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Introduction: The study aimed to determine the prevalence and associated factors of internet addiction (IA) among early adolescents during the COVID-19 pandemic in Kota Bharu, Kelantan, Malaysia. Methods: A cross-sectional online survey was conducted from February to April 2021 among adolescents in Kota Bharu, Kelantan. Participants completed the Malay Version of the Internet Addiction Test, the Depression, Anxiety and Stress Scale-21 and a sociodemographic information form. A multiple logistic regression analysis was performed to determine the associations between variables. Results: A total of 535 adolescents participated in this study. Among them, 65.9% were girls. The prevalence of IA among the participants was 48.6%. Male sex [adjusted odds ratio (AOR)=2.15, 95% confidence interval (CI)=1.30-3.57], internet usage at home (AOR=6.17, 95% CI=1.94-19.58), internet usage to watch/download music (AOR=2.50, 95% CI=1.52-4.12), internet usage to engage in social networking (AOR=2.29, 95% CI=1.19-4.40), inadequate parental/guardian bonding (AOR=2.19, 95% CI=1.31-3.65), depression (AOR=2.03, 95% CI=1.07-3.85), anxiety (AOR=2.79, 95% CI=1.64-4.76) and stress (AOR=4.67, 95% CI=2.00-10.91) were significantly associated with IA. Conclusion: IA was prevalent among Malaysian adolescents during the COVID-19 pandemic. Sex, internet usage profile and psychological factors were significant predictors of IA. [ABSTRACT FROM AUTHOR]

This study investigated the determinants of digital music success in South Korea. We identified information sources and factors that may influence the consumption of digital music, including song and artist factors, record label and distributor influence factors, promotional media influence factors, and electronic word of mouth (e-WOM). The analysis was conducted using music download data and ranking chart data from a major music platform. First, we found that traditional promotional media, such as the number of television or radio exposures and appearances in an audition program, significantly affected the success of music. Second, regarding social promotional media factors, promotional videos on YouTube mainly affected short-term success, whereas Twitter mentions showed an increasing influence over time. Third, an artist with a long career positively affected a song's early success, while frequent song releases had a negative impact. Our results offer marketers insights into promoting digital music in this new era. [ABSTRACT FROM AUTHOR]

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Music consumption and promotion have experienced a surge in popularity through social media. It enables musicians to connect with their audience, disseminate music, and acquire visibility. Nevertheless, it also poses obstacles, such as heightened rivalry and the problem of piracy. Social media have significantly impacted the music industry, as musicians depend on it for promotion and achieving success. The advent of the digital era has revolutionized the music industry, diminished the importance of record sales, and necessitated that artists possess adeptness in social media to flourish. The utilization of digital instruments such as Auto tunes has significantly transformed the process of music production, prompting inquiries regarding the genuineness of contemporary music. In general, social media and digitization have substantially influenced the music industry and the methods by which music is consumed and produced. This research paper examines musicians' utilization of social media platforms to upload and download content. The paper primarily examines the literature on the use of social media in the field of music. The study centers around Gangtok, the capital city of Sikkim state's hilly region. [ABSTRACT FROM AUTHOR]

This review article aims to contextualize the role of technology in music while elucidating its effects on the music industry, music, and artists in the digital age (where online music streaming, online artist promotion via social media, and online music download sites have gained popularity). Since technology has had an impact on music and artists from its inception in the late 19th century to its advancement and structural changes in the traditional music industry over time, this paper examines those effects while attempting to contextualize social media's role in music and present a scenario in which social media acts as a platform for artists. This study is significant because it explores the evolution of musical technologies, the customs and practises of the conventional music industry, and the role that artists played in the pre-digital period and its transition to the digital one. This article explores and makes the case for whether or not the essence of music in the digital age has persisted in the twenty-first century, based on an understanding of the historicity of technological advancement of music. Finally, some closing thoughts on the study done and its relevance to the digital age are included in this paper. [ABSTRACT FROM AUTHOR]

Music is increasingly being consumed online. Unauthorised downloading and spreading of music have posed a significant threat to the digital music industry. This study investigates the factors that affect digital music piracy among end-users in a developing country where the intellectual property rights regimes differ from those in developed countries. Both the descriptive and econometric analyses were carried out using primary data collected in Penang, Malaysia. In terms of socio-demographic characteristics, age and ethnicity were found to be significant factors in influencing consumers' engagement in digital music piracy. The results highlight that music piracy is prevalent across all age groups, with young people having a higher tendency to engage in illegal music activities. Likewise, social influences from family members and the media are also significant factors in explaining digital music piracy. Surprisingly, knowing intellectual property rights and awareness of the severity of punishment for piracy also appear to increase the likelihood of pirating digital music. The study concludes by discussing the policy implications of these findings. [ABSTRACT FROM AUTHOR]

