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Searching for the right feelings: Emotional metadata in music

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Diane Rasmussen Pennington

This document discusses how people search for and experience music online based on emotional responses rather than just bibliographic information. It describes a study analyzing 150 fan-created YouTube cover videos of the U2 song "Song for Someone" to understand how the videos conveyed emotion through visual and audio elements as well as user comments. The study found the videos expressed deep personal connections to the song and band through facial expressions, surroundings, and intertextual references. It concludes systems are needed to index and describe non-textual works like music based on emotional responses to help people find content that aligns with their moods and well-being.

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Searching for the right feelings: Emotional metadata in music Dr Diane Rasmussen Pennington Lecturer in Information Science Course Director, MSc Info. & Library Studies University of Strathclyde diane.pennington@strath.ac.uk @infogamerist
About me: music, music librarianship, cataloguing, and technology
How do people look for music online? Name of the artist? Name of the song? Name of the album? These are all bibliographic-based searches but what if you want to look for something that puts you in a good mood?
YouTube suggestions based on similarity, past user history?
Types of information; ways of finding Information professionals tend to think of online information as a textual document residing in a database that meets a users need or query based on bibliographic descriptions that cataloguers provide Information comes in many forms bodily, such as pain (Yates, 2015) photographs, videos, music (Rasmussen Neal, 2012) matter and energy (Bates, 2006) Looking at us as a species that exists physically, biologically, socially, emotionally, and spiritually, it is not unreasonable to guess that we absorb perhaps 80 percent of all our knowledge through simply being aware, being conscious and sentient in our social context and physical environment (Bates, 2003)
Source: www.philipglass.com/glassengine The Glass Engine started it all
Some of my other prior research into emotional information in music https://www.youtube.com/watch?v=l-dYNttdgl0 v. https://www.youtube.com/watch?v=d8ekz_CSBVg Difficult to agree on emotion in music; we respond to music individually, but some musical facets are consistent, like slow songs in a minor key sounding sad or heavy metal sounding angry Emotional tags in music Online music recommender systems do not cross genres (but probably should)
Rasmussen Pennington, D. (2016). The most passionate cover Ive seen: Emotional information in fan-created U2 music videos. Journal of Documentation, 72(3), 569-590. Source: https://upload.wikimedia.org/wikipedia/commons/thumb/d/dd/Bono_U2_ 360_Tour_2011.jpg/220px-Bono_U2_360_Tour_2011.jpg
The contest Source: http://www.u2.com/news/title/sing-song-for-someone-then-upload-it
Watch this video. How does it make you feel? What might the producer have been trying to convey? https://www.youtube.com/watch?v=lQCsvlrgcn4
Theoretical framework Basic emotions from fields such as cognition, psychology, music therapy (Ekman, 1992) Emotional Information Retrieval (EmIR) Domains of fandom and aca-fandom (Stein & Busse, 2009; Bennett, 2014) Online participatory culture, such as writing fan fiction or making cover versions of videos for loved songs (Jenkins, 2013) U2 academic studies (U2conference.com) Intertextuality as a practice in online participatory culture among fans (Vernallis, 2013)
Methods and sample Discourse analysis, a method for qualitatively analysing language and other forms of communication (Budd & Raber, 1996; Iedema, 2003); applied to intertextuality To analyse the emotional information conveyed in 150 YouTube cover videos of U2s Song for Someone by: The producers (people who made the videos) The consumers (people who watched the videos) Through the videos themselves, producers descriptions, consumers comments and likes/dislikes on the videos
Quantitative overview of the videos
Types of videos created by producers Cover versions Original versions of the song with new visual content Tutorials on how to play the song Videos showed deep, personal involvement with the song and the band
Cover versions: Emotions through facial expression
Cover versions: Surroundings
Cover versions: Surroundings
Cover versions: Surroundings; fun with family; humour
Cover versions: Surroundings
Cover version: Personal experience; the producers wedding and kid photos
