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This research aims to exhibit the impacts of vocal music vs instrumental music on ad-recall from the perspectives of attention and elaboration.

A 2 music-product congruence (congruence vs incongruence) × 2 music lyrics (lyrics vs no lyrics) between-subject measures design is used. 180 management students participated in the study. A 2 × 2 between-subjects ANOVA is used to test the hypotheses.

Results showed that the instrumental rendition of an ad-song prompted higher ad-recall over the vocal variant. The instrumental rendition provoked the subjects to create the verses or lyrics in their minds, prompting superior recall. Further, it was found that a music-product congruent ad resulted into higher ad-recall than an incongruent ad. Moreover, for a congruent ad condition, the instrumental version of ad-song resulted into higher ad-recall than the vocal version of ad-song. On the other hand, for an incongruent ad condition, the instrumental version as well as the vocal version of ad-song resulted into same level of ad-recall.

The study offers important implications for marketers and advertisers in terms of effective ad-designing and execution considering lyrics and music-product congruence as important factors in the context of radio advertising.

Since very little research has been done focusing on the combined effect of music lyrics and music-product congruence relationship on ad-recall from attention and elaboration perspectives, this paper scores as a pioneering study of its kind in India.

The purpose of this paper is to understand the classification of musical medium, which is a critical part of music classification. It considers how musical medium is currently classified, provides a theoretical understanding of what is currently problematic, and proposes a model which rethinks the classification of medium and resolves these issues.

The analysis is drawn from existing classification schemes, additionally using musicological and knowledge organization literature where relevant. The paper culminates in the design of a model of musical medium.

The analysis elicits sub-facets, orders and categorizations of medium: there is a strict categorization between vocal and instrumental music, a categorization based on broad size, and important sub-facets for multiples, accompaniment and arrangement. Problematically, there is a mismatch between the definitiveness of library and information science vocal/instrumental categorization and the blurred nature of real musical works; arrangements and accompaniments are limited by other categorizations; multiple voices and groups are not accommodated. So, a model with a radical new structure is proposed which resolves these classification issues.

The results could be used to further understanding of music classification generally, for Western art music and other types of music.

The resulting model could be used to improve and design new classification schemes and to improve understanding of music retrieval.

Deep theoretical analysis of music classification is rare, so this paper’s approach is original. Furthermore, the paper’s value lies in studying a vital area of music classification which is not currently understood, and providing explanations and solutions. The proposed model is novel in structure and concept, and its original structure could be adapted for other knotty subjects.

The purpose of this paper is to use a study conducted on the Caribbean island of Jamaica to make the case that music might be a plausible suppressant of negative visitor harassment (VH). The goal of the study in question was to determine the genres of songs and music likely to have a positive effect on emotions the antithesis of the ones associated with VH but would have positive effect on visitors’ shopping behaviors as well.

A mixed method pre-experimental design was used for the study. Forty-two craft traders from a single craft market in Jamaica participated in seven music experiments and the data gathered were analyzed using predominantly paired and independent t-test analyses.

The researchers found that music likely to result in positive shopper behaviors also resulted in positive trader emotions, in particular in emotions the antithesis of those associated with trader harassment. In addition, the researchers discovered that old non-instrumental local songs had a significantly greater positive effect on these emotions than local contemporary songs and instrumental music.

The study discussed was original as it was the first known that looked at music as a possible treatment for negative VH.

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 work is to analyze the concept of self-regulated learning and applying it to a web-based interface for music teaching.

This work starts from a systematic review about music education and self-regulation during learning processes. Then, the paper identifies those meta-cognitive strategies that music students should adopt during their instrumental practice. The goal is applying such concepts to rethink the structure of a didactic e-book for instrumental music education. Thanks to the adoption of the Institute of Electrical and Electronics Engineers (IEEE) 1599 standard, the paper outlines a model of active e-book able to improve learners’ performances through proper cognitive and multi-modal scaffolds. In the last section, the design principles for an implementation will be proposed.

