Musical Influence Network Analysis and Rank of Sample-Based Music - PowerPoint PPT Presentation

Musical Influence Network Analysis and Rank of Sample-Based Music Nicholas J. Bryan and Ge Wang Stanford University | CCRMA ISMIR 2011

Introduction • Influence Network Analysis and Rank • Understand how songs, artist, and genres interact within the musical practice of sample-based music • Sampled-Based Music • A musical work that borrows material from another source, whether it be direct manipulation of a recorded sound or less direct transcribed material as decided from a user community

“Amen Break” “Theme From Lilies of the Field (Amen)” by Jester Hairston A “ Theme From Lilies of the Field (Amen)” “We’re a Winner” by The Impressions by The Impressions B 1 B 2 C “Amen, Brother” by The Winstons

“Amen Break” “Theme From Lilies of the Field (Amen)” by Jester Hairston A “ Theme From Lilies of the Field (Amen)” “We’re a Winner” by The Impressions by The Impressions B 1 B 2 C “Amen, Brother” by The Winstons F . . . D “Straight Outta Compton” by NWA E “ Rustic Raver” by Squarepusher “The Perfect Drug” by Nine Inch Nails

“Amen Break” “Theme From Lilies of the Field (Amen)” by Jester Hairston A A “ Theme From Lilies of the Field (Amen)” “We’re a Winner” by The Impressions by The Impressions B 1 B 1 B 2 B 2 C Gospel C “Amen, Brother” by The Winstons Soul / Funk / Disco Electronic / Dance Rock / Pop F F . . . Hip-Hop / R&B D D “Straight Outta Compton” by NWA E E “ Rustic Raver” by Squarepusher “The Perfect Drug” by Nine Inch Nails

Today • Unique Dataset • User community generated sample-based music data • Initial analysis and trends • Network Analysis • Degree centrality & distribution • Song-, Artist-, and Genre-level influence networks

Unique Dataset • Whosampled.com Dataset • 42,447 user-generated records of sampling • Destination and Source • Song, artist, year, genre, part-sampled • collaborating artist(s), featured artist(s), producer(s) The part-sampled rock/pop (P), include hip-hop/R&B (H), user community. Labels loop (D), (W), drum country (C), soul/funk/disco (F), jazz/blues (P), soul/funk/disco (F), (H), electronic dance (E), (B), vocals (V), (C), world (W), soundtrack jazz/blues (J), reggae (R), (F), jazz/blues (J), country (C), (D), bass line (B), soundtrack (S), classical ken word (K), (C), world (W), (S), classical (L), country (C), w or other (O). gospel (G), and other (V), hook (H), (K), easy listening (L), spo- ken word (K), (K), easy listening (Y), other (O). The part-sampled part-sampled labels include: (Y), gospel (G), (W), soundtrack (S), include: whole track (W), include: whole track stening (Y), gospel (J), reggae (R), and other (O). (V), hook (H), or other classical (L), spo- (W), drum Whosampled.com, Exploring and Discussing the DNA of music. 2011.

Genre & Part-Sampled Trends I source destination

Genre Visualization P. Shannon, et al.: “Cytoscape: A Software Environment for Integrated Models of Biomolecular Interaction Networks.” Genome Research 13(11), 2003.

Part-Sampled Visualization P. Shannon, et al.: “Cytoscape: A Software Environment for Integrated Models of Biomolecular Interaction Networks.” Genome Research 13(11), 2003.

Time-Based Trends Source Rise and fall of soul/funk/disco all samples soul/funk/disco electronic dance Destination hip-hop/R&B Rise of hip-hop/R&B rock pop

Network Analysis “Theme From Lilies of the Field (Amen)” by Jester Hairston A “ Theme From Lilies of the Field (Amen)” “We’re a Winner” by The Impressions by The Impressions B 1 B 2 C “Amen, Brother” by The Winstons • Song, artist, and genre-level networks • Focus on song-level network and musical sampling

Network Analysis II “Theme From Lilies of the Field (Amen)” by Jester Hairston A “ Theme From Lilies of the Field (Amen)” “We’re a Winner” by The Impressions by The Impressions B 1 B 2 C “Amen, Brother” by The Winstons destination A . A B 1 B 2 C A 1 begins with the source 1 B 1 graph G = ( N, E ) A . B 2 1 E or equivalently C

Degree Centrality & Influence destination • Degree Centrality (In/Out) A . In-Degree A B 1 B 2 C • In-Degree (# of derived samples) A 1 1 source • Out-Degree (# of used samples) 1 1 B 1 1 B 2 1 C Out-Degree 1 2 • Sample chains • Desirable to capture direct and indirect influence • Need more!!!

