Music Industry Research Articles

Melody Generation using Deep Learning: Unleashing the Power of RNN and LSTM

This project aims to develop a novel approach for piano melody generation using Recurrent Neural Networks (RNN) and Long Short-Term Memory (LSTM) models in deep learning.The suggested models will be trained on a dataset of MIDI files with piano melodies to use sequential learning capabilities and capture the complex patterns and relationships present in musical compositions. [1] The project aims to gen- erate a variety of melodies that are both musically coherent and diverse by experimenting with various network designs, hyperparameters, and training procedures. The developed tunes will be evaluated primarily on their originality, conformity to stylistic elements, and general quality. The results of this study could lead to new developments in AI-driven music composition as well as opportunities for computational creativity in the music industry.

“I Guess this is Growing Up”

This research article examines the transformation of pop-punk from bands to solo artists and how the genre regained popularity due to new popular personalities and the transmedia engagement in social media and with established media. Through a three-pronged approach, this study adopts phenomenological, theoretical, and empirical perspectives to understand the transition and regained popularity fully. The phenomenological angle delves into the case studies of musicians, revealing key factors behind the shift to solo artists in pop-punk. Theoretical explanations contextualize the phenomenon within broader cultural frameworks, considering industry and transmedia dynamics, audience preferences, and technological advancements. Empirical evidence, including statistical data from social media profiles, quantifies the impact of the shift. This study contributes to a comprehensive understanding of pop-punk's transformation, offering an exploration of its past, present, and future within the ever-evolving music industries and transmedia landscapes.

Experiential Knowledge as a Musical Resource

Historically, music pedagogy has witnessed the implementation of diverse teaching models in different educational settings. Within the academic realm, for example, music theory and instrumental training approaches have been developed to align with standardized curricula, considering the diverse musical histories and cultures across the globe. Even so, there is a growing trend among individuals to explore alternative modes of instruction beyond traditional school environments. These alternative methods encompass online platforms and one-on-one in-person tutoring, among other options. Such modalities have prompted recognition of exponents who provide music tutorage having not acquired formal music training but possess knowledge through lived experience. Their practically inclined teaching approaches and demonstration of musical artistry have sparked interest in people, who subsequently aspire to learn music and play instruments. Their efforts have played a crucial role in fostering the need for music education in the music domain and the entire art industry. In doing so, they establish a prominent presence in music pedagogy, and consequently, in formal educational settings. Considering this, I examine the contributions by such educators within the music industry, particularly in the field of education. Using qualitative case study methods such as interviews, I explored different non-formal pedagogical approaches and interrogated their impact on learners. Insights from these interviews revealed that observation, replication, and innovation are utilized as instructional approaches in non-formal settings, with students studying under peers, master musicians, and family members. Through this, students acquire musical exposure as they develop skills that align with the music industry. Such training ought to be integrated into academic curricula to enhance music scholarship and ensure its relevance locally and within global contexts.

Study on the Communication Path of the New System of Quality-oriented School Music Education in Chinese Music Education Institutions

With the deepening reform of quality education and art education in the new era, a new system of music education in quality-oriented schools has emerged. In order to effectively explore the dissemination path of the new system of quality-oriented music education in Chinese music education institutions, this paper summarizes the current development status of the new system of quality-oriented school music education. Starting from the sources and characteristics of the music education system of quality-oriented schools, it takes Beijing IGW Love and Country Art Center as a case study, analyzes the development status and user profile of the Chinese music education industry, and summarizes the promotion strategy of the new system of teaching, in order to explore a sustainable development path for the dissemination of the new system of quality-oriented school music education in Chinese music education institutions.

Feature-Based Structures of Opportunity: Genre Innovation in the American Popular Music Industry, 1958 to 2016

We offer a new perspective on how cultural markets are structured and the conditions under which innovations are more likely to emerge. We argue that in addition to organization- and producer-level factors, product features—the locus of marketplace interaction between producers and consumers—also structure markets. The aggregated distribution of product features helps producers gauge where to differentiate or conform and when consumers may be more receptive to the kind of novelty that spawns new genres, our measure of innovation. We test our arguments with a unique dataset comprising the nearly 25,000 songs that appeared on the Billboard Hot 100 chart from 1958 to 2016, using computational methods to capture and analyze the aesthetic (sonic) and semantic (lyrical) features of each song and, consequently, the market for popular music. Results reveal that new genres are more likely to appear following markets that can be characterized as diverse along one feature dimension while homogenous along the other. We then connect specific configurations of feature distributions to subsequent song novelty before linking the aesthetic and semantic novelty of individual songs to genre emergence. We replicate our findings using industry-wide data and conclude with implications for the study of markets and innovation.