Original version: photographs of friends having fun
Original version: Video out a plane window
Tutorials: Guitar
Tutorials: Karaoke Piano
Intertextuality: Achtung Baby poster
Intertextuality in cover version: Song for Someone lyrics and title on wall; Stuck in a Moment music
Intertextuality: Rattle and Hum; looking like Bono and The Edge
So this song is a memory that lasts, an idea that comes from another place that cannot be explained simply as things that happen can be, because there is no reason to forget what had still not enough [sic]. was awaken [sic] by the last three lines [] and I fell in love [] It is amazing how one part of a song can call out to you and make you want to listen to it over and over again Producers comments and descriptions
Quality of the cover version Excellent performance [] even makes me appreciates U2s version considerably greater, as your acoustic guitar and incredibly sincere raw, emotionally gifted vocal capabilities emphasize the song with pure soul & heart Starts slow, but you get really good (passionate.) Really, really amazing. You give me chills, everytime. Emotional impact of the song Sometimes things happen in your life and you have no control, and a song just brings you to tears and makes things ok. Beautiful song. Intense meaning. Omg this song makes me melt every time I hear it. Una canzone piena di emozioni (Italian for a song full of emotions) Responses from consumers: more likes than dislikes; almost all positive
Producers: tenderness, facial expressions, surroundings, musical elements, textual descriptions, U2 intertextuality Consumers: likes, positive comments Conversations between producers and consumers indicated social constructionism of emotion among fans But also individual reactions to the song Discussion: expression of emotion
Discussion: U2 as authoritative version, and FRBR relationships
Moving forward We need to design systems for description that accommodate more than just keywords/bibliographic records No full text inherent in music or other non-textual document: indexing problem Account for not only emotion, but also socially constructed and individually experienced emotional responses to items Ultimate goals: help people find things in meaningful ways and even potentially contribute to well-being as in music therapy (Hanser, 2010) How can this all be encapsulated?
Lookin for a sound thats gonna drown out the world: Resolving musical emotional ambiguity in U2s POPVision Source: http://u2conference.com/u2-con-2018-program/ June 2018: U2CON2018, Belfast
Searching for the right feelings: Emotional metadata in music
References Bates, M. J. (2003). Toward an integrated model of information seeking and searching. Retrieved from https://pages.gseis.ucla.edu/faculty/bates/articles/info_SeekSearch-i-030329.html Bates, M. J. (2006). Fundamental forms of information. Journal for the American Society of Information Science and Technology, 66(10), 2071-2084. Bennett, L. (2014). Tracing textual poachers: Reflections on the development of fan studies and digital fandom. Journal of Fandom Studies, 2(1), 5-20. Budd, J.M., & Raber, D. (1996). Discourse analysis: Method and application in the study of information. Information Processing & Management, 32(2), 217-226. Ekman, P. (1992). An argument for basic emotions. Cognition and Emotion, 6(3-4), 169-200. Hanser, S. B. (2010). Music, health, and well-being. In P. N. Juslin and J. A. Sloboda (Eds.), Handbook of music and emotion (pp. 849-877). Oxford: Oxford University Press. Iedema, R. (2003). Multimodality, resemiotization: Extending the analysis of discourse as multisemiotic practice, Visual Communication, 2(1), 29-57. Jenkins, H. (2013). Textual poachers: Television fans and participatory culture. New York: Routledge. Neal, D. M. (2010). Emotion-based tags in photographic documents: The interplay of text, image, and social influence. Canadian Journal of Information and Library Science, 34(3), 329-353. Rasmussen Neal, D. (Ed.) (2012). Indexing and retrieval of non-text information. Berlin: De Gruyter Saur. Rasmussen Pennington, D. (2016). The most passionate cover Ive seen: Emotional information in fan- created U2 music videos. Journal of Documentation, 72(3), 569-590. Stein, L., & Busse, K. (2009). Limit play: Fan authorship between source text, intertext, and context. Popular Communication: The International Journal of Media and Culture, 7(4), 192-207. Vernallis, C. (2013). Unruly media: YouTube, music video, and the new digital cinema. Oxford: Oxford University Press. Yates, C. (2015). Exploring variation in the ways of experiencing health information literacy: A phenomenographic study. Library & Information Science Research, 37, 220-227.

