidence); Aesthetics; Art history; History; Psychology; Computer science","authors":[{"name":"Graeme Dyck","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02355549947466851,"gpt":0.271054926862797,"spread":0.2474994273881285,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004449649,0.0000588478,0.0002897554,0.0001216247,0.00009036322,0.000002561865,0.0002856016,0.00005304947,0.0006443433],"category_scores_gemma":[0.0003075064,0.00004996309,0.0001530017,0.001173998,0.000168097,0.00003818035,0.00009103388,0.0001574418,3.715956e-7],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00003785003,"about_ca_system_score_gemma":0.0002301289,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.004046713,"about_ca_topic_score_gemma":0.01312885,"domain_scores_codex":[0.9987153,0.0002213321,0.0003788166,0.0001271116,0.0004159595,0.0001415143],"domain_scores_gemma":[0.9992122,0.000138832,0.0002672389,0.0002298367,0.0001201791,0.00003167964],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"observational","study_design_scores_codex":[0.0001099857,0.002053212,0.341754,0.0003332075,0.0003224001,0.000009800464,0.3811424,0.0005331062,0.2132341,0.03641575,0.007512108,0.01657994],"study_design_scores_gemma":[0.003509044,0.0007077831,0.8140513,0.0003352393,0.001035326,0.000003406708,0.0786551,0.0007398255,0.03383047,0.008878792,0.05765027,0.0006034587],"study_design_candidate":"observational","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.995141,0.0002161054,0.00001485506,0.0005476238,0.0004083581,0.0001585903,0.0000291305,0.00000436616,0.003479947],"genre_scores_gemma":[0.9990718,0.00001086748,0.0001240976,0.00009537958,0.00006475465,0.00001681719,0.000003334269,0.000004233478,0.00060876],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.4722973,"threshold_uncertainty_score":0.7326208,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4411363558","doi":"10.5206/notabene.v18i1.22223","title":"Reclaiming Oral Knowledge: Indigenous Classical Musicians’ Decolonial Approaches","year":2025,"lang":"en","type":"article","venue":"Nota bene","topic":"Diverse Musicological Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"Wilfrid Laurier University","funders":"","keywords":"Indigenous; Traditional knowledge; Sociology; Epistemology; Philosophy; Biology; Ecology","authors":[{"name":"Emily Granville","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.2269072828118846,"gpt":0.2762042219449701,"spread":0.04929693913308553,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001507493,0.0001888918,0.0003129709,0.0000972518,0.001009625,0.0003260475,0.0002551806,0.00009697232,0.001177951],"category_scores_gemma":[0.00009026631,0.0001515437,0.0001056249,0.00009403299,0.0003960787,0.0001014263,0.0002834323,0.0002176363,0.0003322983],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001274204,"about_ca_system_score_gemma":0.0000591751,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001272397,"about_ca_topic_score_gemma":0.003892845,"domain_scores_codex":[0.9988802,0.0000591246,0.0002228301,0.0003173183,0.0001311068,0.0003893866],"domain_scores_gemma":[0.9994928,0.0001629346,0.00005223354,0.0001678804,0.00007245778,0.00005171653],"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":[0.00007316629,0.0007292178,0.00194422,0.00005376872,0.0002078536,0.0000220649,0.03615752,0.000009481435,0.00002840068,0.7439594,0.03609263,0.1807222],"study_design_scores_gemma":[0.0004666923,0.000133746,0.00579353,0.00002753861,0.00008310879,3.974344e-7,0.002828915,0.00008982442,0.00004663812,0.003737035,0.986567,0.0002255692],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.4903044,0.0004058816,0.00001883734,0.001588095,0.0017666,0.0002652832,0.00001859379,0.0001565011,0.5054758],"genre_scores_gemma":[0.9710875,0.000007874029,0.0002025806,0.0009330607,0.000761474,0.0000598857,0.00001037278,0.00001277558,0.02692449],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.9504744,"threshold_uncertainty_score":0.9997351,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4381435522","doi":"10.5206/notabene.v16i1.16608","title":"A Requiem for Fanny: The Final Creative Efforts of Felix Mendelssohn","year":2023,"lang":"en","type":"article","venue":"Nota bene","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":true,"about_ca":false},"ca_institutions":"Wilfrid Laurier University","funders":"","keywords":"Grief; Denial; Undoing; Sister; Key (lock); Brother; Anger; Art; Psychoanalysis; Literature; Psychology; Sociology; Social psychology; Psychotherapist; Anthropology","authors":[{"name":"Kristen Whittle","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1281780398818625,"gpt":0.2920723384657665,"spread":0.163894298583904,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001944402,0.00008187873,0.0001793581,0.00005856744,0.0003246263,0.00002268558,0.0001287011,0.00003712521,0.002448038],"category_scores_gemma":[0.00005709952,0.00004954406,0.0001427432,0.00007412087,0.0001636612,0.00004791548,0.00003699859,0.00006512515,0.00005149174],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000007303563,"about_ca_system_score_gemma":0.00001716597,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001674635,"about_ca_topic_score_gemma":0.00150526,"domain_scores_codex":[0.9993925,0.00002295532,0.000167966,0.0001372508,0.000103256,0.0001760387],"domain_scores_gemma":[0.9994559,0.0001974042,0.00007547142,0.0001544533,0.00009050991