Bibliography (of my thesis)

Ackerman-Haywood, J. (2010). Artist follows inner drive toward full-time art career. The Grand Rapids Press.  Retrieved January 3, 2012, from

Adler, M. (2006). Stardom and talent. Handbook on the Economics of Art and Culture, 1, 895-906.

Adler, N. E., Epel, E. S., Castellazzo, G., & Ickovics, J. R. (2000). Relationship of subjective and objective social status with psychological and physiological functioning: Preliminary data in healthy, White women. Health Psychology, 19(6), 586.

Adorno, T., & Horkheimer, M. (1977). The Culture Industry: enlightenment as mass deception. In J. Curran, M. Gurevitch & J. Woollacott (Eds.), Mass Communication and Society (pp. 349-389). London: Edward Arnold in association with The Open University Press.

Adorno, T. W. (1941). On popular music. Studies in Philosophy and Social Science, 9(1), 17–48.

Ahlkvist, J. A., & Fisher, G. (2000). And the hits just keep on coming: Music programming standardization in commercial radio. Poetics, 27(5), 301-325.

aL. (2009). Beatport Presents Depeche Mode Remix Contest.   Retrieved 10.01., 2013, from

Alanbay, K. (2012). Deadmau5 ‘The Veldt’.   Retrieved March 3, 2012, from

Alexander, P. J. (1994a). Entry barriers, release behavior, and multi-product firms in the music recording industry. Review of Industrial Organization, 9(1), 85-98.

Alexander, P. J. (1994b). New technology and market structure: Evidence from the music recording industry. Journal of Cultural Economics, 18(2), 113-123.

Alexander, P. J. (1997). Product variety and market structure: A new measure and a simple test. Journal of Economic Behavior & Organization, 32(2), 207-214.

Allen, K. (2009). Elton John backs crackdown on music piracy.   Retrieved 21 September, from

Amabile, T. M. (1996). Creativity in context: Update to “the social psychology of creativity”. Boulder, CO, US: Westview Press.

Amazon. (2012). Amazon Advantag – How does it work?   Retrieved 04.05.2012, 2012, from

Andersen, B., & Frenz, M. (2007). The Impact of Music Downloads and P2P File-sharing on the Purchase of Music: A Study for Industry in Canada: Industry Canada.

Anderson, C. (2004). Change this – The Long Tail. from

Anderson, C. (2005). Definitions: Final Round!   Retrieved March 3, 2012, from

Anderson, C. (2010). How web video powers global innovation.   Retrieved 3 August, 2012, from

Anderson, N. (2006, 11.3.2012). Disney-ABC: “We understand piracy now as a business model”. from

Ann, K. (2013). Castles in the Sky.   Retrieved 10.06, 2013, from

AOL. (2011). AOL Agrees To Acquire The Huffington Post.   Retrieved March 9, 2012, from

Arbitron. (2012). The Infinite Dial 2012: Navigating Digital Platforms: Arbitron.

Arrington, M. (2009). This Is Quite Possibly The Spotify Cap Table.   Retrieved February 9, 2013, from

Asafu-Adjaye, J. (2005). Environmental Economics for Non-economists: Techniques and Policies for Sustainable Development: World Scientific.

Ashenfelter, O. (1999). Handbook of labor economics: Elsevier.

audiodraft. (2011). Nokia Tune Remake.   Retrieved 10.05, 2012, from

Austin, J. R. (1988). The effect of music contest format on self-concept, motivation, achievement, and attitude of elementary band students. Journal of research in music education, 36(2), 95.

Australian Government. (2012). Minimum Wages.  Retrieved from

Avalon, M. (2009). Confessions of a record producer: how to survive the scams and shams of the music business: Backbeat Books.

Axis of Awesome. (2008). 4 Chords.   Retrieved 15 June, 2012, from

Babbie, E. R. (2012). The practice of social research: Wadsworth Publishing Company.

Bagha, S. (2000). Napster bans more than 300,000 for downloading Metallica.   Retrieved February 9, 2012, from

Bagwell, K. (2001). The Economics of Advertising, Introduction. The Economics of Advertising, 5.

Bain, J. S. (1954). Economies of scale, concentration, and the condition of entry in twenty manufacturing industries. The American Economic Review, 44(1), 15-39.

Baines, S., & Robson, L. (2001). Being self-employed or being enterprising? The case of creative work for the media industries. Journal of Small Business and Enterprise Development, 8(4), 349-362.

Bakos, J. Y. (1997). Reducing buyer search costs: Implications for electronic marketplaces. Management Science, 43(12), 1676-1692.

Balasubramanian, S., Bhattacharya, S., & Viswanathan, K. (2011). Pricing Information Goods: A Strategic Analysis of the Selling and Pay-Per-Use Mechanisms.

Banks, J. (1996). Music video cartel: A survey of anti‐competitive practices by MTV and major record companies. Popular Music & Society, 20(2), 173-196.

Banks, J. (1997). Video in the machine: The incorporation of music video into the recording industry. POPULAR MUSIC-CAMBRIDGE-, 16, 293-310.

Bardo, J. W., Yeager, S. J., & Klingsporn, M. J. (1982). PRELIMINARY ASSESSMENT OF FORMAT-SPECIFIC CENTRAL TENDENCY AND LENIENCY ERROR INSUMMATED RATING SCALES. Perceptual and Motor Skills, 54(1), 227-234.