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Searching for the right feelings: Emotional metadata in music

  • 1. Searching for the right feelings: Emotional metadata in music Dr Diane Rasmussen Pennington Lecturer in Information Science Course Director, MSc Info. & Library Studies University of Strathclyde diane.pennington@strath.ac.uk @infogamerist
  • 2. About me: music, music librarianship, cataloguing, and technology
  • 3. How do people look for music online? Name of the artist? Name of the song? Name of the album? These are all bibliographic-based searches but what if you want to look for something that puts you in a good mood?
  • 4. YouTube suggestions based on similarity, past user history?
  • 5. Types of information; ways of finding Information professionals tend to think of online information as a textual document residing in a database that meets a users need or query based on bibliographic descriptions that cataloguers provide Information comes in many forms bodily, such as pain (Yates, 2015) photographs, videos, music (Rasmussen Neal, 2012) matter and energy (Bates, 2006) Looking at us as a species that exists physically, biologically, socially, emotionally, and spiritually, it is not unreasonable to guess that we absorb perhaps 80 percent of all our knowledge through simply being aware, being conscious and sentient in our social context and physical environment (Bates, 2003)
  • 7. Some of my other prior research into emotional information in music https://www.youtube.com/watch?v=l-dYNttdgl0 v. https://www.youtube.com/watch?v=d8ekz_CSBVg Difficult to agree on emotion in music; we respond to music individually, but some musical facets are consistent, like slow songs in a minor key sounding sad or heavy metal sounding angry Emotional tags in music Online music recommender systems do not cross genres (but probably should)
  • 8. Rasmussen Pennington, D. (2016). The most passionate cover Ive seen: Emotional information in fan-created U2 music videos. Journal of Documentation, 72(3), 569-590. Source: https://upload.wikimedia.org/wikipedia/commons/thumb/d/dd/Bono_U2_ 360_Tour_2011.jpg/220px-Bono_U2_360_Tour_2011.jpg
  • 10. Watch this video. How does it make you feel? What might the producer have been trying to convey? https://www.youtube.com/watch?v=lQCsvlrgcn4
  • 11. Theoretical framework Basic emotions from fields such as cognition, psychology, music therapy (Ekman, 1992) Emotional Information Retrieval (EmIR) Domains of fandom and aca-fandom (Stein & Busse, 2009; Bennett, 2014) Online participatory culture, such as writing fan fiction or making cover versions of videos for loved songs (Jenkins, 2013) U2 academic studies (U2conference.com) Intertextuality as a practice in online participatory culture among fans (Vernallis, 2013)
  • 12. Methods and sample Discourse analysis, a method for qualitatively analysing language and other forms of communication (Budd & Raber, 1996; Iedema, 2003); applied to intertextuality To analyse the emotional information conveyed in 150 YouTube cover videos of U2s Song for Someone by: The producers (people who made the videos) The consumers (people who watched the videos) Through the videos themselves, producers descriptions, consumers comments and likes/dislikes on the videos
  • 14. Types of videos created by producers Cover versions Original versions of the song with new visual content Tutorials on how to play the song Videos showed deep, personal involvement with the song and the band
  • 15. Cover versions: Emotions through facial expression
  • 18. Cover versions: Surroundings; fun with family; humour
  • 20. Cover version: Personal experience; the producers wedding and kid photos
  • 21. Original version: photographs of friends having fun
  • 22. Original version: Video out a plane window
  • 26. Intertextuality in cover version: Song for Someone lyrics and title on wall; Stuck in a Moment music
  • 27. Intertextuality: Rattle and Hum; looking like Bono and The Edge
