A video of the live version of this presentation is available here.
I’ve called this talk “The Joys of Eurovision Scoring” partly because I’m a bit of a nerd and Eurovision is an excellent source of statistics, but also because it is a clever scoring system, where everyone can have their say but there is guaranteed suspense and excitement up until the end of the show. It also reflects the Eurovision countries and how they relate to each other.
I’d like to cover three topics – what we can learn from the scores of individual jury members; why the public televote has more influence than the jury scores; and finally looking at the question of voting clusters.
The first article in this series looked at how to get the data on Eighteenth Century London Concerts into a more usable form, and the second geocoded the locations and classified the venues by type. In this third article, we will start the analysis of the data by looking in more detail at the distribution of concert venues.
In the previous article looking at Simon McVeigh’s “Calendar of London Concerts 1750-1800“, I considered how to organise the data to make it suitable for statistical analysis. In this second article, I will add to the dataset by identifying the exact locations of the concert venues.
Many British buildings are adorned with plaques, marking the birthplace or residence of a famous person, or the site of a significant event. Details of these plaques are available in an online database, and I thought it would be interesting to see how many of them have a musical connection.