Gotowe bibliografie tematyczne / Jazz research

Gotowa bibliografia na temat „Jazz research”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 20 lutego 2023

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Artykuły w czasopismach na temat "Jazz research"

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Oldfather, Penny, i Jane West. "Qualitative Research as Jazz". Educational Researcher 23, nr 8 (listopad 1994): 22–26. http://dx.doi.org/10.3102/0013189x023008022.

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Mills, Michael K. "Seeing Jazz - Doing Research". International Journal of Market Research 51, nr 3 (styczeń 2009): 1–16. http://dx.doi.org/10.1177/147078530905100309.

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This paper uses the metaphor of jazz music-making to contribute to the growing literature concerning the need for a more holistic approach to research, and to suggest directions for research implementation. It suggests researchers can work towards an ‘effortless mastery’ of their craft, and posits potential new forms of evaluation criteria useful in evaluating research (and researcher) quality.
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McGowan, James, i Robin Desmeules. "Jazz Research Bibliography (2005–2006)". Journal of Jazz Studies 7, nr 1 (28.02.2011): 145. http://dx.doi.org/10.14713/jjs.v7i1.8.

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McGowan, James, i Robin Desmeules. "Jazz Research Bibliography (2007–2008)". Journal of Jazz Studies 7, nr 2 (16.11.2011): 266. http://dx.doi.org/10.14713/jjs.v7i2.16.

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Desmeules, Robin. "Jazz Research Bibliography (2009-2010)". Journal of Jazz Studies 8, nr 1 (17.07.2012): 105. http://dx.doi.org/10.14713/jjs.v8i1.34.

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Porter, Lewis. "Some Problems in Jazz Research". Black Music Research Journal 8, nr 2 (1988): 195. http://dx.doi.org/10.2307/779352.

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Mordue, Tom, i Noel Dennis. "Performing jazz and the jazz constellation". Marketing Theory 17, nr 2 (24.02.2017): 241–57. http://dx.doi.org/10.1177/1470593116689756.

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In this article, we explore the arts/market dualism in jazz from a fresh methodological, empirical and theoretical perspective in which post-structuralist thought on performativity, relational space and actor–networks is used to interrogate the ecology of jazz production and consumption we call ‘the jazz constellation’. In this, we trace the positioning(s) and movements of an increasingly well-known jazz musician via an analytic auto-ethnographical account of being and becoming an authentic jazz musician in the United Kingdom. By this, we give a rich, first-hand account of how the jazz constellation operates at and through the individual level. We then consider the extent of the negative grip the arts/market dualism has on jazz musicians, and ask if it can be overcome or eased in practice. Finally, we provide pointers towards future research that might draw on the post-structuralist approach adopted here.
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West, Chad. "What Research Reveals About School Jazz Education". Update: Applications of Research in Music Education 33, nr 2 (10.09.2014): 34–40. http://dx.doi.org/10.1177/8755123314547825.

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Suwannabhum, Tayakorn, i Kyle Fyr. "Jazz History in Thailand: From Profession to Music Education". ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 9 (27.06.2022): 83–92. http://dx.doi.org/10.30819/aemr.9-6.

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This qualitative research has collected exhaustive data on topics ranging from the history of jazz in Thailand to the genre entering the realm of music education. Cassettes, CDs, gramophone records, online databases, research articles, and extant documents form the basis of the investigation. Observations and in-depth interviews with seventeen key informants—jazz teachers, jazz event organizers, jazz musicians, and business owners—were conducted. The study shows that initially, jazz in Thailand was inextricably linked to the entertainment venues in which Siamese aristocrats dined and were entertained. The subsequent growth of a jazz society involving musicians, music activists, jazz writers, jazz businesses and foreign-trained graduates became the catalyst for the development of a system that did not rely on formal education. Later, jazz big bands in government organizations, high schools, and universities came into existence. Presently in higher education, the three giants of Mahidol University, Silpakorn University, and Rangsit University offer outstanding music programs. Once considered a singular entity, the growth of jazz education has caused Thai jazz society to spread into various dimensions, including jazz in businesses and activities, performances, and education.
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Suryati, Suryati. "Pemanfaatan YouTube sebagai Media Pembelajaran Vokal Pop Jazz di Prodi Pendidikan Musik Institut Seni Indonesia Yogyakarta". Resital: Jurnal Seni Pertunjukan 22, nr 2 (22.12.2021): 117–26. http://dx.doi.org/10.24821/resital.v22i2.6040.

