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Consumer behaviors in internet are changing over time. The purpose of this paper is to propose and examine a research model that describes the repurchase behavior for the legal and paid music products of physical genre and online genre. The consumption value theory is used to develop the research model. Comparison of physical genre with online genre is presented. Implications and suggestions are addressed.

The research model is examined empirically. The research targeted music product consumers who had purchasing experience in the past one year. The research results are obtained, and the findings are revealed on the basis of 728 valid music product consumers.

The functional, emotional and epistemic value are the significant driving factors, though it shows a limited distinction for the two types. In comparing of the concepts of designed functional value, physical music consumers tend to have a stronger enthusiasm in music consumption. Social value and conditional value are not the predicators of repurchase satisfaction, implying that the music consumption is self-oriented for any normal amusement. The epistemic value shows significant on all levels of significance for the physical type, whereas insignificant if a = 0.01 for the type of online.

The research model is applied for the two contrariety product types, and to make a comparison, trying to understand the reasons why music fans are still willing to spend money on music products and what factors make them choose between product genres. After fluctuation and alternation of the music industry within this decade, this research provides a reference and correlated results for the future studies for the related studies, especially for the prosperous physical parallel imports items and online music.

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.

This paper investigates the information behaviour of creative DJs, a group previously not considered from the perspective of information studies. The practice of DJing is a musically creative process, where a performance can draw on a vast range of music to create a unique listening and dancing experience. The authors study what are the information behaviour processes involved in creative DJing and what roles embodied information play in DJing practice.

From a set of semi-structured interviews with 12 experienced DJs in Scotland, UK, that were subjected to inductive thematic analysis, the authors present a model of how DJs undergo the process of planning, performing and evaluating a DJ performance.

From this study, a model of creative DJs’ information behaviour is presented. This three-stage model describes the information behaviours and critical factors that influence DJs’ planning, decision-making and verification during the pre-performance, performance and post-performance stages, with particular emphasis on DJs’ performances as a rich site of embodied information interactions.

This research provides insight into a new activity in information behaviour, particularly in the use of embodied information, and presents a model for the information behaviour of creative DJs. This opens the way for future studies to consider minorities within the activity, the audience as opposed to the performer, as well as other creative activities where physicality and performance are central.

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.

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.

One of the binding commitments under the Trans-Pacific Partnership Agreement is the extension of the copyright term to 70 years after the death of the author. This paper reports the preliminary findings of a research on the potential impact of the extension of copyright term on the music industry in Malaysia. As Malaysia is a user and net importer of intellectual property, it is feared that extending the copyright term will likely impede incentives for the creation of new contents, increase the cost of licensing/royalties, diminish the choice and creativity of film and music industry and increase royalty payments abroad. The purpose of this study is to determine whether the commercial lifespan of copyright works is long enough.

Using a qualitative research method, in-depth interviews were carried out with key industry players between June and September 2015 to collect relevant information from the industry. The information obtained was analysed to gauge the market standing of the local music industry and how the proposed extension would bolster their financial and market power. The paper does not intend to explore the legal implications from the retrospective extension of copyright term and data on illegal use and piracy. The findings of the research will be purely drawn from the non-structured interviews and information gathered from respondents.

The paper concludes that there is not enough evidence to support the notion that the copyright extension will be economically advantageous to the local music industry.

The feedback from the interviews, although cannot be generalised to be considered as representing the whole music industry in Malaysia, can nevertheless be taken as preliminary conclusions and an eye-opener to the quest for concrete support in the debate for the extension of the copyright term in Malaysia. The paper also does no explore the legal implications from the retrospective extension of copyright and data on illegal use and piracy.

In conclusion, more studies need to be conducted to understand the dynamics and needs of the music market in Malaysia for the extension of the copyright term to be really beneficial to them. As this study is only conducted using a qualitative research method, using open-ended and in-depth interview techniques on a small group of respondents, there may be a need to embark on empirical research with proper execution of survey instruments to a larger group of respondents.

The music industry is chosen as the case study because it may develop into a potential export interest. The music industry as a small component of the larger “creative industry” has been identified as one of the new economic drivers under the Tenth Malaysia Plan.

The paper was first presented at the ATRIP Congress 2015 at Cape Town on 27th September 2015. The paper has not been published. No studies have been done on the possible implications of copyright extension term on the music industry in Malaysia before.

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.

IN making the suggestion, as some of my friendly critics have done, that the classes Fine and Useful Arts should be restored, as in Dewey, they rather miss the humour of the situation. The Subject Classification is not an amended Dewey or Cutter, but a humble attempt at an entirely new system, designed to meet the needs of popular libraries. It is not even a classification of knowledge, but, as experience has proved, a very practical and simple rearrangement of the factors of knowledge as set forth and preserved in books. The scheme is not indebted to any other system for aught but suggestions of main classes; all the details of the tables having been worked out independently, without reference to any classification save the Adjustable. It will be manifest, on reflection, that it would be fatal for the compiler of a new system to allow himself to be fettered or influenced by the schedules of other authors. I am one of those who decline to believe in the value of standardization of ideas or practice, save to a small degree in certain mechanical matters, and it would therefore be foolish to follow in the same rut as certain predecessors, simply because a longer existence has to some extent established their findings as settled conventions.