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To describe the use of a Composer’s Cut video as a tool for reflecting on and celebrating one’s experience creating multimodal compositions for personal and social audiences.

Two adolescents designed and produced digital video stories about their prior experience composing a webpage and a multimodal literary analysis hypertext in response to the Vietnam war novel, The Things They Carried.

Each student remixed Camtasia screen capture video, class video, and images, enhanced with text overlays and music, to showcase their unique vision as a multimodal designer and to highlight their composing processes. They viewed the Composer’s Cut video as a powerful vehicle for reflection and appreciated that their videos would have a public audience.

Reflection often tends to be oral or written. Digital video supports students in showing, as well as telling their experience through multiple modes. The Composer’s Cut video is one example of how video might be used for reflection that is both personal and social.

The purpose of this paper is to demonstrate an actual compositional process that entails a diversity of music information modes and describe the way these modes contribute to the creative aspirations of a composer.

The music information typology proposed by Rousi, Savolainen and Vakkari is used as a point of departure for defining the different modes of music-related information. First, relevant music information modes are identified from the composer-informant’s verbal description of a compositional process. Then, their proportions and dynamics are examined.

The findings suggest that the music information typology may be applied within the context of musical composition, that is, all of its five modes of music information could be identified from the composer’s verbal description of the compositional process. However, two additional significant information modes were identified: shaping music as the third mode of enactive representations and genuine iconic representations.

The purpose of this case study is not to claim that the results regarding the significance of individual music information modes apply to all compositional processes within diverse genres of music.

This study introduces a new mode of music information indicative of the artistic capacity of expressiveness: shaping musical structures as the third mode of enactive representations was the means whereby the composer made musical structures work for himself and hence created performative power in his music.

The purpose of this paper is to examine women composers’ use of online communities of practice (CoP) to negotiate the traditionally masculine space of music composition while operating outside its hierarchical structures.

The authors employed a mixed methods approach consisting of an online survey (n=225) followed by 27 semi-structured in-depth interviews with female composers to explore the concept and use of CoP. Content analysis was used to analyze the survey responses and interpretative phenomenological analysis was used to interpret respondents’ lived experiences as relayed in the interviews.

The findings reveal that the online environment can be a supportive and safe space for female composers to connect with others and find support, feedback and mentorship, increase their visibility and develop career agency through learning and knowledge acquisition. CoP emerged as an alternative approach to career development for practicing female music workers and as a tool which could circumvent some of the enduring gendered challenges.

The findings suggest that online CoP can have a positive impact on the career development and sustainability of women in male-dominated sectors such as composition.

The purpose of this paper is to report research that sought to understand the requirements of information systems designed to support people engaged in creative intellectual activity. The research aimed to provide empirical evidence based on a case study of a particular arena of creativity, namely electro‐acoustic music composition. However, it also sought to identify issues that may apply more widely to other arenas of human creativity.

The research was based on a related series of three in‐depth studies of electro‐acoustic music composers at work. These studies entailed the collection of qualitative data from interviews, observations and “think aloud” protocols. These data were analysed inductively to reveal concepts and relationships that formed the basis for a model of interactions between the composers and the information systems with which they were working.

The paper presents a model of relationships between information system features and use, and the resulting effects in terms of the extent to which creativity was perceived by the composers to have been facilitated and inhibited. In particular, a number of tensions were identified which suggest that conventional “best practice” in the design of data‐intensive information systems may be fundamentally at odds with the requirements of such systems to support important aspects of creativity.

The limitations associated with in‐depth qualitative research based on small samples is acknowledged, relating in particular to its lack of ability to generalise on the basis of statistical probability. However, such an approach arguably offers the complementary strength of being particularly suited to exploratory research aimed essentially at charting new territory and identifying rich and possibly unanticipated constructs rather than testing hypotheses based on existing theory. The resultant findings, however, must remain tentative and provisional pending further systematic investigation designed to establish the extent to which they are generalisable.

As well as identifying limitations in conventional approaches to designing data‐intensive information systems, an alternative architecture is proposed which seeks better to map onto the requirements of creativity support. It is hoped that both the criticisms of conventional approaches and the proposed novel architecture may be of practical use to those engaged in the design of data‐intensive creativity support systems.

The research reported here offers a novel perspective on the design of information systems in that it identifies a tension between conventional “best practice” in system design and the requirements of important aspects of creativity support. It has the advantage of being based on the in‐depth observation of real composers in action over protracted periods of time. It also proposes a novel system architecture which seeks to avoid reduce such tensions.

