Relevant bibliographies by topics / Music piracy

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Music piracy'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 April 2022

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Journal articles on the topic "Music piracy"

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Burnett, Rachel. "Internet music piracy." ITNOW 48, no. 5 (September 1, 2006): 34. http://dx.doi.org/10.1093/itnow/bwl065.

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Reardon, James, Denny McCorkle, Anita Radon, and Desalegn Abraha. "A global consumer decision model of intellectual property theft." Journal of Research in Interactive Marketing 13, no. 4 (November 20, 2019): 509–28. http://dx.doi.org/10.1108/jrim-07-2018-0093.

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Purpose Intellectual property theft amounts to billions of dollars per year worldwide. The first step in stemming this loss is to understand the underlying precursors of this behavior. This paper aims to propose and test a model of consumer choice to purchase or pirate intellectual property, specifically music. This paper combines and applies the theory of reasoned action (TRA) and Becker’s theory of crime to develop a more comprehensive model of digital piracy behavior. Culture was tested as an antecedent to the attitudes and the perceptions of risk associated with music piracy. Design/methodology/approach A survey of 4,618 participants was conducted across 23 countries. Construct measures were validated using confirmatory factor analysis in LISREL. A conceptual model was tested using logistic structural equation modeling in MPlus. Respondents were asked about the last music they acquired to test a behavioral model of music piracy. Findings The results indicated that culture, specifically rule orientation and uncertainty avoidance, had a significant impact on attitudes toward the music industry, ethical perceptions of music piracy and risk perceptions. Respondents’ ethical perceptions of downloading had the highest impact on music piracy behavior. The personal/copy risk associated with the illegal downloading of music had a significant impact while the relative channel risk did not. The market value, quality and selection also had a significant impact on downloading behavior, as did the respondent's ability to find and download music. Research limitations/implications While this paper was limited by focusing on the illegal downloading of music, the results can provide guidance in the design of future research concerning the piracy and unlicensed downloading of other types of intellectual properties such as movies/videos, TV, paywall content and e-books. Practical implications In recent years, improved access to music and video through online streaming and online stores has significantly decreased music piracy. This research indicated that further inroads into this behavior could be made through better online purchase access and through consumer education about the ethics and results of digital downloading. Further, efforts are more efficient by targeting cultures with lower levels of rule orientation with ethics education and targeted risk messages in countries with higher uncertainty avoidance. Social implications Yearly losses to the music industry amount to about $5-29bn. Many find music and video downloading and “sharing” as acceptable. The model developed in this research has implications to affect this mass loss of revenue to the music industry and perhaps the societal view of downloading behavior that is illegal but commonly accepted. Originality/value This model is the first to integrate cultural aspects into models of digital piracy. In addition, the model is developed from a strong theoretical base (TRA and Becker’s theory of crime) to integrate multiple antecedents to intellectual property theft research.
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Lau, Eric, and Suki Yao. "MUSIC PIRACY IN CHINA." California Business Review 3, no. 2 (October 1, 2015): 47–54. http://dx.doi.org/10.18374/cbr-3-2.7.

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Condry, Ian. "Cultures of Music Piracy." International Journal of Cultural Studies 7, no. 3 (September 2004): 343–63. http://dx.doi.org/10.1177/1367877904046412.

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Bonner, Steven, and Eleanor O'Higgins. "Music piracy: ethical perspectives." Management Decision 48, no. 9 (October 19, 2010): 1341–54. http://dx.doi.org/10.1108/00251741011082099.

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Popham, James. "Factors influencing music piracy." Criminal Justice Studies 24, no. 2 (May 3, 2011): 199–209. http://dx.doi.org/10.1080/1478601x.2011.561648.

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Fahmi, Khairil. "Perlindungan Hukum Terhadap Karya Cipta Lagu “Hilang” Atas Tindakan Perbanyakan Atas Karya Cipta Tanpa Perjanjian Lisensi (Studi Putusan Mahkamah Agung Republik Indonesia Nomor 192 PK/Pdt.Sus/2010)." Jurnal Hukum Kaidah: Media Komunikasi dan Informasi Hukum dan Masyarakat 19, no. 1 (September 30, 2019): 94–113. http://dx.doi.org/10.30743/jhk.v19i1.1910.

