Upbeat and quirky with a bit of a build: Interpretive repertories in creative music search

Pre-existing commercial music is widely used to accom-pany moving images in films, TV commercials and com-puter games. This process is known as music synchronisa-tion. Professionals are employed by rights holders and film makers to perform creative music searches on large catalogues to find appropriate pieces of music for syn-chronisation. This paper discusses a Discourse Analysis of thirty interview texts related to the process. Coded ex-amples are presented and discussed. Four interpretive repertoires are identified: the Musical Repertoire, the Soundtrack Repertoire, the Business Repertoire and the Cultural Repertoire. These ways of talking about music are adopted by all of the community regardless of their interest as Music Owner or Music User. Music is shown to have multi-variate and sometimes conflicting meanings within this community which are dynamic and negotiated. This is related to a theoretical feedback model of communication and meaning making which proposes that Owners and Users employ their own and shared ways of talking and thinking about music and its context to determine musical meaning. The value to the music information retrieval community is to inform system design from a user information needs perspective

Organising music for movies

Purpose - The purpose of this paper is to examine and discuss the classification of commercial popular music when large digital collections are organised for use in films. Design/methodology/approach - A range of systems are investigated and their organization is discussed, focusing on an analysis of the metadata used by the systems and choices given to the end-user to construct a query. The indexing of the music is compared to a checklist of music facets which has been derived from recent musicological literature on semiotic analysis of popular music. These facets include aspects of communication, cultural and musical expression, codes and competences. Findings -In addition to bibliographic detail, descriptive metadata is used to organise music in these systems. Genre, subject and mood are used widely; some musical facets also appear. The extent to which attempts are being made to reflect these facets in the organization of these systems is discussed. A number of recommendations are made which may help to improve this process. Originality/value - This paper discusses an area of creative music search which has not previously been investigated in any depth and makes recommendations based on findings and the literature which may be used in the development of commercial systems as well as making a contribution to the literature

Content or context? Searching for musical meaning in task-based interactive information retrieval

Creative professionals search for digital music to accompany moving images using interactive information retrieval systems run by music publishers and record companies. This research investigates the creative professionals and the intermediaries communication processes and information seeking and use behaviour with a view to making recommendations to information retrieval systems builders as to the extent of relative importance of content and contextual factors. A communications model is used to suggest that the meaning of music is determined by its listener and use context, as well as cultural codes and competences. The research is framed by a holistic approach based on Ingwersen and Jarvelin’s Interactive Information Seeking, Retrieval and Behavioral processes model

Towards the disintermediation of creative music search: Analysing queries to determine important facets

Purpose: Creative professionals search for music to accompany moving images in films, advertising, television. Some larger music rights holders (record companies and music publishers) organise their catalogues to allow online searching. These digital libraries are organised by various subjective musical facets as well as by artist and title metadata. The purpose of this paper is to present an analysis of written queries relating to creative music search, contextualised and discussed within the findings of text analyses of a larger research project whose aim is to investigate meaning making in this search process. Method: A facet analysis of a collection of written music queries is discussed in relation to the organisation of the music in a selection of bespoke search engines. Results: Subjective facets, in particular Mood, are found to be highly important in query formation. Unusually, detailed Music Structural aspects are also key. Conclusions: These findings are discussed in relation to disintermediation of this process. It is suggested that there are barriers to this, both in terms of classification and also commercial / legal factors

Music, movies and meaning: communication in film-markers' search for pre-existing music, and the implications for music information retrieval

While the use of music to accompany moving images is widespread, the information behaviour, communicative practice and decision making by creative professionals within this area of the music industry is an under-researched area. This investigation discusses the use of music in films and advertising focusing on communication and meaning of the music and introduces a reflexive communication model. The model is discussed in relation to interviews with a sample of music professionals who search for and use music for their work. Key factors in this process include stakeholders, briefs, product knowledge and relevance. Searching by both content and context is important, although the final decision when matching music to picture is partly intuitive and determined by a range of stakeholders

Creative professional users musical relevance criteria

Although known item searching for music can be dealt with by searching metadata using existing text search techniques, human subjectivity and variability within the music itself make it very difficult to search for unknown items. This paper examines these problems within the context of text retrieval and music information retrieval. The focus is on ascertaining a relationship between music relevance criteria and those relating to relevance judgements in text retrieval. A data-rich collection of relevance judgements by creative professionals searching for unknown musical items to accompany moving images using real world queries is analysed. The participants in our observations are found to take a socio-cognitive approach and use a range of content and context based criteria. These criteria correlate strongly with those arising from previous text retrieval studies despite the many differences between music and text in their actual content

