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1
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.
2
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.
3
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.
4
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.
5
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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<p>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.</p><p>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.</p><p>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.</p>
6
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<br>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.<br>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.
10
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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Musundwa, Sibongile C. "Discursive practices around film and music piracy in selected newspaper articles and radio broadcasts in South Africa." Master's thesis, University of Cape Town, 2015. http://hdl.handle.net/11427/13765.
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This thesis analyses South African news media discourses on piracy to consider whether corporate interests or those of civil society are served by stories about copyright infringement and piracy awareness campaigns. This thesis employs critical discourse analysis to show that hegemonic interests are ultimately served by news coverage, made up of selected newspaper articles and radio broadcast over a ten year period, that frames a range of commercial and non-commercial copying activities as criminal acts. Two dominant frames are identified: piracy as an economic issue and piracy as a crime. The thesis shows how the harms of copyright infringement are conflated by ideologies of the 'pirate' as a violent criminal and 'piracy' as an activity against commerce. The thesis finds a fracturing boundary between the orders of discourse of corporate and civil interests and those of news media. Entertainment media, as one block, garners a way to construct and sustain alliances with news and information media (such as newspapers and news and talk radio), taking on an ideological form. When this type of consent is won, and thus elite interests served, the ability to ensure a richly sourced and diverse public domain and public sphere is compromised.
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Jesse, Timo. "FACTORS DETERMINING THE INTENTION TO OBTAIN MUSIC LEGALLY : A quantitative research approaching the contemporary behaviour of consumers toward the legal acquisition of music in Sweden." Thesis, Linnéuniversitetet, Institutionen för marknadsföring (MF), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-43874.
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This paper contributes to the emerging discussion about the modified behavioural intention of consumers abstaining from pirating and acquiring music through legal means (again) and aims at accurately depicting the key factors influencing the intention of Swedish consumers to acquire music legally. METHODOLOGY This quantitative study followed a deductive approach whereby hypotheses have been deduced from and formulated based on previous studies and present theories. Primary data has been collected by means of a paper-pencil and web-based questionnaire. The questionnaire encompassed a total of 22 questions, was structured on the basis of the different factors that influence consumers’ behavioural intention to acquire music legally and has been both pre-tested on a small sample of the actual population and reviewed by a skilled professor specialised in marketing and research. By using a combination of the purposive sampling and snowball sampling method, 267 valid surveys have ultimately been taken into account. In order to analyse the data adequately, the statistical tool SPSS has been utilised. The analysis was subclassified into different phases: (1) Pearson’s correlation coefficients have been regarded to test the construct validity, (2) Alpha’s Cronbach was tested in order to receive information about the reliability of the sets of items and (3) a multiple linear regression as well as various ANOVA tests were run in order to test the hypotheses. FINDINGS The attitude, subjective norms and perceived behavioural control toward music piracy as well as the perceived prosecution risk and magnitude of consequences proved to be significant predictors for consumers’ behavioural intention to acquire music legally, whereas the legitimate price of music and the idolization of artists were measured to be statistically insignificant. In addition, significant differences among female and male consumers and the different age and income levels could be revealed as well. IMPLICATIONS As predominantly younger consumers were engaged in music piracy, it is suggested to strengthen teenagers’ comprehension of copyrights through ethical education. In addition, an intensification and proliferation of visible signs pronouncing against music piracy on il/legal networking sites, physical formats, online libraries and stores may also yield to a change in consumers’ intention to acquire music legally in the future. LIMITATIONS This study was limited in terms of generalising the results and developing statistical inferences from the actual sample to the population having been studied. Despite the goal to yield a balanced proportion between female and male, younger and older as well as less wealthy and wealthy consumers, the actual sample predominantly consisted of younger and middle-aged consumers caused by youngsters’ and older individuals’ unwillingness and / or lack of interest in (a) the study or (b) music. In addition, due to time and financial limitations, the handing out of the paper-pencil questionnaire was only realised in Kronobergs län’s four largest municipalities Växjö, Ljungby, Alvesta and Älmhult. Furthermore, in view of the developed measurement instrument, it should be underlined that of the seven developed variables, three were constructed by merely two items so that interpretations were considered tentatively. FURTHER RESEARCH SUGGESTIONS A replication of the study is suggested in order to generalise and confirm the stability of the results. The inclusion / development of more items per factor is recommended in order to increase the attainment of significant, representative numerical data. Among the factors introduced in this study, consumers’ rebelliousness in terms of consumers’ feeling to be compelled to behave contradictory to inducted rules and standards and additional aspects having been of relevance within the area of software and movie piracy might be taken into account, adapted to and tested on the field of music infringement as well. In addition, a broader scope of the sample concerning respondents’ demographics and accessibility is desirable in order to warrant an appropriate reflection of the population. Special emphasis may also be placed on (1) direct comparisons between Swedish consumers’ behavioural intentions toward the il/legal acquisition of music in the past and in recent times, (2) other provinces in order to reveal possible differences between consumers from the Northern and Southern part of Sweden or even (larger) cities and the countryside and (3) the execution of a similar research by selecting qualitative data collection methods in order to receive in-depth information and thus answer the question why consumers tend to regard a specific factor as more influencing than another one.
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Fisk, Nathan W. "Social learning theory as a model for illegitimate peer-to-peer use and the effects of implementing a legal music downloading service on peer-to-peer music piracy /." Online version of thesis, 2006. https://ritdml.rit.edu/dspace/handle/1850/2737.
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Hope, Stuart. "An investigation of the effect that the availability of legitimate channels for acquiring digital music has on piracy in South Africa." Master's thesis, University of Cape Town, 2014. http://hdl.handle.net/11427/13180.
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Includes bibliographical references.<br>The problem of music piracy has been around for many years and costs the global economy millions of dollars annually. In recent years, advances in technology have facilitated more efficient methods for disseminating music in non-physical (digital) form by means of peer-to-peer networks and the internet, often without cost. The widespread practice of digital media piracy has been implicated as the major driving force behind the sharp decline in music sales over the last decade. Despite this, recent industry reports offer evidence of a gradual increase in music sales, specifically of digital albums. It is suggested that this growth is driven by the increasing number of available legitimate sources of digital media in the global marketplace. A number of these legitimate download (and streaming) services have recently become available to South Africans and offer a valid alternative to piracy. As such, this research presents an investigation into the effect that these legitimate channels have on South Africans’ digital music acquisition habits. The relative awareness (and adoption of) a number of legitimate services amongst South Africans have been investigated (“iTunes” - download, “Deezer”, “YouTube” – streaming) and contrasted against a popular source of contraband (“The Pirate Bay” website). Factors often cited by literature (“Risk”, “Price”, “Convenience” and “Availability”) have been incorporated into a conceptual model employed by this research to measure the influence of these elements on South Africans’ intention to practice digital music piracy. Data was collected by means of a web-based survey instrument and enriched by a limited number of interviews with South African digital music consumers and musicians. Key findings of this research are that South Africans tend to believe that digital music piracy is wrong and they acknowledge some risk of being caught and prosecuted for participating in the practice. Most respondents assert that they have the necessary technical abilities required to locate and download contraband from the internet. This research found that respondents are willing to share their media, both legitimate and illegitimate with their peers and that the practice of digital music piracy is considered socially acceptable in South Africa.
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Urbanová, Renáta. "Analýza prodeje digitální hudby ve spojení s mobilními operátory na českém trhu a v zahraničí." Master's thesis, Vysoká škola ekonomická v Praze, 2009. http://www.nusl.cz/ntk/nusl-15924.
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Currently, digital music is evolving. In connection with this development new business models are formed, e.g. between majors and mobile operators. In the thesis, I am analysing the current trends and czech and foreign music services in this field. In my own research I am evaluating czech customers preferences in respect to digital music, their music habits and their idea of an ideal music service offered by mobile operator. On basis of music services analysis and the research results, I am suggesting an ideal music service to the biggest mobile operator in the Czech republic.
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Bazarsky, Jason. "The effect of illegal music downloading and iTunes Store on CD collection size." Diss., Connect to the thesis, 2008. http://hdl.handle.net/10066/1569.
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Pang, Sam I. "The rhythm of everyday life : a study on the impact of illegal music downloading and the life of adult women in Macau." Thesis, University of Macau, 2006. http://umaclib3.umac.mo/record=b1874193.
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Steedman, Sam, and sam steedman@gmail com. "Change and Growth of Australian Music Value Chains." RMIT University. Architecture and Design, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20091029.161558.
