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The purpose of this paper is to understand music sharing behaviour on social networking services (SNS). This study suggests and examines a research model which focuses on the influences of user motivations, such as self‐expression, ingratiation, altruism, and interactivity, on music sharing behaviour in SNS through social motivation factors.

Data were collected from 153 Korean SNS (i.e. Cyworld, Naver Blog, Daum Blog, and Tistory) users, who have experience in purchasing music and legally sharing it on SNS. The partial least squares method was used to analyse the measurement and structural models.

The study shows that interactivity, perceived ease of use, self‐expression, social presence, and social identity are significant positive predictors of music sharing intention on SNS.

This research is significant in light of recent interest in user activities in SNS. Better understanding of the music sharing behaviour on SNS can be prompted by reflecting cultural differences in selecting the SNS for validation with a larger sample size.

The findings emphasise the importance of providing users with interactive, self‐expressive, and easily manageable services in order to increase their intention to share music through SNS. Service providers need to focus on improving the user experience of the systems.

SNS based online music services have been increasing and are a new business model of music content distribution. However no academic research has examined music related services on SNS. This study is the first empirical study analysing music sharing behaviour on SNS.

This paper aims to investigate the rules and rituals for joining and operating within underground music file sharing communities as well as the members' motivations for joining.

Actor‐network theory is combined with an ethnographic methodology to explore the structure, technology and rules of these communities from an actor‐oriented, member perspective. Empirical data include in‐depth interviews with three file sharers, and participant‐observations for 120 days within an online community.

The paper provides an increased understanding of the structured and orderly nature of underground music file sharing communities and the perceived importance of strong rules and rituals for membership. Many communities use the same open‐source software.

Only a small number of file sharers (three) were interviewed. However they provide rich insights into this under‐researched topic.

An understanding of these sophisticated underground file sharing communities assists the further development of legitimate online music systems to appeal to the large number of individuals involved in music file sharing communities.

This paper provides an understanding of the practices within a subculture that is currently regarded as deviant and illegal, and contributes to the discussion and policy formulation on file sharing.

This study is the only known ethnography investigating underground music file sharing communities. These communities have not been systematically studied previously and the paper addresses this lack of research literature. This study is also novel as it applies actor‐network theory to a context to which it has not previously been applied.

The purpose of this paper is to estimate the scale of illegal file‐sharing activity across ten countries and to correlate this activity with country revenues. The work aims to elucidate an under‐explored business model challenge which exists in parallel with a music piracy challenge.

The study data are drawn from a number of sources, including a data set of a survey of more than 44,000 consumers in ten different countries undertaken in 2010. Following analysis, all findings are validated by a panel of industry experts.

Results show that non‐legitimate file‐sharing activity is a heterogeneous issue across countries. The scale of activity varies from 14 per cent in Germany to 44 per cent in Spain, with an average of 28 per cent. File‐sharing activity negatively correlates to music industry revenue per capita. This research finds many consumers are not engaging with online business models. Almost one fourth of the population claim that they do not consume digital music in either legal or illegal forms. This phenomenon is also negatively correlated with sales per capita.

Results support the need for policy makers to introduce strong intellectual property rights (IPR) regulation which reduces file‐sharing activity. The work also identifies a large percentage of non‐participants in the digital market who may be re‐engaged with music through business model innovation.

This research presents a map of the current file‐sharing activity in ten countries using a rich and unique dataset. The work identifies that a country's legal origin correlates to data on file‐sharing activity, with countries from a German legal origin illegally file sharing least. Approximately, half of the survey respondents chose not to answer the question related to file‐sharing activity. Different estimates of the true scale of file‐sharing activity are given based upon three different assumptions of the file sharing activity of non‐respondents to this question. The challenge of engaging consumers in the digital market through different business models is discussed in light of digital music's high velocity environment.

This study aims to explore how emotionally rich collective experiences create lasting, shareable memories, which influence future behaviours. In particular, the role of others and of music in creating value through memories is considered using the concept of socially extended emotions.

Over 250 narratives were gathered from festival attendees in the UK and Finland. Respondents completed a writing task detailing their most vivid memories, what made them memorable, their feelings at the time and as they remembered them, and how they shared them. The narratives were then analysed thematically.

Collective emotion continues to be co-created long after the experience through memory-sharing. The music listened to is woven through this extension of the experience but is, surprisingly, not a critical part of it. The sociality of the experience is remembered most and was key to the memories shared afterwards. The added value of gathering memorable moments, and being able to share them with others, is clearly evidenced.

The study highlights the importance of designing events to create collective emotional moments that form lasting memories. This emphasizes the role of post-experience marketing and customer relationship building to enhance the value that is created customer-to-customer via memory sharing.

The research addresses the lack of literature exploring post-event experience journeys and the collective nature of these. It also deepens a theoretical understanding of the role of time and sociality in the co-creation and extension of emotions and their value in hospitality consumption. A model is proposed to guide future research.

This paper aims to explore online sharing of copyrighted content over peer‐to‐peer (p2p) file sharing networks and its impact on the music industry, and to assess the viable business models for the industry in the future.

The authors analyze the evolution of the online content market over the years that followed the widespread adoption of p2p. The paper is based on a teaching case, and builds on two related academic papers that provide the theoretical underpinnings for the analysis.

Based on the early developments observed in this marketplace and the aforementioned theoretical work, the paper argues that it is unfeasible to fully eradicate p2p, and so the industry must embrace it by understanding how consumers derive value from the technologies that enable it.

The developments analyzed here offer relevant insights for the online content marketplace, allow the scope of strategies available to the music industry to be understood better, and may provide lessons for other industries transitioning to online business models.

