Thats the key finding of a study from the University of Portsmouth, which found this dynamic was consistent whether the music playing was fast or slow. It is published in the October issue of the journalExperimental and Clinical Psychopharmacology. Psychologists Lorenzo Stafford and Hannah Dodd report that, in their experiment, music caused a mismatch between the objective breath alcohol levels and the perceived alcohol strength. In other words, it appears to disrupt drinkers realization of their own level of intoxication. Their small-scale study featured 45 female university students between the ages of 18 and 28. All were regular consumers of vodka-based drinks. They individually were summoned to a psychology department test lab, where they were presented with a glass containing 275 ml of freshly opened WKD. (WKD is a flavored vodka-based drink popular in the U.K.; it contains four percent alcohol by volume.) After taking two initial sips and evaluating the beverage, the women were instructed to consume all of the drink while watching a DVD ofThe Blue Planet,a documentary about the history of the oceans. Some watched the visually stunning film in silence; others did so while listening to a piece of contemporary dance music, Stress by the band Justice. The music was modified using the software BestPractice to produce slow-tempo (85 beats per minute) and fast-tempo (142bpm) versions, the researchers write. This meant the women were in one of three categories: no music, slow music, or fast music. Using a stopwatch, research assistants noted precisely how long it took each of them to finish their drink. Once their glass was empty, they were asked to evaluate the drink and describe their mood. The researchers found some notable differences between the participants who did and did not listen to a soundtrack. The most obvious: The women finished their drink faster when musicfast or slowwas playing. Those who werent listening to music reacted to the alcohol in fairly predictable ways. Their negative mood declined as their breath alcohol levels rose, meaning the beverage was relaxing them or raising their spirits.
How YouTube and music companies reach Generation C
ON LOCATION: Where the cameras roll “We were trying to figure out this new concept of how to reach Generation C, how we connect with fans on a much deeper level,” said Jeremy M. Holley, Warner Music Nashville’s senior vice president of consumer marketing. Working in partnership with YouTube, Warner Music embarked on a rare musical joint venture between its recording artists and the musicians who have cultivated their fan bases on the site. Warner contacted seven YouTube creators whose musical styles were compatible with those of Warner Music Nashville/Atlantic Records singer-songwriter Hayes and Atlantic Records artist Mraz. It invited Tyler Ward, Kina Grannis, Peter Hollens and other YouTube notables to record cover versions of “Everybody’s Got Somebody but Me,” which were incorporated into the original song to produce a new track. The resulting musical collaboration served as the sound track for a music video, “The Hunter Hayes YouTube Orchestra featuring Jason Mraz,” which debuts exclusively on YouTube, before the anticipated release of the official music video this month. “When it makes sense and when there’s a natural connection, we try to bring these collaborations together,” said Ali Rivera, YouTube’s West Coast head of artist label relations. “This is the first time we’ve created an entire music video, using more established musicians and the YouTube creators.” PHOTOS: Hollywood Backlot moments Warner even relocated the official music video shoot to Los Angeles from Nashville so Hayes and Mraz could accommodate the project, which is directed by filmmaker and YouTube music producer Kurt Hugo Schneider. Warner Music executives hope the musical mash-up, together with individual music videos that have already been released by the YouTube collaborators, will introduce the song to a generation of fans who rely on YouTube personalities as tastemakers. “For some kids, people like Kurt Schneider and Tyler Ward are people that they trust,” said J Scavo, senior vice president of interactive marketing for Warner Bros. Records. “We took a natural jump into getting our artists in front of a demographic that’s tough to get 100% through traditional means.” Created purely for promotional purposes, music videos evolved into an art form during the early MTV days. Now they’re a force online: The Vevo and Warner Music channels on YouTube each attract about 200 million viewers worldwide each month, according to measurement firm ComScore. Among young adults, ages 18 to 29, music is one of the most sought-after forms of online entertainment, according to new study from Pew Research. Music videos saw the largest growth in viewership over the last four years among all adults online, half of whom now say they watch, Pew found.
Telefonica tunes in Rhapsody’s Napster for streaming music
Carlos Domingo, Telefonica Digital’s director of product development and innovation. (Credit: Stephen Shankland/CNET) Telefonica Digital, the digital arm of one of the largest telecommunications companies in the world, has picked Napster as the recommended streaming service for its business units, bringing Rhapsody’s subscription music service to Latin America for the first time. While limited in scope initially, the partnership means Napster will have a vocal advocate for it when Telefonica operating units — such as O2 and Movistar — pick a music service to bundle into phones. At first, their alliance will mean Napster replaces Sonora, a subscription music service provided by Telefonica unit Terra in Brazil, Argentina, Colombia, Chile, Peru and Mexico. That moves Napster into Latin America, an area of rapid smartphone growth, for the first time. The companies wouldn’t specify Sonora’s number of active users, but they generalized it is in the hundreds of thousands. Rhapsody has more than a million paid subscribers globally. Telefonica had 317.3 million customers as of June, across 24 territories. Its main commercial brands are O2 in northern Europe, Movistar in Spain and Latin America, and Vivo in Brazil. Telefonica can earn a minority stake in Rhapsody International as part of the partnership, but the companies wouldn’t specify how large it could be or other financial terms. Related stories Is Spotify unfair to musicians? After Rhapsody bought Napster in 2011, it kept quiet on the former peer-to-peer service that switched to above-board streaming service, until it announced plans to expand into 14 European countries from the UK and Germany in June. Telefonica noted the Napster would help it connect with customers amid rapid growth in smartphones in Latin America, where the devices reach only about 20 percent of the market and are still growing at a quick clip.