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The development of human creativity in creating a work that can have economic value requires legal protection. This protection is very important to encourage the creative enthusiasm of people. There are some basic principles of the copyright law protection of the sound recordings results in its protection that need to be considered, such as what is protected by copyright is an idea that has been tangible and original. As a result of law enforcement efforts against piracy song or music copyright is regulated in the Article 72 where the law enforcement efforts by the government by providing criminal sanctions and civil sanctions with claims for compensation, the Supreme Court considers the reasons of the Petitioner for Review that these reasons cannot be justified, because the judex juris did not commit an error or a real mistake in deciding the a quo case . In general, the forms of Song or Music copyright piracy are divided into several categories, namely Pirate, Couterfeit and Bootleging. The motive for the piracy is for commercial interests in the form of financial gain. The role of the government in law enforcement dealing with piracy is to provide strict sanctions in the form of confiscation and destruction of goods resulting from Copyright piracy carried out by the government. Keywords: Legal Protection, Copyright, Songs, Propagation Actions, License.
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Cesareo, Ludovica, and Alberto Pastore. "Consumers’ attitude and behavior towards online music piracy and subscription-based services." Journal of Consumer Marketing 31, no. 6/7 (November 4, 2014): 515–25. http://dx.doi.org/10.1108/jcm-07-2014-1070.

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Purpose – This paper analyzes consumers’ attitudes and behaviors towards online piracy and their willingness to try subscription-based music services. The objective is to develop and test an attitude-intention model which includes ethical considerations in consumers’ decision making process regarding music consumption. Design/methodology/approach – The study analyzes 505 consumer questionnaires using a structural equations model. Findings – Attitude toward online piracy is positively determined by economic and hedonic benefits and negatively by moral judgment. A favorable attitude toward online piracy, in turn, negatively influences consumers’ willingness to try subscription-based music services, which is also directly determined by their interest and involvement with the services themselves. Research limitations/implications – The limitations of the paper are linked mainly to the adapted scales, to the analysis of just two subscription-based music services (Napster and Spotify) and to the fact that all respondents came from one country. Practical implications – The results call for a greater commitment by music industry actors to educate consumers about the consequences and implications of online music piracy, while also stressing the value added and hedonic benefits offered by subscription-based music services. Originality/value – This paper is the first to focus on consumers’ propensity toward online piracy and their willingness to try subscription-based music services as a possible alternative to the phenomenon, through the development and test of an attitude-intention model that includes ethical considerations.
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Anak Robert KIP, Beatrice Stella, Yin Yung Lim, and Ee Shiang Lim. "COMMITTING DIGITAL MUSIC PIRACY: A STUDY IN PENANG." JOURNAL OF ECONOMICS AND SUSTAINABILITY 4, No.1 (January 31, 2022): 58–72. http://dx.doi.org/10.32890/jes2022.4.1.5.

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Piracy is one of the primary challenges facing the music industry. Music piracy has accounted for substantial revenue losses in this industry in Malaysia, a country in which intellectual property regimes are deemed as a matter of concern. If music piracy is left unchecked, it may destroy the value chain of the music industry. This study aims to explore the extent to which digital music copyright violations prevails in society and examine the characteristics of copyright violators. The analysis was carried out using primary data collected from a survey carried out in Penang, a highly urbanised state in Malaysia. A descriptive approach was used for the analysis. The findings from this study offer insights into the phenomenon of music piracy in Malaysia. The incidence of violating copyright was high, with seven out of ten persons involved in illegally using digital music. Copyright violators have distinguishing characteristics that differentiate them from non-copyright violators. The results found that awareness about intellectual property rights was rather low among violators and that they had misconceptions about music piracy. While most participants agreed that effective enforcement was critical in reducing illegal music activities, fewer perceived the risks of being caught and the high costs associated with punishment. Policies aimed at increasing awareness and understanding of intellectual property rights and the possible societal implications of copyright issues were discussed. The need to enhance copyright enforcement protection in the country is also highlighted.
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Bustinza, Oscar F., Ferran Vendrell‐Herrero, Glenn Parry, and Vasileios Myrthianos. "Music business models and piracy." Industrial Management & Data Systems 113, no. 1 (March 11, 2013): 4–22. http://dx.doi.org/10.1108/02635571311289638.

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Dissertations / Theses on the topic "Music piracy"

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Brown, Steven Caldwell. "The psychology of music piracy." Thesis, Glasgow Caledonian University, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.680228.

