Is the party over? Innovation and music on the web
| Published date | 29 February 2004 |
| Pages | 21-29 |
| Date | 29 February 2004 |
| DOI | https://doi.org/10.1108/14779960480000240 |
| Author | A M Coles,Lisa Harris,R Davis |
| Subject Matter | Information & knowledge management |
Is the Party Over?
Innovation and Music on the Web
INTRODUCTION
This paper attempts to assess the position
of copyright for the music industry in the
light of the development, diffusion and use
of software to enable the free exchange of
music files over the web. The music indus-
try is both global and national in character.
The stability of the business, and particu-
larly the status of copyright protection, has
recently become problematic due to tech-
nological developments in both computer
hardware and in software affecting access
to the Internet. In this article, we show
that the convergence of technologies
together with the emergence of particular
practices of ‘net culture’ have posed a num-
ber 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. We conclude that after years of
conflict there are now signs of a more
proactive approach by the industry in
rather belated recognition of the impor-
tance of the Web as a market research,
branding and customer relationship build-
ing tool.
BACKGROUND
The music industry is dominated by a few
Info, Comm & Ethics in Society (2004) 2: 21–29
©2004 Troubador Publishing Ltd.
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Ethics
Intellectual
property
Innovation
Napster
Copyright
A M Coles, Lisa Harris and R Davis
Brunel Research into Enterprise, Sustainability and Ethics (BRESE),
School of Business and Mangement, Brunel University, Middlesex, UK
Email: Lisajaneharris1@aol.com
CCOOVVEERRAAGGEE
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 cur-
rently 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.
ABSTRACT
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