Music 2025 : The Music Data Dilemma: issues facing the music industry in improving data management

© Crown Copyright 2019Music 2025ʼ investigates the infrastructure issues around the management of digital data in an increasingly stream driven industry. The findings are the culmination of over 50 interviews with high profile music industry representatives across the sector and reflects key issues as well as areas of consensus and contrasting views. The findings reveal whilst there are great examples of data initiatives across the value chain, there are opportunities to improve efficiency and interoperability

Linking Research and Policy: Assessing a Framework for Organic Agricultural Support in Ireland

This paper links social science research and agricultural policy through an analysis of support for organic agriculture and food. Globally, sales of organic food have experienced 20% annual increases for the past two decades, and represent the fastest growing segment of the grocery market. Although consumer interest has increased, farmers are not keeping up with demand. This is partly due to a lack of political support provided to farmers in their transition from conventional to organic production. Support policies vary by country and in some nations, such as the US, vary by state/province. There have been few attempts to document the types of support currently in place. This research draws on an existing Framework tool to investigate regionally specific and relevant policy support available to organic farmers in Ireland. This exploratory study develops a case study of Ireland within the framework of ten key categories of organic agricultural support: leadership, policy, research, technical support, financial support, marketing and promotion, education and information, consumer issues, inter-agency activities, and future developments. Data from the Irish Department of Agriculture, Fisheries and Food, the Irish Agriculture and Food Development Authority (Teagasc), and other governmental and semi-governmental agencies provide the basis for an assessment of support in each category. Assessments are based on the number of activities, availability of information to farmers, and attention from governmental personnel for each of the ten categories. This policy framework is a valuable tool for farmers, researchers, state agencies, and citizen groups seeking to document existing types of organic agricultural support and discover policy areas which deserve more attention

Performativitas Komunitas Virtual: Suatu Analisis dari Teori Jaringan-Aktor dalam Komunitas Virtual NFT

Visual artists used NFT (non-fungible tokens) to market artwork and build virtualcommunity networks. NFTs are special certificates or licenses for digitally sold items.In this context, the presence of NFT creators has given rise to a virtual communityinvolving many digital media activities. The phenomenon then offers a variety of newtechnology-based relationships (blockchain, metaverse, NFT, Twitter, Twitter Spaces,Discord, and Clubhouse) and human actors (artists, digital artists, and designers), whichgive rise to specific characteristics to interact with each other or market their artworkin a virtual community. This research aims to discuss the interaction process in the NFT virtual community to understand the NFT ecosystem based on digital media. The actor- network theory is used to understand the network relations between human and non-human actors interacting through various digital platforms. The results of this study showed that the NFT virtual community could not be separated from the presence ofhuman and non-human actors.Perkembangan teknologi blockchain dan cryptocurrency membuat banyak bermunculan para pelaku dan komunitas NFT di Kota Bandung, terutama dari kalangan seniman dan desainer. NFT adalah sertifikat atau lisensi khusus untuk barang-barang yang dijualbelikan secara digital. Dalam konteks itulah kehadiran para kreator NFT memunculkan komunitas virtual yang banyak melibatkan aktivitas pada media digital. Fenomena itu kemudian menawarkan berbagai relasi baru berbasis antara teknologi (blockchain, metaverse, NFT, Twitter, Twitter Spaces, Discord, Clubhouse, dll) dengan aktor manusia (seniman, digital artist, desainer, dll) yang kemudian memunculkan karakteristik tertentuk dalam suatu komunitas virtual untuk berinteraksi atau memasarkan karya. Tak banyak penelitian yang membahas fenomena NFT ini di Indonesia. Terutama penelitian yang lebih spesifik membahas bagaimana terbentuknya komunitas virtual melalui pendekatan Teori Jaringan-Aktor. Dari hasil penelitian ini komunitas virtual NFT tak bisa dilepaskan dari hadirnya aktor manusia dan aktor non-manusia

Performativitas Komunitas Virtual: Suatu Analisis dari Teori Jaringan-Aktor dalam Komunitas Virtual NFT

