Posts Tagged ‘music’

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Wanted: a way to aggregate streaming tracks

December 3, 2010

I’ve decided that I really want a mashup of exfmShuffler.fm and delicious, with a dash of smart playlisting thrown in.

Here’s the problem: Every day I find cool streaming music in lots of different places. Soundcloud. YouTube. Tumblr. (that’s a piece of my Tumblr dashboard, above). But for most of it, I listen to it once. At most. Because listening to streaming music in an atomized form is a pain. Having to choose and click on a new song every three minutes might be fine for an ADD teenager, but I don’t want my music listening to be completely interrupt-driven. I just want a continuous stream of music I like (and judging by the continuing popularity of online and terrestrial radio, and the love for Shuffler, I’m not alone).

In an MP3-centric world, I’ve dealt with the increasingly decentralized creation and distribution of music by, in essence, centralizing it: by downloading MP3s into my library, and using that as an aggregator. And exfm, which I just started using, is pretty good at getting around the downloading issue. But as more and more music is straight-up streaming, how do we make those tracks into part of our ‘virtual library,’ so that we can find them, embed them into playlists, and otherwise listen at will?

What I really want to be able to do is this: Every time I find a streaming track I’m interested in (whether in Tumblr, YouTube, SoundCloud or anywhere else), I flag it as part of my ‘library’, like delicious does for bookmarks or exfm does for MP3s. Note that, unlike delicious, I don’t want to manually tag it. Because, well, I’m lazy. But also because I either know the song, and I can classify it ways I can’t easily articulate into a folksonomy, or I don’t know it, and can’t classify it at all. So I’d really like some tools to automagically organize it into playlists in a range of ways. And then I’d like to just be able to listen to a Shuffler-like continuous stream that pulls together my flagged streaming tracks, my own MP3s, tracks from streaming services like last.fm, and more.

Oh, and I’d also like a pony. Or maybe a unicorn.

What do you think?

This post is the result of a conversation this morning with Jason Herskowitz, prompted by a question from Mark Mulligan.

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Why “music isn’t as good as it used to be” is a fallacy

October 10, 2010

Every once in a while, I hear someone argue that music isn’t as good as it used to be — that at some point in the past, usually the 1960s or 70s, music was better. If you’re one of these people, I submit three reasons why that’s unlikely to be the case.

Time is the mother of all selection biases.

Go look at charts for different years – we only remember the gold, and we forget the dross. Time is a fantastic filter for the good stuff.

You are not the same person you were (10, 20, whatever) years ago.

Your relationship to music has changed. I don’t know if this is apocryphal or not, but it’s said that the magic age is 21: that you imprint on what you listen to then (hence the existence of oldies stations).

People have been saying that the older music was better for as long as popular music has existed.

Elvis? What are kids listening to these days?

Beatles? What are kids listening to these days?

Punk? What are kids listening to these days?

Rap? What are kids listening to these days?

Lady Gaga? What are kids listening to these days?

Get the picture? Do you really think that you’re different and special, and somehow the music from when you were a teenager actually was better?

It’s not that a case can’t be made for the superiority of music from one decade or another. It’s just that it’s really hard to convincingly make the case based on your personal experience of music, because you are not a disinterested, dispassionate observer.

I propose a new rule: that you’re only allowed to make sweeping generalizations comparing music from different time periods if they are at least a generation older than you. “The 1880s! That was a terrible decade for music. No soul, man – not like the ’70s!”

I look around, and I think that we may very well be living through the Cambrian Explosion of music. Music has never been easier to create or to distribute. There’s no reason to believe that the amount of good music hasn’t increased too.

Image: Mayan Calendar by Flickr user NCReedplayer, used here under its Creative Commons license.

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z=z at Tourfilter Night, Thurs Sept 16

September 15, 2010

Cambridge! Somerville! Boston! Allston Rock City! Late notice, but I’m guest DJing at Tourfilter‘s monthly residency at River Gods, just outside Central Square, Cambridge this week: Thursday, September 16th, and the festivities start at 9 pm. Same drill as last time: my playlist is composed entirely of songs from artists with shows lined up for the Boston area in the next month or so. And the fall concert calendar looks fantastic.

