Organizing digital music for use: an examination of personal music collections

Current research on music information retrieval and music digital libraries focuses on providing access to huge, public music collections. In this paper we consider a different, but related, problem: supporting an individual in maintaining and using a personal music collection. We analyze organization and access techniques used to manage personal music collections (primarily CDs and MP3 files), and from these behaviors, to suggest user behaviors that should be supported in a personal music digital library (that is, a digital library of an individual's personal music collection)

Searching digital music libraries

There has been a recent explosion of interest in digital music libraries. In particular, interactive melody retrieval is a striking example of a search paradigm that differs radically from the standard full-text search. Many different techniques have been proposed for melody matching, but the area lacks standard databases that allow them to be compared on common grounds––and copyright issues have stymied attempts to develop such a corpus. This paper focuses on methods for evaluating different symbolic music matching strategies, and describes a series of experiments that compare and contrast results obtained using three dominant paradigms. Combining two of these paradigms yields a hybrid approach which is shown to have the best overall combination of efficiency and effectiveness

The Aftermath of Aftermath: The Impact of Digital Music Distribution on the Recording Industry

[Excerpt] “This article will address the impact the shift from hard-copy recordings to digital music distribution has had on the recording industry. Specifically, it will apply F.B.T. Productions v. Aftermath Records, which correctly held that a label’s relationship with third-party-digital-music-providers is that of licensor-licensee, to the modern music industry. Based on this holding, record labels need to reconsider their relationships with artists, and create new business models that rely on licensing music, rather than the traditional sale-based distribution model. The decision in Aftermath will lead to increased royalties for artists in the Digital Age. This article will analyze the impact of that decision for the modern music industry by advocating for increased artist royalties in this digital music era. By examining other relevant case law, the fundamental purpose of royalty distributions, and the evolution of the recording industry, this article will emphasize the need for the recording industry to adapt to the changing musical landscape and suggest possible business models.

Minimal Checklist for the Preservation of Digital Language Documentation Materials

This checklist has been developed by DELAMAN to serve as a guide to the minimal level of digital data preservation that is generally accepted by the professional standards of language documentation. It should be noted that going above and beyond this baseline level of preservation is desirable, encouraged and even compulsory by granting agencies, particular archives, and/or professional expectations

Music Aggregators and Intermediation of the Digital Music Market

This article demonstrates that, contrary to popular belief, the advent of the Internet has not made intermediaries in the music market obsolete. Individual artists and independent record labels who want to sell their music in digital music stores must deliver their records via third-party companies called music aggregators. Drawing on the concepts of new institutional economics, the article demonstrates that the emergence of music aggregators is a market response to the high level of transaction costs and bargaining asymmetry associated with selling digital music online. The conclusion suggests that the major music conglomerates may seek ownership links with music aggregators, leading to the emergence of vertically integrated companies, which may have profound consequences for cultural markets

Music interaction research in HCI

The ubiquity of music consumption is overarching. Statistics for digital music sales, streaming video videos, computer games, and illegal sharing all speak of a huge interest. At the same, an incredible amount of data about every day interactions (sales and use) with music is accumulating through new cloud services. However, there is an amazing lack of public knowledge about everyday music interaction. This panel discusses the state of music interaction as a part of digital media research. We consider why music interaction research has become so marginal in HCI and discuss how to revive it. Our two discussion themes are: orientation towards design vs. research in music related R&D, and the question if and how private, big data on music interactions could enlighten our understanding of ubiquitous media culture

The Original Beat: An Electronic Music Production System and Its Design

The barrier to entry in electronic music production is high. It requires expensive, complicated software, extensive knowledge of music theory and experience with sound generation. Digital Audio Workstations (DAWs) are the main tools used to piece together digital sounds and produce a complete song. While these DAWs are great for music professionals, they have a steep learning curve for beginners and they must run native on a user’s computer. For a novice to begin creating music takes much more time, eort, and money than it should. We believe anyone who is interested in creating electronic music deserves a simple way to digitize their ideas and hear results. With this idea in mind, we created a web based, co-creative system to allow beginners and pros alike to easily create electronic digital music. We outline the requirements for such a system and detail the design and architecture. We go through the specifics of the system we implemented covering the front-end, back-end, server, and generation algorithms. Finally, we will review our development time-line, examine the challenges and risks that arose when building our system, and present future improvements

Money for Something: Music Licensing in the 21st Century

[Excerpt] The laws that determine who pays whom in the digital world were written, by and large, at a time when music was primarily performed via radio broadcasts or distributed through physical media (such as sheet music and phonograph records), and when each of these forms of music delivery represented a distinct channel with unique characteristics. With the emergence of the Internet, Congress updated some copyright laws in the 1990s. It applied one set of legal provisions to digital services it viewed as akin to radio broadcasts and another set to digital services it viewed as akin to physical media. Since that time consumers have increasingly been consuming music via digital services that incorporate attributes of both radio and physical media. However, companies that compete in enabling consumers to access music may face very different costs to license music, depending on the technology they use and the features they offer. These differences in technology and features also affect the amount of money received by songwriters, performers, music publishers, and record companies. U.S. copyright law allows performers and record labels to collectively designate an agent to receive payments and to negotiate the licensing fees that certain types of digital music services must pay to stream music to their customers. Groups representing public radio and educational stations reached voluntary agreements with the agent, SoundExchange, in 2015. Rates paid by parties that do not reach voluntary agreements with SoundExchange during a limited negotiation period are instead set by the Copyright Royalty Board (CRB), a panel of three judges appointed by the Librarian of Congress. On December 16, 2015, the CRB set rates for online music streaming services for the period 2016 through 2020. For nonsubscription services, the CRB reduced the per-stream rate it had set in the previous rate proceeding, but the costs paid by several “small” music streaming services are likely to increase. Advocates of the small streaming services have launched a petition asking Congress to either allow their previous agreements to continue indefinitely or discontinue the requirement that small streaming services pay royalties to performers and record labels. SoundExchange has objected that the rates set by the CRB do not provide adequate compensation to performers and record labels. Members have introduced several bills in the 114th Congress that would change the amounts various participants in the music industry pay or receive in royalties. These bills are controversial, as they could alter the cost structures and revenues of broadcast radio stations, songwriters, performers, and others at a time when the music industry’s overall revenues are not growing. At the same time, the U.S. Department of Justice (DOJ) is continuing a review of consent decrees it entered into with music publishers in the 1940s. The outcome could affect the extent to which songwriters can control the use of their works

An Economist's Guide to Digital Music

In this guide, we discuss the impact of digitalization on the music industry. We rely on market and survey data at the international level as well as expert statements from the industry. The guide investigates recent developments in legal and technological protection of digital music and describes new business models as well as consumers' attitude towards music downloads. We conclude the guide by a discussion of the evolution of the music industry

Visual collaging of music in a digital library

This article explores the role visual browsing can play within a digital music library. The context to the work is provided through a review of related techniques drawn from the fields of digital libraries and human computer interaction. Implemented within the open source digital library toolkit Greenstone, a prototype system is described that combines images located through textual metadata with a visualisation technique known as collaging to provide a leisurely, undirected interaction with a music collection. Emphasis in the article is given to the augmentations of the basic technique to work in the musical domain