This work applies theoretical research on self-regulated learning to the design and implementation of a working prototype.

A limitation is the lack of experimentation data, required to test the efficacy and effectiveness of the proposed e-book model and its impact on self-regulated music abilities. A validation strategy – e.g. based on scenarios – will be proposed in our future works, thanks to the support of music learning centres and focus groups composed by young Italian students.

This work has been invited as an extension of the paper presented by the authors at EL2014 International Conference held in Lisbon. The previous work has been awarded as the best paper of the conference. In this extension, the authors provide further details about the proposed framework, highlighting in particular the implementation of scaffolds in the interface.

Extending documentation and analysis frameworks for acousmatic music to performance/interpretation, from an information science point of view, will benefit the transmission and preservation of a repertoire with an idiosyncratic relation to performance and technology. The purpose of this paper is to present the outcome of a qualitative research aiming at providing a conceptual model theorizing the intricate relationships between the multiple dimensions of acousmatic music interpretation.

The methodology relies on the grounded theory. A total of 12 Interviews were conducted over a period of three years in France, Québec and Belgium, grounded in theoretical sampling.

The analysis outcome describes eight dimensions in acousmatic performance, namely, musical, technical, anthropological, psychological, social, cultural, linguistic and ontological. Discourse profiles are provided in relation to each participant. Theory development led to the distinction between documentation of interpretation as an expertise and as a profession.

Data collection is limited to French-speaking experts, for historical and methodological reasons.

The model stemming from the analysis provides a framework for documentation which will benefit practitioners and organizations dedicated to the dissemination of acousmatic music. The model also provides this community with a tool for characterizing expert discourses about acousmatic performance and identifying content areas to further investigate. From a research point of view, the theorization leads to the specification of new directions and the identification of relevant epistemological frameworks.

This research brings a new vision of acousmatic interpretation, extending the literature on this repertoire’s performance with a more holistic perspective.

A total of 90 hotel, restaurant, and pub managers completed unstructured telephone interviews exploring their implicit theories of how atmospheric music affects consumer behavior. Many of the implicit theories emerging in the interviews were grounded in previous research, but others had no obvious counterparts in the literature. The more novel theories suggested that atmospheric music: must follow circadian rhythms to be effective; encourages or discourages anti‐social behavior; and blocks out annoying and intrusive background noise. Each of the 14 industry‐based explanations of the effects of music is compared with results reported in the academic literature, and directions for future research on the effects of atmospheric music are identified.

Music education and music therapy offer many positive benefits for students with disabilities. This chapter highlights some of the most recent research in both fields and in neuroscience that offers strategies for special educators to use to increase inclusion in music classes and ensembles.

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.

This chapter investigates Yiddish-language heavy metal music as a manifestation of postvernacularity. Yiddish, the traditional language of Ashkenazic Jews, is now endangered with a geographically dispersed speaker base and a low rate of transmission to younger generations outside of strictly Orthodox communities. However, as the heritage language of most Ashkenazic Jews, Yiddish continues to play an important symbolic role in contemporary Jewish life even among those who do not speak or understand it. This phenomenon has been termed ‘postvernacularity’ (Shandler, 2006).

Yiddish is associated with a rich tradition of folk songs, popular songs, and ballads. Recent decades have seen a growing interest among younger generations in Yiddish language and culture, including its musical tradition. In addition to musicians specialising in traditional Yiddish song, there are also currently two bands worldwide who have produced a metal album in Yiddish: Gevolt (Israel) and Dibbukim (Sweden). The repertoire of both bands is comprised largely of classic Yiddish songs interpreted in a metal style but retaining the traditional lyrics and melodies.

The fact that these metal bands often choose to reinterpret traditional staples rather than composing original Yiddish songs can be seen as a reflection of the predominantly postvernacular status of Yiddish. The language plays an iconic role for band members and audiences. Concurrently, the fusion of familiar Yiddish songs with metal style makes a language often associated with traditional Ashkenazic society relevant to the twenty-first century.