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The Australian music industry is growing and developing yet specific information about the ways in which distribution systems develop is limited. In this study I examined the growth and change of the Australian music value chain. This includes the development of digital distribution systems and the effect that peer-to-peer technology has on system development, specifically the disintermediation between consumers and artists to the detriment of the multinational value chains. The drivers of this change are broken into social and technical elements in order to describe the growth and change occurring. The method used included a comprehensive literature review and use of secondary data from key music industry associations. The Australian music industry is a subset of the global industry and is led by foreign markets and their methods in which music content moves from the creators to the consumers. The consumption patterns of Australian music consumers are changing. The overall value of the music industry is dropping as the new digital downloads market emerges and the overall volume of sales increases; this reflects similar trends in foreign markets. CD single sales have dropped and digital single sales (in MP3 format) have increased. However, there needs to be a balance in the future development of Australian music distribution systems between the needs of music consumers and the sustainability of music companies, where there is both connectivity and steady revenue flow. There are technical elements that have caused a movement away from the traditional forms of music distribution as new technologies facilitate the change, such as Apple's iPod and broadband Internet connections. Advancement of distribution systems has increased piracy levels and the response has been the implementation of digital rights management (DRM), which prevents connectivity. There are also social elements that affect growth and change such as connectivity, or the consumers freedom to choose when, where and how to listen to their music. When music product has a restriction placed upon it its value to the consumer drops. Multinational music companies have failed to recognise the value users place on the freedom to pick and choose and have tried to control rather than to co-develop systems that meets both parties needs.
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Cortez, Igor Siqueira. "Uma análise empírica do consumo de música na Universidade de São Paulo." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/12/12138/tde-04112010-164142/.
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O compartilhamento de músicas pela Internet pode ter efeitos negativos ou positivos sobre a indústria musical. Por um lado, pode limitar a poder de incentivos à criação garantidos por direitos autorais. Por outro lado, contribui para a divulgação de artistas e músicas. Este artigo estima os efeitos de downloads de música sobre o consumo de CDs e shows para uma amostra de 7.147 estudantes universitários. Utilizando variáveis instrumentais motivadas por um modelo teórico simples, associadas à habilidade em informática e tolerância à ilegalidade, estimamos que a prática de downloads de música reduz a probabilidade de consumir CDs em até 45%, ao passo que aumenta a probabilidade de ir a shows em até 35%. Nossos resultados também apontam que existe uma relação de substituição entre pirataria física de CDs e downloads de música. Esse último resultado sugere que as estimativas feitas sem levar em conta o consumo de CDs piratas na equação estrutural podem ser viesadas.<br>Music file sharing may have positive or negative effects over the music industry. On the one hand, it might undermine incentives for music creation guaranteed by copyrights. On the other hand, it contributes to the dissemination of artists and songs. In this paper we estimate the effect of music downloads over the consumption of CDs and concerts for a sample of 7.147 university students. Using theoretically motivated instrumental variables related to computer skills and illegality acceptance, we estimate that the practice of downloads generates a reduction on the probability of buying CDs of up to 45% and an increase in the order of 35% on the probability of going to concerts. We also show the existence of a substitution relationship between physical CD piracy and music downloads. This last result suggests that estimates without controlling for CD piracy may be biased.
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Kubešová, Eliška. "Aktuální právní otázky využití a zneužití záznamů hudebního díla." Master's thesis, Vysoká škola ekonomická v Praze, 2013. http://www.nusl.cz/ntk/nusl-197997.
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This diploma thesis identifies the most important changes in legislation and submitted proposals in the area of copyright between years 2012 and 2013 and in the beginning of 2014 in the Czech Republic, the EU and the USA. These changes are evaluated from a legislative point of view and also from the point of view of a music consumer. For thorough understanding, the thesis contains also an overview of the current Czech legislation of copyright. Furthermore, it evaluates the current situation in a broader context of law, history, technology, culture and consumer behaviour and defines it as opposed to previous periods. It describes the history of music piracy and its current situation and features some of the most important cases of copyright enforcement of the period 2012 to 2014. The thesis contains also a research performed in the Czech Republic and Sweden, which describes past and present habits of music listeners. Following the identification of previous development and current trends, the thesis discovers future development and suggests future solutions to the problem of copyright in music.
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Latson, Christopher Craig. "Contemporary Pirates: An Examination of the Perceptions and Attitudes Toward the Technology, Progression, and Battles that Surround Modern Day Music Piracy in Colleges and Universities." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4595/.
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The pilot study used in this thesis examined the attitudes and perceptions of a small group of students at the University of North Texas. The participants in this pilot study (n=22) were administered an online music file sharing survey, a Defining Issues Test (DIT), and participated in a small focus group. This thesis also outlined the history and progression of online music piracy in the United States, and addressed four research questions which aimed to determine why individuals choose to engage in the file sharing of copyrighted music online.
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Viotti, Leonardo Teixeira. "Pirateando o caminho para o show business: os efeitos da pirataria sobre o mercado de apresentações ao vivo." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/12/12138/tde-05042016-162140/.
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Este trabalho busca mensurar os efeitos do compartilhamento de arquivos na internet sobre o mercado de shows, importante canal de remuneração para músicos. São utilizados dados retirados do Guia da Folha, uma das principais publicações especializadas em cultura na cidade de São Paulo. A especificação principal adota um estimador de diferença em diferenças tendo shows como grupo de tratamento e peças teatrais como grupo de controle. As estimações indicam que a pirataria provocou um choque positivo de oferta, reduzindo os preços de ingressos em até 8,2% e aumentando a quantidade em 14 apresentações por semana. Além disso, a capacidade média foi reduzida, e a diversidade de apresentações e de casas de show aumentou. Esses resultados apontam para a ocorrência de um processo de pulverização do mercado, onde artistas menores fazem shows menores e mais baratos. Artistas muito famosos, entretanto, subiram os preços em torno de 10% e reduziram em até 2,5 o número de apresentações semanais<br>This dissertation measures the effects of file-sharing on the market for music concerts, an important source of income for most musicians.We use information published by Folha de São Paulo, one of the most popular Brazilian newspapers. The main analysis consists of using a differences-in-differences estimator with music concerts as treatment group and theatrical plays as control group.We find evidence that music piracy had a positive effect on the supply of concerts with an up to 8.2% reduction of ticket prices and an increase of 14 weekly performances.We also find a decrease in the mean capacity of venues; an significant increase in the variety of music venues and of unique musicians performing. These results indicate an increasingly competitive market with less popular musicians performing at lower prices for smaller audiences. Famous musicians however have risen ticket prices up to 10% and reduced their number of concerts at around 2.5 weekly performances
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Canuday, Jose Jowel. "Music, dances, and videos : identity making and the cosmopolitan imagination in the southern Philippines." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:ad25b3dd-8d0c-4c9a-8b0a-c85eb3255dd3.
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This ethnography examines the processes in which rooted but overlapping forms of cosmopolitan engagements implicate the Tausug imagination of collectivity. It investigates Tausug expression of connection and belonging as they find themselves entangled into global cultural flow and caught up in the state and secessionist politics of attachment. Utilising methodological and theoretical approaches engendered by visual and material anthropology, the ethnography locates rooted cosmopolitan imagination in the works and lives of creative but marginalised and often silenced Tausug cultural agents engaged in street-based production, circulation, and consumption of popular music and dance videos on compact discs. The ethnography follows these cosmopolitan expressions as they are being imagined, embodied, reproduced, and shared by and across Tausug communities in the Zamboanga peninsula, the Sulu archipelago, and beyond through the digital spaces of the internet and cross-border flow of the videos. How the translocality of imaginaries reflected on the videos play out in everyday life and the broader politics of representation are demonstrated here as vital to the understanding of Tausug imagined community as an open, flexible, and dynamically engaging Muslim society despite long-standing political turbulence and economic uncertainty in their midst. Saliently, the thesis argues that Tausug cosmopolitanism cannot be reduced into a phenomenon driven by the expansive currents of Western-led globalisation. Rather, Tausug cosmopolitanism constitutes both continuity of and departure from past forms of translocal connections of Zamboanga and Sulu, which as a region was once integrated to a pre-colonial Southeast Asian emporium and continually through varying ways of connectedness. Old and new global processes come into play in shaping the everyday production of Tausug imaginaries inevitably rendering Tausug identity formation as a trajectory rather than an unchanging fact of being. Drawing from the Tausug ethnographic experience, the thesis contends that rooted cosmopolitanism does not necessarily constitute a singular condition but rather a contested and distinctively multifaceted phenomenon.
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Paiva, Ellen Caroline Vieira de. "ARTE, TÉCNICA E MERCADO: ressonâncias da indústria fonográfica entre as descontinuidades da cibercultura." Universidade Federal do Maranhão, 2012. http://tedebc.ufma.br:8080/jspui/handle/tede/22.