Visual artists used NFT (non-fungible tokens) to market artwork and build virtualcommunity networks. NFTs are special certificates or licenses for digitally sold items.In this context, the presence of NFT creators has given rise to a virtual communityinvolving many digital media activities. The phenomenon then offers a variety of newtechnology-based relationships (blockchain, metaverse, NFT, Twitter, Twitter Spaces,Discord, and Clubhouse) and human actors (artists, digital artists, and designers), whichgive rise to specific characteristics to interact with each other or market their artworkin a virtual community. This research aims to discuss the interaction process in the NFT virtual community to understand the NFT ecosystem based on digital media. The actor- network theory is used to understand the network relations between human and non-human actors interacting through various digital platforms. The results of this study showed that the NFT virtual community could not be separated from the presence ofhuman and non-human actors.Perkembangan teknologi blockchain dan cryptocurrency membuat banyak bermunculan para pelaku dan komunitas NFT di Kota Bandung, terutama dari kalangan seniman dan desainer. NFT adalah sertifikat atau lisensi khusus untuk barang-barang yang dijualbelikan secara digital. Dalam konteks itulah kehadiran para kreator NFT memunculkan komunitas virtual yang banyak melibatkan aktivitas pada media digital. Fenomena itu kemudian menawarkan berbagai relasi baru berbasis antara teknologi (blockchain, metaverse, NFT, Twitter, Twitter Spaces, Discord, Clubhouse, dll) dengan aktor manusia (seniman, digital artist, desainer, dll) yang kemudian memunculkan karakteristik tertentuk dalam suatu komunitas virtual untuk berinteraksi atau memasarkan karya. Tak banyak penelitian yang membahas fenomena NFT ini di Indonesia. Terutama penelitian yang lebih spesifik membahas bagaimana terbentuknya komunitas virtual melalui pendekatan Teori Jaringan-Aktor. Dari hasil penelitian ini komunitas virtual NFT tak bisa dilepaskan dari hadirnya aktor manusia dan aktor non-manusia

Connections in Music

PhDThis work is copyright (c) 2010 Kurt Jacobson, and is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported Licence. To view a copy of this licence, visit http://creativecommons.org/licenses/by-sa/3.0/ or send a letter to Creative Commons, 171 Second Street, Suite 300, San Francisco, California, 94105, USA.Connections between music artists or songs provide a context and lineage for music and form the basis for recommendation, playlist generation, and general navigation of the musical universe. We examine the structure of the connections between music artists found on the web. It is shown that different methods of finding associations between artists yeild different net- work structures - the details of associations and how these associations are discovered impact the global structure of the artist network. This realization informs our associations framework - based on seman- tic web technologies and centered around a small RDF/OWL ontology that emphasizes the provenance and transparency of association statements. We develop the MuSim Similarity Ontology and show how, combined with the concepts of linked data, it can be used to create a distributed web-scale ecosystem for music similarity. The Similarity Ontology is evaluated against psychological models for similarity and shown to be flexible enough to accommodate each model examined. Several applications are developed based on the visualization of music artist network structures and the utilization of our associations framework along with other music-related linked data

Copyright\u27s Knowledge Principle

This Article argues that copyright jurisprudence has lost sight of the knowledge principle at the heart of the constitutional justification for copyright. The Framers envisioned the objective of copyright as promoting the advancement of knowledge for a democratic society by increasing access to published works. Under what is best termed the knowledge principle, access to existing knowledge is a necessary condition for the creation of new knowledge. Copyright jurisprudence has largely protected the interests of producers--from early booksellers to modern Hollywood film companies--failing to notice the central role of access to works as a necessary pre-condition to the creation of new works. The realities of the digital era further hinder the functioning of this mechanism. Ownership of copies of texts has morphed into a limited right of possession of digital files. Public libraries can no longer fulfill their mission of maximizing the circulation of materials in order to spread available knowledge among citizens. This Article proposes an alternative model to the conventional copyright theories, focusing on the critical role that access to knowledge resources plays in the dynamic processes at work in the production of knowledge and the creation of new works. In this model, public libraries would exercise non-waivable fair access rights on behalf of the public for the purposes of learning and education. These fair access rights serve to realign copyright with its constitutional justification, and more importantly serve to support the knowledge creation process for the future of our democratic society

Of Music and Media: A Producer Study of Promotional Encoding on Social Media Through the Lenses of Paratext and Medium Theory