Barkow, J. H., Akiwowo, A. A., Barua, T. K., Chance, M., Chapple, E. D., Chattopadhyay, G. P., . . . Isichei, P. (1975). Prestige and Culture: A Biosocial Interpretation [and Comments and Replies]. Current Anthropology, 553-572.

Baumol, W. J., & Bowen, W. G. (1965). On the performing arts: the anatomy of their economic problems. The American Economic Review, 55(1/2), 495-502.

Bauxmann, P., Pohl, G., Johnscher, P., Strube, J., & Groffmann, H. D. (2005). Strategies for Digital Music Markets: Pricing and the Effectiveness of Measures against Pirate Copies-Results of an Empirical Study.

BBC. (2006). US radio giant ‘accepted payola’. BBC.

Bearden, W. O., & Netemeyer, R. G. (1999). Handbook of marketing scales: Multi-item measures for marketing and consumer behavior research: Sage.

Bearup, G. (2012, 02.03.2012). The Aussie making a motza from offshoring white-collar jobs.   Retrieved February 9, 2013, from

Beatport. (2011). Introducing: Skrillex.   Retrieved February 9, 2012, from

Belinfante, A., & Johnson, R. L. (1982). Competition, pricing and concentration in the US recorded music industry. Journal of Cultural Economics, 6(2), 11-24.

Bemis, A. H. (2005). Busking for Stardom.   Retrieved February 9, 2012, from

Benjamin, W. (1970). The author as producer. New Left Review, 1, 62.

Bennett, A. (2001). Plug in and play! UK Indie guitar culture. Guitar Cultures, 461.

Bennett, A. (1993). Rock and Popular Music: Politics, Policies, Instruments: Routledge.

Berland, J. (2008). Radio space and industrial time: the case of music formats. Critical Cultural Policy Studies: A Reader, 230-239.

Berns, G. S., Capra, C. M., Moore, S., & Noussair, C. (2010). Neural mechanisms of the influence of popularity on adolescent ratings of music. Neuroimage, 49(3), 2687-2696.

Berube, M. (1996). Cultural criticism and the politics of selling out. Electronic Book Review, 2.

Bhandari, R., Gordon, J., & Umblijs, A. (2012). How To Get Beyond The Social Buzz.   Retrieved February 9, 2013, from

billboard. (2012). Rihanna Chart History.   Retrieved December 12, 2012, from

Billy, M. (2012). How Powerful is Justin Bieber’s Twitter Account? Hypebot.

Black, J. (2003). Big Music’s Broken Record. Bloomberg Business Week.  Retrieved February 9, 2012, from

Black, M., & Greer, D. (1986). Concentration and non-price competition in the recording industry. Review of Industrial Organization, 3(2), 13-37.

Blackburn, D. (2004). On-line piracy and recorded music sales. Unpublished Manuscript.

Blair, M. E. (1993). Commercialization of the rap music youth subculture. The Journal of Popular Culture, 27(3), 21-33.

Bloom, M., Fischer, J., & Orme, J. G. (1982). Evaluating practice: Allyn & Bacon.

Blume, J. (2008). Now What? Inside songwriting.   Retrieved 17.09, 2013, from

Booton, J. (2013, 17 January 2013). Pandora Grows Share of Radio Market as More Listeners Tune In. Fox Business.

Bourdieu, P. (1977). Outline of a Theory of Practice. Camebridge: Cambridge University Press.

Bourdieu, P. (1986). The Forms of Capital. In J. Richardson (Ed.), Handbook of Theory and Research for the Sociology of Education. New York: Greenwood Press.

Bourdieu, P. (1990). The logic of practice. Camebridge: Polity Press.

Bourdieu, P. (1993). Field of cultural production. New York: Columbia University Press.

Bourdieu, P. (1996). The Rules of Art: Genesis and structure of the literary field. Camebridge: Polity Press.

Boyle, J. (1996). Shamans, software, and spleens: Law and the construction of the information society: Harvard University Press.

BPI. (2012). Digital Revenues Overtake Physical in UK Recorded Music Market.   Retrieved February 9, 2013, from

Bradburn, N. M., Sudman, S., & Wansink, B. (2004). Asking Questions: The Definitive Guide to Questionnaire Design — For Market Research, Political Polls, and Social and Health Questionnaires: Wiley.

Bradshaw, J. (2010). Want their download? You’ll have to pay with a Tweet.   Retrieved February 9, 2012, from

Breuer, K. (2010). Before you write off MySpace…. 2011, from

Breyer, S. (1970). The uneasy case for copyright: A study of copyright in books, photocopies, and computer programs. Harvard Law Review, 281-351.

Broache, A. (2007). Lawmakers propose reversal of Net radio fee increases. cnet.

Bronson, P., & Merryman, A. (2010). The creativity crisis. Newsweek, July, 10.

Brooks, H. (1982). Social and technological innovation. Managing innovation, 9-10.

Brown, G., Howe, T., Ihbe, M., Prakash, A., & Borders, K. (2008). Social networks and context-aware spam. Paper presented at the Proceedings of the 2008 ACM conference on Computer supported cooperative work.

Brynjolfsson, E., Hu, Y. J., & Smith, M. (2006). From niches to riches: Anatomy of the long tail. Sloan Management Review, 47(4), 67-71.

Brynjolfsson, E., Hu, Y. J., & Smith, M. D. (2003). Consumer surplus in the digital economy: Estimating the value of increased product variety at online booksellers. Management Science, 49(11), 1580-1596.

Brynjolfsson, E., & Smith, M. D. (2000). Frictionless commerce? A comparison of Internet and conventional retailers. Management Science, 46(4), 563-585.