UPDATED: (Friday, September 17th) Here’s the full playlist:

01     Guided By Voices, “I Am A Scientist”    Friday, November 5th at Paradise Rock Club

02      The Motion Sick, “Winged Bicycle”     Saturday, September 18th at TT the Bear’s

03     Great Big Sea, “When I’m Up (I Can’t Get Down)”     Friday, September 17th at Orpheum Boston

04     Screaming Females, “I Don’t Mind It”      Tuesday, September 28 TT the Bear’s Place

05     Me First and the Gimme-Gimmes, “The Rainbow Connection (Muppets cover)”    Thursday, October 21st at Paradise Rock Club

06     Superchunk, “Hyper Enough”     Tuesday, September 21st at Royale Boston

07     James, “Laid”     Saturday, September 25th at Paradise Rock Club

08     Belle and Sebastian, “Judy and the Dream of Horses”     Friday, October 15th at Wang Theatre

09     Frightened Rabbit, “Swim Until You Can’t See Land”     Friday, October 29th at Paradise Rock Club

10     Do Not Forsake Me Oh My Darling, “First We Take Manhattan” (Leonard Cohen cover)     Friday, September 24th at Church

11     Sufjan Stevens, “Chicago”     Wednesday, November 10th at Orpheum Theatre

12     Born Ruffians, “What to Say”     Wednesday, September 29th at The Middle East

13     Teenage Fanclub, “Your Love is the Place Where I Come From”     Saturday, September 25th at Royale Boston

14     Swans, “Love Will Tear Us Apart” (Joy Division cover)     Thursday, September 30th at Middle East Downstairs

15     Stars, “This Charming Man” (Smiths cover)     Thursday, September 23rd at House of Blues Boston

16     Mates of State, “Get Better”     Sunday, September 26th at Paradise Rock Club

17     Sea Wolf, “You’re a Wolf”     Tuesday, September 21st at Middle East Upstairs

18     Cake, “Short Skirt, Long Jacket”     Saturday, September 18th at Orpheum Theatre

19     Oranjuly, “I Could Break Your Heart”     Thursday, September 16th at Great Scott

20     Pavement, “Stereo”     Saturday, September 18th at Agannis Arena

21     Of Montreal, “Coquet Coquette”     Thursday, September 16th at House of Blues Boston

22     Broken Social Scene, “Texico Bitches”     Friday, September 17th at House of Blues Boston

23     Built to Spill, “You Were Right”     Friday, October 1st at Paradise Rock Club

24     Sleigh Bells, “Tell ‘Em”     Tuesday, September 28th at Orpheum Theatre

25     The Xx, “VCR (Matthew Dear remix)”     Sunday, October 3rd at Orpheum Theatre

26     Holy Fuck, “Lovely Allen”     Sunday, September 19th at Paradise Rock Club

27     Gary Numan, “Cars”     Thursday, October 22nd at Paradise Rock Club

28     Caribou, “Odessa”     Sunday, September 19th at Paradise Rock Club

29     Ratatat, “Drugs”     Wednesday, September 29th at Paradise Rock Club

30    LCD Soundsystem, “Dance Yrself Clean”     Tuesday, September 28th at Orpheum Theatre


Image: River Gods by brixton, used here under its Creative Commons license.

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Thinking about playlists

September 5, 2010

I love playlists. I live and die by them, and make new ones almost daily. My car doesn’t have an MP3 input and I have a daily commute, so a good chunk of my music listening is in the form of burned CDs—de facto sub-75-min playlists. And I realize it’s antediluvian, but I still trade mix CDs with many of my friends (via snail mail, no less; I think we all love the charm of the hand-made packages in the post), and those CDs are one of my favourite modes of music discovery.

Almost all the playlists I make are custom, largely by necessity: the songs are usually hand-selected, and they are frequently also hand-ordered. In time for this weekend’s London Music Hack Day, The Echo Nest debuted a powerful and flexible set of tools to algorithmically generate playlists, and I did a little gedanken experiment to compare the playlists you can currently generate with these tools with the kinds of playlists that I make.

