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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

The term “Brazilian popular music” refers to a varied repertoire of musical styles with a strong connection to local culture. The initiatives of representation of this domain of interest occur through adaptations of generic models and strategies coming from contexts and musical styles that differ from the essential characteristics of the national music. The purpose of this paper is to present a characterization of Brazilian popular music as a conceptual model which supports the communication and analysis of this domain and serves as a reference ontology for various applications in the field of Information Science and others.

To achieve the purpose, a mapping about Brazilian popular music was done from a literature review and a data collection with expert users, based on domain analysis theory. From this characterization, the conceptual model was built using an Ontology Engineering approach. To facilitate understanding, the results were described using a more user-friendly notation.

The paper presents a conceptual model as a first semantic reference on Brazilian popular music that serves (1) to better understand, communicate and analyze the domain of Brazilian popular music and, (2) to supply some semantic aspects not covered by the adaptations that have been proposed on the literature for musical representation.

The paper adds a new perspective to the understanding of Brazilian popular music and open opportunity to explore other repertoires about popular music.

A content analysis of 191 music videos from New Zealand television examined three research questions: what levels and types of violence are evident? What products and brands are associated with violence? Do differences exist between different musical genres, and videos of New Zealand performers versus overseas artists? Results revealed that violence is evident in a significant proportion of music videos, and that particular products are associated with displays of people‐focused, object‐focused and combined types of violence. Furthermore, foreign heavy rock was not associated with people‐focused violence. Implications are discussed regarding perceptual context, encoding and marketing ethics.

Local and regional entertainers typically perform without a star performer or national recognition. These performers are often an incidental backdrop for the festivities. Is audience satisfaction with the group more than a summation of the satisfaction with individual performers; do factors surrounding the performance aid in determining audience satisfaction? Answers to these questions may allow event planners to engage performers likely to increase event success. This paper develops a model of audience satisfaction with live performances, which began using a theory developed by Grove et al. in 1992. This theory was modified as a result of further conceptualization, qualitative data analysis, and survey results. Results suggest consumers judge performances as the sum of several components, including both elements of the performance and the setting.

The purpose of this paper is to show that in some industries the linear model may not reveal any significance link between exchange rate volatility and trade flows but once nonlinear adjustment of exchange rate volatility is introduced, the nonlinear model reveals significant link.

This paper uses the linear ARDL approach of Pesaran et al. (2001) and the nonlinear ARDL approach of Shin et al. (2014) to assess asymmetric effects of exchange rate volatility on trade flows between Germany and Turkey.

This paper consider the experiences of 75 2-digit industries that trade between Turkey and Germany. When the study assumed the effects of volatility to be symmetric, the study found short-run effects in 31 (30) Turkish (German) exporting industries that lasted into the long run in only 10 (13) Turkish (German) exporting industries. However, when the study assumed asymmetric effects and relied upon a nonlinear model, the study found short-run asymmetric effects of volatility on exports of 55 (56) Turkish (German) industries. Short-run asymmetric effects lasted into long-run asymmetric effects in 10 (25) Turkish (German) exporting industries. All in all, we found that almost 25% of trade is hurt by exchange rate volatility.

This is the first paper that assesses the possibility of asymmetric effects of exchange rate volatility on German–Turkish commodity trade.

The main research questions critically examine online videos that draw attention to a local community of musical practice, noticing how these can potentially be included within the tourism promotion strategies. This paper develops a case study of four videos realised by the Louth County Board of the organisation Comhaltas Ceoltóirí Éireann (CCÉ) in Co. Louth, Ireland, as a part of the FleadhFest 2021 initiative. It highlights the role that virtual spaces have in enhancing a sense of belonging to a music/festival community as well as the possibility that visual and audio supports have in promoting and celebrating a destination and its cultural features.

The analysis involves a netnographic examination of these videos (Janta, 2017), informed by the concept of “tourist gaze” (Urry, 1990; 2002) and influenced by film-induced tourism studies (Beeton, 2005).

Results show how festival and event organisers responded to COVID-19 social restrictions by creating a virtual space for celebrating music heritage and local musicscape, placing an emphasis on local musical scene.

The research aims to inform future developments in how the organisation operates within and engages with virtual space, its members and a wider audience.

This is the first study to consider the virtual activities of CCÉ from an ethnomusicological as well as tourism, perspective.

