scholarly journals DEMYSTIFYING MUSICAL PREFERENCES AT TURKISH MUSIC MARKET THROUGH AUDIO FEATURES OF SPOTIFY CHARTS

2019 ◽  
Vol 4 (3) ◽  
pp. 264-279
Author(s):  
Fatih PINARBAÅžI
Keyword(s):  
Descriptive Statistics ◽  
Popular Song ◽  
Energy Characteristics ◽  
Audio Features ◽  
Popular Songs ◽  
Music Consumption ◽  
Online Music ◽  
Streaming Services ◽  
Music Market ◽  
Music Streaming

Online music streaming services are one of the important actors in music consumption for today’s consumers. In addition to widespread use of mobile devices, many changes in the patterns of music consumption are witnessed such as the purchase of single tracks instead of albums, listening to music on different platforms, and personalized music consumption options. This study aims to examine the concept of music consumption in Turkey through audio characteristics of popular songs. Top 200 popular song-lists for 6 months period are chosen as sample and audio characteristics provided by Spotify API service regarding 676 unique songs are analyzed. Following descriptive statistics of Turkey Music Market, clustering methodology is employed and three different clusters for songs are concluded. Finally, decision tree methodology is employed to classify the dataset with popularity scores and audio characteristics together, while loudness and energy characteristics are found as significant classifiers.

scholarly journals A Model for Predicting Music Popularity on Streaming Platforms

2020 ◽  
Vol 27 (4) ◽  
pp. 108-117
Author(s):  
Carlos Vicente Soares Araujo ◽  
Marco Antônio Pinheiro de Cristo ◽  
Rafael Giusti
Keyword(s):  
Svm Classifier ◽  
Audio Features ◽  
Popular Songs ◽  
Rbf Kernel ◽  
Streaming Services ◽  
Music Market

The global music market moves billions of dollars every year, most of which comes from streamingplatforms. In this paper, we present a model for predicting whether or not a song will appear in Spotify’s Top 50, a ranking of the 50 most popular songs in Spotify, which is one of today’s biggest streaming services. To make this prediction, we trained different classifiers with information from audio features from songs that appeared in this ranking between November 2018 and January 2019. When tested with data from June and July 2019, an SVM classifier with RBF kernel obtained accuracy, precision, and AUC above 80%.

scholarly journals ‘Press play for pride’: The cultural logics of LGBTQ-themed playlists on Spotify

2018 ◽  
Vol 21 (6) ◽  
pp. 1192-1211 ◽  
Author(s):  
Frederik Dhaenens ◽  
Jean Burgess
Keyword(s):  
Digital Media ◽  
Identity Politics ◽  
Community Building ◽  
Cultural Practice ◽  
Identity Work ◽  
Individual Identity ◽  
Music Culture ◽  
Music Consumption ◽  
Streaming Services ◽  
Music Streaming

This article explores the cultural practice of creating lesbian, gay, bisexual, transgender, and queer (LGBTQ)-themed playlists on music streaming services. It aims to understand how LGBTQ identities and cultures are represented and negotiated through the use of, and shaped by, digital media platforms. Through the textual analysis of 37 LGBTQ-themed Spotify playlists, we identified four cultural logics that structure the practice of playlist curation, each of which demonstrates the significance of music consumption to individual identity work and collective belonging. We conclude that the practice of playlist curation engages with LGBTQ culture in three productive ways: first, the curators contribute to a library of libraries by sharing their diverse perspectives on what constitutes LGBTQ music culture; second, the Spotify platform engages in community-building through enabling the sharing of tastes, pleasures, and experiences; and third, the curation of playlists brings diverse identity politics to the table, resulting in playlists that are politically queer, heteronormative, or ideologically ambiguous.

scholarly journals Nothing personal: algorithmic individuation on music streaming platforms

