Regular readers will know that I have been live-blogging the Eurovision Song Contest final since 2011. Every year I sit down in front of the TV, metronome and guitar in hand, and write live musical analysis of the songs in real time, then attempt to predict the winner before the voting starts. Here’s the full archive 2011-2019 (spoiler – I only managed a home run in 2015, with all the top 3 correct, in the right order). My approach (in all musicology) has always been to try to analyse and understand the underlying songs/tracks on a musical level, and move past all the camp theatricality and geopolitics. I take the view that all popular music is ‘good’ by someone’s standard, and that it’s as interesting to analyse songs from a mainstream TV event like the ESC as it is to look at more obscure/highbrow material. Those who carry the scales of musicology should be blindfolded.
In 2020, the planned contest in Rotterdam was canceled due to worldwide restrictions, but in a strange turn of events, Netflix asked me to undertake some academic research into the musical characteristics of the songs over the past decade. The research was commissioned in part as a celebration of the contest, and also to promote the release of the 2020 movie Eurovision Song Contest: The Story of Fire Saga starring Will Ferrell and Rachel McAdams. Working with my friend and colleague Simon Troup (Digital Music Art UK), we analysed the 259 finalists from 2010-2019, immersing ourselves in the corpus over an intense 15-day listening period, and extracting high-level data (key, BPM, style, lyric theme etc) to see what we could learn about voter preferences and song evolution.
We’ll be publishing a pre-publication version of the research paper very soon, and the full academic paper sometime in 2021 after peer review, so this blog post is a preview of some of the early findings, with some song excerpts, and commentary on the songs from the 2020 contest that never was, and also some analysis of the songs from the movie.
Songs for Europe: a music and lyric analysis of 259 finalists from the Eurovision Song Contest 2010-2019
A research project in progress 2020-2022
Project Summary:
Two musicologists[1] have published the early findings of academic research analysing the 259 songs that have appeared in the Eurovision Song Contest finals 2010-2019. They used a combination of computer analysis, music transcription, immersive listening, and lyric interpretation to identify every song’s lyric theme, style, and musical attributes, and then analysed the data to explore the characteristics of the songs that attract the most votes in the contest.
Headlines:
- There are six broad ‘archetypes’: Euro-pop, Ethno-pop, Ballad, Anthem, Schlager and Chanson.
- There are six broad lyric subjects: Love, Unity, Self-Assertion, Partying, History and Music, with love songs accounting for 69% of the whole, and 83% of the top 3.
- The most popular styles are Euro-pop, Ballad, Ethno-pop and Anthem, accounting for 79% of the total. The older styles (Schlager and Chanson) account for less than 5% of finalists.
- The classic Eurovision cliché of a key-change in the final choruses is alive and well, appearing in almost 20% of the finalists, but not among any of the winners.
- Eurovision appears to enjoy sadder songs in recent years – “winter” love songs have been more popular since 2018.
- The most successful finalists are Azerbaijan and Sweden, who qualified 9 times out of 10 (UK, Germany, Spain, Italy and France aka the ‘Big Five’ are guaranteed a place in the final).
- 65% of all songs were in a minor key; of these, more than half used the Aeolian mode aka natural minor scale.
- The mean average tempo is around 104 BPM, although the actual tempos tend to group around 70BPM (Ballads) and 125 BPM (Euro-pop).
- Eurovision winners are slowing down; the average tempo of the top 3 scoring songs dropped from 148 BPM (2010) to 76BPM (2019), helped by some successful Ballads in 2017 and 2019.
- Many popular styles of music outside Eurovision (metal, hip-hop, rap, punk, trap, country, techno) are almost completely absent from the contest, although they have an influence on the production of the archetype styles. Eurovision song styles appear to have ‘evolved’, in the cultural Darwinism sense, independently from mainstream global pop music. The researchers speculate that this is due to the particular cultural and structural factors at play in the Contest, in contrast to the more unregulated market forces that decide the popularity of mainstream hits.
ABSTRACT: There is evidence that the cost of clearing the recording copyright of a sample (the master clearance) has risen significantly in the last 20 years (see, for example: McLeod and Di Cola, 2013; Morey, 2014), with one result being the increasing use of sample replay services, which create a sound-alike of a sample at a fraction of the price of clearing the original. A further recent development is that producers (hereafter sampling composers) whose records originally used cleared samples have found that on expiry of the term of clearance, record label demands to authorize an extension have become financially prohibitive, leading to a choice either to create a version with the sample replaced by a replay, or have the record disappear completely from streaming services and broadcast media.