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Previous issue date: 2012-08-30<br>This paper discusses the relationship between art, technology and market from socio -cultural phenomena on the convergence between the markets and digital music. If, at first, the proliferation of music piracy in the late twentieth century raised the idea that the dynamics of metamorphoses of digital network declared bankrupt music industry consolidated in the thirties, which occurs at the end of the first decade of this century, is the implementation and optimization of a new market that combines both the traditional economic forms of the industry dictates decadent as increasing the possibilities opened up by the horizon of understanding of cyberculture. Attempts to deconstruct the discourse of decadence of the culture industry in the face of the multiplicity of the Internet featuring an underlying problem, and therefore more current, this question here vintage shifted the problem of ownership of content and marketing established between the music labels, artists and audience to the conflict between technology companies and content owners in the applications market. The convergence of media un-territorialized a univocal cultural market network and puts musicians, listeners, businesses, equipment and pirates. On this track, the network itself discusses, since the applications market presents itself as a reaction to the financial discontinuities promoted by peer-to-peer and laws, as phenomena later serve as traces of the dynamics of adaptation promoted by such constructs socio-economic and cultural. Deconstruction sometimes used as a lens designed to support the Oi Novo Som Project, the national telecommunications company Oi, who launched the independent band in the music Sobrado 112 from the network. This observation enabled us to verify, first, such as market access for new artists has been expanded from economic and technological tools, and deeper, as technology companies have diversified their marketing strategies in addition to its products and seeking to win the essential raw materials of this new market: connecting devices and storage (hardware) and content (software). While content, music becomes a commodities devices offering the means of enjoyment in the market.<br>Este trabalho discute as relações entre arte, técnica e mercado a partir de fenômenos sócio - culturais relativos à convergência entre os mercados musical e digital. Se, em um primeiro momento, a proliferação da pirataria musical no século XX tardio suscitou a ideia de que a dinâmica de metamorfoses das tecnologias digitais em rede decretariam a falência da indústria fonográfica consolidada nos anos trinta, o que se verifica, ao final da primeira década do século XXI, é a implementação e otimização de um novo mercado que agrega tanto as formas econômicas tradicionais dessa indústria dita decadente quanto às possibilidades cada vez mais abertas pelo horizonte de compreensão da cibercultura. Intenta-se desconstruir o discurso de decadência da indústria cultural face à multiplicidade da internet apresentando um problema subjacente e, portanto, mais atual, a essa questão aqui deslocada do problema vinteano da propriedade de conteúdo e comercialização estabelecido entre as gravadoras musicais, artistas e público para o conflito entre empresas de tecnologia e proprietários de conteúdo no mercado de aplicativos. A convergência de mídias desterritorializa um mercado cultural unívoco e coloca em rede músicos, ouvintes, empresas, aparelhos e piratas. Nessa esteira, a própria rede se problematiza, posto que o mercado de aplicativos apresentam-se como uma reação às descontinuidades financeiras promovidas por programas peer-to-peer e as legislações, enquanto fenômenos posteriores, funcionam como vestígios da dinâmica de adequação promovida por esses construtos sócio-econômico-culturais. A desconstrução ora elaborada utiliza como lentes de apoio o Projeto Oi Novo Som, da empresa nacional de telecomunicações Oi, que lançou a banda independente Sobrado 112 no mercado musical a partir da rede. Esta observação possibilitou verificar, primeiramente, como o acesso ao mercado para novos artistas vem sendo ampliado a partir das ferramentas econômico-tecnológicas e, mais profundamente, como as empresas de tecnologia vêm diversificando suas estratégias de mercado para além de seus produtos precípuos e buscando conquistar as matérias-primas essenciais desse novo mercado: dispositivos de conexão e armazenamento (hardware) e conteúdo (software). Enquanto conteúdo, a música passa a ser uma commoditie que oferece aos dispositivos o meio de fruição do mercado.
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Pazooki, Parham, and Andreas Tauber. "Ungdomars musikvanor : En studie i hur och var svenska ungdomar upptäcker och konsumerar musik ur ett mottagarperspektiv." Thesis, Linnéuniversitetet, Institutionen för samhällsvetenskaper, SV, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-13387.
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This essay is a study of the various attitudes and behavioral habits for music consumption and discovery of new music amongst young people in Sweden from a receivers perspective. The aim of the study is to review and map out the current trends, habits and cultural views on music consumption. An online survey was posted and spread on Facebook with 195 respondents as a result. The analyzed result and conclusions of the survey was then to be of use for understanding how to market and spread new music more efficiently. The study showed that there are three dominating sources of music for youth in Sweden. Whether it is discovering new music, sharing music, or just consuming music through media platforms, the three dominating trends are; friends, social media and streaming services. The traditional media channels such as TV and radio are losing power compared to earlier generations but are still vital for music marketing when working in symbiosis with positive audience response. Most of the young people in our study use the combination computer-streaming service to listen to music and discover new music through friends. They also value music recommendations from friends the most. A lot of the young people also discover music through social media, such as Facebook. The study showed that the people who discovered music through social media also used social media for sharing music. Ergo, we believe the most important channels to focus on, if you want to reach as many recipients as possible when marketing and spreading new music with young people in Sweden as the target audience, is Facebook and Spotify, while also keeping in mind the importance of Word Of Mouth and Buzz Marketing.
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Sá, Claudio Alessandro Diniz de. "Indústria fonográfica brasileira: novos movimentos no mercado musical no início do século XXI." Pontifícia Universidade Católica de São Paulo, 2009. http://tede2.pucsp.br/handle/handle/2882.
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Previous issue date: 2009-02-18<br>Conselho Nacional de Desenvolvimento Científico e Tecnológico<br>This thesis presents the relevant points concerning the consolidation of the Brazilian music industry and its effect on the music scene between 1998 and 2008 caused by the introduction of new digital technology, music piracy and illegal Internet downloading. This thesis also analyzes the position of music producers towards new digital media in relation to production, distribution, marketing and consumption<br>O objetivo desta tese é o de apresentar os pontos relevantes no caminho da consolidação da indústria fonográfica, especificamente no Brasil. Mostrar a constituição da cena musical brasileira entre 1998-2008. Período que coincide com novos movimentos dentro mercado fonográfico com o surgimento das novas tecnologias digitais e o crescimento da pirataria dos produtos musicais. Com base nesse cenário, analisar o posicionamento dos agentes produtores do campo fonográfico e as novas dinâmicas inseridas pelos novos meios digitais na relação de produção distribuição consumo
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Labská, Julie. "Vliv technologií na hudební průmysl z hlediska distribuce hudby." Master's thesis, Vysoká škola ekonomická v Praze, 2012. http://www.nusl.cz/ntk/nusl-162616.
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Diploma thesis deals with the influence of technologies on the music industry in terms of music distribution. In the first part the two major issues are discussed for deeper understanding of the topic. The change of perception and creation of music over certain period of time and the development of technologies related to music in historical context. Following chapters are mainly focused on current technologies, digitalization and the internet, and global turnovers which have had impact on distribution of music as a consequence of technological spread. In addition to this, the issue of legal aspects related to sharing and downloading music via internet is described. The strategies have been created and adopted by the music industry representatives as a response to the situation of increasing intensity of infringing copyright law by unauthorized sharing and decreasing number of physical media sales. The goal of these strategies has been aimed at support expansion of online music services and raising of public copyright awareness. The work analyses and assesses above mentioned strategies and estimates the possible future development of music industry. Assumptions are created on the basis of historical background and current situation. The partial objective is to evaluate whether the sales of physical media have future as a main source of income for music industry or not.
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Wallin, Hageving Andreas. "IFPI : A Postcolonial Critique of the Trade Body’s Organisational Structure and Ideology." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-94723.
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The purpose of this thesis is to present a postcolonial critique that may empower non-Western music industries globally. As per Nigerian music executive Tunde Ogundipe’s reasoning, its analysis isn’t prescriptive – it presents a critical analysis of IFPI’s organisation and ideology, which non-Western stakeholders may use as free strategic business intelligence if/as they please. Using a sociological methodology, IFPI’s organisational structure and operations are analysed with reference to three postcolonial axes: ideology, history and political geography. The analysis uncovers colonial path dependencies and present-day policies that reproduce the ‘civilising mission’.<br>Syftet med detta examensarbete är att presentera en postkolonial kritik som kan stärka icke-västerländska musikindustrier globalt. Enligt den nigerianska musikföretagsledaren Tunde Ogundipes resonemang är analysen inte föreskriftsmässig – den presenterar en kritisk analys av IFPIs organisation och ideologi, vilken icke-västerländska intressenter kan använda som gratis strategisk affärsintelligens om/som de vill. Med hjälp av en sociologisk metodik analyseras IFPI:s organisationsstruktur och verksamhet med hänvisning till tre postkoloniala axlar: ideologi, historia och politisk geografi. Analysen påvisar kolonialt stigberoende och samtida policys som reproducerar den “civiliserande missionen”.
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Pulda, Michal. "Vícevrstvý systém distribuce audiovizuálního obsahu." Master's thesis, Vysoká škola ekonomická v Praze, 2010. http://www.nusl.cz/ntk/nusl-75004.
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This paper analyzes and critically evaluates present music and video market functioning with emphasis to the sales of electronic format of this content which is preferred by current customers. It analyzes the widespread trend of content sharing via the Internet and specifies reasons why the trend is happening. It defines cases of behavior that are justifiable in the eyes of consumers and therefore legitimate (i.e. creation of backups, downloading and sharing legally unavailable content, downloading for personal use, etc.) and elements that reduce value of the legally distributed content for the customer (copy protection mechanisms or current licensing system). Furthermore, it analyzes new economic approaches that enable the utilization potential of the Internet (i.e. the Long Tail Theory) or of potential customers (Crowdsourcing, Word of Mouth, Gamification). The paper analyzes the functioning new services that use the Internet as a platform for their operation and offer users the experience they want. Proposal for this new system of audiovisual content distribution is proposed based on a synthesis of findings from the operation of these services, new theoretical approaches and author's own contribution. This new system rejects the idea of selling the content as goods (per items) and adopts an approach of access to the whole catalogue of content for a flat monthly fee. This newly born service has several tiers that differ qualitatively among themselves, also in terms of added value for users and finally in the price at which the layers are available. This system is very acceptable to customers as well as being an interesting long-term alternative to the current system for operators of the new system and copyright holders.