Bureau, U. S. C. (2008). U.S. Sound recording studios by Year.   Retrieved May 19, 2012, from

Burke, A. E. (1995). Employment prospects in the Irish popular music industry.

Burke, A. E. (1997). Small firm start-up by composers in the recording industry. Small Business Economics, 9(6), 463-471.

Burke, A. E. (2003). Music business. Handbooks of cultural economics, 321-330.

Burnett, R. (2002). The global jukebox: The international music industry: Routledge.

Buskirk, E. v. (2011). David Lowery Is Wrong About Streaming, Money And Artists.   Retrieved February 9, 2012, from

buzzmedia. (2012). buzz media.   Retrieved 13.01, 2013, from

Byrne, D. (2012). How music works: Canongate Books.

Camerer, C. F., & Kunreuther, H. (1989). Decision processes for low probability events: Policy implications. Journal of Policy Analysis and Management, 8(4), 565-592.

Carland, J. W., Hoy, F., Boulton, W. R., & Carland, J. A. C. (1984). Differentiating Entrepreneurs from Small Business Owners: A Conceptualization. Academy of management review, 9(2), 354-359.

Carr, A. (2011). Spotify, Rdio, And MOG On Artist Payments: Don’t Blame Us.   Retrieved February 9, 2012, from

Carr, A. (2012). Why Spotify Turned Down Adele’s “21”.   Retrieved February 9, 2013, from

Carr, D. (2007). Steve Jobs: iCame, iSaw, iCaved. New York Times, 1.

Cashmere, P. (2012). Former Virgin Boss Phil Quartararo Joins Guvera.   Retrieved February 9, 2013, from

Caves, R. E. (2000). Creative industries: Contracts between art and commerce: Harvard University Press.

CD Baby Pro. (2013). CD Baby Pro.   Retrieved December 17, 2013, from

CDBaby. (2012). How Much CD Baby Pays You.   Retrieved 03.09.2012, 2012, from

Celma, O. (2010). Music recommendation and discovery: The long tail, long fail, and long play in the digital music space: Springer.

Chace, Z. (2011). How Much Does It Cost To Make A Hit Song?   Retrieved February 9, 2012, from

Chang, L. (1994). A psychometric evaluation of 4-point and 6-point Likert-type scales in relation to reliability and validity. Applied psychological measurement, 18(3), 205-215.

Channel 4. (2005). Motörhead – Live Fast Die Old.   Retrieved 15 June, 2012, from

Chapple, S., & Garofalo, R. (1978). Rock’n’roll is here to play: the history and politics of the music industry: Nelson-Hall.

Charbarred. (2006). Will Blog Bands Stand the Test of Time?   Retrieved February 9, 2012, from blog-bands-stand-the-test-of-time/

Chen, Y., Jensen, M., Skaar, J., Seiter, N., & Wincentz, M. S. (2006). Diversification in the music industry.

Chevalier, J. A., & Mayzlin, D. (2003). The effect of word of mouth on sales: Online book reviews: National Bureau of Economic Research.

Chou, J. (2011). IFPI Digital Music Report 2010.

Chung, K. H., & Cox, R. A. K. (1994). A stochastic model of superstardom: An application of the Yule distribution. The Review of Economics and Statistics, 771-775.

Clotfelter, C. T., & Cook, P. J. (1990). On the economics of state lotteries. The Journal of Economic Perspectives, 4(4), 105-119.

Cohen, S. (1991). Rock culture in Liverpool: Popular music in the making: Clarendon Press Oxford.

Colothan, S. (2007). Radiohead net 4.8 million pounds from ‘In Rainbows’.   Retrieved February 9, 2012, from

Committee on the Judiciary. (1996). COPYRIGHT TERM EXTENSION ACT OF 1996.   Retrieved September 17, 2012, from

Comstock, G. A., Lloyd-Jones, S. S., Murray, J. P., Rubinstein, E. A., Health, N. I. o. M., Television, U. S. S. G. s. S. A. C. o., & Behavior, S. (1972). Television and Social Behavior: A Technical Report to the Surgeon General’s Scientific Advisory Committee on Television and Social Behavior. Edited by George A. Comstock, Eli A. Rubinstein, and John P. Murray. Editorial Coordination: Susan S. Lloyd-Jones: US Government Printing Office.

Cornes, R., & Sandler, T. (1996). The theory of externalities, public goods, and club goods: Cambridge University Press.

Cowen, T. (2000). In praise of commercial culture: Harvard Univ Pr.

Cowen, T., & Tabarrok, A. (2000). An economic theory of avant-garde and popular art, or high and low culture. Southern Economic Journal, 67(2), 232-253.

Crain, W. M., & Tollison, R. D. (1997). Economics and the architecture of popular music* 1. Journal of Economic Behavior & Organization, 32(2), 185-205.

Creative Commons. (2001). Creative Commons.   Retrieved 12 July, 2013, from

Cross, I., & Morley, I. (2008). The evolution of music: Theories, definitions and the nature of the evidence. Communicative musicality, 61-82.

Csikszentmihalyi, M. (1988). Society, culture, and person: A systems view of creativity. In R. Sternberg (Ed.), The Nature of Creativity: Contemporary Psychological Perspectives. New York: Cambridge University Press.

Csikszentmihalyi, M. (1997). Creativity: Flow and the psychology of discovery and invention. New York: HarperPerrenial.