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Utilizing Youtube as a Learning Media for Pop-Jazz Vocal Course at Music Education Study Program of Institut Seni Indonesia Yogyakarta. The research aims to reveal the learning process of the Pop-Jazz vocal course and the utilization of youtube as an accompaniment in learning the Pop- Jazz vocal course. This research is expected to provide solutions for students who face problems in the learning process of the Pop-Jazz vocal course during the covid-19 pandemic. It is qualitative research with a case study approach. Data collection techniques were carried out through direct observation during the learning process. Furthermore, interviews with teachers and vocal students of Pop-Jazz were conducted to obtain the data. It was a case study of vocal students of Pop-Jazz Intermediate 1 at the Music Education Study Program. The literature studies were carried out to support the data and references. This study shows that the interest in vocal learning of Pop-Jazz at the Music Education Study Program by utilizing youtube as an accompaniment at the pop-jazz vocal course can be increased.
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Rozprawy doktorskie na temat "Jazz research"

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Rose, Jeremy Philip. "A Deeper Shade of Blue: A Compositional Folio Informed by Ethnographic Research into the Sydney Jazz Scene". Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/14901.

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This folio contains scores and audio recordings of five original compositions with critical commentary and ethnographic investigation. The research aims to test existing concepts of an Australian jazz identity and create new constructs for how music is created by a practicing jazz composer and performer. The research presents the results elicited from 11 interviews with selected Sydney jazz scene participants, providing an oral account of the way they create, conceive and perceive jazz music in Sydney and to compare evidence. In the five compositions I research various ways of integrating improvisation, non-Western and Australian influences into jazz and classical music contexts. I provide a case study of eclecticism and the role of improvisation in shaping programmatic goals with specific reference of my major work Iron in the Blood: Music Inspired by Robert Hughes’ The Fatal Shore for jazz orchestra and two narrators. The other works include River Meeting Suite for saxophone quartet, sitar, vocals, tabla and iphone, Oneirology for saxophone quartet and piano, Between Worlds for string quartet and saxophone and Border Control for flute, piccolo, bass clarinet, trumpet and vibraphone. This research addresses some of the deficiencies in the literature on Sydney jazz and creative music and illuminates the creative practices lying behind the creation of localised jazz identities through a case study of my composition portfolio and creative process. By expanding discussion beyond my own compositions, this project helps flesh out how “Australian” approaches to jazz composition, are realised across the Sydney scene and how these are distinct from other locales of jazz music production around the world. My perspective as a significant stakeholder within the jazz community, given that I am a performer, composer, performing artist, band manager and label director provides the research with a unique credibility and valuable insight into the field.
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Abbey, Nicholas Leonard. "Phantoms, An original jazz trio studio recording - and - Dispelling phantoms: An Australian bassist exploring assumptions of jazz practice, An exegesis". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2019. https://ro.ecu.edu.au/theses/2259.

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This PhD research explores ways of adapting to the reportedly common creative, financial, and psychological challenges facing jazz musicians developing and operating in the late 2010s, an era in which the context surrounding jazz music is rapidly evolving. Motivated by the problem of resolving my own creative inertia and personal wellbeing dysfunctions, born of grappling with these issues as an Australian freelance bassist, this study investigates the theory that often-unquestioned assumptions underpinning practice are sedimented socially and that those based on historic, hegemonic, or habitual practices may no longer be universally appropriate. In doing so, it contributes to a growing and necessary dialogue about the ‘why’ and ‘how’ of practice. With the aim of restructuring a more personally productive, sustainable, and meaningful approach to musicking, the primary research question asks: How can revising the musical and extra-musical assumptions of my jazz practice improve its processes and facilitate the generation of new creative work? The idiosyncratic and multifaceted methodology developed to investigate this question is itself an essential component of the research and a useful addition to research in the field. To uncover and revise tacit assumptions, the employed practice-led research methodology combines a suite of methods familiar to jazz practice and borrowed from qualitative research traditions with iterative creative cycles and several additional complementary theoretical concepts. The linchpin of this research strategy is a series of ten semi-structured interviews with bassists of a similar demographic (Sam Anning, Alex Boneham, Tom Botting, Anna Butterss, Karl Dunnicliff, David Groves, Noel Mason, Linda May Han Oh, Adam Spiegl, and Georgia Weber), which illuminate characteristics of contemporary practice and have provoked widespread changes to my own approach. The theorising and testing of revised strategies led to new personal clarity about the purpose and imperatives of practice, enriched my musical understanding, provided insight into factors influencing self-doubt, established a revised compositional framework, and ultimately facilitated the creation of the studio album Phantoms (Nick Abbey, 2019). Treating these developments as a case study, the research extends the particulars of my practice to present transferrable implications for other practitioners and identifies avenues for future research; for instance, it questions assumptions around ‘freelance jazz musicianship’ in the ‘precarious gig economy’ and highlights the importance of ‘self-efficacy’ as a theoretical construct for jazz musicians. The research’s overarching recommendations are that practice assumptions be routinely elucidated and assessed; practitioners and practitioner-researchers strive towards a more uplifting and pluralistic climate of practice; and contemporary, holistic, and socially minded research continues to increase in prevalence.
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Butete, Netsayi. "The jazz divas an analysis of the musical careers of six New Brighton vocalists". Thesis, Rhodes University, 2012. http://hdl.handle.net/10962/d1002298.