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The study investigated pattern of internet use among librarians in three Federal university libraries in Southeast Nigeria. Three research objectives guided the study. The study adopted survey research design. The population comprises 30 principal librarians and University librarians in the three Federal University libraries in Southeast Nigeria. A total of 27 copies of the questionnaire were returned. Interview was conducted and observation was made on internet facilities to determine the authenticity of the respondent's responses. Findings revealed that major internet facilities available in the libraries include laptops, cybercafé, institutional website, institutional virtual library, desktop computers, wireless fidelity, cable modem, computer networking (local/wide area network), broadband internet, satellite dish and e-mail. The findings equally revealed that internet is used majorly in the libraries for sending and receiving mail, chatting, reading news and sports information, downloading music, researching for products and services, downloading images, searching for job online, cataloguing, video conferencing, sharing information, accessing information on any subject worldwide, accessing online directories and encyclopedia, review of literature and research investigation, sending research article for publication, sending and receiving questionnaire online, collecting research data through interview, giving and receiving information from users, giving and receiving information from vendors and contacting government agencies. Based on the findings the study recommended that library management should encourage their staff especially librarians to improve on their use of internet facilities available in the university libraries. [ABSTRACT FROM AUTHOR]

Since the popularization of digital music downloading and streaming services beginning in 1999 with Napster, artists have struggled to recover financially from the decline of physical album sales. Streaming services like Spotify have been scrutinized for low royalty payments to artists--an issue that was exacerbated over the course of the coronavirus pandemic. Following the successful debut of non-fungible token (NFT) collections by musicians including Grimes, Kings of Leon, and deadmau5 early in 2021, some of the biggest mainstream reporters in music began calling NFTs the future of the music industry. The decentralized funding structure NFTs offered appeared to provide a solution for compensating artists fairly; however, in practice, NFTs have primarily only benefitted musicians of celebrity status. This article provides a brief introduction to non-fungible tokens and examines why they have appealed to musicians. Additionally, it establishes the difference between visual art NFTs and music NFTs by situating the latter within both historical and neoliberal capitalist understandings of musical value. Drawing from evidence demonstrating how NFTs have been used in practice, this essay suggests that by assetizing music, NFTs relegitimize the undervaluing of musicians by establishing them as productive laborers in technoscientific capitalist societies. [ABSTRACT FROM AUTHOR]

The trend for listening to music online has greatly increased over the past decade due to the number of online musical tracks. The large music databases of music libraries that are provided by online music content distribution vendors make music streaming and downloading services more accessible to the end-user. It is essential to classify similar types of songs with an appropriate tag or index (genre) to present similar songs in a convenient way to the end-user. As the trend of online music listening continues to increase, developing multiple machine learning models to classify music genres has become a main area of research. In this research paper, a popular music dataset GTZAN which contains ten music genres is analysed to study various types of music features and audio signals. Multiple scalable machine learning algorithms supported by Apache Spark, including naïve Bayes, decision tree, logistic regression, and random forest, are investigated for the classification of music genres. The performance of these classifiers is compared, and the random forest performs as the best classifier for the classification of music genres. Apache Spark is used in this paper to reduce the computation time for machine learning predictions with no computational cost, as it focuses on parallel computation. The present work also demonstrates that the perfect combination of Apache Spark and machine learning algorithms reduces the scalability problem of the computation of machine learning predictions. Moreover, different hyperparameters of the random forest classifier are optimized to increase the performance efficiency of the classifier in the domain of music genre classification. The experimental outcome shows that the developed random forest classifier can establish a high level of performance accuracy, especially for the mislabelled, distorted GTZAN dataset. This classifier has outperformed other machine learning classifiers supported by Apache Spark in the present work. The random forest classifier manages to achieve 90% accuracy for music genre classification compared to other work in the same domain. [ABSTRACT FROM AUTHOR]

