Sharing and Owning of Musical Works

Nill, Alexander; Geipel, Andreas

doi:10.1177/0276146709352217

Cited by 18 publications

(4 citation statements)

References 31 publications

(35 reference statements)

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“…The IFPI (2019) report also indicates that only 2.5% of participants said that music was “unimportant” to them, compared to 54% of participants who said they “love” or are “fanatical” about music. As Schäfer et al (2013, p. 1), stated, “few behaviors match music for commandeering so much time, energy, and money.” High engagement with music listening is made possible, in part, by the digital and internet-enabled technologies of the 21st century (Nill & Geipel, 2010; North et al, 2004; Sloboda et al, 2009). People do not listen to music in a social vacuum (Lamont & Greasley, 2009; North & Hargreaves, 1997), rather listening is firmly embedded into people’s everyday routines (e.g., Krause et al, 2015; Krause et al, 2016).…”

Section: Literaturementioning

confidence: 99%

Augmenting Function with Value: An Exploration of Reasons to Engage and Disengage from Music Listening

2021

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Investigations of music in everyday life are dominated by a functional perspective, drawn from work using the theory of Uses and Gratifications. In so doing, we may have neglected to fully appreciate the value people place on music listening. Therefore, the present study considered if, and why, people value music listening and probed instances when they may not want to listen to music in everyday life. A sample of 319 university students residing in Australia (76.50% female, M age = 20.64) completed an online questionnaire, on which they were asked to provide short responses to open-ended questions directly addressing two research questions. Inductive thematic analysis yielded 13 themes synthesizing how participants valued listening to music, such as appreciation, emotion, time and engagement, cognitive factors, and mood regulation. Reasons for not listening to music were summarized by eight themes dominated by interference with activities that required focus or concentration, followed by environmental context, affective responses, music engagement and inversely, a preference for silence or other auditory stimuli. Fifteen percent of participants stated there was never a time they did not want to listen to music. The findings provide a novel perspective on the value of music listening beyond that considered by uses and gratifications with regard to the function of listening to music in everyday life.

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Section: Literaturementioning

confidence: 99%

Augmenting Function with Value: An Exploration of Reasons to Engage and Disengage from Music Listening

2021

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“…New digital recording technology also means aspiring artists can produce and distribute their own music, obviating the need for the music labels that traditionally provided the means of distribution and quality assurance [7].…”

Section: Literature Review and Secondary Researchmentioning

confidence: 99%

“…It is argued that this new model encourages diversity as artists' struggles between creative integrity and commercial success is less evident as consumers have easier access to works that have niche appeal [7]. As the cost of buying songs remains an issue, rendering downloads more affordable may increase 'legal' consumption as users appear agreeable to paying for music on the internet, for the appropriate price.…”

Section: Literature Review and Secondary Researchmentioning

confidence: 99%

Research on Music Consumption Behaviour from Service and Marketing Perspective

Luo¹

2017

dtssehs

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As music consumption increasingly moves to the Internet, music as a product becomes even more intangible and service-like. Online peer-to-peer (P2P) fileswapping software has frequently been used for illegal, copyright-infringing, downloading activity. The dichotomy between sharing and owning of creative works has been questioned by young consumers. Prices may need to fall or services/experiences be enhanced to lessen piracy and increase 'legitimate' consumption of music to a broader range of consumers. New technology has created a paradigm shift in the structure of the music industry and consumers' consumption habits. This may result in the emergence of new structures, players and business models with a possible merging of elements of recording, concerts and merchandising providers or their complete break-up.

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“…With the listening technologies of the 21st century influencing the ways in which people interact with music (Nill & Geipel, 2010; North et al, 2004; Sloboda et al, 2009), people are able to control—to a greater degree than hitherto—what they hear in many, varied environments at any time (Krause et al, 2016; North et al, 2004). Because our access and ability to listen to music has never been more extensive, much of modern listening accompanies other activities in daily life (Krause, et al, 2014).…”

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confidence: 99%

Listen Up: A case study examination of focused listening

Krause,

Pardon,

Hoang

et al. 2023

Musicae Scientiae

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Today, most everyday music listening is an accompaniment to other activities; it is far less common that listening is someone’s primary activity, receiving most of their attention. In this article, we present a case study, Listen Up, run by Indigo Project, a mental health organization in Sydney, Australia, in which we explored relationships between participants’ responses to the experience and their demographics and styles of music engagement. A sample of 187 Australian residents (aged 20–64 years) who attended Listen Up completed a survey measuring music engagement; emotional responses to the experience; perceived outcomes of the session; pre- and post-measures of stress, mood, and anxiety; and free-text responses to questions concerning their experiences of listening mindfully and any thoughts or feelings that arose during the session. Participants experienced an increased mood and decreased levels of stress and arousal after taking part in Listen Up. Their focused-listening experiences were not simply characterized by enjoying the music; rather, the emotions evoked were varied and complex. We characterized their emotional responses as negative, positive, evocative and expressive, and sad; in addition, participants characterized their own experiences as a cathartic journey resolving into a positive, peaceful, and calm state. Reported outcomes of participating in Listen Up included experiences described as being emotionally challenging, therapeutic, and physically uncomfortable. An affective music engagement style was positively associated with evocative and expressive and sad emotional experiences, and therapeutic outcomes. As a focused-listening experience, Listen Up provides participants with the opportunity not only to attend to music but also to reflect on and process their personal thoughts and feelings. This research provides evidence for the emotional and mental health benefits of focused music listening, such that, focused listening reflects opportunities for strong experiences with music in today’s listening landscape.

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Sharing and Owning of Musical Works

Cited by 18 publications

References 31 publications

Augmenting Function with Value: An Exploration of Reasons to Engage and Disengage from Music Listening

Augmenting Function with Value: An Exploration of Reasons to Engage and Disengage from Music Listening

Research on Music Consumption Behaviour from Service and Marketing Perspective

Listen Up: A case study examination of focused listening

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