{ "vercy": "1.0-draft", "publication": { "status": "research-draft", "adjudicationStatus": "unreviewed", "publishableCanonical": false, "generatedAt": "2026-09-12T11:28:18Z", "providers": [ "Codex" ], "breadth": "recalled by Codex without web access - no source was read", "missingProviders": [], "pass": 2, "cost": { "grok": { "seconds": 25.9, "error": "Reading additional input from stdin...\nOpenAI Codex v0.153.4\n--------\nworkdir: R:\\02_PROJECTS\\02_Meta_Models_Platforms\\Ver.cy\\current\\thing-registry-backlog\nmodel: gpt-6-astra\nprovider: openai\napproval: never\nsandbox: read-only\nreasoning effort: none\nreasoning summaries: none\nsession id: 01a0955f-073d-7053-82c9-c2ca0af744a1\n--------\nuser\nDescribe what is already known about one registered thing. Answer as JSON only, no prose around it.\n\nThing: music of the Soviet Union\nSense to describe: (none recorded)\nDomain code: INF.MED\nAlso known as: (none)\n\n\nContext for this batch of 1001 things:\n# Batch", "usd": 0.0, "recall": true }, "codex": { "seconds": 70.9, "error": "Reading additional input from stdin...\nOpenAI Codex v0.153.4\n--------\nworkdir: R:\\02_PROJECTS\\02_Meta_Models_Platforms\\Ver.cy\\current\\thing-registry-backlog\nmodel: gpt-6-astra\nprovider: openai\napproval: never\nsandbox: read-only\nreasoning effort: none\nreasoning summaries: none\nsession id: 01a0955f-0739-7f10-8807-a16f0a3efe1b\n--------\nuser\nYou are drafting a Vercy meta-model for one registered thing. Answer as JSON only, no prose around it.\n\nThing: music of the Soviet Union\nRegistry id: vr.tr.music-of-the-soviet-union\nPlane / domain: INF / INF.MED\nRegistry definition: (none recorded)\nNames folde" } }, "enrichment": { "pass": 3, "engine": "claude", "producedAt": "2026-10-06T12:00:00Z", "ingestedAt": "2026-10-06T08:41:10+00:00", "fields": [ "agent_conduct", "ethics", "owners" ] }, "gate": { "passed": true, "version": "1.0", "at": "2026-10-07T10:10:25+00:00", "evidence": [ "completeness 1.00", "sense: Wikidata description", "2 live sources", "review by codex: pass" ] } }, "metaModel": { "id": "THING-Q130572", "registryId": "vr.tr.music-of-the-soviet-union", "name": "music of the Soviet Union", "version": "0.1.0-research.1", "entryKind": "thing", "family": "Thing Registry", "domain": [ "INF.MED" ], "status": "research-draft" }, "canonicalUrl": "https://ver.cy/models/thing/q130572/", "model": { "registry_id": "vr.tr.music-of-the-soviet-union", "name": "music of the Soviet Union", "purpose": "Enable an agent to identify, contextualise and assess music associated with the Soviet Union while preserving distinctions between repertoire, cultural affiliation, institutional treatment and surviving recordings.", "definition": "Music of the Soviet Union is the historically diverse body of musical creation, performance and circulation within the USSR from 1922 to 1991, encompassing its republics' traditions and genres shaped by Soviet institutions, cultural policies and everyday life.", "scope_statement": "This model owns the criteria and evidence for describing music of the Soviet Union as a historically bounded, internally diverse musical corpus, including its production, performance, circulation and subsequent interpretation.", "in_scope": [ "Criteria for including works, performances and recordings in the Soviet musical corpus", "Musical traditions, genres, languages and regional affiliations within that corpus", "Relationships between musical activity and Soviet cultural institutions or policy", "Official, informal, domestic and international channels of musical circulation", "Version histories, source evidence and later reinterpretations of Soviet-era music" ], "out_of_scope": [ "Russian music as a whole, including periods and communities outside Soviet jurisdiction", "Complete musical histories of individual Soviet republics and their successor states", "Full biographies of composers, performers and cultural administrators", "Individual compositions, editions, performances and recordings as independently modelled entities", "General Soviet political history without a demonstrated connection to musical activity", "Detailed copyright determinations for particular works or recordings" ], "distinguishing_features": [ "Inclusion requires an explicit Soviet connection through creation, performance, production, circulation or reception; Russian language alone is insufficient.", "The entry denotes a musical corpus and cultural context, rather than a single genre, composition, institution or recording catalogue.", "Republic, regional, linguistic and community affiliations remain distinguishable rather than being collapsed into Russian identity.", "Soviet-era creation is distinguished from Soviet performance of earlier repertoire and from later recordings of Soviet-era works.", "Institutional approval, restriction and informal circulation are recorded separately from musical style and may differ across dates and