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Digital music piracy is a divisive contemporary issue which continues to dominate public debate on civil liberties, emphasising the far-reaching impact of the digital revolution on everyday music listening. To date, conventional approaches to curbing music piracy have largely failed. The collective knowledge produced by economists, criminologists, and lawyers, broadly depicts music pirates as immoral deviants who show no concern for the implications of their behaviours. Yet, there is little evidence to suggest that music piracy poses any major threats to the recorded music industry. This thesis explores the psychology of music piracy in order to gain a fuller understanding of why individuals engage in this activity, and what it means for the recorded music industry. Further to a comprehensive multidisciplinary Literature Review, eight empirical studies were conducted which adopted a suitably diverse mixedmethodological approach to match varied research questions. Findings from quantitative research find unique personality traits as predictors of pro-piracy attitudes. Results also suggest that individuals favouring music piracy are less fair than those who do not, with follow-up research failing to find that such individuals are immoral. Preference for digital music was also found to be a predictor of pro-piracy attitudes, with young males noted as principally engaged in music piracy. Findings from qualitative research centred on the justifications for engaging in music piracy, including rationalisations and neutralisations, as well as suggesting an imperfect understanding of commercial realities; such findings highlight that music piracy is easily justified in the absence of evidence to show that it poses real threats to the recorded music industry.
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Orr, Schyler Thomas. "Beliefs and Behaviors Regarding Illegal Music Piracy." Thesis, The University of Arizona, 2011. http://hdl.handle.net/10150/229794.

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Digital piracy is a relatively new phenomenon that poses a severe threat to the global music industry. Numerous studies have shown that digital piracy is linked to billions of dollars in lost revenue, leaving record companies scrambling to convince consumers to legally purchase music. A key population in this battle is college students, who are highly likely to engage in illegal downloading. For this study, a voluntary survey was conducted to uncover different classes of digital pirates with the purpose of gaining a better understanding of the types of students engaging in illegal downloading. This understanding can be used by music industry executives to develop new and innovative marketing campaigns that either challenge students’ willingness to engage in illegal downloading, or encourage them to purchase music legally.
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Dilmperi, Athina. "Explaining consumers' music preferences in a multi-channel framework :bthe case of music piracy." Thesis, Cranfield University, 2013. http://dspace.lib.cranfield.ac.uk/handle/1826/8559.

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Understanding consumers’ behaviour towards music acquisition from all channels (both legal and illegal) is essential for marketers and policy makers in order to fight music piracy. Yet, existing research has not examined consumers’ intention to acquire music from all possible channels but has focused on digital illegal acquisition only. The purpose of this research is to create a model based on the Theory of Planned Behaviour for music acquisition from all possible channels and to test it in order to explain the reasons that lead consumers to acquire music from each channel. The study employs a mixed method approach with a dominant quantitative component. During the exploratory phase an extensive literature review indicated key themes that led to the creation of the research hypotheses, the theoretical model and the scale associated with it. An initial questionnaire was created as an instrument for the study, which was subject to face and content validity with expert judging (5 academics and 5 practitioners) and a pilot study (19 participants). Purification and validation of the scale was conducted through reliability tests and Exploratory Factor Analysis (n=200). The research hypotheses of the model were tested using Confirmatory Factor Analysis and Structural Equation Modelling on a sample of undergraduate students (n=511) from two European countries (UK and Greece) both suffering from music piracy. Four possible distinct music acquisition channels are presented and analysed: bricks-and-mortar stores, street vendors, Internet music shops and P2P platforms. Major findings suggest that music quality and perceived benefits of piracy are the most important determinants of music acquisition. The outcome of this research adds new perspectives to the issue of music piracy, and suggests directions for future research. In addition, the research offers important implications for marketers and police makers who could use the findings in order to reduce the piracy phenomenon.
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Dilmperi, Athina. "Explaining consumers' music preferences in a multi-channel framework : the case of music piracy." Thesis, Cranfield University, 2013. http://dspace.lib.cranfield.ac.uk/handle/1826/8559.

