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Music mood is an important metadata type on online music repositories and stream music services worldwide. Many existing studies on mood metadata have focused on music websites and services in the Western world to the exclusion of those serving users in other cultures. The purpose of this paper is to bridge this gap by exploring mood labels on influential Chinese music websites.

Mood labels and the associated song titles were collected from six Chinese music websites, and analyzed in relation to mood models and findings in the literature. An online music listening test was conducted to solicit users’ feedback on the mood labels on two popular Chinese music websites. Mood label selections on 30 songs from 64 Chinese listeners were collected and compared to those given by the two websites.

Mood labels, although extensively employed on Chinese music websites, may be insufficient in meeting listeners’ needs. More mood labels of high arousal semantics are needed. Song languages and user familiarity to the songs show influence on users’ selection of mood labels given by the websites.

Suggestions are proposed for future development of mood metadata and mood-enabled user interfaces in the context of global online music access.

This paper provides insights on understanding the mood metadata on Chinese music websites and uniquely contributes to existing knowledge of culturally diversified music access.

Along with their immense benefit, online channels of communication and information-sharing also present a myriad set of challenges. The unauthorized downloading and sharing of copyrighted content such as music and movies is one such issue. This study aims to examine the factors related to the unauthorized downloading of content amongst young internet users in an emerging market.

An online structured questionnaire was used to collect primary data from 219 internet users between 17 and 24 years of age. The partial least squares structural equation modelling was used to analyse the primary data.

The study findings report that monetary savings and social influence are the main drivers underlying the propensity to engage in unauthorized downloading amongst young adults. Perceptions of harm caused to artists and producers appear to be a deterrent. Though the respondents perceive the quality of content downloaded from unauthorized sites to be less than desirable, and there is also a higher perceived threat from viruses, this does not appear to deter unauthorized downloading behaviour amongst this segment of consumers.

Combating unauthorized downloading and other forms of questionable online behaviours is a challenge for multiple stakeholders. Consumption of unauthorized digital content is examined in the context of online consumers whose demographic profile is often associated with this category of questionable behaviour. The study adds to the extant understanding of the aetiology of what are often considered online unethical and illegal behaviours and makes both practical and theoretical contributions to the subject field.

The study examines an important aspect of rapidly evolving internet technologies. The internet provides a veil to individuals engaging in unethical online activities. Despite the existence of laws declaring these activities to be illegal, instances of copyright violations of music and movies abound. The insights regarding the drivers and deterrents of a form of online unauthorized activity are used to present a set of strategies aimed at addressing such behaviours.

The purpose of this paper is to explore the key success factors behind Bangtan Boys’ (BTS) popularity, and how they can contribute to sustaining it, along with detailed strategies for the success of global pop.

This study adopts a mixed-methods approach that uses text mining and interviews and uses the success of BTS to find the key factors accounting for its sustained popularity. For use in text mining, we collected data related to BTS from social network sites (SNS) and analyzed this data using latent Dirichlet allocation (LDA) topic modeling, term frequency analysis and keyword extraction. In addition, we conducted interviews to explore the key factors accounting for the sustained popularity of BTS.

We found ten key success factors—active global fandom, SNS communication, fans' loyalty, empathy through music, storytelling and world view, performance quality, music video quality, overseas expansion at an early stage, efforts for self-development and teamwork among members— for a global pop group's success and sustained popularity.

This study contributes to the literature by finding key factors for success and sustained popularity of a global group through using a mixed-methods approach.

Our results suggest strategies to sustain the popularity of global groups and its potential to benefit across the entertainment industry.

This study is among the first to comprehensively examine the key factors for Korean pop’s (K-pop) sustained popularity by using a mixed-methods approach of text mining and interviews.

The purpose of this paper is to outline a framework for marketing cultural goods (e.g. music) to global markets by examining modes of entry and positioning strategies used by media producers of the South Korean music industry.

An historic analysis was implemented to investigate the modalities and structures through which cultural products are produced and disseminated. Data for this study came from 314 articles collected from www.allkpop.com, a leading English-language, South Korean popular culture news site.

The cultural technology framework consists of the institutionalization of cultural technology, exportation of cultural content, collaborations with local talent, and joint ventures with local markets.

The findings emerge from an analysis of South Korean popular music industries, and further research is needed to generalize the results across cultural industries.

The cultural technology framework can be applied to cultural industries such as music, film, comics, and art, where culture and language could be barriers to adoption.

This study outlines a framework for the modes of entry and positioning strategies of cultural goods (e.g. music) in international markets. Extant literature has examined global marketing from the purview of durable consumer goods and brands, with limited insights into cultural products. More broadly, this paper addresses the call for more qualitative inquiry into international marketing topics.

The purpose of this paper is to compare music mood perceptions of people with diverse cultural backgrounds when they interact with Chinese music. It also discusses how the results can inform the design of global music digital libraries (MDL).

An online survey was designed based on the Music Information Retrieval Evaluation eXchange (MIREX) five-cluster mood model, to solicit mood perceptions of listeners in Hong Kong and the USA on a diverse set of Chinese music. Statistical analysis was applied to compare responses from the two user groups, with consideration of different music types and characteristics of listeners. Listeners’ textual responses were also analyzed with content coding.

Listeners from the two cultural groups made different mood judgments on all but one type of Chinese music. Hong Kong listeners reached higher levels of agreement on mood judgments than their US counterparts. Gender, age and familiarity with the songs were related to listeners’ mood judgment to some extent.

The MIREX five-cluster model may not be sufficient for representing the mood of Chinese music. Refinements are suggested. MDL are recommended to differentiate tags given by users from different cultural groups, and to differentiate music types when classifying or recommending Chinese music by mood.

It is the first study on cross-cultural access to Chinese music in MDL. Methods and the refined mood model can be applied to cross-cultural access to other music types and information objects.

The purpose of this paper is to present a new web‐based cataloguing system for the global music bibliography project, Répertoire International des Sources Musicales (RISM), and discuss the implications for the manipulation and discovery of musical heritage materials.

The paper is designed to illustrate the workflow and tools used in creating a global musical catalogue, and to present the experiences of the Swiss RISM working group in developing new tools and re‐thinking traditional music bibliography tools.

The new tools developed present a further decrease in latency between source cataloguing and availability to users by integrating both the cataloguing and exploration interfaces into a single web application.

For music researchers, the opportunity to search and manipulate a global musical source database opens up new possibilities for data‐driven computational musicology and analysis.

This paper reports preliminary work in musical incipit searching in the Swiss RISM database, as well as the latest developments in integrating digital facsimile images and sound resources.