places." ], "characteristics": [ { "name": "Basis of Soviet association", "kind": "category", "unit_or_values": "Creation; performance; institutional affiliation; publication; recording; circulation; reception; multiple; unresolved", "why_it_matters": "Makes corpus inclusion explainable without treating every association as equivalent." }, { "name": "Relevant historical interval", "kind": "measurement", "unit_or_values": "Calendar date or date range with precision and uncertainty", "why_it_matters": "Separates dates of composition, revision, performance, release and later reuse." }, { "name": "Territorial and cultural affiliation", "kind": "relation", "unit_or_values": "Dated links to republics, regions, communities and languages, with attributed evidence", "why_it_matters": "Supports plural affiliations and avoids projecting present borders or identities backwards." }, { "name": "Musical practice", "kind": "category", "unit_or_values": "Art music; folk or traditional practice; mass song; popular entertainment; jazz; rock; screen or stage music; other; overlapping; unresolved", "why_it_matters": "Allows comparison across practices without assuming they shared institutions or conventions." }, { "name": "Institutional treatment", "kind": "state", "unit_or_values": "Commissioned; supported; programmed; criticised; restricted; prohibited; rehabilitated; undocumented, qualified by authority, date and activity", "why_it_matters": "Prevents a local or temporary decision from becoming a permanent label for an entire work or career." }, { "name": "Circulation channel", "kind": "category", "unit_or_values": "Concert; broadcast; printed score; commercial recording; film; private performance; copied recording; overseas distribution; other", "why_it_matters": "Distinguishes institutional availability from actual routes of listening and exchange." }, { "name": "Evidence basis", "kind": "category", "unit_or_values": "Contemporary administrative record; score; recording; programme; press; correspondence; testimony; later scholarship; disputed attribution", "why_it_matters": "Lets an agent qualify claims about identity, reception and restriction according to the evidence available." } ], "affordances": [ "Assemble an explicitly bounded corpus with reasons for inclusion and exclusion.", "Compare musical activity across periods, republics, languages and institutional settings.", "Trace a work between composition, revision, performance, recording and later reuse.", "Identify documented changes in support, restriction or availability without inferring them from style alone.", "Locate relevant scores, recordings and archival evidence for a listening or research task.", "Flag uncertain attribution, disputed cultural classification and reuse questions requiring item-level investigation." ], "agent_conduct": { "may": [ "Describe Soviet music across genres and republics, citing sources.", "Explain how state institutions and censorship shaped composers' careers." ], "must_not": [ "Present all Soviet music as Russian, ignoring the republics' traditions.", "Use the music to glorify repression or deny it happened.", "Attribute political views to composers without evidence.", "Distribute recordings in breach of rights." ], "requires_human": [ "Using Soviet anthems or songs in political material." ] }, "ethics": { "considerations": [ "Many musicians suffered persecution; their history deserves honest treatment.", "Musical heritage is claimed by many successor nations." ], "affected_parties": [ "Musicians and their families", "Peoples of the former republics", "Listeners" ] }, "owners": { "steward": "Nobody owns it; archives and rights holders hold the works.", "master_systems": [] }, "what_it_is_for": [ "Music of the Soviet Union is encountered in recordings, scores, archives, concerts and studies of twentieth-century cultural history.", "It supports research into musical traditions, state institutions and everyday life across the Soviet republics." ], "standards_and_regulation": [ "The International Standard Musical Work Code standard ISO 15707, issued by the International Organization for Standardization, applies when identifying individual musical works in this repertoire.", "The International Standard Recording Code standard ISO 3901, issued by the International Organization for Standardization, applies when identifying recordings of this repertoire." ], "failure_modes_and_hazards": [ "Treating the repertoire as culturally uniform can erase distinctions between republics, communities and musical traditions.", "Incorrect attribution or dating can distort historical interpretation and catalogue records.", "Assuming historical recordings are unrestricted can result in unauthorized reuse of protected material." ], "facets_not_applicable": { "recognition": "This historical body of music has no intrinsic visual appearance that distinguishes it from other repertoires." } }, "sources": [ { "id": "wikidata", "title": "Wikidata item Q130572: music of the Soviet Union", "url": "https://www.wikidata.org/wiki/Q130572", "url_status": "live", "what_it_supports": "identity and sense of the item", "checked_by": "wikidata-api" }, { "id": "wikipedia-en", "title": "Wikipedia: Music of the Soviet Union", "url": "https://en.wikipedia.org/wiki/Music_of_the_Soviet_Union", "url_status": "live", "what_it_supports": "general description of the item", "checked_by": "wikidata-api sitelink" } ], "structure": { "bundles": [ { "id": "soviet-corpus-boundaries", "name": "Soviet corpus boundaries", "description": "Defines how music enters this historically bounded corpus and how different kinds of association remain distinct.", "rationale": "The name can otherwise conflate Soviet creation, repertoire heard in the USSR and later representations of Soviet culture.", "layers": [ { "id": "historical-membership", "name": "Historical membership", "description": "Establishes the dated event or relationship that supports inclusion.", "findings": [ { "id": "basis-of-inclusion", "name": "Basis of inclusion", "description": "Record the specific Soviet connection and identify whether it belongs to the work, a performance, a recording or its reception.", "questions": [ { "text": "Which dated act of creation, performance, publication, recording or reception makes this music part of the corpus?", "kind": "definition", "id": "basis-of-inclusion-q01" }, { "text": "Does the evidence establish Soviet-era creation, or only Soviet circulation of music created elsewhere or earlier?", "kind": "boundary", "id": "basis-of-inclusion-q02" } ] } ] }, { "id": "plural-cultural-affiliations", "name": "Plural cultural affiliations", "description": "Keeps geographic jurisdiction, language and cultural identification separately attributable.", "findings": [ { "id": "republic-and-community-position", "name": "Republic and community position", "description": "Describe republic, regional and community connections without making Soviet, Russian or successor-state labels interchangeable.", "questions": [ { "text": "Which republics, regions, languages and communities are associated with this music, and who supplies each identification?", "kind": "provenance", "id": "republic-and-community-position-q01" }, { "text": "How should migration, exile, changing borders or cross-republic collaboration affect inclusion and affiliation?", "kind": "boundary", "id": "republic-and-community-position-q02" } ] } ] } ] }, { "id": "musical-practices-and-traditions", "name": "Musical practices and traditions", "description": "Describes musical forms, performance settings and transformations of inherited material within Soviet contexts.", "rationale": "A single national or political label does not explain differences between concert composition, community practice and popular entertainment.", "layers": [ { "id": "genre-and-social-function", "name": "Genre and social function", "description": "Relates musical classification to performance practice and intended use.", "findings": [ { "id": "situated-genre-classification", "name": "Situated genre classification", "description": "Distinguish contemporary genre names, later analytical labels and the practical settings in which music was used.", "questions": [ { "text": "Was this music presented as concert music, mass song, traditional repertoire, entertainment, jazz, rock, screen music or another practice?", "kind": "definition", "id": "situated-genre-classification-q01" }, { "text": "Which evidence establishes its use in settings such as ceremonies, clubs, homes, religious practice, theatres or concert halls?", "kind": "provenance", "id": "situated-genre-classification-q02" } ] } ] }, { "id": "traditional-material-and-adaptation", "name": "Traditional material and adaptation", "description": "Tracks relationships between community repertoires and collected, arranged or newly composed versions.", "findings": [ { "id": "transformation-of-inherited-repertoire", "name": "Transformation of inherited repertoire", "description": "Keep source traditions distinguishable from arrangements and institutional presentations labelled as folk or national music.", "questions": [ { "text": "What evidence connects the melody, text, instruments or performance conventions to a named community or earlier source?", "kind": "provenance", "id": "transformation-of-inherited-repertoire-q01" }, { "text": "Which changes in language, tuning, instrumentation, text or staging separate the presented version from its documented source?", "kind": "boundary", "id": "transformation-of-inherited-repertoire-q02" } ] } ] } ] }, { "id": "institutions-and-cultural-policy", "name": "Institutions and cultural policy", "description": "Connects musical activity to commissioning, training, programming and documented exercises of cultural authority.", "rationale": "Agents need evidence of what particular institutions enabled or restricted, rather