The Relationship between Music Property and Degree of its Popularity in Spotify

The global recorded music market grew by 7.4% in 2020, the sixth consecutive year of growth, according to IFPI, the organization that represents the recorded music industry worldwide. Figures released today in IFPI’s Global Music Report show total revenues for 2020 were US$21.6 billion. Growth was driven by streaming, especially by paid subscription streaming revenues, which increased by 18.5%. There were 443 million users of paid subscription accounts at the end of 2020. Total streaming (including both paid subscription and advertising-supported) grew 19.9% and reached $13.4 billion, or 62.1% of total global recorded music revenues. The growth in streaming revenues more than offset the decline in other formats’ revenues, including physical revenues which declined 4.7%; and revenues from performance rights which declined 10.1% – largely as a result of the COVID-19 pandemic. As we have seen, the music market has a huge economic potential on a global scale, then I want to use 40,000 of data in Spotify to analysis people’s average hobbies and build a simple persona.

Shopgirls as Consumers: Selling Popular Music in 1920s Australia

The mid-1920s were boom years for the Australian gramophone trade. The most prominent multinational record companies had established local branches, and a handful of new factories produced millions of records for sale on the local market. Department stores joined an established network of music traders in retailing these cultural products. This article explores the labour of women involved in the retail sale of gramophone records in Melbourne. Selling recorded sound animated a charged rhetoric of musical meliorism, class and taste, according to which the value of the product was determined by the supposed musical quality thereof. Australian saleswomen or “shopgirls” were required to perform evidence of their modernity in the commercial encounter. I propose that conceiving of record saleswomen as simultaneously sellers and consumers provides valuable insight into the entangled nature of capitalism and culture in the realm of Australian music. This exploration of the process of commercialisation of recorded music illuminates the connection between labour and culture, leisure and society in colonial modernity.

Across demographics and recent history, most parents sing to their infants and toddlers daily

Music is universally prevalent in human society and is a salient component of the lives of young families. Here, we studied the frequency of singing and playing recorded music in the home using surveys of parents with infants ( N = 945). We found that most parents sing to their infant on a daily basis and the frequency of infant-directed singing is unrelated to parents’ income or ethnicity. Two reliable individual differences emerged, however: (i) fathers sing less than mothers and (ii) as infants grow older, parents sing less. Moreover, the latter effect of child age was specific to singing and was not reflected in reports of the frequency of playing recorded music. Last, we meta-analysed reports of the frequency of infant-directed singing and found little change in its frequency over the past 30 years, despite substantial changes in the technological environment in the home. These findings, consistent with theories of the psychological functions of music, in general, and infant-directed singing, in particular, demonstrate the everyday nature of music in infancy. This article is part of the theme issue ‘Voice modulation: from origin and mechanism to social impact (Part I)’.

Musical Informance

The information age has pushed music performance into the era of music informance, in which information and performance are combined in an integrated way. The types of presentation formats and analytical information found in public music theory are ideal for music informance, and present-day explorations of informance on the Internet have a history of noted musical informants including Leonard Bernstein and Glenn Gould. In order to continue to be relevant and to thrive in our connected world, live and recorded music scenarios need to develop ever more innovative ways to enhance music performance with information effectively presented in music informance.

INTERACTION OF INTERPRETATION AND IMPROVISATION IN JAZZ VOCAL PERFORMANCE

The purpose of the article is to explore the various interpretations of the concepts of "improvisation" and "interpretation" encountered in modern science, to identify the most appropriate definitions of these concepts that reveal the specificity of jazz performance and determine the relationship of these two concepts. The methodology of the article is the researches of improvisation and interpretation of various orientations. First, a scientific approach is used, which characterizes this process as a creative method. The scientific works devoted directly to improvisation in jazz are also used, which contain analysis of the improvisations of well-known performers and exercises for teaching local techniques. The scientific novelty of the work is that the term "interpretation" is considered in a broader sense in interaction with improvisation, that is, not only as an interpretation of other people's musical ideas in performing activities but also as an interpretation of personal artistic intentions in the process of musicians' activity. Conclusions. The interaction of interpretation and improvisation is clearly traced, since interpretation is an aspect of musical practice that proceeds from the differences between the recorded music notation and the live performance of the work. Consequently, this process inherent element of unpredictability. The interrelation of the interpretation of the musical text and the mastery of the improvisatory demonstration of this text by the interpreter, which is determined by his individual qualities, is traced.

‘Een beetje muziek en de hele rest’

When record players became more widely available, authors and publishers began to investigate the potential uses of the new medium. Poets would record readings of their work, a younger generation experimented with sound effects and music, and live recordings of festivals became available. The relation between music and literature is multidimensional; this article focuses mainly on the use of music as a means to support the presentation of literature. My perspective is informed by the question: To what extent can the use of recorded music enhance the literary experience? The article describes the work of several publishers or other corporations. Artistic merit or musical quality are not the focus per se: this is about music as a means to an end. Although some of the results are interesting, there are surprisingly few places where the two actually meet. The explanation for these modest results can be found in artistic as well as commercial factors.