Search

We describe the emerging competition between music companies and their star acts and the role of online distribution in this industry. We then contrast this with the lack of competition newspapers will face from their reporters, writers, and photographers, but identify other possible competitors for newspaper publishers. We examine what resources have previously enabled record companies to lock in their star acts and ways in which technology has altered artists' abilities to reach the market independently and thus their dependency upon record companies. We examine which resources have seen their value eroded in the newspaper industry and the remaining value that the newspaper company still creates, other than building stories, adding advertising, and printing and selling the papers. We consider what part of the newspaper business is vulnerable, if any, and where threats may arise. We combine the resource-based view of competitive advantage to examine which industry may have become newly easy to enter, and the theory of newly vulnerable markets to assess which industry may actually have become vulnerable as a result. Our analyses are then used to create a computer simulation model to make the implications more explicit under a range of assumptions. [ABSTRACT FROM AUTHOR]

Even if digitized and born-digital audiovisual material today amounts to a steadily increasing body of data to work with and research, such media modalities are still relatively poorly represented in the field of DH. Streaming media is a case in point, and the purpose of this article is to provide some findings from an ongoing audio (and music) research project, that deals with experiments, interventions and the reverse engineering of Spotify's algorithms, aggregation procedures, and valuation strategies. One such research experiment, the SpotiBot intervention, was set up at Humlab, Umeå University. Via multiple bots running in parallel our idea was to examine if it is possible to provoke -- or even undermine -- the Spotify business model (based on the so called "30 second royalty rule"). Essentially, the experiment resembled a Turing test, where we asked ourselves what happens when -- not if -- streaming bots approximate human listener behavior in such a way that it becomes impossible to distinguish between a human and a machine. Implemented in the Python programming language, and using a web UI testing frameworks, our so called SpotiBot engine automated the Spotify web client by simulating user interaction within the web interface. The SpotiBot engine was instructed to play a single track repeatedly (both self-produced music and Abba's "Dancing Queen"), during less and more than 30 seconds, and with a fixed repetition scheme running from 100 to n times (simultaneously with different Spotify Free 'bot accounts'). Our bots also logged all results. In short, our bots demonstrated the ability (at least sometimes) to continuously play tracks, indicating that the Spotify business model can be tampered with. Using a single virtual machine -- hidden behind only one proxy IP -- the results of the intervention hence stipulate that it is possible to automatically play tracks for thousands of repetitions that exceeds the royalty rule. [ABSTRACT FROM AUTHOR]

How is the internet transforming musical practices? In this article, through a study of five prominent popular and cross-over music genres spanning the period from the late 1990s to the present, we examine how the internet has augmented the creative, aesthetic, communicative, and social dimensions of contemporary music. The five genres are microsound, hauntology, hypnagogic pop, chillwave, and vaporwave. Analysing the internet-based practices associated with these genres poses methodological and theoretical challenges. It requires new research tools attentive to the online practices involved in their creation and reception. To this end we adapt the Issue Crawler software, an established digital research method that analyses networks of hyperlinking on the worldwide web. In addition, it requires a theoretical framework that can respond to music's profuse mediations in the digital environment. We propose that reconceptualizing genre in music by reference to a theory of mediation offers such a framework. The essay concludes by reflecting on the implications of our analysis for theorizing music and place, and for problematizing existing historical periodizations, notably that of modernism and postmodernism. [ABSTRACT FROM AUTHOR]

The use of the Internet in oral music distance learning for Indian classical musicians is a recent phenomenon. With the overall purpose of exposing methods that fuse new and traditional pedagogies, this article investigates how technology maintains and configures orality in virtual music education "scapes." I argue that while online lessons maintain quality learning, significant structural shifts in lessons challenge (pre-Internet) conceptions of what constitutes learning. This article concludes with reflections on the parts of learning that transcend these changes and further thoughts about the future of Indian music pedagogies in online contexts. [ABSTRACT FROM AUTHOR]