This study discovers a certain complementary relationship between different algorithms after conducting a comprehensive and in-depth analysis of proposal algorithms. This study proposes a big data music individualization proposal method based on big data analysis, which integrates user behaviour, behaviour context, user information, and music work information, based on traditional music proposal methods; improves the collaborative filtering proposal algorithm based on user behaviour; and calculates the semantic similarity between lyrics, as well as the song co-occurrence similarity based on the user's music download history. Because the lyrics represent the thoughts and feelings that the song wishes to convey to the listeners, the proposal module is completed, and the music proposal system is realized, by combining the two different similar information, using the improved algorithm and the Hadoop distributed framework. The music similarity and label similarity are combined to alleviate the problem of cold start and data sparseness, and a mixed similarity calculation formula is proposed to calculate the similarity between music. The accuracy similarity of the big data music proposal model proposed in this study is improved by about 20% through experimental comparison when compared with the collaborative filtering model and the hybrid model. It reflects the efficiency, scalability, and stability of the music proposal system as well as the ability to meet users' individual music needs. [ABSTRACT FROM AUTHOR]

Copyright of Canadian Journal of Administrative Sciences (John Wiley & Sons, Inc.) is the property of Wiley-Blackwell and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

We develop smart contracts on public-permissionless blockchain to protect the music industry from the consequences of illegal downloading of copyright-protected music files. We develop a decentralized music file-sharing platform, where music file owners can upload the music files, and music file requesters can download the music files. We also establish a fair rewarding mechanism for the music industry for the benefit of music file owners, where music files can be traded through smart contracts between the music file owners and file requesters. Further, we implement a penalty scheme to avoid malicious and illegal music file resources to be added to the community network. This approach is ideal for addressing the problem of illegal distribution of copyright-protected music files without the consent of the owners, which has negative consequences in the music industry. This model considers a community of people networked together, where music file owners can upload their music files to a community network server on approval of the majority of the community and the file requesters can request a paid download from the community network. Music file uploading and downloading transactions are voted and signed by the online community members. All parties are rewarded with an incentive fee per valid transaction. Transactions are handled through self-executing smart contracts. This model further analyzes the costs incurred in music file uploading and downloading transactions based on the uploading/downloading cost, the transaction fee and the networking cost. Perceiving the significance of the smart contract in the music industry, we determine that the effect of illegal downloading of copyright-protected music files can be reduced. We also emphasize the challenges associated with the adoption of the smart contract. Since blockchain interoperability is yet an issue, migrating applications in a heterogeneous network or between platforms can be costly and tedious, which should be further explored in the future. Adapting the proposed architecture for private-permissioned blockchain (Hyperledger Fabric and Libra by Facebook, R3 Corda) and could be a natural extension of this work. [ABSTRACT FROM AUTHOR]

Several studies were carried out to examine the influence of different factors such as music streaming, collective attitude, biases toward risks and beliefs about copyright law on mu- sic piracy. We study elements determining the role of music piracy and streaming in the behaviour of those individuals pirating music in Pakistan. As many as 1052 surveys online are collected. The logit model is used to analyse the collected data. The findings demonstrate that streaming services enhances the probability of piracy. Findings further validate that the non-availability of low-cost alternatives to piracy perceptions, the influence of social group, risk-related perception, beliefs of no harm to the industry and online activity are the main factors increasing the probability of pirating music. It is also found that student respondents are more prone to download music illegally than non-students ones. Similarly, the younger respondents are more pirating music than older ones. In the same way, the male respondents are more downloading music illegally than female ones. [ABSTRACT FROM AUTHOR]

Charts are used to measure relative success for a large variety of cultural items. Traditional music charts have been shown to follow self-organizing principles with regard to the distribution of item lifetimes, the on-chart residence times. Here we examine if this observation holds also for (a) music streaming charts (b) book best-seller lists and (c) for social network activity charts, such as Twitter hashtags and the number of comments Reddit postings receive. We find that charts based on the active production of items, like commenting, are more likely to be influenced by external factors, in particular by the 24 h day–night cycle. External factors are less important for consumption-based charts (sales, downloads), which can be explained by a generic theory of decision-making. In this view, humans aim to optimize the information content of the internal representation of the outside world, which is logarithmically compressed. Further support for information maximization is argued to arise from the comparison of hourly, daily and weekly charts, which allow to gauge the importance of decision times with respect to the chart compilation period. [ABSTRACT FROM AUTHOR]