,0.00002622499],"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":[0.0001964762,0.0001016782,0.0001291961,0.00005079431,0.0003417935,0.000005153866,0.0379131,0.00006352063,0.0007939322,0.9107594,0.03446041,0.01518454],"study_design_scores_gemma":[0.001464411,0.0007781521,0.01096028,0.00006216295,0.0007095651,0.000001428975,0.01088316,0.003580638,0.004365297,0.0893756,0.8774002,0.0004191157],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9349895,0.00005032877,0.00004120093,0.002207438,0.0003026307,0.0002325271,0.00007509743,0.00005277959,0.0620485],"genre_scores_gemma":[0.9632466,0.000006909725,0.00003035938,0.0004584337,0.0003530222,0.00007769848,0.00004219908,0.00000825683,0.03577645],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.8429398,"threshold_uncertainty_score":0.9984639,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3036894573","doi":"10.5206/notabene.v13i1.8579","title":"Voices That Matter: Authenticity, Identity, and Voice in the Musical Career of Lana Del Rey","year":2020,"lang":"en","type":"article","venue":"Nota bene","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Subjectification; Singing; Musical; Materialism; Identity (music); Sociology; Aesthetics; Linguistics; Art; Literature; Philosophy; Acoustics; Epistemology","authors":[{"name":"Anton Blackburn","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.09129715338533896,"gpt":0.2443800511781674,"spread":0.1530828977928284,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00009863331,0.00007728433,0.0001264583,0.00001859953,0.0001191096,0.00007994776,0.0002002174,0.0000324101,0.002332201],"category_scores_gemma":[0.0000127579,0.00005126819,0.00003644226,0.00002920611,0.0001271119,0.0001784439,0.00006043276,0.0001198775,0.00007286572],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000005669364,"about_ca_system_score_gemma":0.000006077701,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000746726,"about_ca_topic_score_gemma":0.0180871,"domain_scores_codex":[0.999424,0.00004557734,0.0001181212,0.0001313218,0.0001835291,0.00009740433],"domain_scores_gemma":[0.9997495,0.0000315926,0.00004817313,0.0001147954,0.00002361646,0.00003236375],"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":[0.00003758169,0.0001422152,0.02542137,0.0003076186,0.00003875469,0.00002462042,0.7319508,0.000003467426,0.0005897894,0.1069285,0.1337779,0.0007774002],"study_design_scores_gemma":[0.0007167317,0.0001314482,0.134817,0.00008431968,0.0001348809,0.000007353351,0.03025158,0.0001237726,0.0001043949,0.002599077,0.8306944,0.0003349846],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9693164,0.0002509905,0.000003896464,0.002323098,0.0001476092,0.00008841528,0.00003634213,0.00001166303,0.02782164],"genre_scores_gemma":[0.9950905,0.000003305278,0.000007742381,0.00356903,0.0003120528,0.000004449282,0.000007842161,0.000005971464,0.0009991023],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.7016991,"threshold_uncertainty_score":0.9998302,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4399762940","doi":"10.5206/notabene.v17i1.17195","title":"\"More Than Just Composers\": Teachers' Identities as Music Creatives and the Impact on Teaching Composition","year":2024,"lang":"en","type":"article","venue":"Nota bene","topic":"Diverse Music Education Insights","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Composition (language); Musical composition; Mathematics education; Music education; Psychology; Pedagogy; Art; Literature","authors":[{"name":"Katherine Bombardieri","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04767863831505362,"gpt":0.305306045454644,"spread":0.2576274071395903,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["scholarly_communication","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0002118388,0.0001743842,0.0001665775,0.0001299739,0.0007029593,0.001154677,0.0001287249,0.00003081874,0.002915532],"category_scores_gemma":[0.00001752307,0.0001025826,0.0001012487,0.00002903221,0.0005282893,0.0004028844,0.00004608474,0.0002624113,0.0002909919],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00007021501,"about_ca_system_score_gemma":0.00003285687,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001492916,"about_ca_topic_score_gemma":0.0001026108,"domain_scores_codex":[0.9991534,0.000125589,0.0001485084,0.0002139611,0.0002053352,0.0001531539],"domain_scores_gemma":[0.999375,0.0003137607,0.0000477674,0.0001771731,0.00003577673,0.00005048384],"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":[0.0000459853,0.00005784447,0.00008796946,0.0000235447,0.0001117464,0.000006356933,0.401338,0.00001557982,0.00007755181,0.5762891,0.02123871,0.0007076489],"study_design_scores_gemma":[0.003959102,0.0008494594,0.0251366,0.001633098,0.000749435,0.00007394109,0.6857845,0.002528635,0.0006905072,0.04604194,0.231143,0.001409798],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7897089,0.0003278203,0.000002850713,0.001952567,0.0008574883,0.000176918,0.00003675636,0.0001079583,0.2068287],"genre_scores_gemma":[0.984121,0.00001583657,0.00001257634,0.0004998361,0.001000186,0.00001720935,0.00005291833,0.00002091176,0.01425952],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.5302471,"threshold_uncertainty_score":0.9998822,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W985136830","doi":"10.5206/notabene.v8i1.6601","title":"The Bayreuth Festspielhaus: The Metaphysical Manifestation of