Instrumentational complexity of music genres and why simplicity sells

Listening habits are strongly influenced by two opposing aspects, the desire for variety and the demand for uniformity in music. In this work we quantify these two notions in terms of musical instrumentation and production technologies that are typically involved in crafting popular music. We assign a "complexity value" to each music style. A style is complex if it shows the property of having both high variety and low uniformity in instrumentation. We find a strong inverse relation between variety and uniformity of music styles that is remarkably stable over the last half century. Individual styles, however, show dramatic changes in their "complexity" during that period. Styles like "new wave" or "disco" quickly climbed towards higher complexity in the 70s and fell back to low complexity levels shortly afterwards, whereas styles like "folk rock" remained at constant high complexity levels. We show that changes in the complexity of a style are related to its number of sales and to the number of artists contributing to that style. As a style attracts a growing number of artists, its instrumentational variety usually increases. At the same time the instrumentational uniformity of a style decreases, i.e. a unique stylistic and increasingly complex expression pattern emerges. In contrast, album sales of a given style typically increase with decreasing complexity. This can be interpreted as music becoming increasingly formulaic once commercial or mainstream success sets in.Comment: 17 pages, 5 figures, Supporting Informatio

Towards a measure for characterizing the informational content of audio signals and the relation between complexity and auditory encoding

The accurate description of a complex process should take into account not only the interacting elements involved but also the scale of the description. Therefore, there can not be a single measure for describing the associated complexity of a process nor a single metric applicable in all scenarios. This article introduces a framework based on multiscale entropy to characterize the complexity associated with the most identifiable characteristic of songs: the melody. We are particularly interested in measuring the complexity of popular songs and identifying levels of complexity that statistically explain the listeners’ preferences. We analyze the relationship between complexity and popularity using a database of popular songs and their relative position in a preferences ranking. There is a tendency toward a positive association between complexity and acceptance (success) of a song that is, however, not significant after adjusting for multiple testing.Peer ReviewedPostprint (published version

OK Computer Analysis: An Audio Corpus Study of Radiohead

The application of music information retrieval techniques in popular music studies has great promise. In the present work, a corpus of Radiohead songs across their career from 1992 to 2017 are subjected to automated audio analysis. We examine findings from a number of granularities and perspectives, including within song and between song examination of both timbral-rhythmic and harmonic features. Chronological changes include possible career spanning effects for a band's releases such as slowing tempi and reduced brightness, and the timbral markers of Radiohead's expanding approach to instrumental resources most identified with the Kid A and Amnesiac era. We conclude with a discussion highlighting some challenges for this approach, and the potential for a field of audio file based career analysis

Cultural transmission modes of music sampling traditions remain stable despite delocalization in the digital age

Music sampling is a common practice among hip-hop and electronic producers that has played a critical role in the development of particular subgenres. Artists preferentially sample drum breaks, and previous studies have suggested that these may be culturally transmitted. With the advent of digital sampling technologies and social media the modes of cultural transmission may have shifted, and music communities may have become decoupled from geography. The aim of the current study was to determine whether drum breaks are culturally transmitted through musical collaboration networks, and to identify the factors driving the evolution of these networks. Using network-based diffusion analysis we found strong evidence for the cultural transmission of drum breaks via collaboration between artists, and identified several demographic variables that bias transmission. Additionally, using network evolution methods we found evidence that the structure of the collaboration network is no longer biased by geographic proximity after the year 2000, and that gender disparity has relaxed over the same period. Despite the delocalization of communities by the internet, collaboration remains a key transmission mode of music sampling traditions. The results of this study provide valuable insight into how demographic biases shape cultural transmission in complex networks, and how the evolution of these networks has shifted in the digital age

Internet killed the radio star?

Radio airplay is still a popular direct-to-consumer (DTC) channel for music products. In this paper, we investigate the effect of radio airplay on album sales, mediated by consumer social media engagement with music artists. Grounded in the cultural production model, as well as the literature on customer engagement and satiation, we propose several hypotheses. We analyze our unique dataset by structural equation modeling (SEM). The results reveal that radio airtime has a bigger impact on album sales of lesser-known musicians than those of famous musicians. Social media engagement mediates the positive effect of radio airplay on album sales; this effect is moderated by the musician’s popularity such that famous musicians enjoy greater social media engagement compared to their lesser-known counterparts. These results have important managerial implications for positioning and channel strategies for lesser-known as well as for already famous musicians. Our findings contribute to the literature on music marketing, social media engagement, and satiation. Surprisingly, this research suggests that the role of radio is not as straightforward as has been described before and the implications for new and seasoned artists in the age of digital music consumption have the potential to change the views of this ‘outdated’ medium

Fashion and art cycles are driven by counter-dominance signals of elite competition: quantitative evidence from music styles

Human symbol systems such as art and fashion styles emerge from complex social processes that govern the continuous re-organization of modern societies. They provide a signaling scheme that allows members of an elite to distinguish themselves from the rest of society. Efforts to understand the dynamics of art and fashion cycles have been based on 'bottom-up' and 'top down' theories. According to 'top down' theories, elite members signal their superior status by introducing new symbols (e.g., fashion styles), which are adopted by low-status groups. In response to this adoption, elite members would need to introduce new symbols to signal their status. According to many 'bottom-up' theories, style cycles evolve from lower classes and follow an essentially random pattern. We propose an alternative explanation based on counter-dominance signaling. There, elite members want others to imitate their symbols; changes only occur when outsider groups successfully challenge the elite by introducing signals that contrast those endorsed by the elite. We investigate these mechanisms using a dynamic network approach on data containing almost 8 million musical albums released between 1956 and 2015. The network systematically quantifies artistic similarities of competing musical styles and their changes over time. We formulate empirical tests for whether new symbols are introduced by current elite members (top-down), randomness (bottom-up) or by peripheral groups through counter-dominance signals. We find clear evidence that counter-dominance-signaling drives changes in musical styles. This provides a quantitative, completely data-driven answer to a century-old debate about the nature of the underlying social dynamics of fashion cycles

Towards a multi-level selection framework for understanding trends in popular music

Master's Thesis popular music MUR502 - University of Agder 2019This thesis proposes a metaphysical Multi-Level Selection model for memetics which is intended to be utilized in research ontrends inpopular music markets. The goal is for thismodel to be theinter-weavedresult, and expansionofDawkins’(1989)work on memetics,Wilson & Wilson’s (2008)work on Multi-Level Selection, and Pandora’s Music Genome Project (see (Castelluccio, 2006)). However, much ofthis thesis is focused on the philosophical discourse associated in attempting to intermix these disciplines

Cultural transmission modes of music sampling traditions remain stable despite delocalization in the digital age

Music sampling is a common practice among hip-hop and electronic producers that has played a critical role in the development of particular subgenres. Artists preferentially sample drum breaks, and previous studies have suggested that these may be culturally transmitted. With the advent of digital sampling technologies and social media the modes of cultural transmission may have shifted, and music communities may have become decoupled from geography. The aim of the current study was to determine whether drum breaks are culturally transmitted through musical collaboration networks, and to identify the factors driving the evolution of these networks. Using network-based diffusion analysis we found strong evidence for the cultural transmission of drum breaks via collaboration between artists, and identified several demographic variables that bias transmission. Additionally, using network evolution methods we found evidence that the structure of the collaboration network is no longer biased by geographic proximity after the year 2000, and that gender disparity has relaxed over the same period. Despite the delocalization of communities by the internet, collaboration remains a key transmission mode of music sampling traditions. The results of this study provide valuable insight into how demographic biases shape cultural transmission in complex networks, and how the evolution of these networks has shifted in the digital age