Can Videos Promote New and Difficult Music?

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I write music as a hobby, to learn about music and to express some ideas. I have recently discovered  You Tube to be a useful forum to find new and interesting music. I decided to post two pieces (among others) on to share and to get reactions. In the ensuing two years I have had and listens (respectively), a few favoritings and a few comments. I am fine with this.
I also subscribe to a few channels which feature the sort of new music of which I am a fan. These channels offer videos (of varying, frequently mediocre images or even just one still image for the entire length of the piece) with a soundtrack of a wide variety of contemporary music, much of it not generally or easily available. In most cases I have found the images superfluous or even unrelated to the music at hand but, no matter, I just wanted to hear the music.

Then, in a little “aha” moment, I wondered if I could get more “hits”, more people listening to some of my music by posting videos. So I took a little time to figure out the video making program on my computer and put together two videos using a series of still images gathered on the Internet. I did try to choose images with some relevance to the music (but the videos are admittedly mediocre) and I posted these brief videos on my newly created YouTube channel one year ago.

Well, guess what, in the space of one month I got more hits than I received in a year on Soundcloud. Now this is not to denigrate Soundcloud or to promote YouTube. This is quite simply a limited experiment, maybe a pilot study if you will.

One year later the gap closed on with the first piece having more listenings on Soundcloud than You Tube and the other widening the gap with more views on You Tube .

I’m not sure how to interpret the results but I offer here a few speculations for discussion:

First, YouTube is clearly a more popular medium. It has been around longer and gets a lot of traffic. It is also set up with topics by which you can reference your music (piano music, classical music, etc.). This gives the search engine ways to index your video by things in addition to title and author which, as far as I can determine, is not the case with Soundcloud. Soundcloud allows you to tag your sounds but I am not as certain that their search engine handles them in the same way.

Second I have to wonder if the medium of the Internet either lends itself or has been developed in such a way that users are more easily drawn to the audiovisual rather than just the audio. Even unrelated or pedantic images stir more interest than watching the progress bar on Soundcloud for certain. But one could also say that the images distract from the music.

Third, I wonder if people are now actually being socialized to expect the audiovisual experience and to have a shorter or no attention span for audio alone. I wonder if this could be a factor in the attraction of audiences to concerts which don’t have as strong a visual component.
Certainly heavily produced rock and pop concerts have set expectations for their audiences. But even the experience of listening to jazz or blues in smaller venues has visual components in seeing the stage presence of the musicians and the reaction of the audience. And stage lighting generally seems to have a different character than that of a formal concert hall or chamber venue.

Of course I am talking here specifically about music which already seems to have a limited audience and one which has rightly come to expect some serious challenges in the listening experience (think Xenakis, Nancarrow, Reich, Rihm, Boulez, etc). I have many times seen the puzzled faces of musicians and composers to whom I have spoken when I share my familiarity with their work and my ongoing interest in it. They seem almost to be asking themselves what must be wrong with this essentially non-musician that drives him to subject himself to concert experiences that would bore and/or frighten and confuse many audience members. It is safely assumed by performers of new classical and free jazz that their audience will likely have limited familiarity and have difficulty grasping their compositional ideas. And in my experience many concert goers are curious (or brave) but have very little knowledge to support their understanding and appreciation of what they hear. Some purists might say that one should simply give in to the experience but I think that is naïve.

Now this is not to say I feel any hostility or condescension. Quite the opposite. Once the composers and performers figure out that I am simply a curious and interested consumer they are invariably extremely appreciative. (The most frequent question I get is something like, “How do you know this?”). I think it is a safe assumption that the average audience member is not steeped in the esoteric or obscure realms in which these musicians usually work and that finding such information requires more than average effort. I am appreciated as an outlier and that’s fine with me. The problem I have is that, at some level I can’t imagine why someone would not be fascinated by the likes of Cecil Taylor, Milton Babbitt, Steve Reich, The Art Ensemble of Chicago, etc. I just find new music compelling and find myself driven to learn about it and experience it.

But I digress. My main point has to do with the level of interest gained by audiovisual vs. audio alone in presenting music on the Internet. And I can draw no definitive conclusions from such meager data but I did find a difference. I think that pretty much anything that gets people listening is probably a good thing. I am a star on neither Soundcloud nor YouTube but I
now suspect that I can find a larger audience with videos than with audio alone. Perhaps if I had some silly animal videos to which I could append my music I could achieve the digital dream of “going viral”. Or maybe not. But at least you will have listened once.



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