Bibliographic record
Abstract
Association for Recorded Sound Collections Award of Excellence - Certificate of Merit in Historical Recorded Sound Research in Classical Music. The story of a fascinating, controversial man who influenced almost every sphere of musical life in Britain and helped to change the face of music performance and education in this country. George Dyson (1883-1964) was a highly influential composer, educator and administrator, whose work touched the lives of millions. Yet today, apart from his Canterbury Pilgrims and two sets of canticles for Choral Evensong, his music is little known. In this comprehensive and detailed study, based not only on Dyson's own writings but on unpublished papers, personal correspondence, and interviews with his family and friends, Paul Spicer brings this remarkable man and his lyrical, passionate and engaging music to life once more. Born into a working class family in Halifax, West Yorkshire, he rose from humble beginnings to become the voice of public school music in Britain and Director of the RCM. As a scholarship student, he met and studied with some of the leading musicians of the day, including Sir Charles Villiers Stanford and Sir Hubert Parry. He went on to work in some of the country's greatest schools, where he established his reputation as a composer, particularly of choral and orchestral works, of which Quo Vadis was his most ambitious. A member of the BBC Brains Trust panel, Dyson was also the 'voice of music' on the radio for a number of years and helped to educate the nation through his regular broadcasts. A fascinating, controversial man, George Dyson touched almost every sphere of musical life in Britain and helped to change the face of music performance and education in this country. This seminal book, examining every aspect of his long, colourful career, re-establishes him as the towering figure he undoubtedly was in his time. PAUL SPICER was a composition student of Herbert Howells, whose biography he wrote in 1998. He is well-known as a choral conductor especially of British Music of the twentieth century onwards, a writer, composer, teacher, and producer.
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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 | 0.001 | 0.004 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.001 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.001 | 0.001 |
| Scholarly communication | 0.004 | 0.002 |
| Open science | 0.001 | 0.003 |
| Research integrity | 0.003 | 0.004 |
| Insufficient payload (model declined to judge) | 0.254 | 0.160 |
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".