Here are some examples of playlists I’ve made or updated recently, ordered roughly from least to most amenable to automating:

New music: I have a playlist called ‘Current’ where I throw recently downloaded music for further listening.

Albums: If I download an entire album, I’ll keep it together, at least for the first few listens (and then I decide that I really only like “Sprawl II” off the new Arcade Fire album).

Artists: Today I will listen to every Elliott Smith song I own.

Playlists by geography: I have a playlist called ‘CanCon‘ that I made for a friend of mine who just moved to Canada. Amazingly, this looks reasonably easy to do with Echo Nest’s new APIs, although it might require a bit of careful tweaking to include my hometown of Toronto, since it’s well south of the 49th parallel.

Workout playlists: Recently, I’ve been doing musical sprint intervals: moderately-high tempo songs intermixed with short, loud, fast songs by punk bands like the Ramones or Pansy Division.

Playlists of bands with upcoming shows: Boston-based concert tracking service, Tourfilter, has a monthly residency at a local bar, at which I DJ’ed a few months ago. All of the songs are by artists that are playing in the Boston-area in the next month or so.

Songs I can play on bass: Sadly, a very short and slowly-growing list right now (“Green Onions,” “Seven-Nation Army,” and a handful more).

My friends’ bands: A playlist of music by people I know.

Playlists for other people: Playlists or mix CDs made I’ve made for friends of music that I think they’ll like, based on what I know of their tastes.

Playlists by mood: Usually not just ‘happy’ or ‘sad,’ though. I have a recent playlist I made as a soundtrack when I was feeling melancholy and restless (lots of Waterboys, Sea Wolf, Frightened Rabbit).

Playlists by theme: As an example, I made a playlist of ’embarrassing’ music for a friend of mine, which was mostly songs at the intersection of nerdy, funny and bawdy (think The Bloodhound Gang’s “The Bad Touch”).

‘Best of’ lists: Like most music geeks, I like making lists of the stuff that I like best (although I guess if I was a real music geek, I’d describe it as ‘the best music’)

What do I feel like?: Quasi-random concatenations of whatever I feel like listening to on a given day.

The first half are pretty straightforward. The second half get a little tougher—some of them are nearly algorithmic, but only if you happen to be me. The thought processes behind the last two are opaque even if you are me. Coming up with those last few seems very close to a musical Turing Test;  not that I’d put that beyond the ability of people like the Echo Nesters, although there might be a few existential crises along the way.

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Women in music: the lost generation

August 9, 2010

If you spend any time at all listening to apologists for the music industry, you will hear (over and over again) two primary justifications for its existence: i) that they find and nurture talent and ii) that it’s the only way for artists to reach the top tier of music stardom.

So, here are some of the top-selling female artists:

And here are some of the top male artists:

Notice anything?

It’s abundantly clear what the critical criterion is for female super-stardom. And just as clear that the same criterion is not applied to men. The music industry might like to think of itself as nurturing talent, but in reality, it’s a gatekeeper – among other criteria, it keeps women (but not men) who aren’t in the 99th percentile of attractiveness, and willing to exploit it as much as they can, out of the Top 40.

This asymmetry between men and women can be traced to the launch of MTV in 1981 and the rise of visual culture in music. Think about female musicians in the 1960s and 1970s – Joan Baez, Janis Joplin, Carole King – all attractive, certainly, but there wasn’t the marked differential between male and female musicians that is on display in the images above. I mark the start of the double standard for male and female artists—and therefore the start of the ‘lost generation’ of female artists—with the band Yazoo (Yaz in the United States). Yazoo featured Alison Moyet’s fantastic singing backed with songwriting by Vince Clarke (formerly of Depeche Mode, and who later founded Erasure). They released two brilliant albums in 1981 and 1982 before disbanding: Upstairs at Eric’s and You and Me Both, which hit #2 and #1 in the UK, respectively, but barely cracked the top 100 in the US. (You and Me Both eventually went platinum in the US, seven years after its release.) Here’s a promo video that their UK label, Mute, released for Yazoo’s first single, “Only You.”

It’s plausible that Yaz’s relative lack of success in the US stemmed from Alison Moyet not conforming to ideals of female beauty at the exact moment (within a year of MTV’s launch) when the music industry decided it mattered.