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There has been insufficient academic research on the music of the Eastern Cape in general and Port Elizabeth and New Brighton in particular. This study, as part of the International Library of African Music (ILAM)lRed Location Museum Music History Project (ILAMIRLMHP) - an oral history intervention to save the music history of New Brighton from extinction through research and documentation of the memories of veteran musicians - is focused on jazz vocalists. The primary objective of my study is to investigate, critically analyze, interpret and document the career experiences of six New Brighton jazz vocalists in the context of performing in the Port Elizabeth music industry during the apartheid and the post-apartheid eras. The secondary objectives are to stimulate research interests in music students and ethnomusicologists to pursue research on the music of Port Elizabeth and the Eastern Cape and to inspire and motivate the vocalists to continue making music with renewed zeal. A qualitative research paradigm informed the field research necessary for this study. The fieldwork paved the way for an eclectic framework of analysis grounded in Pierre Bourdieu's notions of habitus, field and capital, examining the impact of the context on the vocalists' habitus which influenced how they viewed and interpreted their past and current experiences in the performance field. Data obtained through extensive interviewing of New Brighton's contemporary female vocalists and their male counterparts revealed that they have no opportunity to make commercial recordings. The musicians have to migrate to Johannesburg to have successful music careers, although personality politics, greed and lack of professionalism also work against the musicians' success. The data shows that New Brighton musicians, both male and female, do not have enough performance opportunities and there are fewer chances to tour now than there were from the 1960s through the 1980s. As in the apartheid era, female vocalists are still discriminated against in terms of pay, and men discriminate in how they pay other male musicians. Analysis of the vocalists' jazz compositions revealed that their song lyrics depict a bona fide urban African culture and reflect the emotional needs of the society in which they live.
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Beach, Todd A. "Formative assessment and all that jazz: A collaborative action research project in a U.S. hIgh school". Thesis, University of Sussex, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.488793.

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Meagher, Andrea. "The symbiosis of improvised and rehearsed elements in the creation of contemporary jazz ensemble music". Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/45467/1/Andrea_Meagher_Exegesis.pdf.

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This research investigates the symbiotic relationship between composition and improvisation and the notion of improvisation itself. With a specific interest in developing, extending and experimenting with the relationship of improvisation within predetermined structures, the creative work component of this research involved composing six new works with varying approaches for The Andrea Keller Quartet and guest improvisers, for performance on a National Australian tour. This is documented in the CD recording Galumphing Round the Nation - Collaborations Tour 2009. The exegesis component is intended to run alongside the creative work and discusses the central issues surrounding improvisation in an ensemble context and the subject of composing for improvisers. Specifically, it questions the notion that when music emphasises a higher ratio of spontaneous to pre-determined elements, and is exposed to the many variables of a performance context, particularly through its incorporation of visitant improvisers, the resultant music should potentially be measurably altered with each performance. This practice-led research demonstrates the effect of concepts such as individuality, variability within context, and the interactive qualities of contemporary jazz ensemble music. Through the analysis and comparison of the treatment of the six pieces over thirteen performances with varying personnel, this exegesis proposes that, despite the expected potential for spontaneity in contemporary jazz music, the presence of established patterns, the desire for familiarity and the intuitive tendency towards accepted protocols ensure that the music which emerges is not as mutable as initially anticipated.
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Holgate, Gary David. "Interactions in improvised music: people at play". Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/10076.