  • 28. So this song is a memory that lasts, an idea that comes from another place that cannot be explained simply as things that happen can be, because there is no reason to forget what had still not enough [sic]. was awaken [sic] by the last three lines [] and I fell in love [] It is amazing how one part of a song can call out to you and make you want to listen to it over and over again Producers comments and descriptions
  • 29. Quality of the cover version Excellent performance [] even makes me appreciates U2s version considerably greater, as your acoustic guitar and incredibly sincere raw, emotionally gifted vocal capabilities emphasize the song with pure soul & heart Starts slow, but you get really good (passionate.) Really, really amazing. You give me chills, everytime. Emotional impact of the song Sometimes things happen in your life and you have no control, and a song just brings you to tears and makes things ok. Beautiful song. Intense meaning. Omg this song makes me melt every time I hear it. Una canzone piena di emozioni (Italian for a song full of emotions) Responses from consumers: more likes than dislikes; almost all positive
  • 30. Producers: tenderness, facial expressions, surroundings, musical elements, textual descriptions, U2 intertextuality Consumers: likes, positive comments Conversations between producers and consumers indicated social constructionism of emotion among fans But also individual reactions to the song Discussion: expression of emotion
  • 31. Discussion: U2 as authoritative version, and FRBR relationships
  • 32. Moving forward We need to design systems for description that accommodate more than just keywords/bibliographic records No full text inherent in music or other non-textual document: indexing problem Account for not only emotion, but also socially constructed and individually experienced emotional responses to items Ultimate goals: help people find things in meaningful ways and even potentially contribute to well-being as in music therapy (Hanser, 2010) How can this all be encapsulated?
  • 33. Lookin for a sound thats gonna drown out the world: Resolving musical emotional ambiguity in U2s POPVision Source: http://u2conference.com/u2-con-2018-program/ June 2018: U2CON2018, Belfast
  • 35. References Bates, M. J. (2003). Toward an integrated model of information seeking and searching. Retrieved from https://pages.gseis.ucla.edu/faculty/bates/articles/info_SeekSearch-i-030329.html Bates, M. J. (2006). Fundamental forms of information. Journal for the American Society of Information Science and Technology, 66(10), 2071-2084. Bennett, L. (2014). Tracing textual poachers: Reflections on the development of fan studies and digital fandom. Journal of Fandom Studies, 2(1), 5-20. Budd, J.M., & Raber, D. (1996). Discourse analysis: Method and application in the study of information. Information Processing & Management, 32(2), 217-226. Ekman, P. (1992). An argument for basic emotions. Cognition and Emotion, 6(3-4), 169-200. Hanser, S. B. (2010). Music, health, and well-being. In P. N. Juslin and J. A. Sloboda (Eds.), Handbook of music and emotion (pp. 849-877). Oxford: Oxford University Press. Iedema, R. (2003). Multimodality, resemiotization: Extending the analysis of discourse as multisemiotic practice, Visual Communication, 2(1), 29-57. Jenkins, H. (2013). Textual poachers: Television fans and participatory culture. New York: Routledge. Neal, D. M. (2010). Emotion-based tags in photographic documents: The interplay of text, image, and social influence. Canadian Journal of Information and Library Science, 34(3), 329-353. Rasmussen Neal, D. (Ed.) (2012). Indexing and retrieval of non-text information. Berlin: De Gruyter Saur. Rasmussen Pennington, D. (2016). The most passionate cover Ive seen: Emotional information in fan- created U2 music videos. Journal of Documentation, 72(3), 569-590. Stein, L., & Busse, K. (2009). Limit play: Fan authorship between source text, intertext, and context. Popular Communication: The International Journal of Media and Culture, 7(4), 192-207. Vernallis, C. (2013). Unruly media: YouTube, music video, and the new digital cinema. Oxford: Oxford University Press. Yates, C. (2015). Exploring variation in the ways of experiencing health information literacy: A phenomenographic study. Library & Information Science Research, 37, 220-227.