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Entries in Music Research (6)

Tuesday
Feb222022

Neurodiversity in Music: Embracing Creative Differences

 

Image Source: Unsplash

Neurodiversity in Music: Embracing Creative Differences


Neurodevelopmental differences are starting to come to light in society more than ever. Conditions like ADHD, autism, and other learning disabilities aren’t always met with the stigmas and stereotypes they once were. While that’s great news for those dealing with those differences, there are always more ways for people to expand their understanding and acceptance – 

– especially when it comes to music. 

Neurodiverse people often experience the world in different ways. Their differences can help to shape their identity, but they also tend to have unique perspectives on what’s going on around them

That sounds pretty great in terms of creativity, right? Neurodiverse individuals are typically incredible problem-solvers and are quick to come up with new ideas. There are already plenty of neurodiverse people within the music industry, so it’s important to see not only how they’re killing it in their careers, but how these creative differences should be celebrated.

A Deeper Understanding

One of the best ways to embrace neurodiversity in the music industry is to understand what it’s all about. For years, the focus was solely on ADHD. It’s still one of the most common conditions to fall under the neurodiverse umbrella. About 2.8% of adults across the globe deal with ADHD, which can cause symptoms like

  • Difficulty focusing

  • Boredom

  • Anxiety

  • Fidgeting

  • Hyperactivity

If you’re an adult with ADHD, there’s a good chance you weren’t properly diagnosed as a child. That’s a common problem, especially for girls. Some of the common signs can be overlooked or missed because of gender bias or differing disorders and assumptions. Many women today have had to learn how to manage ADHD on their own because they never received a diagnosis or treatment as children. Musician Solage Knowles is one of them. But, plenty of male musicians also deal with the condition, including Adam Levine and Justin Timberlake. 

Obviously, ADHD hasn’t hindered the success of these musicians. But, by understanding what they might have to deal with, it’s easier to develop a newfound respect for how they manage their careers and how things might have played out differently for them if they didn’t have the condition. 

The Benefits of Being “Wired Differently” 

Music and creativity go hand-in-hand. It’s not uncommon for musicians to have to deal with “creative blocks” or a lack of inspiration, which can end up making their careers go stagnant. Neurodiverse artists tend to think differently, so it’s less likely that they’ll run into a creative jam. 

Neurodiversity goes well beyond ADHD. Some of the most common types of neurodivergent conditions include

  • Dyslexia

  • Autism

  • Hyperlexia

  • Dyspraxia

Depending on the severity of the condition, artists can use these differences to help themselves stand out. They might look at problems differently and come up with ways to solve them that no one else would consider. That kind of creativity also comes through in everything from interesting lyrics to unique melodies and sounds. 

Many neurodiverse people are also able to recognize what they’re able to do best. They’re often good listeners, which makes them so great at problem-solving, but they’re also innovators that can challenge old ways of doing things. Musicians like Carly Simon, John Lennon, and even Aerosmith’s Joe Perry are and were all neurodivergent, and have been touted as musical geniuses for years. Who knows what The Beatles would have been like without Lennon’s different way of thinking? 

Neurodiversity and Representation

There are several reasons why embracing creative differences in the music industry is important. First, understanding and accepting neurodiverse musicians is a great way to further drop the stigma against these conditions. We’ve named a few familiar neurodivergent artists here, but there are many more – including some who probably haven’t gone public with their conditions. 

It’s easy to see that although their conditions may impact the way they do things, they haven’t impacted the success of these individuals. In fact, their neurodiversity might be a major factor in that success. 

Most importantly, though, neurodivergent artists can use their influence to help others. For example, Florence Welch of Florence and the Machine was diagnosed with dyslexia at a young age. She talks about some of her experiences in the forward of the neurodiverse handbook “Creative Differences”, published by Universal. Welch has been wildly successful throughout her career, largely because her sound and her songs are “different” and unique. 

Welch’s willingness to step forward and write about her experiences as a neurodiverse person is huge. Musicians in the spotlight can use their influence and celebrity to boost neurodivergent representation across the world. So many fans (including kids) look up to their favorite artists. How much better would the stereotypes and stigmas around neurodiversity be if children saw their favorite musicians dealing with the same issues? 

Each individual with a neurodivergent condition needs to handle it with a proper diagnosis and management techniques. But, the more we understand the importance of “creative differences” and neurodiversity representation in the music industry, the better the outlook will be for neurodivergent artists in the future.