Wagner's Der Ring des Nibelungen","year":2015,"lang":"en","type":"article","venue":"Nota bene","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":true,"about_ca":false},"ca_institutions":"University of Ottawa","funders":"","keywords":"Opera; Drama; Architecture; Parallels; Interpretation (philosophy); Metaphysics; Art; Reign; Art history; Literature; Philosophy; Aesthetics; Visual arts; Epistemology; Law","authors":[{"name":"Matthew Timmermans","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.09816152899996736,"gpt":0.2568581167967769,"spread":0.1586965877968095,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003153025,0.00009106252,0.0001364134,0.00002458173,0.0005061741,0.00007697468,0.0002077421,0.00003045953,0.0003130548],"category_scores_gemma":[0.00007800187,0.0000442259,0.0000941987,0.00005280456,0.0004939605,0.0001073558,0.00005946948,0.000108747,0.00005186495],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0000157839,"about_ca_system_score_gemma":0.00002283822,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0004697585,"about_ca_topic_score_gemma":0.004740114,"domain_scores_codex":[0.9992656,0.00008600269,0.000179631,0.0001186803,0.0001813572,0.000168745],"domain_scores_gemma":[0.9992629,0.0002348922,0.00008410944,0.0002182147,0.0001505183,0.00004942567],"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":[0.00006333717,0.0001589308,0.000669842,0.00001923457,0.0005591094,0.000004745938,0.03841,0.0001522393,0.0004649028,0.925214,0.006392024,0.02789162],"study_design_scores_gemma":[0.001985619,0.0007789513,0.06100566,0.00007512693,0.003456961,0.000009769118,0.02680507,0.005899677,0.005522984,0.2223956,0.6711725,0.0008920631],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9547465,0.0006389239,0.00005401736,0.001941459,0.000308512,0.00011239,0.000007654913,0.00002646016,0.04216406],"genre_scores_gemma":[0.9958663,0.00001282009,0.00004475277,0.0003586495,0.0004913817,0.00001894423,0.000006392368,0.000008255253,0.00319253],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.7028185,"threshold_uncertainty_score":0.3893133,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4399762953","doi":"10.5206/notabene.v17i1.17192","title":"\"Before His Head was Cold\": Puritan Piety and the Pipe Organ","year":2024,"lang":"en","type":"article","venue":"Nota bene","topic":"Reformation and Early Modern Christianity","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Head (geology); Piety; History; Philosophy; Religious studies; Geology; Paleontology","authors":[{"name":"Jacob Skaggs","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02039401901175098,"gpt":0.2253739094796236,"spread":0.2049798904678727,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001793891,0.0001052841,0.0001241949,0.00003457277,0.0003750135,0.0005569333,0.0001012806,0.00003523592,0.001886094],"category_scores_gemma":[0.00001513085,0.0000587863,0.00005445357,0.00003168653,0.0002394142,0.0002419832,0.00004330371,0.0001573461,0.0002912324],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00002870634,"about_ca_system_score_gemma":0.00002172743,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0006544532,"about_ca_topic_score_gemma":0.00345551,"domain_scores_codex":[0.9993784,0.00002716197,0.00016089,0.0001329566,0.000150449,0.0001501439],"domain_scores_gemma":[0.9996809,0.00003308406,0.00002426117,0.0001674089,0.00004202575,0.00005230918],"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":[0.000037547,0.00003218274,0.00016268,0.0001471063,0.00006601505,0.000008750777,0.1183013,0.000001400684,0.00009907835,0.839384,0.02223906,0.0195209],"study_design_scores_gemma":[0.0005551383,0.00005326456,0.00134782,0.00005193555,0.00003327569,0.000007791037,0.001688757,0.002127118,0.000118351,0.005832891,0.9880477,0.0001359566],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8630298,0.002793128,0.0001089214,0.01711722,0.001460241,0.0003872915,0.0001208667,0.0003516537,0.1146309],"genre_scores_gemma":[0.9833885,0.00006064176,0.00001603757,0.0006132817,0.0005701767,0.00001109261,0.00001365826,0.00001546577,0.01531118],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.9658086,"threshold_uncertainty_score":0.9990263,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3036361513","doi":"10.5206/notabene.v13i1.8559","title":"\"Up Close and Intimate\": Catharsis, the Dark Side of Sexuality, and The Dresden Dolls","year":2020,"lang":"en","type":"article","venue":"Nota bene","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"Wilfrid Laurier University","funders":"","keywords":"Catharsis; Punk; Lyrics; Psychoanalysis; Art; The arts; Aesthetics; Psychology; Visual arts; Literature; Art history","authors":[{"name":"Logan