Attendance at the workshop we organised in May was by invitation only, but the project team’s presentations were video recorded. In this edited version, we explain how and why we have been researching London’s electronic music scene and the valuing of electronic music.
In my previous post on this topic, I introduced a problem – how to understand the work that explicit genre categorisations are made to do by people uploading tracks to the SoundCloud audio-sharing website – and a potential solution – identifying the three categories most frequently used by each individual in a sample and studying regularities in the ways in which pairs of categories tend to pop up within the same group of three. I also presented some partial and preliminary findings in the form of a matrix comparing co-occurrences of the five genre categories most frequently used by people within an initial sample. And I either glossed over or left unmentioned a slew of problems, some of which we’ve been more successful in addressing than others at present (because these are only blog posts, and we haven’t finished the research yet). The biggest problem is the sample itself: the analysis was done on the basis of a snowball sample, when a random sample would be more appropriate. Hence the provisionality of all this. The analysis will be redone soon on the basis of a sample that will enable us to make more robust claims, but in the meantime I wanted to share our thought processes and working methods with the world because – quite apart from anything else – I’m excited about the patterns that are emerging.
One of the problems you’re always going to face when studying electronic music is the need to decide what you think ‘electronic music’ means. It’s a question of genre, and as Paul DiMaggio acknowledged in one of his most influential papers, genre is at once a formal and a social concept:
We have been exploring how visualisations can illustrate over time how users comment on tracks in SoundCloud. Commenting has been highlighted in our qualitative research as a way of building relationships and showing appreciation of other musicians’ work. In fact, initial inspection of a sample set of comments is showing that most comments in our samples tend to be positive or constructive, rather than overly critical or negative.