An Empirical Research Approach on Confusion Matrix Using Existing Musical Industry Dataset

This paper analyzes the sales of existing music albums from 1973 to 2019. The data shows that the music industry has experienced many changes over the years, with the most significant change being the introduction of digital platforms. Digital platforms have disrupted the traditional music industry model, leading to a decline in sales of physical albums. The paper also analyzes the sales of each medium through which music was distributed worldwide with different machine learning algorithm classifiers consistently exhibiting inadequate predictive power. the lack of a good prognosis highlights a fundamental failure toward well-infected persons in a class. the presence of non-zero false positive rates indicates negative data are distributed among positive errors. analysis of the data reveals worrying inefficiencies in classifier performance Keywords: Precession, Recall, Accuracy, Track, Digital industry, Cost efficiency and confusion matrix

Quantifying the impact of homophily and influencer networks on song popularity prediction.

Forecasting the popularity of new songs has become a standard practice in the music industry and provides a comparative advantage for those that do it well. Considerable efforts were put into machine learning prediction models for that purpose. It is known that in these models, relevant predictive parameters include intrinsic lyrical and acoustic characteristics, extrinsic factors (e.g., publisher influence and support), and the previous popularity of the artists. Much less attention was given to the social components of the spreading of song popularity. Recently, evidence for musical homophily-the tendency that people who are socially linked also share musical tastes-was reported. Here we determine how musical homophily can be used to predict song popularity. The study is based on an extensive dataset from the last.fm online music platform from which we can extract social links between listeners and their listening patterns. To quantify the importance of networks in the spreading of songs that eventually determines their popularity, we use musical homophily to design a predictive influence parameter and show that its inclusion in state-of-the-art machine learning models enhances predictions of song popularity. The influence parameter improves the prediction precision (TP/(TP FP)) by about 50% from 0.14 to 0.21, indicating that the social component in the spreading of music plays at least as significant a role as the artist's popularity or the impact of the genre.

A global approach to studying platforms and cultural production

There is a major blindspot regarding our understanding of different structural models of platformization beyond the dominant Anglo-American markets. This article develops a typology of political economic models of platformization by using the case of music platformization. In order to generate such a typology, the article proposes that we start by identifying variables present in any music market around the world. Three different variables are proposed: (1) platform dependence; (2) dominance of ‘global’ platforms; and (3) the degree of platform and recording industry integration. To illustrate how these variables result in structurally distinct models of platformization, the article briefly discusses the cases of South Korea, the Netherlands and Nigeria. In doing so, a framework is provided through which to interpret the experiences and conditions of musicians, and other cultural producers, in diverse platform ecosystems.

An Analysis of The Economic Impact Potential of The Art Music Scene in Kosovo: Is It a Burden or An Additional Value for Society?

The art and music sector in Kosovo possesses considerable potential for growth and development. These institutions are essential in shaping Kosovo's cultural and economic environment by providing employment possibilities for composers, performers, and industry specialists, contributing to the expansion of the music industry, and aiding in post-conflict recovery. In recent years, Kosovo's music sector has undergone substantial growth and development, driven by technological advancements, globalization, and changing consumer preferences. This progress contrasts with the underdeveloped state of the sector in the past, a result of economic, social, and political factors that this paper will further discuss. Kosovo's music scene is characterized by a wide variety of genres, ranging from traditional folk music to modern styles including pop, rock, hip-hop, and electronic dance music (EDM). This diversified range of styles and influences caters to a broad spectrum of preferences and attracts listeners both within Kosovo and globally. The art music genre of the scene garners significant attention due to its growing popularity, diverse activities, extensive outreach, cultural enrichment, cultural diplomacy efforts, and possible economic influence. This study seeks to analyze the economic influence of the art music sector in Kosovo within the wider music business. It will conduct a thorough and systematic assessment of the sector's contributions to the country's economy, society, and cultural identity. 

How Technology Changes Monetization of Musical Digital Assets

This thesis examines how blockchain technology can affect the music business, as well as its potential applications and benefits over current practices for investors, users, and artists. It explores the music industry's current ecosystem and motivations for changes, and discusses the benefits and difficulties of using blockchain technology in a decentralized music platform (Web3). The thesis also demonstrates the mechanisms that enable these platforms to be built and run. Overall, the thesis emphasizes how blockchain technology has the ability to allow musicians more freedom, transparency, and flexibility when it comes to monetizing their music with less involvement of a third party.