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Interactions in improvised music: people at play This project began as an open exploration of musical interactions in a trio in which I have played bass for many years. We gave three concerts for the project and I explored our interactions by talking with the pianist/bandleader and drummer after each concert. They described a broad range of interactions and explored a number of different conceptions of what entails a musical interaction. The musicians were keen to talk about the factors that motivate them to perform together, mainly the desire to play. Play, for them, is its own reward. They aim to collaborate in the moment of performance to create something fresh, rather than display their instrumental technique or present music that has been preconceived. An appreciation of this motivation is needed to understand their interactions in concert. Audience members were also interviewed after every performance. They each experienced the concerts differently, in a way that reflects their preoccupations and interests as much as it reflects the concert event. The research thus provides a view of individuals and their differences that contrasts with the body of music research focused on common experiences within particular musical cultures and the acquisition of the skills required to participate in those cultures. This practice-led research project was allowed to develop and find focus gradually in cycles of performances, interviews and analysis of interview transcripts, concurrent with an ongoing exploration of texts about doing research. Various interactions – during the performances and interviews, between the researcher and the interview transcripts and between the researcher and research texts – contributed to the project’s development. These interactions can be thought of as play between foreknowledge and the unknown. Accordingly, play as described by the musicians and as defined in hermeneutics, was actively pursued as a way of developing an appropriate methodology for the project.
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Lile, Trudy. "Creating new standards : jazz arrangements of pop songs : a thesis presented in partial fulfillment of the requirements for the degree of Master of Music in Jazz Performance, New Zealand School of Music, Auckland, New Zealand". New Zealand School of Music, 2009. http://hdl.handle.net/10179/1203.

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This study involves the research, analysis, and performance of existing arrangements of songs that have been played and recorded by jazz musicians, and are identifiable as pop songs of the last thirty years. This project will discuss the development of these songs as new repertoire in the jazz idiom. In particular it will examine transcriptions of arrangements by Herbie Hancock, Dianne Reeves, Brad Meldau, Charlie Hunter, Christian McBride, and Bob Belden. The analysis of these transcriptions will consider the techniques these musicians used in their arrangements including reharmonisation, melodic interpretation, rhythm, and restructuring of the form of the original song. Further, the techniques identified in the analyses will be applied in the creation of new arrangements of similar songs from that era for jazz ensemble of various sizes.
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Strazzullo, Guy, University of Western Sydney, of Arts Education and Social Sciences College i School of Contemporary Arts. "An intercultural approach to composition and improvisation". THESIS_CAESS_CAR_Strazzullo_G.xml, 2003. http://handle.uws.edu.au:8081/1959.7/501.

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Experiences as a composer and performer in Australia involve a number of significant collaborations with musicians from diverse cultures and musical backgrounds. The musical result incorporates a number of world music elements in the form of drones, rhythms and the use of instruments such as modified guitars and the tabla. But it is distinctly different in content and approach from the generic term, World music, because it deals almost exclusively with music traditions where improvisation is central to collaborative processes. The application of the term ‘intercultural improvisation’ is a more useful descriptor of the process in which musicians from diverse backgrounds cross the boundaries of their music and step into ao zone of experimentation. This is explored through composition and improvisation that cross musical boundaries
Master of Arts (Hons.)
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Strazzullo, Guy. "An intercultural approach to composition and improvisation". Thesis, View thesis, 2003. http://handle.uws.edu.au:8081/1959.7/501.

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Experiences as a composer and performer in Australia involve a number of significant collaborations with musicians from diverse cultures and musical backgrounds. The musical result incorporates a number of world music elements in the form of drones, rhythms and the use of instruments such as modified guitars and the tabla. But it is distinctly different in content and approach from the generic term, World music, because it deals almost exclusively with music traditions where improvisation is central to collaborative processes. The application of the term ‘intercultural improvisation’ is a more useful descriptor of the process in which musicians from diverse backgrounds cross the boundaries of their music and step into ao zone of experimentation. This is explored through composition and improvisation that cross musical boundaries
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Love, Aaron Anyabwile. "UNINTERRUPTED CONVERSATIONS WITH OUR EEGUN: PRELIMINARY CONSIDERATIONS FOR METHODOLOGICAL APPROACHES TO THE RESEARCH OF AFRICAN MUSIC AND THE MUSIC OF JOHN COLTRANE". Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/289387.

