Attention, University of London: your conclusion,
"Those who wish to make claims about how and when popular music changed can no longer appeal to anecdote, connoisseurship and theory unadorned by data. Similarly, recent work has shown that it is possible to identify discrete stylistic changes in the history of Western classical music by clustering on motifs extracted from a corpus of written scores"
.... is a non-sequiter mush-brain *opinion* that ignores the data set uses progressively iterated information (making your process void, you don't/can't subtract out this aspect), and it's generalizations are not weighted relative to each other. It contains subjectively erroneous quantification ("loud" drums = drum machines, which becomes an *aural* aspect of the late 80's, while equating disco to m7 chords, ignoring the role of the drum machine in disco, and then lumping disco into the same category as funk?).
It does show *something*, just not what you claim. The core premise is absurd: using algorithms to try to show something that is wholly based on subjective tastes, that also incorporates derivative iteration? Next up, statistics to show why Monet wasn't a big deal and Thomas Kinkade is the most important artist in history....
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