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The purpose of this paper is to investigate the connection between musicians’ information seeking behaviour and the creative process in music, providing a framework for understanding the role of information needs satisfaction in musical creativity. A number of studies in information science literature have been carried out attempting to model cognitive, affective, behavioural and contextual factors associated with music information seeking behaviour. However, only few studies have addressed the relationship between information seeking behaviour and musical creative activities such as composition, performance and improvisation, listening and analysis.

The focus of this paper is to provide a framework for the study of information seeking behaviour for the purposes of satisfying musical creativity information needs, combining the theoretical basis of an established model of information behaviour developed by Wilson and the theoretical perspectives of a music creative thinking model proposed by Webster. The key features of the two models are synthesized in a unified model of information seeking behaviour for musical creativity and enriched with research findings identified in the literature of both musical information seeking and musical creativity.

The proposed conceptual framework offers an integrated interpretation of the combinations of information needs, information resources and environmental/personal barriers, which enable musical creativity. In the authors’ approach “musical creativity” is treated as a musician’s aim or ambition or drive for expression and is influenced by the way musicians seek information for that purpose. Therefore, musical creativity is an intentional behaviour which acts as motivator for information seeking and is affected by the available information and the musician’s information seeking profile. The current study include three important findings: first, the design and development of music library and information services for musical creativity; second, the development of music information literacy skills for creativity; and third, the information seeking behavioural perspective for universal musical creativity, and the implications for cultural musical heritage diffusion around the world.

An integrated information seeking behaviour model which includes musical creativity is developed through the synthesis of two already existing approaches, that of Wilson for information seeking behaviour and that of Webster for creative thinking in music. The present conceptual study presents a three stage pattern or process for modelling information seeking for musical creativity: the process initiates with the intention-motivation for creativity, then proceeds to information seeking behaviour and then concludes with the musical creativity outcomes. This is the first study that seeks to understand the relationships between creativity and information seeking behaviour.

Reports the findings of a controlled field study examining the effects of background music on shopping behavior in a traditional service environment: a supermarket. Finds that musical preference influenced both the amount of time and money shoppers spent in the service environment, although musical tempo and volume had no observable effects. Provides additional insight into the effects of background music on shopping behavior as well as some important considerations for the design of retail and service environments and ambience.

Discusses many of the empirical studies relating to the effects of background music on a wide range of consumer behaviours and outlines the relevant features and limitations of these studies. Suggests that, while research has identified relationships between specific behaviours and specific musical characteristics (e.g. tempo, volume, mode), retailers should practice caution when attempting to manipulate specific aspects of their background music. A safer and potentially more effective strategy would be to select background music that reflects the musical preferences of targeted consumer segments. Presents useful information regarding selection of appropriate background music.

This study is a queer autoethnography which deconstructs assumptions about a queer musical perspective and the associated heteronormative power and privilege. Using the lens of a Heideggerian interpretive phenomenology, it examines the request for and subsequent actualising or unfolding of musical compositions that respond to works of art. The request, being for a ‘queer compositional response’ to artworks occurred as personal; it touched my experience of being occurring as a kind of existential threat. As such, the personal is clearly political, positioning the experience of the request for queer compositions as a cultural experience which I am examining as socially unjust, or discriminatory. Furthermore, examining the intersectionalities of oppressive heteronormative and sexist attitudes and actions as queer in the world is an authentic mode of being in Heidegger's analytic of Dasein.

The purpose of this monograph is to examine the main elements of the Copyright Designs & Patents Act 1988 which received the Royal Assent on the 15th November 1988. The Act provided for a major overhaul of the law on copyright and on registered designs, as well as certain adjustments to patent and trademark law and two major new regimes on performers' rights and design rights. While this is a major domestic reform the law is unlikely to remain unaltered for long because of the move towards a single market within the E.E.C. by 1992. This will lead to the introduction of harmonised regimes on the various elements of intellectual property law such as copyright and industrial design which will no doubt require some readjustment to U.K. domestic law. Recently the E.E.C. Commission published a Green Paper on “Copyright and the Challenge of Technology” which suggests solutions to some questions such as the vexed problem of illegal home taping which are different to those adopted by the U.K. in the new Act. [On 21/12/88 a draft directive on Copyright & Computer Software which proposes a harmonised regime for the protection of computer programs and related matters was published]. It also has to be borne in mind that while Article 222 of the Treaty of Rome states that the treaty does not affect the existence of national intellectual property right regimes the “exercise” of these national rights may be found to infringe the provisions of the Treaty on free movement of goods (Arts. 30–36) or on competition law (Arts. 85–86).

Here Marx's philosophy is dissected from the angle of bourgeois capitalism which he, Marx, sought to overcome. His social, political and economic ideas are criticised. Although it is noted that Marx wanted to ameliorate human suffering, the result turned out to be Utopian, contrary to his own intentions. Contrary to Marx, it is individualism that makes the best sense and capitalism that holds out the best hope for coping with most of the problems he sought to solve. Marx's philosophy is alluring but flawed at a very basic level, namely, where it denies the individuality of each person and treats humanity as “an organic body”. Capitalism, while by no means out to guarantee a perfect society, is the best setting for the realisation of the diverse but often equally noble human goals of its membership.

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.

This chapter explores the way teaching music lends itself to the inclusive pedagogical approach in action framework, focusing on four key areas: working outside of ability groups, using what learners can do as their starting point, engaging in learning at their own level whilst contributing to a collaborative outcome and developing the whole creative child rather than just a skillset.