The purpose of this paper is to examine the facets of copyright licensing for commercial composers. As traditional business models within the music industry wane, there emerges a tacit opportunity for composers to exploit copyright through partnerships with third‐party entrepreneurs, across sectors such as television, video games and film.

A case study is utilised to identify opportunities within the television sector for commercial composers who own both publishing and mechanical copyright. Despite the economic crisis facing the entertainment industries, the paper identifies facets for commercial composers through licensing their intellectual property (IP) to third‐party entrepreneurs.

Composers who own both publishing and mechanical rights arguably hold a market advantage, resulting in an emergence of “one‐stop” licensing agreements – and less administrative fees – for major publishers.

The implications asserted within this paper relate specifically to the television sector and further research could be undertaken in order to examine the utilisation of similar practice across different sectors, such as video games, and film, within which different opportunities and limitations will undoubtedly exist.

The implications for composers and managers is clear. A basic understanding of key legal terms, contract structure and the administrative functions of societies such as the MCPS‐PRS Alliance, are essential. This paper offers a valuable insight into very current changes across both the music and television sectors, identifying tangible opportunities for commercial composers.

This paper explores the facets of copyright licensing for commercial composers within new sectors including television. The author believes that sectors such as television, film and videogames can and do provide lucrative opportunities for independent musicians, composers and record labels. It is essential to explore such opportunities.

The purpose of this paper is to identify, operationalise, and test a knowledge management model in the context of electroacoustic and mixed music preservation. This operationalisation intends to provide an interdisciplinary framework for the specification of meaningful usability for idiosyncratic technological artefacts build up during the creative process of these works.

The design of the questionnaire was based on semi‐structured interviews with seven composers. The resulting questionnaire was used for an online survey targeting composers registered at electroacoustic and mixed music online associations. Data were collected from 33 composers.

This article demonstrates the relevance of Boisot's knowledge management model in order to categorize the knowledge involved during the creative process of electroacoustic and mixed music with spatialisation.

In terms of Boisot's model operationalisation, the authors identified limitations with regards to composers' ability to discriminate between different levels of abstraction and diffusion. Since multiple agents, both human and non‐human, are involved in the creative process of electroacoustic and mixed music, further studies should address their interaction throughout the creative process.

Based on the findings of the survey, the authors propose the concept of significant knowledge as an extension of significant properties in order to provide a meaningful usability of digital objects. Since similar technologies are used in theatre, dance, and fine arts, the authors expect this research to benefit the artistic community at large in terms of preservation.

The following list is a first attempt to catalogue and describe systematically the British Museum's extensive holdings of early opera librettos and related plays. The great importance of these unpretentious booklets as supplementary and, more often than not, even primary sources for the history and bibliography of dramatic music, besides or instead of the scores, was already clearly recognized in the eighteenth century by Dr. Burney and other scholars. But it is only since 1914, the year in which O. G. T. Sonneck's Library of Congress Catalogue of opera librettos printed before 1800 appeared, that their documentary value could to any greater extent be put to general use in international musicological research. A similar bibliography of the British Museum librettos, while naturally duplicating many Washington entries, would produce a great number of additional tides, not a few of them otherwise unrecorded; it would provide the musical scholar with the key to a collection unequalled elsewhere in Europe, which owing to the peculiar nature of the material is not easily accessible by means of the General Catalogue.

One of the standard practices of Communist Parties around the world is to employ art, including music, as a channel to spread political ideologies. This study aims to scrutinize the reception of Beethoven's music, particularly from a political viewpoint, by the Chinese Communist Party (CCP) in the People's Republic of China (PRC) during the early years of its rule, i.e. from 1949–1959. The ambiguity of Beethoven's own political outlook may have provided an opportunity for the CCP to choose the composer and his music in support of its aims.

To understand why and how the CCP could exploit Beethoven and his music to support its political ideologies, a series of Chinese writings on Beethoven between 1949 and 1959 have been studied. Those literatures not only helped the composer gain reputation and popularity in the PRC, but also provided a platform for the CCP to manipulate such candidate and his music. Finally, the reception of the performances of the Ninth Symphony in 1959 in the PRC is singled out for close examination.

During the first ten years of the establishment of the PRC, the quantity and quality of the articles on Beethoven expanded considerably. These writings continued to reflect the reception of Beethoven and his music with the addition of political nuances that could be interpreted in the CCP's favour.

This paper seeks to examine the PRC's artistic policies, with a particular emphasis on the reception of Beethoven and western classical music.