ABSTRACT: A commercial pop music production is rarely the result of a single individual and pop music producers and songwriters are often part of a larger creative collective (Hennion, 1990) in creating a musical product. A team leader typically manages this group activity. That team leader requires an appropriate level of cultural, symbolic and economic capital (Bourdieu, 1984) so they can effectively evaluate the contributions of the rest of the team and guide the project towards commercial success (Thompson & Harding, 2017). This study explores the role of the team leader within the creative production workflow of pop songwriting and production since the 1990s and investigates the ways in which pop songwriting and production teams work within a creative system of pop-music making. Building upon previous studies in this area (Harding and Thompson 2017) the ‘Service Model’ flow system is illustrated with distinct linear stages that include the processes of pop songwriting, pop vocal recording, post vocal production and then mixing. However, within each of these production stages the ‘highly nonlinear dynamics’ (Capra and Luisi, 2014) of the creative system (Csikszentmihalyi; 1988, 1999) can be viewed in action as the team work together to make the pop record. Drawing upon a series of interviews and data gathered during a Practice Based Enquiry (PBE) conducted at Westerdals University in Oslo, this paper presents the pop music ‘Service Model’. Importantly, the model underlines the value of the collective (rather than individual) in the commercial pop songwriting and production process.
Franco Fabbri, University of Milan and Conservatorio ‘A.Boito’, Parma
Steve begins with an overview of US music education generally, including high schools and universities, asking ‘why adapt now?’ and describing a necessary journey toward curricular adaptation. He takes us back to the mid-20thC innovators (USC, Miami, Berklee) who ‘took a chance on jazz’, and observes that the music education community thought they were crazy. Within 50 years of those early adopters, jazz in music schools had become mainstream. Steve believes that popular music education today is where jazz music education was in the 1950s, and predicts a similar trickle-down effect in future years, giving examples of schools where this is already starting to happen.
Randy introduces himself and talks briefly about his work in music education, including his publications, talks, and his experience of listening to other songwriters’ work over many years. Today he’s sharing with us the structure of his 16-week songwriting course, and he begins with the philosophy of definition i.e. the question ‘what is a song?’. He suggests that most technical descriptions of a song fall short of the mark of describing its subjective effects on listeners, noting how difficult this intangible would be to achieve. He provides a traditional melody-lyric-harmony definition of a song (i.e. omitting the Sound Recording or arrangement), and then asks the potential student question “If [a song is too intangible to hold], then how can I learn about it?”.
Misty opens by describing her particular students as ‘in the box’ producers – that is to say, they create the entire sound recording in a Digital Audio Workstation. The problem she’s trying to solve is this: the students’ recordings are just not ready yet [for the commercial marketplace]. So today, she will be sharing her approach to helping students to make their song recordings competitive, in the genre they want to produce in.
Welcome to the 2018 Eurovision live musicology blog, now in its eighth year. This site has provided live music analysis of the ESC final every year since 2011, previously during the UK live broadcast. Since 2016, the text has been written from Boston USA, 5 hours behind UK time and, this year, also the Altice Arena in Lisbon, Portugal, where the live show takes place.
Back in 2010 I live-tweeted some song commentary as the show was going out. Since 2011 I’ve been 
This week, Lana Del Rey 
Abstract: In my presentation, I will explore differences and similarities in the creative agency of the producer in the production process of urban pop music produced in a home studio, rock music produced in a conventional studio facility and classical concert hall music produced in a concert hall setting. Starting from the premise of record production being a collaborative effort, I approach agency as the capacity to make and effect decisions within a structure or even to alter it to some extent, and creativity as contributing to the domain of existing works through exercising aesthetic decision-making. Based on these understandings of agency and creativity, I will examine how different cultures in different production settings and different studios conceived as cultural spaces affect the construction of the producer’s agency within creative communities in the production process. Furthermore, I will discuss how differences in understandings of the ontology of the music contribute to the level of creativity, i.e. the contribution to the domain of existing works, that a producer agent can possess. I base my presentation on extensive ethnographic fieldwork of three case studies on production processes, which took place in the course of 2015-2017. The presentation will summarize and discuss some of the central findings of my forthcoming PhD dissertation. This presentation is intended to be in the short presentation format.
Abstract: In his introduction to The Art of Record Production: An Introductory Reader for a New Academic Field (Frith & Zagorski-Thomas, 2012), Simon Frith proposed that producers in pop and dance music genres have a significantly different role to music producers in other music genres such as rock. A prominent difference is that pop music producers are often part of a production team that involves direct collaboration and participation with songwriters, programmers, musicians, artists, management and record company representatives. Pop music songwriting and production teams are therefore more frequently part of a larger creative collective (Hennion, 1990) in creating a musical product. The following paper describes the creative production workflow system at Pete Waterman Ltd. (PWL) Studios during the 1980s and investigates the way in which Phil Harding and Ian Curnow (P&E) worked with manager and entrepreneur, Tom Watkins in the 1990s. Drawing upon a series of interviews and data gathered during an extended ethnographic and auto ethnographic study, this paper presents the pop music ‘service’ model, which underlines collectivist rather than individualist thinking and illustrates how evaluation is present (and co-current) at the ideation stage in the generation of creative ideas (Sawyer, 2003) at various stages of the commercial pop songwriting and production process.