Although social media proficiency and use are key business and marketing practices in today’s digital environment, research has failed to offer sufficient insights into what drives small firms to use social media and how they vitalise co-creative social media environments with consumers. In response, the purpose of this paper is to examine how small firms utilise social media to interact and build bonds with consumers. These bonds become an important tool in the development of successful, profitable businesses and marketing practices in the digital age.

To examine how small firms use social media to engage with consumers and vice versa, the authors utilised a case-study approach and collected qualitative data by conducting semi-structured interviews.

The results showed that the small firms in this research seek to establish relationships and facilitate interactions with their core consumers in order to co-create value. In particular, the data demonstrate that producers engage in two distinctive practices: bonding (i.e. cultivating emotional ties with music fans) and spreading (i.e. encouraging expressive circulation by fans). Altogether, the findings indicate that the representative firms in this research use social media to develop synergistic relationships with consumers and to tap into the collective energy of consumers in their business environments.

The authors show that small companies use social media to establish relationships and interact with fans in order to co-create value and vitalise collective consumption, engagement, and participation. The case blurs the traditional distinction between production and consumption and suggests that the value of goods is a social creation, not merely a manufactured product.

Hong Kong’s musical scene is rapidly changing along with the evolving media landscape. The purpose of this paper is to examine the new way of Cantopop production and dissemination in the new media ecosystem. Furthermore, this study calls for a reconceptualization of the process of Cantopop listening and sharing as a form of public pedagogy within the online public space.

Based on the investigation into two of the leading local indie bands Kolor and Supper Moment, this study explores the implications that social media and participatory culture have for these indie bands. In this study, the music content and promotion strategy of the two bands, as well as the role of their online audiences are studied.

Social media leads to more democratic cultural production and distribution. The strong online audience engagement serves as the foundation for the popularity of the two Cantopop indie bands. In their music practice, the lyrics appear to be in alignment with the goals and interests of the listeners, which gives rise to greater participation by its audiences through social media. Under the context of interactive internet culture, listening and sharing Cantopop can be seen as an educational force, thus reinforcing the values and attitudes.

While many important works have examined various aspects of Cantopop, little attention has been paid to the indie bands. This paper attempts to reveal the recent development of local indie bands as a site under the interactive internet culture. It also gives insights to the significant role of Cantopop played in public pedagogy.

Along with their immense benefit, online channels of communication and information-sharing also present a myriad set of challenges. The unauthorized downloading and sharing of copyrighted content such as music and movies is one such issue. This study aims to examine the factors related to the unauthorized downloading of content amongst young internet users in an emerging market.

An online structured questionnaire was used to collect primary data from 219 internet users between 17 and 24 years of age. The partial least squares structural equation modelling was used to analyse the primary data.

The study findings report that monetary savings and social influence are the main drivers underlying the propensity to engage in unauthorized downloading amongst young adults. Perceptions of harm caused to artists and producers appear to be a deterrent. Though the respondents perceive the quality of content downloaded from unauthorized sites to be less than desirable, and there is also a higher perceived threat from viruses, this does not appear to deter unauthorized downloading behaviour amongst this segment of consumers.

Combating unauthorized downloading and other forms of questionable online behaviours is a challenge for multiple stakeholders. Consumption of unauthorized digital content is examined in the context of online consumers whose demographic profile is often associated with this category of questionable behaviour. The study adds to the extant understanding of the aetiology of what are often considered online unethical and illegal behaviours and makes both practical and theoretical contributions to the subject field.

The study examines an important aspect of rapidly evolving internet technologies. The internet provides a veil to individuals engaging in unethical online activities. Despite the existence of laws declaring these activities to be illegal, instances of copyright violations of music and movies abound. The insights regarding the drivers and deterrents of a form of online unauthorized activity are used to present a set of strategies aimed at addressing such behaviours.

The purpose of this paper is to explore the use of an arts-based methodology in conducting a doctoral study on The Nile Project, an East African based musical collective. Despite some evidence that music is an effective tool for qualitative inquiry, there are few studies on its use, especially the use of musicking in the interview process.

The author used a qualitative and arts-based research approach.

Outcomes suggest that music may help to create an “in-between” space challenging researcher positionality and giving voice to the “researched.” Music also acted as a bridging agent encouraging open and honest dialogue and relationship building.

Findings suggest that music may be a useful tool for researchers interested in arts-based and participatory methods in qualitative research particularly when interviewing participants with varied linguistic, cultural, political and musical backgrounds.

There is sparse research on the use of musicking in the interview process of qualitative research.

The purpose of this study is to examine the relationships between musician’s social network sites (SNS), the tie that fans may develop via these sites, and music acquisition, via legal and illegal means.

A quantitative approach was taken, gathering 352 responses from young adults via an online survey.

Perceptions of interactivity and sincerity on musicians’ SNS are found to lead to stronger ties, enhancing the fan’s feeling of closeness to the musician, the fan’s inclination to spread positive word-of-mouth, and the time a fan spends on the site. Pathways are found between the fan activity, sense of closeness and time spent on the SNS. In terms of acquisition, the tie strength indicator of time spent on the SNS holds a positive relationship with purchase intent. While a sense of closeness holds a negative relationship to illegal downloading activity, the fan’s activity recommending the musician has a positive influence on illegal downloading.

Limitations of this study include a limited amount of information on the musician and extent of fandom, suggesting future research to tease out the effects of SNS on fans with varying levels of existing commitment to musicians.

Stronger ties between fans and musicians may be developed via interactive and sincere SNS. Activities which encourage the fan to give recommendations and spread positive word-of-mouth are especially influential in driving purchase intent.

These results provide theoretical and practical implications in relation to how SNS may influence the online fan-celebrity “tie” and music acquisition – three elements which have not to date been examined.