Upbeat and quirky with a bit of a build: Interpretive repertories in creative music search

Pre-existing commercial music is widely used to accom-pany moving images in films, TV commercials and com-puter games. This process is known as music synchronisa-tion. Professionals are employed by rights holders and film makers to perform creative music searches on large catalogues to find appropriate pieces of music for syn-chronisation. This paper discusses a Discourse Analysis of thirty interview texts related to the process. Coded ex-amples are presented and discussed. Four interpretive repertoires are identified: the Musical Repertoire, the Soundtrack Repertoire, the Business Repertoire and the Cultural Repertoire. These ways of talking about music are adopted by all of the community regardless of their interest as Music Owner or Music User. Music is shown to have multi-variate and sometimes conflicting meanings within this community which are dynamic and negotiated. This is related to a theoretical feedback model of communication and meaning making which proposes that Owners and Users employ their own and shared ways of talking and thinking about music and its context to determine musical meaning. The value to the music information retrieval community is to inform system design from a user information needs perspective

Organising music for movies

Purpose - The purpose of this paper is to examine and discuss the classification of commercial popular music when large digital collections are organised for use in films. Design/methodology/approach - A range of systems are investigated and their organization is discussed, focusing on an analysis of the metadata used by the systems and choices given to the end-user to construct a query. The indexing of the music is compared to a checklist of music facets which has been derived from recent musicological literature on semiotic analysis of popular music. These facets include aspects of communication, cultural and musical expression, codes and competences. Findings -In addition to bibliographic detail, descriptive metadata is used to organise music in these systems. Genre, subject and mood are used widely; some musical facets also appear. The extent to which attempts are being made to reflect these facets in the organization of these systems is discussed. A number of recommendations are made which may help to improve this process. Originality/value - This paper discusses an area of creative music search which has not previously been investigated in any depth and makes recommendations based on findings and the literature which may be used in the development of commercial systems as well as making a contribution to the literature

Content or context? Searching for musical meaning in task-based interactive information retrieval

Creative professionals search for digital music to accompany moving images using interactive information retrieval systems run by music publishers and record companies. This research investigates the creative professionals and the intermediaries communication processes and information seeking and use behaviour with a view to making recommendations to information retrieval systems builders as to the extent of relative importance of content and contextual factors. A communications model is used to suggest that the meaning of music is determined by its listener and use context, as well as cultural codes and competences. The research is framed by a holistic approach based on Ingwersen and Jarvelin’s Interactive Information Seeking, Retrieval and Behavioral processes model

Towards the disintermediation of creative music search: Analysing queries to determine important facets

Purpose: Creative professionals search for music to accompany moving images in films, advertising, television. Some larger music rights holders (record companies and music publishers) organise their catalogues to allow online searching. These digital libraries are organised by various subjective musical facets as well as by artist and title metadata. The purpose of this paper is to present an analysis of written queries relating to creative music search, contextualised and discussed within the findings of text analyses of a larger research project whose aim is to investigate meaning making in this search process. Method: A facet analysis of a collection of written music queries is discussed in relation to the organisation of the music in a selection of bespoke search engines. Results: Subjective facets, in particular Mood, are found to be highly important in query formation. Unusually, detailed Music Structural aspects are also key. Conclusions: These findings are discussed in relation to disintermediation of this process. It is suggested that there are barriers to this, both in terms of classification and also commercial / legal factors

Music, movies and meaning: communication in film-markers' search for pre-existing music, and the implications for music information retrieval

While the use of music to accompany moving images is widespread, the information behaviour, communicative practice and decision making by creative professionals within this area of the music industry is an under-researched area. This investigation discusses the use of music in films and advertising focusing on communication and meaning of the music and introduces a reflexive communication model. The model is discussed in relation to interviews with a sample of music professionals who search for and use music for their work. Key factors in this process include stakeholders, briefs, product knowledge and relevance. Searching by both content and context is important, although the final decision when matching music to picture is partly intuitive and determined by a range of stakeholders

HST and UKIRT imaging observations of z~1 6C radio galaxies - II. Galaxy morphologies and the alignment effect