This paper presents a new conceptualisation of online communities by exploring how an online community forms and is maintained. Many stakeholders in the music industry rightly point out that unauthorised file sharing is illegal, so why do so many people feel it is acceptable to download music without paying? Our study found highly cohesive, well-organised groups that were motivated by scarcity and the lack of high quality music files. Our ethnographic research provides insight into the values and beliefs of music file sharers: their demands are not currently being met. Using Actor-network theory, we are able to propose that the file sharers represent a growing potential market in the music industry and that music distribution systems should be developed accordingly to meet the demands of this user group. Therefore, this study can serve as a springboard for understanding unauthorised file sharing and perhaps other deviant behaviours using technology. [ABSTRACT FROM AUTHOR]

Now-a-days, almost all music can be easily accessed via the Internet, but at the same time music can be hard to find. This has created the demand for intelligent music retrieval which allows the user to access the songs that he or she likes. The idea of music information retrieval is basically used in music search systems. In a music search system there will be a huge database of songs. For an efficient music search system, when a particular song in the database is requested, the song has to be correctly identified and retrieved from the database. Music information retrieval for polyphonic music is presented here. [ABSTRACT FROM AUTHOR]

In theory, notice-and-takedown regimes can lower transaction costs by facilitating communication between users and copyright owners, especially where content filtering automates much of the process. This market study tests the transaction costs theory by tracking 90 songs on YouTube that reached number one on the United States, French, and Brazilian pop charts from 1930 to 1960. The data collected includes the identity of the uploader, type of upload, number of views, date of upload, and monetization status. YouTube uploads of a sample of 385 popular songs from 1919 to 1926 are also charted. An analysis of the data demonstrates that the DMCA safe harbor system as applied to YouTube helps maintain public access to many old songs by allowing those possessing copies (primarily infringers) to communicate relatively costlessly with copyright owners to satisfy the market of potential listeners. [ABSTRACT FROM AUTHOR]

Purpose -- This paper analyzes consumers' attitudes and behaviors towards online piracy and their willingness to try subscription-based music services. The objective is to develop and test an attitude-intention model which includes ethical considerations in consumers' decision making process regarding music consumption. Design/methodology/approach -- The study analyzes 505 consumer questionnaires using a structural equations model. Findings -- Attitude toward online piracy is positively determined by economic and hedonic benefits and negatively by moral judgment. A favorable attitude toward online piracy, in turn, negatively influences consumers' willingness to try subscription-based music services, which is also directly determined by their interest and involvement with the services themselves. Research limitations/implications -- The limitations of the paper are linked mainly to the adapted scales, to the analysis of just two subscription-based music services (Napster and Spotify) and to the fact that all respondents came from one country. Practical implications -- The results call for a greater commitment by music industry actors to educate consumers about the consequences and implications of online music piracy, while also stressing the value added and hedonic benefits offered by subscription-based music services. Originality/value -- This paper is the first to focus on consumers' propensity toward online piracy and their willingness to try subscription-based music services as a possible alternative to the phenomenon, through the development and test of an attitude-intention model that includes ethical considerations. [ABSTRACT FROM AUTHOR]

The purpose of this paper is to explain the timing and location of the diffusion of heavy metal music. We use data from an Internet archive to measure the population-adjusted rate of metal band foundings in 150 countries for the 1991–2008 period. We hypothesize that growth in “digital capacity” (Internet and personal computer use) catalyzed the diffusion of metal music. We include time-varying controls for gross national income, political regime, global economic integration, and degree of metal penetration of countries sharing a land or maritime border with each country. We find that digital capacity is positively associated with heavy metal band foundings, but, net of all controls, the effect is much stronger for countries with no history of metal music prior to 1990. Hence, our results indicate that increasing global digital capacity may be a stronger catalyst for between-country than for within-country diffusion of cultural products. [ABSTRACT FROM PUBLISHER]

The article looks at the music industry as of 2014, focusing on intellectual property and on the impact of innovations in digital technology on the industry. It notes that the use of the Internet to create unpaid access to music has led to a drop in revenue from the sale of recorded music and describes how the large mass media companies that dominate the industry have responded by using copyright to expand other forms of revenue such as the licensing of music for advertisements. It emphasizes that changes in business and society are not determined by technological innovations in themselves but rather in the context of political-economic structures. Topics include litigation against individuals and Internet service providers (ISPs) over file-sharing.

