{ "vercy": "1.0-draft", "publication": { "status": "research-draft", "adjudicationStatus": "unreviewed", "publishableCanonical": false, "generatedAt": "2026-09-12T11:28:25Z", "providers": [ "Codex" ], "breadth": "recalled by Codex without web access - no source was read", "missingProviders": [], "pass": 2, "cost": { "grok": { "seconds": 22.7, "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-1274-7aa3-9fc3-f2a792688d29\n--------\nuser\nDescribe what is already known about one registered thing. Answer as JSON only, no prose around it.\n\nThing: music of Uzbekistan\nSense to describe: (none recorded)\nDomain code: INF.MED\nAlso known as: (none)\n\n\nContext for this batch of 1001 things:\n# Batch 044: ", "usd": 0.0, "recall": true }, "codex": { "seconds": 74.9, "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-1263-7511-a155-31f78245135d\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 Uzbekistan\nRegistry id: vr.tr.music-of-uzbekistan\nPlane / domain: INF / INF.MED\nRegistry definition: (none recorded)\nNames folded into this " } }, "enrichment": { "pass": 3, "engine": "claude", "producedAt": "2026-10-06T12:00:00Z", "ingestedAt": "2026-10-06T08:43:45+00:00", "fields": [ "agent_conduct", "ethics", "failure_modes_and_hazards", "owners", "standards_and_regulation" ] }, "gate": { "passed": true, "version": "1.0", "at": "2026-10-07T10:10:30+00:00", "evidence": [ "completeness 1.00", "sense: Wikidata description", "2 live sources", "review by codex: pass" ] } }, "metaModel": { "id": "THING-Q3328738", "registryId": "vr.tr.music-of-uzbekistan", "name": "music of Uzbekistan", "version": "0.1.0-research.1", "entryKind": "thing", "family": "Thing Registry", "domain": [ "INF.MED" ], "status": "research-draft" }, "canonicalUrl": "https://ver.cy/models/thing/q3328738/", "model": { "registry_id": "vr.tr.music-of-uzbekistan", "name": "music of Uzbekistan", "purpose": "Enable an AI agent to recognise, describe and responsibly use musical repertoires and practices associated with Uzbekistan while preserving regional distinctions, shared heritage and evidence of attribution.", "definition": "Music of Uzbekistan comprises the musical traditions and contemporary practices associated with Uzbekistan and its communities, including regional folk repertoires, classical maqom, epic performance and popular music, with substantial connections to neighbouring Central Asian cultures.", "scope_statement": "This model owns the criteria, musical distinctions and cultural relationships through which repertoires and practices are associated with Uzbekistan; it links to individual works, performances, recordings and communities without treating the national category as a single genre or an exclusive ownership claim.", "in_scope": [ "Evidence connecting musical practices to Uzbekistan through place, community, history, institutions or self-identification", "Regional, community and transborder distinctions within the national musical category", "Musical organisation, vocal practice, instrumentation and performance conventions", "Transmission, documentation, adaptation and conditions of continued practice", "Relationships among repertoire, performances, recordings and permissions for particular uses" ], "out_of_scope": [ "Complete biographies of musicians and histories of musical institutions", "Individual compositions, performances or recordings as independently managed entities", "Instrument construction, manufacture and conservation", "Uzbekistan's general political, linguistic or demographic history", "Neighbouring national musical traditions except where shared practice or attribution requires a relationship" ], "distinguishing_features": [ "Inclusion requires an explicit connection to Uzbekistan; an Uzbek-language title or a national label in a playlist is a lead to investigate, not sufficient evidence.", "The category can accommodate several musical forms and communities rather than requiring one defining scale, instrument or vocal style.", "Territorial association, ethnic identification, language and citizenship are recorded separately so that 'music of Uzbekistan' is not silently reduced to 'music of ethnic Uzbeks'.", "Historical and transborder repertoires can have multiple supported associations; inclusion does not establish exclusive national origin or ownership.", "A repertoire designation is distinguished from a composition, its arrangement, a performance and the recording that carries it." ], "characteristics": [ { "name": "Basis of association with Uzbekistan", "kind": "relation", "unit_or_values": "Place of practice; community affiliation; historical connection; institutional classification; participant identification, with evidence", "why_it_matters": "Makes inclusion explainable and allows competing classifications to remain visible." }, { "name": "Regional and community attribution", "kind": "relation", "unit_or_values": "Named locality, region or community; source terminology; period; attribution confidence", "why_it_matters": "Prevents a national label from erasing local distinctions