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Artificial intelligence (AI) has reached creative industries such as music. Algorithms now produce high-quality artistic content (e.g. original songs), for hedo consumption and utilitarian business applications. While available literature to-date focuses mainly on technological development and applications, this paper aims to address the resulting research gap by investigating listeners’ perceptions towards music composed by AI.

First, an online survey was conducted with 446 respondents and compared perceptions of music professionals (n = 72) and non-professional listeners (n = 374). Following this, a 2 × 2 laboratory experiment was conducted, where 86 participants listened to songs composed by AI but were presented different narratives regarding the composition process (human versus AI).

Overall, results from the online survey indicated a rather negative perception, low purchase intention for AI music and a negative credibility perception of musicians using AI. Findings from the experiment indicated no significant differences between the groups, suggesting that the awareness of the use of automation did not influence the perception towards the music.

This paper contributes by highlighting the current perception of both listeners and music professionals towards the application of artificial creativity in music composition. Furthermore, it contributes to the existing literature on artificial creativity applied in music, by providing evidence of its impact on listeners’ perception. Results reveal the importance of further investigation on the topic.

With a focus on undergraduate music major students in China, the study sought to examine how higher music education institutions prepare professional knowledge, professional skills and soft skills in relevance to music students' employability.

The quantitative survey engaged 359 music students from five music institutions in Western China to report their perceptions toward music curriculum related to employability. The current study examined whether their perception varied based on their gender, location, school, educational background and professional option purpose.

Perception differences in the music curriculum were observed across gender, schools, educational background and professional option purpose. School differences were the most significant among all five factors, followed by professional option purpose, educational background and gender. The location difference was insignificant among the five factors. There were insufficient opportunities for community and industrial engagement in higher music education.

The current study provides an insight into the higher music education curriculum for employability preparation in current China. This is one of the limited empirical studies in Western China to investigate music students' perceptions of professional knowledge and skills and the soft skill line with employability. The findings can serve as a reference for prospective employees in the music industry, policymaking and curriculum design and future research.

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.

Intellectual property theft amounts to billions of dollars per year worldwide. The first step in stemming this loss is to understand the underlying precursors of this behavior. This paper aims to propose and test a model of consumer choice to purchase or pirate intellectual property, specifically music. This paper combines and applies the theory of reasoned action (TRA) and Becker’s theory of crime to develop a more comprehensive model of digital piracy behavior. Culture was tested as an antecedent to the attitudes and the perceptions of risk associated with music piracy.

A survey of 4,618 participants was conducted across 23 countries. Construct measures were validated using confirmatory factor analysis in LISREL. A conceptual model was tested using logistic structural equation modeling in MPlus. Respondents were asked about the last music they acquired to test a behavioral model of music piracy.

The results indicated that culture, specifically rule orientation and uncertainty avoidance, had a significant impact on attitudes toward the music industry, ethical perceptions of music piracy and risk perceptions. Respondents’ ethical perceptions of downloading had the highest impact on music piracy behavior. The personal/copy risk associated with the illegal downloading of music had a significant impact while the relative channel risk did not. The market value, quality and selection also had a significant impact on downloading behavior, as did the respondent's ability to find and download music.

While this paper was limited by focusing on the illegal downloading of music, the results can provide guidance in the design of future research concerning the piracy and unlicensed downloading of other types of intellectual properties such as movies/videos, TV, paywall content and e-books.

In recent years, improved access to music and video through online streaming and online stores has significantly decreased music piracy. This research indicated that further inroads into this behavior could be made through better online purchase access and through consumer education about the ethics and results of digital downloading. Further, efforts are more efficient by targeting cultures with lower levels of rule orientation with ethics education and targeted risk messages in countries with higher uncertainty avoidance.

Yearly losses to the music industry amount to about $5-29bn. Many find music and video downloading and “sharing” as acceptable. The model developed in this research has implications to affect this mass loss of revenue to the music industry and perhaps the societal view of downloading behavior that is illegal but commonly accepted.