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Lundström, Justus, Jonas Widriksson, and Viktor Zaunders. "Changes in media consumption and file sharing : The impact of legislation and new digital media services." Thesis, Jönköping University, JIBS, Business Informatics, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-12534.
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<p>In this study we investigate how the attitude and behaviour concerning illegal file shar-ing have changed among the young population in Sweden. The study will analyze the impact of the IPRED law that was introduced in April 2008 and new digital media ser-vices that have emerged in the last couple of years. It is also evaluated which of these have had the most impact on the attitude and behaviour of the selected population.</p><p>The main part of our research consists of a quantitative survey handed out to a sample population among high school students (ages 16-20) in Jönköping, Sweden. This pri-mary data is later compared to secondary data from a similar study that was done on the same demographics two years prior to this research in order to measure the change in behaviour and attitude. The previous study was conducted prior to the IPRED law im-plementation by one of the authors. We also used prior research within this subject and related fields to further understand and interpret our data.</p><p>What we have discovered through our research is that there has been a decrease in ille-gal file sharing, especially when considering music, however this decrease is much more an effect of the adopting of new media services then it can be attributed to the IPRED law. Furthermore, the attitudes towards file sharing have remained unchanged and a large number of young adults do not feel that file sharing should be illegal.</p><p>It is also concluded that good legal alternatives to file sharing have a large market po-tential if these services can fulfil consumers demand on availability and price. Addition-ally we have found that good legal alternatives are important if the public is to refrain from returning to their old file sharing habits once the initial scare from new legislation has worn off.</p>
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Rytinki, M. (Markus). "Musiikkialan tekijänoikeuksien kesto, ansaintalogiikat ja digitaalisen aineiston saatavuus internetissä." Doctoral thesis, Oulun yliopisto, 2018. http://urn.fi/urn:isbn:9789526221182.
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Abstract This study addresses the justifications of the duration of copyright, the revenue-generating models in the music business, and the availability of digital music in Finland. The first goal was to understand how different stakeholders in the music industry relate to copyright and how they justify what they consider the optimal duration. The second goal was to map out the revenue-generating models in the music industry at a time when the consumption of music has changed from analogue to digital formats, from physical products to streaming services. The third goal was to find out the different ways in which digital music is available on the internet in Finland. The research material consists of survey research, half-structured theme interviews and documentary material. The applied research methods are theory- and material-based content analysis. The theoretical approaches utilized are the theory of justice by John Rawls, the theory of hegemony by Antonio Gramsci, the classical communication model by Roman Jakobson, and power theory by Lawrence Lessig. It uses as its interpretational theory the model of justification of copyright by Laura Leppämäki. The results state the following: The most common justification provided for the optimal duration of copyright is utilitarianism – advantage to society as a whole. The same justification is given by stakeholders who want to keep the duration as it stands, and also by those who wish to shorten it. Another common justification is to see copyright as a natural item of ownership, claimed by work, and especially as a subject of inheritance, preferably for two subsequent generations. The problems concerning the revenue-generating models in the digital world tend to focus on distribution of income on three different levels: record contracts; the distribution models of the streaming companies; and contracts between content sharing companies, record companies and rights organizations. The authors and artists have the weakest bargaining position in the negotiations. The results on availability of digital music show that digital music can be discovered via public services (music libraries), commercial services (streaming companies), and ad hoc societal services (peer-to-peer networks). The role of music libraries as a content provider has decreased since the majority of music consumption has altered to digital services<br>Tiivistelmä Tutkimus käsittelee musiikin tekijänoikeuden keston perusteluja, musiikkialan ansaintalogiikoita ja digitaalisten musiikkiaineistojen saatavuutta Suomessa. Tarkoituksena oli hahmottaa, miten musiikkiteollisuuden eri osapuolet suhtautuvat tekijänoikeuteen ja miten ne perustelevat tekijänoikeuksien optimaalista kestoa. Tavoitteena oli myös kartoittaa musiikkialan ansaintalogiikat, jotka ovat muuttuneet siirryttäessä analogisesta musiikin kulutuksesta digitaaliseen musiikin kulutukseen, ennen kaikkea suoratoistopalveluihin. Kolmantena tehtävänä oli selvittää, millä tavoilla digitaalista musiikkia on saatavilla internetin välityksellä Suomessa. Tutkimusaineisto koostuu kyselytutkimuksesta, puolistrukturoiduista teemahaastatteluista sekä dokumenttiaineistosta. Tutkimusmenetelmänä käytettiin sekä teoria- että aineistolähtöistä sisällönanalyysia. Tutkimuksessa sovellettuja teorioita ovat John Rawlsin oikeudenmukaisuusteoria, Antonio Gramscin hegemoniateoria, Roman Jakobsonin klassinen kommunikaatiomalli ja Lawrence Lessigin valtateoria. Tutkimus käyttää tekijänoikeuksia koskevan tutkimuskysymyksen kohdalla tulkintateoriana Laura Leppämäen esittämää mallia oikeuksien perusteluista. Tutkimuksen tuloksena on, että sekä tekijänoikeuden nykyistä kestoa että sen lyhentämistä perustellaan ennen kaikkea utilitarismilla. Toinen keskeinen perustelukeino oli työn kautta teoksiin saatava omistusoikeus ja tämän omistusoikeuden kautta tarjoutuva mahdollisuus oikeuksien jättämiseen perintönä tekijän jälkipolville. Ansaintalogiikoiden kohdalla esiin nousi digitaalisesta myynnistä generoituvien tulojen jakamiseen liittyvät ongelmat, joita esiintyy niin musiikintekijöiden ja levy-yhtiöiden välisissä sopimuksissa, suoratoistopalvelujen sisäisissä maksumalleissa kuin internetin alustapalveluiden ja oikeudenhaltijoiden sekä heitä edustavien järjestöjen välisissä sopimuksissa. Heikoimmassa asemassa sopimuksia koskevissa neuvotteluissa ovat musiikintekijät ja artistit. Digitaalisen musiikkiaineiston saatavuuden kohdalla keskeisenä tuloksena on, että aineistoa on saatavilla julkisen palvelun eli yleisten musiikkikirjastojen, kaupallisten palveluiden eli suoratoistopalveluiden ja yhteisöllisten palveluiden eli vertaisverkkojen välityksellä. Musiikkikirjastojen rooli aineistojen tarjoajana on pienentynyt siirryttäessä analogisen musiikin kulutuksesta digitaalisen musiikin kulutukseen
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Ebadi, Solmaz, and Mirja Johansson. "Music File Sharing : Genius Technology or Copyright Infringement?" Thesis, Jönköping University, JIBS, Commercial Law, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-7598.
