The research comes from the University of Bristol’s Intelligent Systems Algorithm and was as much about a computer’s ability to learn as it was about music. Staff began by coming up with 23 objective statistics that can measure a song, ranging from duration and tempo to volume and time signature.
They then used a computer to measure these statistics for songs from 1960 onwards, fed in the details of the chart position each song reached, then asked the computer to figure out what weight to give each statistic in a prediction formula.
The researchers then applied the formula to a selection of songs to see whether it could correctly predict each song’s peak performance as being in one of three categories: a hit (meaning a top five ranking), not a hit (meaning it failed to place higher than number 30) or something in between. Overall, the formula predicted correctly roughly 60% of the time.
Rather than compare that figure to the effects of simply guessing at random, the researchers instead compared the predictions to what would have happened if they “cheated” at guessing. This was possible because while the overall proportion of hit vs non hit was equal across the entire testing group of records, the balance between the two varied from year to year — in other words, some years more of the records used for testing were hits than misses, and vice versa.
The researchers thus looked at what effect they’d have got if, for example, they’d known their test group from a particular year was hit-heavy and then simply “predicted” every test record from that year to be a hit. It turned out that the formula was more successful for every year, albeit by varying margins.
The most impressive element of the research is that the computer didn’t simply come up with a set formula, but rather one that took account of the year of the song, with the balance between the component factors changing over time:
From this, the researchers discovered that the trends for hits changed over time: in the 1980s it became more important that a song was slow and “dancable”; in the 1990s a simple binary rhythm such as 4/4 time began to be a big benefit; and not only are songs as a whole getting louder, but hits are generally louder than misses.
The researchers also noted that even with the adjustment over time, the formula had varied success: it worked best in the early 90s and from 2000 on, but did comparatively poorly around 1980. They concluded the late 70s/early 80s may have been a “particularly creative and innovative” era for popular music.
Some examples of songs successfully “predicted” as hits that fitted in neatly with the musical tastes of their times include Elvis Presley with Suspicious Minds in 1970, Simply Red with If You Don’t Know Me By Now in 1989, and Gnarls Barkley with Crazy in 2006.
The researchers also noted several cases where hits defied the formula, usually because cultural events overcame the musical tastes of the time: examples include Do They Know It’s Christmas by Band Aid in 1984; Nessun Dorma in 1990 (popularized in the UK as the theme tune of that year’s FIFA World Cup coverage); Man in the Mirror, re-released after Michael Jackson’s death in 2009; and Trashmen’s Surfin Bird, which hit number three in the charts last year after a Facebook campaign attempted to get it to number one at Christmas and almost succeeded.
Le nouvel EP de C2C sortira en Janvier 2012. En attendant, voici un premier extrait via ce clip réalisé dans une Abbaye par 20syl & Francis Cutter. Superbe !!
Excellent nouveau titre de Dato qui comme toujours allie mélodie funk superbe à un son de qualité. L'un de mes favoris 2011 dans la catégorie Funk / Nu disco. Le titre s'écoute en boucle tellement c'est bon !!
Voici le tout nouveau titre de Lenny Kravitz acompagné du talentueux Drake. Sunflower est un titre très Soul/Funky qui donne la pêche !! A découvrir sans attendre.
Chris Brass est un musicien français vivant à Paris. Dès
l’âge de cinq ans, il étudie le Piano classique au Conservatoire, et obtient rapidement des prix à différents concours.
Son parcours original le conduit peu à peu à la composition et à la musique électronique, activité qu’il mène en parallèle à une carrière d’ingénieur dans les technologies de l’information.
Sa musique peut être décrite comme un subtil mélange d’Electro, de House et de Lounge au son à la fois ample et très pur.
Chris Brass a attiré l’attention du public en 2008 avec son premier EP intitulé « A night in New York», illustrant un univers musical nouveau, à la fois très rythmé et résolument « ambient »
2011 : Catching The Groove (Single - 2 Tracks)
2011 : Naama Beach Remix (Chris Brass Instrumental RMX from Candyworx)
2010 : Love Is Back (Single)
2010 : Night Rhythm (Single)
2010 : Space Colors (Single)
2009 : Echoes (Single - 2 Tracks)
2008 : A Night In New York (EP - 3 Tracks)