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Understanding consumers’ behaviour towards music acquisition from all channels (both legal and illegal) is essential for marketers and policy makers in order to fight music piracy. Yet, existing research has not examined consumers’ intention to acquire music from all possible channels but has focused on digital illegal acquisition only. The purpose of this research is to create a model based on the Theory of Planned Behaviour for music acquisition from all possible channels and to test it in order to explain the reasons that lead consumers to acquire music from each channel. The study employs a mixed method approach with a dominant quantitative component. During the exploratory phase an extensive literature review indicated key themes that led to the creation of the research hypotheses, the theoretical model and the scale associated with it. An initial questionnaire was created as an instrument for the study, which was subject to face and content validity with expert judging (5 academics and 5 practitioners) and a pilot study (19 participants). Purification and validation of the scale was conducted through reliability tests and Exploratory Factor Analysis (n=200). The research hypotheses of the model were tested using Confirmatory Factor Analysis and Structural Equation Modelling on a sample of undergraduate students (n=511) from two European countries (UK and Greece) both suffering from music piracy. Four possible distinct music acquisition channels are presented and analysed: bricks-and-mortar stores, street vendors, Internet music shops and P2P platforms. Major findings suggest that music quality and perceived benefits of piracy are the most important determinants of music acquisition. The outcome of this research adds new perspectives to the issue of music piracy, and suggests directions for future research. In addition, the research offers important implications for marketers and police makers who could use the findings in order to reduce the piracy phenomenon.
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Salmela, Markus, and Sakari Ylönen. "The New Music Industry : - Understanding the Dynamics of the New Consumer of Music." Thesis, Jönköping University, JIBS, EMM (Entrepreneurship, Marketing, Management), 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-11902.

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The music industry today is undergoing a revolution with digital distribution of music taking over the traditional sales of physical CDs (Mewton, 2008). The peer-to-peer networking and illegal music piracy is a problem that lately has been widely discussed in forums of ethics, legal issues and economical aspects, followed by a music industry trying to solve the situation with new business models enhancing digital sales, e.g. the tip jar model (Hiatt & Serpick, 2007). The tip jar model embodies the problem the industry is facing since it allows the consumer to choose whether to pay or not. Therefore the question of what leads the consumer to pay instead of download or pirate music has been researched in many aspects. However it has been made to a lesser extent in theory of loyalty and liking and their implications on the new business models’ success and the new consumer of music.

Previous research within music piracy has mainly explored demographics, macro- and micro economical perspectives such as artist and record company loss of welfare and consumer surplus (Coyle et al., 2008). We find it of interest to instead further explore the impacts of theories about consumer liking, loyalty and attitudes (Wells & Prensky, 1996; Shiffman & Kanuk, 1987; Solomon et al., 2002) as an addition to this existing knowledge to enhance the understanding about the new consumer of music. The purpose of this thesis is to analyze artist liking, artist loyalty and attitudinal factors’ impact on consumers’ music piracy intentions. The study is an explanatory study based on quantitative data collected in the region of Jönköping where the collection of data has been conducted by using two questionnaires; one among students at the School of Education and Communication (Jönköping University) and one at the A6 shopping-center. This data has been summarized to create independent variables used in a multiple regression analysis to calculate their impacts on piracy to confirm or reject the from theory deduced hypotheses.

The results from the multiple regression analysis show that the attitudinal factors do not have a direct impact on piracy intentions; however the other two independent variables, measuring the artist loyalty and artist liking have a larger impact. Surprisingly, a higher level of loyalty increases the intentions to pirate music while, as anticipated from theory (Solomon et al., 2002; Shiffman & Kanuk, 1987), higher liking decreases intentions. The conclusion is that the artist liking variable and artist loyalty variable are resulting in a bridge over piracy where the pillars are built of liking and the bridge itself is built of loyalty, stressing the importance of maintaining high levels of liking to maintain purchasing behavior online.

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Mott, Andrew. "File Sharing & Music Piracy: How the Internet is Changing the Tune." Miami University Honors Theses / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1111683024.

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Jinkerson, Jeremy. "DOES MUSIC PIRACY INFLUENCE PURCHASE INTENTION?: ADAPTING AJZEN'S THEORY OF PLANNED BEHAVIOR MODEL." MSSTATE, 2008. http://sun.library.msstate.edu/ETD-db/theses/available/etd-06202008-234405/.