Imans","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03525518321415404,"gpt":0.2290560970579901,"spread":0.1938009138438361,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001713131,0.00008324369,0.0001487497,0.00000624443,0.0003240215,0.00007455839,0.0001298896,0.00002615152,0.0007702655],"category_scores_gemma":[0.00003776246,0.00004094682,0.00002984456,0.0000183796,0.0005372535,0.00006496489,0.00008341487,0.0001097945,0.00001002696],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000003549803,"about_ca_system_score_gemma":0.000009832554,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0002388223,"about_ca_topic_score_gemma":0.0009528515,"domain_scores_codex":[0.9994752,0.00007262342,0.0001348963,0.0001251005,0.0001080714,0.00008404027],"domain_scores_gemma":[0.9996367,0.00008187378,0.00006393039,0.0001501898,0.00002988489,0.00003746471],"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":[0.000129528,0.00002500594,0.0001409057,0.0001173073,0.00007201714,0.000002482253,0.5769289,0.000001450683,0.0006519294,0.2997961,0.1180434,0.004091076],"study_design_scores_gemma":[0.001107585,0.0000739809,0.0009200327,0.00002403288,0.0001167083,0.000004680276,0.01819568,0.0000436398,0.0003633826,0.005417039,0.9735761,0.0001571422],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9352688,0.002188213,0.000001310735,0.008283747,0.0002674953,0.0002263061,0.00009075558,0.000023793,0.05364954],"genre_scores_gemma":[0.9937749,0.00003055681,0.000006894408,0.002715374,0.0003984384,0.000006330781,0.000006088247,0.00000659025,0.003054864],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.8555327,"threshold_uncertainty_score":0.8433867,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2965977633","doi":"10.5206/notabene.v12i1.8146","title":"Nipplegate and the Effects of Implicit vs. Explicit Sexuality in Pop Music Performance","year":2019,"lang":"en","type":"article","venue":"Nota bene","topic":"Gender, Feminism, and Media","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"University of King's College","funders":"","keywords":"Backlash; Human sexuality; Subject (documents); Race (biology); Psychology; Psychoanalysis; Art; Gender studies; Sociology; Aesthetics; Computer science","authors":[{"name":"Jessica MacIsaac","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01278907605901349,"gpt":0.2649271356358118,"spread":0.2521380595767983,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008029435,0.00007914927,0.0002090496,0.00003343882,0.0000911981,0.00001605984,0.0001789834,0.00007052873,0.00005076463],"category_scores_gemma":[0.000142246,0.00005666113,0.00002787416,0.0001776449,0.000138321,0.00009417207,0.00005381845,0.0001071963,0.00001904854],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00002261425,"about_ca_system_score_gemma":0.00005690145,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002473347,"about_ca_topic_score_gemma":0.001130635,"domain_scores_codex":[0.9990633,0.0001270106,0.0001581147,0.0001678078,0.0002337188,0.0002500627],"domain_scores_gemma":[0.9992607,0.0003752023,0.00007162333,0.0002067968,0.00002514916,0.00006048984],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"observational","study_design_scores_codex":[0.0002564128,0.0001506337,0.5190837,0.0006071462,0.00003504422,0.00000325976,0.3862572,0.000007934666,0.01782713,0.02392879,0.0007100441,0.05113272],"study_design_scores_gemma":[0.002817379,0.0001433448,0.9746218,0.00006741665,0.00002120991,9.185058e-7,0.0117932,0.00006374069,0.00468191,0.0008907111,0.004712658,0.0001856564],"study_design_candidate":"observational","study_design_consensus":"observational","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9891844,0.0002102589,0.000001789947,0.0004486505,0.0004136946,0.0004277577,0.000002229293,0.00001320914,0.009297968],"genre_scores_gemma":[0.9982349,0.0002953277,0.00001726883,0.0003324169,0.000111966,0.00002158686,0.000001448326,0.000005834348,0.0009792908],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.4555382,"threshold_uncertainty_score":0.3738978,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4381616111","doi":"10.5206/notabene.v16i1.16615","title":"Reimagining the Music Classroom: Student Engagement with Learning and Self-Corrective Strategies through Play-Based Music Education","year":2023,"lang":"en","type":"article","venue":"Nota bene","topic":"Diverse Music Education Insights","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Popularity; Psychology; Music education; Pedagogy; Phenomenon; Musical; Student engagement; Mathematics education; Social psychology; Visual arts","authors":[{"name":"Montanna Teh","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05969043767293649,"gpt":0.2849394952689677,"spread":0.2252490575960312,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0002540369,0.0001798382,0.0001369296,0.0001092913,0.001022729,0.000598842,0.0001442053,0.00002521937,0.00105828],"category_scores_gemma":[0.00001990524,0.0001125592,0.00002966454,0.0001484792,0.0001737172,0.0003927185,0.00006608722,0.0003224353,0.0001485537],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00008252994,"about_ca_system_score_gemma":0.0003596388,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0004511155,"about_ca_topic_score_gemma":0.001045282,"domain_scores_codex":[0.9988723,0.0001088014,0.0001689274,0.0003073449,0.0003138767,0.0002286884],"domain_scores_gemma":[0.9992245,0.0002421492,0.0001321016,0.0001976603,0.0001648044,0.00003876209],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00002427464,0.0003510697,0.003357001,0.00005720826,0.0001584009,0.000005921727,0.7392344,0.0008462022,0.00003495057,0.2271195,0.02379877,0.005012276],"study_design_scores_gemma":[0.0004780561,0.0001899044,0.01305966,0.00009896774,0.0001110338,0.000001427135,0.5216938,0.000286172,0.00004159788,0.001687429,0.4620925,0.0002593923],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8659407,0.00007964653,0.00003704515,0.001418147,0.002131204,0.0004450005,0.000004957492,0.0003381834,0.1296051],"genre_scores_gemma":[0.9931966,0.00001897896,0.0002406347,0.0006873737,0.0007579885,0.000157477,0.00004165436,0.00002910422,0.004870206],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.4382937,"threshold_uncertainty_score":0.9998549,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4283123938","doi":"10.5206/notabene.v15i1.15032","title":"“Be