esearchershave shown how specific communities use discreet hermeneutic techniques to inter-pret texts.

Considering that even before its airing, the documentary’s text wasalready being ‘mythologized,’ gaining meaning and structuring feelings of regionaland racial identity

the stategovernment decided to partially fund the video

The political economy and sociology of the cultural and music industries offers animportant counter-narrative to the techno-determinism of new media is the political After all,these tools are sometimes being built by composers, for composers, and to replace composers

“fit,”where researchers have sought to prove that advertising works better when its music sharescultural or structural attributes with the brand.

lassicalconditioning model are mostly interested in the stimulus-response relationship between musicand consumer.

elaboration likelihood model look at music and sound as variables among many that may impacta message’s impact

he story is that Malleprojected the footage of Moreau walking and asked Miles to improvise. The result isriveting, yet it could have worked the other way round - the marriage of the finished filmfeels just as much as if Jeanne is walking while listening to the Davis music.

I'm picking Gould because of the loose, liberated, comic spontaneity of his movements,his muttering and his being.

e the girl's voice as a disruptive and destabilizing force;

he occupies as little “musical” space as possible in the performance, thus allowing her-self to act as a passive vessel though which male-defined patriotic ideals can be perspicuously articulated

In Walter Werzowa's remix of the Fifth, the aspects of the symphonythat have caused everyone from Hoffmann to Adorno to hear the work asconveying meaning-its organic unity and the development of its mainidea over time-are absolutely jettisoned

Such "atomized" listening-:--which Richard Leppertdefines as "listening for the good parts" -reduces the intricate structure ofthe symphony to a series of sound bites, alienated from their context andincapable of generating meaning.

Theodor Adorno, too, was very interested in Beethoven's symphonies,and in what they revealed. However, where Hoffmann insisted that thismusic opened the realm of the infinite-that it transcended human realityand accessed the ideal-Adorno felt that it revealed specific truths aboutsociety and culture

apitalism is not onlyfounded on but actively requires some degree of systematized inequalityto function successfully as a system. The principal tenet of modem capitalism is that those with capital must try to accumulate more, which can bedone only by increasing the amount of surplus value generated by labor.

Thus, classicalmusic hops onto technology's coattails, but at the same time, tech corporations get to be associated with enabling the "fundamental human right"classical music is said to represent

rhetorical devaluation of the past

I will discuss how Intel's new marketing campaign usesBeethoven's Fifth to naturalize capitalism's myriad disruptions of humanlife, a move symptomatic of neoliberalism's vexed relationship with history.

The main principle for choosing the playlists that make it into that sample? "Passion,care, love, and time users put into creating those playlists.

Genre & sub-genre tags

“If social media is a filter, streaming is a mirror

I will address each of these strategies of product differentiation in turn.

A user commodity is not to beconflated with a user, nor is a user to be conflated with a flesh-and-blood person

With the rise of interactive, networked media, however, a qualitatively differ-ent kind of entity may be targeted and sold to advertisers: the individual user

It de-scribes an abstract potential to attend to advertising and to thereby learn “to buythe goods [advertised] and to spend their income accordingly

Treated not solelyas a commodity, music is transformed into an instrument by which listeners canthemselves be more thoroughly commodified, their attention parceled out into ev-ermore finely gradated segments to be auctioned off to advertisers, their personaldata rendered evermore personal so it might command a higher price on the openmarket

Whatstreaming promised was to remonetize musical commodities previously demone-tized by file sharing. 14 But its ability to deliver on this promise seems increasinglytenuous in light of the difficulties most standalone platforms have encountered inachieving financial viability.

Why Spotify trusted these business partners—and why usersshould do likewise—went unexplained

The eighty-four-million-dollar claim sought to compensateusers for the value of the personal information they had disclosed upon joining theplatform, including their music preferences.

s would grant Spotify permission toretrieve personal data held on third-party apps like Facebook; to access GPS andother sensors on mobile devices; to collect voice commands captured by built-inmicrophones; and to scan local media files on users’ devices, including mp3 li-braries, photo albums, and address books.

streaming plat-forms cast music as a particularly valuable source of data, offering privileged access to listeners’innermost selves. But they also cast music as an ideal tracking device, accompanying individu-als across a variety of social, physical and geographical spaces

Regarding the former, in his attempt to show the “real”Puerto Rico beyond Old San Juan’s cruise ship piers, Fonsi emphasizes stereotypes of sensual-ity (“heat”), fiesta (“dancing”, “the party”), and submissiveness (“the smile of the people”, “thehug they give you”)

In 1990, the director of A&R for MCXs Black music division revealed to Billboardthat labels no longer waited to see how Black acts did on Black-Oriented stations

So while Crossovers~ations helped incorporate marginalized listeners and their musical tastes into themainstream, they failed to dismantle racist advertising practices as many stationswithin the format benefited from their existence.

