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This is Scientific American 60-Second Science. I'm Christopher Intagliata. Got a minute?

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Flip through Rolling Stone, and you'll read about a lot of "revolutions" in popular music: Rock'n'roll and punk, disco and new wave.

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But for Matthias Mauch, an engineer at Queen Mary University of London, the qualitative analysis of musical evolution, the music critic's take, left him wondering:

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"You know is there some way in which we could take this sort of pub conversation, and make it more quantifiable?"

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So he and his colleagues analyzed fragments from more than 17,000 songs on the Billboard Hot 100, from 1960 to 2010.

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They processed the audio to extract information about timbral and harmonic qualities, tagging the files for attributes like "orchestra/harmonic" or "calm/quiet/mellow."

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Then they used those tags, which they compare to a musical "fossil record"—to tease out trends about musical evolution over time.

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Turns out, from 1960 to 2009, the dominant seventh chord

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all but disappeared - in what they call the death of blues and jazz on the pop charts.

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But as dominant sevenths faded, the minor seventh came into its own…

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more than doubling in frequency between 1967 and 77.

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"we can really see the influx of funk, which is really turning into disco."

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But next - as you know - come the 80s.

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Dominated by a rise in musical tags like "percussive" and "guitar/aggressive", the 80s were a low point for musical diversity.

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In fact 1986 stands out as the year that chart-topping songs sounded most alike.

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"Then obviously the charts got saved in terms of diversity, by this new kid on the block, the rap and hip hop coming in.

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And then suddenly, boom - the diversity's back up and actually higher than before."

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The study appears in the journal Royal Society Open Science.

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Of course, this big-data approach to pop culture probably won't overturn years of music scholarship.

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But the analysis does show that in the evolution of popular music,

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there really have been long periods of stasis, punctuated by periods of rapid change - musical revolutions - particularly in 1964, 1983, and 1991.

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And the more you study it, Matthias says, the more musical evolution starts to resemble plain old species evolution.

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"You take something that exists.

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And that in biology would be genes. But it's not genes here. You just take some styles.

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And you recombine them, like genes are recombined, and you change them as well - a bit like mutation."

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Who knows - maybe that might have been a better argument against copyright infringement for Robin Thicke and Pharrell Williams.

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'It's just evolution, your honor.'

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Thanks for the minute, for Scientific American's 60-Second Science. I'm Christopher Intagliata.

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