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The Recording Industry Association of America claims to lose millions of dollars each year from music piracy (RIAA, 2007). However, instead of causing loss, digital music piracy may activate norms of reciprocity in music pirates. When pirating music, people may feel some obligation to reciprocate by purchasing music or related merchandise. The theory of planned behavior was used to investigate such a possibility and to provide a framework for scale development. Reliable scales were developed for all measured constructs. Regarding piracy, the RIAAs claim may have some merit. Specifically, previous piracy was associated with decreased reported likelihood to purchase music. However, previous piracy was associated with increased intent to make future music-related purchases. Reciprocity partially mediated this relationship.
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BARROS, MONIQUE PEREIRA IBITINGA DE. "ANALYSIS OF THE BRAZILIAN PHONOGRAPHIC INDUSTRYNULLS FUTURE FACING THE THREAT OF PIRACY AND DIGITAL MUSIC." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2003. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=4820@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
Esta dissertação tem como objetivo avaliar qual a tendência da indústria fonográfica nos próximos anos, tendo em vista as mudanças estruturais que ela vêm passando em conseqüência das alterações ocorridas no ambiente. O setor vem sendo drasticamente abalado por uma oferta ilegal de produtos, além de inovações tecnológicas que podem ser utilizadas de forma benéfica, mas também possibilitam um acesso incontrolável à principal matéria prima das gravadoras. A metodologia utilizada para buscar esta tendência foi o método Delfos de previsão. Este método foi o escolhido por se tratar de um setor desprovido de um histórico confiável, devido às constantes mudanças tecnológicas e de padrão de consumo, e dos eventos atuais que provocam a insegurança sobre o futuro da indústria proporcionarem alterações inesperadas. O método permite a elaboração de uma previsão com base na opinião de especialistas, e tem como resultado uma avaliação do futuro da indústria com base na percepção de pessoas diretamente ligadas a ela. Através deste estudo foi possível verificar que existe uma expectativa de que o governo vá se posicionar mais fortemente com relação à repressão da pirataria musical e que as gravadoras eventualmente passem a tratar como negócio não só a produção de CDs, mas também outros produtos e serviços diretamente ligados à música. Também foi possível concluir que a música digital, de forma geral, não é percebida como uma ameaça à indústria de música tradicional, e pode ser vista como uma oportunidade de negócio. Assim, foi possível diagnosticar o futuro mais provável para as empresas e a estrutura do setor fonográfico brasileiro, além de verificar as variáveis que indicarão a formação deste cenário.
The present work intends to evaluate the most probable scenario for the Brazilian phonographic industry in the next few years, taking in account the structural changes that have been going on in the environment. This industry has been suffering from the continuous increase on the illegal products offering, in addition to new technological solutions, which may have positive implications, but may also allow innovative and uncontrollable ways of obtaining the recording companies´ main asset without paying for it. The Delfos technique has been the methodology chosen for this study. The method was the best choice bearing in mind that the industry does not have a trustworthy historical data, partially because of the technological innovation and chances on the consumption pattern, and the current events on the sector had resulted on unexpected turn a rounds on the industry´s development. Trough this work it has become possible to identify that it is expected from the government to take stronger measures to reprehend the music piracy and also that the recording organizations will eventually make their ways not only with CDs themselves but also with everything music related. Besides, digital music is not perceived as a threat, but in fact is expected to become a business and distribution opportunity for the music industry. Therefore, it has been possible to forecast the most likely future for the companies on the Brazilian music business, along with defining the variables that will indicate the structuring of this scenario.
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Bielas, Ilan. "The Rise and Fall of Record Labels." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/cmc_theses/703.

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This thesis studies the music industry as a whole, and delves more specifically into how new technologies have disrupted the old business model. Advances in technology such as the Internet, MP3s, and file-sharing software have made it possible to bypass the traditional role of record labels, thus creating a closer link between artists and consumers. As the music industry transformed over time, the role of record labels became less defined. This has left once behemoth labels struggling to find a competitive advantage in a rapidly devolving industry. Record labels are no longer the most relevant segment of the music industry, and this work provides an in-depth analysis of the processes that destroyed their relevance. This thesis begins by examining the music industry at a macro level, before tracking record labels from their prominence to their current marginalized role. Advancements in MP3, P2P networks, and other consumer-enabling technologies have transformed the music industry. The lack of a significant response to this shifting landscape within the industry has left record labels on a slippery slope towards extinction. As record labels failed to adapt to shifting demand and changing methods of consumption, private entrepreneurs have intervened to solve inefficiencies in the market. This thesis will leave the reader with an expansive knowledge of how the music industry has transformed, as well as its future trajectory without record labels.
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Ebel, Marc. "Digital music consumption on the Internet : consumer behaviour in the light of digital piracy, legal alternatives and ethical considerations." Thesis, University of South Wales, 2014. https://pure.southwales.ac.uk/en/studentthesis/digital-music-consumption-on-the-internet(a351c4f6-b984-4383-8e41-4b9a3c2c988a).html.