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<p>Today’s technology of music file sharing in peer-to-peer networks is genius. Peer-to-peer are networks composed of several computers enabling files to be shared among users. A substantial part of the files shared constitute unlawful copies; uploading and downloading of such files infringes copyright legislation. File sharing through peer-to-peer networks is therefore both a genius technology and a copyright infringement.</p><p>Peer-to-peer technology has been subject to heavy debate in media, both nationally and internationally. The issue of illegal downloads of music is an international dilemma since music is a global commodity. Sweden has been accused of being file sharers’ haven by organisations such as the Recording Industry Association of America (RIAA). Internet access and broadband capacity is very high in Sweden, which is a reason why many Swedes engage in file sharing. The Swedish company, The Pirate Bay, is the creator of one of the most popular file sharing websites in the world, using the BitTorrent application. The website offers free downloading of <em>inter alia</em> music, films and software. Like most peer-to-peer networks the Pirate Bay website includes copyrighted material, which often is published without the consent of copyright holders. As a result The Pirate Bay is facing a lawsuit on behalf of numerous organisations and companies in the music and film industry.</p><p>The Pirate Bay is accused of contributory infringement and of preparation to commit a copyright infringement according to the Swedish Copyright Act (SwCA). Contrary to the American copyright legislation, the SwCA does not contain any explicit provisions regarding contributory infringement. The SwCA refers to the Swedish Criminal Code, which states that preparation to copyright infringement and contributing to such infringement is illegal and punishable. There is currently a lack of Swedish case law regarding copyright infringement and there are no cases concerning contributory infringement. One reason is that the field of law is constantly changing; the copyright legislation is adjusted to the technological developments. The lack of case law causes unpredictability of the SwCA, which may be harmful to the rule of law. International organisations, such as the RIAA, consider the SwCA to be somewhat ineffective and that it needs to be amended in order to uphold the fundamental purpose of copyright.</p><p>Copyright is a partly harmonised area of law from a global perspective. However, since the Internet and file sharing through peer-to-peer networks is an international phenomenon, copyright legislation needs further harmonisation internationally. At the time there is an ongoing process of implementing the European Union (EU) Enforcement Directive into the SwCA, which grants greater rights to copyright holders. The Directive contains provisions that simplify the process of taking action against an alleged infringer, which may in the long run increase the amount of case law in Sweden. At the same time the implementation of the Enforcement Directive has been criticised as being too far reaching and intruding people’s privacy.</p><p>File sharing through peer-to-peer networks benefits consumers by offering easy access to a wide range of music for a low cost, at the same time enabling artists to reach out to a larger audience. Consumers are vital for the music industry, since they purchase the music. However, the fundamental aim of copyright is to reward copyright holders and function as an incentive to encourage creativity. Consequently, without economic rights the incentive to create is forfeit and music production might decrease. Even if the justification of copyright is primarily to protect creators of a work, it is also essential to emphasise the consumer aspect. Therefore it is of importance to balance the interests of all parties involved.</p><p>In order to uphold the purpose of copyright and interests of the general public, it is necessary to promote and develop more legal file sharing alternatives. Music in digital formats has to some extent replaced the traditional Compact Disc (CD) format. Therefore the music industry must cooperate with among others Internet Service Providers (ISPs) in order to embrace the digital developments of music and offer better solutions to consumers. Simultaneously, there is a lack of knowledge of copyright among the Swedish population, which is why more education is required. In conclusion, advertisement and education could decrease illegal file sharing and enhance all the parties’ interests.</p><br><p>Dagens fildelningsteknologi i peer-to-peer nätverk är genial. Peer-to-peer är nätverk bestående av flera sammankopplade datorer som möjliggör fildelning mellan användare. En betydande mängd av de delade filerna utgör dock olagliga kopior; uppladdning och nedladdning av sådana filer bryter mot upphovsrättslagstiftningen. Fildelning genom peer-to-peer nätverk är därför både genial teknologi och upphovsrättsintrång.</p><p>Peer-to-peer teknologin har väckt stor debatt i media, både nationellt och internationellt. Frågan kring illegal nedladdning av musik är ett internationellt dilemma eftersom musik är en global handelsvara. Sverige har kritiserats av organisationer som Recording Industry Association of America (RIAA) för att vara en frizon för fildelare. Tillgången till internet och bredband är väldigt hög i Sverige, vilket är en anledning till varför många svenskar fildelar. Det svenska företaget The Pirate Bay som använder sig av BitTorrent protokollet, är skapare till en av världens populäraste fildelningssajter. Webbsidan erbjuder gratis nedladdning av bland annat musik, film och programvara. I likhet med de flesta peer-to-peer nätverk innehåller The Pirate Bay’s hemsida upphovsrättsskyddat material som ofta har blivit tillgängliggjort utan upphovsrättshavarens medgivande. Till följd av detta har ett flertal organisationer och företag inom musik- och filmindustrin ingett en stämningsansökan mot The Pirate Bay. </p><p>The Pirate Bay är åtalade för medhjälp och förberedelse till brott mot upphovsrättslagen. I motsats till den amerikanska lagen om upphovsrätt innehåller inte den svenska upphovsrättslagen några uttryckliga bestämmelser rörande medhjälp till brott mot upphovsrätt. Upphovsrättslagen hänvisar istället till brottsbalken som stadgar att förberedelse och medverkan till brott är olagligt och straffbart. I dagsläget finns endast ett fåtal svenska rättsfall angående upphovsrättsintrång men inga fall kring medhjälp till upphovsrättsintrång. En bidragande faktor kan vara att rättsområdet ständigt ändras; upphovsrättslagstiftningen anpassas kontinuerligt till den tekniska utvecklingen. Bristen på svenska rättsfall leder till att upphovsrättslagens tillämpning blir oförutsägbar, vilket kan vara skadligt för rättsäkerheten. Internationella organisationer som exempelvis RIAA anser att den svenska upphovsrättslagen är ineffektiv och att ändringar behöver göras för att upprätthålla upphovsrättens grundläggande syfte. </p><p>Upphovsrätten är till viss del en harmoniserad lagstiftning ur ett globalt perspektiv. Eftersom internet och fildelning genom peer-to-peer nätverk är ett internationellt fenomen behöver upphovsrättslagen ytterligare harmonisering på ett internationellt plan. I dagsläget pågår en implementering av Europeiska Unionens (EU:s) sanktionsdirektiv som tillerkänner större rättigheter till upphovsrättshavare. Direktivet innehåller bestämmelser som förenklar möjligheten för rättighetshavare att vidta åtgärder mot personer som begår upphovsrättsintrång, vilket på sikt kan komma att bidra till en ökad mängd rättsfall. Sanktionsdirektivet har samtidigt kritiserats för att vara alltför långtgående och inskränker människors rätt till privatliv.</p><p>Fildelning genom peer-to-peer nätverk är förmånligt för konsumenter genom att utbudet av musik är stort, lättillgängligt och till en låg kostnad; samtidigt ger nätverken artister möjligheten att nå ut till en bredare publik. Konsumenter är nödvändiga för musikindustrin eftersom de inhandlar musiken. Dock är det viktigt att upprätthålla det fundamentala syftet med upphovsrätt, vilket är att ersätta upphovsrättshavaren för sitt verk och fungera som ett incitament till att stimulera skapade. Utan de ekonomiska rättigheterna skulle uppmuntran att skapa nya alster gå förlorad, och musikproduktionen skulle minska. Trots att upphovsrätten rättfärdigas genom att skydda rättighetshavare så är det även angeläget att understryka värdet av konsumenterna. Det är därför av stor vikt att balansera samtliga parters intressen.</p><p>Det är nödvändigt att marknadsföra och utveckla fler lagliga fildelningsalternativ för att upprätthålla upphovsrättens syfte och samhällets intresse. Digital musik har till viss del ersatt det traditionella Compact Disc (CD) formatet. Musikindustrin måste därför samarbeta med bland annat internetleverantörer för att ta till sig den digitala utvecklingen av musik och erbjuda bättre lösningar till konsumenter. För närvarade har den svenska befolkningen otillräckliga kunskaper inom upphovsrätt, varför mer utbildning behövs. Avslutningsvis, skulle marknadsföring och utbildning kunna bidra till en minskning av den illegala fildelningen och gynna alla parters intressen. </p>
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Pozzi, Luiz Guilherme. "Harry Crowl = marinas para piano - aspectos da construção da performance nas peças 'Guaratuba e Antonina',' Cabo da Roca' e 'Piran e Portoroz'." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284410.
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Orientador: Mauricy Matos Marin<br>O manuscrito das peças e a edição revisada do ciclo para piano "Marinas" não serão disponibilizados por motivos de direitos autorais.<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-19T12:42:16Z (GMT). No. of bitstreams: 1
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Previous issue date: 2011<br>Resumo: O presente trabalho trata sobre a vida e obra do compositor Harry Crowl, criando um catálogo de sua produção musical e traçando um levantamento panorâmico de execuções de suas obras, evidenciando assim o valor de sua produção musical. Propõe-se aqui um estudo que leve diretamente à performance através da descrição das escolhas interpretativas e demais agentes que constroem a interpretação e execução musical em três peças de "Marinas", para piano, sendo elas 'Guaratuba e Antonina', 'Cabo da Roca' e 'Piran e Portoro¿'. Dentre os aspectos descritos nesse estudo encontram-se a reflexão sobre alguns toques pianísticos, os critérios para a escolha de dedilhado, a discussão sobre problemas de ordem técnica e de execução pianística sugerindo algumas de suas possíveis soluções e também se faz uma reflexão sobre o uso consciente dos pedais, salientando sua atuação valiosa para a interpretação pianística<br>Abstract: This dissertation deals with the life and work of the composer Harry Crowl, presenting a catalog of his musical production and an overview of performances of his works, thus demonstrating the value of his music production. Here we propose a study which leads directly to the performance of three pieces from "Marinas" for piano, by describing the interpretative choices and other factors present in the construction of a musical performance and interpretation. These pieces are 'Guaratuba and Antonina', 'Cabo da Roca' and 'Piran and Portoro¿'. Among the aspects described in this study are: a reflection about tone production (touch) on the piano, the criteria for the choice of fingering and the discussion of technical problems, suggesting some of its possible solutions, along with the reflections on the use of the pedals, emphasizing their valuable role in musical interpretation<br>Mestrado<br>Praticas Interpretativas<br>Mestre em Música
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Coelho, Marcelo Pereira. "Suite I Juca Pirama : criação de um sistema composicional a partir da adequação da polirritmia de Jose Eduardo Gramani ao jazz modal de Ron Miller." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284054.
