Bibliographic record
Abstract
As a fourth-year music composition major at MacEwan University, Mari Alice Conrad was interested in exploring the concept of vulnerability. She was particularly inspired by her recent vulnerable experiences returning to school as a mature student and sought to understand these existential experiences in more depth. This curiosity led Conrad to design a research-creation project in her Ethnomusicology course that utilized her skills in composing a musical work that explored vulnerability on three distinct levels: personal vulnerability, societal vulnerability, and global vulnerability. 
 The first level, personal vulnerability, plunged into Conrad's personal experiences as a mature student who, by age and life experience, had been socially segregated to a minority group, and how she was processing those experiences. The second level, sociological vulnerability, specifically focused on addressing societal traditions of classical music and notational conventions for the piano. Conrad sought to displace the customary approach she had developed with the instrument since childhood and considered ways to make the piano (an inanimate object) and its notated music vulnerable. The third level was a more global, ecological, or environmental vulnerability of the weather systems found in the troposphere, the first layer of the atmosphere. Conrad wanted to understand why this layer was extremely volatile and susceptible to multiple variables and how humans interacted with the vulnerability of this force. This third level was also an area that she could universally connect with her audience (hence the title of the composition) and acted as a bridge to explore the other two levels of vulnerability in her work. 
 Throughout the research-creation process, Conrad was able to explore the three levels of vulnerability in tremendous depth, express her interactions and discoveries of these three levels, and further disseminate her findings through notating a graphic score, recording the composition, and crafting an audiovisual representation. The final result of the research-creation composition project (music score and video) brilliantly weaves together concepts of vulnerability in a compelling and meaningful way and shares insight into how these ideas influence and encapsulate Conrad's budding artistic practice.
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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 | 0.001 | 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) | 0.027 | 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 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".