One of the reasons why I’m excited about the increasing ability of musicians to interact directly with their fans is because it heralds the end of this type of gatekeeping for female artists. Perhaps optimistically, I think that the event marking the end of the lost generation of female artists is the Belly Incident. Boston artist Amanda Palmer chose to break with her label, Roadrunner Records, and strike out on her own, and a major contributor to that decision was Roadrunner’s insistence that the video for “Leeds United” (at top of post) be re-edited to remove a shot of her bare belly which didn’t conform to their ideals of taut, airbrushed perfection. Palmer’s fans rallied in her defense, posting photographs of their own stomachs in Belly Solidarity, and in the end, the original edit stood.

I’m not arguing that the physical appearance of performers is unimportant—it is, and until our society changes pretty drastically, it will continue to be more important for women than for men. But now that the music industry no longer completely controls the distribution channel for music and who has access to it, people like me and you can hear more music by awesome, creative, challenging, talented, compelling female artists—without requiring them to also look like they’ve stepped out of a record executive’s sexual fantasies.

MP3: Amanda Palmer – Do You Swear To Tell The Truth The Whole Truth And Nothing But The Truth So Help Your Black Ass [why, and buy]

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Power, communication, and files

May 2, 2010

Processor power increases exponentially. Hard drive storage increases exponentially. And the energy density in batteries? Decidedly not exponential. Lithium ion batteries are thought to be nearing their technical limits, and alternatives are still probably a few years away.

I thought about this the other day when I was working at my local coffee shop. On the table in front of me I had both my fancy smartphone and my ancient MP3 player, which is what I was listening to. Because, frankly, I don’t trust my phone to have enough juice to make it through the day if I use it for frivolous things like playing Plants vs Zombies. Or listening to music.

Streaming music over the 3G network, is incredibly energy-intensive – like talking on the phone constantly. Rhapsody and Spotify have figured this out, unsurprisingly, and their iPhone apps enable you to download playlists of music to your phone over WiFi. (With an average speed of 22 Mbit/s for an 802.11g network, you can download a 5 min song at a bitrate of 128 kbit/s in just a couple of seconds, so you don’t need to spend long in a hotspot.) But having a bunch of playlists on tap is still pretty far from true streaming music.

Given a constant energy density, of course, one option is just to make the battery bigger. And my coder friends tell me that clever programming can help a lot with battery life. But for smartphones, we really just need much better power sources before the promise of whatever you want to listen to, whenever you want it, wherever you are, can become a reality. Dear materials scientists and electrical engineers, please get right on that, will you?

Thanks to Mark Chang for some technical background to this post; any misapprehensions are entirely my fault, not his.

Image: New Battery Generations, from the Argonne National Laboratory, posted here under its Creative Commons license. How freaking cool is that?

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In praise of our musical mentors

April 26, 2010

My very first musical mentor was my sister, V, and she’s probably the person who bears the most responsibility for my taste in music. When we were both barely teenagers, she turned me away from the dark side that was Top 40 radio, and set me on the path that I’ve followed for the rest of my life.

V’s only a year older than me, but she was infinitely cooler. When we were in middle school, I wore nondescript black clothes. She got in trouble for wearing a hot-pink minidress she designed and sewed herself. She talked to boys; I didn’t talk to anyone. She performed in the school musical; I was a library helper.

Both of us spent our childhood watching Casey Kasem and waiting eagerly for the Top 40 countdown on our local radio station so we could tape our favourite songs. Then, her musical tastes evolved. I remember her staying up late to listen to Brave New Waves, the CBC‘s groundbreaking indie/alternative music show, while I was still listening to Def Leppard. She was probably the first person in her school to become a Smiths fan. To this day, “How Soon Is Now?”  is like Proust’s proverbial madeleines—when I hear it, I’m instantly transported back to the streets around the house we lived in where we were kids, where V and I shared a paper route. She started listening to David Bowie when Let’s Dance came out and, because she was older and cooler, so did I, thus beginning a relationship with an artist that’s endured my entire life. We discovered that the Toronto Public Library had a fantastic collection of records and started working our way through his entire discography. And, most importantly, she started listening to our local alternative radio station, in lieu of Top 40 radio—and so, of course, did I.

