The Impact of Digital File Sharing on the Music Industry: An Empirical Analysis

Michel, Norbert

doi:10.2202/1538-0653.1549

Cited by 76 publications

(48 citation statements)

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“…Rob and Waldfogel [16], interviewed college students in the United States, nding this impact close to 9%. Michel [17] and Hong [18], based on data from the Consumer Expenditure Survey (CEX), found a drop in sales of 13% and 7.6% respectively. Using data from the European Consumer Technographics survey, Zentner [19] concludes that le-sharing reduces the probability of buying music by 30%, and music sales by 7.8%.…”

Section: Eects Of Sampling On Sales: Theoretical and Empirical Resultsmentioning

confidence: 99%

P2P Business and Legal Models for Increasing Accessibility to Popular Culture

Altman

Wong

Rojas-Mora

2010

Lecture Notes of the Institute for Computer Sciences, Social Informatics and Telecommunications Engineering

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Recent publications have reached conicting conclusions on wheather allowing users to have unlimitted free access for downloading music and lms is benetial or not for the content provider industrty. Not only do models dier in their conclusions, but there has also not been an agreement on the validity of data on the impact of free access to music and lms using P2P on the prots of CPIs and on the demand for CDs and DVDs. We provide in this paper a model that allows to study this question using elementary mathematical tools. In particular, it includes the eect of sampling on the the willingness to buy. Preliminary numerical experiments show that benets are maximized by avoiding any control measures against unauthorized sampling over P2P networks.

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Section: Eects Of Sampling On Sales: Theoretical and Empirical Resultsmentioning

confidence: 99%

P2P Business and Legal Models for Increasing Accessibility to Popular Culture

Altman

Wong

Rojas-Mora

2010

Lecture Notes of the Institute for Computer Sciences, Social Informatics and Telecommunications Engineering

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“…(2004), Huygens and al. (2001), Knopper (2009), Lampel and, Lopes (1992), Molteni and Ordanini (2003), Michel (2005), Michel (2006), Spitz and Hunter (2005) and Tschmuck (2006). Then seventeen semi-directive interviews were then conducted with experts 3 from the field who have been confronted with change in French and Canadian music market.…”

Section: Methodsmentioning

confidence: 99%

“…I n the last decade, the advent of disruptive innovations such as digital technologies and the Internet has unleashed a revolution in the music industry transforming consumer behavior, business models and the competition structure (Alderman, 2001;Hensmans, 2003;Michel, 2005;Michel, 2006, Tschmuck, 2006. While new entrants like Napster or Apple considered these changes a great opportunity, incumbents, and mainly the major companies 1 , were more pessimistic about the future.…”

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confidence: 99%

Co-evolution between Stages of Institutionalization and Agency: The Case of the Music Industry’s Business Model

Moyon¹,

Lecocq

2010

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The relationship between structure and agency is a central issue in studying change. The aim of this paper is to focus on the interactions between the process of institutional change and the actors’ strategic behaviour. Based on research on the music industry, we observed co-evolution between the actor level and the organizational field level by identifying three consequences of the incumbents’ actions on the institutional change process (alternative practices selection, alternative practices modification and process duration) and three consequences of coercive pressures on agency (strategic adjustment, traditional practices modification and legitimization).La relation entre structure et agence est une problématique centrale dans l’étude du changement. L’objectif de cette recherche est de s’intéresser aux interactions entre le processus de changement institutionnel et le comportement stratégique des acteurs organisationnels. A partir d’une étude empirique menée sur l’industrie de la musique, nous observons la co-évolution entre le niveau de l’acteur et le niveau du champ organisationnel en identifiant trois conséquences de l’agence sur le changement institutionnel (sélection des pratiques alternatives, modification des pratiques alternatives et durée du processus) et trois conséquences des pressions coercitives sur l’agence (ajustement stratégique, modification des pratiques traditionnelles et légitimation).La relación entre estructura y agencia es una problemática central en el estudio del cambio. El objetivo de esta investigación es estudiar las interacciones entre el proceso de cambio institucional y el omportamiento estratégico de los actores organizacionales. A partir de un estudio empírico hecho sobre la industria de la música se observa la coevolución entre el nivel del actor y el nivel del campo organizacional al identificar tres consecuencias de la agencia sobre el cambio institucional (selección de prácticas alternativas, modificación de las prácticas alternativas y duración del proceso) y tres consecuencias de las presiones coercitivas sobre la agencia (ajuste estratégico, modificación de las prácticas tradicionales y legitimación)

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“…Michel (2006) also found considerable empirical evidence to show that file-sharing has led to a decrease in music sales. However, this is in contrast to Oberholzer-Gee and Strumpf (2010) also observed that the current price levels of music are too high.…”

Section: The Bad (Record Industry Dies Slowly)mentioning

confidence: 99%

Is the music industry stuck between rock and a hard place? The role of the Internet and three possible scenarios

Warr

Goode²

2011

Journal of Retailing and Consumer Services

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DisclaimerThe University of Gloucestershire has obtained warranties from all depositors as to their title in the material deposited and as to their right to deposit such material.The University of Gloucestershire makes no representation or warranties of commercial utility, title, or fitness for a particular purpose or any other warranty, express or implied in respect of any material deposited.The University of Gloucestershire makes no representation that the use of the materials will not infringe any patent, copyright, trademark or other property or proprietary rights.The University of Gloucestershire accepts no liability for any infringement of intellectual property rights in any material deposited but will remove such material from public view pending investigation in the event of an allegation of any such infringement. PLEASE SCROLL DOWN FOR TEXT.This is a peer-reviewed, post-print (final draft post-refereeing) version of the following published document: DisclaimerThe University of Gloucestershire has obtained warranties from all depositors as to their title in the material deposited and as to their right to deposit such material.The University of Gloucestershire makes no representation or warranties of commercial utility, title, or fitness for a particular purpose or any other warranty, express or implied in respect of any material deposited.The University of Gloucestershire makes no representation that the use of the materials will not infringe any patent, copyright, trademark or other property or proprietary rights.The University of Gloucestershire accepts no liability for any infringement of intellectual property rights in any material deposited but will remove such material from public view pending investigation in the event of an allegation of any such infringement. The Internet through the world-wide-web has well and truly opened 'Pandora's Box' as far as the record industry is concerned, and there is no going back. The extensive use of illegal filesharing and illegal downloads of music tracks (totally for free) threatens the very survival of the record industry as we know it. Furthermore this behaviour threatens the very livelihoods of the employees, artists, and bands who work within the record industry. This paper reviews the current situation and then offers three possible scenarios for the future of the record industry (The Good, The Bad, and The Ugly). Firstly, The Good, where the record industry survives; secondly, The Bad where the record industry dies a slow death; and finally The Ugly, where the record industry dies very quickly. The consideration of several key factors involved will help the industry to focus on maintaining The Good.

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The Impact of Digital File Sharing on the Music Industry: An Empirical Analysis

Cited by 76 publications

References 1 publication

P2P Business and Legal Models for Increasing Accessibility to Popular Culture

P2P Business and Legal Models for Increasing Accessibility to Popular Culture

Co-evolution between Stages of Institutionalization and Agency: The Case of the Music Industry’s Business Model

Is the music industry stuck between rock and a hard place? The role of the Internet and three possible scenarios

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