Visualizing the active years of popular artists

“This week the Echo Nest is extending the data returned for an artist to include the active years for an artist.  For thousands of artists you will be able to retrieve the starting and ending date for an artists career. This may include multiple ranges as groups split and get back together for that last reunion tour.  Over the weekend, I spent a few hours playing with the data and built a web-based visualization that shows you the active years for the top 1000 or so hottest artists.”

top-1k-active-years-1

“The visualization shows the artists in order of their starting year. You can see the relatively short careers of artists like Robert Johnson and Sam Cooke, and the extremely long careers of artists like The Blind Boys of Alabama and Ennio Morricone.   The color of an artist’s range bar is proportional to the artist’s hotttnesss.  The hotter the artist, the redder the bar.  Thanks to 7Digital, you can listen to a sample of the artist by clicking on the artist. To create the visualization I used Mike Bostock’s awesome D3.js (Data Driven Documents) library.”

–> Via Music Machinery

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Call Them Hippies, But the Grateful Dead were Tech Pioneers

“What sets the band’s “Fare Thee Well” gigs apart isn’t that these options are available, but that they exist in large part because of the Grateful Dead itself: The group and its associates pioneered rock concert broadcasts, making it a regular practice starting with a show at the Carousel Ballroom in 1968.

The Dead, long stereotyped as hippies stuck in the Summer of Love, surely seemed anachronistic by the time it disbanded in 1995 after the death of guitarist and songwriter Jerry Garcia. But the Grateful Dead remains one of the most innovative and tech-savvy bands in pop history. Long before it became necessary (or cool) to do so, the band embraced a DIY ethos in everything from manufacturing its own gear to publishing its own music to fostering a decentralized music distribution system. The Dead’s obsession with technology was almost inseparable from the band’s psychedelic ambition and artistic independence.”

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More genuinely progressive than most prog rock, the Grateful Dead and its legion of fans embraced a spirit of innovation that could be called entrepreneurial if the pursuit of profit didn’t so often seem secondary. Perhaps nowhere is this more evident than in the band’s constant experimentation with sound systems and musical equipment. The Dead and its extended family essentially created the sound of modern rock-and-roll concerts, rejecting the small amplifiers and tinny PA systems of the 60s—think of the Beatles at Candlestick Park—in favor of ground-shaking stereo and quadraphonic sound.

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Only a few years ago, a crew of jam fans created GroupMe, a group texting app ideal for mass communications at shows and festivals, eventually selling it to Skype for millions. Probably, there will be Deadheads using it to find one another in Chicago and Santa Clara, if they haven’t already adapted to some newer tech. Heads continue to play with new configurations, lately including the Bluetooth-enabled Zoku. Billing itself as “the Secret Society App” to anonymously find “tribes off-the-grid in real life,”  Zoku works even when the Deadheads inevitably overload the local cell network, as they did during the shows in California. Others are in various stages of development. The secondary ticket market for the Dead shows has been the hugest of the summer, according to StubHub, but the fans also have the Deadhead-friendly face-value ticket site/app CashOrTrade at their disposal to level the playing field a bit.

Via Wired

A Manifesto for the Future of Music Technology Research

“Meaningful innovation happens when fields intersect – yet those who work in music technology are too often siloed in distinct fields within universities, industry, startups, journalism, hobbyist and fan subcultures. We don’t always know how to think together, and we often do not know what others can contribute. We don’t even know what we don’t know. When fields do come together, old hierarchies too often overshadow the spirit of collaboration and mutual learning. Institutional barriers challenge our ability to work together, from the way organizations are structured to reward-systems that encourage people to keep doing what they have always done.

Let’s Build Better Worlds

Music technologies make worlds. Let us make better worlds. Let music technology do good, serve public interest, foster belonging, justice, collaboration and sharing, enable greater access to positive musical experiences and personal connections, and create durable objects and practices.

We call for greater awareness of the cultural forces already in new music technologies, and the courage to challenge or change them when the collective good demands it.

Ask of any music technology: For whom will this make things better? How? Is it open or closed to creativity and innovation it has not yet anticipated?

Ask of any policy: Whose rights and opportunities are being promoted? Whose are being eroded? What idea of culture does it presume?

Ask of any practice: Who is invited to join in? Who is left out? Where will it find support?

Ask of any organization: How does it help people come together? Does it exploit them in doing so?

We must create more opportunities for people to engage one another through music. We must fight for people’s rights to create music and music technologies, and to enjoy music free of rent-seeking and unwarranted legal intimidation. We must stand up to abusive musical practices, from exploiting people’s dreams of making a living in music, to criminalizing whole classes of audiences and musicians, to subjecting people to hearing loss, to the use of music in coercion, warfare and torture.

We are Music Technologists. We work in science, art, engineering, humanities, activism, social science, policy and industry. We believe in music technology and we want to build better worlds. We invite you to join us.”

Via Music Tech Fest | A Manifesto for the Future of Music Technology Research

The Sync Project and Berklee College Of Music Partner To Explore The Science Behind “Music As Medicine”

“The Sync Project, a PureTech startup working towards scientifically measuring and harnessing music to improve health, has announced a collaborative partnership with Berklee’s Institute for Creative Entrepreneurship (BerkleeICE). The partnership involves joint original research, course development and an internship program. 

‘Music can be a catalyst for new disruptive ideas to emerge, whether those ideas are applied to the creative music space or whether those ideas are exported into other fields, like health,” said Panos Panay, Founding Managing Director of Berklee’s Institute for Creative Entrepreneurship. “The Sync Project’s rigorous focus on the leading science of the neurological and health impacts of music, makes them a perfect partner.’

‘The Sync Project’s mission is to bring together the scientists, technologists, clinicians and musicians of the world to help accelerate the discovery of the clinical applications of music,” said PureTech CEO and Sync Project Co-founder, Daphne Zohar. “With this collaboration, we hope to engage and inspire the next generation of musicians to help us advance the field of music as medicine.'”

Via — Hyperbot