than assuming a uniform relationship between music and the state.", "layers": [ { "id": "production-and-professional-access", "name": "Production and professional access", "description": "Identifies institutions and resources involved in creating and presenting music.", "findings": [ { "id": "institutional-support-pathways", "name": "Institutional support pathways", "description": "Record concrete relationships to conservatories, composers' organisations, ensembles, broadcasters, studios and commissioning bodies.", "questions": [ { "text": "Which institutions commissioned, taught, employed, recorded or programmed the musicians and repertoire under consideration?", "kind": "provenance", "id": "institutional-support-pathways-q01" }, { "text": "What documented conditions governed access to funding, professional standing, publication or public performance?", "kind": "boundary", "id": "institutional-support-pathways-q02" } ] } ] }, { "id": "approval-restriction-and-change", "name": "Approval, restriction and change", "description": "Separates critical discourse from decisions affecting particular musical activities.", "findings": [ { "id": "dated-institutional-treatment", "name": "Dated institutional treatment", "description": "Attach approval, criticism, restriction and rehabilitation claims to an authority, location, date and affected version or activity.", "questions": [ { "text": "Does a claim of censorship identify a documented decision, its issuing authority and the performance, publication or recording it affected?", "kind": "provenance", "id": "dated-institutional-treatment-q01" }, { "text": "Did treatment differ between institutions, republics or periods, and what evidence establishes those changes?", "kind": "measurement", "id": "dated-institutional-treatment-q02" } ] } ] } ] }, { "id": "circulation-and-listening", "name": "Circulation and listening", "description": "Explains how audiences encountered music through public programming, media, personal exchange and international contact.", "rationale": "A publication or broadcast record does not by itself establish who listened, while informal circulation can leave different kinds of evidence.", "layers": [ { "id": "domestic-distribution", "name": "Domestic distribution", "description": "Distinguishes authorised distribution, private exchange and demonstrated audience access.", "findings": [ { "id": "routes-to-soviet-listeners", "name": "Routes to Soviet listeners", "description": "Record channels such as concerts, radio, scores, records and copied tapes without automatically treating private circulation as opposition.", "questions": [ { "text": "Through which documented channels could listeners encounter this music, and where and when were those channels available?", "kind": "provenance", "id": "routes-to-soviet-listeners-q01" }, { "text": "What evidence supports audience reach, and does it measure copies, broadcasts, attendance, testimony or estimated listeners?", "kind": "measurement", "id": "routes-to-soviet-listeners-q02" } ] } ] }, { "id": "international-exchange", "name": "International exchange", "description": "Tracks music entering, leaving or being reframed outside Soviet contexts.", "findings": [ { "id": "cross-border-musical-movement", "name": "Cross-border musical movement", "description": "Separate imported influences, touring, exported recordings and overseas reception from claims about domestic availability.", "questions": [ { "text": "Which tours, broadcasts, festivals, releases or personal exchanges document movement across Soviet borders?", "kind": "provenance", "id": "cross-border-musical-movement-q01" }, { "text": "Was music presented abroad as Soviet, Russian, republic-specific or dissident, and how did that framing compare with its domestic presentation?", "kind": "boundary", "id": "cross-border-musical-movement-q02" } ] } ] } ] }, { "id": "versions-evidence-and-afterlives", "name": "Versions, evidence and afterlives", "description": "Preserves the identity of musical works and their witnesses while qualifying later access, interpretation and reuse.", "rationale": "Revised texts, arrangements, reissues and retrospective labels can obscure which Soviet-era musical object a claim actually concerns.", "layers": [ { "id": "work-and-recording-lineage", "name": "Work and recording lineage", "description": "Links compositions and versions to performances, releases and surviving copies.", "findings": [ { "id": "version-specific-identification", "name": "Version-specific identification", "description": "Distinguish a composition from translated or revised texts, arrangements, recorded performances, release editions and archival items.", "questions": [ { "text": "Which title variants, credits, dates, catalogue references or recording identifiers distinguish this version from similarly named material?", "kind": "definition", "id": "version-specific-identification-q01" }, { "text": "Which