This thesis will describe a system for the production of generative music through specific methodology, and provide an approach for the delivery of this material. The system and body of work will be targeted specifically at the personal listening audience. As the largest current consumer of music in all genres of music, this represents the largest and most applicable market to develop such a system for. By considering how recorded media compares to concert performance, it is possible to ascertain which attributes of performance may be translated to a generative media. In addition, an outline of how fixed media has changed how people listen to music directly will be considered. By looking at these concepts an attempt is made to create a system which satisfies societies need for music which is not only commodified and easily approached, but also closes the qualitative gap between a static delivery medium and concert based output. This is approached within the context of contemporary classical music. Furthermore, by considering the development and fragmentation of the personal listening audience through technological developments, a methodology for the delivery of generative media to a range of devices will be investigated. A body of musical work will be created which attempts to realise these goals in a qualitative fashion. These works will span the development of the composition methodology, and the algorithmic methods covered. A conclusion based on the possibilities of each system with regard to its qualitative output will form the basis for evaluation. As this investigation is seated within the field of music, the musical output and composition methodology will be considered as the primary deciding factor of a system's feasibility. The contribution of this research to the field will be a methodology for the composition and production of algorithmic music in realtime, and a feasible method for the delivery of this music to a wide audience.

Within this thesis we map the Value-Chains of the Swedish market for Production Music. The reason behind this is that the authors believe this sub-segment of the music industry to be relatively unexplored by business research. Thus increased knowledge should increase transparency for all market actors. We have gathered previous research regarding value chains in the music industry and compare this research to empirical findings on the Production Music Industry.  These findings are primarily gathered from three interviews with individuals in well informed positions within the industry. The three interviews are also backed up by secondary information found through industry websites and other vendors. Analysis indicates that there are two general forms of Value-Chains in the Production Music Industry that are significantly different from each other, and that these are either centered around the Swedish Performing Rights Organization STIM, or the relatively new internet based music library called Epidemic Sound. Specific forms of value delivered back and forth within these value chains consists of everything from education and coaching in production techniques, to monetary compensation and recognition. Analysis also shows that while there is a rather big difference in how the two general value chains are constructed, there seems to be less variation when it comes to how these value chains are governed.

Den här rapporten syftar till att undersöka hur upphovspersoner som sysselsätter sig med produktionsmusik identifierar sig med sitt komponerande och arbete, detta med hjälp av de organisationerna som de försörjer sig genom. De två organisationerna är STIM, Svenska Tonsättares Internationella Musikbyrå, eller Epidemic Sound. Skillnaden mellan de två organisationerna är huvudsakligen att hos STIM upplåter upphovspersonerna sitt verk till organisationen och de i sin tur får ansvaret att förvalta verket och samla in ersättning för upphovspersonens räkning, hos Epidemic Sound överlåter upphovspersonerna sitt verk för en engångsersättning. Epidemic Sound äger sedan verket och kan hyra ut musiken till olika produktionsbolag som vill ha musiken i sina produktioner. Till undersökningen har fyra kompositörer från STIM och fyra kompositörer från Epidemic Sound, samt en förläggare och en representant från STIM intervjuats. I rapporten framgår det att de som var anslutna till STIM har jobbat med musik länge, det är nästintill ett “kall” för dem, de ser verken som konstverk mer än som hantverk, de värdesätter upphovsrätten högt och ser ersättningen som en sekundär anledning till varför de sysselsätter sig med komponerandet. De från Epidemic Sound däremot ser sina verk mer som ett hantverk och den mer säkra lönen som går att få av Epidemic Sound är en stor anledning till varför de valt denna organisation. Med hjälp av organisations-, motivations och identitetsteorier har samband funnits mellan teorierna och val av ersättningsmodell. Denna studie påvisar att det skett en förändring på den svenska marknaden för produktionsmusik efter det att Epidemic Sound kom till år 2009. En förändring har skett gällande det institutionaliserade tillvägagångssättet att traditionellt licensera ut sin musik till produktionsbolag. Denna förändring har gett en ny typ av upphovspersoner med en annan arbetsidentitet en möjlighet att kunna försörja sig på sin musik. Detta har kunnat påvisas genom att studera hur upphovspersonerna identifierar sig med sitt arbete och komponerande beroende på vilken av modellerna de använder. / This essay aims to examine how composers who specializes in production music identify themselves with their composing and work, this with help from the organisations that they support themselves through. The two organisations are STIM, The Swedish Composers International Musicbureu, or Epidemic Sound. The difference between the two are mainly that with STIM the composers let them manage the administration and to collect their income with Epidemic Sound is that they sell their righs to Epidemic Sound for a flat-fee. Because of this transaction the composition is now owned by the company and they can rent it out to other production companies who would like to have the music in their productions. To the study four composers from STIM, four composers from Epidemic Sound, one publisher and one representative from STIM have been interviewed. In the report it emerges that the composers that are from STIM have worked with music for a long time, the work is almost like their destiny, they see their compositions as artwork than as a craftmanship, they put big value to the copyright law, and the commission is a secondary reason to why they do what they do. The composers for Epidemic Sound on the other hand see their work more like craftmanship and the more secure salary are the reason why the composers choose Epidemic Sound. With the help from organizational-, motivational- and identitybased theories connections has been made between the theories and revenue model. This study shows that there’s been a change within the swedish market for production music since Epidemic Sound was founded in 2009. A change has occurd regarding the institutionalized approach to traditionally license music to production companies. This change has given a new type of composers with another work identity an opportunity to provide themselves on their music. This has been detected by studying how the composers identify themselves with their work and their composing depending on what revenue model they choose.