or shared traditions." }, { "name": "Repertoire and practice designation", "kind": "category", "unit_or_values": "Locally used names, alternate spellings and translations; classification supported, disputed or unresolved", "why_it_matters": "Supports recognition without assuming that translated labels describe equivalent practices." }, { "name": "Musical organisation", "kind": "category", "unit_or_values": "Documented modal, rhythmic, formal and text-setting descriptions; practitioner and analytical terminology distinguished", "why_it_matters": "Allows musically meaningful comparison while avoiding unsupported universal traits." }, { "name": "Performance configuration", "kind": "category", "unit_or_values": "Vocal or instrumental roles; instrument names; ensemble size; amplification; audience participation", "why_it_matters": "Distinguishes versions and performance settings that share a repertoire name." }, { "name": "Transmission condition", "kind": "state", "unit_or_values": "Active teaching; intermittent transmission; revival activity; archival evidence only; unknown, dated and locally evidenced", "why_it_matters": "Supports decisions about documentation and support without inferring vitality from online visibility." }, { "name": "Documented use conditions", "kind": "state", "unit_or_values": "Permitted; conditional; restricted; unresolved, assessed separately for access, performance, adaptation and recording reuse", "why_it_matters": "Prevents cultural attribution or public availability from being mistaken for permission." } ], "affordances": [ "Assess whether a repertoire or practice belongs in the Uzbekistan category and explain the evidence and uncertainty.", "Compare regional or community variants using documented musical and contextual distinctions.", "Trace a repertoire through teaching lineages, performances, arrangements and recordings.", "Identify gaps in documentation and distinguish uncertain attribution from conflicting attribution.", "Select suitable examples for listening, teaching or research using provenance and contextual information.", "Determine which permissions and community consultations remain necessary before a proposed reuse." ], "agent_conduct": { "may": [ "Describe Uzbek musical traditions, instruments and performers from reliable sources.", "Recommend recordings and credit performers, composers and tradition bearers." ], "must_not": [ "Use recordings or performances without the rights holders' or communities' permission.", "Present the traditions as belonging to one ethnic group when they are shared across the region.", "Attribute traditional works to individuals who did not create them." ], "requires_human": [ "Publishing field recordings of communities or sacred or ceremonial performances." ] }, "ethics": { "considerations": [ "Tradition bearers, often poorly paid, deserve credit and fair benefit.", "Shared Central Asian heritage can become a point of national dispute." ], "affected_parties": [ "Musicians and tradition bearers", "Communities in Uzbekistan and neighbouring states", "Listeners" ] }, "owners": { "steward": "Nobody owns the tradition; performers and communities hold it, and rights holders own recordings.", "master_systems": [] }, "failure_modes_and_hazards": [ "Loss of master-student transmission threatens maqom and epic traditions." ], "standards_and_regulation": [ "Convention for the Safeguarding of the Intangible Cultural Heritage, UNESCO, 2003." ], "what_it_is_for": [ "Music of Uzbekistan is encountered in family celebrations, public performances, cultural education and recorded media.", "Its repertoires support entertainment, storytelling and the transmission of regional and community heritage.", "Documentation and interpretation require attention to particular performers and traditions because many practices are shared across Central Asian borders." ], "facets_not_applicable": { "recognition": "This broad musical category has no reliable visual identifiers because instruments, clothing and performance settings overlap with neighboring traditions." } }, "sources": [ { "id": "wikidata", "title": "Wikidata item Q3328738: music of Uzbekistan", "url": "https://www.wikidata.org/wiki/Q3328738", "url_status": "live", "what_it_supports": "identity and sense of the item", "checked_by": "wikidata-api" }, { "id": "wikipedia-en", "title": "Wikipedia: Music of Uzbekistan", "url": "https://en.wikipedia.org/wiki/Music_of_Uzbekistan", "url_status": "live", "what_it_supports": "general description of the item", "checked_by": "wikidata-api sitelink" } ], "structure": { "bundles": [ { "id": "uzbekistan-association-and-boundaries", "name": "Uzbekistan association and boundaries", "description": "Establishes what the national designation means for each included repertoire or practice.", "rationale": "A national music category needs explicit inclusion criteria because place, language, ethnicity and historical affiliation can overlap without coinciding.", "layers": [ { "id": "grounds-for-inclusion", "name": "Grounds for inclusion", "description": "Records