score, recording or archival witness supports a claimed revision, and can its relationship to other versions be demonstrated?", "kind": "provenance", "id": "version-specific-identification-q02" } ] } ] }, { "id": "post-soviet-access-and-interpretation", "name": "Post-Soviet access and interpretation", "description": "Records later reissues, heritage claims and reuse contexts separately from Soviet-era evidence.", "findings": [ { "id": "responsible-retrieval-and-reuse", "name": "Responsible retrieval and reuse", "description": "Identify accessible witnesses, retrospective framing and the item-specific checks needed before reproduction or adaptation.", "questions": [ { "text": "Does a later reissue or performance preserve a documented Soviet-era version, alter it, or leave its source unclear?", "kind": "provenance", "id": "responsible-retrieval-and-reuse-q01" }, { "text": "Before reproducing or adapting this material, which composition, lyrics, arrangement, recording and edition require separate rights and attribution checks?", "kind": "action", "id": "responsible-retrieval-and-reuse-q02" } ] } ] } ] }, { "id": "evidence-and-external-alignment", "name": "Evidence and external alignment", "description": "What the world already says about this thing, gathered so the model can be checked against it.", "rationale": "A model that cannot be lined up against existing standards, identifiers and practice cannot be adopted by anyone who already uses them.", "layers": [ { "id": "reported-evidence", "name": "Reported evidence", "description": "Findings from the breadth pass, kept separate from the structural claims.", "findings": [ { "id": "evidence-confidence-notes", "name": "Check these first", "description": "Recalled without web access and unsourced; every item is a lead to verify.", "evidence": [ "This is recalled knowledge, not source-verified research.", "Histories sometimes include 1917-1922 as an early Soviet phase, although the USSR formally existed from 1922 to 1991.", "Specific catalogue identifiers, censorship histories and claims about individual republics require verification; identifier coverage is not comprehensive." ], "questions": [ { "id": "evidence-confidence-notes-q01", "text": "Which of these check these first hold for the sense of music of the Soviet Union this model covers, and on what evidence?", "kind": "provenance" } ] }, { "id": "evidence-kinds", "name": "Kinds and varieties", "description": "Recalled without web access and unsourced; every item is a lead to verify.", "evidence": [ "Classical and concert music", "Folk and traditional music", "Mass and political songs", "Estrada and popular entertainment music", "Jazz", "Rock" ], "questions": [ { "id": "evidence-kinds-q01", "text": "Which of these kinds and varieties hold for the sense of music of the Soviet Union this model covers, and on what evidence?", "kind": "provenance" } ] }, { "id": "evidence-identifiers", "name": "Identifiers and schemes", "description": "Recalled without web access and unsourced; every item is a lead to verify.", "evidence": [ { "scheme": "ISWC - International Standard Musical Work Code", "value_or_pattern": "T followed by nine digits and a check digit", "note": "Identifies individual musical works where assigned, not Soviet music collectively; assignments may be retrospective." }, { "scheme": "ISRC - International Standard Recording Code", "value_or_pattern": "12 alphanumeric characters comprising country, registrant, year-of-reference and designation elements", "note": "Identifies individual recordings where assigned; the year-of-reference element does not necessarily indicate the original recording year." }, { "scheme": "Record-label catalogue and matrix numbers", "value_or_pattern": "Label-specific alphanumeric identifiers", "note": "Melodiya and other Soviet labels used these to distinguish releases and recording or manufacturing matrices; interpretation depends on label and period." } ], "questions": [ { "id": "evidence-identifiers-q01", "text": "Which of these identifiers and schemes hold for the sense of music of the Soviet Union this model covers, and on what evidence?", "kind": "provenance" } ] }, { "id": "evidence-standards-and-regulation", "name": "Standards and regulation", "description": "Recalled without web access and unsourced; every item is a lead to verify.", "evidence": [ "Socialist realism, promoted through Communist Party cultural policy, provided an official framework for musical evaluation, with changing interpretations and enforcement.", "The 1948 Communist Party Central Committee resolution concerning Vano Muradeli's opera The Great Friendship condemned alleged formalism and prompted restrictions affecting composers and repertoire.", "ISO 15707, issued by the International Organization for Standardization, defines ISWC for identifying musical works.", "ISO 3901, issued by the International Organization for Standardization, defines ISRC for identifying