LA CRÉATION MUSICALE: SCÈNE D’UN DIALOGUE INTERCULTUREL À LA CROISÉE DES IMAGINAIRES.
Bibliographic record
Abstract
O cenário musical brasileiro em Toronto e em Montreal constitui um lugar de diálogo entre as culturas que coexistem nessas cidades. Brasileiros, canadenses de origens e imigrantes de proveniências diferentes interagem nesse cenário como músicos, espectadores, jornalistas e empregadores. Pouco importa sua origem e seu papel, todos esses participantes são ao mesmo tempo locutores e alocutários; têm, portanto, a responsabilidade de representar a cultura brasileira no Canadá, influenciando a elaboração de concepções locais do Brasil. Através da música e dos discursos que a envolvem, encontram-se o imaginário coletivo dos brasileiros e os estereótipos difundidos sobre o Brasil. Résumé: La scène musicale brésilienne à Toronto et à Montréal sert de lieu de dialogue entre les cultures coexistant dans ces villes. Brésiliens, Canadiens d’origine et immigrants de provenances diverses interagissent dans cette scène à titre de musiciens, de spectateurs, de journalistes et d’employeurs. Peu importe leur origine et leur rôle, tous ces participants sont à la fois locuteurs et allocutaires; ils sont donc responsables de représenter la culture brésilienne au Canada, influençant l’élaboration de conceptions locales du Brésil. À travers la musique et les discours qui l’entourent, l’imaginaire collectif des Brésiliens et les stéréotypes répandus sur le Brésil se rencontrent.Mots-clés: musique brésilienne; public canadien; immigration; relations interculturelles; représentation; stéréotypes.Abstract: The Brazilian music scenes of Toronto and Montreal serve as places for intercultural dialogue. Brazilians, people of Canadian descent and immigrants of diverse origins participate in this scene as musicians, spectators, journalists and employers. No matter their origins and roles, these participants act both as speakers and addressees, and are therefore responsible for the representation of Brazilian culture in Canada and the local conceptions of this culture. Through music and the discourses that surround it, the Brazilian collective imaginary meets with stereotypes of Brazil.Keywords: Brazilian music; Canadian audiences; immigration; intercultural relations; representation; stereotypes.
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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 | 0.002 | 0.002 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.021 | 0.027 |
| Scholarly communication | 0.011 | 0.003 |
| Open science | 0.001 | 0.007 |
| Research integrity | 0.003 | 0.004 |
| Insufficient payload (model declined to judge) | 0.012 | 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".