長久以來音樂於人們生活中扮演著極為重要角色，在大多數人的成長過程裡或多或少皆有令其印象深刻之旋律。然而這些旋律常由專業人士所創作，對於未接受過專業訓練的民眾而言，若欲創作自己專屬之音樂難度甚高，而此目標也變得遙不可及。 為解決上述問題，降低音樂自行創作門檻，本研究以行動裝置之使用環境不受限及直覺性觸控介面兩大特性為運行環境，設計Android系統上之音樂創作軟體，協助未受過音樂專業訓練的庶民透過音樂主旋律並搭配適合的和弦配樂達成自行創作音樂之目標。本創作音樂軟體利用行動裝置提供「繪畫旋律曲線」與「字詞輸入」兩種輸入方式，將使用者繪畫的旋律曲線轉換為一段音樂主旋律，進行調性判斷、修正主旋律組成音並利用音樂動機樣式變化加以使主旋律更為豐富，輔以隱藏式馬可夫模型產生適切之和弦序列。最後將主旋律聲波與其產生的和弦聲波以混音的結果呈現給予使用者。 為評估本創作軟體是否符合使用者需求，以實驗觀察法邀請38位受試者進行軟體操作與評估。分析結果顯示，近75%的受試者認為由音樂創作軟體所產生之主旋律與和弦彼此搭配良好且符合其音樂動機。在介面易用性評估方面，結果顯示有近90%受測者認為本研究所提出的音樂創作軟體具有簡單易用之特性且能夠協助其降低創作音樂之門檻。簡單且易用的音樂創作軟體在實務上之重要性不言可喻，不但可使非專業使用者達成自我創作音樂之夢想，更可讓其沉浸於音樂創作成就感之中。 / Music plays as an essential role in human life and it affects the listeners on a certain extent. However, a pleasing music is the production of musicians and is difficult to be created by novices without musical specialty. To lower the entry point of music creation, this thesis design and develop a music accompaniment system on Android with the characteristics of intuitive input and ubiquity for novices without professional music background. The developed system consists of the following modules, main melody preprocessing (key determination and melody modification), music similarity retrieval, main melody post processing (music motif variance), chord accompaniment (Hidden Markov Model and mixing main melody and chord melody) and text processing (tone determination and pitch finding) to automatically match the accordance between melodies and chords that are inputted by patting or word. Thirty-eight participants were invited for system evaluation using the observational experiment. Nearly 75% of participants perceived that the melody and chord matching fits their musical motivations, while 90% stated that they can rely on the system to easily produce desirable music. Our findings contribute to the essence of music creation that the system provides a simplified interface for novice being immersed in music accomplishments, similar to that of professional musicians.