Clear detection of dusty torus signatures in a Weak-Line Radio Galaxy: the case of PKS 0043-42

We report the clearest detection to date of dusty torus signatures in a Weak-Line Radio Galaxy (WLRG). The deep Spitzer InfraRed Spectrograph (IRS) rest-frame mid-infrared (MIR) spectrum of the WLRG PKS 0043-42 (z=0.116) shows a clear spectral turnover at wavelengths longer than ~20 micron suggestive of warm dust, as well as a 9.7 micron silicate absorption feature. In addition, the hard X-ray results, based on Chandra data, strongly support a picture in which PKS 0043-42 has a torus and accretion disc more typical of Strong-Line Radio Galaxies (SLRGs). The MIR and X-ray spectra are markedly different from those of other WLRGs at similar redshifts, and here we show that the former can be successfully fitted with clumpy torus models with parameters characteristic of Type-2 AGN tori: close to edge-on (i=74 deg) and relatively broad (torus angular width=60 deg), with an outer radius of 2 pc, hydrogen column density ~1.6x10^(23) cm^(-2), and AGN bolometric luminosity ~1.6x10^(44) erg s^(-1). The presence of a compact torus in PKS 0043-42 provides evidence that this WLRG is fuelled by cold, rather than hot, gas accretion. We suggest that WLRGs are a diverse population, and PKS 0043-42 may represent a type of radio galaxy in which the AGN activity has been recently re-triggered as a consequence of intermittent gas supply, or in which the covering factor of the Narrow-Line Region (NLR) clouds is relatively low.Comment: 7 pages, 6 figures, 1 table. Accepted by MNRA

HST and UKIRT imaging observations of z~1 6C radio galaxies - II. Galaxy morphologies and the alignment effect

(abridged) Powerful radio galaxies often display enhanced optical/UV emission regions, elongated and aligned with the radio jet axis. The aim of this series of papers is to separately investigate the effects of radio power and redshift on the alignment effect, together with other radio galaxy properties. In this second paper, we present a deeper analysis of the morphological properties of these systems, including both the host galaxies and their surrounding aligned emission. The host galaxies of our 6C subsample are well described as de Vaucouleurs ellipticals, with typical scale sizes of ~10kpc. This is comparable to the host galaxies of low-z radio sources of similar powers, and also the more powerful 3CR sources at the same redshift. The contribution of nuclear point source emission is also comparable, regardless of radio power. The 6C alignment effect is remarkably similar to that seen around more powerful 3CR sources at the same redshift in terms of extent and degree of alignment with the radio source axis, although it is generally less luminous. The bright, knotty features observed in the case of the z~1 3CR sources are far less frequent in our 6C subsample; neither do we observe such strong evidence for evolution in the strength of the alignment effect with radio source size/age. However, we do find a very strong link between the most extreme alignment effects and emission line region properties indicative of shocks, regardless of source size/age or power. In general, the 6C alignment effect is still considerably stronger than that seen around lower redshift galaxies of similar radio powers. (abridged)Comment: 23 pages, 15 figures, accepted for publication in MNRAS. See http://www.mrao.cam.ac.uk/~kji/MorphPaper/ for version of paper with full resolution images of Figs 1-1

The effect of population variation on the accuracy of sex estimates derived from basal occipital discriminant functions

Multiple discriminant functions that estimate sex from the dimensions of the basal occipital have been published. However, as there is limited exploration of basal dimension variation between groups, the accuracy of these functions when applied to archaeological material is unknown. This study compares basal dimensions between four known sex-at-death post-medieval European samples and explores how metric differences impact on the accuracy of sex assessment discriminant functions. Published data from St Bride’s, London (n = 146) and the Georges Olivier collection, Paris (n = 68) were compared with new data from the eighteenth to nineteenth century Dutch Middenbeemster sample (n = 74) and the early twentieth century Rainer sample, Romania (n = 282) using independent t tests. The Middenbeemster and Rainer data were substituted into six published discriminant functions derived from the St Bride’s and the Georges Olivier samples, and the results were compared to their known sex. Multiple statistically significant differences were found between the four groups. Of the six discriminant functions tested, five failed to reach the published accuracy and fell below chance. In addition, even where the samples were statistically comparable in means, trends for difference also impacted the accuracy of discriminant functions. Enough variation in basal occipital dimensions existed in the European groups to decrease the accuracy of sex estimation discriminant functions to unusable. Possible inter-observer error, varying genetic, socioeconomic, and geographical factors are likely causes of dimension variation. This research further highlights the dangers of using sex estimation discriminant functions on samples that differ to the original derivative population and demonstrates the need for more rigorous testing