I’d sent you a separate note on your metadata problem, but while I’m thinking about the broader issues, one interesting person who does immediately come to mind (thought not a specialist in microformats) is Kris Shaffer, who is a digital humanist, data scientist, and a digital media specialist. Recently he was a scholar with the Division of Teaching and Learning Technologies at University of Mary Washington before heading into the private sector. I suspect he may have some interest as well as relevant experience for problems like this and could point you in some interesting directions.
Tag: music
👓 Classical music metadata | Imani Mosley
I can’t help but thinking that this may be a potential use case for microformats. I notice there’s already some useful pages and research on music and even sheet music on their website.
If nothing else, I’d recommend that you or others delving into the process of looking at music metadata try to emulate the process behind what microformats are and how they work. I think it’s highly useful to take an overview of what and how people are already doing things in real life situations, figure out common patterns, and then documenting them to make the overall scope of work potentially smaller as well as to indicate a best path forward. Many companies will have created proprietary formats and methods which are likely to be highly incompatible or described, but not actually implemented in actual practice. (Hint: avoid unimplemented suggestions at all costs.) Your small polling sample already indicates a lot of variability, and I suspect your poll is very biased give people who would most likely be following your account.
A good starting point for answering your problem might be to do a bit of reading on microformats and then asking questions in the microformat community’s online chat. I suspect there are several people in the community who have done large-scale work on the web and categorization who might be able to help you out as well as point you in the direction of prior art and others who are working on these problems.
If you need help in understanding some of the microformats material, I’m happy to help you out via phone or online video chat and introduce you to some folks in the area.
👓 Yacht or Nyacht?
Is it Yatch Rock? Or Nyacht?
👓 McGill music student awarded $350,000 after girlfriend stalls career | Montreal Gazette
She wrote an email posing as him, turning down a $50,000-a-year scholarship so that he wouldn’t leave
🎧 A Million dollars of plastic | Lost Notes (KCRW)
In 1989 McDonald’s ran the biggest flexi-disc promotion ever, sending out 80 million discs (playing the “Menu Song”) as inserts in newspapers all over the country. A very special copy of this record was almost burned to heat a family home in Galax, Virginia. Instead, it ended up winning the homeowner a million dollars.
This seems to be a micrososm of the new American story in a post-80’s culture: People scraping by in hopes of a big pay day that will save them all, but in the end it does more to ruin them.
📺 Wintergatan – Marble Machine (music instrument using 2000 marbles) | YouTube
Marble Machine built and composed by Martin Molin
Video filmed and edited by Hannes Knutsson
Costume designed by Angelique Nagtegaal
🎧 Season 2 Episode 6 The King of Tears | Revisionist History
Revisionist History goes to Nashville to talk with Bobby Braddock, who has written more sad songs than almost anyone else. What is it about music that makes us cry? And what sets country music apart?
Why country music makes you cry, and rock and roll doesn't: A musical interpretation of divided America.
Beauty and authenticity can create a mood. They set the stage, but I think the thing that pushes us over the top into tears is details. We cry when melancholy collides with specificity.
—Malcolm Gladwell in The King of Tears
He then goes on into a nice example about the Rolling Stones’ Wild Horses:
And specificity is not something that every genre does well.
This reminds me of a great quote in Made to Stick from Mother Theresa about specificity.
Mother Teresa once said, “If I look at the mass, I will never act. If I look at the one, I will.”
There’s something very interesting about this idea of specificity and its uses in creating both ideas as well as storytelling and creating emotion.
There is one related old country music joke I’m surprised not to have seen mentioned here, possibly for length, tangential appropriateness, or perhaps because it’s so well known most may call it to mind. It plays off of the days of rock and roll when people played records backwards to find hidden (often satanic) messages.
Q: What do you get when you play a country music song backwards?
A: You get your job back, your wife back, your house back, and your dog back.
The episode finally rounds out with:
If you aren’t crying right now I can’t help you…
Thanks Malcolm, I was crying…
🎧 Episode 07 Hallelujah | Revisionist History
In 1984, Elvis Costello released what he would say later was his worst record: Goodbye Cruel World. Among the most discordant songs on the album was the forgettable “The Deportees Club.” But then, years later, Costello went back and re-recorded it as “Deportee,” and today it stands as one of his most sublime achievements.
“Hallelujah” is about the role that time and iteration play in the production of genius, and how some of the most memorable works of art had modest and undistinguished births.
The bigger idea here of immediate genius versus “slow cooked” genius is the fun one to contemplate. I’ve previously heard stories about Mozart’s composing involved his working things out in his head and then later putting them on paper much the same way that a “cow pees” (i.e. all in one quick go or a fast flood.)
Another interesting thing I find here is the insanely small probability that the chain of events that makes the song popular actually happens. It seems worthwhile to look at the statistical mechanics of the production of genius. Perhaps applying Ridley’s concepts of “Ideas having sex” and Dawkin’s “meme theory” (aka selfish gene) could be interestingly useful. What does the state space of genius look like?
👓 Introducing Lost Notes | KCRW
Hear a preview of Lost Notes, an anthology of some of the greatest music stories never truly told. Top journalists present stand-alone audio documentaries that highlight music’s head, heart and beat, with host Solomon Georgio as your guide.
Following Lost Notes from KCRW
An anthology of some of the greatest music stories never truly told.
This eight-part series includes a look at the FBI investigation into a classic rock anthem, unheard conversations with Captain Beefheart, a critical examination of New Edition’s basketball connection and the chronicle of a man plucked from Folsom Prison by Johnny Cash and thrust into country music stardom.
🎧 Song Exploder | The Daily
Wonderly – “The Daily” theme song
The Daily is the New York Times’ daily news podcast, hosted by Michael Barbaro. In this special edition of Song Exploder, composers Jim Brunberg & Ben Landsverk (aka Wonderly) break down how they composed the show’s theme song. You can listen on the New York Times website at nytimes.com/dailysong, or below:
footnotes:
Theme to HBO’s Westworld, by composer Ramin Djawadi (hear his Song Exploder episode on Game of Thrones’ theme song here)
📺 What Makes This Song Great? Ep. 1 Blink -182 | YouTube
In first episode of "What Makes this Song Great?" we look at one of the biggest hits of the late 90's by Blink 182.
Following Rick Beatto | Everything Music (YouTube)
Everything Music
👓 What Makes This Song Great?: Producer Rick Beato Breaks Down the Greatness of Classic Rock Songs in His New Video Series | Open Culture
Last night I had dinner at a local restaurant that happened to have a playlist on of great songs from my high school years.
👓 The Songs That Bind | The New York Times
Data drawn from Spotify listeners reveal that we are all teenagers in love.