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Orientador: Antonio Rafael Carvalho dos Santos<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-14T07:20:22Z (GMT). No. of bitstreams: 1
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Previous issue date: 2008<br>Resumo: A presente pesquisa propõe a adequação de elementos lítero-musicais a um processo de criação musical, a partir da aplicação dos estudos polirrítmicos desenvolvidos por José Eduardo Gramani, combinado com a sistematização do jazz modal desenvolvida por Ron Miller. Através da composição de uma suíte para quinteto de jazz, o trabalho apresenta uma leitura sonora do poema romântico de Gonçalves Dias, 'I Juca Pirama', em dez movimentos, correspondentes aos dez Cantos que dividem o poema. O texto da Tese compreende, além das informações referentes ao desenvolvimento dos estudos polirrítmicos de José Eduardo Gramani, à obra poética referencial de Gonçalves Dias, à sistematização do modalismo no jazz, informações detalhadas sobre o processo composicional de cada movimento da suíte, seguido das considerações sobre a adaptação da obra para o quinteto e as observações quanto a execução da obra.<br>Abstract: The purpose of this research is to demonstrate the use of a poem in a compositional system based on the application of the polyrhythm studies developed by Jose Eduardo Gramani, combined with the jazz modal compositional system developed by Ron Miller. This process resulted in a Suite composed for a jazz quintet. The suite was inspired by romantic poem 'I Juca Pirama' written by Gonçalves Dias, which is divided into ten parts, each of which became a movement of the suite. This thesis details the compositional process of each movement along with notes about the arrangements and performance of the music.<br>Doutorado<br>Musica<br>Doutor em Música
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Oliveira, Mariana de Souza. "Identifica??o e densidade de cocc?dios parasitas (Apicomplexa: Eimeriidae) de aves silvestres no Distrito de Cacaria, Munic?pio de Pira?-RJ." Universidade Federal Rural do Rio de Janeiro, 2017. https://tede.ufrrj.br/jspui/handle/jspui/2371.
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Previous issue date: 2017-08-31<br>Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES<br>Brazil is one of the 5 most megadiverse countries in the world, presenting 14% of all the biodiversity known worldwide. Brazil also has a greater tropical vegetation covering the world, presenting a high number of endemic species, becoming one of the most important countries in the world for investments in bird conservation. The district of Cacaria, in the municipality of Pira?, Rio de Janeiro, Brazil, has an extensive vegetation cover area, but is affected by local cattle breeding, as well as other anthropogenic actions. Birds can have a high diversity of parasites, such as ectoparasites, helminths and coccidia. Coccidian parasites are the main cause of enteritis, behavioral and reproductive changes in most species of birds. . Coccidia studies are relevant both to animal health and to knowledge of the biodiversity of these parasites. In this context, the objective of this study was to examine the feces of wild birds captured in fragments of Atlantic Forest in the district of Cacaria, in southeastern Brazil, to identify and quantify the coccidian parasites that were present, besides relating them to some ecological characteristics of birds. 14 expeditions were carried out on three fragments of Atlantic Forest in Cacaria, resulting in the capture of 143 birds, with 20 of them positive for coccidia. Among the positive samples, coccidia of Isospora and Eimeira classification were found in 12 species of birds. These coccidia were identified according to the literature, species of coccidia not described in the literature until the present moment were considered morphotypes. There was no relation between the bird species and the positive samples, with their respective oopds (Oocyst by defecation). Regarding the ecological characteristics, only living habits in forest environments were significant, showing that the birds of forest environments are less susceptible to infection. Regarding eating habits, there were no significant results<br>O Brasil ? um dos 5 pa?ses mais megadiversos do mundo, apresentando 14% de toda a biodiversidade conhecida mundialmente. O Brasil tamb?m tem uma maior vegeta??o tropical cobrindo o mundo, apresentando um elevado n?mero de esp?cies end?micas, tornando-se um dos pa?ses mais importantes do mundo para investimentos em conserva??o de aves. O distrito de Cacaria, no munic?pio de Pira?, Rio de Janeiro, Brasil, tem uma extensa ?rea de cobertura vegetal, mas ? afetado pela cria??o de gado local, al?m de outras a??es antr?picas. As aves podem ter uma alta diversidade de parasitas, como ectoparasitas, helmintos e coccidia. Os parasitas coccidianos s?o a principal causa de enterite, altera??es comportamentais e reprodutivas, na maioria das esp?cies de aves. Os estudos de coccidia s?o relevantes tanto para a sa?de animal quanto para o conhecimento da biodiversidade desses parasitas. Neste contexto, o objetivo deste estudo foi examinar as fezes de aves silvestres capturadas em fragmentos de Mata Atl?ntica no distrito de Cacaria, no sudeste do Brasil, para identificar e quantificar os parasitas coccidianos que estavam presentes, al?m de relacion?-los a algumas caracter?sticas ecol?gicas das aves. Foram realizadas 14 expedi??es em 3 fragmentos de Mata Atl?ntica em Cacaria, resultando em captura de 143 aves, com 20 delas positivas para cocc?dios. Dentre as amostras positivas foram encontradas cocc?dios de classifica??o Isospora e Eimeira, em 12 esp?cies de aves. Esses cocc?dios foram identificados de acordo com a literatura, as esp?cies de cocc?dios n?o descritas na literatura at? o presente momento foram consideradas morfotipos. N?o se obteve rela??o entre as esp?cies de aves e as amostras positivas, com seus respectivos oopds (Oocisto por defeca??o). Em rela??o as caracter?sticas ecol?gicas, apenas h?bitos de viv?ncia em ambientes florestais foi significante, apresentando que as aves de ambientes florestais s?o menos suscept?veis a infec??o. J? em rela??o aos h?bitos alimentares, n?o se obteve resultados significativos.
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Nunes, Mariana de Almeida Gaspar Freixo. "On-demand music streaming and its effects on music piracy." Master's thesis, 2018. http://hdl.handle.net/10400.14/25934.
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In the late 1990’s, music industry revenues began to decline, mostly due to the proliferation of the Internet which enabled consumers to easily pirate music. Record companies and artists began fighting legal battles and investing in educational campaigns in an attempt to teach young people the value of intellectual property. However, the times are now starting to change. In 2016, US retail revenues from recorded music grew 11,4%, the biggest increment since 1998. Streaming revenues have now surpassed income from the sale of traditional formats. Nevertheless, there is still a big player in the market worth paying attention to: music piracy. This thesis seeks to investigate the impact on-demand streaming services have been having on illegal downloading and uncover young music consumers’ habits and preferences. Through an online survey, the study used a conjoint analysis to uncover consumers’ preference structure. It also included direct questions to assess music consumers’ characteristics and habits. The results show that ethics and perceived risk negatively influence the decision to pirate music. On the other hand, higher ethics and involvement are associated with the propensity to pay for streaming services. Also, as age increases the propensity to pay for streaming rises and the tendency to pirate decreases. Even though consumers are price sensitive, price is not always the main decision factor. Finally, we observe that streaming did in fact help to reduce the incidence of music piracy among young music consumers.<br>No final dos anos 90, as receitas da indústria da música começaram a diminuir, principalmente devido à proliferação da Internet, que permitia aos consumidores piratear música facilmente. Discográficas e artistas começaram a travar disputas jurídicas e a investir em campanhas educacionais na tentativa de ensinar aos jovens o valor da propriedade intelectual. No entanto, os tempos estão a mudar. Em 2016, a receita associada à música cresceu 11,4%, o maior incremento desde 1998. As receitas de streaming já ultrapassaram as receitas dos formatos tradicionais. No entanto, ainda há um grande player no mercado ao qual vale a pena prestar atenção: a pirataria. A presente tese procura investigar o impacto que os serviços de streaming têm tido na pirataria de música, e compreender os hábitos e preferências dos jovens consumidores de música. Num questionário on-line, o estudo recorreu a uma análise conjoint para desvendar a estrutura de preferências dos consumidores. Também incluiu perguntas que permitiram avaliar as características e hábitos dos consumidores. Os resultados demonstram que a ética e o risco influenciam negativamente a decisão de piratear música. Por outro lado, maior ética e envolvimento estão associados a uma maior propensão a pagar por streaming. Além disso, à medida que a idade aumenta, a propensão a pagar por streaming aumenta, e a tendência para piratear diminui. Apesar dos consumidores serem sensíveis ao preço, este nem sempre é o principal fator de decisão. Finalmente, observamos que o streming ajudou a reduzir a incidência da pirataria entre os jovens consumidores de música.
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Hsiao, Cheng-Fu, and 蕭丞甫. "Exploring Consumer Behavior of Online Music Piracy." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/70136315160953027304.
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Zulu, Thulani. "Contemporary perceptions of music piracy in South Africa." Diss., 2015. http://hdl.handle.net/11602/215.
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Trinh, Ngan Thoai. "Charting the trajectories of music piracy in Ho Chi Minh City, Vietnam." Thesis, 2006. http://spectrum.library.concordia.ca/9096/1/MR20682.pdf.
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This study focuses on how the expanding market for pirated music in Vietnam has led to transnational flows of texts and genres, and to changes in how the state, music companies, pirates, and consumers deal with one another. Using theories put forth by Roger Wallis and Krister Malm (1984) and Shujen Wang and Jonathan Zhu (2003), the goal of my research is to identify major technological, economic, and organizational shifts taking place within the distribution and consumption of compact discs (CDs) in Ho Chi Minh City. This work suggests that Vietnam operates outside of our traditional understanding of the music industry or cultural flows. Unauthorized music products are helping to create a demand for all types of music in Vietnam and this begs us to question whether piracy is as negative for this country as previously thought. This thesis argues that the piracy in HCMC is a rare case of defiance and triumph over major global corporations. This study explores the magnitude of international copyright conventions, intellectual property rights enforcement, the structure of the domestic industry and the high profitability and affordability of piracy. Using a qualitative case studies approach, this examination looks at the different political, legal and regulatory frameworks that control the trajectories of music piracy in Ho Chi Minh City.
