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.
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.
Many people believe that if you play your favorite song again, the artist will receive more money. Unfortunately, this is not the case. But the French Centre National de la Musique imagines a world where this would happen.
Reprex is committed to develop its data platforms, or automated data observatories, and its Listen Local system in a trustworthy manner. Our startup participates in various scientific collaborations that are researching ideas on future regulation of copyright and fair competition with respect to AI algorithms, and joined the Dutch AI Coalition to position the company and the Netherlands at the forefront of knowledge and application of AI for prosperity and well-being, respecting Dutch and European values.
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.
We needed a database of Slovak music to show how that national repertoire is seen by media and streaming platforms, how can we give it greater visibility in radio and streaming platforms, and what are the specific problems why certain artists and music is almost invisible.