Sociological studies of the music industry emphasize the importance of mass media technologies in the birth of a new popular music genre. However, these studies have not fully explained the business structure of new media and new popular music. They also failed to predict K-pop's global success via YouTube and iTunes. The emergence of Internet-based music stores and music video streaming sites, particularly YouTube, has a strong connection to Korean content as it allows Korean artists to bypass conventional music distributors who control business-to-customer music distribution channels in the United States and Europe. The emergence of the digital economy powered by PCs and smartphones, ushered in a new era of business-to-business music distribution, thus minimizing transaction costs of the global music business for Korean entertainment firms. This article argues that K-pop producers, with no alternative channels for distributing their music to global audiences for profit, actively chose YouTube for its free music distribution despite its low-profit margins from royalty fees. J-pop and American pop music distributors, however, avoided YouTube because the profit margin from YouTube was far lower than from traditional media, such as CDs and iTunes, giving K-pop primary standing in the niche market. [ABSTRACT FROM AUTHOR]

This article explores the idea of Internet search as a technology to underpin artistic creation. Concepts of interactivity in art and music are explored, and then an overview of different types of Internet-based art is presented. A number of different ways in which Internet search have the potential to underpin artistic and musical activity are then discussed, with ideas such as the idea of a collective readymade and aesthetics of mass and unexpected connections are used to give this discussion a theoretical basis. Finally, a case study is given, in which the author discusses one of his own multimedia artworks that makes substantial use of Internet search. [ABSTRACT FROM PUBLISHER]

The article discusses the role of big data in the statistical analysis of music data, highlighting concerns and predictions regarding the increasing use of big data as of September, 2013. Topics addressed include methodological concerns regarding sampling bias, the ease of conducting multiple tests, and the context of theoretical discovery, and the future online availability of recorded music and music scores.

In Indonesia, the Internet has reshaped music industry praxis, particularly artist marketing and promotion. It is also a primary resource for artistic inspiration, providing musicians and producers with unprecedented access to recording artists worldwide. Finally, for the nation's top musicians, the Internet can lead to national and even international recognition, by means independent of – and even superior to – the production, distribution, or promotional support Indonesia's major record labels can provide. Answering Lysloff's call that examinations of digital media should consider how and why they are meaningful,this qualitative analysis examines the Internet practices consultants believe have radically reshaped Indonesia's national music industry and advanced its global impact. Particularly among the nation's self-described non-mainstream or independent music professionals, the Internet has revolutionized professional and social communication. Furthermore, through online intellectual critique, individual contributors also debate artistic ideals, as well as broader social and political problems. The Internet, thus, circumscribes a network of musically and socially likeminded individuals who engage in thoughtful debate about the arts and society in a presumably safe and egalitarian environment. There are limits to the Internet's equanimity and its users’ abilities to secure artistic and intellectual independence; however, spatial proximity to the music industry's epicenter in Jakarta, rhetorical dexterity in Internet correspondence, and Internet legislation all pose particular challenges to the democratization of Indonesia's independent music industry network and the professional and social relationships that happen through its channels. [ABSTRACT FROM AUTHOR]

Copyright of ICT in Muzical Field / Tehnologii Informatice si de Comunicatie in Domeniul Muzical is the property of Tehnologii Informatice si de Comunicatie in Domeniul Muzical / ICT in Musical Field and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