Csikszentmihalyi, M. (2006). A Systems Perspective on Creativity. In J. Henry (Ed.), Creative Management and Development: SAGE Publications.

Curien, N., & Moreau, F. (2009). The music industry in the digital era: Toward new contracts. Journal of Media Economics, 22(2), 102-113.

Dale, P. (2009). It was easy, it was cheap, so what?: Reconsidering the DIY principle of punk and indie music. Popular Music History, 3(2), 171-193.

Dannen, F. (1991). Hit Men: Power Brokers and Fast Money Inside the Music Business: Vintage.

Darwin, C. (1906). The descent of man and selection in relation to sex: John Murray London.

Day, B. (2011). In Defense of Copyright: Creativity, Record Labels, and the Future of Music. Seton Hall Journal of Sports and Entertainment Law, 21(1).

Deazley, R. (2006). Rethinking copyright: history, theory, language: Edward Elgar Publishing.

Delaney, R. (2009). Creativity and Artistic Expression. The Multidisciplinary Journal of the University of Southern Indiana’s College of Liberal Arts, 5.

Dellarocas, C. (2003). The digitization of word of mouth: Promise and challenges of online feedback mechanisms. Management Science, 49(10), 1407-1424.


“THE COPYRIGHT TERM EXTENSION ACT”.   Retrieved 20.09., 2011, from

DeNora, T. (2000). Music in everyday life: Cambridge University Press.

DeNora, T. (2003). After Adorno: rethinking music sociology: Cambridge University Press.

Derek. (2009). Beatport Presents Depeche Mode Remix Contest Retrieved 19.01., 2013, from

Dertouzos, J. N. (2008). Radio Airplay and the Record Industry: An Economic Analysis. National Association of Broadcasters, USA.

Dewan, S., & Ramaprasad, J. (2009). Chicken and Egg? Interplay between Music Blog Buzz and album Sales. Paper presented at the PACIS.

Diemand, V., & Lovink, G. (2008). Zero Comments. Blogging and critical Internet culture. London: Routledge, 1, 92.

Disc Makers. (2012). instant quote.   Retrieved 15 June, 2013, from

Dixit, A. K., & Stiglitz, J. E. (1977). Monopolistic competition and optimum product diversity. The American Economic Review, 297-308.

Doerr, J., Benlian, A., Vetter, J., & Hess, T. (2010). Pricing of Content Services–An Empirical Investigation of Music as a Service. Sustainable e-Business Management, 13-24.

Dowden, B. (2010). Fallacies. Internet Encyclopedia of Philosophy.

Dredge, S. (2011). Exclusive: Psonar launches pay-per-play cloud-streaming music service.   Retrieved February 9, 2012, from

Duan, W., Gu, B., & Whinston, A. B. (2008). The dynamics of online word-of-mouth and product sales—An empirical investigation of the movie industry. Journal of Retailing, 84(2), 233-242.

Duxbury, T. (2012). Creativity: Linking Theory and Practice for Entrepreneurs. Technology Innovation Management Review(August 2012: Entrepreneurship in the 21st Century).

EastWest. (2009). Fab Four Virtual Instrument.   Retrieved 06.10.2011, 2012, from

Edison Media Research. (2001). The National Record Buyers Survey: Edison Media Research.

Eisenstein, E. L. (1980). The Printing Press as an Agent of Change (Volumes 1 and 2 in One).

Elberse, A. (2008). Should you invest in the long tail? Harvard business review, 86(7/8), 88.

Eriksson, D., & Wallin, L. (1986). Male bird song attracts females—a field experiment. Behavioral Ecology and Sociobiology, 19(4), 297-299.

Espar, D., & Levi, R. (Writers). (1995). Rock & Roll. In BBC (Producer).

Face Culture. (2012). Garbage: ‘Our record label gave up on us’.   Retrieved March 13, 2013, from

Fairchild, C. (1999). Deterritorializing radio: deregulation and the continuing triumph of the corporatist perspective in the USA. Media, Culture & Society, 21(4), 549-561.

Fairchild 670. (2013). Retrieved July, 7, 2014 from

Feinstein, D., & Ramsay, C. (2012). The Rise of EDM.   Retrieved January 12, 2013, from

Fiebach, M. (2012). An In-Depth Case Study on the Pretty Lights + BitTorrent Partnership.   Retrieved April 6, 2012, from

Fink, M. (2011). Houses of Hype? Music Blogs and Websites Race to Find the Next Big Thing.   Retrieved April 6, 2012, from

Fisher, R. A., Genetiker, S., Fisher, R. A., Genetician, S., Britain, G., Fisher, R. A., & Généticien, S. (1970). Statistical methods for research workers (Vol. 14): Oliver and Boyd Edinburgh.

Flanagan, J. C. (1978). A research approach to improving our quality of life. American Psychologist, 33(2), 138.

Fogel, R. W. (1999). Catching up with the economy. The American Economic Review, 89(1), 1-21.

Fox News. (2007). Michael Jackson: Bail Bondsman Is Looking for Him. Fox News.  Retrieved January 19, 2012, from,2933,314102,00.html

Franick, S. (2006). 21.06.2012, from

Frank, R. H., & Cook, P. J. (2010). The winner-take-all society: Why the few at the top get so much more than the rest of us: Virgin Digital. (2011). $100 Million Reasons to Celebrate on!   Retrieved 19 March, 2012, from

Freeman, C., & Perez, C. (1988). Structural crises of adjustment, business cycles and investment behaviour: Pinter.

