Pirates of the web: The curse of illegal downloading

Abstract

a b s t r a c tMusic piracy is the major factor leading to the downturn in paid-for music consumption. This study aims to distinguish between the determinants of a music pirate and a genuine consumer of music (age, gender, income, music preference, music experience). It also investigates attendance at live performances, which previous research suggests, will tend to inhibit the decline of paid-for recorded music. This research is innovative in that it investigates a range of antecedents of music piracy. The method utilises a structured questionnaire survey (n ¼ 214) and regression analysis to elicit which factors play the most important role affecting our respondents' choices in buying music, illegal downloading music and attending live concerts. Managerial and theoretical implications are presented.

Measurement of consumer preferences for bucket pricing plans with different service attributes

“…They have also triggered a growing debate about the extent to which digital music piracy harms the music industry (Bhattacharjee, Gopal, Lertwachara, Marsden, & Telang, 2007;Rob & Waldfogel, 2006) and the factors that will encourage people to stop illegally downloading music (Dilmperi, King, & Dennis, 2011;Sinha & Mandel, 2008). The discussion also features new business models such as advertisementsponsored streaming services (e.g., the Swedish DRM-based music streaming service Spotify; Papies, Eggers, & Wlömert, 2010) and the abandonment of single-song sales in favor of album-only sales (Elberse, 2010).…”

Research on Music Consumption Behaviour from Service and Marketing Perspective

“…This is important as while the demand for singles is growing more rapidly than albums are declining, industry revenues are decreasing [13]. Traditionally, consumers bought music they wished to listen to again however downloading and digitizing normally entails building large collections (or archives) where users have little time to play individual tracks [14]. But collecting music does appear to have addictive and compulsive characteristics, while the process itself of downloading music files provides opportunities for recreation as well as convenience.…”

Artist autonomy in a digital era: The case of Nine Inch Nails

“…Commenting on the nature of live Nine Inch Nails shows as 'complete entertainment experiences' characterised by compelling visuals for example, Nine Inch Nails live is essentially reasoned by Masnick (2009) as the ultimate form of connecting with fans; whilst providing them for a reason to buy. This argument is compelling, not least because live performance is the only form of paid-for music consumption that is increasing (Dilmperi, King, & Dennis, 2011), despite ticket prices increasing (Holt, 2010), but because it is the main source of income for artists (Connolly & Krueger, 2005).…”

“…In the case of Nine Inch Nails, at least in the period under scrutiny, exposure to music appears to significantly impact ticket sales; where historically live music has been used to promote sales of hard copies, and prior to the 20th century was consumed only via live performances (Dilmperi et al, 2011). This relationship now seems to have reversed, with this notion better demonstrated in lieu of the release of free samplers to fans to download featuring tracks not only by Nine Inch Nails but the other support bands on respective tours, including Jane's Addiction.…”