Charts and Graphs (music related)
  • Radiobutt looks at the correlations between plays, listeners, and average number of plays per listener. Cool stuff.
    http://radiobutt.blogspot.com/2009/10/radiobutt-is-getting-gay-with.html

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  • lol. that's hilarious, specially with Barbara streisand in moshpit of doom.





    more useless maps...







    Budapest University PhD candidate Nepusz Tamas mapped nearly four million relationships between the artists on Last.fm to turn them into an interactive map that’s categorized by genre.

    As one might expect, the rock zone (red) separates metal (gray) and pop(green). Reggae and ska (pink) exist in a little data peninsulaequidistant from pop and rock. You can search for bands on the map to see where they fall, or enter any Last.fm user name to see where their favorite artists are on the map.


    There’s a great deal of data represented here and no ability to zoom, making the map more a curiosity than a useful tool for music discovery. But it sure is pretty.


     


    http://sixdegrees.hu/last.fm/interactive_map.html


     


    http://www.wired.com/listening_post/2008/11/interactive-map/















  • He proposes incorporating the passion index into a recommender filter. Make Genius Playlists smarter still. I’m guessing it will happen.


    But more, in this week following the $1.92 million jury award in the retrial of Jammie Thomas-Rasset for the illegal downloading of 24 songs (see here, here, here and here), I’m remembering how the big media companies fought the VCR. Then, in testimony before the House Judiciary Committee, Jack Valenti famously said:


     


    http://themoderatevoice.com/36332/music-the-passion-index/

  • K-Means clustering


    The k-means clustering algorithm is a straightforward technique that attempts to find a classification of the vectors, putting them in clusters of users that are similar in their musical preferences. Their definition to ending up in the same cluster, is that they are all closest to their cluster's centre point (with respect to Euclidian distance). When the number of clusters is set to 5, we get a clear separation of sub populations in Last.fm. Below is a depiction of the clusters, where each colour denotes a cluster. It is clear that the clustering algorithm found "indie", "rock" and "metal" to be three significant sub populations of Last.fm users.


    Clustering of data into 5 clusters (principal components 1 and 2)



    http://anthony.liekens.net/index.php/Computers/DataMining

  • This one is actually fascinating (numericcal proof radio sucks)





    One of the trickier questions I've been trying to visualize is how long pop songs are staying on the charts relative to the past. Are they staying on the charts longer than in the past?


    In the chart below, I plotted the total number of weeks charted for all 23,924 songs that appeared on the Billboard Hot 100 from 1957 to earlier this year. (In other words, a little dot on the "60" line means there was a song released that week that stayed on the Hot 100 chart for 60 weeks.)



    See the heavy dropoff on the 20th week starting in 1991? In an attempt to increase diversity and promote newer artists and songs, Billboard changed their methodology, removing tracks that had been on the Hot 100 for twenty consecutive weeks and slipped below the 50th position. These songs, called "recurrents," were then moved to their own chart in 1991, the Hot 100 Recurrent.


    Unfortunately, this shift makes it much harder to compare the last 15 years to the decades before it. In the chart below, I've isolated the effect by only showing songs that reached the top 50.



    A couple interesting observations... Looking at the very bottom of the chart, you can see that in the last couple years, it's become very common for a single to appear in the Top 50 and fall out of the Hot 100 within four weeks. Prior to the mid-1990s, this almost never happened.


    Also, songs are staying in the Top 50 for far longer than they used to. Unfortunately, I don't have any actual sales numbers to compare to, so it's hard to say if these 30-70 week singles are massive megahits eclipsing the #1 singles of the past, or if it's because the record industry is producing fewer hits than before.


    Diversity


    Did Billboard's methodology changes in 1991 make the charts more diverse, like they hoped? By looking at the total number of unique songs that have charted yearly, it's clear their changes did nothing to slow the decline.



    According to Billboard, the late 1960s were the peak of musical diversity in popular music, with 743 different songs appearing on the 1966 Billboard Top 100. It's fallen consistently since, hitting an all-time low in 2002 with only 295 songs. Since then, it's improved only slightly, with 351 unique songs appearing on last year's Top 100.


    One Hit Wonders


    I've always thought the 1970s were the decade of the one-hit wonder, but now I have the data to see for sure.



     


    http://waxy.org/2008/05/the_whitburn_project_onehit_wonders_and_pop_longevity/

  • Radiobutt : Kings of Convenience dont get the music biz
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    If KoC were the only band that ever existed (monopoly) and suppose every person needed their fix of music (RADIOBUTT scientists would say music demonstrates insulin-like features in this case) then whatever price KoC charged the album would be bought. There'd be jubilation and fanfare all right. But the real world is a world of almost perfect competition, which means if people perceive you charge too much for your music they'd go to your competitor. Now, music biz today is sort of schizophrenic: it's not the product itself that participates in competition, but the different means of its distribution. Orthodox distribution systems (brick&mortar record stores, iTunes etc.) compete with the new ones (p2p, blogs & forums). Guess who's winning?
  • Y'know, something felt a little off about that whole radiobutt post, so I actually followed the link back to the interview:

    What about blogs? It’s not unlike Pirate Bay. Everything’s free.

