Bibliographic record
Abstract
Haiku from Tashme is a set of short songs totaling 16 minutes composed for SATB choir and flute.They are musical settings of six haiku written by Sukeo "Sam" Sameshima while he was forcibly interned in Tashme camp during World War Two, along with other Japanese Canadians.Haiku from Tashme is an attempt to bring awareness of the grim and often forgotten part of Canadian history by reconstructing the soundscapes associated with the author's memories of his time in Tashme.On the practical level, this is done through the musical depiction of the evocative poetic images suggested by the haiku, and through the formal organization of these images into perceptual processes that point to a musical narration.Haiku from Tashme aims to depict feelings of despair and hardship endured by the victims, but also feelings of hope in creating a functioning community amid difficult conditions.The concept of musical semiotics is used in this thesis to describe the different instances of word painting present in the composition.Haiku from Tashme est une collection de courtes pièces totalisant 16 minutes composées pour chœur SATB et flute.Elles mettent en musique six haïkus écrits par Sukeo « Sam » Sameshima lorsqu'il fut interné de force au camp Tashme durant la Seconde Guerre mondiale, suivant le sort commun des Canadiens d'origine japonaise.Haiku from Tashme vise à sensibiliser sur ce chapitre sombre et presque souvent oublié de l'histoire canadienne en reconstruisant les paysages sonores associés avec les souvenirs de l'auteur durant son temps à Tashme.Sur le plan pratique, ceci est effectué à travers la représentation musicale des images poétiques et évocatrices suggérées par les haïkus, et à travers l'organisation formelle de ces images en un processus perceptuel qui pointe vers une narration musicale.Haiku from Tashme a pour but d'illustrer les sentiments de désespoir et de souffrance subis par les victimes, mais aussi les sentiments d'espoir à travers la création d'une communauté fonctionnelle malgré les conditions difficiles.Le concept de sémiotique musicale est utilisé dans cette thèse afin de décrire les différentes instances de figuralisme présentes dans la composition.
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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 | 0.001 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.007 | 0.001 |
| Scholarly communication | 0.002 | 0.001 |
| Open science | 0.001 | 0.002 |
| Research integrity | 0.001 | 0.001 |
| Insufficient payload (model declined to judge) | 0.067 | 0.014 |
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".