Bibliographic record
Abstract
An AIDS Quilt Songbook: Sing for Hope. Nicole Cabell, Adrienne Danrich, Melody Moore, Susanna Phillips, Monica Yunus, Camille Zamora, soprano; Jamie Barton, Sasha Cooke, Joyce DiDonato, Isabel Leonard, mezzo soprano; Anthony Dean Griffey, Sean Pannikar, Matthew Polenzani, Michael Slattery, Noah Stewart, tenor; Lester Lynch, Daniel Okulitch. Keith Phares, Randall Scarlata, baritone; Yo-Yo Ma, cello; Anthony McGill, clarinet; Thomas Bagwell, Scott Gendel, Ricky Ian Gordon, Fred Hersch, Gregg Kallor, Lori Laitman, Kenneth Merrill, John Musto, Cristina Pato, Glen Roven, piano. (GPR 12014; 77:34)Kevin Oldham: Across the Sea. Robert Chesley: Autumn. Ricky Ian Gordon: Run Away. Fred Hersch: Ordinary. Herschel Garfein: Giggly Time. Mary Carol Warwick: Hold My Hand. Eric Reda: ATRIPLA! Drew Hemenger: Her Final Show. Gilda Lyons: Hold On. Cristina Pato: Morning Lullaby. Robert Aldridge: Away, but not far away. Glen Roven: Retro. Paola Prestini: Union. Kamal Sankaram: Far Shore. John Musto: Litany. Siegfried Sassoon: Everyone Sang. Gregg Kallor: One Child. Tania Leon: Zero Plus Anything. Carol Barnett: Let It Go. Lori Laitman: If I... Scott Gendel: At Last.The scourge of AIDS may not garner the headlines that it once did, especially in America, but this merciless killer is still inflicting widespread suffering and fear. Ironically, it also continues to inspire an impressive outpouring of artistic expression that gives voice to the experience of its victims and to the tenacity of those who are battling it. No other epidemics, including those more massive in scale, have garnered such a treasure trove of new musical and theatrical works. Then again, one of the hallmarks of the initial AIDS crisis in this country was the way in which it seemed to take aim at America's musical and artistic community like no other epidemic ever had. It is little wonder that composers, poets, playwrights, artists, and performers responded with the most significant tools and resources at their disposal-their own creative gifts-to draw the wider world's attention to this new killer in their midst and to the acute suffering of its many victims.Among the first concerted efforts to gather composers, lyricists, and singers together for the cause of AIDS Awareness was the AIDS Quilt Songbook organized by the late baritone William Parker in 1991. That project was conceived not so much as a definitive and finished work in its own right, but rather as a catalyst for other works to follow it and be aligned with it. A number of similar projects have sprung up in its wake, with An AIDS Quilt Songbook: Sing for Hope being the most recent and one of the most artistically impressive. Its initial inspiration came from the death of a promising 25 year old tenor named Frank Logan in 1995. A number of his friends and colleagues came together to give voice to their grief and to their grim determination for an AIDS cure to be found. What ultimately sprang from that earnest first effort was an organization called Sing For Hope, anchored by a number of Juilliard students and alumni, in cooperation with agencies and organizations such as Houston's Omega House where Logan had received hospice care. In seven short years, Sing For Hope has grown into a consortium of more than 1,500 artists who volunteer their services for performances in all kinds of different places where a word of hope is so desperately needed. Their central credo eloquently states, We believe in the power of art to heal, teach, and bring joy to those who need it most.It is under this group's auspices that An Aids Quilt Songbook: Sing for Hope was conceived and created with the utmost care and sensitivity. The 23 songs collected here reflect all kinds of different facets of what might be called the Aids Experience. Many are poignant expressions of loss or fear or anger in the face of this relentless disease. Others give voice to hopes and dreams of a better day, or summon us to action in a musical call to arms. …
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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 | 0.001 | 0.002 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.001 | 0.001 |
| Bibliometrics | 0.001 | 0.000 |
| Science and technology studies | 0.002 | 0.000 |
| Scholarly communication | 0.003 | 0.003 |
| Open science | 0.001 | 0.004 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.704 | 0.546 |
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".