Mahalia Jacksonin musiikin ja hänen gospellaulutyylinsä saapuminen Suomeen 1950–1960 luvuilla

Mahalia Jackson (1911-1972), “The World’s Greatest Gospel Singer”, broke path for the worldwide popularity of African American gospel music. Her European concert tours never reached Finland, but since the 1950s, Finnish audiences have been able to listen to her music via recordings, radio, film and other media. This article explores the ways in which Jackson’s music came to Finland in the 1950s and 1960s. Furthermore, the article shows how the early marketing of her records and music critics’ excited reception of her gospel vocal expression sought to shape local audiences’ listening experiences and appreciation for the artistic merit of her music. This article is based on a study of various sources including advertisements, music reviews, correspondence and other archival materials, recordings, Jackson’s performance at the 1958 Newport Jazz Festival and the film Jazz on a Summer’s Day (1959). This article shows that when Mahalia Jackson’s music came to Finland, her gospel vocal expression was recognized for its powerful spirituality and emotional impact on listeners. Yet the ways in which her music was presented to Finnish audiences was often mystifying, decontextualized and guided by the interests of music industry actors. This limited the ability of local listeners to understand the cultural and historical meanings of her gospel vocal expression. At the same time, however, the enthusiasm and admiration demonstrated by music critics paved the way for the enduring influence of Mahalia Jackson’s music in Finland.

“I Felt Like a Normal Human Being”: Professional DJs’ Experiences of the COVID-19 Lockdowns

ABSTRACT The social restrictions prompted by COVID-19 disproportionately impacted creative industries that rely upon live performance as a main source of revenue, including the (electronic) music industry, resulting in widely reported financial hardship experienced by musicians. Based on original interview data, this article offers more nuanced insight into the experiences of professionally well-established EDM DJs. Our data show that while the DJs experienced anxiety and hardships matching those reported elsewhere, many also noted a less reported, more positive, dimension: In forcing a break from work, lockdowns created space to reflect upon the harmful effects of creative working practices and to envisage more fulfilling work-life balances.

Political economy of music in the digital age

This paper seeks to unravel and understand the conditions and ways in which cultural capitalism operates that drive its production, exchange, distribution and consumption in the digital age; as well as understanding the powers that hold it and those it serves, the circuits in which it is heard, the spaces in which it is prohibited, its context and historical transformations. Music as an artistic production and symbolic object has always been linked to its characteristic instruments and technologies of its time. But when the economy catches up with it and it becomes merchandise, other means and channels are put into play for its dissemination, storage and control. It seeks to demonstrate those stealthy operations with which intermediaries operate. An analysis is made regarding the logic of consumption and production of users, on power relations and asymmetries between some actors in the music industry.

Decentralized E-Commerce for Digital Assets

Abstract: In the digital age, the creation and exchange of digital assets have become integral to various domains, including art, music, education, and more. However, the existing centralized marketplaces for these digital assets pose significant challenges, such as high fees, cross-border transaction delays, and limited control for creators and artists. This project introduces a gamechanging solution – a Decentralized E-Commerce platform powered by ERC1155 tokens. The project scope encompasses a comprehensive range of functionalities, including digital asset listing, buying, selling, and secure transaction processing. It aims to create a user-friendly interface that reduces the complexities and costs associated with traditional centralized marketplaces. Moreover, the platform extends its impact across various domains, from music distribution and licensing to educational material sales and NFT marketplaces. It simplifies cross-border e-commerce for digital goods, ensuring secure transactions without the need for currency conversion. The platform's adaptability opens new horizons for creators and entrepreneurs in the digital asset space.

Optimization of Piano Performance Teaching Mode Using Network Big Data Analysis Technology

To effectively avoid subjective bias in manual evaluation. This article proposes a MIDI piano teaching performance evaluation method based on bidirectional LSTM. This method utilizes a three-layer bidirectional LSTM neural network mechanism to make it easier for the model to capture useful information. In addition, the Spark clustering training model is constructed using the deeplearning4j deep learning framework, and the model parameters are adjusted through the UI dependency relationships provided by deeplearning4j to improve work efficiency. The experimental results verified the superiority of the bidirectional LSTM model. The methods provided in this article can improve students' independent practical abilities and reduce the pressure on teachers during the teaching process. These measures can promote the development of music education, improve students' music literacy and learning skills, and make positive contributions to the music education industry.