With the arrival of the world-wide web, the material conditions by which transcribed words to songs appear altered dramatically. Four publishing conditions that existed prior to the internet are described. Recent developments in music publishing are described. A case study ensues, by which three transcriptions of the words to a single recorded song are compared (“Midnight Train to Georgia,” recorded by Gladys Knight and the Pips in 1973), two of the transcriptions taken from internet sites and a third by the author. Conclusions are drawn concerning the nature and activity of transcribing words to songs. [ABSTRACT FROM AUTHOR]

The focus of this article is on the variability of value creation in the popular music industry. Recent trends in electronic music have been based on both the valorization of global tastes and of local specialities in performance and production. Depending on musical styles and market niches, local scenes have become important forces behind heterogeneous 'globalocal' markets. At the same time, technological change and the virtualization of music production and distribution contribute to increasingly differentiated configurations of value creation. It is therefore necessary to reconstruct theoretically and empirically the new interplay among the local music production, digital media markets, and virtual communities that are involved. On the basis of empirical explorations in a German hot spot of electronic club-music production (the city of Berlin), the article indentifies local interaction practice and constellations of stakeholders. The findings show that value creation in these rapidly changing production scenes has moved away from the large-scale distribution of producer-induced media to audience-induced live performance and interactive soundtrack production. This change involves the rising importance of cultural embeddings such as taste building, reputation building among artists and producers, and local community building. Starting from an open theoretical problematization of value creation with regard to fluid scenes and shifting modes of production, the results of first empirical reconstructions are taken as inputs to an evolving discussion on the configurations of value creation in consumer-based strands of music production. [ABSTRACT FROM AUTHOR]

Copyright of Revista FAMECOS - Mídia, Cultura e Tecnologia is the property of EDIPUCRS - Editora Universitaria da PUCRS and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Youngsters have very fast adapted to the new digital environment making the most of all possibilities it is offering, whereas radio has slowly reacted with not exactly knowing what its role is in this new ecosystem. Whereas the radio sector deploys the most part of its website's actives, youngsters aged 14-24 years old have preferably opted for the consumption of music content, which they manage themselves in confectioning their playlists; an action that has got the interference of media radio blurred in their media diet. In fact, 25% of youngsters have expressly showed determined disaffection for radio as media. In addition to it, those who listen to radio spend shorter lapse of time in it (the amount of time of content exposure during broadcasting time goes around 15 minutes per day) and with paying not much attention to it (performing other activities at the same time). However, the music offer provided by radio is still referential for them when they make up their own playlists to be heard in their mobile devices. The data presented in this article is part of the Radio and Youths research. Current problems and future trends, a research commissioned by the Associación Catalana de Rádio (Catalan Radio Association) financed by the Culture and Media Department of the Catalan Autonomous Government and carried by the Observatorio de la Rádio a Catalunya (I'OBS, Catalan Radio Observatory). [ABSTRACT FROM AUTHOR]

The article explores the development of new social identities of urban youth populations in Mongolia after the collapse of the Soviet Union in 1990, with a focus on local and global linguistic and cultural resources available to them as a source of identity. The author discusses the importance of popular music as a linguistic practice performed by Mongolian urban youth, as an expressive space to explore their identities. The author emphasizes that popular music resources allow the youth to negotiate, create and invent new expressions and words through the music. The author asserts that the Internet provides a social space for Mongolian youth to free communicate without borders.

This case study about a teenage musician, Wade Johnston, suggests how YouTube has affected music consumption, creation, and sharing. A literature review connects education, technology, and media. Informal learning, digital literacy, and twenty-first century technology are also connected in the review. Data reveals how Wade started his channel, gained popularity, interacted with others, and promoted his musical career through YouTube. Original songs, covers, collaborations, documentaries, self-interviews, video blogs (vlogs), and live performances are observed by the researcher. Interviews with the subject, key actors in his life, fans, and first time listeners were transcribed and results were used to triangulate. Previous musical media research is expanded upon to include YouTube and video sharing. The idea of amateur and professional musician, musical venue, and audience member are being changed through YouTube. Current practices of how YouTube is used in the classroom are discussed, and future research is suggested. [ABSTRACT FROM AUTHOR]