Degree Distributions be used to characterize utions f ( k ) ∝ k − γ are • Power-law distribution, • Preferential attachment and scale-free networks Such distributions promote • Popular musical samples will be popular • Hypothesis • Build unweighted acyclic song-level network • Maximum likelihood fit [Clauset 2009] network for k ≥ 3 and and γ = 2 . 72 ) ypothesis (p-value = . 16 for cumulative in-degree A. Clauset, C. R. Shalizi, and M. E. J. Newman: “Power-law Distributions in Empirical Data.” SIAM Review 51(4), 661-703 (2009).

Katz Influence • Weighted sum of the powers of adjacency matrix A k of I K = ( I − α A ) − 1 − I K = α A + α 2 A 2 + ... + α k A k + ..., • If = 0 or 1, have elements representing the A k via A ij number of sample chains of corresponding length length k of corresponding responding weight. [Katz 1953] • Captures sample chains in a straightforward manner L. Katz: “A New Status Index Derived From Sociometric Analysis,” Psychometrika 18, 1953.

Katz Influence Example I I K = ( I − α A ) − 1 − I A K = α A + α 2 A 2 + ... + α k A k + ..., B 2 B 1 C 2 A 2 + 2 A 2 A B 1 B 2 C A B 1 B 2 C A 1 A 1 + α 2 A matrix I S . A + A + 0 … K = for α = 0 B 1 B 1 1 B 2 B 2 1 C C

Katz Influence Example II (left), α = 0 and α = 1 . 0 (right). for α = 0 . 0 Nas (0.5) matrix I S . destination matrix I S . destination destination matrix I S . A B 1 B 2 C A B 1 B 2 C A B 1 B 2 C A 1 .5 A 1 1 A 1 0 source source source B 1 1 B 1 1 B 1 1 1 B 2 1 1 B 2 B 2 C C C • Rank—sum rows or columns • View Column—“Who influenced the given song” • View Row— “Who the given song influenced”

Katz Influence Computation • Compute using expanded form + α 1 • Eliminates any restrictions on • Song-level network is very sparse account for • Sample-chains are limited length • Rescale to I K = A + α 1 A 2 + ... + α k − 1 A k + ... , allo only account for direct sampling, α = 1 to + α 1 • = 0, only direct influence + α 1 account for • > 0, direct + indirect influence + α 1 account for • = 1, equal weighting of direct and indirect influence account for

Collapse-and-Sum Influence I • Derived artist- and genre-level influence from song-level matrix I S . influence I G . matrix I A , and influence I G . matrix I S . • Collapse-and-sum the rows and columns of based on song-artist and song-genre relations – e.g. sum all song-level influence of an artist together – e.g. sum all song-level influence of a genre together

Collapse-and-Sum Influence II • Song-to-Artist, , matrix I S . matrix I A , (left), α = 0 Nas (0.5) and destination destination destination A B C A B C A B 1 B 2 C A) Jester Hairston A 1 .5 A 1 .5 A 1 .5 source B) The Impressions source source B 2 B 1 1 B 1 1 C) The Winstons C B 2 1 B 2 1 C C • Rank—sum rows or columns • View Column—“Who influenced the given artist” • View Row—”Who the given artist influenced”

Relating Influence Levels • vs. matrix I S . matrix I A , and destination destination A B 1 B 2 C A B C A 1 .5 A 1 .5 source source B 1 1 2 B B 2 1 C C • Compute influence of song for artist • i.e. B 1 / B = 50% influence from song B 1 • i.e. B 2 / B = 50% influence from song B 2

Song Influence for α = 0 . 0 (left), α = 0 . 2 (middle), Change the Beat (Female Version) by Fab 5 Freddy (1.0) Change the Beat (Female Version) by Fab 5 Freddy (1.0) Amen, Brother by The Winstons (0.74) Amen, Brother by The Winstons (0.82) Funky Drummer by James Brown (0.71) Funky Drummer by James Brown (0.63) La Di Da Di by Doug E. Fresh (0.51) La Di Da Di by Doug E. Fresh (0.53) Impeach the President by The Honey Drippers (0.49) Think (About It) by Lyn Collins (0.49) Impeach the President by The Honey Drippers (0.44) Think (About It) by Lyn Collins (0.45) Funky President by James Brown (0.35) Funky President by James Brown (0.37) Here We Go (Live at the Funhouse) by Run-DMC (0.34) Synthetic Substitution by Melvin Bliss (0.36) Bring the Noise by Public Enemy (0.33) Here We Go (Live at the Funhouse) by Run-DMC (0.34) Synthetic Substitution by Melvin Bliss (0.32) Bring the Noise by Public Enemy (0.32) and α = 1 . 0 (right). Change the Beat (Female Version) by Fab 5 Freddy (1.0) Funky Drummer by James Brown (0.84) Impeach the President by The Honey Drippers (0.62) Synthetic Substitution by Melvin Bliss (0.55) Get Up, Get Into It, Get Involved by James Brown (0.54) The Big Beat by Billy Squier (0.51) Scratchin’ by The Magic Disco Machine (0.50) We’re a Winner by The Impressions (0.46) Assembly Line by Commodores (0.46) Amen by Jester Hairston (0.46)