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African American Studies
Ph.D.
African music and its musicians from the Pharaonic periods to Mali to the Mississippi Delta to the South Bronx have contributed some of the most lasting and influential cultural creations known. The music and musicians of Africa have been studied as early as the early 18th century. As interest in African music grew so did the discipline of ethnomusicology. Ethnomusicology has sought to understand, interpret and catalog the various areas of African music. In the United States interest in the music as a continuation of African culture was also sought after and investigated as an important area of research. The main objective of this project is to help expand the methodological approaches in the study of African Diasporan musical cultures and their practitioners. The author undertook a critical examination of the previous works on the subject made by both Continental and Diasporan African scholars, in addition to fieldwork in the United States and Africa (Ghana). Through considering the work songs of Pharaonic Egypt, the cosmogram of the Bantu-Kongo and the life of John Coltrane in particular this proposed work articulates new methodological tools in the research of African music and musicians.
Temple University--Theses
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Książki na temat "Jazz research"

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Kahr, Michael. Artistic Research in Jazz. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429275838.

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Tanner, Paul. Jazz. Wyd. 9. Boston: McGraw Hill, 2001.

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Meadows, Eddie S. Jazz research and performance materials: A select annotated bibliography. Wyd. 2. New York: Garland Pub., 1995.

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S, Molasky Michael, red. Nyū jazu sutadīzu: Jazu kenkyū no arata na ryōiki e = New horizons in jazz research. Musashino-shi: Arutesu Paburisshingu, 2010.

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Paxton, Mike. Expanding the audience for jazz: A report of the findings from a qualitative research study. London: Arts Council of Great Britain, 1990.

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Improvisation, creativity, and consciousness: Jazz as integral template for music, education, and society. Albany: State University of New York Press, 2013.

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Meadows, Eddie S. Jazz: Research and Pedagogy. Taylor & Francis Group, 2016.

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Brown, Charles T. Jazz Research Papers 1985. Intl Assn of Jazz Education, 1985.

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Meadows, Eddie S. Jazz: Research and Pedagogy. Taylor & Francis Group, 2013.

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Meadows, Eddie S. Jazz: Research and Pedagogy. Taylor & Francis Group, 2013.

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Części książek na temat "Jazz research"

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Kahr, Michael. "Artistic Research in Jazz". W Artistic Research in Jazz, 46–64. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429275838-5.

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Cobussen, Marcel. "Improvising Artistic Research". W Artistic Research in Jazz, 3–14. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429275838-2.

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McMullen, Tracy. "The Lessons of Jazz". W Artistic Research in Jazz, 85–97. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429275838-8.

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Duby, Marc. "Articulating Musical Practice and Research". W Artistic Research in Jazz, 155–74. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429275838-13.

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Meelberg, Vincent. "Improvising Touch". W Artistic Research in Jazz, 15–28. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429275838-3.

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Dean, Roger T. "Silent Groove, Frames and Applied Improvisation in Miles Davis’ “Shhh/Peaceful” and austraLYSIS’ “Silent Waves”". W Artistic Research in Jazz, 115–34. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429275838-11.

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Bain, Andrew. "Embodied Hope". W Artistic Research in Jazz, 175–91. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429275838-14.

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Banfield, William C. "It Don’t Mean a Thing Without My Web Fan Base Thing". W Artistic Research in Jazz, 98–111. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429275838-9.

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Burke, Robert L. "Analysis and Observations of Pre-learnt and Idiosyncratic Elements in Improvisation". W Artistic Research in Jazz, 135–54. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429275838-12.

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Stover, Chris. "Mapping Jazz’s Affect". W Artistic Research in Jazz, 29–45. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429275838-4.

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Streszczenia konferencji na temat "Jazz research"

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Finlay, Jacqui, Andy Connor i Russel Pears. "Mining Software Metrics from Jazz". W 2011 9th International Conference on Software Engineering Research, Management and Applications (SERA). IEEE, 2011. http://dx.doi.org/10.1109/sera.2011.40.

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Cherkashina, Yulia Sergeevna. "Genre of a music review in specialized jazz publications". W VIII International Research-to-practice conference. TSNS Interaktiv Plus, 2017. http://dx.doi.org/10.21661/r-117184.

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Francesconi, Fabiano, Fabiano Dalpiaz i John Mylopoulos. "Models for strategic planning: Applying TBIM to the Montreux Jazz Festival case study". W 2015 IEEE 9th International Conference on Research Challenges in Information Science (RCIS). IEEE, 2015. http://dx.doi.org/10.1109/rcis.2015.7128884.

