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Genre is a valuable access point for popular music collections; however, the blurring of genre boundaries combined with changing listening habits and new forms of classification have brought genre’s importance into question. The playlist is now a common means of classification on music streaming platforms. Recent commentary suggests that context is now a preferred access point. This exploratory study offers an examination of genres’ role in playlists.

A mixed-methods study investigates, using Spotify, whether genre retains relevance amidst the rise in popularity of playlist-based music classification. Sample size is noted as a limitation of the study.

Qualitative coding of user and editorial playlist names revealed less than 20% of codes applied were genre-based. However, when non-genre themes were differentiated, genre themes ranked as one of the most prevalent. Context-based themes were most common, though genre was readily combined with other descriptive themes, highlighting its utility. Quantitative analysis of genre tags showed playlists with context-based themes demonstrated higher genre homogeneity than those using generic themes, indicating playlists were named on a genre-by-proxy basis.

The study suggests that genre continues to play an integral role in a field where an eclectic variety of descriptive themes has emerged, although its role may have changed. Context-based themes are central to the way users organise music, though such terms can often serve as containers for music collections sharing distinct generic and musicological similarities.

The impact and collective threat of climate change is of key concern to all. Music and arts education can play a role by responding to the ongoing climate crisis through the creation of artworks as activism. This paper discusses a collaborative online international music project and its potential contribution to sustainable development education.

10,427 miles and 11 hours apart, music education students undertook the project, working in groups with a mix of students from Aberdeen, Scotland and Melbourne, Australia in each group. Each student collected video footage that captured their experience of climate concerns related to their environment. Students combined and edited the footage then collaboratively composed music to accompany the footage. This research was conceived as a collaborative self-study project undertaken by the authors as music teacher educators.

The results show a range of musical and extra musical outcomes and challenges. Evidence suggests that a collaborative online international music learning experience may contribute to sustainable development education and regenerative practice more broadly. Students began to develop their practice as educators for school and community contexts embedding learning for sustainability and climate consciousness, thus enabling them to develop as active global citizens.

This paper argues for greater attention to the affordances of digital collaborative music technology tools to facilitate creative projects as well as the need to reimagine musical experience, drawing together strands of music, sustainability education, technology and global citizenship. This paper also argues for the importance of embedding the UN Sustainable Development Goals in teaching and learning in Higher Education.

Culture is considered a critical aspect of social media usage. The purpose of this paper is to explore how cultures and languages influence multilingual users' cross-cultural information sharing patterns.

This study used a crowdsourcing survey with Amazon Mechanical Turk to collect qualitative and quantitative data from 355 multilingual users who utilize two or more languages daily. A mixed-method approach combined statistical, and cluster analysis with thematic analysis was employed to analyze information sharing patterns among multilingual users in the Chinese cultural context.

It was found that most multilingual users surveyed preferred to share in their first and second language mainly because that is what others around them speak or use. Multilingual users have more diverse sharing characteristics and are more actively engaged in social media. The results also provide insights into what incentives make multilingual users engage in social media to share information related to Chinese culture with the MOA model. Finally, the ten motivation factors include learning, entertainment, empathy, personal gain, social engagement, altruism, self-expression, information, trust and sharing culture. One opportunity factor is identified, which is convenience. Three ability factors are recognized consist of self-efficacy, habit and personality.

The findings are conducive to promoting the active participation of multilingual users in online communities, increasing global resource sharing and information flow and promoting the consumption of digital cultural content.

In recent years, a number of privileged individuals have entered the music industry in Zimbabwe, either as performers or entrepreneurs. The economic challenges in the country may have prompted these individuals to invest in music as a means of diversifying their income or exploring new business opportunities. To determine whether their interest in music is driven by entrepreneurship or genuine passion, a scholarly examination was deemed necessary.

A qualitative research approach with semi-structured interviews was used as the data collection technique. Narrative analysis was conducted on a sample of musicology students in Gweru, Zimbabwe.

The findings revealed the nepo babies’ interest in music is driven by legacy continuation – the responsibility to carry on with the name of the parent – harsh economic conditions, capitalizing on Internet and digital opportunities and mechanisms for psychological satisfaction during hardships.

Although there is a wide range of literature on musicpreneurship, there are gaps in studies that have examined whether a nepo baby's interest in music is motivated by musicpreneurship or a genuine passion for it. Therefore, the aim of this research is to contribute to the existing body of literature on African musicpreneurship, with a specific focus on Zimbabwe.

This study aims to examine the younger generations’ experiential consumption of foreign contemporary music online (i.e. digital music streaming services) by generation and gender in the US market.

The author proposes a sequential experiential consumption model by applying Jacoby’s refined stimulus-organism-response (S-O-R) theory to better understand the experiential sequences in foreign music consumption among young generations in the US market. The proposed model, using structural equation modeling (SEM), examines a cognitive permeable role and a hierarchical affective mediating role. Also, moderating roles of generation and gender are simultaneously tested in overall and specific causal relationships.

The refined S-O-R framework is superior to a linear one in better understanding young consumers’ online experiential foreign music consumption behavior. Moreover, hierarchical sequenced affective organismic behavior is crucial to enhance young consumers’ online music consumption experiences to regulate subsequent behavioral responses. Furthermore, gender differences but no generational differences exist in the experiential consumption process among young consumers. Nevertheless, the strength of S-O-R factors affecting experiential consumption seems idiosyncratic simultaneously in gender and generation.

The study suggests foreign music streaming services boost profitability by focusing on young consumers' psychological ownership and tailored experiences, encouraging a shift from freemium to premium subscriptions. Also, the findings recommend adopting phygital experiences using technologies like AR, VR and MR to enhance engagement and create unique, emotionally resonant experiences for young consumers, thus fostering a more profitable business model.

The authors address under-researched topics relevant to young generations by applying Jacoby’s refined S-O-R framework to foreign music consumption through online streaming. This approach delves into a lesser-explored consumer behavior framework, highlighting young generations’ musical trends. The model reveals cognitive and affective roles, offering advantages over traditional linear S-O-R models. It also uniquely incorporates the moderating effects of generation and gender in music consumption studies, addressing a gap in music-related studies.