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For readers' advisory librarians, genre literature can prove to be difficult collection management areas. The literature itself has rarely been defined in anything but the negative (“not great literature,” “not of lasting quality”) and yet it makes up a good deal of the attraction for many patrons to the public library, and gives great circulation support to their collections. Percentage‐wise, it gets the least attention for the most benefits. Many budgets are based on circulation figures, and much of the commendable relationship with the public is based on readers who devour genre literature. Why is it that genre readers are given such short shrift for their loyalty and devotion? Some of the problem lies in the traditional view of genre literature and the rest in the new view of collection development.

This paper aims to explore factors contributing to music popularity using machine learning approaches.

A dataset comprising 204,853 songs from Spotify was used for analysis. The popularity of a song was predicted using predictive machine learning models, with the results showing the superiority of the random forest model across key performance metrics.

The analysis identifies crucial genre and audio features influencing music popularity. Additionally, genre specific analysis reveals that the impact of music features on music popularity varies across different genres.

The findings offer valuable insights for music artists, digital marketers and music platform researchers to understand and focus on the most impactful music features that drive the success of digital music, to devise more targeted marketing strategies and tactics based on popularity predictions, and more effectively capitalize on popular songs in this digital streaming age.

While previous research has explored different factors that may contribute to the popularity of music, this study makes a pioneering effort as the first to consider the intricate interplay between genre and audio features in predicting digital music popularity.

Genre is a valuable access point for popular music collections; however, the blurring of genre boundaries combined with changing listening habits and new forms of classification have brought genre’s importance into question. The playlist is now a common means of classification on music streaming platforms. Recent commentary suggests that context is now a preferred access point. This exploratory study offers an examination of genres’ role in playlists.

A mixed-methods study investigates, using Spotify, whether genre retains relevance amidst the rise in popularity of playlist-based music classification. Sample size is noted as a limitation of the study.

Qualitative coding of user and editorial playlist names revealed less than 20% of codes applied were genre-based. However, when non-genre themes were differentiated, genre themes ranked as one of the most prevalent. Context-based themes were most common, though genre was readily combined with other descriptive themes, highlighting its utility. Quantitative analysis of genre tags showed playlists with context-based themes demonstrated higher genre homogeneity than those using generic themes, indicating playlists were named on a genre-by-proxy basis.

The study suggests that genre continues to play an integral role in a field where an eclectic variety of descriptive themes has emerged, although its role may have changed. Context-based themes are central to the way users organise music, though such terms can often serve as containers for music collections sharing distinct generic and musicological similarities.

To provide a small overview of genre theory and its associated concepts and to show how genre theory has had its antecedents in certain parts of the social sciences and not in the humanities.

The chapter argues that the explanatory force of genre theory may be explained with its emphasis on everyday genres, de facto genres.

By providing an overview of genre theory, the chapter demonstrates the wealth and richness of forms of explanations in genre theory.

This essay demonstrates how information systems — collections of documents, data, or other information-bearing objects — function internally as sites for creative manipulation of genre resources. In the information systems context, these textual activities are not clearly traced to the purposeful actions of specific writers.

Genre development for information systems can result from actions that may appear individually to be rote, repetitive, passive, and uninteresting. But as these actions are aggregated at increasing scales, genre components interact and shift, even if change is limited to one element of the larger assemblage. Although these changes may not be initiated by writers in accordance with targeted work activities and associated rhetorical goals, the composite texts thus produced are nonetheless powerful documents that come to partially constitute the broader activities they appear to merely support.

In demonstrating “writerless” phenomena of genre change in distributed, regulated systems, this essay complements and extends the strong body of existing work in genre studies that emphasizes the writer’s perspective and agency in its accounts of genre development. By showing how continually evolving compound documents such as digital libraries constitute such sites of unacknowledged genre change, this essay demonstrates how the social actions that these composite documents facilitate for their users also change.