 

Neurodiversity in Music: Embracing Creative Differences

Tuesday
Jan182022

Olivia Rodrigo Dominated Pop Streaming in 2021, Beating Adele and Taylor Swift

There were many resounding album releases in 2021, but few dominated the media headlines more than those of three Pop heavyweights: Adele’s “30”, Taylor Swift’s “Red (Taylor’s Version)” and Olivia Rodrigo’s “SOUR”. But which release brought its author the most attention in terms of a growing Spotify fanbase? Music research and analytics platform Viberate looked into the data to settle the dilemma once and for all.

For unbiased results, Viberate examined how many new Spotify followers each artist gained in two weeks following each release (the surrounding hype usually brings in new fans within that time period), and looked at spikes in monthly listeners after the release. To see if the artists have fans among their peers (other artists and festivals), Viberate additionally checked out how many notable social media mentions each artist got throughout the year.

The results show Olivia Rodrigo was the overall winner.

Olivia Rodrigo brought the most attention to her profile, as she gained over 14M new monthly listeners and 969K new followers in just two weeks. Her top-performing track was (and still is) “drivers licence”. It was clocking in almost 800M daily streams at the time of album release and has already amassed 1.2B streams so far.

Taylor Swift placed second with similarly incredible numbers. She gained 11.9M new monthly listeners and 759K new followers in two weeks. “All Too Well (10 Minute Version) (Taylor’s Version)” was streamed the most, averaging 50M streams per day.

Adele came in third. She gained 7.4M new monthly listeners and 694K new followers in two weeks. “Easy On Me” was streamed the most, with 385M plays at the two-week mark.

All three artists were mentioned on social media by their peers and music festivals a lot, with Taylor Swift being mentioned the most.

What can we learn from all this?

It’s interesting to note how different release strategies impact the streaming numbers. Adele’s biggest leap corresponds to her announcing the album and releasing the “Easy On Me” single, meaning that she brought in the majority of new fans in the promotional period. Taylor Swift released two albums in 2021, so she was omnipresent throughout the year. Her releases were placed on a ton of Spotify playlists (her current reach surpasses 390M Spotify listeners), and the steady growth suggests she’s been successfully converting listeners into fans along the way. Olivia Rodrigo is the Pop newcomer of the year not only because of the industry awards won, but also because her strategic releases (hit single first, album second) increased her Spotify following 50 times over in 2021.

For more data insights such as these, visit Viberate.

Olivia Rodrigo Dominated Pop Streaming in 2021, Beating Adele and Taylor Swift

Thursday
Oct142021

The secret grammar of music 

Guest post by Dale McGowan. This article originally appeared on Soundfly’s Flypaper.

I was 13 when I saw my brother’s college music theory textbook sitting on a table — Walter Piston’s Harmony. I had played clarinet and sax for a while, even did some arranging for jazz band. So I knew a little theory, but I was barely out of the blocks.

When I picked up the book, it fell open to a section called “Table of Usual Root Progressions.” Clickbait! I traced the words with a trembling finger:

piston-6

(That’s an actual scan of the actual line in the actual book.)

Whoa.

Click to read more ...

Thursday
Oct142021

The birth of unjazz

Guest post by Ben Morss of Soundfly’s Flypaper. This article originally appeared on his Rock Theory Blog

This winter, walking my dog in the snow, listening to Spotify’s Top 50 playlist, I heard something striking: a lovely jazzy instrumental touched with pretty jazz guitars, the sound of birds and faraway kids playing, topped by a beautiful, timelessly wandering vocal.

Melodic ideas repeated, but the song didn’t have a clear focus or drive toward a chorus. The vocals soared ridiculously far above the bass. I begged my dog to stay and checked my phone. What was this song, and what was it doing in the Top 50?

It was the latest from SZA, called “Good Days.” I resolved to learn more.

Click to read more ...

Thursday
Nov192015

Nielsen's Music 360 Report

By Spencer Ritchie from Berklee’s Music Business Journal, thembj.org. 

Nielsen recently published its annual Music 360 Report, detailing consumer spending in music, especially subscription services. According to Nielsen, the appetite for music in the United States is high. Apparently, 91% of the US population is listening up to 24 hours of music a week, a much larger number than reported for similar surveys in the 1990s.

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Monday
Aug032015

Human Music Interaction

In my now part-time day job as a professor at Birmingham City University, I wrote an article on the research centre’s blog, in which I referred to a new field of research that I’m helping develop. It bridges computer science, cultural studies, media theory, musicology, medicine, psychology, sociology and more. That probably takes a little explaining. Interdisciplinarity is not, in itself, a field of research.

Click to read more ...