Bibliographic record
Abstract
JADE AMEY is an archivist and photographer based out of Detroit, Michigan. She obtained her bachelor of arts in arts, entertainment, and media management from Columbia College Chicago and a master's degree in library and information sciences with a concentration in archival administration from Wayne State University. She spent several years in Chicago pursuing endeavors in photography, music industry management, and librarianship before moving back to her home state to embark on more academic and artistic undertakings. Currently, Jade enjoys exploring Detroit's music scene, adventuring around Michigan nature, and running a vintage housewares and clothing shop called Hot Tchotchke Vintage.OLADELE AYORINDE is a visiting assistant professor of ethnomusicology at the Department of Folklore and Ethnomusicology at Indiana University. Located primarily in South Africa and Nigeria, his research explores music and music-making as a window into contemporary Africa's complex social, political, and economic development processes. His research interests include urban ethnography, African music and cultures, popular music and music industries, economic ethnomusicology, cultural policy and management, sound studies, Western classical music, the Global South, the political economy of everyday life, archiving and documentation, and issues of transformation and decolonization in Sub-Saharan Africa and the Black diaspora.DAN DIPIERO is a musician and visiting assistant professor of musicology at Ithaca College. His work has appeared in Critical Studies in Improvisation/Études critiques en improvisation, Rancière and Music (Edinburgh University Press), the Journal of Popular Music Studies, Sounding Out!, the Los Angeles Review of Books, the Cleveland Review of Books, and more. His first book, Contingent Encounters: Improvisation in Music and Everyday Life, is forthcoming with University of Michigan Press.E. HUGHES is a Cave Canem fellow and received their master of fine arts and master of arts from the Litowitz Creative Writing Program at Northwestern University. Their poems have been published or are forthcoming in Guernica Magazine, Poet Lore, Indiana Review, RHINO Poetry, the Offing, and Wildness Magazine—among others. They have been a finalist for the 2021 Elinor Benedict Poetry Prize, longlisted for the 2021 Granum Fellowship Prize, and a semifinalist of the 2022 92Y Discovery Contest. They were nominated for a Pushcart Prize and Best of the Net Award. Currently, they are a doctoral student in philosophy at Emory University.HANNAH KRALL is a doctoral candidate of musicology at Duke University. Her musical interests include improvisation and early jazz. She has a bachelor of arts in music from Cornell University and a master of arts in musicology from Duke University. Her current research focuses on jazz clarinet playing in New Orleans and its exportation to cities outside of New Orleans.DARREN MUELLER is an assistant professor of musicology at the Eastman School of Music, University of Rochester. His recent research examines how the circulation of musical information through different media acts to construct racial ideologies. Essays on this topic have appeared in Jazz Perspectives, the Journal of the Society for American Music, the Journal of the American Musicological Society, and Invisible Culture: An Electronic Journal of Visual Culture. His book, At the Vanguard of Vinyl: A Cultural History of the Long-Playing Record in Jazz, is under contract with Duke University Press. He is also coeditor of Digital Sound Studies (Duke University Press, 2018), which explores the intersection of sound studies, digital technology, and multimodal scholarship.LUKE RIEDLINGER is a doctoral student in musicology at McGill University. His research is focused on jazz historiography, particularly discourses of jazz as a popular music, and strategies for illuminating and disrupting the racialized and gendered hegemonies embedded in the jazz canon. His recent work looks at the late recordings and disbandment of the John Coltrane Classic Quartet, detailing how different bandmembers understood their evolving membership of the ensemble during this turbulent period through a shared concept of masculinity.
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 | 0.002 | 0.012 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.001 | 0.001 |
| Bibliometrics | 0.003 | 0.003 |
| Science and technology studies | 0.003 | 0.001 |
| Scholarly communication | 0.010 | 0.005 |
| Open science | 0.003 | 0.005 |
| Research integrity | 0.004 | 0.004 |
| Insufficient payload (model declined to judge) | 0.634 | 0.530 |
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".