A number of studies have illustrated that age, sex, computer skills, access to broadband Internet services, and number of devices owned by a respondent are effective predictors of engagement in electronic music piracy. However, these findings have relied on data collected from undergraduate student samples. This paper reassesses factors of music piracy using a more representative sample of the general population. Using a logistic regression model, the findings suggest that most of the variables considered in past research significantly increase the odds connected with public engagement in electronic music piracy. [ABSTRACT FROM AUTHOR]

El artículo presenta un análisis sobre la experiencia de la música. Partiendo de la experiencia como actividad grupal e interacción tradicional, continuando por la actividad del oyente solitario, que pasa del espacio público al privado, y finalmente destacando la revolución de las nuevas tecnologías de la información y las redes sociales que le han dado un nuevo significado a la experiencia musical.

The following article explores the musical practices and communicating mediations carried out in each stage of the music industry's value chain in Venezuela, in order to observe the way those mediations influence the actors involved, determining the elements that both interact and define the Venezuelan's musical identity taking reggaetón (very broadly speaking, reggaetón is a Latinized derivative of Jamaican reggae, originating in Puerto Rico, via an interpretation of Panamanian reggae) as a case study. With this purpose, the research has used some empirical data and qualitative techniques, such as participants' observation, interviews and netnography, as well as quantitative data obtained from the main statistical sources in the country. After establishing the state of the art, the study raises a number of questions to be discussed: (a) the features reaffirmed through a transculturalization process - mainly led by reggaetón - in the Venezuelan's musical identity; (b) the creative uses the consumer has given to Information and Communication Technologies (ICTs) in order to participate in the new communicating dynamics on the Internet; and (c) the effects that content appropriations, mainly encouraged by the habits of the new Internet user or Venezuelan informal commerce, are having in the country's music industry. [ABSTRACT FROM AUTHOR]

Societal and technological progresses have created a multitude of new ways for people to engage with music, and as a result music can nowadays be learned from an ever-expanding variety of sources. In this article, we engage in a theoretical exploration of the underpinning societal forces that have enabled this expansion, as well as its significance for the development of musical identity and knowledge. The exploration proceeds through sociological theories of modernity and theories of sociocultural learning. Examples from a recent ethnographic study of the Finnish online music community Mikseri provide insight into how musical identities can be constructed and maintained in web-based reality, as well as how online music sites may function as communities of practice where the members, through sharing and discussing their own music, develop music-related knowledge. A discussion about the implications of the current media-musical situation for music education practice and research is provided. [ABSTRACT FROM AUTHOR]

Due for completion in 2013, the Britten Thematic Catalogue, an online musicological research tool that will present detailed individual records charting Benjamin Britten's entire compositional output (approximately 1,200 works both published and unpublished including all juvenilia), is currently being compiled at the Britten-Pears Foundation in the United Kingdom. As this resource will be published exclusively online, it is the project's intention to fully employ the benefits afforded to the catalog through its virtual format, specifically when presenting thematic incipits for each work. In addition to typeset incipits, which in the case of the Britten Thematic Catalogue will extend beyond the traditional "opening fragment of music," corresponding audio examples will also be included that will enable users to not only view but hear Britten's compositional development, particularly during his childhood. Whilst extracts from existent recordings will be used to this end for the composer's published works, the majority of pieces to be included, principally the bulk of Britten's juvenilia, will need recording for the first time. This article outlines the various considerations that have informed incipit construction throughout the project's progression. Following an examination of specific issues regarding incipit length and error correction that arose during the process of typesetting examples, the article goes on to detail a number of observations that have been made thus far during the act of recording some of Britten's earliest efforts. [ABSTRACT FROM AUTHOR]

