Italian music through the lens of complex networks
michelecoscia.com
michelecoscia.com
I would imagine that influence could be transferred even without artists playing in each other's bands. I can think of plenty of extremely influential bands that defined the start of a whole genre, whose members never played in another band.
But perhaps the original argument that the author was making was that Maroccolo is important because he played with everyone, in which case this analysis makes sense.
Anyway, cool networks.
It's much, much harder to compile a dataset that captures the path of music _influence_ as a way to measure it's impact. Yet, I wonder if that would look at all different? Consider the impact that one Giorgio Moroder had on electronic music globally, both in terms of "Italo Disco" and more. He's clearly in the article's illustrations _somewhere_, but as a solo artist and producer, may have few if any connections (collaborations & credits) to other Italian groups.
[1] https://medium.com/festival-peak/exploring-the-post-rock-wor...
For example, The Cure was exclusively signed to Fiction Records, which was more or less a vanity press for them, but they indeed had labelmates who were really, really obscure, and could always be connected back to Cure personnel.
It was sort of an amazing feeling, that everything was really interconnected in unexpected ways. In hindsight, all that music was a terrible influence and I was wasting time and money, but I also learned quite a bit about the record industry and collectibles, such as how to appraise the value of a piece, detect counterfeits vs. authentic pieces, and methods for archiving and preservation. My parents had collected postcards, stamps and other ephemera, and it sort of rubbed off on me!
It contains both the original artist-band bipartite network, and the actual projections used in the paper (and blog post).
The page on my website (https://www.michelecoscia.com/?page_id=2336) is slightly better because it also contains the code to make the projections yourself (and to verify the claims in the paper).
MySpace is mostly erased (prominent Italian musicians for some music waves of the 00s and 10s were there), some sites are erased, what pertains to radio and television is mostly not indexed on the public internet and there's significant digital divide between genres. In the Italian context, you'd end with a weird pantheon of rock, rap and popstars and not much else left, in conclusion you would... expunge significant artists and whole genres from results.
However, degree sounds like a bad measure, since the value can be drastically increased by participating in a (few) big project(s).