Spotify’s Musical Map Reveals Most Listened To Genre
Streaming-mogul Spotify has created a live ‘musical map of the world,’ which has analyzed over 20 billion tracks to show the most popular genres and trends for over 1000 cities. The map, which will be updated bi-weekly, is based on music that is unique to each area—songs that are listened to more frequently in one city, while not frequently listened to in others. Unsurprisingly, many cities favor local musicians, like London’s listening rate of Jamie XX’s new album and Philadelphia’s favor of Meek Mill.
The map also revealed the world’s most popular genre, hip-hop, which showed up on more playlists than any other genre, regardless of geography or language. Whether or not hip-hop is billed as the top genre by Spotify due to Spotify’s relationship with hip-hop labels, its use in social settings, the inclusivity of the genre or another factor, is unclear. Hip-hop is a genre that has seen large listening audiences on Spotify, with Kendrick Lamar’s new album (‘To Pimp A Butterfly’) recently breaking the record for most streams in a single day, at 9.6 million.
Pittsburgh Symphony’s Dwindling Audience
Pittsburgh Symphony Orchestra is dealing with a drop of 11 percent in capacity in its 2014-15 season. The dwindling capacity could be attributed to the symphony’s recent increase of ticket prices, which failed to secure larger audiences in the Heinz Hall’s particularly large hall, which seats 2,662 patrons. Compared to orchestras in cities with a similar population, this is a large number—Severance Hall in Cleveland, for example, seats only 2,100.
With popular series, such as the final Beethoven series on June 7, the larger hall boasts an advantage, and saw a 97 percent capacity for that concert. However, the high capacity hall makes sold-out concerts at Heinz Hall a rarity—the last was in February 2013 with a performance of Rachmaninoff’s Piano Concert No. 2 and Beethoven’s Symphony No. 7, both which are typically audience favorites.
The struggle to fill seats is one faced by many American orchestras, as the percentage of adults attending classical concerts dropped from 11.6 percent to 8.8 percent between 2002 and 2012, according to a study by National Endowment for the Arts.
One problem that has been recognized is the high rate of no-shows, as at least 20 to 23 percent of subscriber tickets go unredeemed. While the symphony’s increase of overall subscription sales is a good sign, getting subscribers to come to concerts may be a main source of the emptying hall.
New York City Opera’s Board Withdraws Sale of Name
The recently bankrupt New York City Opera withdrew the Sale Motion that would have permitted bidders to purchase their name and other assets. The move was made by the defunct opera company’s board, a decision that follows months of legal wrangling between two bidders who both had hoped to revive the company.
The board cited its decision was made to reflect the best interests of the debtor’s estate, as they’ve recently been weighing the option to reorganize the company through the bankruptcy process, with one of the bidders serving as a plan sponsor.