If you’re reading this, you probably have one or more people who introduced you to the wider world of music, either as a kid or an adult. Today’s a good day to thank them.

Thanks, V.

MP3: The Smiths – How Soon Is Now? [buy]

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What’s your theme song, and why?

April 23, 2010

What happens when music fans go to the ballpark? Well, if you’re me, you get instantly distracted by the ‘rally songs’ that come over the PA as players run onto the field (and by how weirdly inappropriate they are) and start thinking about what your own personal theme song would be. I asked this question on Twitter yesterday, and received answers ranging from the Imperial March from Star Wars through Sheryl Crow’s “Every Day is a Winding Road” through MOP’s “Ante Up.”

Me? I have two candidates. On good days, Cake’s “Short Skirt, Long Jacket.” And on most days, “Girl Anachronism” by the Dresden Dolls. What’s yours, and why?

MP3: Cake – Short Skirt/Long Jacket [buy]

MP3: The Dresden Dolls – Girl Anachronism [buy]

Image: Fenway Park (on top of the Green Monster) by (Alex), used here under its Creative Commons license.

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Watch local: Do It Again

April 19, 2010

Guest blogger Scott writes:

In an earlier post about Kickstarter, I gave the example of how the producers of a documentary about The Kinks were funding its editing through small donations. That movie, Do It Again, premiered in March at the Cleveland International Film Festival to positive reviews, and will be showing in Somerville at the Independent Film Festival Boston on Saturday, April 24th. I haven’t seen it yet, but it looks to be less of a music documentary and more of a Nick Hornby/Studs Terkel mash-up, in that it isn’t so much about The Kinks as it is about how people (creator/star Geoff Edgers in particular, but also the people he enlists in his quest) think, or even obsess, about the band. And while the Hornbyish narrative story of a quest to reunite The Kinks is intimately tied a single band, it can be seen as a lens for thinking about the Terkel-ish question of why people love the bands they love and how that love shapes them. In that sense, it seems like a good pairing for The Heart is a Drum Machine — One asks “What is music?”; the other asks “What does music mean?”.

Previously on z=z: Watch: Music docs at IFF Boston, Apr 23-25

Image: Photo of Ray Davies from the Wikimedia Commons, used here under its Creative Commons license.

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Watch: The Heart Is A Drum Machine

March 29, 2010

What is music?

That’s the central question behind The Heart is a Drum Machine, a feature-length documentary from Lightyear Entertainment (Moog). It’s addressed by a host of interviewees, mostly musicians, with a sound engineer, a couple of scientists, and an author thrown in for color. A discussion of the Voyager Golden Record project bookends the film, in which the creative director on the project, Ann Druyan, talks about the universality of music to humanity, and the hope that it would prove to be able to communicate beyond our species:  “Hey, that’s a cool planet – they’re making some good music.”

The musicians vary widely in how articulate they are about music, with Wayne Coyne, predictably, at the high end, and Isaac Brock at the low—to be fair, musicians have a whole other vocabulary that they use to answer that question every day. And I never, ever want to hear someone unironically use the word ‘synergize’ with reference to art (I’m looking at you, Juliette Lewis). But many of the interviewees are engaging, funny or thought-provoking. One of the more interesting segments in the film is on deaf musicians, who ‘hear’ the music through physical vibrations alone (the short discussion on how they can tell they’re in tune is fascinating).

As a film, it focuses on presenting multiple facets of the experience of music, so it doesn’t really strongly develop an overall theme. But the individual pieces are mostly intriguing, and at a very brief 73 minutes, it’s definitely worth checking out.

Amazon Netflix

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Mobile collaborative playlisting (a prototype)

March 19, 2010

One of my colleagues at Olin College, Mark Chang, teaches a course on Mobile Applications Development. Instead of a midterm exam, he runs a design contest. We invited Paul Lamere of Echo Nest to campus to talk about their APIs, and Mark’s students had ten days to build an app for the Android that used those tools – kind of like Music Hack Day. Mark was kind enough to ask me to be a judge, so I got to see all the great prototypes they came up with.

