Júlia Durand is a musicology researcher at CESEM (Centre for Music Studies) and a lecturer at NOVA University of Lisbon, Portugal. Her work is published in volumes such as Oxford Handbook of Music and Television (forthcoming), and in journals such as Music, Sound and the Moving Image. In addition to library music, her research focuses on music in online media with misinformation. She has published literary fiction and lyrics for music theatre.

• List of Illustrations Acknowledgements ‘The music industry’s step-child’: an introduction to library music I. Old Habits1. ‘The importance of being usable’: library music as functional music 2. ‘A soundtrack to a film that doesn’t exist yet’: music for unknown images 3. Sleazy sax, playful pizzicato, and other clichés we live by 4. From industry to craft: composers’ practices in library music II. New Practices5. ‘Fresh, hand-picked tracks’: libraries’ commercial strategies 6. ‘An infinite number of hobbyists’: library music’s new users 7. From gender reveals to pimple popping: library music and meaning-making online 8. ‘Grab your knife’: library music as raw material In constant musicking: the futures of library music References Index

Júlia Durand’s illuminating book offers a welcome meditation on the nature of expressive conventions in music by turning to the much-misunderstood field of library music. Through an exploration of functionality and adaptability, it reframes creativity not as a fixed aesthetic value but as the result of contingent practices largely shaped by audiovisual contexts in the age of web platforms and digital participatory culture. By thus examining 'music for imagined images', the author probes the paradoxes of anonymity vs. authorship, of craft vs. art, and of music caught in the apparent contradiction of being both effective and inconspicuous. Library music emerges here as unapologetically utilitarian: the striking claim that 'library music … is a composition looking ahead at its own decomposition' encapsulates the book’s central insight into a repertoire defined by supplying stems and alternate versions of tracks that can be easily dismantled and recombined.At the same time, the study places library music in productive tension with bespoke scoring for film and television, revealing how questions of usability unsettle entrenched hierarchies between art and commerce. By foregrounding processes of adaptation and circulation, the author shows how this repertoire challenges romantic ideals of originality and self-expression while exposing the deep structures that underwrite all musical production – including the intricacies of online copyright management. The result is a work of remarkable academic breadth, alert scholarship, and clarity of expression – one that will reshape debates about categorization, authenticity, and the very ontology of the musical 'work'.

Júlia Durand is a musicology researcher at CESEM (Centre for Music Studies) and a lecturer at NOVA University of Lisbon, Portugal. Her work is published in volumes such as Oxford Handbook of Music and Television (forthcoming), and in journals such as Music, Sound and the Moving Image. In addition to library music, her research focuses on music in online media with misinformation. She has published literary fiction and lyrics for music theatre.

• List of Illustrations Acknowledgements ‘The music industry’s step-child’: an introduction to library music I. Old Habits1. ‘The importance of being usable’: library music as functional music 2. ‘A soundtrack to a film that doesn’t exist yet’: music for unknown images 3. Sleazy sax, playful pizzicato, and other clichés we live by 4. From industry to craft: composers’ practices in library music II. New Practices5. ‘Fresh, hand-picked tracks’: libraries’ commercial strategies 6. ‘An infinite number of hobbyists’: library music’s new users 7. From gender reveals to pimple popping: library music and meaning-making online 8. ‘Grab your knife’: library music as raw material In constant musicking: the futures of library music References Index

Júlia Durand’s illuminating book offers a welcome meditation on the nature of expressive conventions in music by turning to the much-misunderstood field of library music. Through an exploration of functionality and adaptability, it reframes creativity not as a fixed aesthetic value but as the result of contingent practices largely shaped by audiovisual contexts in the age of web platforms and digital participatory culture. By thus examining 'music for imagined images', the author probes the paradoxes of anonymity vs. authorship, of craft vs. art, and of music caught in the apparent contradiction of being both effective and inconspicuous. Library music emerges here as unapologetically utilitarian: the striking claim that 'library music … is a composition looking ahead at its own decomposition' encapsulates the book’s central insight into a repertoire defined by supplying stems and alternate versions of tracks that can be easily dismantled and recombined.At the same time, the study places library music in productive tension with bespoke scoring for film and television, revealing how questions of usability unsettle entrenched hierarchies between art and commerce. By foregrounding processes of adaptation and circulation, the author shows how this repertoire challenges romantic ideals of originality and self-expression while exposing the deep structures that underwrite all musical production – including the intricacies of online copyright management. The result is a work of remarkable academic breadth, alert scholarship, and clarity of expression – one that will reshape debates about categorization, authenticity, and the very ontology of the musical 'work'.

Júlia Durand is a musicology researcher at CESEM (Centre for Music Studies) and a lecturer at NOVA University of Lisbon, Portugal. Her work is published in volumes such as Oxford Handbook of Music and Television (forthcoming), and in journals such as Music, Sound and the Moving Image. In addition to library music, her research focuses on music in online media with misinformation. She has published literary fiction and lyrics for music theatre.

• List of Illustrations Acknowledgements ‘The music industry’s step-child’: an introduction to library music I. Old Habits1. ‘The importance of being usable’: library music as functional music 2. ‘A soundtrack to a film that doesn’t exist yet’: music for unknown images 3. Sleazy sax, playful pizzicato, and other clichés we live by 4. From industry to craft: composers’ practices in library music II. New Practices5. ‘Fresh, hand-picked tracks’: libraries’ commercial strategies 6. ‘An infinite number of hobbyists’: library music’s new users 7. From gender reveals to pimple popping: library music and meaning-making online 8. ‘Grab your knife’: library music as raw material In constant musicking: the futures of library music References Index

Júlia Durand’s illuminating book offers a welcome meditation on the nature of expressive conventions in music by turning to the much-misunderstood field of library music. Through an exploration of functionality and adaptability, it reframes creativity not as a fixed aesthetic value but as the result of contingent practices largely shaped by audiovisual contexts in the age of web platforms and digital participatory culture. By thus examining 'music for imagined images', the author probes the paradoxes of anonymity vs. authorship, of craft vs. art, and of music caught in the apparent contradiction of being both effective and inconspicuous. Library music emerges here as unapologetically utilitarian: the striking claim that 'library music … is a composition looking ahead at its own decomposition' encapsulates the book’s central insight into a repertoire defined by supplying stems and alternate versions of tracks that can be easily dismantled and recombined.At the same time, the study places library music in productive tension with bespoke scoring for film and television, revealing how questions of usability unsettle entrenched hierarchies between art and commerce. By foregrounding processes of adaptation and circulation, the author shows how this repertoire challenges romantic ideals of originality and self-expression while exposing the deep structures that underwrite all musical production – including the intricacies of online copyright management. The result is a work of remarkable academic breadth, alert scholarship, and clarity of expression – one that will reshape debates about categorization, authenticity, and the very ontology of the musical 'work'.