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Purpose: The purpose of this research is to evaluate the usage behaviour of legal and illegal digital music services on the internet and derive a theoretical model that includes the determinants for these behaviours. Based on this model, hidden heterogeneity will be examined amongst the sample population to extract different user-groups with similar attitudes, perceptions and behaviours and to derive and describe these different customer segments of digital music consumers. Design/methodology/approach: A theoretical framework has been developed through a synthesis of the Theory of Planned Behaviour (TPB), Unified Theory of Usage and Acceptance of Technology (UTAUT) and ethical decision making theories. A structured self- completion online-questionnaire has been conducted in Germany and Partial Least Square Structural Equation Modelling (PLS-SEM) has been applied to analyse and validate the theoretical model. Hidden heterogeneity has been analysed using the Finite Mixture (FIMIX) algorithm for PLS-SEM to derive three different customer segments amongst the sample population. Findings: The cause-and-effect model has been proven valid and has revealed the most important antecedents of the usage of legal vs. illegal digital music services on the internet: performance expectancy, facilitating conditions, habit and usage behaviour, perceived risks and benefits, and attitudes including moral and ethical considerations. Besides this, three different segments of customers have been identified, which show different values, opinions and behaviours with the other segments, but homogeneous within the segments. The segments are: Legal Power-Users, Digital Laggards and Young Indifferents. Practical implications: The cause-and-effect model and the three customer segments inform practice for a better understanding of the digital music customer and provide important inputs for the development of new products and services, positioning of the services and communication strategies for current and future services as well as policy makers. Originality/value: Two research gaps have been closed: (1) newer legal digital music services have hardly been examined in the literature and (2) only student samples have been used in digital piracy studies. This study is the first to fill both gaps in expanding the scope explicitly to legal vs. illegal services and to a sample population beyond students. The synthesis of theoretical models to a more comprehensive model to understand the usage and determinants of digital music services has been created. The identification of the three customer segments with the FIMIX algorithm and their real-life description is a contribution to practice, knowledge and methodology. Additionally the research shows, that the evaluation of hidden heterogeneity enriches the pure SEM-analysis, has even improved the evaluation of the overall model and should be a new standard for future SEM-research.
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Books on the topic "Music piracy"

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Music piracy and crime theory. New York: LFB Scholarly Pub. LLC, 2006.

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Pop song piracy: Disobedient music distribution since 1929. Chicago: University of Chicago Press, 2011.

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Collis, Christopher Thomas. The effects of online piracy on the music industry. Birmingham: University of Central England in Birmingham, 2003.

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Fujii, Tetsuo. Boku wa Bītoruzu. Tōkyō: Kōdansha, 2011.

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Fujii, Tetsuo. Boku wa Bītoruzu. Tōkyō: Kōdansha, 2011.

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Fujii, Tetsuo. Boku wa Bītoruzu. Tōkyō: Kōdansha, 2010.

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Fujii, Tetsuo. Boku wa bitoruzu. Tokyo: Kodansha, 2012.

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Kaiji, Kawaguchi, ed. Boku wa Bītoruzu. Tōkyō: Kōdansha, 2011.

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Fujii, Tetsuo. Boku wa Bītoruzu. Tōkyō: Kōdansha, 2011.

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Fujii, Tetsuo. Boku wa Bītoruzu. Tōkyō: Kōdansha, 2010.

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Book chapters on the topic "Music piracy"

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Krause, Amanda Elizabeth, and Steven Caldwell Brown. "The social and applied psychology of engagement in music piracy." In Digital Piracy, 82–107. Abingdon, Oxon [UK] ; New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315158679-5.

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Halbert, Debora. "Sharing as Piracy: The Digital Future of Music." In Resounding International Relations, 71–88. New York: Palgrave Macmillan US, 2005. http://dx.doi.org/10.1007/978-1-137-05617-7_4.

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Casermeiro, Pablo Rando. "Harm and Intellectual Property. Music Piracy as an Example of Empirical Measurement of Damage." In Towards a Rational Legislative Evaluation in Criminal Law, 229–62. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-32895-9_10.

