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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.

This paper aims to address the emerging post-millennium trends in co-creational marketing, in the context of how these trends apply to the recorded and live sectors of the music industry. Consideration of marketing as a broadened concept to include societal processes has implications not only for the marketing concept itself, but also for the roles of the parties implicitly involved in the marketing process. Therefore, the standard and polarising marketing clichés of “firm and customer”, “buyer and seller”, and “producer and consumer” may be replaced with a more contemporary marketing approach in which value can be created and shared by either party.

Initially the paper provides a review of contemporary literature on co-creational aspects of marketing and a subsequent identification of typologies of co-creation practices. Conceptual frameworks pertaining to the relationships of these typologies are then proposed. An extensive review and analysis of journal articles, industry reports and news sources on music industry marketing was conducted. From this review and analysis, 30 examples of co-creational marketing were identified. The music industry was chosen as it constitutes a relevant and contemporary marketing context due to the existence of interactive technology and changing consumer preferences regarding their interaction with music intermediaries and against a context of digital piracy.

Five typologies of co-creational marketing were found to be relevant to the music industry. Key examples of co-creational marketing within the music industry are discussed and analysed in relation to the identified typologies and conceptual frameworks.

The relevancy of co-creational marketing practices to the music industry is investigated, followed by consideration of managerial implications and future research directions.

The theoretical prospect of value co-creation through active consumer contributions to the marketing process is not revolutionary or new, but the implications of such a potential shift in power or influence have developed into a contemporary challenge for marketers.

The purpose of this paper is to discuss the Internet's paradoxical nature from the perspective of consumers.

First, it is discussed that negotiations between companies and consumers about their respective shares of power lead to different models of consumer power. Second, the paradoxical effects of technology on social relations and an individual's sense of identity and responsibility are discussed. These changes have altered not only consumer behaviour but also the relationship between producers and customers, in the sense that power shifts to consumers. The case of the international music industry is used as an example. This case embodies many of the studied aspects of the paradox concept and proves useful in the development of implications for companies and their strategies.

The paper finds that while negotiations between companies and consumers about their share of power lead to different models of consumer power, the effects of technology on social relations and individuals' sense of identity and responsibility lead to changes in consumption behaviour.

The paper identifies how business practices have changed in response to the changes in intellectual property matters and the power constellations between companies and consumers. The theoretical models presented in this paper represent different positions that companies and consumers can take and are helpful in explaining the current power struggles, such as file sharing activities, which on a more individual level also correspond to paradoxical effects of the Internet (social relations, deindividuation effects).

This paper takes a fresh look at the Internet's paradoxical nature from a consumer point of view. It is argued that some of the Internet's paradoxical effects stem from socio‐political and socio‐cultural changes, for example, a power shift from companies to consumers, and normative and anti‐normative behaviours.

This study aims to examine the role of product attributes, applying the multi‐attribute model, on consumers' decisions to download digital music via unauthorised sources in the UK.

The data were collected through an online survey. Consumer choice was measured through three sets of questions built on Likert scales to identify individuals' evaluation of importance placed on the eight attributes, when making a choice, and level of satisfaction with those, both for purchasing and downloading. Two logistic regression models are developed using background characteristics and responses to these three sets of questions. The consumer choice between purchasing digital music and downloading through unauthorised channels was analysed in regards to eight product‐specific attributes.

The results show that illegal downloaders expect a similar utility from both channels, while others tend to have a more positive attitude towards their chosen channel (i.e. purchasing). Background characteristics such as age, gender, education, and income show some relevance to the choice of music downloading channel. Regarding the importance attributed to and satisfaction from the eight product attributes, security of the source, variety of available music, quality, copyright, and legitimacy of the source are found to be significant in determining the choice.

This study is likely to guide digital music providers in designing their marketing plans using key attributes and consumer perceptions.

This is a rare study of downloading behaviour in the UK using a mixed population sample which is not dominated by students. Findings question the weight of price in decision making.