While all of the apps were excellent, the one that I thought had the most interesting concept was the DJMixr (by students Miguel Bejar, Rhan Kim, Hyeontaek Oh, and Poorva Singal), an app to make a collaborative playlist for a party. The app would allow guests to add songs to the playlist directly, and also would scrobble song information from the phone’s music player (it would be backed with a streaming on-demand music player, so it would only transfer the song information, not the songs themselves). The Echo Nest back end would be used to interpolate recommendations based on the seed songs, in order to allow smooth transitions between songs to avoid musical whiplash.

While this app is just a prototype, of course, one of the things I find intriguing about this is that it’s a different social model for the music at a party. Rather than having one person be responsible, or at best having people wandering over to a laptop between drinks to maybe add a song or two or change the Pandora station, an application like this would make it possible to have a truly collaboratively generated soundtrack to an event. It seems like there would be some interesting emergent behaviors, like maybe a metastable equilibrium between music for the people who want to dance and those dedicated to indie rock. What do you think?

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Lyrics: how important are they to you?

March 11, 2010

How integral are lyrics to your experience of music? Do you just hear the music unless you are consciously listening for the lyrics? Do you always reach for a lyrics sheet when you get a new album?

After a recent post, in which I discussed the emotional effect of music and lyrics, I’ve talked to a number of people who’ve said, “I don’t really notice the words.” One of my friends remarked that he can’t be trusted to make mix CDs for people who do notice lyrics, like his wife, since he’ll inadvertently include songs on wildly inappropriate topics. I’m in the other camp; for example, I generally prefer instrumentals in techno or electronica, because any words are usually considered as a musical element. Since the meaning itself is usually secondary, they tend to be, for me, distractingly inane.

But this made me wonder: what proportion of people are in each camp? Do you notice and pay attention to the lyrics? Or do you not generally notice them?

So I hereby present a highly unscientific poll:

Feel free to amplify your response in the comments.

MP3: Matias Aguayo – Minimal (DJ Koze Radio Edit)

Image:Singing some Mendelsson tonight:” by Flickr user brownpau, reposted here under its Creative Commons license.

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Music infographics: two sets to explore

February 27, 2010

Visualizing the Beatles: Graphic designer Michael Deal is heading up a collaborative project of Beatles-related infographics, Charting the Beatles. Some stunning examples are on his site (the one above, for example, is a visualization of the keys of songs in Revolver; click here for the full graphic and key) and many more, in a wide array of styles, can be found at the Flickr group. [via Visualizing Music, which you should be reading if this stuff turns you on.]

Sample Maps: Author and musician Ethan Hein is currently writing a book titled Cold Technology, Hot Beats: The Soul of Electronic Music. As part of this project, he’s been preparing ‘sample maps,’ graphics that show the relationships between songs and artists via samples (the one above is for Bjork – click for a larger version – and you can see the full set here).

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Music and mood

February 20, 2010

If you follow me on Twitter, you may have seen this tweet about a week ago:

Warning: Listening to @TheMagFields‘ “All the Umbrellas” can induce psychosomatic cardiac fracture, even in asymptomatic individuals.

followed a day or so later by this:

I am declaring a temporary moratorium on the Magnetic Fields, the National, and the Mountain Goats for the sake of my emotional health.

One of the reasons why I love pop music is the perfect fusion of lyrics and music to create an enormous emotional impact. And these three artists are absolute masters: the cello strokes underlining the chorus in the aforementioned “All the Umbrellas in London,” the way John Darnielle’s voice reaches for and breaks on the high notes in “Woke Up New,” the world-weary timbre of Matt Berninger’s baritone in “Slow Show.” But my decision to take a break from three of my favourite artists was prompted by these words by that other aficionado of the three-minute pop song, Nick Hornby:

What came first, the music or the misery? People worry about kids playing with guns, or watching violent videos, that some sort of culture of violence will take them over. Nobody worries about kids listening to thousands, literally thousands of songs about heartbreak, rejection, pain, misery and loss. Did I listen to pop music because I was miserable? Or was I miserable because I listened to pop music?

(Some of you may remember this as the opening soliloquy in the film version of High Fidelity.)