    EO: But it’s not like Pirate Bay. You totally get me wrong. Because when someone has a blog while saying, “Here is the music I like,” that’s nice because she’s talking about us and putting one song up, not the entire album. It’s kind of cool. I feel happy when I see that. With Pirate Bay, there is no announcement, there is nothing; you just search for what you want, instantly you get it for free, the entire thing. It’s not selected, it’s not personal, it’s just, “Here it is.”

    So what I was saying in the MySpace blog was that if someone should give it away for free, it should be us. If we decide to put our album on our MySpace page the for free, that should be our decision. So we are the ones who are noble. We are the ones who are Robin Hood. “Hey, it’s for free! It’s fine! You get it from us because we love you, and it’s free!” But someone else does that.

    And you know what? He's right. The Pirate Bay does suck. It's not about music discovery, or the joy of artists sharing their work with an audience, it's about not paying for things that are for sale elsewhere. The rest of their interview gets a little murky, when they start talking about 'the future of music' (ech) but RB has edited it to sound like these guys are against music on the 'net, when they're actually arguing *for* blogs and services with real value.
  • "Because when someone has a blog while saying, “Here is the music I like,” that’s nice because she’s talking about us and putting one song up, not the entire album. It’s kind of cool. I feel happy when I see that. With Pirate Bay, there is no announcement, there is nothing; you just search for what you want, instantly you get it for free, the entire thing. It’s not selected, it’s not personal, it’s just, “Here it is.”-EO

    Hell YEAH! There it is right there. Couldn't have said it better.

    "but RB has edited it to sound like these guys are against music on the 'net, when they're actually arguing *for* blogs and services with value."-bond

    Thank you for putting this up man...Flippin RB

    an example of taking quotes out of context and twisting them to have YOUR definition...can we get an amen.
  • http://radiobutt.blogspot.com/2009/10/radiobutt-is-getting-gay-with_18.html

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    We ran a regression analysis for the data: P4K versus rateyourmusic and Metacritic. There was much stuff going on, but we got what we wanted: the sacred regression equation.
    P4K = 61.5 + 0.370 x RYM - 0.022 x META

    I commented saying they need to do a random sample of albums, they picked the top 50 albums as their data set.
  • whose top 50? if it's the top 50 of any one site, that's a seriously flawed dataset.. interesting, though.
  • @bond: Pitchfork's top 50 of '07.




    "We took three sets of samples: an (almost) random sample of P4K's top 50 albums for 2007;"



    Bryon's right, it seems like this would be the case if anyone were to pick top albums. Needs a legit random sample.








  • http://www.boingboing.net/2009/11/11/graph-compares-rock.html#comments



    Rolling Stone has often been criticized for generational bias. In reality, there is far more good rock music being produced today than in 1967-69, if only because there are about 10,000 times as many rock bands today.
  • that graph is all kinds of nonsense, but kinda interesting anyway.
  • A nonsense graph, never! I'm pretty sure that is cause and effect right there. Rolling Stones' favourite rockers drink gallons of oil per day.
  • Correlation doesn't imply causation, but it does waggle its eyebrows suggestively and gesture furtively while mouthing 'look over there'.

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  • Why live revenues have grown so stridently is beyond the scope of this article, but our data - compiled from a PRS for Music report and the BPI - make two things clear: one, that the growth in live revenue shows no signs of slowing and two, that live is by far and away the most lucrative section of industry revenue for artists themselves, because they retain such a big percentage of the money from ticket sales.

    (It's often claimed that live revenues are only/mostly benefitting so-called 'heritage acts'. Unfortunately, the data doesn't shed any light on this because live revenues are not broken down by type of act, gig size or ticket price.)..


    It's interesting too that, overall, industry revenues have grown in the period - though admittedly not by much - which arguably adds strength to the notion that, when the BPI releases its annual report claiming how much 'the music industry' has suffered from the growth in illegal file-sharing, what it perhaps should be saying is how much the record labels have suffered.


     


    http://www.boingboing.net/2009/11/13/labels-may-be-losing.html

  • that's a great graph - would love to see it for the US - i imagine the PRS line would be lower and steeper, not sure what it'd do with live revenues. also, I hope it's inflation-adjusted - the pound took a huge dive in 2008 that might've had some effect on revenues - probably moreso w/ 2009 numbers
  • (It's often claimed that live revenues are only/mostly benefitting so-called 'heritage acts'. Unfortunately, the data doesn't shed any light on this because live revenues are not broken down by type of act, gig size or ticket price.)..


    This is something I'd love to see addressed/broken down at some point




  • Researchers used a set of ratings from the LAUNCHcast team at Yahoo! to map artists, connecting those who were rated similarly by a large number of users.


    “In the central-right portion of the image is a ‘diffuse’ set of points with some strong connections,” creator David Gleich said. “This region represents ‘mainstream’ music and includes many popular artists.  Immediately adjacent is a set of points that represents ‘indie’ music.  Thus, ‘indie’ music is not as independent as some might like to think.”


     


    http://seedmagazine.com/content/article/look_around_you/

  • @byron That comic is brilliant.
  • I love seed, awesome chart.
  • mindless press release cut and paste. that's me... woooo...
  • Am I the only one with this stuck in my head now? Damn you Byron!
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    The Landscape of Music

    This map shows relations between musicians/groups. Related musicians are closeby and in the same country. Navigate like you would with an online map. Click on any title to see a popup. Click on the popup to zoom to the last level, or on the link to see the musician at last.fm.

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