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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.

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.

Case can be taught at the undergraduate or postgraduate level, including executive Master of Business Administration programs.

This case is intended for courses in strategic management, entrepreneurship and innovation at the undergraduate or postgraduate level.

The case is about challenges faced by Linda Portnoff, the Co-founder and Chief Executive Officer of Riteband, a Sweden-based fintech startup. In March 2020, Portnoff was conducting beta testing of Riteband’s app, which experts considered the world’s first stock exchange for music trading. After completing a PhD, Portnoff who was working as a Research Analyst, left her job to pursue entrepreneurship. Through Riteband, Portnoff helped to resolve pain points of artists who were forced to give the copyright of their music tracks or albums to distributors, in lieu of funds or promotional campaigns that distributors arranged for them. Portnoff invested in developing a patent-pending machine learning-based algorithm that based on several parameters could predict the likelihood of a music track or an album to become a success. Based on this prediction and royalty that artists were interested in sharing with fans, shares were issued to investors, who were also fans of the artists. As Portnoff identified an innovative business opportunity to trade music on a stock exchange based on Riteband’s machine learning algorithm, competition in Riteband’s strategic group was also becoming intense. Consequently, Portnoff was facing challenges of establishing competitive advantage of Riteband. Furthermore, as women in general faced challenges in raising funds for their startups, and even though Portnoff obtained some funding for Riteband, but overall, funding was a challenge for her as well. Moreover, as machine learning was a technical aspect for artists and potential investors, Portnoff also faced challenges to monetize on its machine learning algorithm.

By the end of the case study discussion, students should be able to: understand the principles of cross-industry innovation and explain the creation of new business opportunities based on cross-industry innovation; differentiate between direct and indirect competitors through strategic group analysis and further critically analyze the competitive advantage of business over other direct competitors; determine ways of reducing gender biases in venture capital funding; describe how machine learning works and further formulate ways to monetize a business through machine learning; and demonstrate the application of the value proposition canvas and business model canvas.

CSS 3: Entrepreneurship; CSS 11: Strategy.

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.

This paper examines the current position of copyright for the music industry in the light of innovation and diffusion of technologies which enable audio file sharing amongst web users. We note that there currently appears to be conflicting assessments between the major corporations and the many small firms in Europe with regard to the business potential for online music. In particular, we show that the convergence of technologies together with the emergence of particular practices of ‘net culture’ have posed a number of marketing opportunities and threats for industry incumbents. The role of the Napster program, as well as subsequent innovations in peer‐to‐peer software, is examined together with the responses that have been made by different sections of industry.

Intellectual property theft amounts to billions of dollars per year worldwide. The first step in stemming this loss is to understand the underlying precursors of this behavior. This paper aims to propose and test a model of consumer choice to purchase or pirate intellectual property, specifically music. This paper combines and applies the theory of reasoned action (TRA) and Becker’s theory of crime to develop a more comprehensive model of digital piracy behavior. Culture was tested as an antecedent to the attitudes and the perceptions of risk associated with music piracy.

A survey of 4,618 participants was conducted across 23 countries. Construct measures were validated using confirmatory factor analysis in LISREL. A conceptual model was tested using logistic structural equation modeling in MPlus. Respondents were asked about the last music they acquired to test a behavioral model of music piracy.

The results indicated that culture, specifically rule orientation and uncertainty avoidance, had a significant impact on attitudes toward the music industry, ethical perceptions of music piracy and risk perceptions. Respondents’ ethical perceptions of downloading had the highest impact on music piracy behavior. The personal/copy risk associated with the illegal downloading of music had a significant impact while the relative channel risk did not. The market value, quality and selection also had a significant impact on downloading behavior, as did the respondent's ability to find and download music.

While this paper was limited by focusing on the illegal downloading of music, the results can provide guidance in the design of future research concerning the piracy and unlicensed downloading of other types of intellectual properties such as movies/videos, TV, paywall content and e-books.

In recent years, improved access to music and video through online streaming and online stores has significantly decreased music piracy. This research indicated that further inroads into this behavior could be made through better online purchase access and through consumer education about the ethics and results of digital downloading. Further, efforts are more efficient by targeting cultures with lower levels of rule orientation with ethics education and targeted risk messages in countries with higher uncertainty avoidance.

Yearly losses to the music industry amount to about $5-29bn. Many find music and video downloading and “sharing” as acceptable. The model developed in this research has implications to affect this mass loss of revenue to the music industry and perhaps the societal view of downloading behavior that is illegal but commonly accepted.

This model is the first to integrate cultural aspects into models of digital piracy. In addition, the model is developed from a strong theoretical base (TRA and Becker’s theory of crime) to integrate multiple antecedents to intellectual property theft research.

The purpose of this paper is to examine the role of intermediary platforms, such as Pandora and Spotify, in reducing piracy of digital music.

The authors modify a predator-prey theoretical framework of copyright piracy to account for the impact of intermediary platforms on the consumption of original works and illegal copies.

The theory shows that an increase in the number of legal alternative platforms available to consumers of digital music results in an unambiguous increase in the consumption of legitimate music and an unambiguous decrease in the consumption of unauthorized copies.

The results suggest that policies to encourage entrepreneurship by intermediary platforms in the music industry serve as a complement to other policies currently being employed to combat piracy of digital music.

The paper is the first of its kind to analyze the important role of intermediary platforms in reducing piracy of digital music while encouraging innovation by artists. Historically, entrepreneurship in this field has been controversial, given the gray areas surrounding what is and is not copyright infringement in the ever-evolving digital age. This paper highlights that once copyright laws are clearly defined, business growth in this area can be a highly effective solution to the piracy problem.