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Pathways to extinction start long before the death of the last individual. However, causes of early stage population declines and the susceptibility of small residual populations to extirpation are typically studied in isolation. Using validated process-explicit models, we disentangle the ecological mechanisms and threats that were integral in the initial decline and later extinction of the woolly mammoth. We show that reconciling ancient DNA data on woolly mammoth population decline with fossil evidence of location and timing of extinction requires process-explicit models with specific demographic and niche constraints, and a constrained synergy of climatic change and human impacts. Validated models needed humans to hasten climate-driven population declines by many millennia, and to allow woolly mammoths to persist in mainland Arctic refugia until the mid-Holocene. Our results show that the role of humans in the extinction dynamics of woolly mammoth began well before the Holocene, exerting lasting effects on the spatial pattern and timing of its range-wide extinction.

With many ways for consumers to access and consume music, little is known about why people choose to listen to music via one format over another. Using a uses and gratifications approach, the present research used an online questionnaire (N = 396) to examine people’s format use, concerning six particular formats. The results suggest that eight dimensions, namely, usability and intention to use, discovery, functional utility, flexibility, connection, social norms, value for money, and playback diversity, define the uses and gratifications that particular formats serve. When considering whether format use was related to broader music engagement behaviors, results indicated different associations between music engagement variables and format use suggesting that different formats allow listeners to engage with music in unique ways. Findings have implications for future research that examines how and why people engage with music listening in everyday life, elaborating further our understanding of how selection of particular formats can lead to different listening experiences.

With so many formats available for individuals to use to listen to music, the present research adopted a uses and gratifications approach to investigate why people prefer particular formats. Specifically, the present study considered six formats: physical, digital file, free-streaming, paid-for streaming, radio, and live music. A sample of 396 people (Mage = 34.53) completed an online survey, detailing the reasoning for their favorite format via a free-text response. Live music and digital files were the most popular formats. A thematic analysis of the uses and gratifications pertaining to each format highlighted how participants were attuned to the advantages (and disadvantages) of different formats, demonstrating an awareness of, and consideration relative to, rival formats. Findings suggest that choosing to listen to music across different formats may satisfy different needs and that people demonstrate an awareness of their preference relative to the other available options.

This chapter aims to draw together relevant theory and recent research findings in order to provide a detailed, psychological overview of why people engage in music piracy, by first taking into account research into why people listen to music. It discusses the implications of how people access and select music to listen to, given the volume of options available. The chapter considers music piracy within a broader social psychological context, contextualising its outcomes, including those that are not commercial. It describes the shortcomings of other disciplines that have focused solely on the negative consequences of music piracy. The chapter identifies some of the far-reaching outcomes of widespread engagement in music piracy, including the impact on the live music sector, typically absent from any critical evaluation of music piracy, focusing solely on the recorded music sector.

The digital revolution has changed how consumers engage with music. The present study explored the potential psychological factors underpinning why many consumers engage in music piracy. 396 participants (71.00% female, M age = 34.53) completed an online questionnaire. Preference for accessing music digitally was associated with more favourable attitudes towards music piracy, as was being male, and expressing low levels of conscientiousness. Concerning the uses and gratifications of using different formats to engage with music, music piracy was found to be a financially viable way of listening to music. Discussion focuses on the notion that recorded music is perceived as poor value for money, and this is considered distinct from the widespread perception that piracy is simply about getting free music.