This paper argues that the Internet strategy created and used by Berlin musicians, Einstürzende Neubauten, emulates many aspects of Attali's (2006) hopes for the future of music — in particular, the creation of new social relations through a participatory listening and, in Chris Cutler's words (2008), to be 'research as well as entertainment'. I set out to show that Neubauten's use of the world wide web made their Supporter Initiative a radical innovation. My evidence is that their Subskribentenmodell provided access during 2002-2007 to web-streamed 'open studio' rehearsals which facilitated a new relationship between artist and recipient in its declaration of fallibility and attention to feedback. Secondly, I argue that Neubauten's international network of 2,000 Unterstützers (not Anhängers) became a virtual and actual 'extended family' who created the cottage industry ethos necessary for successful independence. This family not only supported the band financially and contributed to artistic and practical decisions — as with the DIY Berlin concert Grundstück — but also provided grass roots knowledge and skill for independent dissemination and touring (in 2008) of Alles Wieder Offen. Finally, this anti-record company model now offered a paradigm to 'infect' other fringe artists and hence upheld Beuysian/Cageian social aims of art. [ABSTRACT FROM AUTHOR]

The article examines the evolution of the distribution of recorded and broadcast music through various media, from the invention of the phonograph in 1877 to the influence of digital and Internet-based technologies in the early 21st century, based on social semiotics theory. It notes that the development of recording and radio broadcast technology had the effect of separating the listener from the source of the music for the first time and gave rise to genres of popular music that had not existed before. The article also comments on the Internet-based person-to-person music recommendation service Last.fm.

An interview with Ben Mandelson, co-founder of GlobeStyle Records label in London, England and a leading freelance record producer working in all areas of World Music is presented. When asked about his first interest in World Music he relates growing up in the musical city of Liverpool while hearing and playing all types of music from Jewish, to Balkan and African. He talks about his early successes and failures. He also explains how the rise of the Internet affected their business practices.

This research explores Internet music piracy. Guided by the cultural criminology perspective and its focus on crimes in late modernity, it uses responses from a survey given to 800 students at four universities to examine the criminal downloading of music. It analyzes rates of illegal Internet music downloading considering factors of sex and age. However, its primary focus involves how rationalizations help cyber-criminals from Generation Y neutralize the stigma associated with Internet piracy. [ABSTRACT FROM AUTHOR]

Chart turnover and sales in the recorded music industry are examined before and during the growth of the Internet as a music source. Chart turnover is measured as the monthly turnover in Billboard’s Top 200 albums chart. Monthly data on expenditures and price indices for music and related goods, as well as demographic and income data, are used in a multivariate structural time series analysis that allows the capture of an unobserved component. We find that turnover positively affects sales, but also that sales are affected positively by an unobserved component that declines in magnitude after 2000. [ABSTRACT FROM AUTHOR]

The article describes the Ubiquitous Music Recommender (uMender), which explores the use of context information and musical content mining in music recommendation. It proposes a two-step clustering approach that determines the perceptual patterns of the music. Experiments to evaluate uMender's performance using semireal data are also presented.

An essay is presented on music videos and how the internet and other technology has changed their distribution, consumption, and purpose. The author argues that the internet, with websites like www.youtube.com, is the main outlet for music videos and developments in technology have made them more accessible for the public and cheaper and easier to produce for musical acts, regardless of fame and funding.

This article analyses the possibility offered by the Internet to select radio content to build customized radios. Each internet user could select radio content, replacing the traditional radio stations that have always broadcasted. Previous results from our investigations are presented to allow us to compare the still-existing traditional radio to some of the offers on the Internet. Such a comparison will allow us to determine two different ways of listening to the radio on the Internet: the usual one, which allows the coexistence of listening and any parallel social practice (work, driving, etc.), and another one, appropriate to the internet, that adds visual attention to hearing. It is unavoidable to consider this as a loss compared to the visual independence that radio has always allowed. [ABSTRACT FROM AUTHOR]

The article offers updates on the Répertoire International de Littérature Musicale (RILM). It notes that the editing activities at the International Center have become competent, online subscriptions are doing well, and finances are stable. It added that RILM sustained its committee expansion in Asia. It mentions RILM objective of global coverage and the improvement of the RILM's website. It stated the website is designed to suit visitors' needs and provides a summary on the site's contents which is available in ten languages. Furthermore, RILM offers free live tutorials and records in RILM's retrospective file of conference proceedings are now offered online.

