Bibliographic record
Abstract
Marcos Suzano's pandeiro patterns 49 Marcos Suzano adjusting his Sherman v2 filter bank 50 Album cover for Lenine and Marcos Suzano's Olho de peixe 68 Lenine and the audio engineer Denilson Campos at the MiniStereo Studio, Rio de Janeiro 69 Chico Neves in Studio 304, Rio de Janeiro 70 Pedro Luís e A Parede 94 Monobloco workshop and rehearsal, Rio de Janeiro 116 Fernanda Abreu in her recording studio, Pancadão 131 Example of a typical funk carioca rhythmic variation 137 Album art for Fernanda Abreu's Entidade urbana 142 Album art for Fernanda Abreu's Da lata (pan brassiere) 143 Album art for Fernanda Abreu's Da lata (back cover) 144 Ivo Meirelles, leading gres Estação Primeira da Mangueira in rehearsal 157 Lenine 197 Fernanda Abreu 198 Pedro Luís 199 Variations of Marcos Suzano's samba pandeiro patterns 217 IOn 7 December 1998 the Globo newspaper sponsored a forum in Rio de Janeiro titled "mpb: Engajamento ou alienação?"(mpb: Engagement or alienation?).It brought together well-known musicians to debate whether Brazilian popular music (mpb) had lost the critical edge and national relevance it once had under the dictatorship, particularly from the mid-1960s to the mid-1970s, when politically engaged song was at its height (figure 1).The participants included Marcos Valle, a singer-songwriter who was at the center of what is often called the second wave of bossa nova, beginning in the mid-1960s, and whose grooves had recently been rediscovered by a younger cohort based in the United Kingdom; Fernanda Abreu, who first gained fame as a singer and dancer in the pop-rock band Blitz in the early 1980s and later pursued a solo career mixing disco, funk, and samba influences; Adriana Calcanhotto, a singer-songwriter from Porto Alegre, in the South of Brazil, who moved to Rio and made a name for herself there PrefaCe Globalization is not the weapon of a single country for dominating another. . . .It is sufficient that cultural institutions be attentive to the invasion of mannerisms and to the most alive expressions of the country's art, its music.Fortunately, samba is quite strong.
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.
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 | 0.002 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.005 | 0.009 |
| Scholarly communication | 0.004 | 0.003 |
| Open science | 0.001 | 0.002 |
| Research integrity | 0.002 | 0.002 |
| Insufficient payload (model declined to judge) | 0.014 | 0.002 |
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".