Bibliographic record
Abstract
objective, universal, and ahistorical conception of reason, or whether it is socially and culturally grounded and thus relative. Absolutists such as Samuel Lipman contend that the Western musical canon, because it represents the best that has been thought and known musically, functions as an Archimedean point for grounding and judging musical knowledge. To these scholars, culture consists of the masterpieces of intellectual and aesthetic activity made transmissible in written words or images possessing corporeal existence and not the vulgar expressions and lived experiences of the common man and woman.2 Poststructuralists, including many radical feminist critics, condemn this so-called master narrative of absolute music as unjustifiably ethnocentric, phallocentric, authoritarian, and even pernicious in its effects.3 For too long, they contend, absolutist epistemology was deemed the only yardstick for musical competence in academia and used to normalize, exclude, or stigmatize those wishing to pursue different musical, personal, political, or cultural agendas. In response to perceived musical and educational injustices and inequities, these critics have dedicated themselves to developing relativistic epistemology in which notions of musical standards, competence, merit, and fact are rejected in favor of ideological difference and social power.3 To these writers, we live in postmusical world in which music as conceptual paradigm or autonomous domain has ceased to exist.4 Music, because it plays important roles in the construction of identity and difference and is itself reflection of social beliefs and attitudes, can only be understood via socially grounded criticism. As John Shepherd writes, music is a cultural form evocative of grounded, material realities, cultural form Paul G. Woodford is Associate Professor in the Department of Music at the University of Western Ontario. His recent publications include articles in the Philosophy of Music Education Review, The Quarterly Journal of Music Teaching and Learning, and Music Educators Journal. Journal of Aesthetic Education, Vol. 35, No. 3, Fall 2001 ?2001 Board of Trustees of the University of Illinois This content downloaded from 157.55.39.45 on Fri, 02 Sep 2016 06:14:37 UTC All use subject to http://about.jstor.org/terms
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How this classification was reachedexpand
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.000 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.000 | 0.000 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.001 | 0.000 |
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 teacher head, 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".