In this paper two online activities are discussed that are becoming increasingly interesting to organisations because they suggest a potential change in the balance of power between producers and consumers. The activities are peer‐to‐peer (P2P) file‐sharing and online groups. An analysis is provided of 848 messages from approximately 150 users of a forum on Audiogalaxy's Web site immediately after the suspension of its P2P service following an RIAA lawsuit. Much of the interaction on the forums is “informational” in nature, and significant in terms of directing users to alternative P2P services. Other exchanges appear more “transformational”, attempting to energise the group into physical protest, although protests appear to be contained online. Also highlighted is the role of “recreational” exchanges in developing “relational” and “informational” exchanges and it is suggested that more research is needed in this area. The implications for file‐sharers and for organisations that might deal with online consumers are discussed. It is concluded that the RIAA's actions were largely counter‐productive as they were unable to prevent users moving to another P2P service and encouraged discourses which support file sharing. However the risk of “real‐life” protests as a result of the online groups’ reaction also seems low.

The purpose of this paper is to summarise and evaluate the literature on digital consumer behaviour and attitudes towards digital piracy.

The paper presents a review and synthesis of the academic literature on the subject, using the authors' unique “pro‐forma” approach to the evaluation of individual papers.

A major limitation in the studies reported became apparent. They are almost exclusively concerned with the behaviours and attitudes of young people. There is a dearth of studies looking at demographic differences, and also a lack of longitudinal work. Given these constraints, the literature strongly suggests that social and situational factors impact on the likelihood of illegally obtaining digital content more than ethical considerations. Anonymity is a strong indicator, “de‐individualising” people and releasing them from traditional societal constraints and making the digital world far different from the physical one. The literature is ambiguous on whether punishment acts as a deterrent.

The main point that comes out of these studies is that the digital world is not the same as the physical world. It is changing basic assumptions about the idea of ownership, sharing, and copying content. Laws prohibiting all unauthorised downloading potentially criminalise millions of people, so new and creative business models are needed to resolve the problem.

The authors believe this to be the first systematic review of current literature in this area since the issue became topical with the Pirate Bay trial and the Government's Digital Britain report.

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.

The purpose of this paper is to examine whether the sharing of movie trailers on video-sharing social media has an impact on box-office revenue.

From December 2013 to November 2014, view statistics were collected for movie trailers from YouTube and matched with the box-office revenue of the relevant movies from Box Office Mojo. Based on the 72 sample movies, a panel simultaneous equation model was applied.

The results show that sharing of a movie trailer has a positive impact on the box-office revenue of the movie, and this effect is greater in the early stage of a movie release than in the later stage.

This study analyzes, from electronic word-of-mouth (eWOM) and social influence perspectives, the effects of video-sharing activities on social media and their impact on sales with an example that is representative of entertainment goods or movie trailers.

This study reveals that promotion through video-sharing social media websites can serve as an essential marketing tool for entertainment goods such as movies, while the sharing of a movie trailer has a positive influence on the box-office revenue of the movie.

Focusing on the sharing features of video-sharing social media websites, this study contributes to enhancing our understanding of the predictive power of consumers’ video-sharing and expanding current research on eWOM and social influence.

This paper analyzes consumers’ attitudes and behaviors towards online piracy and their willingness to try subscription-based music services. The objective is to develop and test an attitude-intention model which includes ethical considerations in consumers’ decision making process regarding music consumption.

The study analyzes 505 consumer questionnaires using a structural equations model.

Attitude toward online piracy is positively determined by economic and hedonic benefits and negatively by moral judgment. A favorable attitude toward online piracy, in turn, negatively influences consumers’ willingness to try subscription-based music services, which is also directly determined by their interest and involvement with the services themselves.

The limitations of the paper are linked mainly to the adapted scales, to the analysis of just two subscription-based music services (Napster and Spotify) and to the fact that all respondents came from one country.

The results call for a greater commitment by music industry actors to educate consumers about the consequences and implications of online music piracy, while also stressing the value added and hedonic benefits offered by subscription-based music services.

This paper is the first to focus on consumers’ propensity toward online piracy and their willingness to try subscription-based music services as a possible alternative to the phenomenon, through the development and test of an attitude-intention model that includes ethical considerations.