Bibliographic record
Abstract
Contents: Introduction Part I The Social Discourses of Music: La gaita zuliana: music and the politics of protest in Venezuela, Light Carruyo Feed the world, free the world..., Robin Denselow 'Scream against the sky': Japanese avant-garde music in the 60s, Yayoi Uno Everett Central American revolutionary music, Fred Judson Ska and the roots of Rastafarian musical protest, Stephen A. King Playing at poverty: the music hall and the staging of the working class, Ian Peddie. Part II Resistance, Struggle and Conflict: Irony, deception, and political culture in the works of Dmitri Shostakovich, Jennifer Gerstel Iran: 'like a flower growing in the middle of the desert', Mark LeVine Yugoslav and post-Yugoslav encounters with popular music and human rights, Rajko Mursic Shooting and crying: the emergence of protest in Israeli popular music, Scott Streiner Moving in decency: the music and radical politics of Cornelius Cardew, Timothy D. Taylor. Part III The Politics Within: The language of the young people: rap, urban culture and protest in Tanzania, Jose Arturo Saavedra Casco 'Rocking the boat' in South Africa? Voelvry music and Afrikaans anti-apartheid social protest in the 1980s, Albert Grundlingh Muhsam, Brecht, Eisler, and the 20th-century revolutionary heritage, David Robb Fascist music from the West: anti-rock campaigns, problems of national identity, and human rights in the 'closed city' of Soviet Ukraine, 1975-84, Sergei I. Zhuk. Part IV Local Struggles, Global Impacts: The vision of possibility: popular music, women and human rights, Sheila Whiteley Rap in Indonesian youth music of the 1990s: 'globalization', 'outlaw genres' and social protest, Michael Bodden The bitter wounding: the lament as social protest in rural Greece, Anna Caraveli Treaty now: popular music and the indigenous struggle for justice in contemporary Australia, Aaron Corn 'My dirty stream': Pete Seeger, American folk music, and environmental protest, David Ingram Hybridity, Arabness and cultural legitimacy in Rock Metis, Barbara Lebrun Don' go down Waikiki: social protest and popular music in Hawaii, George H. Lewis Music as protest strategy: the example of Tiananmen Square, 1989, Valerie Samson Name index.
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 | 0.000 | 0.002 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.002 | 0.002 |
| Science and technology studies | 0.005 | 0.003 |
| Scholarly communication | 0.007 | 0.003 |
| Open science | 0.001 | 0.003 |
| Research integrity | 0.002 | 0.002 |
| Insufficient payload (model declined to judge) | 0.073 | 0.007 |
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".