Bibliographic record
Abstract
This research project has benefited from the generosity and assistance of many people.In this study, both textual work and ethnographic study have been combined.The work of translation and musical transcription together with cultural immersion involved many individuals and communities.First and foremost, my deepest appreciation to the Rabgey family of Ontario, Canada: "Pala" (Ven.Pencho Rabgey, M.S.C.), a renowned exponent of the Chöd Tradition and former monk of Sera Mey Monastic College, who instructed me by tirelessly transmitting the Chöd Tradition with its varied musical aspects and textual meanings."Amala" (Tsering Dolker Rabgey, M.S.C.), Pala's life partner, who supported this work in many original and heartfelt ways, setting an example of support that always echoed of Sarasvatī's plucked strings to Mañjuśri's sung songs of wisdom.Gratitude to their esteemed daughters, my college friends at the University of Toronto: Dr. Losang C. Rabgey, M.S.C. (DPhil, SOAS), who initially taught me the Tibetan lute "dranyen" (Tib.sgra snyan), and Dr. Tashi Y. Rabgey, M.S.C. (Rhodes Scholar, PhD, Harvard), who advised me to "receive as complete a transmission of Chöd as possible."The Rabgey family founded Machik (machik.org),whose mission is to foster compassionate, innovative approaches to strengthening Tibetan communities in Tibet and globally.Their work is emblematic of Machik Labdrön's practice of going to challenging places and engaging generously and compassionately, amidst complex situations.Oftentimes, things become clearer to a critical eye from a distance.I thank Geshé Thupten Jinpa Langri (PhD, Cambridge, UK; Principal English Translator to His Holiness the Fourteenth Dalai Lama), who advised me to transcribe the Chöd melodies in musical notation.It must be said again here that I did not expect to find such close correspondences between poetic text, musical gesture, and formal design in the Chöd liturgical corpus.While subsequent research may find additional correspondences, the findings here are merely my insights into the phenomena of a little-studied but most profound xxvii
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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 | 0.006 | 0.025 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.001 | 0.000 |
| Bibliometrics | 0.002 | 0.002 |
| Science and technology studies | 0.002 | 0.001 |
| Scholarly communication | 0.003 | 0.002 |
| Open science | 0.002 | 0.004 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.290 | 0.149 |
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".