Pandora Radio and the Music Genome Project

Submitted by Guest Blogger on Wed, 08/27/2008 - 9:11am.

Today's guest blog is written by Dileep Gangolli, Clarinetist with the Chicago Sinfonietta

While playing with my wife’s new computer, I stumbled on a desktop prompt for Pandora Radio which connected me to a world of streaming Classical music organized in a highly logical mathematical manner.

I was immediately taken by the way the music is presented and delivered (at no cost to the listener). I am anxious to get the thoughts of others on this method of classical music distribution.

After signing up for Pandora Radio, listeners are invited to create their “own radio stations” that feature their favorite composers. I have stations that feature Mozart, Bach, Schubert, Mahler, and Coldplay among others.

But what is so interesting is that the musical selections are not just of the selected composers but of those that compose in a similar manner either by being of the same time period or by being similar in aesthetic. So Mozart could precede a neo-classical work by Stravinsky that would then be followed by a composition by Varese or Satie. This type of musical organization is a by-product of the Musical Genome Project.

I “Googled” the MGP and this is what surfaced on Wikipedia:

The Music Genome Project, created in January 2000, is an effort founded by Will Glaser, Jon Kraft, and Tim Westergren to "capture the essence of music at the fundamental level" using over 400 attributes to describe songs and a complex mathematical algorithm to organize them.

A given song is represented by a vector containing approximately 150 genes. Each gene corresponds to a characteristic of the music, for example, gender of lead vocalist, level of distortion on the electric guitar, type of background vocals, etc. Rock and pop songs have 150 genes, rap songs have 350, and jazz songs have approximately 400. Other genres of music, such as world and classical, have 300-500 genes.

The system depends on a sufficient number of genes to render useful results. Each gene is assigned a number between 1 and 5, and fractional values are allowed but are limited to half integers. (The term genome is borrowed from genetics.)
Given the vector of one or more songs, a list of other similar songs is constructed using a distance function.

To create a song's genome, it is analyzed by a musician in a process that takes 20 to 30 minutes per song. Ten percent of songs are analyzed by more than one technician to ensure conformity with the standards, i.e., reliability. The technology is currently used by Pandora to play music for Internet users based on their preferences.

I am thoroughly enjoying the fact that the music comes in a continuous stream without any commercial interruptions. The quality of musicianship is very high and one has the option of purchasing the works through Amazon or iTunes. Sure there are drawbacks. The music comes in one movement segments rather than complete works. And there are no quality announcers, like those on WFMT, who can often add to my appreciation of what I listen to.

But the fact remains that my listening experience is enhanced by this unique mathematical formula that takes me down paths I would never have taken on my own. And I there are no annoying commercial distractions interrupting the musical selections.

So I am really curious. Does this have any practical application in the concert hall? Is this how Classical music in recorded form will be consumed in the future?

I would enjoy hearing from others about Pandora Radio and their experience using it and what it could mean for our industry.

Posted in

What I have to say about Pandora is that it does not work outside the United States. It used to work, but not anymore, thanks to legal barriers that only succeed in making art less available to the consumer:

We are deeply, deeply sorry to say that due to licensing constraints, we can no longer allow access to Pandora for listeners located outside of the U.S. We will continue to work diligently to realize the vision of a truly global Pandora, but for the time being we are required to restrict its use. We are very sad to have to do this, but there is no other alternative.

Have you not heard that Pandora is in trouble?

http://seattletimes.nwsource.com/html/businesstechnology/2008136085_pandora25.html

Thanks for the two comments that deal directly with IP issues and musician royalties. I have some thoughts regarding this and welcome other comments.

Being a musician with the Chicago Sinfonietta and having recorded in the days of old - when music was still considered a product - the New Age demands a new paradigm regarding IP and music production/distribution.

I think we can all agree that the Internet will be the primary source of delivery in the future - whether through downloads (Itunes) or streaming (Pandora, BBC 3, etc).

Internet delivery allows for a much more tailored experience but comes with issues on file sharing and compensation for musical product.

Unfortunately, that has not been resolved to the satisfaction of all parties. No one seems happy with any sort of current arrangement esp in regards to Classical music which was always viewed as a loss leader to the once big firms.

The issue of IP and who owns what and how it should be compensated is the "Pandora's Box" of the New Age.

I certainly do not have the answers to this complex question, but I do believe that we are at a crossroads in terms of resolving the issue.

It is not unlike where the recording industry was when LP recordings came on the scene and musicians predicted that it would reduce live performance drastically.

Thanks for the update on Pandora. Obviously their business model does not have legs until the issue of royalties are resolved.

But I am enjoying it in the mean time!!!

Dileep,

I'm really intrigued by the IP issue you mentioned in the last comment. How about a blog about that, inviting our users to comment. As an orchestra manager, I probably have a different view than do musicians, composers, etc.

Jim Hirsch

Jim,

Thanks for inviting me to rant a bit on the IP issue and the current state of distribution and product in Classical music.

What I say will be very controversial and I hope to get some comments from the lurkers.

In the past, IP (or product) was controlled by the top five orchestras and AFM rates were set to the drum beat of the Mighty Five.

After the 90s, that all changed esp in America.

During that decade, recordings outside of AFM scale were being (and still are being made) in Seattle, Salt Lake City, and "of the record".

The Mighty Five can no longer dictate rates and control of IP/product. Hence, the AFM limited pressing rates that really allow for what is being done. How many classical recordings actually sell more than 10K copies?

The good news is that the new system both payment for product to musicians and royalties through distribution allow for smaller players to come to the fore.

Witness the success of Naxos and Cedille. Their whole strategy is to focus on repertoire rather than Big Name talent that commands outrageous fees.

And guess what?

Consumers like what they hear and get for a reduced price!

So where does that leave us?

I believe that recordings no longer represent product (unless you are in the top 1%...Coldplay, Itzak Perlman, Lang Lang, Red Hot Chili Peppers, etc)

Others have to look at recordings as marketing and brand building.

That means that recording rates and distribution method have to be revisited. The RAIA is on the ropes, due to coming to the distribution party late and not understanding the implication of online distribution.

As a musician, I have to be compensated for my work on a recording, but I know that it is not a profit making effort for the producer. But I want my playing to be on record.

My only concern after getting a basic payment would be to protect myself in the event that I record the next Star Wars.

I want a piece of the action if that ever happens.

Chicago Classical Music

An online community for classical music enthusiasts

Pandora Radio and the Music Genome Project

Comment viewing options

Comment viewing options

Participating Organizations