Yourself”: Frank Ocean’s Blonde and Hip-Hop","year":2022,"lang":"en","type":"article","venue":"Nota bene","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"Western University","funders":"","keywords":"Musical; Musical form; Style (visual arts); Identity (music); Art; Art history; Aesthetics; Visual arts; Literature","authors":[{"name":"Benjamin Heffernan","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0300768247031921,"gpt":0.1962790805075045,"spread":0.1662022558043124,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00008743399,0.00009723975,0.0001105215,0.00003188345,0.001008536,0.00005222166,0.0001131661,0.00002222389,0.05320407],"category_scores_gemma":[0.000005733421,0.00008781484,0.00004160448,0.00002171393,0.00009317768,0.00007772775,0.00006652925,0.0001952111,0.00003146861],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00002697334,"about_ca_system_score_gemma":0.00001543813,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00008344214,"about_ca_topic_score_gemma":0.0003548337,"domain_scores_codex":[0.9993702,0.00003428567,0.00009998478,0.0001752363,0.0001726413,0.0001476539],"domain_scores_gemma":[0.9997211,0.00001478771,0.00003817493,0.0001519139,0.00002092662,0.00005311521],"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":[0.00002702755,0.0001027822,0.0001364831,0.00002255101,0.0000325314,0.00002677905,0.1271644,0.00001325334,0.0002217484,0.1753684,0.694575,0.002309026],"study_design_scores_gemma":[0.0002513008,0.00006248153,0.0001152942,0.00000268267,0.0000231512,0.000007966972,0.008350988,0.00001964697,0.00001853342,0.0004480759,0.9905685,0.0001313889],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8168789,0.001447471,8.590409e-7,0.001250448,0.001248316,0.000121707,0.000153335,0.00010089,0.1787981],"genre_scores_gemma":[0.9174566,0.000005760542,0.00001389027,0.002779484,0.0006098489,0.00001232329,0.00003625366,0.00001410155,0.0790717],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.2959935,"threshold_uncertainty_score":0.9476614,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2900534781","doi":"10.5206/notabene.v11i1.6618","title":"Discriminating Ears: Critical Receptions of Blackness in the Music of George Gershwin and William Grant Still","year":2018,"lang":"en","type":"article","venue":"Nota bene","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Musical; George (robot); Blues; White (mutation); Opera; Art; Rhetoric; Jazz; Context (archaeology); Performance art; Art history; Literature; History; Philosophy; Archaeology","authors":[{"name":"Hannah Edgar","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.06251426256940018,"gpt":0.2626387747053862,"spread":0.200124512135986,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001885988,0.00006755033,0.0001250514,0.00003385456,0.0001408188,0.00001827523,0.0000954634,0.00003125835,0.003121301],"category_scores_gemma":[0.00008728813,0.00004405291,0.00003068023,0.00003613974,0.0007538957,0.00009364491,0.00002048881,0.00008812054,0.000006073707],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000006504461,"about_ca_system_score_gemma":0.00000849445,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001565833,"about_ca_topic_score_gemma":0.006543985,"domain_scores_codex":[0.9994317,0.00005716714,0.0001789333,0.0001050081,0.000119144,0.0001080339],"domain_scores_gemma":[0.999625,0.00008829955,0.00004453187,0.0001336509,0.00008947841,0.00001899366],"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":[0.00002274056,0.0002056558,0.0002169285,0.000175615,0.00001008721,0.000002728581,0.56677,6.78125e-7,0.002520177,0.419654,0.006580236,0.003841274],"study_design_scores_gemma":[0.00160709,0.001096572,0.03541873,0.001176824,0.000281198,0.00001919786,0.2159797,0.0002790413,0.001730353,0.02218302,0.7194711,0.0007572228],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9737066,0.0001043131,0.00001155973,0.0002216821,0.0002471122,0.00008409824,0.00004693526,0.000006938849,0.02557076],"genre_scores_gemma":[0.9987659,0.000002352159,0.00006218127,0.0001802665,0.0003190468,0.000006162503,0.00000521114,0.000005362547,0.000653551],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.7128909,"threshold_uncertainty_score":0.99779,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4411363543","doi":"10.5206/notabene.v18i1.22232","title":"“Wiyawi Ebi”: A Study of Kalinga Vocal Music from the Philippines","year":2025,"lang":"en","type":"article","venue":"Nota bene","topic":"Philippine History and Culture","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Vocal music; Art; Visual arts; Music; Music education","authors":[{"name":"Kevin