Freidson, E. (1990). Labors of love in theory and practice: a prospectus. The nature of work, 149-161.

Frey, B. S. (1994a). The economics of music festivals. Journal of Cultural Economics, 18(1), 29-39.

Frey, B. S. (1994b). How intrinsic motivation is crowded out and in. rationality and Society, 6(3), 334.

Frey, B. S. (2000). Not Just for the Money: An Economic Theory of Motivation. Financial Counseling and Planning, 11, 1.

Frey, B. S. (2008). Happiness: A revolution in economics. MIT Press Books, 1.

Frey, B. S., & Goette, L. (1999). Does pay motivate volunteers. Unpublished Manuscript. Institute for Empirical Economic Research. University of Zurich.

Frey, B. S., & Jegen, R. (2001). Motivation crowding theory. Journal of Economic Surveys, 15(5), 589-611.

Fried, M. H. (1975). The notion of tribe (Vol. 342): Cummings Publishing Company Menlo Park, CA.

Friedman, M., & Kuznets, S. (1954). Income from independent professional practice.

Frith, S. (1978). The sociology of rock. London: Constable.

Frith, S. (1981). Sound effects: Youth, leisure, and the politics of rock’n’roll: Pantheon Books.

Frith, S. (1987). Copyright and the music business. Popular Music, 7(01), 57-75.

Frith, S. (1988). Music for Pleasure. Camebridge: Polity Press.

Frith, S. (1990). On record: rock, pop, and the written world: Routledge.

Frith, S. (2004). Popular music: Cambridge Univ Press.

Frith, S., & Marshall, L. (2004). Music and copyright: Edinburgh University Press.

Fuller-Love, N. (2009). Formal and informal networks in small businesses in the media industry. International Entrepreneurship and Management Journal, 5(3), 271-284.

Gander, J., & Rieple, A. (2002). Inter–organisational relationships in the worldwide popular recorded music industry. Creativity and Innovation Management, 11(4), 248-254.

Garland, R. (1991). The mid-point on a rating scale: Is it desirable. Marketing Bulletin, 2(1), 66-70.

Garner, W. R. (1960). Rating scales, discriminability, and information transmission. Psychological review, 67(6), 343.

Gartler, G. (2012). “The Universal Thump” – The New Album by Greta Gertler.   Retrieved April 6, 2013, from

Gerrish, B., & Anderton, C. (2001). Remix: The electronic music explosion: EMBooks.

Gibson, B. (2001). History of The EMI TG Mixing Console.   Retrieved April 6, 2012, from

Gilbert, R. J., & Newbery, D. M. G. (1982). Preemptive patenting and the persistence of monopoly. The American Economic Review, 514-526.

Ginsburgh, V. (2003). Awards, success and aesthetic quality in the arts. The Journal of Economic Perspectives, 17(2), 99-111.

Gladwell, M. (2000). The tipping point: How little things can make a big difference: Little, Brown.

Glejser, H., & Heyndels, B. (2001). Efficiency and inefficiency in the ranking in competitions: The case of the Queen Elisabeth Music Contest. Journal of Cultural Economics, 25(2), 109-129.

Godes, D., & Mayzlin, D. (2004). Using online conversations to study word-of-mouth communication. Marketing Science, 23(4), 545-560.

Godin, S. (2008). Tribes: We need you to lead us: Portfolio Trade.

Goehr, A., & Mellor, D. (1990). Music as communication. Ways of communicating, 125-142.

Golding, P. (1994). The communications paradox: Inequality at the national and international levels. Media development, 4, 7-9.

Gomery, D. (1989). Media economics: Terms of analysis. Critical Studies in Media Communication, 6(1), 43-60.

Gorden, W. J., & Bone, R. (1998). Copyright. In B. Bouckaert & D. G. G. (Eds.), Encyclopedia of Law and Economics. Chelterham, UK: Edward Elgar.

Gramatik. (2012). Gramatik.   Retrieved 19.12., 2012, from https://

Grampp, W. D. (1989). Pricing the priceless: art, artists, and economics: Basic Books.

Green, J. A. (1992). Testing whether correlation matrices are different from each other. Developmental Psychology, 28(2), 215.

Greenburg, Z. O. M. (2012). Skrillex: The $15 Million DJ.   Retrieved April 6, 2013, from

Greenleaf, E. A. (1992). Improving rating scale measures by detecting and correcting bias components in some response styles. Journal of Marketing Research.

Gronow, P., & Saunio, I. (1999). International History of the Recording Industry: Continuum.

Guérard, A. L. (1963). Art for art’s sake: Schocken Books.

Guvera. (2012). Guvera – about.   Retrieved March 14, 2012, from

Haan, M. A., Dijkstra, S. G., & Dijkstra, P. T. (2005). Expert judgment versus public opinionñevidence from the Eurovision song contest. Journal of Cultural Economics, 29(1), 59-78.

Hackman, J. R., & Oldham, G. R. (1976). Motivation through the design of work: Test of a theory. Organizational behavior and human performance, 16(2), 250-279.

Hall, P. (1984, 21. February). MTV wants it all. Village Voice.

Halttunen, V., Makkonen, M., Frank, L., & Tyrv‰inen, P. Perspectives on Digital Content Markets: A Literature Review of Trends in Technologies, Business and Consumer Behaviour. Communications, 2010.

Hammersley, M., & Atkinson, P. (2007). Ethnography: Principles in practice: Routledge.

Hand, C. M., & Van Liere, K. D. (1984). Religion, mastery-over-nature, and environmental concern. Social Forces, 63(2), 555-570.