While music promotion has been important aspect for musicians, bands, and musical organizations for well over a century, the rise of social media in the digital era has profoundly changed the way these promoters perceived of and practice their commercial task of selling music. Paratexts (Gray, 2010a) offer an effective lens for focusing on these promotions while encoding/decoding (Hall, 1980) justifies producer studies to examine and uncover vital aspects of production shape the text and medium theory adds further focus by recentering the medium as being distinctly influential. Existing research on music promotion highlights the uniqueness and evocativeness of the musical product while historically-based music promotion practice dictates that a cohesive image should be crafted for promotion and that uncommercialized physical spaces should be sought out by promoters. The distinct symbolic traits and delineation of each social media have also been documented and researched. To uncover the perceptions, practices, and underlying ideologies of promoters, a representative sample of 22 independent North American musicians, bands, and record labels were interviewed. I found that these promotional producers consider the social media environment to be a free and egalitarian space of transparent communication and connectivity, but implicitly perceive the social media audience to be an inattentive, passive, and malleable mass audience. In emphasizing continual creation and circulation of promotions on social media, producers are implicitly devaluing their musical work. In addition, though producers state an awareness that social media channels are different, they approach social media monolithically and seek to distance themselves from overly commercial goals when creating promotions. The interviews with producers reveal deep, recurrent connections and ideologies underlying stated perceptions and practices of music promotion. Though music promotion and social media usage will continue to shift and change, the underpinning ideologies and implicit belief of promoters will remain and social mediated promotions will continue to eclipse the central musical text

Of Music and Media: A Producer Study of Promotional Encoding on Social Media Through the Lenses of Paratext and Medium Theory

While music promotion has been important aspect for musicians, bands, and musical organizations for well over a century, the rise of social media in the digital era has profoundly changed the way these promoters perceived of and practice their commercial task of selling music. Paratexts (Gray, 2010a) offer an effective lens for focusing on these promotions while encoding/decoding (Hall, 1980) justifies producer studies to examine and uncover vital aspects of production shape the text and medium theory adds further focus by recentering the medium as being distinctly influential. Existing research on music promotion highlights the uniqueness and evocativeness of the musical product while historically-based music promotion practice dictates that a cohesive image should be crafted for promotion and that uncommercialized physical spaces should be sought out by promoters. The distinct symbolic traits and delineation of each social media have also been documented and researched. To uncover the perceptions, practices, and underlying ideologies of promoters, a representative sample of 22 independent North American musicians, bands, and record labels were interviewed. I found that these promotional producers consider the social media environment to be a free and egalitarian space of transparent communication and connectivity, but implicitly perceive the social media audience to be an inattentive, passive, and malleable mass audience. In emphasizing continual creation and circulation of promotions on social media, producers are implicitly devaluing their musical work. In addition, though producers state an awareness that social media channels are different, they approach social media monolithically and seek to distance themselves from overly commercial goals when creating promotions. The interviews with producers reveal deep, recurrent connections and ideologies underlying stated perceptions and practices of music promotion. Though music promotion and social media usage will continue to shift and change, the underpinning ideologies and implicit belief of promoters will remain and social mediated promotions will continue to eclipse the central musical text

Collaborating with Users in Proximity for Decentralized Mobile Recommender Systems

Typically, recommender systems from any domain, be it movies, music, restaurants, etc., are organized in a centralized fashion. The service provider holds all the data, biases in the recommender algorithms are not transparent to the user, and the service providers often create lock-in effects making it inconvenient for the user to switch providers. In this paper, we argue that the user's smartphone already holds a lot of the data that feeds into typical recommender systems for movies, music, or POIs. With the ubiquity of the smartphone and other users in proximity in public places or public transportation, data can be exchanged directly between users in a device-to-device manner. This way, each smartphone can build its own database and calculate its own recommendations. One of the benefits of such a system is that it is not restricted to recommendations for just one user - ad-hoc group recommendations are also possible. While the infrastructure for such a platform already exists - the smartphones already in the palms of the users - there are challenges both with respect to the mobile recommender system platform as well as to its recommender algorithms. In this paper, we present a mobile architecture for the described system - consisting of data collection, data exchange, and recommender system - and highlight its challenges and opportunities.Comment: Accepted for publication at the 2019 IEEE 16th International Conference on Ubiquitous Intelligence and Computing (IEEE UIC 2019