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This chapter features our innovative endeavors to inquire into an African-American student's potentially sensitive stories in a methodologically fluid and ethically delicate manner through two generative methods: digital narrative inquiry and musical narrative inquiry. Through a meta-level “inquiry into inquiry” approach, this work explores how we engaged in the digital and musical restorying of the participant's “Wounded Healer” narrative and uncovered its dynamism, cultural richness, and nuances. We subsequently represented the findings in humanizing ways using multimedia and music. Drawing on the insights from exploring these novel methods of digital and musical inquiry, our work illuminates noteworthy elements of narrative research: generativity, transformativity, interpersonal ethics, aesthetic ethics, and communal ethics. Additionally, the potential issue of trustworthiness in fluid narrative inquiries is addressed.

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.

In the past decade, smartphone adoption has reached almost 100% in industrialized countries, which is predominantly due to advancements in capabilities. Given the increasing number of people who are addicted to the smartphone and the significant growth of people who consume music via the smartphone, the purpose of the study is to explore the underlying mechanisms through which musical consumption affects smartphone addiction.

Based on dual-systems theory, a research model was developed to determine the impact of System 1 (emotion related to music) and System 2 (self-control) on smartphone addiction. A partial-least-squares approach was used to test the model with 294 survey participants.

The empirical data confirmed the research model. Regarding System 1, musical emotion positively influenced smartphone addiction through musical consumption and musical response. Moreover, musical preference significantly affected musical response. Regarding System 2, self-control negatively predicted smartphone addiction.

The study is limited, as the participants were college students who are not representative of all populations.

The study extends the literature on the dark side of information technology use and complements a research agenda by Gefen and Riedl (2018) on consideration of music in information systems (IS) research.

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.

The purpose of this paper is to explore the use of an arts-based methodology in conducting a doctoral study on The Nile Project, an East African based musical collective. Despite some evidence that music is an effective tool for qualitative inquiry, there are few studies on its use, especially the use of musicking in the interview process.

The author used a qualitative and arts-based research approach.

Outcomes suggest that music may help to create an “in-between” space challenging researcher positionality and giving voice to the “researched.” Music also acted as a bridging agent encouraging open and honest dialogue and relationship building.

Findings suggest that music may be a useful tool for researchers interested in arts-based and participatory methods in qualitative research particularly when interviewing participants with varied linguistic, cultural, political and musical backgrounds.

There is sparse research on the use of musicking in the interview process of qualitative research.

A need to renew music-related information notions arises from both information-seeking models and literature of musical semiotics. The purpose of this paper is to create a music information typology, which aims at facilitating the examination of music information types at varying levels of abstraction in the context of information seeking.

Literature of musical semiotics and information seeking are juxtaposed to develop a novel approach to music-related information. The grounding concepts are Bruner’s enactive, iconic and symbolic modes of representation. The modes of representation offer a universal scheme of knowledge that is applied to the domain of music by defining their content through Tarasti’s Theory of Musical Semiotics.

This conceptual paper results in a music information typology ranging from the enactive music information representations to the abstract ones as follows. Music making as the first mode of enactive representations; music listening as the second mode of enactive representations; iconic representations of music; technological models of music as the first mode of symbolic representations; and ideological models of music as the second mode of symbolic representations.

The present paper develops a music information typology that encompasses broadly different music information facets by categorizing music information sources according to their level of abstraction. When applied into empirical research, the typology opens a new window into the perceived roles of music information types in the context of information seeking.

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.

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.

If an information retrieval system is going to be of value to the user then it must give meaning to the information which matches the meaning given to it by the user. The meaning given to music varies according to who is interpreting it – the author/composer, the performer, cataloguer or the listener – and this affects how music is organized and retrieved. This paper aims to examine the meaning of music, how meaning is communicated and suggests this may affect music retrieval.

Musicology is used to define music and examine its functions leading to a discussion of how music has been organised and described. Various ways of establishing the meaning of music are reviewed, focussing on established musical analysis techniques. It is suggested that traditional methods are of limited use with digitised popular music. A discussion of semiotics and a review of semiotic analysis in western art music leads to a discussion of semiotics of popular music and examines ideas of Middleton, Stefani and Tagg.

Agreeing that music exists when communication takes place, a discussion of selected communication models leads to the proposal of a revised version of Tagg's model, adjusting it to include listener feedback.

The outcome of the analysis is a revised version of Tagg's communication model, adapted to reflect user feedback. It is suggested that this revised communication model reflects the way in which meaning is given to music.