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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.

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.

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.