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Continuing to look into current streaming services**

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https://uk.pcmag.com/services-players/5359/the-best-online-music-streaming-services-for-2020

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https://blog.teufelaudio.com/buying-music-online/

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Reference to radio stations & randomisation system

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Targeting non-musicians

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--> music consumers

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Gathering qualitative data

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Quantitative data

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Curation, Collection or Accumulation

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Toups, Z. O., Crenshaw, N. K., Wehbe, R. R., Tondello, G. F., & Nacke, L. E. (2016). “The collecting itself feels good”: Towards collection interfaces for digital game objects. CHI PLAY 2016 - Proceedings of the 2016 Annual Symposium on Computer-Human Interaction in Play, 276–290. https://doi.org/10.1145/2967934.2968088

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interesting survey in annex!

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People collect objects for many reasons, such as filling a per-sonal void, striving for a sense of completion, or creating asense of order [8,22,29,34].

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8.Brenda Danet and Tamar Katriel. 1994. No two alike: Playand aesthetics in collecting. In Interpreting Objects andCollections(1st ed.), Susan M. Pearce (Ed.). Routledge,Chapter 28, 220–239.

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29.Joseph Rykwert. 2001. Why Collect?History Today51,12 (December 2001).

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34.G. Thomas Tanselle. 1998. A Rationale of Collecting.Studies in Bibliography51 (1998), 1–25

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Enable CurationCuration is a form of authoring and creation [17] throughwhich the author makes meaningful decisions about what ele-ments should be acquired, displayed, and combined.

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Enabling curation is likely a challenge for game designers.

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We would, overall, argue for a unified system toaccumulate player-curated collections across games. As astarting point, we recommend that individual games supportcollections in way that are meaningful to players in accordancewith the design implications of enabling curation, preservingrules and mechanics, preserving context of play, and enabling sharing.

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Geisler, G., Giersch, S., Mcarthur, D., & Mcclelland, M. (2002). Creating Virtual Collections in Digital Libraries: Benefits and Implementation Issues.

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Digital libraries have the potential to not only duplicate many of the services provided by traditional libraries but to extend them.

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Virtual collections encourage us to see a digital repository not as a unitary structure, but as a modular construction comprising many sets of resources, some small and others large, some separate and others overlapping, some stable and others transient, some defined by the library managers and others established by library users.

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Wolff, A., & Mulholland, P. (2013). Curation, Curation, Curation. http://www.bethkanter.org/content-curation-101/

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Importantly, the curator offers an interpretation of the how the objects relate to one another. Essentially, they tell a story: about a period in history, about a culture, the life of an artist, about scientific discovery.

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Constructivist views of learning [4]. Instead of imposing a grand narrative for a visitor to passively experience, the visitor is encouraged to actively explore and build their own connections and stories and, in the process of active engagement, to learn [6]

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Contrasting this with many social curation tools thatfacilitate nothing more than collection, a conclusion can be drawn that many social curation tools do not fully exploit the potential of curation, even those that are targeted towards learners

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What stage of curation is best (e.g. most effective) for support: the collection stage which filters out bad or irrelevant content and highlights the most useful, or a fully curated output where the content is ordered according to an underlying logic of how the items are linked, including the original learners own explanations

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