Although digital music streaming and downloading practices highlight a preference for portability over fidelity among pop music consumers, for some 'high fidelity' continues to be a crucial component of their pop music engagement. This article examines the political dimensions of audio preferences. It considers comments by Neil Young and those within The Distortion of Sound who claim that the lossy compression encoding process – used in digital downloading and streaming – significantly degrades the quality of recorded sound and compromises valuable pop music characteristics. In 2015, these claims were followed by the development of the 'hi-res' music player device and digital download store 'Pono'. This article argues that some criticism of lossy compression can be understood as 'audio capital'. Rather than merely exchanging aesthetic preferences, or a reliable metric of the audibility of high fidelity, audio capital describes the reconversion of celebrity status and economic capital into a class divide structured by an appreciation for large-scale music production. [ABSTRACT FROM AUTHOR]

The rapid evolution of distribution models for recorded music has challenged libraries in a new way over the last decade. Music libraries in particular have struggled to collect, preserve, and lend recordings as the CD has become obsolescent, and with it the ownership of recordings as physical objects. This article reviews the literature on the problem of collecting digital music downloads, analyzes areas of agreement and disagreement between experts, and sorts proposed solutions into "top-down" (or authority-driven) and "bottom-up" (or grass-roots) categories. We then describe a practice developed at University of Denver for collecting downloads, and discuss its limitations and possibilities. [ABSTRACT FROM AUTHOR]

Fueled by digital distribution, unbundling is prevalent in many information and entertainment industries. What is the effect of this unbundling on sales, and what bundle characteristics drive this effect? The author empirically examines these questions in the context of the music industry, using data on weekly digital-track, digital-album, and physical-album sales from January 2005 to April 2007 for all titles released by a sample of more than 200 artists. The modeling framework, a system of an “album-sales” and a “song-sales” equation estimated with the seemingly unrelated regression method, explicitly accounts for the interaction between sales for the bundle and its components. The findings reveal that revenues decrease significantly as digital downloading becomes more prevalent, but the number of items included in a bundle (a measure of its “objective” value) is not a significant moderator of this effect. Instead, bundles with items that are more equal in their appeal and bundles offered by producers with a strong reputation suffer less from the negative impact of the shift to mixed bundling in online channels. [ABSTRACT FROM AUTHOR]

The goal of this article is to ascertain the factors that govern consumers' willingness to pirate a digital product, such as a digital music track. The authors assess the tendency to pirate with both indirect measures (e.g., willingness to pay for the legal alternative) and direct measures (e.g., piracy preference). Whether measured indirectly or directly, the tendency to pirate depends, to different extents, on three key factors: positive incentives (e.g., improved functionality of the legal Web site), negative incentives (e.g., perceived risk of piracy), and consumer characteristics. Based on three studies, the results suggest that negative incentives are a strong deterrent for certain consumers but can actually increase piracy tendencies for others. Conversely, positive incentives, such as improved functionality, can significantly reduce the tendency to pirate among all the consumer segments studied. The authors conclude by discussing prescriptive recommendations for the recording industry. [ABSTRACT FROM AUTHOR]

Illegal consumer file sharing of motion pictures is considered a major threat to the movie industry. Whereas industry advocates and some scholars postulate a cannibalistic effect on commercial forms of movie consumption, other researchers deny this effect, though sound evidence is lacking on both sides. Drawing on extant research and utility theory, the authors present hypotheses on the consequences and determinants of consumer file sharing and test them with data from a controlled longitudinal panel study of German consumers. The data contain information on the consumers' intentions toward and actual behavior in relation to the consumption of 25 new motion pictures, allowing the authors to study more than 10,000 individual file-sharing opportunities. The authors test the effect of file sharing on commercial movie consumption using a series of ReLogit regression analyses and apply partial least squares structural equation modeling to identify the determinants of consumer file sharing. They find evidence of substantial cannibalization of theater visits, DVD rentals, and DVD purchases responsible for annual revenue losses of $300 million in Germany. Five categories of file-sharing behavior drive file sharing and have a significant impact on how consumers obtain and watch illegal movie copies. [ABSTRACT FROM AUTHOR]

This article develops a critique of the dyadic model of consumer gift giving and an extension of the classic paradigm of gift giving as elaborated in fundamental anthropological and sociological texts. I conceptualize and present empirical evidence for the notion of a consumer gift system, a system of social solidarity based on a structured set of gift exchange and social relationships among consumers. Social distinctions, norm of reciprocity, and rituals and symbolisms are defined as key characteristics of a consumer gift system and are shown to be present in peer-to-peer music file sharing at Napster. Implications for extant research on solidarity, gift giving, and consumption are discussed, and future research directions are provided. [ABSTRACT FROM AUTHOR]