Several studies have tracked the rise in music piracy following the creation of Napster, analyzing the attitudes and behaviors associated. But new developments, such as streaming services and social media, have transformed the relationship between creators and users. This paper seeks to revisit the topic, reexamine past results, and evaluate public opinion in this current technological landscape. Understanding the new attitudes and behaviors associated with illegal music downloading through a questionnaire reveal important implications for the future of intellectual property legislation. These findings give some insight into the perceptions of ownership over intangible property to hopefully improve consumer and industry interactions.

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 RIAA’s 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.

MAAS / Department of Music

<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>

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 &amp; Serpick, 2007). The tip jar model embodies the problem the industry is facing since it allows the consumer to choose whether to pay or not. Therefore the question of what leads the consumer to pay instead of download or pirate music has been researched in many aspects. However it has been made to a lesser extent in theory of loyalty and liking and their implications on the new business models’ success and the new consumer of music. Previous research within music piracy has mainly explored demographics, macro- and micro economical perspectives such as artist and record company loss of welfare and consumer surplus (Coyle et al., 2008). We find it of interest to instead further explore the impacts of theories about consumer liking, loyalty and attitudes (Wells &amp; Prensky, 1996; Shiffman &amp; Kanuk, 1987; Solomon et al., 2002) as an addition to this existing knowledge to enhance the understanding about the new consumer of music. The purpose of this thesis is to analyze artist liking, artist loyalty and attitudinal factors’ impact on consumers’ music piracy intentions. The study is an explanatory study based on quantitative data collected in the region of Jönköping where the collection of data has been conducted by using two questionnaires; one among students at the School of Education and Communication (Jönköping University) and one at the A6 shopping-center. This data has been summarized to create independent variables used in a multiple regression analysis to calculate their impacts on piracy to confirm or reject the from theory deduced hypotheses. The results from the multiple regression analysis show that the attitudinal factors do not have a direct impact on piracy intentions; however the other two independent variables, measuring the artist loyalty and artist liking have a larger impact. Surprisingly, a higher level of loyalty increases the intentions to pirate music while, as anticipated from theory (Solomon et al., 2002; Shiffman &amp; 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.

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.

Made available in DSpace on 2016-04-25T20:22:36Z (GMT). No. of bitstreams: 1 Claudio Alessandro Diniz de Sa.pdf: 1051226 bytes, checksum: a112afca1bb3e67f83fa13416ad62c89 (MD5) Previous issue date: 2009-02-18 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / 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 / 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

Made available in DSpace on 2016-04-26T14:57:26Z (GMT). No. of bitstreams: 1 Claudio Alessandro Diniz de Sa.pdf: 1051226 bytes, checksum: a112afca1bb3e67f83fa13416ad62c89 (MD5) Previous issue date: 2009-02-18 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / 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 / 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

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.

MAAS / Department of of Music