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Koerber, A. "Increasing feminist visibility in professional communication research". W IPCC 99. Communication Jazz: Improvising the New International Communication Culture. Proceedings 1999 IEEE International Professional Communication Conference. IEEE, 1999. http://dx.doi.org/10.1109/ipcc.1999.799102.

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Pawan, Marry Tracy, i Juliana Langgat. "IMPACT OF COVID-19 ON EVENT INDUSTRY: EVENT AUDIENCE READINESS TOWARDS EVENT DIGITIZATION". W GLOBAL TOURISM CONFERENCE 2021. PENERBIT UMT, 2021. http://dx.doi.org/10.46754/gtc.2021.11.056.

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For the event organiser, Sabah is one of the states that becomes a focal point. As Sabah is one of the most popular tourist destinations, several large events such as the Sabah Jazz Festival, Pesta Lepa-lepa, Pesta Kaamatan, Pesta Kalimaran, and other festivals have been held. However, COVID 19’s disruptive impacts have had such a significant impact on the event sector. Most of the events are getting cancelled or postponed all over the world. Over the past several months, a significant number of meetings and conferences have been redesigned as virtual events. However, the event industry needs to know the readiness of the public towards the shifting from the physical to the digital. Therefore, the objective of this research is to determine the event audience readiness for digital events. It is important for the event industry to know the readiness and a good online platform in providing a good service to their audience. A quantitative method was used to conduct this study. The main finding will see how far our communities is ready to adapt the new norm. Based on the finding it shows that event audience are willing to adopt the event digitisation, and this is due to the impact of the COVID 19pandemic which was accelerating changes in event audience behaviour. This research will benefit the event organisers and help them prepare strategic plana to cater to the audience needs.
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Weinberger, Maor, i Dan Bouhnik. "The Emergence of Music Streaming Applications and Its Effect on Changes in Personal Information Management and Privacy Related Issues [Abstract]". W InSITE 2020: Informing Science + IT Education Conferences: Online. Informing Science Institute, 2020. http://dx.doi.org/10.28945/4523.

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Aim/Purpose: In this exploratory study we examine personal information management within music streaming applications. Also, we investigate the sense of ownership over songs being played on music streaming applications and whether the use of these services may be considered a social activity. In addition, we explore the extent of user privacy concern in using music streaming applications. Background: This paper represents the second phase of the article titled Usage Habits in Music Streaming Applications and their Influence on Privacy Related Issues [Research in Progress] (Weinberger & Bouhnik, 2019). Methodology: The research is conducted using a mixed methodology and consists of two phases: qualitative and quantitative. The qualitative stage is a pilot which includes semi-structured interviews with three music streaming application users in order to explore the possible change in personal information management, following the emergence of these applications (e.g., changes in classification and song retrieval methods). The quantitative phase includes the distribution of closed ended questionnaires among 192 users of music streaming applications (Male – 72.9%, Female – 27.1%; Age: 18-58), aiming to explore personal information management issues and privacy related issues that emerge while using these applications. Contribution: As far as we know, this is the first academic research to investigate the issue of personal information management among music streaming applications and the also the first to use a mixed methods approach to examine digital music consumption. In addition, it is the first study that takes into account privacy related issues among the users of music streaming applications. Findings: We found major changes between personal musical information management in the past and in the present. As most of the participants (85.4%) prefer nowadays to sort musical items in playlists or not to sort them at all. Out of the participants who chose to sort in folders in the past, only 42.7% still do it at present and out of the participants who chose to sort by alphabetical order in the past, only 15.7% do it at present. Also, we found that the participants have medium sense of ownership over the songs being stored on their streaming applications (M=2.78, SD=1.46) and medium sense that those applications may be used as social activity (M=2.75, SD=1.25). Interestingly, the choice of "sophisticated" genres (e.g. Blues, Jazz or Classical) as favorite music genre predicts the perception of using music streaming applications as part of social activity (R2=0.044, p<0.05). As for privacy concern, it was found that although the participants are moderately concerned about privacy within music streaming applications (M=2.67, SD=1.15), they are willing to pay for higher privacy protection services if they will be offered to them (r=0.49, p<0.001). In general, participants were found to be moderately willing to pay for premium services (M=2.44, SD=1.01), with ad-free service (M=3.07, SD=1.54) being the highest ranked premium service. Impact on Society: The research may drive music streaming applications operators to offer premium services that provide various benefits, such as: ad-free usage, higher privacy protection or better social features, as participants are willing to pay for those features. They may also personalize their users by preferred music genres, to adapt the specific service being offered to them.
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