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Nhan, Johnny, and Alesandra Garbagnati. "Policing of Movie and Music Piracy." In Digital Rights Management, 1144–61. IGI Global, 2013. http://dx.doi.org/10.4018/978-1-4666-2136-7.ch056.

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Ongoing skirmishes between mainstream Hollywood entertainment conglomerates and Peer-to-Peer (P2P) file-sharing networks recently reached a crescendo when a Swedish court convicted members of the world’s largest BitTorrent, The Pirate Bay, and handed out the stiffest sentence to date.1 Four operators of The Pirate Bay received one year imprisonments and fines totaling $30 million, including confiscation of equipment. While this verdict sent shockwaves amongst P2P networks, piracy remains rampant, and this incident further exacerbated relations between file sharers and Hollywood. In retaliation, supporters of P2P file-sharing attacked websites of the law firms representing the Hollywood studios (Johnson, 2009). This victory by Hollywood studios may be a Pyrrhic defeat in the long run if the studios do not soften their antagonistic relations with the public. This chapter explores structural and cultural conflicts amongst security actors that make fighting piracy extremely difficult. In addition, it considers the role of law enforcement, government, industries, and the general public in creating long-term security models.
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Nhan, Johnny, and Alesandra Garbagnati. "Policing of Movie and Music Piracy." In Corporate Hacking and Technology-Driven Crime, 87–104. IGI Global, 2011. http://dx.doi.org/10.4018/978-1-61692-805-6.ch005.

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Ongoing skirmishes between mainstream Hollywood entertainment conglomerates and Peer-to-Peer (P2P) file-sharing networks recently reached a crescendo when a Swedish court convicted members of the world’s largest BitTorrent, The Pirate Bay, and handed out the stiffest sentence to date.1 Four operators of The Pirate Bay received one year imprisonments and fines totaling $30 million, including confiscation of equipment. While this verdict sent shockwaves amongst P2P networks, piracy remains rampant, and this incident further exacerbated relations between file sharers and Hollywood. In retaliation, supporters of P2P file-sharing attacked websites of the law firms representing the Hollywood studios (Johnson, 2009). This victory by Hollywood studios may be a Pyrrhic defeat in the long run if the studios do not soften their antagonistic relations with the public. This chapter explores structural and cultural conflicts amongst security actors that make fighting piracy extremely difficult. In addition, it considers the role of law enforcement, government, industries, and the general public in creating long-term security models.
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Høier, Svein. "The making of “piracy standards”." In Digital Music Distribution, 114–31. Routledge, 2017. http://dx.doi.org/10.4324/9781315561639-7.

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Schultz, Robert A. "Copyright and Piracy." In Contemporary Issues in Ethics and Information Technology, 119–32. IGI Global, 2006. http://dx.doi.org/10.4018/978-1-59140-779-9.ch009.

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As I noted in Chapter II, information technology’s basic feature of easy reproduction of digital information gives rise both to new benefits and to new ethical problems. Easy reproduction allows new—and sometimes unwelcome—ways of sharing material previously much harder to copy, such as digitized music and movies. Napster, based on the brilliant and revolutionary idea of distributed storage on millions of machines with no centralized profit-taking, was defeated by centralized profit-takers. Of course, there was also an issue of copyright violation. Currently, movie and music companies are aggressively pursuing digital copyright violators. The response of the record and movie companies might have been different. The earlier technological advances of cassette audiotapes and VCRs facilitated copying music and video but did not elicit a wave of court cases against consumers. After an initial attempt to block any copying, the recording and movie industries realized that amateur copying was actually promoting sales. However, since the inception of Napster, music CD sales have gone down significantly. It is an open question whether copying or poor music quality is more responsible. Music commentators state that current industry producers have strong incentives to promote mediocre music in familiar genres.1 An accompanying issue is control of channels of distribution to reduce competition against mediocre music.2 In fact, much of what these companies now treat as piracy had always been considered “fair use” in other areas.3
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Kirwan, Gráinne, and Andrew Power. "Music, Video and Software Piracy." In Advances in Digital Crime, Forensics, and Cyber Terrorism, 174–89. IGI Global, 2012. http://dx.doi.org/10.4018/978-1-61350-350-8.ch010.