International Association of Music Libraries, Archives and Documentation Centres (IAML) aims to promote activities and cooperation between music libraries worldwide. IAML configures policies affecting to set up their working framework as well as music information services at national and international level. Furthermore, IAML’s function promotes the role of music libraries linking the cultural life of every place, fostering musical creativity. Therefore, the purpose of this paper is to present the crucial role of IAML’s function in enhancing musical creativity.

The paper provides theoretical and practical issues on topics related to music information employed for musical creativity in the context of music librarianship. It presents the function of music information management organizations and especially that of IAML as a mechanism for enhancing musical creativity, and at the same time it discusses suggestions and practices for the interrelation between them. More specifically, it discusses perspectives about educational programs on information literacy for musical creativity, the enhancement of the digital presence of all musical trends (the long tail to the demand of music information services), the strengthening of the culture of openness to a wider scale and the use of music information management software, as well as the linkage and stimulation of synergies between music information management organizations for the benefit of various music communities.

The outcomes of the study set up a theoretical connection between music librarianship issues and musical creativity, in terms of identifying that musical creativity is directly linked to music information and to the operation of the music libraries, and it can also be influenced by the availability of music information services and the information profile of the musicians involved.

The significance and originality of the study should be emphasized since it is the first study providing theoretical and practical issues linking music librarianship with musical creativity.

The purpose of this research paper is to consider the aesthetic and commercial success of the “early music” or “historically informed performance” (HIP) movement during the 1970s and 1980s in the UK. Particular attention is given to the relationship between HIP performers and “the authenticity business” (i.e. the market‐driven commercial exploitation of this form of musical performance).

Through applying the metaphor of the “false relation” (a musical compositional device characteristic of the renaissance period), the paper explores the contradictory relationship between HIP and the market. The research is based on a detailed literature review relating to the emergence of the early music labour market, and interviews with 40 experts in the field (including HIP music directors, performers, agents, broadcasters, record company directors and instrument makers in the UK).

Far from being a mere backdrop to the ideologically driven practice of HIP, the paper demonstrates the close connection between market‐led entrepreneurial activity of some performers, and the subsequent success of early music performance. Particular attention is brought to the mediating role of authenticity discourse in bridging the art‐commerce divide and marketing early music successfully.

The paper offers a novel perspective from which to understand the artistic and commercial development of this cultural movement. It is suggested that the emphasis on the mediating role of authenticity discourse; and the closeness of the relationship between performance ideology and market‐based practices warrants further research across artistic and cultural movements more broadly.

This paper examines the effect of improvisational behavior of entrepreneurs on firm performance of small and medium enterprises (SMEs) in Thailand during the economic crisis following the COVID-19 pandemic. The study also explores external factors in terms of competitive intensity and internal factors in terms of financial and human resources possessed by firms that could enhance the impact of improvisational behavior on firm performance.

A self-administered online questionnaire survey was used to collect the data from the random sample of 312 SMEs in Thailand. Partial least squares structural equation modeling was used to analyze the data.

The analysis supports the positive relationship between the improvisational behavior of entrepreneurs and firm performance. Moreover, the moderating effect analysis shows that the positive impact of improvisational behavior on firm performance tends to be stronger for firms that encountered a higher level of competitive intensity and for firms that possessed a higher level of financial and human resources.

This research extends the knowledge from prior research by confirming some moderating factors that could strengthen the benefit of improvisational behavior during the crisis.

Previous studies of musical group performance have suggested the need for reliable and valid measures of success. This paper aims to investigate this issue.

Using Nunnally's methodology, this study developed 18 items that might indicate relative success of performing musical groups. These items were administered to 338 musical groups from Louisiana.

Significant correlations were found among most of the measures. Factor analysis yielded two distinct success scales, one objective and one subjective scale.

While this study sampled only Louisiana‐based musical groups, the formulated scales provide a needed basis for success measurement in research on performing groups, such as musical groups, theater companies, dance and other group performance companies.

A musical group could track their objective measures over time to determine the group's continual improvement. Subjective items could be gathered using a questionnaire given to the band members on a regular basis. Decreases in subjective ratings would indicate decreasing satisfaction among group members, and would alert the band that changes might need to be made.

Research on performing service groups, such as musical groups, is often limited because of lack of accepted measures for the dependent variable of success. This research study has developed two success scales that can help measure success in these groups. The authors suggest that future research could use these success scales and the criteria of the Malcolm Baldrige National Quality Awards Program to better research the marketing and management of performing service groups.