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The purpose of this paper is to describe a user‐centered approach to developing a metadata model for an inter‐institutional project to describe and digitize sheet music collections.

Query logs analysis, card sort, and task scenario studies were used to explore users' needs for the discovery of sheet music. Findings from these studies were used to design an interoperable metadata model for sheet music meeting the needs of libraries, archives, and museums.

The user studies conducted demonstrated to the project team the need and methods for recording titles, names, dates, subjects, and cover art for sheet music described as part of the IN Harmony project. It was also learned that tying user studies directly to the design of metadata models can be an effective approach for digital library projects.

The metadata model developed by the IN Harmony project will be reusable for other sheet music collections at a wide variety of institutions. The user‐centered methodologies used to develop the metadata model will similarly be reusable for other digital library projects in the future.

The approach described in this paper brings together standard user study methodologies with metadata design in a novel way, and demonstrates the effectiveness of a methodology that can be reused to plan metadata creation in future digital projects.

We advance theory of how founder identity affects business model (BM) design during new venture creation and contribute to the cognitive perspective on BMs. We look at BM design as a longitudinal process involving a variety of cognitive work that is co-shaped by the founder identity work. Based on an in-depth nine-year process study of a single venture managed by three founders, we observed that a novelty-centered BM design resulted from cognitive work co-shaped by founder identity construction and verification processes. Yet, more remarkably, we noted that founder identity verification decreased over time and observed a process that we labeled “identity-business model decoupling.” It meant that the founders did not alter their founder identity but, over time, attentively grew self-aware and mindfully disengaged negative identity effects to design an effective BM. Our results provide a dynamic view on founder identity imprinting on ventures’ BMs and contribute to the identity, BM, and entrepreneurship literatures.

The Maine Music Box is an interactive, multimedia digital music library that enables users to view images of sheet music, scores and cover art, play back audio and video renditions, and manipulate the arrangement of selected pieces by changing the key and instrumentation. In this pilot project the partners are exploring the feasibility and obstacles of combining collections, digital library infrastructure, and technical and pedagogical expertise from different institutions to implement a digital music library and integrate it into Maine's classrooms. This paper describes the methodology for digitizing, processing and providing access to electronic resources owned by two libraries and hosted by another, and the use of those collections to develop an instructional tool keyed to the digital library.

The aim of this article is to describe the genesis and structural components for an open‐source MusicXML digital library platform.

After briefly discussing music information retrieval within the context of emerging approaches to digital music notation formats, specifically MusicXML, the article discusses how the author's graduate school project evolved into a search and delivery platform for MusicXML files and their manifestations, with particular emphasis on the platform's underlying software structure. A discussion of the platform's end user interface and administrative scripts provides further explanation regarding how the system functions.

Although work remains to be done, digital libraries are poised to use MusicXML and its supporting software for the advancement of music‐related services offered to patrons.

The paper discusses a proof‐of‐concept, open‐source MusicXML digital library platform that may be of interest to librarians with and without musical and/or programming backgrounds.

Social question and answer (social Q&A) sites have become a popular tool for obtaining music information. The purpose of this paper is to investigate what users ask about, what experience the questions convey, and how users specify their questions.

A total of 3,897 music questions from the social Q&A site Yahoo! Answers were categorized according to their question type, user experience, and question specification.

The music questions were diverse with (dis)approval (42 percent), factual (21 percent), and advice (15 percent) questions as the most frequent types. Advice questions were the longest and roughly twice as long as (dis)approval and factual questions. The user experience associated with the questions was most often pragmatic (24 percent) or senso-emotional (12 percent). Pragmatic questions were typically about the user’s own performance of music, while senso-emotional questions were about finding music for listening. Notably, half of the questions did not convey information about the user experience but the absence of such information did not reduce the number of answers. In specifying the questions, the most frequent information was about the music context and the user context.

This study suggests a division of labor between social Q&A sites and search engines for music information retrieval. It should be noted that the study is restricted to one social Q&A site.

Social Q&A sites provide an opportunity for studying what information real users seek about music and what information they specify to retrieve it, thereby elucidating the role of social Q&A in music information seeking.

Since Cantonese opera was inscribed on UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity in 2009, the Chinese government has carried out different policies to “develop” Cantonese opera in Guangzhou. Through state-initiated reforms, the local performing art was homogenized, institutionalized and nationalized in many ways. In this process, the government authorities took the lead and the Cantonese opera music community was not involved in the decision making of the future of their own tradition. This paper aims to discuss this issue.

Based on intensive fieldwork conducted in 2011, the paper examines the meaning of heritage to the local music community, as the art form was recognized by UNESCO in 2009. Apart from studying the policies made by the government, this paper looks into the socio-political impact brought to the Cantonese opera music community from a bottom-up perspective.

Cantonese opera performances in Guangzhou as well as performers’ own social life changed drastically in recent years. Musicians faced a dilemma of whether to follow the government’s market-oriented plan or to preserve their traditional lifestyle with their own initiative.

This paper reveals the voices of the “voiceless” music community and investigates the consequences resulted by the heritagization of the art form to the music community.

This article has been adapted from John Kao's outstanding keynote presentation at the 1997 International Strategic Leadership Conference. The conference, which was held in Washington, D.C., from April 27 to April 30, was attended by approximately 900 professionals from 25 countries around the world.

THE wealth of special and general libraries in Great Britain justifies the assertion that there are few serious inquiries which cannot be answered satisfactorily by one or other of them. In the field of fine arts Britain is especially strong and, although the majority of the great collections on this subject are concentrated in London, the existence of important art libraries—particularly on the subjects of textiles and ceramics—in the provinces must not be overlooked. Moreover, the sources of information on the fine arts comprise not only the special libraries and the appropriate departments of the university libraries but also the special departments of several great public libraries—such as the Hornby Collection at Liverpool—the private collections of experts such as the Raymond Mander and Joe Mitchenson Theatre Research Collection, and the information bureaux such as those maintained by trade organizations and by various foreign governments.