MUSICAL ENVIRONMENT IN THE CONDITIONS OF INDUSTRIAL URBANIZATION OF KAZAKHSTAN

The article is devoted to the processes of urbanization and expansion of the media space in the country, which every year give a significant impact to changing the organization and perception of Art. Culture in the new historical reality, has unlimited access to a variety of styles, genres, interpretations and manipulations with original sounds, which has never before been considered common place. These processes push aside previously available ways of perceiving art, thereby influencing the depth of meaning and perception of modern musical phenomena. The purpose of the study is to draw attention to the social and scientific need for studying types of communication activities in developed and developing countries, determined by the sociocultural situation and improving the standard of living of a person. Every act of contact between a recipient and an object of Art is unique, inimitable and individual. All over the world, the art of music - is no idea of ​​artistic influence and its manifestation in the structure of everyday life. From the point of view of musicology, responding to the relevance, issues of audiovisual distribution are a multidisciplinary problem, properly studied only in Western European and American culture. Summarizing the materials of the article, we can come to the conclusion that the industrial-urban form of life at the present stage of the domestic music industry is associated with a breakthrough in the field of mass communications and digital media, which entails certain changes in the spiritual space of a person.

Responding to misrepresentation: sample pack creation, branding and distribution

ABSTRACT This article documents the creation and distribution of a new sample pack, Instruments INDIA, as an intervention against systemic orientalist practices observable within the marketing, branding and production of non-Western instrument sample packs. This intervention draws upon Edward Said’s model of Orientalism and Stuart Hall’s theories of representation, fortifying an interrogation of practices that misrepresent diverse sonic content, musicians and cultures in negative ways. The research brings into focus the influence digital samplers and early sample library CDs had in determining technical configurations and misrepresentation tendencies found within paratextual elements of contemporary sample packs. The article joins forces with a leading sample pack distributor, Loopmasters, to cultivate change via new policy documents and good practice principles. Attending to problematic representation issues at the start of the music production chain offers a strategy to scaffold and promote positive change throughout the production process and into other connected music industry areas, where influential language and imagery align sample content with music production goals and aspirations. The article offers a first-hand account of sample pack development in collaboration with musicians of Indian musical instruments, which provide a case study to better understand and inform more ethical commercial practices in the future.

Still Here? Aging Female Vocalities in Musical Theatre.

Musical theatre has a complex relationship with ageing (and especially female ageing). As youth has always been at the forefront of musicals, essentialist approaches to ageing in articulation and enactment of ageing musical characters often lead to aesthetic peripheries and creative stagnation. Aiming for a deeper understanding of how female ageing vocalities are perceived, dramaturged and performed in musical theatre, the article takes under consideration viewpoints from ‘outsiders’/ageing performers who work ‘at the centre’ of the musical theatre industry (West End and Broadway).Through a close analysis of two ageing female characters (Madame Armfeldt and Grandma) in the musicals A Little Night Music and Billy Elliot, this article discusses and critiques preconceptions of ageing in the dramaturgy and performance of these roles, and it argues that musicals frequently fail to give agency to the voice of their ageing women.

Understanding tensions in strategic communication practices: a strategy-as-practice study of the music industry

PurposeIn this study, we applied the strategy-as-practice (SAP) framework to analyse strategic communication practices. SAP implies approaching strategy as something that organisational members do and is useful for understanding the tensions between emergence and formalisation and between planning and improvisation that characterise the everyday communication work of communication practitioners.Design/methodology/approachThe paper is based on an ethnographic study of a record company and on qualitative interviews with various actors from the music industry.FindingsTensions exist between the emergence of inputs from active consumers that require flexibility and attempts to strategically formalise and continuously adapt plans and encourage consumers to act in anticipated ways. The findings revealed five strategic communication practices—meetings, working in the office, gathering and analysing consumer engagement and related data, collaboration and storytelling—that practitioners used to conduct strategic communication and navigate the tensions.Originality/valueThe study contributes to understanding the role of strategic communication practices in contemporary organisations and how practitioners manage the tensions within them. The study shows that an SAP approach can account for improvisation and emergence, as well as planning and formalisation. It also shows how SAP resonates with emergent and agile strategic communication frameworks.

Research on the Reform of Music Literacy Teaching in Musicology and Art Management Major

The music literacy teaching of music art management is of great significance in the development of the modern music industry. However, the traditional teaching model can no longer meet the needs of students and the requirements of the industry. Therefore, this article has carried out a reform and research on the teaching of music literacy in music and art management. Through the introduction of practical projects, off-campus internships and modern technical means, students can apply the theoretical knowledge they have learned to practical situations and cultivate the ability to solve problems and innovate. This kind of practical teaching can not only improve students' practical operation and management ability, but also cultivate teamwork awareness and technical application ability. Through the implementation of these reform strategies, we can expect to cultivate music art management professionals with more comprehensive literacy and practical ability to contribute to the development of the music field.