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Why do pirates buy music online? An empirical analysis on a sample of college students

  • Grazia Cecere

    ()

    (Telecom Ecole de Management, Institut Mines-Télécom and Université Paris 11, ADIS.)

  • Nicoletta Corrocher

    ()

    (KITeS, Bocconi University)

  • Fabio Scarica

    ()

    (Vodafone)

Despite a considerable amount of theoretical and empirical research in industrial organisation literature on the relationship between piracy, music sales and their antecedents, a significant gap exists for what concerns the linkage between digital music piracy and the recent success of online music stores (OMS). Our aim is to investigate the motivations behind digital music purchases on a population of college students who are music pirates. In doing so, we rely upon an original dataset from a survey carried out in 2010 on a population of university students, who are pirates. The results show that the likelihood that pirates buy digital music from an OMS is positively related to the level of Information & Communication Technologies (ICT) skills of the respondents, including the experience in online purchases, and to the individual interest in music.

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File URL: http://www.accessecon.com/Pubs/EB/2012/Volume32/EB-12-V32-I4-P284.pdf
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Article provided by AccessEcon in its journal Economics Bulletin.

Volume (Year): 32 (2012)
Issue (Month): 4 ()
Pages: 2955-2968

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Handle: RePEc:ebl:ecbull:eb-12-00580
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  1. David Bounies & Marc Bourreau & Patrick Waelbroeck, 2007. "Pirates or Explorers ?Analysis of Music Consumption in French Graduate Schools," Brussels Economic Review, ULB -- Universite Libre de Bruxelles, vol. 50(2), pages 167-192.
  2. Tobias Regner, 2010. "Why Consumers Pay Voluntarily: Evidence from Online Music," Jena Economic Research Papers 2010-081, Friedrich-Schiller-University Jena, Max-Planck-Institute of Economics, revised 10 Dec 2014.
  3. Tobias Regner & Javier A. Barria, 2007. "Do Consumers Pay Voluntarily? The Case of Online Music," Jena Economic Research Papers 2007-011, Friedrich-Schiller-University Jena, Max-Planck-Institute of Economics.
  4. Connolly, Marie & Krueger, Alan B., 2006. "Rockonomics: The Economics of Popular Music," Handbook of the Economics of Art and Culture, Elsevier.
  5. Andrew Leyshon, 2001. "Time - space (and digital) compression: software formats, musical networks, and the reorganisation of the music industry," Environment and Planning A, Pion Ltd, London, vol. 33(1), pages 49-77, January.
  6. Mortimer, Julie Holland & Nosko, Chris & Sorensen, Alan, 2012. "Supply responses to digital distribution: Recorded music and live performances," Information Economics and Policy, Elsevier, vol. 24(1), pages 3-14.
  7. Sana El Harbi & Gilles Grolleau & Insaf Bekir, 2014. "Substituting piracy with a pay-what-you-want option: does it make sense?," European Journal of Law and Economics, Springer, vol. 37(2), pages 277-297, April.
  8. Stan J. Liebowitz, 2005. "Economists Examine File-Sharing and Music Sales," Industrial Organization 0505001, EconWPA.
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