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Music mood is an important metadata type on online music repositories and stream music services worldwide. Many existing studies on mood metadata have focused on music websites and services in the Western world to the exclusion of those serving users in other cultures. The purpose of this paper is to bridge this gap by exploring mood labels on influential Chinese music websites.

Mood labels and the associated song titles were collected from six Chinese music websites, and analyzed in relation to mood models and findings in the literature. An online music listening test was conducted to solicit users’ feedback on the mood labels on two popular Chinese music websites. Mood label selections on 30 songs from 64 Chinese listeners were collected and compared to those given by the two websites.

Mood labels, although extensively employed on Chinese music websites, may be insufficient in meeting listeners’ needs. More mood labels of high arousal semantics are needed. Song languages and user familiarity to the songs show influence on users’ selection of mood labels given by the websites.

Suggestions are proposed for future development of mood metadata and mood-enabled user interfaces in the context of global online music access.

This paper provides insights on understanding the mood metadata on Chinese music websites and uniquely contributes to existing knowledge of culturally diversified music access.

This article aims to examine how next‐generation library catalogs and discovery platforms have the potential to transform the challenges inherent in finding music materials in library collections.

The article discusses the characteristics of discovery platforms, the challenges of searching for music materials, and how discovery tools help users meet those challenges in new ways.

Discovery tools are particularly well suited to searching for music materials. They empower the user by providing effective tools such as facets and tags to manipulate the large, varied search results users encounter when searching for music materials.

The article views the features of discovery tools through the eyes of the end user searching for music materials.

Makes the case that the classical theory of production, as developed primarily by Adam Smith, should be seen as a precursor of the modern capabilities view of the firm (Penrose, Richardson, Nelson and Winter, Teece, Langlois and others). Furthermore, based on an empiricist epistemology, Smith developed ideas that are close to modern notions such as routines and bounded rationality. Shows that his emphasis on knowledge, specialization and learning is characteristic of the capabilities view, but not of the contractual view. Discusses the intellectual link from Smith to other classicals, such as Babbage and Marx, to Marshall and such post‐Marshallians as McGregor, Andrews, Downie, Penrose, and Richardson. Argues that the classical‐capabilities view of the firm can be seen as a theory of firm boundaries. States that the make‐or‐buy decision may in fact hinge on production‐cost considerations, contrary to the spirit of standard transaction‐cost economics.