New technological advancements have resulted in a shift of medium. Music interaction has moved from physical media such as CDs and MP3-players to digital music services on the Internet. Vast catalogues of music is today available from any device with Internet access for either a monthly cost or even in some cases for free. Even though many users subscribe for the music they consume the music industry still experience an uncertain economy. New interaction opportunities and new design principles have derived from the new medium. According to users some functions are more important than others, some functions are even missing. Which are these? Are the users’ needs equivalent to the web development and the current supply of function the services offer? With vast consumption and immense establishment together with the tie in economic factors and technological development music streaming services is a given media technological phenomenon. This study’s purpose is to analyze three important components in the case of music streaming services: the supply, the user’s perspective and the position according to the web development. In order to increase the understanding of these parts this study has completed an inventory of current supply of functions in seven music streaming services and a questionnaire to conclude the user’s perspective. The study uses the theory of Web 1.0, Web 2.0 and Web 3.0 to examine current position of the services in web development. Possibly in this way the study might discover strengths and weaknesses in the supply of the music streaming services and thereupon contribute to suggestion of improvement and functions. Functions which might help the development of music streaming services and increase more paying consumers. This study show that the current supply of functions music streaming services offer is in general equivalent to the users’ need. However, the users don’t value social functions as an important part in music streaming services. They value a great catalogue of songs and great accessibility with commercial free use. The supply of functions doesn’t differ a lot from service to service. Spotify is the leading services both in quantity of functions and in number of users. Regarding the position of functions most functions is placed within Web 2.0. Thus, the user show an indication of the importance of accessibility which suit the vision of the ubiquitous and pervasive webb of Web 3.0. Even though the theory of Web 2.0 was coined 15 years ago the interactive music web service is mostly a product of Web 2.0. Despite of the satisfaction in supply, in terms of sustainability, it might always be a value to continue to examine the user’s need, the industry’s demands and the technological development to reach the highest form of contentment from all parts.

The rise of the streaming music services and the decreasing importance of physical distribution is an inevitable change that the industry has been facing, which is resulting from the so-called internet revolution over the past few years. Through years, the music business has already shifted to online platform with the birth of file sharing. Today, a generation who had grown up digital came to age. Members of this generation have different consumption habits than before, and have different motives toward consumption. The consumer behavior of this group was examined at different stages of the digital revolution during last decade. However, although there is a wide number of researches have examined online consumer behavior and the adoption file-sharing technologies, no study investigated the use of streaming music services. Therefore, in order to understand the changing consumption behavior of the net generation music consumers, and to under-stand the use of streaming music services, this study extends the Technology Acceptance Model (TAM) to account the streaming music services. A questionnaire based empirical study was administrated among the users of Sweden based streaming music service Spotify. Results confirm that there is a significant relationship between users‟ perceived usefulness of service use, and their attitude toward using and their behavioral intention to use. In addition, it is also confirmed by the results that advertisement/charge, flow, and social influence are effective in explaining the motives of users‟, and the use of streaming music services. Furthermore, according to the findings of the study streaming music services have a positive effect on decreasing the music piracy.

<p>The rise of the streaming music services and the decreasing importance of physical distribution is an inevitable change that the industry has been facing, which is resulting from the so-called internet revolution over the past few years. Through years, the music business has already shifted to online platform with the birth of file sharing. Today, a generation who had grown up digital came to age. Members of this generation have different consumption habits than before, and have different motives toward consumption.</p><p>The consumer behavior of this group was examined at different stages of the digital revolution during last decade. However, although there is a wide number of researches have examined online consumer behavior and the adoption file-sharing technologies, no study investigated the use of streaming music services. Therefore, in order to understand the changing consumption behavior of the net generation music consumers, and to under-stand the use of streaming music services, this study extends the Technology Acceptance Model (TAM) to account the streaming music services. A questionnaire based empirical study was administrated among the users of Sweden based streaming music service Spotify. Results confirm that there is a significant relationship between users‟ perceived usefulness of service use, and their attitude toward using and their behavioral intention to use. In addition, it is also confirmed by the results that advertisement/charge, flow, and social influence are effective in explaining the motives of users‟, and the use of streaming music services. Furthermore, according to the findings of the study streaming music services have a positive effect on decreasing the music piracy.</p>

隨著網路普及而興起， MP3音樂檔案格式在1999年入選美國時代雜誌TIME 所公佈十大最佳網路科技。而MP3這項殺手級科技（Killer Application）更強力促進了線上音樂的盛行，尤其是自蘋果電腦聯合五大唱片商合作誕生出iTunes這種革命性的音樂經營模式出現後，合法授權線上音樂這塊市場更是呈現出爆發性的快速成長局面。 反觀台灣本地合法授權的線上音樂市場是呈現出滯留不前的局面。因這幾年唱片盜版問題遲遲不能解決，加上經濟環境之劇烈變化，除了造成台灣唱片市場在世界排名上的滑落，更造成後來國內幾家稍具知名度的線上音樂網站接連因服務與營運上的問題出現關閉的局面。而能夠存活下來的線上音樂業者如KKBOX在經營服務上相較於歐美多重選擇的線上音樂服務與內容，仍有許多待改進之處。 本研究希望嘗試探究現在既有的線上音樂網路商店之經營模式，分析各大業者在經營模式上的優缺，再針對台灣的特殊市場情況加以討論。期望本研究在最後所提出的經營策略建議能減低盜版市場的猖獗，為台灣合法線上音樂帶來經營新氣象，促進線上音樂產業蓬勃發展。