The article offers updates on the Repertoire International d'Iconographie Musicale (RIdIM) for 2007-2008. It notes that the RIdIM database has been officially launched on March 10-11, 2008 during the workshop on music iconography. It mentions that participants on the workshop agreed to be volunteers in the beta-test-phase which will allow time to rectify any residual test-phase flaws. It added that the International RIdIM Center in Paris has increased its activities and the RIdIM Newsletter has published three issues since 2006. The newsletter offers wide information on music iconography cataloguing and research projects. In addition, RIdIM is faced with a challenge on financial resources and needs to strengthen its effort to acquire financial funds.

Digitized information and network have made an enormous impact on the music and movie industries. Internet piracy is popular and has greatly threatened the companies in these industries. This study tests Hunt-Vitell’s ethical decision model and attempts to understand why and how people share unauthorized music files with others in the peer-to-peer (P2P) network. The norm of anti-piracy, the ideology of free software, the norm of reciprocity, and the ideology of consumer rights are proposed as four deontological norms related to using P2P systems. The model is tested using a scenario survey with four alternatives; the results indicate that the deontological norm of anti-piracy is not a main factor in affecting P2P users’ ethical considerations regarding sharing files with others. This finding suggests that to protect their property rights, record companies should try to realize the consumer benefits brought via new digital and network technology, instead of simply declaring their intellectual property and resisting the innovations resulting from new technologies. [ABSTRACT FROM AUTHOR]

Purpose - Illegal downloading of music has become an inexorable and rampant activity particularly among college students who have been little deterred by industry legal actions. The purpose of this research is to examine the present state of downloading and how ethical orientation and attitudes towards MP3 piracy impact such activities. The paper also aims to use ethical scenarios as a way of understanding the ethical reasoning in illegal downloading. Design/methodology/approach - Key research questions are proposed that are related to illegal downloading. A sample of 364 university students was used to examine each research question. Statistical results are reported. Findings - The results clearly show that downloading continues at a high rate today driven by a strong belief that it is not ethically wrong. Ethical orientation was found to be positively associated with awareness of the social cost of downloading, consequences of downloading, and ethical belief in downloading. Ethical scenarios show that ethical orientation is also associated with downloading activities and with stealing. Other results indicate that respondents believe that their peers are more prone to stealing music and downloading MP3s illegally. Fear of consequences does seem to have an impact on the propensity to download illegally. Practical implications - The paper contributes to inform industry representatives that appeals to ethics or guilt are not likely to deter illegal downloading measurably. The use of punishment for downloaders may have a short-term effect but other (more positive) measures are required. Originality/value - No research has examined downloading of MP3s in the manner developed in this paper. The paper contributes to a better understanding of consumer behavior among those who download. The results provide insight into a serious problem in the recording industry that is likely to persist in the distant future unless sound measures are developed. [ABSTRACT FROM AUTHOR]

Forty years after its creation, RILM (Répertoire international de littérature musicale) remains the leading indexing service for music literature. Barbara Dobbs Mackenzie, the Editor-in-Chief of RILM, looks back on the developments in the field and looks forward to the changes that the future will bring to access and understanding. [ABSTRACT FROM AUTHOR]

As music consumption increasingly moves to the Internet, music as a product becomes even more intangible and service‐like. This tends to create a number of marketing problems. Through a review of services marketing literature and illustrative observations of online music services, this paper explores the intangibility aspect of online music and assesses how online music providers deal with the intangibility of their offer. The paper concludes that providers of online music largely utilize services marketing strategies to manage the intangibility of their products, although difficult issues such as pricing and consumer valuation of tangibility remain to be solved. [ABSTRACT FROM AUTHOR]