But for the most part, Black-Orientedprogrammers in the latter part of the 1980s tended to follow the lead of Top 40stations and play the rap records Crossover stations chose for their mass-appealsound.

When asked how a Black DJ could get a job at a Crossoverstation, white New York programmer Joel Salkowitz replied that any DJ he wouldconsider hiring needed to sound like they fit on his radio station, implying verbalwhiteness as the norm regardless of the station's multicultural mix of music.

Other artists in the late 1980s made songs with rapped vocals that similarlyattracted Crossover-station programmers' attention because the tracks soundedsimilar to the pop, R&B, freestyle, and other dance music played on Crossoverradio

Radio industry personnel wereno different, largely thinking about their Black, white, and Hispanic listeners asthree distinct groups

Emmis's New York station WQHT reported after a year of broadcastingthat their audience was "57% white, 31% Hispanic, and 12% black

he station's categorization, which denoted whether audienceswere mostly white or non-white, determined advertising rates

Though market research on popular music fromthis period often failed to acknowledge race as a demographic characteristic, there is evi-dence to show that non-whites represented more than an insignificant portion of countrymusic listeners

This is the basis of the structure of stealing in which other national groupsprincipally Anglo-Saxons (slavery), Irish (minstrelsy), Jews (Hollywood, the recordindustry), and Italians (through mob influence)-have participated

Their music, however distinct, was in a legal sense "composerless," and it was whitepublishers who rushed to copyright the resulting "spontaneous" compositions.

According to Connie Bruck, in her July 7,1997 New Yorker article, «The Takedown of Tupac," the artist was trying to extricate himself from Death Row when he was killed on September 7, 1996.

First, we need to decide the input as well as the output representations. We represent four measures of 4/4 music.Both the input and the output representations are symbolic, of the piano roll type, with one-hot encoding for eachvoice, i.e. a multi-one-hot encoding for the output representation. The three first voices (soprano, alto and tenor) havea scope of 20 possible notes plus an additional token to encode a hold4, while the last voice (bass) has a scope of 27possible notes plus the hold symbol. Time quantization (the value of the time step) is set at the sixteenth note, which isthe minimal note duration used in the corpus. The input representation has a size of 21 possible notes × 16 time steps× 4 measures, i.e. 21 × 16 × 4 = 1, 344, while the output representation has a size of (21 + 21 + 28) × 16 × 4 = 4, 480.

Variational Autoencode

But in practice a clever configuration of the model(notably, its hyperparameters, see Section 5.5.11) and well-tuned optimization heuristics, such as stochastic gradientdescent (SGD), will lead to accurate solutions

Backpropagation is the standard method of estimating the derivatives(gradients) for a multilayer neural network. It is based on the chain rule principle

Note that neural networks are deterministic. This means that the same input will deterministically always producethe same output. This is a useful guarantee for prediction and classification purposes but may be a limitation forgenerating new content. However, this may be compensated by sampling from the resultant probability distribution

Interpretation

Chapter 5

Datasets

4.11.2

MIDI)

continue

In one sense, however, the differencebetween a Patreon and an Atlantic Records is simply one of who col-lects the percentage fee for making it possible for audience and artist tocome together.

ith an average monthly contribution of $9.80 or $117.60 annu-ally.

but even the per-project average is not insignificant—roughly $7,000

In nontechnical language, we can define the effec-tive complexity (EC) of an entity as the length of a highly compresseddescription of its regularities. .

what does that tell us about institutions designed tooptimize stable conditions

Once it becomes apparent, for example, that EDM—whatever thatmeans in a given context—sells, much more EDM will be produced

The invention of sound recording and playback technology was obvi-ously revolutionary.

In response, the institutions of music pro-duction and the people who guide them have either adapted to changingcircumstances or collapsed into irrelevance, insolvency, or both

And the more music is tailored to appealto a youthful audience

Where Did Our Love Go.

In contrast, many of the com-petitors in talent competitions of the American Idol type seem to thinkthat their performance skills are far better than they are and that theonly things that differentiate them from established musical artists arepublicity, lights, costumes, and other celebrity accouterments.

prosumers