Cyclical Structures in Central Javanese Skeletal Melodies
Bibliographic record
Abstract
Cyclical patterning of rhythm is a prominent feature in many musical traditions.To name a few: in early European music, isorhythmic motets; in later European music, ground basses, bassi ostinati, and themes and variations; in vernacular European music, rounds, catches, and strophic songs; in American-derived music, chord progressions and changes in jazz and blues; in sub-Saharan idioms and their diasporic extensions, percussive timelines and claves; in Middle Eastern and South Asian music, awzān, īqā'āt, uşūls, and tālas.The present report considers cyclical patterning in the longest, most complex pieces of traditional music for instrumental ensembles in Central Java, namely, gendhings.In particular, this report focuses on the initial, longest sections of gendhings, termed mérongs.Whereas the general analytical approach outlined here is, in principle, applicable to any of the genres just mentioned, its specific application is directly relevant to Central Javanese practice.In this regard, the approach outlined here differs from European-derived analyses of time intervals and melodic form.Rather than abstract concepts of meter or hypermeter, the point of departure is continually recurring cycles of immediately audible concrete time-intervals and analytical results are interpreted in terms of behavioral psychology.Instead of describing melodic form in terms of discrete segments conveyed by, for instance, the letters A, B, C, etc., the present report identifies both overlap and gaps between segments and connects them directly to particular beats and time spans within rhythmic cycles.Also unusual is the present study's analysis of aggregated works rather than individual pieces.
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 | 0.001 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.001 | 0.001 |
| Scholarly communication | 0.001 | 0.000 |
| Open science | 0.000 | 0.001 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.011 | 0.001 |
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".