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The purpose of this paper is to understand the classification of musical medium, which is a critical part of music classification. It considers how musical medium is currently classified, provides a theoretical understanding of what is currently problematic, and proposes a model which rethinks the classification of medium and resolves these issues.

The analysis is drawn from existing classification schemes, additionally using musicological and knowledge organization literature where relevant. The paper culminates in the design of a model of musical medium.

The analysis elicits sub-facets, orders and categorizations of medium: there is a strict categorization between vocal and instrumental music, a categorization based on broad size, and important sub-facets for multiples, accompaniment and arrangement. Problematically, there is a mismatch between the definitiveness of library and information science vocal/instrumental categorization and the blurred nature of real musical works; arrangements and accompaniments are limited by other categorizations; multiple voices and groups are not accommodated. So, a model with a radical new structure is proposed which resolves these classification issues.

The results could be used to further understanding of music classification generally, for Western art music and other types of music.

The resulting model could be used to improve and design new classification schemes and to improve understanding of music retrieval.

Deep theoretical analysis of music classification is rare, so this paper’s approach is original. Furthermore, the paper’s value lies in studying a vital area of music classification which is not currently understood, and providing explanations and solutions. The proposed model is novel in structure and concept, and its original structure could be adapted for other knotty subjects.

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.

This work investigates how digital technologies and artistic resources interact in order to bring different Creative and Cultural Industry (CCI) actors together in networks. As the stage of this work, the authors investigate the musical collective Postmodern Jukebox (PMJ), a digital-based enterprise which is intensive in the use of social media platforms.

The study adopts a qualitative approach, based on a case study and netnography.

The findings demonstrate how the technology available to CCI enterprises can be used to leverage business through the engagement of its audience in collaborative processes. The analysis also evidences collaborative dynamics resulting from the integration of three key operant resources in CCI: artistic, technological and co-creative resources. Finally, the case shows the role of a CCI enterprise as an engagement platform that capture people’s emotions trough artistic content.

From a managerial perspective, the study demonstrates how a digital CCI enterprise manages the flow of resources and knowledge drawn from several networks in order to engage actors in co-creating value. Our analysis also suggests that emotions are not only drivers in bringing actors closer to the value cocreation process but also collectively created outputs within these interactions. In this process, the artistic resources of CCI's enterprises play a fundamental role in capturing and transforming these emotions by putting actors from different networks in contact.

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.

The purpose of this paper is to advance the understanding of sound branding by developing a new conceptual framework and providing an overview of the research literature on non-musical sound.

Using four mutually exclusive and collectively exhaustive types of non-musical sound, the paper assesses and synthesizes 99 significant studies across various scholarly fields.

The overview reveals two areas in which more research may be warranted, that is, non-musical atmospherics and non-musical sonic logos. Moreover, future sound-branding research should examine in further detail the potentials of developed versus annexed object sounds, and mediated versus unmediated brand sounds.

The paper provides important insights into critical issues that suggest directions for further research on non-musical sound branding.

The paper identifies an unexploited terrain of possibilities for the use of sound in marketing and branding.

The paper identifies a subfield within sound-branding research that has received little attention despite its inevitability and potential significance.

This exploratory study explores usage habits in music streaming applications (MSA) and their influence on various dimensions, such as: changes in personal music management (PMM) and musical information retrieval; sense of ownership over songs being stored on MSA; and privacy concerns when using those applications. It also investigates the potential effect of demographic factors and personal musical preferences on the tested variables.

This is examined by using a mixed methodology that is consisted of two phases – qualitative and quantitative: The qualitative phase includes semistructured interviews with three MSA users, and the quantitative phase includes the distribution of closed-ended questionnaires among 192 users of MSA.

It seems that the musical information management methods have changed dramatically with the introduction of MSA. Also, the findings show that even though users are only moderately concerned about their privacy within MSA, they are willing to pay for premium services that will ensure privacy protection. Interestingly, personal musical preference was found to affect the belief in the potential of using MSA as part of a social activity and on the willingness to pay for premium services within them.

This paper represents an extension of the article by Weinberger and Bouhnik (2019). It appears to be the first academic research to investigate the issue of musical information retrieval and PMM among MSA. In addition, it is the first study that takes into account privacy-related issues among MSA users.

The peer review history for this article is available at: https://publons.com/publon/10.1108/OIR-04-2020-0118

The case is set in summer 2016, centered on the writer and performing star, Lin-Manuel Miranda, whose Broadway show Hamilton had grossed almost $75 million and won 11 Tony Awards. The musical's cultural influence was buoyed by Miranda’s 578,000 Twitter followers; hundreds of celebrities from Oprah Winfrey to Jennifer Lopez had become ambassadors for the musical; and its impromptu #Ham4Ham live performances were engaging thousands of people on social media with each release. The case explores specific tactics the show employed, challenges students to consider the importance of personality in creating social media buzz, and studies the practical influence social media may have had on the show’s success. It is appropriate for any marketing course, particularly a digital media class in which students are familiar with the major platforms.

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.

The purpose of this paper is to contribute to the growing marketing literature that investigates markets as “configurations”, i.e. networks of market actors engaged in market-shaping practices and performances. As this pioneering work has been largely focused on established mainstream markets and industries driven by large multi-national companies, the present article extends practice-based market theorizing to countercultural market emergence and also to unconventional market practices shaping it.

Insights are drawn from a four-year multi-sited ethnographic study of a rapidly expanding electronic music scene that serves as an illustrative example of emergent countercultural market.

In contrast to mainstream consumer or industrial markets, the authors identify a distinctive dynamic underlying market emergence. Countercultural markets as well as their appeal and longevity largely depend on an inherent authenticity paradox that focal market actors need to sustain and negotiate through ongoing market-shaping and market-restricting practices.

From a practitioner perspective, the authors discuss the implications for market actors wishing to build on countercultural authenticity. They highlight the fragility of countercultural markets and point out practices sustaining them, and also possibilities and challenges in tapping into them.

The study contributes by theorizing the tensions that energize and drive countercultural market emergence. In particular, the authors address the important role of market-restricting practices in facilitating countercultural appeal that has not received explicit attention in prior marketing literature.