Bibliographic record
Abstract
The genesis of Food from Stein was a commission from an ensemble in Vancouver, British Columbia. While that concert ultimately did not take place, it nonetheless dictated the instrumentation of the piece: flute, viola, harp and voice. This genesis also informed the structure of the piece. The commission required that the work reflect the concept of biodiversity (the performance was to occur in the Beatty Biodiversity Museum at the University of British Columbia). I chose to do this by using the theory of evolution to determine the work’s basic structure. Sections would be longer at the beginning and become shorter as the piece progressed, roughly to reflect the progression of geological eras. The harmonic language would likewise begin simply and become increasingly complex over time. Word of the project’s cancellation came to me just at the point in the score where the voice enters. Rather than discarding what I had already written, I decided to choose a new text and continue. It was at this point that I came across Gertrude Stein’s collection Tender Buttons. Despite the change of text (and nominal abandonment of the evolution idea), much of the original plan can still be discerned in both form—sectional, with longer sections generally closer to the beginning—and harmony: beginning simply, and generally becoming more complex. Stein's text uses language not to communicate, but to suggest, or to give the illusion of communicating. Communication of specific ideas is continually frustrated by oblique and unexpected word choices, and odd juxtapositions. Any meaning seems to be solely in the mind of the reader. This trait is reflected in the music. In terms of the harmonic language, I use a complicated form of serialism to suggest traditional harmony. The piece uses four pitch-set complexes to suggest traditional concepts of key and harmony. That is, the set complexes sometimes function as contrasting key areas, and sometimes as local harmonies (to suggest a cadence, for instance). Many forms and gestures used also mimic traditional ones. For instance, one section resembles a bel canto aria, and another a Baroque passacaglia. | 39 pages
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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 | 0.004 |
| 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 | 0.002 |
| Scholarly communication | 0.006 | 0.003 |
| Open science | 0.001 | 0.005 |
| Research integrity | 0.002 | 0.003 |
| Insufficient payload (model declined to judge) | 0.237 | 0.098 |
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".