I decided that, much as I love these three artists, I was on track to test out that second hypothesis. And I figured it wasn’t the kind of experiment that would get ethical approval.

In terms of music and mood (‘affect regulation’), there are two general approaches: to listen to music that aligns with your mood, or to listen to music to distract you or change your mood. There’s some evidence of gender differences: women may be more likely to listen to music that allows them to focus on their negative mood, while men may be more likely to choose music that lets them overcome it.  But it doesn’t seem to be terribly well-understood right now. A new iPhone app, MoodAgent, classifies your music and allows you to create playlists based on mood. It’s only been out for a month or so, and already a psychology professor has announced that he’s planning on using it as a tool to examine these relationships between music and emotions.

(focus) MP3: The Magnetic Fields – All the Umbrellas in London [buy]

(distraction) MP3: Mission of Burma – 1, 2 ,3, Partyy! [buy]

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Why do we love the songs that we love?

February 9, 2010

I love the movie Zero Effect. I’d recommend it to you, but I’m not sure you’d like it. It’s not the best movie out there, but something about it just speaks to me.  It’s my favourite example of how my regard for something has both a component that is a recognition of technical proficiency (how good something is—in the case of Zero Effect, Jake Kasdan‘s debut feature film, decent but not amazing) and a component that’s just, well, how much I like it.

I thought of this film recently as I got sucked into the exercise of creating  a list of my hypothetical personal top 20 songs (I say ‘hypothetical’ because  I don’t know how many will end up in the list. I’m not a listmaker by nature; I’m always impressed by the singlemindedness of someone like John Peel, who can say “This is my favourite song ever.“) Collating the songs I loved turned out to be an interesting exercise because of, not to be overly solipsistic,  what it says about myself. I’m incredibly lyrics-focused (if you’re reading this, that presumably comes as no surprise) but I was also struck by how all of the songs engendered such a strong emotional response from me.

With an essentially infinite number of songs out there, what distinguishes the ones we love from those that we merely like? I suspect that, for most of us, it’s not going to be the technical proficiency. It’s going to be the songs that just speak to us, that resonate with us emotionally. Since we all have different personalities and experiences, we’re necessarily going to have highly idiosyncratic and individualized response to music.

If emotional resonance is a significant factor in how we feel about a given piece of music, then how we get exposed to new music is likely to affect how much we like it. Think about the music in these situations:

  • something you hear on the PA in a store
  • a new song that comes up on your Pandora station
  • an artist you check out based on a positive review
  • an album recommended by a trusted friend
  • a mix CD made for you by a new lover

It’s pretty easy to surmise that the latter few situations will give the music in question a big boost on the emotional resonance front.

What do you think? Why are your favourite songs your favourite songs?

MP3: The Undertones – Teenage Kicks [buy]

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Music, culture and tech roundup

January 18, 2010

Fun stuff from around the web:

Konks release vinyl + circuitry: Possibly the coolest answer ever to the ‘why should I pay for a physical version of music?’ Boston band The Konks released their new vinyl 7″, “Nerves,” in a limited edition of 500 that comes with an electronic music device built into the cover of the LP. Says Bob Konk, “…you can touch the letters of our logo and the board makes a bunch of squeaks and squawks that sound kinda like a theremin. It has an on board speaker as well as an output jack so you can plug it into an amp to annoy the maximum amount of people at maximum volume.” While it can be purchased pre-assembled, by far the cooler option is to do your own soldering (you can either get a bag of the requisite parts, or a link to an online retailer to buy them yourself). Naturally, it comes with a bunch of other goodies too. Look for it at Static Eye Records shortly.  (Via Boston Band Crush, and special thanks to Sophia for bringing it to my attention.)

Prehistoric bird named after punk/country band. World, meet Late Cretaceous bird Hollanda luceria, named after the band Lucero. As well as being quite the honour in its own right, it puts them in pretty good company. (Via The Stranger’s LineOut blog.)

