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Purpose – This chapter discusses the criminalization of sharing music on peer-to-peer (p2p) networks. Taking the Italian situation into consideration, it aims to introduce a socio-legal reflection about the processes of construction of this deviance.

Design methodology/approach – Adopting a constructionist approach, this chapter first explores the ways in which the social problem of music piracy was built in Italy. The choice of the legislator to place this practice within the category of criminal behaviour was analysed and examined. In the second section, the points of view of other participants involved in the practice of file sharing are taken into account.

Findings – Placing file sharing within the jurisdiction of criminal law does not seem to respond to the needs to counter the infringement of a shared social value, but it rather seems to reflect the protagonists’ involvement into the process of legislative decision about piracy conception and idea of the damage caused by this phenomenon, promoted and conveyed by the music business. The way in which piracy is conceived by Italian legislation emerges here in its partial understanding of the effects of this practice. Sharing music on digital networks appears as a highly conflicted crime, whose harmfulness is scarcely perceived by the society. Furthermore, file sharing repression policy seems to give shape to a new victimless crime, whose harmful effects do not seem to actually fall back on artists or consumers.

Originality/value – Sharing music on the net and violating copyright is little studied from the perspective of the sociology of crime. Using this approach, this chapter contributes to a better understanding of the phenomenon.

Purpose – Despite an abundance of literature on the effects of copyright infringement on music consumption, empirical evidence remains ambiguous. The aim of this chapter is to quantify the effect of copyright infringement on recorded music purchases and live music attendance for Spanish frequent music consumers, and to measure its effect on participation for all music consumers.

Design/methodology approach – We rely on survey data for the Spanish population as our main information source and use propensity score matching to estimate the average effect of copyright infringement on music consumption. In order to do so, the methodology aims at estimating the difference between actual outcomes (record purchases or attendance to live concerts) for copyright infringers and the (counterfactual) outcome would they had not been infringers.

Findings – Two findings stand out. First, and with regards to recorded music consumption, we find a net positive effect of copyright infringement on full album purchases although a nonsignificant one for tracks. Second, there is a positive and significant effect on live attendance, which is consistent with an indirect appropriation effect across products. These results are robust when participation is considered, but some interesting differences arise between recorded music purchasers and live concerts attenders.

Originality/value – First, the use of a counterfactual control group provides an additional approach to the assessment of copyright infringement. Second, within the same framework we investigate the effects of copyright infringement on recorded and live music, an approach that sheds some light on the degree of complementarity between both markets.

Purpose – The purpose of this chapter is to relate to the reader how overlapping advancements in technology and the diffusion of popular music into the habitus of listeners have provided the framework for an instrumental rationalization of litigious approaches to copyright protection by their owners. Namely, the personalization of music, which has evolved with the aid of technological advancements, has privatized music consumption, thus establishing socio-legal parameters that limit consumption to an individual action.

Design/methodology/approach – We discuss the concepts of habitus and taste, communality in music ownership, communicative action, and technology-driven consumption as they relate to the instrumental rationalization of industry-led governance structures defining music ownership rights. These arguments are supported in part by a consideration of historic examples of tension and responding legal actions.

Findings – The primary outcome from this chapter is to illustrate the extent to which the recording industry has traditionally held a role in guiding copyright policy. The chapter concludes by illustrating the current legitimation crises encountered by the recording industry and policy makers as consumers abandon traditional ownership paradigms en masse.

Originality/value of chapter – The technologies associated with the Internet and music consumption continue to evolve. This chapter highlights the differing interests in controlling music interests, and casts light on how agency has influenced structural developments central to copyright.

