First beat of the phrase; negative when the phrase begins in a pickup.
End of the phrase, exclusive.
The cadence closing the phrase, or null when the boundary rests on the melody and the metre alone.
Why the closing boundary was placed here, strongest evidence first.
How well evidenced the phrase is, in [0, 1]: how strong its closing boundary is, and how close its length is to the length expected of a phrase in this piece.
How much structural weight the closing cadence carries, in [0, 1]; 0 for a phrase that no cadence closes.
This is the number that answers "which cadence matters most": it grades the cadence by how conclusive its type is, then by where the phrase it closes sits — a cadence ending the piece or landing on a hypermetric boundary closes more than one in the middle of a hyperbar. structuralCadences ranks by it.
A short reading of the phrase in words.
One phrase: a span of music closed by a boundary, and the evidence for it.