Handke, C. (2004). Defining creative industries by comparing the creation of novelty. FOKUS. Creative Industries: a measure for urban development.

Handke, C. (2006). Plain destruction or creative destruction? Copyright erosion and the evolution of the record industry. Review of Economic Research on Copyright Issues, 3(2), 29-51.

Handke, C. (2010). The Creative Destruction of Copyright-Innovation in the Record Industry and Digital Copying. Available at SSRN 1630343.

Handke, C. (2012). Digital copying and the supply of sound recordings. Information Economics and Policy.

Hardy, M. (2010). Pareto’s law. The Mathematical Intelligencer, 32(3), 38-43.

Hargrave, S. (2009). Singers Challenge Lily Over Download Debate.   Retrieved April 6, 2012, from

Harker, D. (1980). One for the Money: Politics and Popular Song: Hutchinson London.

Harrell, G. D., & Frazier, G. L. (1999). Marketing: connecting with customers: Prentice Hall Englewood Clffs, NJ.

Harwood, J. (2009). Pop star Lily Allen drops her anti-file-sharing campaign and hints she might prefer to be an actress than a musician.   Retrieved April 6, 2013, from

Hausmann, A. (2010). German Artists Between Bohemian Idealism and Entrepreneurial Dynamics: Reflection on cultural entrepreneurship and the need for start-up management. International Journal of Arts Management, 12(2), 17-29.

Hawking, T. (2011). 10 Blogger-Owned Record Labels You Should Know.   Retrieved April 6, 2013, from

Hawtin, R. (2002). Techno Man. Future Music.

Hazard, B. (2009). What artists should know about Jango.   Retrieved 04.06, 2012, from

Hazlett, T. W. (1998). Assigning Property Rights to Radio Spectrum Users: Why Did Fcc License Auctions Take 67 Years?*. The Journal of Law and Economics, 41(S2), 529-576.

Hebdige, D. (2007). Subculture: The meaning of style. Critical Quarterly, 37(2), 120-124.

Held, D. (1980). Introduction to critical theory: Horkheimer to Habermas: Univ of California Pr.

Helgeson, J. G., Voss, K. E., & Terpening, W. D. (2002). Determinants of mail-survey response: Survey design factors and respondent factors. Psychology and Marketing, 19(3), 303-328.

Hellman, H. (1983). The new state of competition in the record industry. Sociologia, 20(4), 285-295.

Hennessey, B. A., & Amabile, T. M. (2010). Creativity. Annual Review of Psychology, 61(1), 569-598. doi: doi:10.1146/annurev.psych.093008.100416

Hesmondhalgh, D. (1998). The British dance music industry: a case study of independent cultural production. British Journal of Sociology, 234-251.

Hesmondhalgh, D. (1999). Indie: The institutional politics and aesthetics of a popular music genre. Cultural Studies, 13(1), 34-61.

Hesmondhalgh, D. (2007). The cultural industries: Sage Londres.

Hesmondhalgh, D. (2008). Post-Punk’s attempt to democratise the music industry: the success and failure of Rough Trade. Popular Music, 16(03), 255-274.

Hesmondhalgh, D., & Pratt, A. C. (2005). Cultural industries and cultural policy. International journal of cultural policy, 11(1), 1-13.

Hetcher, S. A. (2004). Music Industry’s Failed Attempt to Influence File Sharing Norms, The. Vand. J. Ent. L. & Prac., 7, 10.

Hirsch, P. M. (1972). Processing fads and fashions: An organization-set analysis of cultural industry systems. American journal of sociology, 77(4), 639-659.

Hoffmann, A. (2012, 09.08.2012). The Viral Power of Fan Communication: A Case Study On Fleet Foxes.   Retrieved April 6, 2013, from

Hogan, R., & Hogan, J. (1991). Personality and status. Personality, social skills, and psychopathology: An individual differences approach, 137-154.

Hotelling, H. (1929). Stability in Competition. The Economic journal (London), 39(153), 41-57.

How much was a Neve console in the 70s. (2013). Retrieved July 12, 2014

Howell, D. C. (2012). Statistical methods for psychology: Wadsworth Publishing Company.

Hren, D., Lukić, I. K., Marušić, A., Vodopivec, I., Vujaklija, A., Hrabak, M., & Marušić, M. (2004). Teaching research methodology in medical schools: students’ attitudes towards and knowledge about science. Medical education, 38(1), 81-86.

Hui, K. L., & Png, I. P. L. (2002). On the supply of creative work: Evidence from the movies. The American Economic Review, 92(2), 217-220.

Hull, G. (2004). The recording industry: Routledge.

Huygen, A., Helberger, N., Poort, J., Rutten, P., & Van Eijk, N. (2009). Ups and downs; economic and cultural effects of file sharing on music, film and games. TNO Information and Communication Technology Series.

IFPI. (2003). “Music: One of the Great Global Industries”, International Federation of Phonographic Industries (IFPI). Retrieved 01.07, 2014, from

IFPI. (2010). Investing in Music – how music companies discover, develop and promote talent.   Retrieved April 6, 2012, from

IFPI. (2011). Japanese consumers are the biggest music buyers.   Retrieved April 6, 2012, from

IFPI. (2012). IFPI Digital Music Report 2011.   Retrieved April 6, 2012, from

IMDb. (2012). Tom Waits.   Retrieved 11.03.2012, from

Incite, N. (2012). Buzz in the Blogosphere: Millions more bloggers and blog readers.   Retrieved April 6, 2013, from

International Telecommunication Union. (2013). ICT Facts and Figures 2013. Retrieved 18.10, 2013, from

iTunes, A. (2012). freesingle.   Retrieved 10.07, 2012, from

Iyengar, S. S., & Lepper, M. R. (2000). When choice is demotivating: Can one desire too much of a good thing? Journal of personality and Social Psychology, 79(6), 995.