This model is the first to integrate cultural aspects into models of digital piracy. In addition, the model is developed from a strong theoretical base (TRA and Becker’s theory of crime) to integrate multiple antecedents to intellectual property theft research.

This study extends the Mehrabian‐Russell environmental psychology model to include both emotional states and cognitive processing as mediators of the music‐intended behavior relationship. Our model specifically suggests that music affects customers’ perceptions of service quality and merchandise quality as well as feelings of arousal and pleasure, in the context of a women’s fashion store. The effect of music on service quality has not previously received much attention. In addition, it has been suggested that previous results of studies examining the effect of music on consumer responses may have been largely the result of individual music tastes. In the present study, therefore, the effect of music tastes is also examined. Findings indicated that liking of music has a major effect on consumers’ evaluations (pleasure, arousal, service quality and merchandise quality), while the music characteristics (specifically slow pop or fast classical) have an additional effect on pleasure and service quality. Further, pleasure, service quality and merchandise quality affected intended approach behaviors, and arousal contributed to these behaviors when the store environment was considered pleasant. Affiliation behaviors similarly resulted from service quality, pleasure and arousal, but not merchandise quality. Overall results indicate the importance of understanding the effect of music on both consumers’ internal evaluations as well as intended behaviors.

The authors aim to explore whether and how variations on pitch levels of background music in audiovisual commercials affect consumers' judgments of the competence of the advertised brands and for which group of consumers such changes in ad backgrounds are more influential.

Consumers are presented with an audiovisual advertisement in which the pitch of background music is lowered or raised. They are subsequently asked to evaluate the music and traits of the advertised brand and indicate their predisposed styles of thinking.

Consumers tend to judge a brand in an audiovisual commercial as possessing a higher level of competence traits when the brand is accompanied by lower-pitched (vs higher-pitched) background music, which is mediated by levels of powerfulness they perceive from the background music. Consumers with holistic (vs analytic) thinking styles, who are known to devote more focused attention to background information, tend to be more (vs less) susceptible to the changes in pitch.

The current research approaches thinking styles as predisposed individual differences as in prior works in marketing. Provided that the predisposed thinking styles can be influenced by individuals' cultural backgrounds, the authors suggest cross-cultural studies as an approach to further validate the present findings.

Given the recent trends that consumers are increasingly exposed to audiovisual ads with the rapid growth of various video-based platforms (e.g. YouTube) and mobile advertising, this empirical study may assist contemporary marketers in considering an acoustic strategy for brand communication using the audiovisual advertisement. This study suggests that the pitch of ad background music can serve as a manageable strategic tool that can assist in establishing an image of a competent brand.

This research highlights a seemingly-trivial element in audiovisual advertisements, the pitch of background music, as a crucial determinant of the perceived competence of an advertised brand upon which further brand evaluations (e.g. brand trust, purchase intention) are based. An important yet overlooked effect of ad recipients' predisposed thinking styles on how consumers respond to the changes of background cues in audiovisual commercials is also proposed.

The purpose of this paper is to examine music teachers' perceptions of teaching cultural and national values (also defined as national cultural values) to explore the tensions facing school music education in the choice of music types to be delivered in Hong Kong and Taiwan.

With specific regard to music teachers' perceptions of “values,” “music cultures” and “nationalism,” data were drawn from a survey questionnaire given to 343 music teachers (155 preservice and 188 in-service music teachers) and semistructured interviews with 36 of these respondents.

The findings of the study showed that though many respondents in Hong Kong and Taiwan felt comfortable teaching traditional Chinese music, they did not want to teach contemporary Mainland Chinese music and other political or patriotic forms in the school music curriculum. The data also demonstrated some shortcomings in introducing a balance of music types into the curriculum, as well as limitations in promoting national education in response to the respective sociopolitical situations in Hong Kong and Taiwan.

