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This chapter is a position paper that explores issues relating to the design of new digital technologies that could enable even nonmusicians to create music they find meaningful and through which they can express their unique musical personality. We first propose criteria for evaluating the musical effectiveness of new tools, and then present a simple cognitive model to help explain key issues related to how humans are able to create and experience music. On this basis, we derive a set of guiding principles towards designing a new generation of tools that support creation. A major theoretical and practical challenge we raise is the need to bridge between mind and tool – that is, between the creator’s intents, which represent subjective musical experiences, and the computational formalisms required by digital tools in order to realize them. We also discuss the need for deep personalization on the levels of concepts, tools, and workflow. We finally propose components for a common framework that will enable the design of a new generation of tools that can explore many different approaches for expanding the bounds of personal creative expression

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.

The purpose of this paper is to provide a model of consumer response to music in broadcast commercials outlining four variables (listening situation, musical stimulus, listener characteristics, and advertising processing strategy) that affect a consumer's attitude toward the advertising music (A_am).

The paper takes the form of an integrative review of the relevant literatures from the psychology of music, marketing, and advertising.

A_am can be positively but also negatively influenced by many factors. Only some of these variables are employed in any typical study on consumer response to music, which may account for some conflicting findings.

The paper discusses factors for effectively using commercial music to affect A_am, with special focus on advertising processing strategy. Advertisers are urged to exercise extreme caution in using music and to always pretest its use considering factors identified in this paper. The paper suggests ways in which the model can guide future research.

The paper integrates diverse literatures and outlines the major variables comprising our model of consumer response to advertising music. Advertisers can use these variables as a checklist for factors to consider in selecting ad music.

Develops the idea of complexity and its implications for our understanding of organisations and society. One such implication is the constitution of autonomous units within autonomous units. This notion is at the core of recursive organisations. Each of these autonomous units requires strengthening in its identity, cohesion and citizenship in order to perform well in its medium. However, in contemporary societies the rule is fragmented institutions rather than whole organisations. Further research is necessary in order to understand how to make more likely the emergence in society of recursive organisations.

The purpose of this paper is to examine the concept of the “musical work”, and its consequences for library/information provision.

Analysis of journal and monograph literature is supported by interviews with music editors, examination of documents, and self‐reflection on music cataloguing practice.

The nature of a musical work is shown to be complex, and influenced by many contextual factors. Phenomenological and ontological models can prove useful in understanding practical issues of information provision. The work of music editors has a strong relation to that of cataloguers and curators. Bibliographic models such as FRBR (Functional Requirements for Bibliographic Records) can gain from, and contribute to, music information, through the centrality of the concept of “work”.

The literature review is selective rather than comprehensive.

The study provides direct guidance for library/information practitioners in the music domain, and an insight into issues of relevance to information provision in any specialized subject.

The paper is a contribution to the literature on the application of philosophical and conceptual analysis to documents and bibliographic entities in specialized subject areas, and to domain analysis.

The purpose of this paper is to set out the current status of the Sounds of Intent project, and explains some of the theoretical thinking that has underpinned its development over a period of 12 years. Sounds of Intent maps the musical development of children and young people with learning difficulties. It currently exists as an online resource that offers practitioners a framework for assessment (with an online recording tool), information and downloadable resources.

The approach to the development of Sounds of Intent has been through two main phases: first, exploratory, qualitative analysis was used to inform the development of a model setting out how musical abilities and engagement are thought to develop in children and young people with learning difficulties; and second, the framework’s efficacy has been evaluated through gathering data from a number of practitioners in the field that has been analysed principally through quantitative means.

The principal findings of the Sounds of Intent project to date are that virtually all children (with the exception of those who are incapable of processing sound or vibration at all) are able to engage with music, whether reactively, proactively or interactively. The great majority have potential for musical development that can be realised over time, given an appropriately rich and engaging environment.

Sounds of Intent is the first research project in the world to focus on the musical development of children and young people with learning difficulties, and makes the first attempt to set out how this may occur. Since its public launch in 2012, the Sounds of Intent web site has had over 4,000,000 unique hits, with over 500,000 downloads of resources, from people all over the world.

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.

Systematic organization of domain knowledge has many advantages in archiving, sharing and retrieval of information. Ontologies provide a cushion for such practices in the semantic Web environment. This study aims to develop an ontology that can preserve the knowledge base of traditional dance practices.

It is hypothesized that an ontology-based approach for the chosen domain might boost collaborative research prospects in the domain. A systematic methodology was developed for modeling the ontology based on the analytico-synthetic rule of library classification. Protégé 5.2 was used as an editor for the ontology using the Web ontology language combined with description logic axioms. Ontology was later implemented in a local GraphDB repository to run queries over it.

The developed ontology on traditional dances (OTD) was tested using the dances of the Rabha tribes of North East India. Rabha tribes are from an indigenous mongoloid community and have a robust presence in Southeast Asian countries, such as Myanmar, Thailand, Bangladesh, Bhutan and Nepal. The result from HermiT reasoner found the presence of no logical inconsistency in the ontology, while the OOPS! pitfall checker tool reported no major internal inconsistency. The induced knowledge base of traditional dances of the Rabha’s in the developed OTD was further validated based on some competency questions.

In the growing trend of globalization, preservation of the cultural knowledge base of human societies is an important issue. Traditional dances reflect a strong base of the cultural heritage of human societies as they are closely related to the lifestyle, habitat, religious practices and festivals of a specific community.

The current study is exclusively designed, keeping in mind the variables of traditional dance domain based on a survey of the user- and domain-specific needs. The ontology finds probable uses in traditional knowledge information systems, lifestyle-based e-commerce sites and e-learning platforms.

This paper aims to discuss how collaborative classification works in online music information retrieval systems and its impacts on the construction, fixation and orientation of the social uses of popular music on the internet.

Using a comparative method, the paper examines the logic behind music classification in Recommender Systems by studying the case of Last.fm, one of the most popular web sites of this type on the web. Data collected about users' ritual classifications are compared with the classification used by the music industry, represented by the AllMusic web site.

The paper identifies the differences between the criteria used for the collaborative classification of popular music, which is defined by users, and the traditional standards of commercial classification, used by the cultural industries, and discusses why commercial and non‐commercial classification methods vary.

Collaborative ritual classification reveals a shift in the demand for cultural information that may affect the way in which this demand is organized, as well as the classification criteria for works on the digital music market.

Collective creation of a music classification in recommender systems represents a new model of cultural mediation that might change the way of building new uses, tastes and patterns of musical consumption in online environments.

The paper highlights the way in which the classification process might influence the behavior of the users of music information retrieval systems, and vice versa.