2009
DOI: 10.1177/0276146709352217
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Sharing and Owning of Musical Works

Abstract: Markets for musical works are based on a compromise between sharing and owning. By empowering consumers and aspiring artists, new digital technology and the Internet threaten to change this compromise. The new technologies allow consumers to make and to disseminate—legally and illegally—copies of musical works that are virtually the same in quality as the original. Facing falling or stagnant sales, established entities of the music industry—recording companies, producers, and distributors— are fighting back wi… Show more

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Cited by 18 publications
(4 citation statements)
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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%
“…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%
“…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%
“…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).…”
mentioning
confidence: 99%