This study was subject to limitations regarding the potential generalizability of the findings on school music teachers' perceptions in Hong Kong and Taiwan.

The implications for teachers and student teachers regarding the development of cultural and national values related to the political processes in Hong Kong and Taiwan are complicated, because of not only their relationship with Mainland China and its education based on nationalism but also the extent of teachers' professional training to help create an enabling environment for national and cultural development.

The findings of this study revealed that there are fundamental gaps in the overt and operational curricula in Hong Kong and Taiwan concerning the sociopolitical function of values in school music education in response to their respective sociopolitical situations.

In many food marketing contexts products are sampled while music is played in the background. The purpose of this paper is to examine whether changing the pleasantness of background music while tasting two identical products in succession may influence the experience of taste and preference.

Two studies were conducted. In Study 1, 60 participants were asked to taste two identical cookies, one with pleasant and one with unpleasant background music, in differing orders. In Study 2, 60 participants tasted two cookies with two unpleasant musical pieces and 60 participants tasted two cookies with pleasant background music. Participants were asked to evaluate each cookie and indicate which cookie they preferred.

In Study 1, a main effect of music was found, with cookies tasted with pleasant background music evaluated as better than those tasted with unpleasant background music. In addition, an interaction between presentation order and music was found, with a stronger difference in evaluation between the cookies when the first is tasted with pleasant background music. In Study 2, no main effect of music was found. A primacy effect was found, with higher evaluations for the first tasted cookie.

The studies considered only one type of product, which in itself is pleasant-tasting. Further studies, using other products, are thus needed to allow generalization.

A discerning use of background music in consumer settings involving sampling of a sequence of products may aid marketers in maximizing music’s effect on product evaluation and choice.

Although the effect of music on taste has been previously studied, this is the first research to examine presentation order effects of music pleasantness on the experience of taste. The pleasantness of background music is integrated into the experience of taste, and food marketing strategies should take into account how the order in which different musical pieces are heard may influence consumers’ evaluation and preference for sampled products.

The atmospheric effects of music were tested in a restaurant setting. Four conditions were applied in a type of latin square design with meal duration and expenditure (food and drinks) as dependent variables. The four conditions related volume (loud vs soft), tempo (fast vs slow), style (popular vs unpopular) and the absence of any music. The findings showed that only volume had a significant effect on meal duration and expenditure (both food and drinks), although an additional finding that would require further experimental verification was that the presence of music of any type significantly affected duration and expenditure when compared to the absence of music. To explain the findings a distinction was made between active and passive activities, and it was suggested that different mechanisms explained the atmospheric effects for each. Active activities could be explained by the environment typicality argument whereas the boredom alleviation model could explain passive activities.

The purpose of this paper is to assess emotional response to music and its EEG correlates in children with autism spectrum disorders (ASD).

Six musical fragments eliciting emotional states of calmness/serenity, sadness and anxiety/fear were presented to children with ASD (n=21, aged 5–9) and typically developing (TD) peers (n=21), while 19-channel EEG was recorded. Emotion self-reports were assessed using visual analogous scales.

Children with ASD assessed most music fragments similarly to their TD peers, with likelihood of EEG oscillatory patterns closely corresponding to emotion self-reports. Somewhat contrary to the expectations, a major difference was observed for one fragment only, which was identified as sad by TD children and adult neurotypical raters, but found “angry and frightening” by children with ASD, with EEG oscillatory response confirming greater cortical activation, particularly for the right hemisphere.

The data suggest that children with ASD may have emotional reactions to music either similar or highly aberrant compared to TD peers, rather than having general difficulties in assessing emotions. The data should be confirmed by further studies, ideally involving high functioning adult autists.

The findings may increase the understanding of autists’ difficulties in perceiving prosodic nuances and reading emotional cues. The results can be taken into consideration when developing music-based interventions.

The findings show that music may be perceived by children with ASD in a unique way, which may be difficult to predict by neurotypical raters.