Bibliographic record
Abstract
The repertoire chosen for the three conducting recitals represents a variety styles and time periods ranging from the Renaissance to modern times, varying levels of musical experience on the part of the singers, and accompaniment textures ranging from unaccompanied to piano and orchestral. The first recital was in two parts. The first was performed on November 9, 2013 by the University of Michigan Women's Glee Club. The program commemorated the 100th anniversary of Hill Auditorium with the concert theme of “Looking Forward” and featured works composed or arranged in 2013. The second part of the recital was performed on December 10, 2013 by the University of Michigan Orpheus Singers and featured the first three movements of Miserere, ZWV 57 by Jan Dismas Zelenka (1679-1745). The second recital was in three parts. The first was performed on January 16, 2014 by a recital choir and chamber orchestra. The program featured Nun komm, der Heiden Heiland, BWV 61 by Johann Sebastian Bach (1685-1750), and In terra pax, op. 39 by Gerald Finzi (1901-1956). The second was performed on April 10, 2014 by the University of Michigan Orpheus Singers and featured Songs and Sonnets from Shakespeare by George Shearing (1919-2011). The third was performed on October 17, 2014 by the University of Michigan Chamber Choir and featured Cry out and shout by Knut Nystedt (b. 1915), Crucifixus a 8 by Antonio Lotti (1666-1740), and Der Feuerreiter by Hugo Wolf (1860-1903). The final recital was in two parts. The first was performed on October 28, 2014 by the University of Michigan Orpheus Singers and featured Herz und Mund und Tat und Leben, BWV 147, by Johann Sebastian Bach (1685-1750). The second was performed on November 18, 2014 by the University of Michigan Arts Chorale and orchestra and featured Te Deum, Hob. XXIIIc:2, by Joseph Haydn (1732-1809); Ave verum corpus, K. 618, by Wolfgang Amadeus Mozart (1756-1791); and Choral Fantasy in C Minor, op. 80, by Ludwig van Beethoven (1770-1827).
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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 | 0.007 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.001 | 0.001 |
| Bibliometrics | 0.003 | 0.004 |
| Science and technology studies | 0.003 | 0.001 |
| Scholarly communication | 0.004 | 0.002 |
| Open science | 0.001 | 0.002 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.105 | 0.056 |
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".