Research on music culture as a social network: Difference between revisions

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** jstor
** jstor
* [http://experimental.worldcat.org/IDNetwork/ Worldcat Identities Network]
* [http://experimental.worldcat.org/IDNetwork/ Worldcat Identities Network]
= Possible project ideas and questions =
DATA:
* Structure of friendship or collaboration in a musical group
* Connecting class members via real or online networks (e.g. shared FB friends)
* Daily changes in the Twitter egonetwork for music celebrities, correlated to album releases
* Studies of ethnomusicologists as they collaborate in groups, or affiliate to topics
* Musical taste implications for social networks
* Observation of conversational interactions
* Plot networks in films about musicians
* Ego-alter networks
* Friendship networks
* Musical affiliations
* Flow: how you learn about music from friends...
* Literary connections through song lyrics
* Composer-lyricist networks
* Social fragmentations induced by media fragmentations
* Which music networks are scale free?
* Diameters of music collaboration networks
* Historical relationship between artists or albums, and newspapers or magazines that review/mention them (many newspapers can be searched online).
SOME QUESTIONS:
* How does friendship or collaboration in a musical group vary according to personal attributes (gender, age, etc.)? How does it contrast from one group to another?
* What is the relationship between friendship and shared musical taste?  What factors are most important in establishing friendship?
* How do songs spread virally after release? how does musical diffusion vary by genre, country, historical era?
* How do collaboration networks vary according to genre? country?
* What is the diameter of different collaboration networks over time, or across genres?
* How do people learn about new songs and artists? What networks come to bear?
* How does genre relate to the distribution of fans across artists?
* What is the structure of "who studied with whom" in various disciplines, including music disciplines. How do they compare, and why the differences?

Revision as of 12:37, 17 September 2019

Kinds of music networks

  • Affiliation networks
    • musicians/groups (musician to group)
    • fan clubs (fan to club)
    • Facebook pages (person to page)
    • musical preference (person to style)
    • concert attendance (person to event)
    • scholars to research areas (topical, theoretical, disciplinary, or geocultural)
  • Statistical implication networks
    • taste implication networks (people who like this music also like this...)
    • Purchase networks (people who bought this also bought this...)
  • friendship networks
    • arbitrary FN loaded with music attributes (taste, performance, consumption, breadth)
    • musician friendship network
  • Legal networks
    • Relationships established by IP ownership
    • Relation of artists to music corporations
    • Relation of music corporations to one another
  • Musical collaboration networks
    • performer collaboration networks
    • composer/lyricist networks
  • Flow networks (diachronic)
    • the diffusion of musical awareness/preference/popularity (how does popularity spread?)
    • the flow of music media: production/distribution/consumption/critical feedback networks
    • genealogical networks
      • transmission - direct teaching and learning networks (formal or informal)
      • musical influence
      • folktune variations
      • musical style and genre development
    • performance interaction
      • musician interactions
      • performer/audience interactions
  • Music theory and composition networks
    • modal, chordal, or pitch networks describing possible musical sequences, as devised by music theorists
    • composition networks (e.g. Lewin and Markov chains), devised by composers, and defining possible musical sequences for human or computer performers (a form of algorithmic composition)
    • networks for free improvisation (e.g. "Electrical Networks")
  • Similarity networks, among
    • musicians
    • songs/pieces
    • styles
  • musical prestige and authority
    • admiration networks (subjective ratings)
    • influence networks (subjective or objective ratings)
  • Musical taste networks
    • musician preference: celebrity topologies
  • aesthetic preference networks (digraph: pairwise judgments on music objects, e.g. "I like A more than B" as "A->B")
  • egonets and music attributes (performance, consumption, taste, breadth)
  • Intertext and hypertext networks
    • citation and co-author networks among music scholars
    • linkages among webpages
    • discursive links via musical terminology
  • Intermusicality networks
    • musical quotation
    • stylistic allusions
  • meta-ethnomusicology
    • Two-mode network of ethnomusicologists and research topics
    • Citation networks and influence
  • web-based networks
    • webpage word co-occurrence (e.g. musical genres)
    • Facebook networks (centered on musicians; or musical friendship links; or embedded music information)
    • Twitter networks (centered on musicians)

Special music network types

Think about the variety of types as applied to music culture:

  • directed vs undirected networks
  • one mode vs two mode networks
  • complete vs subnetworks
  • networks vs. egonets
  • Small world networks (large networks with surprisingly small diameters)
  • time-evolving networks
  • Geographical networks (network formation favors local links )
  • Scale-free networks (network formation favors global hubs)

Network analysis

Two types:

  1. Descriptive and exploratory
  2. Relational:
    1. what is the relation between network properties of nodes, and attribute properties of nodes, in a single network, then seeking explanations for these relations.
    2. Comparative: relating variables across two or more networks and seeking explanations (e.g. why is this network more densely connected than that one?)

Sources of online network data