2017 ◽  
Vol 40 (7) ◽  
pp. 1086-1100 ◽  
Author(s):  
Robert Prey
Keyword(s):  
Online Platforms ◽  
Individual Work ◽  
Online Music ◽  
Streaming Services ◽  
Raymond Williams ◽  
The Individual ◽  
Music Streaming

Raymond Williams once wrote, ‘… there are in fact no masses, but only ways of seeing people as masses’. In an age of personalized media, the word ‘masses’ seems like an anachronism. Nevertheless, if Williams were to study contemporary online platforms, he would no doubt conclude that there are in fact no individuals, but only ways of seeing people as individuals. This article explores this idea by taking a closer look at online music streaming services. It first conducts a comparison of how two leading streaming platforms conceive of the individual music listener. Then, drawing from Gilbert Simondon’s theory of individuation, it demonstrates how ways of seeing the individual work to enact the individual on these platforms. In particular, ways of seeing are heavily influenced by the consumer categories that are defined and demanded by advertisers. This article concludes with an examination of how commercial imperatives shape ‘ways of seeing’ and ‘algorithmic individuation’ on music streaming platforms.

scholarly journals The evolution and consequences of digital rights management in relation to online music streaming

Legal Studies ◽  
2021 ◽  
pp. 1-20
Author(s):  
Nick Scharf
Keyword(s):  
Digital Rights Management ◽  
Case Law ◽  
Copyright Law ◽  
Secondary Markets ◽  
Record Industry ◽  
Digital Rights ◽  
Rights Management ◽  
Online Music ◽  
Streaming Services ◽  
Music Streaming

Abstract Streaming services now provide the dominant way in which music is distributed and consumed online. Digital rights management (DRM) lies at the heart of this trend and has evolved alongside a movement from copy-based to streaming-based consumption. This shift poses a number of new and unique issues. Music streaming services have changed the nature of the product offered, with musical content becoming de-bundled and reduced to a series of permissions covered by DRM and associated licences, leaving users trapped in a permission-based system. This may create tension with copyright law principles regarding personal ownership and exhaustion of rights in relation to secondary markets, but through analysing relevant US and European case law it can be demonstrated that there is little, if any, legal opportunity for digital secondary markets to emerge. There are also further specific consequences which may affect artists relating to musical diversity and the composition of popular music and, also, consequences regarding the changing nature of the Internet itself. In this context copyright remains centrally important, but only in establishing the initial proprietary rights that enable subsequent DRM and licence-based online exploitation, indicative of a re-establishment of record industry power that is now allied to streaming platforms.

Consuming popular songs online: Phoenix Legend’s audiences and Douban Music

2017 ◽  
Vol 24 (2) ◽  
pp. 295-310
Author(s):  
Chen Liu ◽  
Rong Yang
Keyword(s):  
Popular Music ◽  
Mainland China ◽  
Emotional Engagement ◽  
Global Marketplace ◽  
Chinese Nationalism ◽  
Popular Songs ◽  
Music Consumption ◽  
Online Music ◽  
Creative Writings

This article explores the creative consumption of popular music and explains how audiences involve their place-based emotions within their representations of popular music in an everyday setting, drawing on a qualitative study on people’s interpretations of Phoenix Legend (a popular music duo in mainland China) and its music. We collected the texts created by Phoenix Legend’s audiences from Douban Music ( http://music.douban.com/ ), a Chinese online music forum. Our analysis focuses on how fans, non-fans and anti-fans interpret and re-write the meanings of Phoenix Legend and its songs emotionally and how these interpretations shape and are shaped by these audiences’ senses of self and place. The key finding of this article argues that through the consumer-to-consumer network provided by social media (Douban Music), the rural–urban division, ethnic cultures and the role of Chinese nationalism in the global marketplace are generated by audiences’ creative writings and their interactions with other consumers. Moreover, we suggest that anti-fans’ and non-fans’ emotional engagement within music consumption and their interactions should be paid more attentions to.

Sign in / Sign up

Export Citation Format

Share Document