The North American Folk Music Revival: Nation and Identity in the United States and Canada, 1945-1980. By Gillian Mitchell.
Bibliographic record
Abstract
This book is part of the new Ashgate Popular and Folk Music series, which, as Derek Scott points out in the General Editor's Preface, is intended to expand the literature on popular music, as well as to recognize the study of such music as a vital part of academic scholarship. Importantly, the series acknowledges multiple methodologies inspired by current theoretical work in cultural studies, semiotics, poststructuralism, psychology, and sociology. Focusing on popular music in the twentieth and twenty-first centuries, Scott explains that the series will be wide ranging in its scope, embracing music that is ‘high tech or low tech, commercial or non-commercial, contemporary or traditional’. The North American Folk Music Revival: Nation and Identity in the United States and Canada, 1945–1980 follows this mandate in its emphasis on music in social and cultural contexts, blended with historical trends in the middle of the twentieth century. In the book's Introduction, Gillian Mitchell raises a number of crucial issues related to the folk music revival movement, which, we are told in the first sentence, arose ‘essentially’ in the 1940s and reached an ‘apex’ in the mid-1960s (p. 1). Mitchell's contention that the folk music revival has been a continuing source of fascination for scholars and musicians is true, especially given the extensive and varied attention to historical, social, and musical perspectives of folk music in the second half of the last century. Such retrospective studies often seem to be motivated by personal experience: ‘being there’, or at least being in a position to talk to individuals who were ‘there’, enables performers and authors, including this one, to enrich folk music narratives.
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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) | 0.000 | 0.000 |
| Bibliometrics | 0.002 | 0.006 |
| Science and technology studies | 0.014 | 0.007 |
| Scholarly communication | 0.006 | 0.003 |
| Open science | 0.001 | 0.002 |
| Research integrity | 0.002 | 0.004 |
| Insufficient payload (model declined to judge) | 0.004 | 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".