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Gopinath, Sumanth, Jason Stanyek, and Jayson Beaster-Jones. "Music Piracy, Commodities, and Value." In The Oxford Handbook of Mobile Music Studies, Volume 1. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780195375725.013.020.

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"Piracy Killed the Music Industry." In Media Disrupted. The MIT Press, 2021. http://dx.doi.org/10.7551/mitpress/13868.003.0002.

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Conference papers on the topic "Music piracy"

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Hassan, Syed Sahariar, Fatema Nihar, Maimuna Rahman, Md Washim Razu, Rashedul Amin Tuhin, and Amit Kumar Das. "A Behavioral Model of Music Piracy in Bangladesh: Factors Influencing Music Piracy." In 2019 2nd International Conference on Applied Information Technology and Innovation (ICAITI). IEEE, 2019. http://dx.doi.org/10.1109/icaiti48442.2019.8982129.

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Fetscherin, M., and S. Zaugg. "Music piracy on peer-to-peer networks." In IEEE International Conference on e-Technology, e-Commerce and e-Service, 2004. EEE '04. 2004. IEEE, 2004. http://dx.doi.org/10.1109/eee.2004.1287343.

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W. L. Fong, Michelle. "Music in Cyberspace." In InSITE 2004: Informing Science + IT Education Conference. Informing Science Institute, 2004. http://dx.doi.org/10.28945/2831.

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The music scene in cyberspace is an example of how a legal framework has been developed to curb online copyright infringement. The emergence, in the mid-1990’s, of online music websites and software programs such as MP3 technology to compress and download music, have delivered considerable copyright threat to the music industry. This threat has been further exacerbated by the remarkable development of technological innovations, such as high-speed broadband Internet connection and affordable CD burners, which are capable of delivering fast download and reasonably good audio and visual quality. This emerging information technology has made reproducing and sharing the work of others extremely easy, and has caused great concern for the music industry. This paper traces the evolution of the digital music scene in cyberspace and describes the attempts of the US and Australian music trade groups in putting an end to music piracy in cyberspace.
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Husin, Nanang, and Achmad Hidayanto. "Impact of Piracy on Music Sales in Digital Music Transformation - A Systematic Literature Review." In 2018 10th International Conference on Information Technology and Electrical Engineering (ICITEE). IEEE, 2018. http://dx.doi.org/10.1109/iciteed.2018.8534868.

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Watters, Paul A., Maya Watters, and Jacqueline Ziegler. "Malicious Advertising and Music Piracy: A New Zealand Case Study." In 2014 Fifth Cybercrime and Trustworthy Computing Conference (CTC). IEEE, 2014. http://dx.doi.org/10.1109/ctc.2014.13.

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Xudong Lin, Dandan Zeng, Lin Cheng, and Jingjing Wang. "Study on the influence factors of music piracy in china based on SEM model." In 2015 12th International Conference on Service Systems and Service Management (ICSSSM). IEEE, 2015. http://dx.doi.org/10.1109/icsssm.2015.7170311.

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Bhattacharjee, S., K. Lertwachara, R. D. Gopal, and J. R. Marsden. "No more shadow boxing with online music piracy: strategic business models to enhance revenues." In 36th Annual Hawaii International Conference on System Sciences, 2003. Proceedings of the. IEEE, 2003. http://dx.doi.org/10.1109/hicss.2003.1174455.

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Ward, John V. "Piracy or preservation? The underground dissemination of bootleg recordings on the World Wide Web." In Situating Popular Musics, edited by Ed Montano and Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.37.

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Liang, Hongru, Wenqiang Lei, Paul Yaozhu Chan, Zhenglu Yang, Maosong Sun, and Tat-Seng Chua. "PiRhDy: Learning Pitch-, Rhythm-, and Dynamics-aware Embeddings for Symbolic Music." In MM '20: The 28th ACM International Conference on Multimedia. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3394171.3414032.

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Reports on the topic "Music piracy"

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Gans, Joshua. "Selling Out" and the Impact of Music Piracy on Artist Entry. Cambridge, MA: National Bureau of Economic Research, May 2014. http://dx.doi.org/10.3386/w20162.

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Rob, Rafael, and Joel Waldfogel. Piracy on the High C's: Music Downloading, Sales Displacement, and Social Welfare in a Sample of College Students. Cambridge, MA: National Bureau of Economic Research, November 2004. http://dx.doi.org/10.3386/w10874.

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