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"Analysis of the brazilian phonographic industry's future facing the threat of piracy and digital music." Tese, MAXWELL, 2003. http://www.maxwell.lambda.ele.puc-rio.br/cgi-bin/db2www/PRG_0991.D2W/SHOW?Cont=4820:pt&Mat=&Sys=&Nr=&Fun=&CdLinPrg=pt.
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Shih, Chia-Hung, and 施佳宏. "The Effects of Consumer Ethical Belief and idolatry on Music Piracy-Between Taiwan and U.S.A." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/48908618111354303206.
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碩士<br>中國文化大學<br>國際貿易學系碩士班<br>95<br>Because of the maturation of file sharing systems on the Internet and the preva-lence of CD burners, consumers are now able to produce high quality music products on their own. Therefore consumers now depend less upon traditional music suppliers than ever before and the resulting piracy is hard to ban. At this time, the decision to download/duplication the unauthorized music files is based upon individual motivation. This study empirically examines the relationship between consumer ethical belief, idol-atry and music piracy, and chose Taiwanese and American students as respondents to examine the variation of cultural difference.
The practical: this paper can offer insights into the relationship between variables. The results show that the hypothesis of consumer ethical belief and behavioral intention of unauthorized music duplication/downloading toward the idol in the Taiwanese audi-ence is not supported, and singer idolatry did not have a significant effect on behavioral intention of unauthorized music duplication/downloading toward the idol in the Ameri-can audience. The results prove that these variables can predict and explain music pi-racy.
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Liu, Yao-Jen, and 劉耀仁. "The System Dynamics of the Protective Measure against Copyright Piracy of Music Industry in Taiwan." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/mx8xcy.
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博士<br>國立交通大學<br>科技管理研究所<br>96<br>The copyright products are the most popular products today every where in the world. Music products are one of the most important copyright products that can be viewed as a symbol of culture and is the most popular form of entertainment in the modern life. Since the late 19th century sound recording technology has grown fast; music industry has also become a giant industry all over the world. In the same time, music piracy of published albums increases rapidly to the point that it has made music corporations loose profit and loose their market.
Music industry in Taiwan also experienced this piracy problem in last decade. Taiwan used to be the most important Chinese pop music supply center for the whole market of Chinese-speaking countries and areas and enjoyed the highest annual revenue of 12.6 billion NT dollars in 1997. It, however, had lost its annual revenue every year since 1998; its annual revenue dropped to 1.9 billion NT dollars in 2007. Piracy has become the most critical problem that hurts Taiwan music industry badly and we must face this problem.
The research motivation of this doctoral thesis was to investigate the music piracy problem and to find if there is any relationship between music industry and music piracy. If there is, does this relationship reflect a dynamic system? If it does, can a government policy help to reduce music piracy? If government policy and national resources can influence music piracy rate, what kind categories should be included in the policy and how many policy resources are needed?
The research goals of this doctoral thesis were developed from research motivation. The research topics are as follows:
1. Develop the model of dynamic system of the relationship between music industry and music piracy industry, and try to draw the whole picture of the relationship.
2. Describe and analyze the factors and variables that are included in this dynamic system. In what situation and by what means do these factors and variables influence the whole dynamic system?
3. Try to find out if national policy resources can influence those factors and variables and how. Does this “influence” mean reducing piracy?
4. Try to find what an effective government policy on music piracy should be.
Literature review, expert interview, modified Delphi approach and the system dynamics simulation are major methodologies used in this research.
The following are the important results and conclusions of this thesis:
1. Established a table of factors and variables for the model of dynamic system of the music industry and music piracy.
2. Established the conceptual model of dynamic system of the music industry and music piracy.
3. Government policy can influence the music piracy effectively and the government should build up more effective strategies to reduce music piracy.
4. The categories in an effective policy should include: legal and moral education, digital infrastructure, increase of police force, the training of police investigation skills including investigation skills on internet piracy, the improvement of prosecution rate, reducing probation rate, increasing the weight of legal penalty on music piracy.
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CHEN, YUNG-CHI, and 陳永旂. "The antecedents of music piracy intention based on Theory of Planned Behavior and Technology Acceptance Model." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/22328546678684262070.
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碩士<br>國立聯合大學<br>資訊與社會研究所<br>99<br>Music industry is one of the world's largest industries. The market value of digital music places an important role in the Internet transaction markets. However, digital music piracy behavior hurts music market heavily. This study employed Theory of Planned Behavior (TPB) and the Technology Acceptance Model (TAM) to explore the intention of digital music piracy behavior based on high school student sampling. There were 411 valid questionnaires collected. This study results show that “perceived usefulness,” “attitude,” “perceived behavioral control,” “perceived usefulness,” and “piracy” behavior experience” positively influenced the intention of music piracy behavior indirectly and directly. In order to reduce the impact caused by music piracy behavior, all education institutes, government agencies and copyright users have to respect this invisible property. By mans of morale education and anti-piracy outfits, we hope piracy behaviors will be reduced, and more intellectual property inspired.
Keywords: Theory of Planned Behavior (TPB), Technology Acceptance Model (TAM), piracy.
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Madzivhandila, Meisie. "Investigating the socio-economic impact of music piracy on the careers of gospel musicians :a case study of Thohoyandou." Diss., 2016. http://hdl.handle.net/11602/406.
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De, Villiers William Murray. "Aspects of the South African music industry : an analytical perspective." Diss., 2007. http://hdl.handle.net/2263/27324.
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The music industry worldwide is rapidly evolving as a result of commercial, technological and demographic developments. The magnitude of the strategic impact of these developments on the South African music industry is evaluated in terms of internal and external factors, such as the intrinsic industry growth levels, ability to adapt to change, the consumer buying power, audio-visual piracy and counterfeiting, literacy, employment and the prevalence of HIV/AIDS. Collected data from public domain and proprietary music industry sources are transformed and presented in terms of the competitiveness of the South African music industry, from which key points for strategic leverage are identified. These key points of strategic leverage include education and training, relevant music industry research, the formalisation of the music industry strategy process and the development of alternative marketing, sales and distribution channels. In comparison to specific benchmark countries, the South African music industry has significant technological and socio-economic challenges and opportunities that need to be addressed in order to become a competitive co-evolutionary participant in the world music industry. South Africa, as an emerging world player, is ideally positioned for the development and implementation of new technological and commercial systems, such as the download distribution channel. This however, requires the collaborative participation of government departments, educational institutions, public and private enterprises. In particular, in-depth research on the local music industry is needed, which should include the collection of relevant statistical data. This study presents suggestions for some strategic interventions, including an application of the Porter DNA-model.<br>Dissertation (MMus (Music Technology))--University of Pretoria, 2007.<br>Music<br>MMus<br>unrestricted
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Barros, Filipa Figueiredo. "Online music streaming services: what motivates consumers' intention to go premium?: a study of the factors that may influence the intention to adopt music as a service." Master's thesis, 2017. http://hdl.handle.net/1822/46450.
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Dissertação de mestrado em Marketing e Estratégia<br>This thesis has as its primary purpose the analysis of consumers’ intention to use the paid
version of a music streaming service. The objective is to develop and test a model which includes
consumers’ views and attitude toward piracy, the importance given to several platform attributes, the
perceived value of these paid services and their influences on willingness to pay and intention to use.
The responses of 924 individuals were analysed using a Structural Equations Model.
The results show that attitude toward piracy does not influence the intention to use a paid
music streaming service, while the perceived value of the service and the willingness to pay for it
positively influence the behavioural intention.
The limitations of this research are mainly related to the methodology, in which the quantitative
nature of this study cannot fully incorporate the complexity of the music consumption behaviour, hence
further research should also integrate a qualitative dimension.
The practical implications include, for example, the improvement of platform attributes to
assure a differentiation factor between services; special prices campaigns to certain consumer
segments; and marketing campaigns at arts and music events.
This research adds to the literature by evaluating the effects (or lack thereof) of platform
attributes and attitude toward music piracy on young people’s intentions to use paid streaming services.<br>Esta dissertação tem como seu principal propósito analisar a intenção de utilizar a versão paga
de um serviço de streaming de música. O objetivo é desenvolver e testar um modelo que inclui as
perceções e atitudes em relação à pirataria, a importância dada aos diferentes atributos das
plataformas de streaming, o valor percecionado destes serviços, e as suas influências na
disponibilidade a pagar e na intenção de uso.
As respostas de 924 indivíduos foram utilizadas na análise de um Modelo de Equações
Estruturais.
Os resultados demonstraram que a atitude em relação à pirataria não influencia a intenção a
pagar por um serviço pago de streaming, enquanto que o valor percecionado do serviço e a
disponibilidade a pagar influenciam positivamente esta intenção comportamental.
As limitações deste estudo estão maioritariamente relacionadas com a metodologia, pois a sua
natureza quantitativa não incorpora totalmente a complexidade do comportamento de consumo de
música, pelo que uma pesquisa futura poderia incluir uma dimensão qualitativa.
As aplicações práticas incluem, por exemplo, a melhoria dos atributos das plataformas de
streaming, de modo a assegurar uma diferenciação do produto; campanhas de preços especiais para
certos segmentos de consumidores; e campanhas de marketing em eventos de arte e música.
