Bibliographic record
Abstract
* research for this article was funded by a CRCW Junior Faculty Development Award and GCAH Travel Grant of University of Colorado at Boulder. I am particularly indebted to L?szl? Somfai, who first pointed me towards Violin Rhapsodies, assisted me with finding and interpreting source material, and critiqued an earlier draft of this article. I also gratefully acknowledge assistance of Bart?k Archives in Budapest, Gy?rgy Bal?zs and Krisztina Paloczy of N?prajzi M?zeum in Budapest, Paul Sacher Foundation in Basel, Peter Hungarian folk violinist Andr?s J?nosi, and Romanian ethnomusicologists Marin Marian and Zamfir Dejeu. My thanks go to Vincent Besson at Acta Musicologica for assistance with musical examples. 1. The Influence of Peasant Music on Modern Music [1931], in: Bart?k Essays, ed. Benjamin Suchoff (Lincoln: University of Nebraska Press, 1992), 341. 2. main studies relating folk rhythm to rhythm in Bart?k's music include J anos Breuer, Kolinda Rhythm in Music of Bart?k, in: Studia Musicologica 17 (1975): 39-58 ; Judit Frigyesi, Between Rubato and Rigid Rhythm: A Particular Type of Rhythmical Asymmetry as Reflected in Bart?k's Writings on Folk Music, in: Studia Musicologica 24 (1982): 327-37; Timothy Rice, B?la Bart?k and Bulgarian Rhythm, in: Bart?k Perspectives, ed. Elliott Antokoletz, Virginia Fischer, Benjamin Suchoff, Oxford: Oxford University Press, 2000,196-212; L?szl? Somfai, The Influence of Peasant Music on Finale of Bart?k's Piano Sonata: An Assignment for Musicological Analysis, in: Studies in Musical Sources and Style, ed. Eugene K. Wolf and Edward Roesner, Madison, Wl, A-R Editions, 1990, 535-55; and Benjamin Suchoff, Ethnomusicological Roots of Bart?k's Musical Language, in: World of Music 19/1 (1987): 43-64. Other treatments of rhythm in Bart?k's music are too numerous to mention here. 3. In The Influence of Peasant Music, 341-44, Bart?k notes three ways in which music is taken over and becomes transmuted into modern music. In first, composer may take over a peasant melody unchanged or only slightly varied, write an accompaniment to it and possibly some opening and concluding phrases. In second, the composer does not make use of a real peasant melody but invents his own imitation of such melodies. There is no true difference between this method and one described above. Finally, composer completely absorbed idiom of peasant music which has become his musical mother tongue.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.011 | 0.031 |
| Meta-epidemiology (narrow) | 0.001 | 0.001 |
| Meta-epidemiology (broad) | 0.001 | 0.001 |
| Bibliometrics | 0.006 | 0.003 |
| Science and technology studies | 0.002 | 0.012 |
| Scholarly communication | 0.007 | 0.010 |
| Open science | 0.002 | 0.004 |
| Research integrity | 0.004 | 0.007 |
| Insufficient payload (model declined to judge) | 0.003 | 0.001 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".