Catalon","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03557985348077931,"gpt":0.3127990709376811,"spread":0.2772192174569018,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003034217,0.00008875098,0.0001647557,0.00002535347,0.0006147868,0.00002308841,0.0004389414,0.00007416457,0.0005104098],"category_scores_gemma":[0.0002294639,0.00006206824,0.00006256252,0.0004004808,0.0001823994,0.00006992666,0.00006431439,0.0001425433,0.00001477789],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00004154241,"about_ca_system_score_gemma":0.0001000107,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.006515354,"about_ca_topic_score_gemma":0.03828685,"domain_scores_codex":[0.9989913,0.0002003457,0.0001801545,0.0001980259,0.000277521,0.0001526804],"domain_scores_gemma":[0.9993955,0.0001428659,0.00006677285,0.0002795598,0.00007896634,0.00003629326],"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":[0.0001743413,0.002664196,0.04418033,0.00003148509,0.0004032785,0.00001668135,0.7736906,0.0001038632,0.009951494,0.04764792,0.06310575,0.05803003],"study_design_scores_gemma":[0.001436395,0.0001789778,0.1333309,0.00009022677,0.000209501,1.605542e-7,0.1053506,0.00002738238,0.0003004584,0.007096412,0.751699,0.0002799385],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9762335,0.0006933007,0.000007434625,0.002274292,0.0007283404,0.000263042,0.00001443831,0.0000437428,0.01974195],"genre_scores_gemma":[0.9939961,0.0000124068,0.00001608086,0.0006106751,0.0004651358,0.00001788812,0.000004004872,0.000004037588,0.004873702],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.6885933,"threshold_uncertainty_score":0.984931,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2966416785","doi":"10.5206/notabene.v12i1.8145","title":"Magic and Enlightenment auf der Wiesen: Der Stein der Weisen and Die Zauberflöte","year":2019,"lang":"en","type":"article","venue":"Nota bene","topic":"German Literature and Culture Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Enlightenment; MAGIC (telescope); Opera; Art; Rationality; Art history; Philosophy; Literature; Theology; Epistemology","authors":[{"name":"Mercer Greenwald","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.006718897899998146,"gpt":0.1739790759005276,"spread":0.1672601780005295,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00005705419,0.0002134213,0.0002407797,0.00003882499,0.0002497619,0.0002654635,0.00006667023,0.00005392012,0.001074145],"category_scores_gemma":[0.000004919869,0.0001470185,0.00004180995,0.0000173755,0.0001404475,0.0002207646,0.0001057204,0.0001244873,0.0001745816],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001167829,"about_ca_system_score_gemma":0.000006527664,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00003480757,"about_ca_topic_score_gemma":0.0004078268,"domain_scores_codex":[0.9990955,0.00002292134,0.0001631042,0.0002915781,0.0001688448,0.0002580683],"domain_scores_gemma":[0.9995946,0.00002902386,0.00004798853,0.0001845577,0.00007500221,0.00006880031],"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":[0.0002542673,0.0004251229,0.02737684,0.0008057646,0.002384408,0.0001777467,0.4438395,0.000002815672,0.005287489,0.3116475,0.1743646,0.03343397],"study_design_scores_gemma":[0.0006605372,0.0001076207,0.01174103,0.00006102273,0.0001322974,0.00001254773,0.002418305,0.00001403826,0.0002504617,0.001720782,0.9825679,0.0003134559],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.851769,0.02347393,9.067668e-7,0.002705213,0.0005772724,0.0003003651,0.0000390794,0.00004668477,0.1210875],"genre_scores_gemma":[0.9369495,0.0002099399,0.00006059849,0.001251394,0.0004775582,0.00001087827,0.00001857695,0.00001939154,0.06100216],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.8082033,"threshold_uncertainty_score":0.999839,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4411393809","doi":"10.5206/notabene.v18i1.22192","title":"Tunes from the Land: Can Folk Music Cultivate Awareness and Respect for Nature?","year":2025,"lang":"en","type":"article","venue":"Nota bene","topic":"Diverse Musicological Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Aesthetics; Psychology; Art","authors":[{"name":"Emma Robinson","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.08251166109697188,"gpt":0.2648402606488314,"spread":0.1823285995518595,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00007008441,0.0001059665,0.0001586243,0.00001933863,0.0006535706,0.0002420663,0.0001419946,0.00004858532,0.0003007182],"category_scores_gemma":[0.0001201097,0.00005881105,0.00004601458,0.00002786924,0.0001657368,0.00003694608,0.0001422748,0.000102587,0.000005123593],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001719377,"about_ca_system_score_gemma":0.00001305386,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002725372,"about_ca_topic_score_gemma":0.0191258,"domain_scores_codex":[0.9994649,0.00002216863,0.00009343262,0.0001938515,0.00007689836,0.0001487539],"domain_scores_gemma":[0.999303,0.0004610461,0.00003152579,0.0001248492,0.00006226173,0.00001734753],"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":[0.0002222204,0.0001204959,0.05158083,0.00005130231,0.0004300573,0.000008830367,0.01766212,0.000005093564,0.0001960334,0.7861939,0.1291998,0.01432931],"study_design_scores_gemma":[0.0005704885,0.0000422952,0.06065764,0.00003646467,0.00006904505,6.560497e-8,0.00210725,0.00001589753,0.0001187495,0.01881281,0.9174515,0.0001177833],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9694148,0.001278947,0.000004972432,0.007199083,0.001034727,0.0002929011,0.0003961977,0.00005973797,0.02031866],"genre_scores_gemma":[0.9922576,0.00002822715,0.00003195068,0.002669445,0.0005018632,0.00005366833,0.00002352444,0.000006074866,0.004427625],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.7882518,"threshold_uncertainty_score":0.9987726,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3036805296","doi":"10.5206/notabene.v13i1.8573","title":"Fluctuating