Jamieson, S. (2004). Likert scales: how to (ab) use them. Medical education, 38(12), 1217-1218.

Jay, M. (1973). The dialectical imagination. Boston, MA.

Jeffri, J., Greenblatt, R., Friedman, Z., & Greeley, M. (1991). The artists training and career project: painters. New York: Research Center for Arts and Culture, Columbia University.

Jetto, B. (2011). Music blogs as cultural gatekeepers: A typological framework of music blogs. Paper presented at the Instruments of Change: Proceedings of the International Association for the Study of Popular Music Australia-New Zealand 2010 Conference.

Johns, A. (2009). Piracy: The intellectual property wars from Gutenberg to Gates: Univ of Chicago Pr.

Johnson, A. D. (1993). Music Copyrights: The Need for an Appropriate Fair Use Analysis in Digital Sampling Infringement Suits. Fla. St. UL Rev., 21, 135.

Jones, L. (1998). Purple Reign: The Artist Formerly Known as Prince: Carol Publishing Group.

Joseph, R. (1994). New ways to make technology parks more relevant. Prometheus, 12(1), 46-61.

Kaldor, N. (1950). The economic aspects of advertising. The Review of Economic Studies, 18(1), 1-27.

Kao, R. W. Y. (1993). Defining Entrepreneurship: Past, Present and? Creativity and Innovation Management, 2(1), 69-70. doi: 10.1111/j.1467-8691.1993.tb00073.x

Karjala, D. (1998). Statement of Copyright and Intellectual Property Law Professors in Opposition to H.R. 604, H.R. 2589, and S.505.   Retrieved April 23, 2012, from

Karubian, S. (2008). 360 deals: An industry reaction to the devaluation of recorded music. S. Cal. Interdisc. LJ, 18, 395.

Katz, M. (2008). Recycling Copyright: Survival and Growth in the Remix Age. University of San Francisco School of Law Intellectual Property Law Bulletin.

Katz, M. L., & Shapiro, C. (1992). Product introduction with network externalities. The Journal of Industrial Economics, 55-83.

Kauffman, R. J., & Wood, C. A. (2000). Analyzing competition and collusion strategies in electronic marketplaces with information asymmetry. University of Minnesota Management Information Systems Research Center Working Paper No. 00-19.

Keen, A. (2007). The cult of the amateur: how today’s Internet is killing our culture: Broadway Business.

Keen, P. (2004). Revolutions in Romantic literature: an anthology of print culture, 1780-1832: Broadview Pr.

Kelly, K. (2008a). 1,000 True Fans. The. Technium. http://www. kk. org/thetechnium.

Kelly, K. (2008b). Better than free.   Retrieved April 6, 2012, from

Kelly, S., Truong, M., Earp, M., Reed, L., Shabaz, A., & Greco-Stoner, A. (2013). Freeom on the Net 2013.

Kenrick, D. T., Griskevicius, V., Neuberg, S. L., & Schaller, M. (2010). Renovating the pyramid of needs contemporary extensions built upon ancient foundations. Perspectives on Psychological Science, 5(3), 292-314.

Kerman, J. (1962). The Elizabethan madrigal: a comparative study (Vol. 4): The AMS.

kickstarter. (2013). Kickstarter Stats.   Retrieved 08.12, 2013, from

Kim, K. H. (2011). The Creativity Crisis: The Decrease in Creative Thinking Scores on the Torrance Tests of Creative Thinking. Creativity Research Journal, 23(4), 285-295.

Klamer, A. (1996). The value of culture: On the relationship between economics and the arts: Amsterdam University Press.

Klowden, K., Chatterjee, A., & DeVol, R. C. (2008). Writers’ Strike of 2007-2008: The Economic Impact of Digital Distribution: Milken Institute.

Kluth, A. (2006). Among the audience: A survey of new media: Economist Newspaper.

Knapp, T. (1990). Treating ordinal scales as interval scales: an attempt to resolve the controversy. Nursing Research, 39(2), 121-123.

Kneale, D. (1983, 17 October). Weirder is better in the red-hot land of the rock videos. Wall Street Journal, 19.

Kotler, P. (1986). The prosumer movement: A new challenge for marketers. Advances in Consumer Research, 13(1), 510-513.

Krattenmaker, T. G. (1994). Regulating broadcast programming: AEI Press.

Kretschmer, M. (2005). Artists’ earnings and copyright: a review of British and German music industry data in the context of digital technologies. First Monday, 10(1), 1-14.

Kubacki, K., & Croft, R. (2011). Markets, music and all that jazz. European Journal of Marketing, 45(5), 805-821.

Kusek, D., Leonhard, G., & Lindsay, S. G. (2005). The future of music: manifesto for the digital music revolution: Berklee Press.

LaFrance, M. (2001). Authorship and Termination Rights in Sound Recordings. S. Cal. L. Rev., 75, 375.

Lahiri, A. (2011). Revisiting the incentive to tolerate illegal distribution of software products. Paper presented at the System Sciences (HICSS), 2011 44th Hawaii International Conference on.