The exponential growth of digital technologies and their increased importance in both organizational and everyday life poses new challenges to paradox research within management studies. Management scholars taking a paradoxical lens have predominantly focused on social paradoxes within the confines of the organization. Technological change has often been treated as an exogenous force bringing previously latent tensions to the fore. Such newly salient paradoxes are viewed as instigating managerial sensemaking and exploration of strategic responses that will re-establish equilibrium. Our investigation of how digital innovations disrupted London taxiwork and global music distribution shows something different. The paradoxical tensions raised by emerging digital technologies inevitably play out at industry and societal levels. Concomitant changes in boundaries, categories, and potentials for action that shape and channel ongoing industry transformation call for organizational responses and adaptation. Critically, such tensions must be interpreted within the context of industry arrangements absent a centrally controlling actor. Rather than episodes of exogenous change, the nature of the digital, along with interactions across multiple sources of agency, continually surface complex dynamic and systemic tensions within and across industries. Our findings highlight the importance of explicitly accounting for the inter-relatedness and mutual dependence of the social and technical elements of change. As digital innovation expands and starts to impact all aspects of human experience it is critical for management scholars to reflect how the paradoxical perspective can be expanded to better understand these contemporary large-scale changes.

We advance theory of how founder identity affects business model (BM) design during new venture creation and contribute to the cognitive perspective on BMs. We look at BM design as a longitudinal process involving a variety of cognitive work that is co-shaped by the founder identity work. Based on an in-depth nine-year process study of a single venture managed by three founders, we observed that a novelty-centered BM design resulted from cognitive work co-shaped by founder identity construction and verification processes. Yet, more remarkably, we noted that founder identity verification decreased over time and observed a process that we labeled “identity-business model decoupling.” It meant that the founders did not alter their founder identity but, over time, attentively grew self-aware and mindfully disengaged negative identity effects to design an effective BM. Our results provide a dynamic view on founder identity imprinting on ventures’ BMs and contribute to the identity, BM, and entrepreneurship literatures.

This paper is designed to seek out the everyday narratives of copyright. To find these narratives, I analyze the comments section of websites where users can post their reactions to copyright-related stories. I argue that understanding how people who are not legal scholars frame the use of copyright as they discuss sharing, owning, and controlling the copy is a good place to begin to develop a sense for the everyday life of copyright law.

Since the arrival of mass production, commodification has been plaguing markets – none more so than that for music. By separating production and consumption in space and time, commodification challenges the very conditions underlying economic exchange. This chapter explores authenticity as the institutional response to the commodification of music, rekindling the relationship between isolated market participants in the increasingly digitized world of music. Building upon the “Production of Culture” perspective, we unpack the commodification of music across five different institutional realms – (1) production, (2) consumption, (3) selection, (4) appropriation, and (5) classification – and provide a thoroughly relational account of authenticity as an institutional practice.

Purpose – The paper develops a conceptual framework for assessing value-creating service ecosystems that contains four core dimensions: medium, meaning, usage, and network. Its purpose is to identify and discuss the implications of the changes that occur in these dimensions when exchanges within the ecosystem that have long been mediated by physical products become direct instead.

Methodology/approach – The analysis employs the historical method and is based on a systematic investigation of the evolution of the recorded-music market during the past 150 years.

Findings – The analysis shows that the key dimensions of the recorded-music-service ecosystem evolved only gradually and incrementally during the era of physical formats that were dominant until the mid-1990s. With the advent of “liquid” music, the elements of the service ecosystem changed dramatically, leading to instability and redefining roles and exchange mechanisms in the ecosystem.

Research limitations/implications – The investigation focuses on a single ecosystem (music), and conclusions stemming from it are subject to the assumptions inherent in the historical method. Nevertheless, the paper contributes to knowledge in the Service-Dominant Logic (S-D logic) domain by offering a robust framework and a set of core dimensions that are useful for systematically analyzing the nature and consequences of changes that occur in rapidly evolving service ecosystems.

Practical implications – Apart from direct implications for the music market, the proposed framework can help managers working in other ecosystems to adopt a macro perspective in addressing value-creation issues and to pay particular attention to the underlying dynamics that influence value creation in those ecosystems.

Originality/value of paper – The development of a conceptual framework that adopts a macro-level, market-wide perspective for understanding value creation in service ecosystems is a distinct contribution of the paper, as is the application of the historical method in analyzing such an ecosystem.