(abridged) Powerful radio galaxies often display enhanced optical/UV emission regions, elongated and aligned with the radio jet axis. The aim of this series of papers is to separately investigate the effects of radio power and redshift on the alignment effect, together with other radio galaxy properties. In this second paper, we present a deeper analysis of the morphological properties of these systems, including both the host galaxies and their surrounding aligned emission. The host galaxies of our 6C subsample are well described as de Vaucouleurs ellipticals, with typical scale sizes of ~10kpc. This is comparable to the host galaxies of low-z radio sources of similar powers, and also the more powerful 3CR sources at the same redshift. The contribution of nuclear point source emission is also comparable, regardless of radio power. The 6C alignment effect is remarkably similar to that seen around more powerful 3CR sources at the same redshift in terms of extent and degree of alignment with the radio source axis, although it is generally less luminous. The bright, knotty features observed in the case of the z~1 3CR sources are far less frequent in our 6C subsample; neither do we observe such strong evidence for evolution in the strength of the alignment effect with radio source size/age. However, we do find a very strong link between the most extreme alignment effects and emission line region properties indicative of shocks, regardless of source size/age or power. In general, the 6C alignment effect is still considerably stronger than that seen around lower redshift galaxies of similar radio powers. (abridged)Comment: 23 pages, 15 figures, accepted for publication in MNRAS. See http://www.mrao.cam.ac.uk/~kji/MorphPaper/ for version of paper with full resolution images of Figs 1-1

Compact radio sources and jet-driven AGN feedback in the early Universe: Constraints from integral-field spectroscopy

To investigate the impact of radio jets during the formation epoch of their massive host galaxies, we present an analysis of two massive, log(M_stel/ M_sun)~10.6 and 11.3, compact radio galaxies at z=3.5, TNJ0205+2242 and TNJ0121+1320. Their small radio sizes (R<= 10 kpc) are most likely a sign of youth. We compare their radio properties and gas dynamics with those in well extended radio galaxies at high redshift, which show strong evidence for powerful, jet-driven outflows of significant gas masses (M 10^9-10 M_sun). Our analysis combines rest-frame optical integral-field spectroscopy with existing radio imaging, CO emission line spectra, and rest-frame UV spectroscopy. [OIII]5007 line emission is compact in both galaxies and lies within the region defined by the radio lobes. For TNJ0205+2242, the Ly-alpha profile narrows significantly outside the jet radius, indicating the presence of a quiescent halo. TNJ0121+1320 has two components separated by ~10 kpc and a velocity offset of ~300 km s^-1. If motions are gravitational, this implies a dynamical mass of 2x10^11 M_sun for the more massive, radio-loud component. The dynamical mass, molecular gas mass measured from the CO line emission, and radio luminosity of these two compact radio galaxies imply that compact radio sources may well develop large-scale, energetic outflows as observed in extended radio galaxies, with the potential of removing significant fractions of the ISM from the host galaxy. The absence of luminous emission line gas extending beyond the radio emission in these sources agrees with the observed timescales and outflow rates in extended radio galaxies, and adds further evidence that the energetic, large-scale outflows observed in extended radio sources (Nesvadba et al. 2006) are indeed the result of influence of the radio jet.Comment: A&A accepte

Simulations of multiphase turbulence in jet cocoons

M. Krause and P. Alexander, 'Simulations of multiphase turbulence in jet cocoons', Monthly Notices of the Royal Astronomical Society, Vol. 376, pp. 465-478, April 2007, the version of record is available online at doi: 10.1111/j.1365-2966.2007.11480.x. Published by Oxford University Press on behalf of the Royal Astronomical Society. © 2007 The Authors. Journal compilation © 2007 RASThe interaction of optically emitting clouds with warm X-ray gas and hot, tenuous radio plasma in radio jet cocoons is modelled by 2D compressible hydrodynamic simulations. The initial setup is the Kelvin–Helmholtz instability at a contact surface of density contrast 104. The denser medium contains clouds of higher density. Optically thin radiation is realized via a cooling source term. The cool phase effectively extracts energy from the other gas which is both, radiated away and used for acceleration of the cold phase. This increases the system’s cooling rate substantially and leads to a massively amplified cold mass dropout. We show that it is feasible, given small seed clouds of the order of 100 M, that all of the optically emitting gas in a radio jet cocoon may be produced by this mechanism on the propagation time-scale of the jet. The mass is generally distributed as T−1/2 with temperature, with a prominent peak at 14 000 K. This peak is likely to be related to the counteracting effects of shock heating and a strong rise in the cooling function. The volume filling factor of cold gas in this peak is of the order of 10−5–10−3 and generally increases during the simulation time. The simulations tend towards an isotropic scale-free Kolmogorov-type energy spectrum over the simulation time-scale. We find the same Mach-number density relation as Kritsuk & Norman and show that this relation may explain the velocity widths of emission lines associated with high-redshift radio galaxies, if the environmental temperature is lower, or the jet-ambient density ratio is less extreme than in their low-redshift counterparts.Peer reviewe