Este estudo contribui para a literatura através da avaliação dos efeitos (ou falta deles) dos
atributos e da atitude em relação à pirataria, na intenção dos jovens em utilizar serviços pagos de
streaming de música.
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Νικολοπούλου, Λαμπρινή. "Η πειρατεία στη μουσική βιομηχανία". Thesis, 2014. http://hdl.handle.net/10889/8645.
Full textAbstract:
Σκοπός της παρούσας διπλωματικής είναι η μελέτη της πειρατείας στην μουσική βιομηχανία και η συμπεριφορά του «καταναλωτή» απέναντί της. Θα ξεκινήσει με την ανάλυση του Μάρκετινγκ και την ανάλυση του
περιβάλλοντος της μουσικής βιομηχανίας σήμερα. Θα αναφέρει τους
τρόπους και τις τεχνικές προώθησης και το πως εφαρμόζεται το
Μάρκετινγκ στην συγκεκριμένη βιομηχανία. Θα παρουσιάσει την ιστορία
της πειρατείας και την φιλοσοφία που κρύβεται πίσω από αυτή. Στο
τέλος θα συνδέσει το ρόλο της πειρατείας στα παραπάνω, με έρευνες
που έχουν γίνει στο παρελθόν.
Επιπλέον, θα εξετάσει την συμπεριφορά του καταναλωτή γενικότερα
και στην συνέχεια θα παρουσιάσει τα αποτελέσματα της έρευνας που
έγινε, η οποία εξετάζει την συμπεριφορά του καταναλωτή απέναντι στην
διαδικτυακή αγορά της μουσικής, νόμιμα ή παράνομα, στην πειρατεία
της μουσικής βιομηχανίας και την συμμετοχή του σε αυτήν καθώς στους
λόγους που το κάνει.
Τέλος, θα παρατεθούν τα συμπεράσματα της έρευνας, προτάσεις πάνω
στο θέμα της πειρατείας και θέματα προς συζήτηση.<br>The purpose of this paper is to study the piracy in music business today, and to examine the consumer behaviour towards music piracy.
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Yang, Chih-Chieh, and 楊智傑. "The Legal Models to Solve Internet Music Pirate Problem." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/06670156601829307237.
Full textAbstract:
博士<br>國立臺灣大學<br>國家發展研究所<br>95<br>MP3 appears, in addition, P2P software prevails, cause very great impact to the industry of the music. U.S.A. adjudicated the Napster case promptly in 2001, decide against composite P2P software. Then, generally it is thinked that this problem has already been solved satisfactorily. Otherwise, various kinds of scattering type P2P software out of shape appear in succession actually. Does new-type P2P software break the law?
The US Supreme Court assigns the Grokster on June 27 , 2005, new-type P2P software of the judgement will break the law equally. In Taiwan, one district court announce that ezPeer software was legal in June of 2005, but another distict court adjudicate Kuro software breaking the law in September. What course should the future of PP software follow on earth?
For solving the pirate problem, scholars propose all kinds of ideas to this topic successively. William Fisher published his book ‘Promises to Keep '' in 2004, proposeed the suggestion of the system of the compensation payment , seem to cause a new wave of discussion climaxes again.
I put these suggestion in order. Some propose adopting the proprietary way, the judgement P2P software breaks the law; Some even propose expanding copyright to protect, offering industry person is a safer legal environment; Some propose adopting the competition law way, standardizing the industry of the music with the competition law; Some suppose to take regulatory model, reviseing copyright law, in order to fit the particularity of music industry; Some propose adopting the compensation payment way, are overthrowing the copyight in an all-round way.
The purpose of this dissertation, lie in studying relevant problem and various kinds of solutions that MP3 involves, adopt the economic analytical method, study the feasibility of different models. Finally, I propose to take some compulsory licence system as the solution.
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Fernandes, Cláudia Vieira dos Santos. "Uma análise dos serviços de música streaming e dos seus consumidores." Master's thesis, 2018. http://hdl.handle.net/10400.14/24424.
Full textAbstract:
This study aims to identify the most decisive attributes in the purchasing decisions for consumer streaming music services, as well as analysing consumer's behaviours towards digital music. The study begins with a literature review focusing on the already existing findings in this field even while we could not find any direct characterization in the literature either of streaming music service consumers and their motivations for purchasing a premium package compared to that usually provided for free. We then carried out a survey with the attributes deriving from the literature review before concluding that there are attributes of potential importance that were not included in previous studies. Hence, we were able to define the five attributes of importance to the decision purchase process, specifically price, playlist customization, offline access, videos and advertising.
Then, we carried out quantitative analysis with the objective of identifying the attributes users deem decisive in their decisions to buy/subscribe premium services. In particular, a conjoint analysis was carried out with the participation of 312 respondents, subscribers and non-subscribers of streaming music services. Thus far, there have been no such studies in Portugal and a corresponding absence of conjoint analysis studies.
The results for the total sample reveal how price appears as the most important attribute, followed by the customization of playlists and offline access. However, we also undertook analysis that segmented four different consumer profiles and that returned distinct conclusions.
We also found that almost half of our sample reported doing illegal downloads from the Internet. There are trends in digital piracy that arise as a result of several factors, such as the unwillingness to pay for a legal alternative, and the perceived risk by the consumer from these illegal attitudes is very low. Our results suggest that consumers' ethical judgments generally have no significant impact on their propensity to pirate music.<br>Este estudo tem como objetivo identificar os atributos determinantes na decisão de compra de um serviço de música streaming, bem como analisar os comportamentos do consumidor face à música digital. O estudo iniciou-se com uma revisão da literatura já existente na área proposta, sendo que não encontrámos uma caracterização direta dos consumidores de um serviço de música streaming e respetiva motivação de compra de um pacote premium face ao que usualmente é fornecido gratuitamente. Foi então realizado um levantamento entre os atributos presentes na literatura, e concluímos que há atributos que são potencialmente importantes que não foram incluídos em estudos anteriores. Desta forma, foi possível definir os cinco atributos que são importantes no processo de tomada de decisão de compra: preço, personalização das playlists, acesso offline, vídeos e ainda a publicidade.
Seguidamente, foi realizada uma análise quantitativa com o objetivo de identificar os atributos que os utilizadores consideram determinantes na sua decisão de compra/assinatura de um serviço premium. Em particular, foi realizada uma análise conjoint com a participação de 312 inquiridos, assinantes e não assinantes de serviços de música streaming. Até então, não existiam estudos para Portugal e nenhum deles utilizou conjoint analysis.
Os resultados revelaram que para o total da amostra, o preço surge como o atributo mais importante, seguindo-se da personalização das playlists e do acesso offline. Fizemos também uma análise de segmentação que identificou quatro perfis distintos de consumidores e para as quais conseguimos retirar conclusões distintas.
Por outro lado, verificámos que praticamente metade da nossa amostra declarou fazer downloads ilegais da Internet. Há tendências de pirataria digital que surgem como resultado de vários fatores, como a indisponibilidade para pagar por uma alternativa legal, e o risco percecionado por parte do consumidor face a estas atitudes ilegais é muito baixo. Os nossos resultados sugerem que, de um modo geral, os julgamentos éticos dos consumidores não têm impacto significativo na sua propensão a piratear música.
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Wu, Hung-Ting, and 吳宏庭. "The study on the purchase behavior of music piracy：A cross-analysis for consumption value and consumer." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/61456442284251151910.
Full textAbstract:
碩士<br>國立高雄第一科技大學<br>行銷與流通管理系<br>90<br>ABSTRACT
With the rapid growth of technology and the widespread of internet, digital music (ex: MP3) profusely being downloaded from the internet. trading amount of the music piracy becomes higher and higher year by year, but consumers don’t know the pirated and burnt CD-R will make the right of entertainers and music producers disappear soon, and that was a deep impact. Because of the terrible run the last two years, there’re lots of mergers and cutting off of labors in the international record companies. While facing the revolution of new technology, what can they do for it? So, how to use the dominant strategy of technology such as digital music, and developing the ideal way of managing, are the main reasons of doing this research.
This research base on consumer ethic and consumption value of personal characteristic is going to show: consumer behavior of purchasing the pirated CDs and the burning of CD-R, and expecting to know the consumption value while choosing music products. And how to make consumers not to buy illegal music products when consumers are facing the ethics. The research uses convenience sampling method with samples from the North, Central and the South of Taiwan. A total of 321 surveys were obtained, with only 300 surveys being used. Adopting classical correlation analysis and multiple regression method to analyze consumer consumption and value, including ethics and attitude toward consumption, as well as the effect of those consumers who don’t purchase pirated CDs.
According to the research, as the record producers, the quality of products related to the consumer behavior, and that’s what the producers can control. The ethics of consumers and the attitude while purchasing effect the purchasing pirated CDs and burnt CD-R. They may make the consumers purchasing by the ambient (ex TOP 10, the trial, and the service). At the same time, under the rapid development of digital technology, music download media, format and pricing will be revolutionized because of mass usage of broadband. Record company can develop various broadcasting methods, hence billing method in order to increase revenue, according to various stages. Therefore, how to better use digital music’s advantage and to create brand new customer value shall be a challenge to the record industry in the near future.
Key Words : cosumer ethics, consumption value, record industry,