This article in the series covering the Eighteenth Century London Concerts dataset looks at composers. As previously discussed, composers can be identified as the names preceding a “Genre” code in the list of entries in the dataset’s “Programme” field. In most cases they can also be associated with the genre of the work in question (and sometimes the precise work can be identified, although this information is quite patchy).
Continue reading →A recent addition to the Concert Datasets page is Operabase, a database of over 500,000 opera performances worldwide since 2004. I plan to look at this data more closely in a future article, but for now, I thought it would be interesting to see if opera performances follow a power law.1
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I’m delighted to have my article about power laws and musical fame and obscurity featured on the cover of this month’s Significance magazine.
It has been a pleasure to work with the editor Brian Tarran to get the article ready for publication. It is a condensed version of my longer paper Fame, Obscurity and Power Laws in Music History, published a couple of months ago.
I’m pleased to report that my article “Fame, Obscurity and Power Laws in Music History” has been published in the journal Empirical Musicology Review.
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