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.

Thesis (Ph. D.)--University of Hong Kong, 2010. / Includes bibliographical references (leaves 350-363). Also available in print.

published_or_final_version / Sociology / Doctoral / Doctor of Philosophy

Thesis (M.A.)--Rutgers University, 2010. / "Graduate Program in Liberal Studies." Includes bibliographical references (p. 37-38).

Thesis (M.A.)--Georgia State University, 2009. / Title from title page (Digital Archive@GSU, viewed June 16, 2010) Jeffrey Bennett, committee chair; Ted Friedman, Kathryn Fuller-Seeley, committee members. Includes bibliographical references (p. 96-104).

In this digital age many listeners of music now purchase albums from online digital music stores instead of buying a physical album from the record store. This has created a concern with many regarding the future of the album as a physical medium. This study investigates the impact of the possible death of the album on certain listening habits, the activity of record collecting, the creation of large-scale musical works, music consumerism, and its implications for the creative process on music as art and sound-recording quality. Three realisations have led to the problem statement. Firstly, the album might not have a future in the digital age. Secondly, downloadable songs might not be able to recreate an album experience. The third realisation is that the possible death of the album could create new, exciting challenges to artists as they strive to create art. This study is exploratory in nature - and no hypothesis was generated. The research necessitates qualitative, exploratory, descriptive and contextual approaches. Furthermore, the investigation has led to the collection of mostly new data, constituting a “primary data design” through the implementation of qualitative listening experiments and a focus group, using full-time NMMU students between 18 and 25 years of age. It is herein argued that digital distribution might possibly have an effect on the perception of the album format and might possibly still be a relevant listening experience, valued by young people. Singles and albums are collectable; and good albums are considered artistic and comparable to the large-scale musical works of the past. If the concept of an album does not die out, then high fidelity formats should be able to re-invent the album experience. Listening experiences other than the album experience do exist, and they could generate new ways for artists to create musical art.

Many people might think that downloading music without paying for it is not a big issue. Copyright owners disagree with this kind of reasoning because to them, music is intellectual property with substantial commercial value. Copyright law is the primary form of protection for intellectual property and is based on the fundamental principle that copyright works cannot be reproduced without the express consent of the copyright owner. During the late 90’s however, new technology made it possible for millions of people to download music from the Internet without the express consent of copyright owners. The mere act of downloading songs illegally violates the exclusive right of the copyright owner to reproduce the work. It has also created problems within copyright law that was not foreseeable in the 17th century when the Statute of Anne was enacted. In law, there is always an exception to the rule and it is no different with copyright law. Although copyright owners have the exclusive right to reproduce their work, the general public has been granted exceptions to make fair dealing of copyright works for private or personal use, purposes of research, private study, criticism, review or for reporting current events in a magazine, newspaper or periodical, broadcasting or by using the work in a cinematograph film by virtue of s12 of the Copyright Act 98 of 1978. However, the list of exceptions supra may be changed and/or extended, provided that it remains in line with the international conventions and agreements that South Africa is a member to. The three-step test is inter alia provided for in Art. 9(2) of the Berne Convention1 (Paris Text of 1971) and permit exceptions to the reproduction right of the copyright owner: 1) in certain special cases; 2) that do not conflict with the normal exploitation of the work and; 3) that does not unreasonably prejudice the legitimate interests of the author/rights holder. S17 provides that certain subsections of s12 shall apply mutatis mutandis with reference to sound recordings. However, s12(1)(a) is not one of the subsections mentioned in s17 which means that fair dealing in sound recordings for purposes of research or private study, or for personal or private use is NOT permitted. Fair dealing however, is not absolute nor is it an easy doctrine to interpret. The legal interpretation and application of fair dealing has been fraught with complexity since the English courts first dealt with fair abridgement of literary works between the 17th and 18th century but this complexity has been compounded even more by new technology, especially in relation to music works. The legal uncertainty of fair dealing with regard to music works is the reason why this comparative research has been undertaken in the jurisdictions of South Africa, the United Kingdom, Australia and the United States. Hopefully it will shed more light on the doctrine and lift the veil of confusion. / Jurisprudence / LLM

The use of new media technology which refers to digital, computerized, or networked information and communication technologies such as the Internet, mobile devices, gaming, and social networks, has come to define the music industry today, and it is this technology that has empowered independent artists in such a way that they are now free to pursue heights of success previously only available to major label artists. New media technology has affected the traditional business models of major labels, it has resulted in gross decline in recording costs, given birth to new channels of music marketing, and business models, and has created a new music clientele that requires instant gratification, personalization, and connectivity. In the face of such change, independent artists have been empowered and can access opportunities to distribute music independently, market and promote music effectively to niche markets, secure publishing deals, while building their own community of dedicated fans. / by Simone K. Harris. / Thesis (M.S.)--Florida Atlantic University, 2010. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2010. Mode of access: World Wide Web.

The physical sale of music and the effectiveness of traditional media are expected to continue to decline, challenging marketers to develop new methods to create awareness about music. Although music sales are declining, interest in music is healthy, and strongest amongst the American young adult market - between the ages 18-34. This marketing plan uses traditional and innovative techniques to capture the attention of the target market, which is more culturally diverse and technologically advanced than any previous demographic. / by James Rocco Amedeo. / Thesis (M.S.)--Florida Atlantic University, 2009. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2009. Mode of access: World Wide Web.

No abstract available. / Thesis (M.Mus.)-University of KwaZulu-Natal, Durban, 2012.