Tonality and Monotonality in Schoenberg’s Op. 6, No. 8 “Der Wanderer”","year":2020,"lang":"en","type":"article","venue":"Nota bene","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":true,"about_ca":false},"ca_institutions":"McGill University","funders":"","keywords":"Tonality; Phenomenon; Interpretation (philosophy); Repertoire; Scholarship; Philosophy; Epistemology; Linguistics; Literature; Art; Musical","authors":[{"name":"Vlad Praskurnin","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05974914855466143,"gpt":0.2227456237250406,"spread":0.1629964751703791,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001749024,0.0001256661,0.0002535501,0.00003024209,0.0001945183,0.00008188496,0.0001012427,0.00005955392,0.007046579],"category_scores_gemma":[0.0001730064,0.0001061988,0.00006296413,0.00005282883,0.0001693221,0.0001482492,0.00009776226,0.000217726,0.0001261964],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001576813,"about_ca_system_score_gemma":0.00001984436,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0007942872,"about_ca_topic_score_gemma":0.002979471,"domain_scores_codex":[0.9990438,0.00006906047,0.0002564231,0.0002992986,0.0001305197,0.0002008596],"domain_scores_gemma":[0.9995571,0.00009628978,0.00005583742,0.0001090507,0.00007000081,0.000111744],"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":[0.0006043829,0.0007424492,0.0794308,0.0005187498,0.0006804777,0.00009673509,0.08888151,0.0001541908,0.006565867,0.7415799,0.03300105,0.04774385],"study_design_scores_gemma":[0.003406805,0.0003711815,0.2134016,0.0000892133,0.000329429,0.000002972991,0.002583952,0.0138935,0.000920656,0.02505459,0.7386521,0.001294024],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9559724,0.0001482156,0.00002217969,0.008817021,0.0001371808,0.0001059375,0.00002159972,0.00004035066,0.03473509],"genre_scores_gemma":[0.9907694,0.000008723321,0.0001383944,0.007466573,0.0006488825,0.00001249023,0.00001707592,0.000008069699,0.0009303692],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.7165254,"threshold_uncertainty_score":0.9938611,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3175154800","doi":"10.5206/notabene.v14i1.13398","title":"The English Catholic Dream of Gerontius: An Aesthetic Synthesis of Newman and Elgar","year":2021,"lang":"en","type":"article","venue":"Nota bene","topic":"Catholicism and Religious Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Decadence; Protestantism; Faith; Catholic theology; Dream; Intersection (aeronautics); Musical; Fin de siecle; Philosophy; Aesthetics; Art; Sociology; Theology; Art history; Literature; Psychology; Cartography","authors":[{"name":"T. P. Daly","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01327079699394211,"gpt":0.2110683940269086,"spread":0.1977975970329665,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001178852,0.0001004661,0.0002323953,0.00003188723,0.0002940152,0.00005351792,0.0001090259,0.0000301679,0.00003449228],"category_scores_gemma":[0.00005835016,0.00006650908,0.00006438811,0.00002949456,0.0004162101,0.0000502009,0.00007608627,0.00005593713,0.0000021139],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000005759776,"about_ca_system_score_gemma":0.00002252619,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0008071532,"about_ca_topic_score_gemma":0.004624429,"domain_scores_codex":[0.9993275,0.00004013478,0.0002130981,0.0001410474,0.0001280239,0.0001501711],"domain_scores_gemma":[0.9992688,0.0001004874,0.00008745061,0.0002986118,0.0002112546,0.00003337027],"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":[0.0000655449,0.0004996892,0.001403055,0.0002557272,0.0001845236,0.00002169172,0.5881594,0.000007052347,0.002551712,0.2870447,0.00453317,0.1152737],"study_design_scores_gemma":[0.001230829,0.0006461407,0.0123438,0.0003998872,0.0007294826,0.00005991865,0.1030781,0.0000711364,0.04965289,0.006594155,0.8242972,0.0008963955],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9669807,0.005900949,4.054857e-7,0.0002499303,0.0002254221,0.00006336046,0.00003630858,0.00002006371,0.02652289],"genre_scores_gemma":[0.9958242,0.002422246,0.00003277803,0.0000422092,0.0001972608,0.00001011195,0.000003207019,0.0000134118,0.001454605],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.8197641,"threshold_uncertainty_score":0.2712162,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2738679758","doi":"10.5206/notabene.v10i1.6612","title":"The Poetry is the Pity: The War Requiem and Poetic Consolation","year":2017,"lang":"en","type":"article","venue":"Nota bene","topic":"Historical Art and Culture Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Consolation; Poetry; Literature; Context (archaeology); Musical; Pity; Philosophy; Irony; Art; Impossibility; History; Law","authors":[{"name":"Gabrielle