Who Plays the Tune in “Body and Soul”? A Performance History Using Recorded Sources
Why this work is in the frame
A frame that forgets how it found something cannot be audited. These are the routes that admitted this work.
Bibliographic record
Abstract
Abstract This essay explores the multiple histories, traditions, and authorities present in more than 200 recorded performances of “Body and Soul.” The early recordings (dozens of them from 1930 alone) demonstrate both enormous variety and distinct British and American performance patterns, but few of these innovations survive beyond 1940. Coleman Hawkins's version from 1939, and not the original sheet music or early performance history, set a standard key (D-flat—even for singers!) and a slower standard tempo (quarter = 90, although later it became even slower). Charlie Parker and others in the 1940s, however, were influenced by the Chu Berry and Roy Eldridge recording of 1938, which introduced a “jump” chorus widely reproduced for two decades. Billie Holiday determined which set of lyrics would be sung, but not the form in which they would occur. John Coltrane and McCoy Tyner's new modal approach in 1960 created both direct imitators and also a new tradition of trying to neutralize the harmonic complexity of the tune, which Hawkins had so carefully exploited. This study asks whether a more African and less European model of jazz tunes might reveal a less fixed and more complex notion of a musical work that includes orally preserved and recorded innovations and performance traditions. This research also explores how the record itself, as a physical object, has become an authority.
Fetched live from OpenAlex and de-inverted. Abstracts are not stored in this database: the inverted indexes are 8.6 GB of the frame’s 9.3 GB of text, and the host has 13 GB free.
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 | 0.001 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.001 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.000 | 0.001 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.000 | 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 it