What makes music emotional? Why does music in a major key sound cheerful and in a minor key sound sad? Researchers at Duke University may have part of the answer. They compared the frequency distributions of sounds in minor- and major-key music with that of speakers reading monologues in either a subdued or excited tone of voice, and sure enough they matched. More details in this New Scientist article, or you can read the abstract (or, if you’re Mike Epstein, the whole thing) here. (Via @danlevitin.)

Does music get popular because it’s good, or just popular? Columbia scientist and network-theory pioneer Duncan Watts did a gorgeous experiment to see if music gets popular because other people say it’s good, or because people actually think it is good. The answer, it turns out, is both. Watts uploaded 48 songs to a website, had people listen and rank them, and then repeated the same experiment with many different groups of people but the same songs. A few songs consistently did well, a few badly, but the rankings of most varied widely with each group. Go read Clive Thompson’s article for full details of the study, including a devious tweak.

MP3: Lucero – Darken My Door [buy]

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Infographic: Seattle music connections

November 18, 2009

Rachel Ratner’s Cartographic Study of Musical Incest is a giant (60 sq ft) map of the connections between Seattle bands, from Nirvana to Fleet Foxes to scores of bands that you’ve probably never heard of unless you’re an Emerald City local. If you are, you can also see the full map (the above is a detail) at the Expo 87 art show next week.

Also, I’d love to see one of these for the Boston music scene? Anybody game?

(via Line Out)

Rachel Ratner’s Cartographic Study of Musica

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Music, tech and culture roundup

September 11, 2009

heteropoda davidbowie

Spiders from Mars Madagascar: That beauty above? That’s a Heteropoda davidbowie, newly discovered spider named after David Bowie (in honor of his Spiders from Mars). You can read the whole story here.

Sound quality in music: Sasha Frere-Jones has started a new series in the New Yorker called “Dithering: The Sound of Sound” which explores sound quality in music. The first and second posts are up.  If you haven’t yet, you can test yourself to see if you can hear the difference between MP3s at 128 and 320 kbps.

Monkeys find Metallica calming: Primatologist Charles Snowdon at UW-Madison showed that the affective state of tamarind monkeys can be changed by ‘monkey music’ (music based on their calls) but it largely unaltered by human music, with the exception of Metallica, oddly enough. This is interesting because music affects the emotional state of humans in a similar way across cultures, but it these effects don’t seem to cross over to other primates. More information here.

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Threesome: Defending CanCon (sort of)

June 25, 2009

mountie

Last week, CBC Radio 3‘s online radio broadcast and their Sirius Satellite radio station merged their playlists and schedules as a cost-saving measure. As part of the merger, they solicited input on whether the joint entity should play 100% Canadian music (as the online radio did) or 85% Canadian music, as was the case for Sirius 86. Scores of people sent in comments, and in the end they decided to play only Canadian music, but to also reserve the right to make exceptions: for example, covers of Canadian artists by non-Canadians, or for Neko Case, “who is American, but is widely considered an ‘honourary Canadian.'”

But the whole issue of CanCon in the age of the Internet probably deserves to be reconsidered. If you’re not familiar with this, the basic premise is that Canadian broadcasters are required to play a certain fraction of Canadian content, as a way of supporting Canadian artists who might otherwise be drowned out by the bigger and better-funded American industry (or as cultural protectionism, take your pick). Many Canadian artists have gotten airplay via this support, and there are some artists (like Sloan and The Tragically Hip) that are superstars north of the border but who’ve never really made it big in the US.  When broadcast was the primary means of disseminating music and video, the CanCon requirements made a certain amount of sense (remember, something like 90% of Canadians live within 100 mi – ie within broadcast range – of the US border). But it’s not clear how it’s going to shake down these days. On the one hand, the global playing field is increasingly leveled by the existence of Internet. On the other hand, it makes it easier to follow, see, and support local bands. Tellingly, one of the reasons why CBC Radio 3 decided to go with the 100% (give or take) Canadian approach in the merger is because, in a crowded online marketplace,  it differentiates the station from the rest of the world.

MP3: The Flaming Lips – After the Goldrush (Neil Young cover) [more]

MP3: Ben Gibbard – Complicated (Avril Lavigne cover)

MP3: Neko Case – If You Knew [more]

Image: Ride On by Flickr user eskimo_jo, reposted here under its Creative Commons license.