the evidence supporting association with Uzbekistan.", "findings": [ { "id": "association-basis", "name": "Association basis", "description": "Each inclusion should identify who makes the association, on what grounds and for which period.", "questions": [ { "text": "What evidence connects this practice to Uzbekistan, and does it concern residence, performance, community identification, historical activity or institutional classification?", "kind": "provenance", "id": "association-basis-q01" }, { "text": "Would this attribution still hold if the performer's citizenship, the song's language and the recording location were considered separately?", "kind": "boundary", "id": "association-basis-q02" } ] } ] }, { "id": "shared-and-historical-affiliations", "name": "Shared and historical affiliations", "description": "Preserves affiliations that exceed present national boundaries.", "findings": [ { "id": "nonexclusive-attribution", "name": "Nonexclusive attribution", "description": "Association with Uzbekistan should coexist with other supported affiliations and historically appropriate place names.", "questions": [ { "text": "Which neighbouring or diaspora communities also identify with this repertoire, and what evidence supports those relationships?", "kind": "boundary", "id": "nonexclusive-attribution-q01" }, { "text": "For music associated with historical centres such as Bukhara or Samarkand, which geographical and cultural labels are appropriate to the period being described?", "kind": "provenance", "id": "nonexclusive-attribution-q02" } ] } ] } ] }, { "id": "regional-repertoires-and-musical-identity", "name": "Regional repertoires and musical identity", "description": "Describes named practices and the musical evidence needed to distinguish their variants.", "rationale": "Recognition must depend on documented repertoire and performance distinctions rather than a generic national sound.", "layers": [ { "id": "practice-names-and-regional-variants", "name": "Practice names and regional variants", "description": "Aligns local terminology with the particular repertoire, locality and community it denotes.", "findings": [ { "id": "named-practice-resolution", "name": "Named practice resolution", "description": "Names require contextual interpretation before they can be treated as genres, cycles, techniques or regional variants.", "questions": [ { "text": "How do practitioners define labels encountered in research, such as Shashmaqom, katta ashula or lazgi, and which musical component does each label denote?", "kind": "definition", "id": "named-practice-resolution-q01" }, { "text": "Which distinctions among Khorezm, Bukhara-Samarkand and Fergana-Tashkent classifications are supported by sources, and where do those classifications overlap or omit communities?", "kind": "boundary", "id": "named-practice-resolution-q02" } ] } ] }, { "id": "audible-and-performed-distinctions", "name": "Audible and performed distinctions", "description": "Connects musical descriptions to identifiable performances and practitioner explanations.", "findings": [ { "id": "musical-comparison-evidence", "name": "Musical comparison evidence", "description": "Claims about musical identity should identify the examples, terminology and variation on which they depend.", "questions": [ { "text": "Which modal, rhythmic, formal, ornamentation or text-setting features distinguish the documented examples, and how do practitioners name those features?", "kind": "measurement", "id": "musical-comparison-evidence-q01" }, { "text": "Which vocal techniques, instruments and ensemble roles are characteristic of this specific practice, and which occur only in the sampled arrangement?", "kind": "boundary", "id": "musical-comparison-evidence-q02" } ] } ] } ] }, { "id": "language-occasion-and-participation", "name": "Language, occasion and participation", "description": "Situates musical practice in the language, event and social relationships through which it is performed.", "rationale": "The same repertoire can acquire different meanings and participation rules in a household occasion, public celebration, concert or mediated presentation.", "layers": [ { "id": "texts-and-linguistic-context", "name": "Texts and linguistic context", "description": "Records sung language, poetic material and interpretation without making language a proxy for national belonging.", "findings": [ { "id": "text-and-language-attribution", "name": "Text and language attribution", "description": "Textual sources and sung versions should remain distinguishable from translations and catalogue descriptions.", "questions": [ { "text": "Which languages and textual sources occur in this repertoire, and who verified the transcription, translation and attribution?", "kind": "provenance", "id": "text-and-language-attribution-q01" }, { "text": "Does a language change, substituted poem or instrumental rendition create a recognised variant, a new arrangement or a different work?", "kind": "boundary", "id": "text-and-language-attribution-q02" } ] } ] }, { "id": "occasion-and-social-roles", "name": "Occasion