In contemporary popular music, covering or adapting previous songs signals a tribute or reworking of popular hits, which implies acknowledgement of the original musicians. This connection can be interpreted as a form of musical impact among artists. A network graph with more than 106k artists and 855k cover versions extracted from the web site SecondHandSongs was created. The objective is to explore the shape of this network, identify the most relevant artists according to different impact measurements and to visualize connections between music genres. This analysis is done from a longitudinal perspective with the aim of understanding how cover versions can inform us about the history of the contemporary popular music. Results show that the number of covers by artist is skewed distributed, diminishing gradually since the 1950s. Different network metrics have allowed to identify the most covered (weighted indegree), the most influential (PageRank) and the most crossover artists (weighted betweenness centrality). The network graph also shows that genre affinity is the main criterion for covering songs between artists, language being the second. Remakes from other genres reflect that Jazz and Pop/Rock are the most influential because they emerge stronger and form the core of their respective sub-networks. Cover songs describe two cycles. In a first phase from 1900s to 1950s, dominated by Jazz and Vocal artists, the covers are more frequent and associated with the notion of reworking (e.g. jazz standards); in a second stage, since the 1950s, when the Pop/Rock emerges, cover songs are less common and seen as tribute.

/pdf/cover-versions-as-an-impact-indicator-in-popular-music-a-qs0m2vmtfu.pdf

Cover versions as an impact indicator in popular music: A quantitative network analysis

Abstract Nowadays, popular music artists from a wide range of cultures perform in English alongside other local languages. This phenomenon questions the coexistence of different languages within local music practices. In this article, I argue that we cannot fully understand this issue without addressing the sacred dimension of language in popular music, which entails two aspects: 1) the transitory experience of an ideal that challenges intelligibility, and 2) the entanglement with social norms and institutions. Further to which, I compare Latin hegemony during the Middle Ages and the contemporary French popular music, where English and French coexist in a context marked by globalisation and ubiquitous digital technologies. The case of the Middle Ages shows that religious control over Latin led to a massive unintelligible experience of ritual singing, which reflected a strong class divide and created a demand for music rituals in vernacular languages. In the case of contemporary French popular music, asemantical practices of language are employed by artists in order to explore alternative, sacred dimensions of language that challenge nationhood.

/pdf/sacred-languages-of-pop-rooted-practices-in-globalized-and-2m7lzblh5k.pdf

Sacred Languages of Pop: Rooted Practices in Globalized and Digital French Popular Music

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Tout en etant centrales de par leur fonction d’incarnation, les langues chantees dans les musiques populaires prennent place lors de rituels d’ecoute ou l’intelligibilite de la langue joue un role fondamentalement ambivalent. Cela induit un rapport complexe entre pratique de la langue chantee et identification que nous abordons au prisme d’un questionnement de la diversite culturelle a l’heure de la mondialisation numerique. Pour cela, nous dressons un etat de l’art sur la question des langues chantees dans les musiques populaires, avec la notion de « transfert culturel » comme fil conducteur. Puis, en articulant cette derniere a celles de « sphere publique » et de « justice sociale » de Nancy Fraser, nous proposons un cadre d’analyse critique de la diversite des pratiques de la langue chantee que nous appliquons au domaine des musiques populaires francaises.

Pour une approche critique de la diversité des langues chantées dans les musiques populaires à l’ère de la mondialisation numérique

<ns3:p>Background: The aim of this paper is to find evidence of a changing pattern in cover songs by 21st-century artists. To this end, over 76,000 covers performed by artists who grew up in the 2000s were quantitatively analyzed. Methods: <ns3:ext-link xmlns:ns4="http://www.w3.org/1999/xlink" ext-link-type="uri" ns4:href="https://secondhandsongs.com/">SecondHandSongs.com</ns3:ext-link> was crawled to extract the cover relationships, and <ns3:ext-link xmlns:ns4="http://www.w3.org/1999/xlink" ext-link-type="uri" ns4:href="https://www.allmusic.com/">Allmusic.com</ns3:ext-link> to obtain the genre and starting decade of each performer. Results: The results show that the current music panorama is dominated by Pop/Rock music and, for the first time since the 1960s, artists from the 2010s generation prefer to cover more songs by contemporary artists than by classic figures from the 1960s. Pop and Dance are the emerging sub-genres with the largest proportion of covered musicians, while Taylor Swift, Justin Bieber and Ed Sheeran are responsible for this changing trend. Conclusions: These results provide an interesting opportunity to introduce quantitative studies in cultural studies about music, cinema and arts.</ns3:p> 

Is Taylor Swift leading a new Pop revolution? A cross-generation analysis of Pop/Rock cover songs

France in the early 1960s witnessed on the one hand a soaring demand for rock and twist music, and, on the other, popular and commercial resistance to foreign-language songs. This combination created an enormous opportunity for French-language remakes (‘adaptations’) sung by artists who could benefit from massive promotion by a record industry that was not yet multinational. Through a statistical analysis of hit parades from 1960 to 1970, a watershed decade for the globalisation of popular music, this article quantifies the ‘adaptations’ wave and contextualises its rise and decline. By way of conclusion, an epilogue jumps forward some 30 years to consider radio quotas and the adoption of English by young French songwriters.

Song ‘adaptations’ and the globalisation of French pop, 1960–1970:

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Song ‘adaptations’ and the globalisation of French pop, 1960–1970: