Why this work is in the frame
A frame that forgets how it found something cannot be audited. These are the routes that admitted this work.
Bibliographic record
Abstract
Abstract This essay takes as its point of departure the so-called ‘Verdi A’, 432Hz. From the late 1860s through to the 1880s, the opera composer was intensely preoccupied with the question of tuning, weighing in several times on the matter of where A should sit. Verdi was concerned for the strain that high tunings should place on singers’ voices. He advocated on multiple occasions for global acceptance of an A well below 440, and sent Arrigo Boito to argue in favour of A=432 at the Congresso dei Musicisti Italiani, held in Milan on 16–21 June 1881. In the 1880s, Italy remained one of the only nations in Europe that had not adopted equal temperament wholesale for fixed-tone instruments; as in the case of its spoken languages during this same period, and the locations of its A, temperament varied by region, with the southern part of the peninsula clinging to meantones. This article argues that ‘Verdi tuning’ represents the end point of a number of longer shifts in the conceptualization of musical sound, particularly in the Italian context: from temperament to tuning ( accordatura ); from relative conceptions of musical pitch to an absolute one; from local and regional variations towards a standardized system; from an older notion of all-encompassing nature to a presumed separation between nature and culture. Tracing this history through the Italian long nineteenth century will involve concentrating on what this article calls music-adjacent sound: that is, interrogative play with musical pitch; sound experiments from musical materials and operatic voices; instrument tuning by ear; listening for overtones; legislating preferred ratios and (eventually) frequencies for musical use; and constructing a theory of music that draws together these means of sounding. Music-adjacent sound is where the conditions for music-making were and still are established. This article argues that an attention to these sonic and nearly musical moments can demonstrate how listening and the musical imagination were cultivated outside the boundaries of any work or performance.
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.
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 | 0.001 | 0.001 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.002 |
| Science and technology studies | 0.000 | 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) | 0.002 | 0.000 |
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 it