Library music(king): A library music como processo social e acção colectiva

Abstract

Library music consists of pre-existing music tracks, currently displayed in online catalogues, that can be acquired by audiovisual creators in order to be included in low-budget films. It is used in countless audiovisual contexts, from documentaries and television news to pornography and YouTube videos, thus becoming an essential musical resource for media producers, a music industry with a growing online presence, and an increasingly important source of revenue for composers. Although this pre-existing music is rapidly gaining more significance and more varied uses, the aspects of its composition, production, categorization and usage in films are still under-researched, lacking an in-depth questioning of the circumstances that lead to its devaluation and reputation as stereotyped and ‘canned’ music.

Every stage of library music’s creation and use is moulded by the interaction of different individuals, often revolving round the titles, descriptions, keywords and categories that frame a library music track in a specific imaginary and narrative context. The importance of the actions of music consultants who write those textual elements and of video editors who include the music in audiovisual content make library music a particularly interesting case to explore the relevance of Christopher Small’s concept of ‘musicking’ (1998), moving away from a perspective that focuses solely on the composer as having an exclusive role in shaping possible musical meanings, and instead locating those possibilities in the interaction between composer, music consultant, video editor and audience.