Ferrari","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03458543251579711,"gpt":0.2395519885976104,"spread":0.2049665560818133,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0001523898,0.00007548,0.00007313454,0.000004009687,0.007576884,0.0002859887,0.0002287837,0.00001846783,0.0001601326],"category_scores_gemma":[0.00008051916,0.00002734031,0.00003802526,0.000006761139,0.0006791753,0.00008249997,0.00009562954,0.0001091462,0.00006792349],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001066944,"about_ca_system_score_gemma":0.000005405038,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000157612,"about_ca_topic_score_gemma":0.001814149,"domain_scores_codex":[0.9995488,0.00002459638,0.00008992737,0.00009517848,0.000119325,0.0001222097],"domain_scores_gemma":[0.9993988,0.0001191845,0.00007042096,0.0003384279,0.00005551718,0.00001766498],"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":[0.00002533997,0.00002498015,0.001291311,0.00001121547,0.0001053581,0.000001880417,0.1634193,2.11025e-7,0.00009231319,0.5916303,0.2223473,0.02105049],"study_design_scores_gemma":[0.00007629062,0.0000230917,0.005591633,0.000005846387,0.00002911286,8.429384e-7,0.00399166,0.00002404887,0.00001386503,0.005507566,0.9846806,0.00005544672],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1584742,0.008781033,0.000007320911,0.1454629,0.002063749,0.0003826408,0.00002541673,0.00005883533,0.6847438],"genre_scores_gemma":[0.9716051,0.0002402963,0.000002624835,0.0007666664,0.0007269565,0.000010589,7.43994e-7,0.000005200828,0.02664182],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.8131309,"threshold_uncertainty_score":0.9937151,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W220707411","doi":"10.5206/notabene.v7i1.6591","title":"Emmanuel Chabrier de Francis Poulenc","year":2014,"lang":"fr","type":"article","venue":"Nota bene","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"University of Ottawa","funders":"","keywords":"Humanities; Art; Philosophy","authors":[{"name":"Michèle Duguay","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01869324201174597,"gpt":0.2685102284079212,"spread":0.2498169863961752,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005563615,0.000198646,0.0003107515,0.00004298679,0.0005580633,0.0001519238,0.0003654902,0.000410173,0.003606613],"category_scores_gemma":[0.0001889149,0.0001708009,0.000241106,0.0006036281,0.000430331,0.0002245705,0.00005532433,0.0002875432,0.0006905019],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0000926765,"about_ca_system_score_gemma":0.00004761381,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.003365498,"about_ca_topic_score_gemma":0.003335657,"domain_scores_codex":[0.9980924,0.0003401334,0.0002375854,0.0003622003,0.0003260303,0.0006416241],"domain_scores_gemma":[0.9991189,0.0001072221,0.0001105004,0.0002523317,0.0001451622,0.0002659408],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"design_other","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00002810823,0.0003488494,0.01597944,0.00009796362,0.0002921431,0.00003242639,0.0355331,0.0000592767,0.001994099,0.398308,0.0775091,0.4698175],"study_design_scores_gemma":[0.0002518406,0.00007582094,0.01750221,0.00003275739,0.0001923553,0.000004057329,0.0007947262,0.0007055449,0.000162215,0.01606945,0.96391,0.0002990364],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7482318,0.01780023,0.0003020437,0.05099643,0.004553339,0.0001899193,0.00005060358,0.00009667414,0.1777789],"genre_scores_gemma":[0.8910761,0.0001876558,0.0004988374,0.01445292,0.004311336,0.00001228886,0.0000179788,0.00001343388,0.08942945],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.8864009,"threshold_uncertainty_score":0.9973042,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1014416749","doi":"10.5206/notabene.v8i1.6602","title":"Lustmord or Liebestod? Death in Ernst Krenek and Oskar Kokoschka's Orpheus und Eurydike","year":2015,"lang":"en","type":"article","venue":"Nota bene","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":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Drama; Opera; Trope (literature); Modernity; Identity (music); Jazz; Weimar Republic; Musical; Art; Archetype; Art history; Literature; German; History; Aesthetics; Philosophy","authors":[{"name":"Leo S. Harrington","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1268588420854433,"gpt":0.2889391030901875,"spread":0.1620802610047442,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0002103503,0.0001681231,0.0002948992,0.0001220718,0.0001552055,0.0001004607,0.0001417202,0.00008707718,0.002902756],"category_scores_gemma":[0.00008774063,0.000123172,0.00004817587,0.00008015745,0.0001950745,0.0001520932,0.0001022072,0.0001750263,0.0001856047],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0000351235,"about_ca_system_score_gemma":0.00005974424,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001804283,"about_ca_topic_score_gemma":0.0416372,"domain_scores_codex":[0.9989752,0.00006671275,0.0002355646,0.0002889843,0.0001552117,0.0002783094],"domain_scores_gemma":[0.9994007,0.00009082995,0.00006087841,0.0002035618,0.00007617073,0.0001678655],"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":[0.0009180651,0.001159252,0.0414237,0.0001333269,0.0004740922,0.0006283204,0.03676488,0.0001717301,0.0001964303,0.8195004,0.04880973,0.04982006],"study_design_scores_gemma":[0.001853186,0.0004294576,0.01778333,0.00004605691,0.000238406,0.000009962276,0.001418418,0.0005996993,0.00006008097,0.006069968,0.9710173,0.0004741224],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.943299,0.000610089,0.00001149335,0.001316136,0.0004217779,0.0001170418,0.00002516655,0.00005145766,0.05414784],"genre_scores_gemma":[0.9769689,0.00004978628,0.0002071872,0.001638993,0.0006286075,0.00001794174,0.00002186178,0.00001788856,0.02044887],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.9222076,"threshold_uncertainty_score":0.9980087,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null}]}