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Using a novel measure incorporating stylistic and acoustic data on recorded music from 1967 to 2017, we search for trends in the evolution of musical diversity in 125,340 albums. We find that temporal patterns of diversity differ for stylistic and acoustic data. We also find that the patterns differ dramatically by genre. Some genres, such as blues, jazz, and pop-rock, decrease in diversity over time; most other genres increase in diversity. The causes of these different trends present a puzzle for future research. We also find different patterns for recordings that made the Billboard 200 charts compared to all recordings, suggesting an association between selection processes driven by consumer popularity and diversity. Moreover, associations of diversity and industry structure found in prior research do not hold when we analyze data beyond the smaller sample of the more popular recordings found in Billboard. These findings have implications for many prior studies based exclusively on best-selling recordings

This paper aims to discuss how collaborative classification works in online music information retrieval systems and its impacts on the construction, fixation and orientation of the social uses of popular music on the internet.

Using a comparative method, the paper examines the logic behind music classification in Recommender Systems by studying the case of Last.fm, one of the most popular web sites of this type on the web. Data collected about users' ritual classifications are compared with the classification used by the music industry, represented by the AllMusic web site.

The paper identifies the differences between the criteria used for the collaborative classification of popular music, which is defined by users, and the traditional standards of commercial classification, used by the cultural industries, and discusses why commercial and non‐commercial classification methods vary.

Collaborative ritual classification reveals a shift in the demand for cultural information that may affect the way in which this demand is organized, as well as the classification criteria for works on the digital music market.

Collective creation of a music classification in recommender systems represents a new model of cultural mediation that might change the way of building new uses, tastes and patterns of musical consumption in online environments.

The paper highlights the way in which the classification process might influence the behavior of the users of music information retrieval systems, and vice versa.

Cultural intermediaries define the standards many consumers use when evaluating cultural products. Yet, little research has focused on whether cultural intermediaries may systematically differ from each other with regard to the standards they emphasize. The purpose of this paper is to build on Bourdieu’s theory of cultural production to examine how the type of subfield reviewed and/or the cultural intermediary’s expertise (or “field-specific cultural capital”) affect the standards an intermediary uses.

This paper employed a computer-aided content analysis of the full corpus of “Rolling Stone” music album reviews (1967-2014).

Critics with lower field-specific cultural capital reflect the same logic as the subfield they are critiquing. Critics with higher field-specific cultural capital reflect the opposite logic.

Bourdieu was ambivalent about whether cultural intermediaries will reflect the logic of a subfield. Results show that the answer depends on the intermediary’s field-specific cultural capital. The results also reinforce previous findings that individuals with high field-specific cultural capital are more likely to break with the logic of a field.

Not all intermediaries are created equal. Producers and consumers who rely on cultural intermediaries should understand the intermediary’s critical analysis within the context of his/her experience.

This is one of the first studies to examine how a cultural intermediary’s field-specific cultural capital impacts his or her work. The findings are based on a large review sample and include reviewers’ analyses as they developed from having lower to higher field-specific cultural capital.

While authenticity, gender, and genre have all been studied in relation to music, the links between the three are underdeveloped theoretically. Specifically, the ongoing gendered process of constructing authenticity and the role of gendered authenticity in the creation and articulation of new musical genres remain fairly unexplored. In particular, more work is necessary to explain the role of gender in the emergence of new subgenres, in the ongoing maintenance of genre boundaries, and in fans' identity work as they construct “authentic” participation in “underground” scenes. In this paper, we examine genre as a gendered process in the Extreme Metal (EM) music scene, a popular subgenre of heavy metal. We explore several gendered dimensions of the EM genre, including the music (instrumentation, vocal style, lyrics, record covers, merchandise), live performance (gender distribution and arrangement, moshing/dancing, audience/crowd interaction), and embodied genre performance (fashion, hair style, makeup). We conclude by suggesting that the construction of new subgenres is, in part, a process of reestablishing and valorizing masculine traits, denigrating feminine traits, and connecting such traits to authenticity, thereby perpetuating gender inequality and hegemonic masculinities.

The term “Brazilian popular music” refers to a varied repertoire of musical styles with a strong connection to local culture. The initiatives of representation of this domain of interest occur through adaptations of generic models and strategies coming from contexts and musical styles that differ from the essential characteristics of the national music. The purpose of this paper is to present a characterization of Brazilian popular music as a conceptual model which supports the communication and analysis of this domain and serves as a reference ontology for various applications in the field of Information Science and others.

To achieve the purpose, a mapping about Brazilian popular music was done from a literature review and a data collection with expert users, based on domain analysis theory. From this characterization, the conceptual model was built using an Ontology Engineering approach. To facilitate understanding, the results were described using a more user-friendly notation.

The paper presents a conceptual model as a first semantic reference on Brazilian popular music that serves (1) to better understand, communicate and analyze the domain of Brazilian popular music and, (2) to supply some semantic aspects not covered by the adaptations that have been proposed on the literature for musical representation.

The paper adds a new perspective to the understanding of Brazilian popular music and open opportunity to explore other repertoires about popular music.

Since the arrival of mass production, commodification has been plaguing markets – none more so than that for music. By separating production and consumption in space and time, commodification challenges the very conditions underlying economic exchange. This chapter explores authenticity as the institutional response to the commodification of music, rekindling the relationship between isolated market participants in the increasingly digitized world of music. Building upon the “Production of Culture” perspective, we unpack the commodification of music across five different institutional realms – (1) production, (2) consumption, (3) selection, (4) appropriation, and (5) classification – and provide a thoroughly relational account of authenticity as an institutional practice.

Attempts to investigate differences in marketing imagery that exist between New Zealand produced and foreign music videos. Explores marketing imagery and role‐model behaviour differences by genre. Looks at culture by genre differences in consumption imagery. Indicates that New Zealand videos contained fewer depictions of alcohol, or weapons, drugs and tobacco or heavy rock and rap music than in foreign videos. Suggests that, by genre, rap has more sunglasses, earrings and jewellery than heavy rock or pop music. Provides directions for future research.

This research examines cross‐country differences in marketing imagery. Marketing imagery in music videos broadcast in the UK and New Zealand are studied. Results suggest that UK music videos have more brand references, fashion imagery, darkside products and role model behaviour outcomes than New Zealand music shows. Pop music marketing references are mainly visual while hard rock has more darkside products, brand references and punishment outcomes.

How does one classify instructional videos uploaded by musicians of different caliber and mastery on video‐sharing sites? What kinds of communities are forming around these content sources? How does one address the different perception and understanding of what music means to a diverse audience? How does one identify and address the needs of new kinds of users, who learn how to play music by using primarily online resources? While this paper does not seek to directly address all these questions, it aims to raise them with the aim of contextualizing the discussion as a necessary foundation to effectively address the more practical questions above.

This paper presents a knowledge organization model of music knowledge based on the concept of musicianship as used in music education. A balanced and holistic approach is sought, especially in light of the interdisciplinary nature of the challenge being addressed. Drawing on Hjørland's work on domain analysis, and Hennion's concept of the user of music, this paper discusses music as a domain, music as information, and music as knowledge.

In particular, the concept of listening and genre are considered important ways through which one mediates one's understanding of music as knowledge. There are four “layers” in the model: Vocabulary of Music; Structures and Patterns of Music; Appreciation of Music; and Cultural‐Historical Contexts.

The model addresses knowledge organization challenges specific to the domain of music.