Public data sources are often plagued with missng values. Naively you may think that you can ignore them, but think twice: in most cases, missing data in a table is not missing information, but rather malformatted information which will destroy your beautiful visualization or stop your application from working. In this example we show how we increase the usable subset of a public dataset by 66.7%, rendering useful what would otherwise have been a deal-breaker in panel regressions or machine learning applications.
Many people ask if we can really add value to free data that can be downloaded from the Internet by anybody. Public data usually requires a lot of work to become really valuable. To start with, it is not always easy to find.
After a very thorough modernization of the package’s exception handling, documentation, and code dependencies that I did in the last week, the spotifyr package has passed again the peer-review standards and it is back on CRAN. The package is an excellent starting to point for R newbies to try their hands on musicology analysis with a few keystrokes. And of course, it is an essential part of the research infrastructure of musicology worldwide in far more advanced applications.
We do care what our children learn, but we do not care yet about what our robots learn from. One key idea behind trustworthy AI is that you verify what data sources your machine learning algorithms can learn from. As we have emphasised in our forthcoming academic paper and in our experiments, one key problem that goes wrong when you see too few small country artists, or too few womxn in the charts is that the big tech recommendation systems and other autonomous systems are learning from historically biased or patchy data.
As a cultural anthropologist, I have been involved in the study of alternative electronic dance music communities and event-based cultures. The Bandcamp Dance Librarian project grew out of this work. It uses the industry taxonomy of Beatport in an attempt to detect stylistic tendencies or repertoires within the Bandcamp libraries of (mainly) grasroots labels. The project output also show the tags (folksonomies) added by the artists/labels to the Bandcamp pages. It is therefore possible to compare the industry taxonomy of Beatport with artist folksonomies, as long as such tags are provided on Bandcamp, and eventually create a searchable system in this kaleidoscopic musical landscape, which can be especially useful for newcomer researchers, promoters, music exporters.
Reprex's project, the automated Demo Music Observatory will be represented by Daniel Antal, co-founder of Reprex among other building bridges projects. This project offers a different approach to the planned European Music Observatory based on the principles of open collaboration, which allows contributions from small organizations and even individuals, and which provides higher levels of quality in terms of auditability, timeliness, transparency and general ease of use.
Milos Popovic is a researcher, a data scientist, Marie Curie postdoc & Top 10 dataviz & R contributor on Twitter according to NodeXL. He is going to join the Data & Lyrics team on International Open Data Day to help us put harmonized environmental degradation perception and environmental sensory data on maps. We asked him four questions about his passion, mapping data. Please join us 6 March 2021 9.30 EST / 15.30 CET for an informal digital coffee.
According to the written evidence submitted by Dr. Franco Mariuzzo and Dr. Peter Ormosi to the Economics of music streaming inquiry of the UK Parliament, Digital, Culture, Media, and Sports Committee, the answer is no.
Our paper argues that fair competition in music streaming is restricted by the nature of the remuneration arrangements between creators and the streaming platforms, the role of playlists, and the strong negotiating power of the major labels. It concludes that urgent consideration should be given to a user-centric payment system, as well as greater transparency of the factors underpinning playlist creation and of negotiated agreements.
Daniel Antal, co-founder of Reprex, was selected into 2021 Fellowship program of JUMP, the European Music Market Accelerator. Jump provides a framework for music professionals to develop innovative business models, encouraging the music sector to work on a transnational level. The European Music Market Accelerator composed of MaMA Festival and Convention, UnConvention, MIL, Athens Music Week, Nouvelle Prague and Linecheck support him in the development of our two, interrelated projects over the next nine months.
While the US have already taken steps to provide an integrated data space for music as of 1 January 2021, the EU is facing major obstacles not only in the field of music but also in other creative industry sectors. Weighing costs and benefits, there can be little doubt that new data improvement initiatives and sufficient investment in a better copyright data infrastructure should play a central role in EU copyright policy. Preprint of our article with copyright researchers.
The article utilizes the our reproducible datasets created with our regions package that provides to provides high quality indicators for the creative industries on provincial, state, regional and metropolitan area level, and builds on many years of expertise in empirical research on the field of music and audiovisual piracy, home copying and private copying compensation.