Novelty in Music

Compression

Typical HiFi requirements are a frequency range from 20Hz to 20kHz.
Assuming we need to sample that signal at twice the highest frequency and with sufficient number of bits to achieve a good signal to noise ratio, we might end up with a bit rate approaching 1 Mbit/second

However, MP3 players can provide us with high quality stereo audio with significantly lower data rates. This is achieved by exploiting insights into how our mind perceives sounds. This moderate compression is applicable to all sounds.

Music, by its very nature contains high levels of redundancy in both note and rhythm. a note is a periodic oscillatory pressure wave, and the beat is a repeating sound pattern.

Early extreme forms of compression technology would be pianolas and music boxes. These used holes in a roll of paper or foil, or pegs on a drum.

The modern equivalent is the electronic MIDI interface

First hearing

When we hear a piece of music for the first time, it must be hugely similar to music we have heard before for us to enjoy it.

It is interesting to note that when music of the great composers was performed in public for the first time, the reception was often negative. Only later was it recognised for its greatness. Pop music faces the challenge of being enjoyable on the first or second listening, and still enjoyable in the longer term. It seems that we can only take so much novelty and still enjoy it.

Familiar Music

When we listen to a loved piece of music, we may think that we are hearing it all, but the reality is that we are playing our memory copy of the piece in our mind. If it is not exactly the same as the one we are familiar with, we notice the differences. If we wanted to measure the information rate under these conditions we might introduce a few changes into a familiar piece, and measure the maximum rate of changes that can be noticed. Just thinking about it, it is obvious that such a result is unlikely to be more than 1 bit per second, probably much less.