This study focuses on how the creation of a new market identity, defined here by the social categories that specify what to expect of products and organizations, helps legitimize normatively illegitimate products and thereby facilitate the formation of markets for these products. A product is given a legitimate market identity by recombining existing product and status categories in a way that is both isomorphic with and differentiated from these preexisting categories. I argue that the creation of a new market identity helped create a market for feature films that combined legitimate comedy and illegitimate pornography following the legalization of pornography in Denmark in 1969. Topological analyses of the cultural content of all the film posters used to promote Danish films between 1970 and 1978, and regression analyses of the status of the actors appearing in these films document the importance of market identity in legitimizing illegitimacy.

This chapter presents a case study of the communication of information in Copenhagen during the siege in 1807. The purpose of this chapter is to investigate how information was formed by different genres and how these genres relate to different genre systems. Finally, a purpose of this chapter is to shed light over how information from different genre systems merged into an information network mainly found on the streets and squares of Copenhagen.

This chapter has not aimed at generalized findings. If any findings should be recounted it would be that the chapter has mapped how, for example, a specific genre as the proclamation was shaped by different genre systems and directed its readers to a desired field of actions. Those actions depended on the specific purposes of the proclamations.

A traditional focus on the siege has been political and military issues. Lately, research has focused on a cultural approach within the frames of urban history. This chapter contributes to this cultural approach by investigating the informational aspects from a genre perspective.

This study aimed to identify subgroups of esports players based on their gaming behavior patterns across game genres and compare self-efficacy, social efficacy, loneliness and three dimensions of quality of life between these subgroups.

324 participants were recruited from prolific academic to complete an online survey. We employed latent profile analysis (LPA) to identify subgroups of esports players based on their behavioral patterns across genres. Additionally, a one-way multivariate analysis of covariance (MANCOVA) was conducted to test the association between cluster memberships and development and well-being outcomes, controlling for age and gender as covariates.

LPA analysis identified five clusters (two single-genre gamer groups, two multigenre gamer groups and one all-genre gamer group). Univariate analyses indicated the significant effect of the clusters on social efficacy, psychological health and social health. Pairwise comparisons highlighted the salience of the physical enactment-plus-sport simulation genre group in these outcomes.

This study contributes to the understanding of the development and well-being benefits experienced by various esports consumers, as well as the role of specific gameplay in facilitating targeted outcomes among these consumer groups.

This chapter offers a re-description of knowledge organization in light of genre and activity theory. Knowledge organization needs a new description in order to account for those activities and practices constituting and causing concrete knowledge organization activity. Genre and activity theory is put forward as a framework for situating such a re-description.

By means of genre and activity theory, the chapters argues that understanding the genre and activity systems, in which every form of knowledge organization is embedded, makes us capable of seeing how knowledge organization, as a genre, both can be a tool and an object in genred human activities.

In contrast to much research into knowledge organization, this chapter does not emphasize techniques, standards, or rules to be the sole object of study. Instead, an emphasis is put on the genre and activity systems informing and shaping concrete forms of knowledge organization activity. With this, we are able to understand how knowledge organization activity also contributes to construct genre and activity systems and not only aid them.

In this chapter, I bring a rhetorical genre theory lens to the study of two sets of information activities: information seeking and informing in a clinical setting, and personal information management in the household.

I begin by characterizing each candidate genre and show how it is constituted, created, repurposed, and used. I then show how that genre is embedded within a local genre set. This analysis maps the institutional, interactional, and intertextual connections, showing how generic forms interact with other oral and textual genres within the setting. Finally, I situate the single genre and genre set within the broader genre system to show how individual genres are both socially and intertextually connected with institutions and organizations beyond the local setting.

A genre analysis shows how “information” is accomplished out of the social and documentary practices of participants in particular settings and elucidates the shifting and complex nature of contexts in which information actors operate. Combining three levels of analysis shows how the actions of individuals are locally negotiated but also situated within broader structural constraints and discourse communities. A genre approach therefore offers a window on the elusive concept of “context” in information needs, seeking, and use research.