Last.fm has released their annual charts for users, I’m not surprised that Hinds topped my artist, album, and track charts. I was super obsessed with them last summer. Still love that album, but maybe not quite that much, although I am listening to it again while I write this post.
The report shows me listening the most on Sundays, which is kind of surprising because I do a lot of music listening at work, but not too surprising because I’m also quite often listening to new music on Sundays to prep for my radio show on Mondays if I haven’t been quite as on top of it as I would like to be, which is most of the time. 77% of the music I listened to last year was new-to-me (or at least newly scrobbled to last.fm from me, which is virtually the same thing at this point).
This session covers the types of needs users have, how discovery tools can help or hinder, and some discovery beyond the basic catalog.
Discovery in a library context happens in the discovery tools (catalog, next-gen layers, web-scale tools, external collections, etc.). A discovery tool that works for music will work well for (almost) anything. Just because a service works well for simple things or known items doesn’t mean it will work well for more complex resources.
Music searches may be a cluster of queries that can but not necessarily overlap. They could be known contributors/creators, but could also be forms and genres not necessarily covered by basic search facets.
MLA has created a document for music discovery requirements in 2012. The primary audience is not music catalogers, and it describes the characteristics of materials and their importance in discovery. It focuses on bibliographic records, but they recognize that the future of discovery will need to include authority data. There is also an appendix with a spreadsheet with some suggested MARC mappings.
Uniform titles are the way music cataloging has identified works for collocation. There is a long list of fields that contain this information, and often the differentiation is buried deep in subfields.
Compilations need to have their content notes displayed and indexed.
They use WorldCat Local for local/global holdings, their classic catalog (Voyager) for local holdings (what they usually push to users for music discovery), and Summon (articles, ebooks, streaming, A/V), as well as their music databases web page of links.
They are implementing Blacklight for a bento box approach (beta interface). They have the single search implemented, but won’t have the bento aspect until next year.
She is serving as the music library representative on the implementation team, and has been able to contribute feedback about the kinds of searching and facets that they need. One that they are most excited about is being able to search by the publisher number or record label catalog number.
[There were lots more examples of how Blacklight is working with music catalog records. Check the slides (when they are posted) and read the proceedings for more information. I kind of zoned out because it wasn’t the information I needed.]
Some of you may know that I enjoy singing in choirs/choruses/chorales these days, even doing a solo every now and then, but I’ll bet few of you know that I was too shy to sing in front of most people until my second year of college. Most of my college friends could sing pretty well, and many of them were in the university chorale or the chamber choir. I loved singing, but I was too nervous and shy to audition, as much as I wanted to. Somehow, they convinced me to take a voice class. Not private lessons, but with a small group of students and one teacher, all at once.
This was safe for me to start out in. We sang everything together, until our final, and that was the first time I’d sung for real, alone, in front of anyone. It was terrifying! But it also gave me the courage to go through the audition process the next year, and I was in the chorale for the second half of my college career.
Since then, I’ve sung with Sacred Harp groups, church choirs, community women’s choruses, and a university women’s chorus (I still sing with two groups that fit in the last two categories). It’s been an amazing learning experience, and I sometimes marvel at how a person who was too shy to sing in front of a handfull of friends can now stand on stage and sing in front of hundreds of strangers.
In college, I was obsessed with singing low. I was proud to sing the alto part, and one of my fellow altos and I would frequently try to hide with the basses until our director made us go back to our section. For me, alto meant harmony and something interesting. Soprano seemed, well, boring.
These days, I sing first alto or second soprano, depending on the group and the arrangement. And the strange thing is, I’m finding that the low notes aren’t as much fun anymore, and sometimes are rather uncomfortable to sing. My voice, as women’s voices do, has been changing and maturing over the years. When I moved over to the second soprano section in my community women’s chorus last year, it was the first time I acknowledge that shift to anyone, including myself. It was a bit of an identity crisis at first, but I’ve come to embrace it.
Back in that voice class in college, my instructor called me a “chicken soprano,” and she was right. I could sing higher than I was willing to (or brave enough to) back then. Now I know I can, and I have quite often. The strange thing is, I can feel my voice changing. I started noticing this on octave leaps that would take me up to the C above middle-C, and beyond. They didn’t feel strained anymore — I just thought it, and then sang it with confidence.
My ear is much better. I have a good sense of certain notes and placement and intervals, although I couldn’t tell you what a perfect fourth or a major seventh sounded like to save my life. Those names never stuck with me. But, I can sight read pretty well, if you give me a starting point, and back in the day I had to hear it a few times before I could follow along.
So, I’m moving into my upper range, and it feels fine. But also weird. Sometimes, I can’t trust my sense of place anymore, because what feels like a G may be something else entirely now. My voice breaks are shifting, or maybe I’m just not as aware of them anymore.
This makes me feel less certain. Unbalanced. And it doesn’t help that I’m turning 37 this year.
Back to that voice class and the instructor who told me I was a chicken soprano… she also told us that women’s voices hit their peak maturity around age 37. To my 19-year-old mind, that seemed like a future so distant I couldn’t even imagine it, and now I’m here. Or nearly there.
People talk about how turning 30 wasn’t as big of a deal as turning 31. I get that. For me, as a woman and a singer, I think this 37th birthday is going to be more significant than either of those previous milestones. I’m just not sure if I’m ready for that to happen yet. Luckily, I have about six months to figure it out.
I’ve never sung in a collegiate a cappella group, and have no idea what it’s really like. That being said, I do have years of choral group experience to draw on for comparison. But, do you need any of that to enjoy the movie Pitch Perfect? No. Just a good sense of humor and an appreciation for modern pop music.
In case you haven’t heard of it, and I’m not surprised if you haven’t, there’s a new movie out called Pitch Perfect. It’s about college a cappella, the first year college experience, and taking risks.
It’s also fiction, so don’t take it too seriously. The boy gets the girl. The troubled youth defeats her inner demons. The underdog wins. Typical movie with a happy ending.
The real thrills came from the music. It was fun! Simply fun! Like the performances we saw on the three years of NBC’s The Sing-Off, there’s nothing quite like watching/hearing a group of singers using only their mouths and voices to perform creative arrangements of pop songs.
Simply put, I enjoyed Pitch Perfect. It was funny without being gross, and touching without being melodramatic. Go see it. It’ll be worth the ticket price.
This past weekend I went to my fourth RavenCon, the local science fiction slash fantasy slash gaming slash podcasting slash writing slash whatever convention. As I was getting ready to head over to the hotel for the first day, I reminded myself that there would be a lot of “attempts at conversations with socially awkward people” and I shouldn’t be too put off by this. As it turns out, there were far fewer of them than what I encountered at my first RavenCon, in part because I now have a “tribe” of folks that come regularly and with whom (for the most part) there are no awkward conversations.
In fact, I spent very little time participating in the con programming, and far more time talking with friends about anything and everything. So, I can’t really say whether this was a good RavenCon or not, except that for me, it was fantastic and more fun than I expected.
The Holiday Inn Koger Center renovated the lobby since last year, putting in a bar and lots of conversational seating groups. This became our default gathering space around meal times or between panels. At any given time, if I wandered out there, I’d see at least one person that I knew and wanted to hang out with.
I also found myself living the mantra of “where I am now is where I want to be.” Often when I am at conferences or conventions with many options of things to do and people to do them with, I will end up feeling like the option I didn’t choose would have been better, regardless of whether that is true or not. This time around, I managed to enjoy myself with most everything, at least, until the end when I was too tired to enjoy much of anything that wasn’t my bed and a darkened room.