Local popular music on the national and international markets

Rutten, Paul

doi:10.1080/09502389100490241

Cited by 26 publications

(20 citation statements)

References 3 publications

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“…There exist regional peculiarities to mainstream, though, as music consumption behavior is affected by culturally influenced music preferences, market regulations, local radio airplay, etc. (e.g., [7,16,26,36]). With respect to the music recommendation research domain, the definition of specific measures that can capture a user's mainstreaminess (i) on both, a global and a countryspecific level, and (ii) in ways that can easily be operationalized in music recommendation is a new target of research.…”

Section: Introductionmentioning

confidence: 99%

Introducing Global and Regional Mainstreaminess for Improving Personalized Music Recommendation

Schedl

Bauer

2017

Proceedings of the 15th International Conference on Advances in Mobile Computing &Amp; Multimedia - MoMM2017

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The music mainstreaminess of a user reflects how strong a user's listening preferences correspond to those of the larger population. Considering that music mainstream may be defined from different perspectives and on various levels, e.g., geographical (charts of a country), genre ("Indie charts"), or distribution channel (radio charts vs. download charts), we study how the user's music mainstreaminess influences the quality of music recommendations. The paper's contribution is three-fold. First, we propose 11 novel mainstreaminess measures characterizing music listeners, considering both a global and a country-specific basis. To this end, we model preference profiles (as a vector over artists) for users, countries, and globally, incorporating artist frequency, listener frequency, and a newly proposed TF-IDF-inspired weighting function, which we call artist frequency-inverse listener frequency (AF-ILF). The resulting preference profile for each user u is then related to the respective country-specific and global preference profile using fractionbased approaches, symmetrized Kullback-Leibler divergence, and Kendall's τ rank correlation, in order to quantify u's mainstreaminess. Second, we demonstrate country-specific peculiarities of these mainstreaminess definitions. Third, we show that incorporating the proposed global and country-specific mainstreaminess measures into the music recommendation process can notably improve accuracy of rating prediction.

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Section: Introductionmentioning

confidence: 99%

Introducing Global and Regional Mainstreaminess for Improving Personalized Music Recommendation

Schedl

Bauer

2017

Proceedings of the 15th International Conference on Advances in Mobile Computing &Amp; Multimedia - MoMM2017

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“…The situation here varies enormously, and the question is at what point such relative proportions are indicative of a state of cultural imperialism (see Rutten 1991).…”

Section: The Status Of the Localmentioning

confidence: 99%

Kiwi rock: popular music and cultural identity in New Zealand

Shuker¹,

Pickering²

1994

Pop. Mus.

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The New Zealand popular music scene has seen a series of high points in recent years. Published in 1989 were John Dix's labour of love, Stranded in Paradise, a comprehensive history of New Zealand rock'n'roll; an influential report by the Trade Development Board, supportive of the local industry; and the proceedings of a well-supported Music New Zealand Convention held in 1987 (Baysting 1989). In the late 1980s, local bands featured strongly on the charts, with Dave Dobbyn (‘Slice of Heaven’, 1986), Tex Pistol (‘The Game of Love’, 1987) and the Holiday Makers (‘Sweet Lovers’, 1988) all having number one singles. Internationally, Shona Laing (‘Glad I'm Not A Kennedy’, 1987) and Crowded House (‘Don't Dream It's Over’, 1986) broke into the American market, while in Australia many New Zealand performers gathered critical accolades and commercial success.

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“…Dans un contexte où l'organisation de la vie sociale et politique n'obéit plus exclusivement aux règles canoniques d'états-nations dont les pouvoirs seraient en voie d'être redéfinis, les modalités des échanges constitutifs de la nouvelle économie politique musicale portent en effet le sceau d'une déterritorialisation accrue que dénote la circulation intense des acteurs, des marchandises, des idées et des capitaux musicaux au-delà des frontières géo-politiques (Appadurai, 1990). S'ajoutent aux musiques transnationales diffusées à l'échelle du globe et aux musiques régionales en recrudescence depuis (Wallis et Malm, 1992 ;Robinson et al, 1991), un ensemble de produits musicaux synchrétiques puisant à une pluralité de traditions, d'histoires et de politiques, issus de centre de production/ distribution jadis perçus comme marginaux (Frith, 1991 ;Rutten, 1991). Plusieurs experts affirment que ces développements ne mènent pas tant à l'homogénéisation ou la synchronisation culturelle du monde qu'à la négocia-tion/ réinterprétation des forces globalisantes.…”

Section: La Mise En Société De La Musique : Esquisse D'une Problématiunclassified

Le Terrain socio-musical populaire au Québec : « Et dire qu’on ne comprend pas toujours les paroles… »

Grenier¹,

Morrison²

2005

etudlitt

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Local popular music on the national and international markets

Cited by 26 publications

References 3 publications

Introducing Global and Regional Mainstreaminess for Improving Personalized Music Recommendation

Introducing Global and Regional Mainstreaminess for Improving Personalized Music Recommendation

Kiwi rock: popular music and cultural identity in New Zealand

Le Terrain socio-musical populaire au Québec : « Et dire qu’on ne comprend pas toujours les paroles… »

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