In Tune with the Earth: Musical Protest and Nova Scotian Environmentalism
Bibliographic record
Abstract
THE HISTORY OF NOVA SCOTIA'S MUSCIAL CULTURE has long been a popular field of inquiry. 1 From the era of the early-20th-century folklorists to the post-1989 era of the government-sponsored East Coast Music Awards, the association of the provincial state with musical promotion has made music a ready point of access to the historical meeting of popular and political cultures.There are, however, areas of the province's musical history not directly associated with state support but rather with opposition to the state and its projects.Protest music written and performed in Nova Scotia in response to the controversies of late-20th-century modern industrial development has only occasionally found its way into histories of provincial culture, but it was a common tool of protestors no less than in an earlier era of industrial labour protest.The presence of such music in the historical record raises questions about the supposedly conservative, antimodern, and politically quietist influence of state-supported folk culture, a characterization popularized by cultural historian Ian McKay. 2 McKay's thesis, presented most forcefully in his book The Quest of the Folk, is that the "rural 'Folk' came to play the role of attraction, . . .[and that] the ideological thrust of this representation seems to be one of a liberal antimodernism: an intensely individualistic thirst for an existence released from the iron cage of modernity into a world re-enchanted by history, nature, and the mysterious." 3 His characterization of folk culture as a theater of authenticity serving to contain the working class within an internalized image of itself as simple and conservative received vigourous support from Keith Hollinshead in a 2009 critique from a tourism studies perspective, though Matthew Hayday cast some doubt on its universal applicability the following year in a study of pro-modern folk elements in federal Canada Day celebrations.Hayday concluded that McKay's view of folk performances "does not appear to hold true for the federal government's use of them in the 1960s."
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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 | 0.001 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.011 | 0.007 |
| Scholarly communication | 0.004 | 0.001 |
| Open science | 0.001 | 0.003 |
| Research integrity | 0.001 | 0.001 |
| Insufficient payload (model declined to judge) | 0.003 | 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 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".