Hit songs, books, and movies are many times more successful than average, suggesting that “the best” alternatives are qualitatively different from “the rest”; yet experts routinely fail to predict which products will succeed. We investigated this paradox experimentally, by creating an artificial “music market” in which 14,341 participants downloaded previously unknown songs either with or without knowledge of previous participants' choices. Increasing the strength of social influence increased both inequality and unpredictability of success. Success was also only partly determined by quality: The best songs rarely did poorly, and the worst rarely did well, but any other result was possible.
Experimental Study of Inequality and Unpredictability in an Artificial Cultural Market
Hit songs, books, and movies are many times more successful than average, suggesting that “the best” alternatives are qualitatively different from “the rest”; yet experts routinely fail to predict which products will succeed. We investigated this paradox experimentally, by creating an artificial “music market” in which 14,341 participants downloaded previously unknown songs either with or without knowledge of previous participants' choices. Increasing the strength of social influence increased both inequality and unpredictability of success. Success was also only partly determined by quality: The best songs rarely did poorly, and the worst rarely did well, but any other result was possible.
Leading the Herd Astray: An Experimental Study of Self-fulfilling Prophecies in an Artificial Cultural Market
Individuals influence each others' decisions about cultural products such as songs, books, and movies; but to what extent can the perception of success become a “self-fulfilling prophecy”? We have explored this question experimentally by artificially inverting the true popularity of songs in an online “music market,” in which 12,207 participants listened to and downloaded songs by unknown bands. We found that most songs experienced self-ful- filling prophecies, in which perceived—but initially false—popularity became real over time. We also found, however, that the inversion was not self-fulfilling for the market as a whole, in part because the very best songs recovered their popularity in the long run. Moreover, the distortion of market information reduced the correlation between appeal and popularity, and led to fewer overall downloads. These results, although partial and speculative, suggest a new approach to the study of cultural markets, and indicate the potential of web-based experiments to explore the social psychological origin of other macrosocio- logical phenomena.
Why We’re Taking a Human‑First Stand on AI‑Generated Music — Qobuz Community
Artificial intelligence is transforming the music industry at an unprecedented pace. Faced with the explosion of AI-generated content and the legitimate questions it raises, Qobuz has chosen transparency. This charter establishes our framework: how we use AI, where we draw our lines, and what commi
Popularity Feedback Constrains Innovation in Cultural Markets
Real-world creative processes ranging from art to science rely on social feedback-loops between selection and creation. Yet, the effects of popularity feedback on collective creativity remain poorly understood. We investigate how popularity ratings influence cultural dynamics in a large-scale online experiment where participants ($N = 1\,008$) iteratively \textit{select} images from evolving markets and \textit{produce} their own modifications. Results show that exposing the popularity of images reduces cultural diversity and slows innovation, delaying aesthetic improvements. Popularity feedback is associated with changes to both selection and creative stages. During selection, popularity information triggers cumulative advantage, with participants preferentially building upon popular images, reducing diversity. During creation, participants make less disruptive changes, and are more likely to expand existing visual patterns. Feedback loops in cultural markets thus not only shape selection, but also, directly or indirectly, the form and direction of cultural innovation.
AI music is flooding streaming platforms. But listeners like it less and less
Music fans are becoming increasingly uncomfortable with AI songs, according to a recent study.
Who owns an AI generated song? What we can learn from the phonograph and the evolution of copyright laws
History suggests copyright adapts to technology. AI may be no exception.
How AI Will Fail Like The Music Industry
The Millions of Songs Mashed Into AI-Generated Music
Explore the astonishing amount of music available to AI developers.
Deezer and Ipsos study: AI fools 97% of listeners
Deezer and Ipsos unveil a unique study exploring perceptions around AI and music, conducted across 8 countries. Discover the surprising results!
AI music tools challenge Bay Area musicians
AI music tools challenge Bay Area musicians: As affordable AI platforms spread, artists debate creativity, copyright and survival.
[Interview] Snow J of Cheerful Music dives into the cross cultural intersection of AI and music – EARMILK
In conversation with Earmilk, Snow. J explores how AI has restructured the foundation of music culture, striking a balance between AI and human-made music as well as Cheerful Music's distinct approach to engaging AI technology in music making and marketing.
Millions of Copyrighted Songs Were Fed to AI Music Generators – Now There's Proof
Millions of copyrighted songs trained AI music generators, and new searchable databases from The Atlantic now confirm which tracks were used.
Music has Meaning
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