and social roles", "description": "Describes the event setting and expected relationships among performers, hosts and participants.", "findings": [ { "id": "context-sensitive-performance", "name": "Context-sensitive performance", "description": "Appropriate presentation depends on the particular practice and occasion rather than a universal national convention.", "questions": [ { "text": "What roles do singing, instrumental music, dance and audience participation have in the documented wedding, celebration, ritual or concert setting?", "kind": "definition", "id": "context-sensitive-performance-q01" }, { "text": "What changes or consultations are needed before presenting this music outside its documented occasion or community setting?", "kind": "action", "id": "context-sensitive-performance-q02" } ] } ] } ] }, { "id": "transmission-and-changing-practice", "name": "Transmission and changing practice", "description": "Tracks how musical knowledge is learned, maintained and transformed.", "rationale": "An agent must distinguish living transmission, documented reconstruction and institutional presentation when judging a practice's condition.", "layers": [ { "id": "learning-and-lineage", "name": "Learning and lineage", "description": "Records evidenced teaching relationships and routes into performance.", "findings": [ { "id": "knowledge-transmission-evidence", "name": "Knowledge transmission evidence", "description": "Transmission claims should identify teachers, learners, teaching settings and the knowledge being passed on.", "questions": [ { "text": "How is this practice learned through family, apprenticeship, community participation, formal education or recordings, and which routes are documented?", "kind": "provenance", "id": "knowledge-transmission-evidence-q01" }, { "text": "What recent, locality-specific evidence shows continuing teaching and performance, and what remains unknown about participation?", "kind": "measurement", "id": "knowledge-transmission-evidence-q02" } ] } ] }, { "id": "adaptation-and-historical-change", "name": "Adaptation and historical change", "description": "Separates dated changes in performance from claims of timeless tradition.", "findings": [ { "id": "documented-transformation", "name": "Documented transformation", "description": "Arrangements and presentations should identify changes and the evidence for continuity with earlier practice.", "questions": [ { "text": "What documented changes in teaching, ensemble format, staging or circulation occurred across Soviet-era and post-independence settings for this particular practice?", "kind": "provenance", "id": "documented-transformation-q01" }, { "text": "How do practitioners classify amplified, popular, electronic or diaspora adaptations, and when do they regard an adaptation as a separate practice?", "kind": "boundary", "id": "documented-transformation-q02" } ] } ] } ] }, { "id": "documentation-and-responsible-reuse", "name": "Documentation and responsible reuse", "description": "Connects cultural descriptions to identifiable evidence and use conditions.", "rationale": "Agents need to distinguish knowledge about Uzbekistan's music from the particular texts, performances and recordings through which they encounter it.", "layers": [ { "id": "repertoire-to-recording-provenance", "name": "Repertoire-to-recording provenance", "description": "Tracks the relationship between a musical designation and a documented instance.", "findings": [ { "id": "musical-entity-resolution", "name": "Musical entity resolution", "description": "A named repertoire, composition, arrangement, performance, recording and file should not collapse into one catalogue object.", "questions": [ { "text": "Does the cited title identify a repertoire category, a composition, an arrangement or a particular performance, and what evidence resolves the distinction?", "kind": "definition", "id": "musical-entity-resolution-q01" }, { "text": "Which performers, dates, locations, collectors, archive references and available identifiers establish the recording's provenance?", "kind": "provenance", "id": "musical-entity-resolution-q02" } ] } ] }, { "id": "permissions-credit-and-context", "name": "Permissions, credit and context", "description": "Establishes what a proposed use requires for the specific material involved.", "findings": [ { "id": "use-specific-authority", "name": "Use-specific authority", "description": "Permission assessments should distinguish applicable rights, access terms and documented community expectations.", "questions": [ { "text": "For the intended publication, sampling, teaching or adaptation, whose permissions are required for the text, arrangement, performance and recording?", "kind": "action", "id": "use-specific-authority-q01" }, { "text": "What attribution, translation review or contextual explanation is needed to represent the named Uzbekistan-associated practice and its shared affiliations accurately?", "kind": "action", "id": "use-specific-authority-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": [ "The registry should clarify whether its intended scope is territorial, ethnic or both.", "Regional categories overlap and should not be treated as exhaustive or mutually exclusive.", "No single tempo, tuning, duration or instrumentation range adequately characterizes this whole category." ], "questions": [ { "id": "evidence-confidence-notes-q01", "text": "Which of these check these first hold for the sense of music of Uzbekistan 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 maqom traditions, including Shashmaqom", "Regional folk songs and instrumental music", "Bakhshi epic singing", "Katta ashula singing", "Art music composed for concert and theatrical performance", "Contemporary popular music" ], "questions": [ { "id": "evidence-kinds-q01", "text": "Which of these kinds and varieties hold for the sense of music of Uzbekistan 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 registered musical works, not Uzbekistan's musical culture as a whole." }, { "scheme": "ISRC - International Standard Recording Code", "value_or_pattern": "12-character alphanumeric code", "note": "Identifies individual recordings; different recordings of the same song can have different codes." } ], "questions": [ { "id": "evidence-identifiers-q01", "text": "Which of these identifiers and schemes hold for the sense of music of Uzbekistan 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": [ "UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage (2003): a framework relevant to safeguarding living musical traditions, rather than prescribing musical form." ], "questions": [ { "id": "evidence-standards-and-regulation-q01", "text": "Which of these standards and regulation hold for the sense of music of Uzbekistan 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": [ "Performance at weddings, festivals and community celebrations", "Concert and theatrical presentation", "Transmission of repertoire and performance skills through master-apprentice teaching and formal education", "Epic storytelling and maintenance of cultural memory", "Broadcasting, recording and digital distribution" ], "questions": [ { "id": "evidence-real-world-use-q01", "text": "Which of these real-world use hold for the sense of music of Uzbekistan 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 a diverse musical culture as a single genre or a single authored work", "Assigning exclusively national ownership to traditions shared across Central Asian communities", "Confusing a traditional composition, its arrangement, a performance and a recording when describing authorship or rights", "Loss of repertoire and performance knowledge when transmission between generations is interrupted" ], "questions": [ { "id": "evidence-failure-modes-and-hazards-q01", "text": "Which of these failure modes and hazards hold for the sense of music of Uzbekistan 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": [ "Bukhara is an important historical centre of Shashmaqom, a tradition shared with Tajik musical culture.", "Khorezm has distinctive maqom, instrumental and dance-associated traditions.", "The Fergana-Tashkent area has distinctive maqom traditions; katta ashula is particularly associated with the Fergana Valley." ], "questions": [ { "id": "evidence-regional-variation-q01", "text": "Which of these regional variation hold for the sense of music of Uzbekistan 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": "Uzbek music", "difference": "Often used interchangeably, but an ethnic or linguistic sense can include Uzbek communities abroad, while music of Uzbekistan can include the country's non-Uzbek communities." }, { "name": "Shashmaqom", "difference": "A particular classical musical tradition shared across national boundaries, rather than the entirety of music associated with Uzbekistan." }, { "name": "Central Asian music", "difference": "A broader regional category encompassing musical cultures beyond Uzbekistan." } ], "questions": [ { "id": "evidence-neighbours-q01", "text": "Which of these neighbouring kinds and how to tell them apart hold for the sense of music of Uzbekistan this model covers, and on what evidence?", "kind": "provenance" } ] } ] } ] } ] }, "openQuestions": [ "Does an existing Vercy world model already cover this concept, requiring the registry entry to link to it instead of receiving a duplicate model?", "Which practitioner and scholarly sources best establish inclusion criteria across territorial, ethnic, linguistic and diaspora associations?", "How should named regional classifications and shared Central Asian repertoires be represented without implying exhaustive coverage or exclusive ownership?", "Which communities and contemporary musical practices are underrepresented by heritage inventories, institutional catalogues and available recordings?", "What current evidence is sufficient to assess transmission condition and proposed reuse permissions for each documented practice?" ], "statistics": { "bundles": 6, "layers": 11, "findings": 18, "questions": 28 } }