sound recordings and music video recordings." ], "questions": [ { "id": "evidence-standards-and-regulation-q01", "text": "Which of these standards and regulation hold for the sense of music of the Soviet Union this model covers, and on what evidence?", "kind": "provenance" } ] }, { "id": "evidence-real-world-use", "name": "Real-world use", "description": "Recalled without web access and unsourced; every item is a lead to verify.", "evidence": [ "Concert, opera and ballet performance, and conservatory education.", "Political ceremonies, commemorations and collective singing.", "Film, broadcasting, theatre and recorded entertainment.", "Community celebrations and transmission of regional musical traditions.", "Informal circulation through home recording and copying, including magnitizdat." ], "questions": [ { "id": "evidence-real-world-use-q01", "text": "Which of these real-world use hold for the sense of music of the Soviet Union this model covers, and on what evidence?", "kind": "provenance" } ] }, { "id": "evidence-failure-modes-and-hazards", "name": "Failure modes and hazards", "description": "Recalled without web access and unsourced; every item is a lead to verify.", "evidence": [ "Treating Soviet music as a single style or equating it with Russian music erases differences among republics, communities and genres.", "Political censorship and accusations of formalism could restrict performances, publication and musicians' careers.", "Official catalogues underrepresent informal, prohibited, religious and orally transmitted repertoire.", "Confusing a composition with an arrangement, performance, recording or release produces attribution and catalogue errors.", "Reissues, translations and variant transliterations can obscure provenance or create duplicate catalogue records." ], "questions": [ { "id": "evidence-failure-modes-and-hazards-q01", "text": "Which of these failure modes and hazards hold for the sense of music of the Soviet Union this model covers, and on what evidence?", "kind": "provenance" } ] }, { "id": "evidence-regional-variation", "name": "Regional variation", "description": "Recalled without web access and unsourced; every item is a lead to verify.", "evidence": [ "Republics maintained distinct languages, musical traditions and institutions while participating in union-wide cultural administration and circulation.", "Caucasian and Central Asian musical cultures combined local vocal, instrumental and modal traditions with Soviet-sponsored concert and theatrical forms in different ways.", "Access to recording, broadcasting and major institutions varied between metropolitan centres and smaller or rural communities." ], "questions": [ { "id": "evidence-regional-variation-q01", "text": "Which of these regional variation hold for the sense of music of the Soviet Union this model covers, and on what evidence?", "kind": "provenance" } ] }, { "id": "evidence-neighbours", "name": "Neighbouring kinds and how to tell them apart", "description": "Recalled without web access and unsourced; every item is a lead to verify.", "evidence": [ { "name": "Russian music", "difference": "Russian music extends beyond Soviet dates and borders; Soviet music includes the music of many non-Russian peoples." }, { "name": "Soviet classical music", "difference": "This is the concert, operatic and related art-music subset, whereas Soviet music also includes traditional and popular practices." }, { "name": "Socialist realist music", "difference": "This describes an ideological and aesthetic orientation; music produced or circulated in the USSR did not uniformly conform to it." }, { "name": "Post-Soviet music", "difference": "This concerns musical activity after the USSR's dissolution, even where repertoire, performers and institutions continued." } ], "questions": [ { "id": "evidence-neighbours-q01", "text": "Which of these neighbouring kinds and how to tell them apart hold for the sense of music of the Soviet Union this model covers, and on what evidence?", "kind": "provenance" } ] } ] } ] } ] }, "openQuestions": [ "Which temporal and territorial inclusion rules should govern pre-Soviet works retained in repertoire, wartime displacement and activity around the USSR's dissolution?", "How should emigrant musicians and works created abroad be included when their Soviet institutional ties, self-identification and reception diverge?", "Which sources adequately represent musical practices outside major institutions, especially minority-language, rural, religious and privately circulated repertoires?", "How should conflicting contemporary and retrospective claims about censorship, popularity and political meaning be adjudicated?", "Which existing Vercy world models already cover this corpus or its constituent concepts, and where should this entry link to them rather than duplicate their ownership?" ], "statistics": { "bundles": 6, "layers": 11, "findings": 18, "questions": 28 } }