Laing, D. (1985). One chord wonders: Power and meaning in punk rock: Open University Press Milton Keynes.

Lancaster, K. (1975). Socially optimal product differentiation. The American Economic Review, 65(4), 567-585.

Landes, W. M., & Posner, R. A. (1989). An economic analysis of copyright law. The Journal of Legal Studies, 18(2), 325-363.

Layton, R., & Watters, P. (2010). Investigation Into the Extent of Infringing Content on BitTorrent Networks.

Leadbeater, C., & Oakley, K. (1999). The Independents: Britain’s new cultural entrepreneurs: Demos.

Lee, H., & Choi, B. (2003). Knowledge management enablers, processes, and organizational performance: an integrative view and empirical examination. Journal of management information systems, 20(1), 179-228.

Lee, J. H., & Downie, J. S. (2004). Survey of music information needs, uses, and seeking behaviours: Preliminary findings. Paper presented at the Proceedings of the International Conference on Music Information Retrieval.

Lee, S. (1995). Re-examining the concept of the ‘independent’record company: The case of Wax Trax! records. Popular Music, 14(01), 13-31.

Lee, Y., & Nakashima, R. (2012, 12.06.2012). Cashing in on YouTube fame of ‘Gangnam Style’. Silicon Valley.

Leeds, J. (2007). The New Deal: Band as Brand. The New York Times.

Leibenstein, H. (1950). Bandwagon, snob, and Veblen effects in the theory of consumers’ demand. The quarterly journal of economics, 64(2), 183-207.

Leonhard, G. (2008). Blogs will be Record Labels, and Bloggers will be the new Music Moguls. BlogJs anyone?   Retrieved April 6, 2012, from

Lessig, L. (2005). Free culture: Penguin Books.

Lessig, L. (2008a). Freesouls. In J. Ito (Ed.), Freesouls: Tokyo: Freesouls. cc.

Lessig, L. (2008b). Remix: Making art and commerce thrive in the hybrid economy: Penguin Pr.

Levay, W. J. (2005). The Art of Making Music in the Age of Mechanical Reproduction: The Culture Industry Remixed.

Levene, H. (1960). Robust tests for equality of variances1. Contrib Prob Stat: Essays Honor Harold Hotel, 2, 278.

Lewis, G. H. (1983). The Meanings in the Music and the Music’s in Me: Popular Music as Symbolic Communication. Theory, Culture & Society, 1(3), 133-141.

Lewis, G. J., Graham, G., & Hardaker, G. (2005). Evaluating the impact of the Internet on barriers to entry in the music industry. Supply Chain Management: An International Journal, 10(5), 349-356.

Lexicon 480L. (1999). Retrieved July 17, 2014 from

Liebowitz, S. (2002). Re-thinking the networked economy: The real forces that drive the digital marketplace: Amacom Press.

Liebowitz, S. J. (2006). File Sharing: Creative Destruction or Just Plain Destruction?*. The Journal of Law and Economics, 49(1), 1-28.

Liebowitz, S. J. (2008). Research note: testing file-sharing impact on music album sales in cities. Management Science, 54(4), 852-859.

Liebowitz, S. J., & Margolis, S. E. (1990). The fable of the keys. Journal of Law and Economics, 1-25.

Liebowitz, S. J., & Margolis, S. E. (1998). Network externalities (effects). The New Palgrave’s Dictionary of Economics and the Law.

Liebowitz, S. J., Watt, R., Sm, M. S., & Zealand, C. N. (2006). How to best ensure remuneration for creators in the market for music? Copyright and its alternatives. Journal of Economic Surveys, 20(4), 513-545.

Lindvall, H. (2009). Behind the music: The real reason why the major labels love Spotify.   Retrieved April 6, 2012, from

Lindvall, H. (2011). Why artists and indies shouldn’t write Spotify off – at least not yet.   Retrieved April 6, 2012, from

Lipsman, A. (2007). For Radiohead Fans, Does “Free” + “Download” = “Freeload”?   Retrieved January 21, 2013, from

live365. (2012). live365 – About us. 06.05.2012, from

Locke, E. A. (1976). The nature and causes of job satisfaction. Handbook of industrial and organizational psychology, 1319-1328.

Loher, B. T., Noe, R. A., Moeller, N. L., & Fitzgerald, M. P. (1985). A meta-analysis of the relation of job characteristics to job satisfaction. Journal of Applied Psychology, 70(2), 280.

Longhurst, B. (2007). Popular music and society: Polity Pr.

Lopes, P. D. (1992). Innovation and diversity in the popular music industry, 1969 to 1990. American Sociological Review, 56-71.

lounge-radio. (2013).   Retrieved 09.01.2013, 2013, from

Lull, J. (1987). Popular music and communication: Sage Publications.

MacFarland, D. (1997). Future radio programming strategies: Cultivating listenership in the digital age: Lawrence Erlbaum.

MacMillan, D. (2009). Blogola: The FTC Takes On Paid Posts.   Retrieved April 6, 2012, from

MacQueen, H. L., Waelde, C., & Laurie, G. T. (2007). Contemporary intellectual property: Law and policy: Oxford Univ Pr.

Maffesoli, M. (1996). The time of the tribes: the decline of individualism in mass society (Vol. 41): Sage Publications Limited.

Mahadevan, B. (2000). Business models for Internet-based e-commerce: An anatomy. California management review, 42(4), 55-69.

Malanga, G. (1983). Up-tight: The Velvet Underground Story: Omnibus.

Mankiw, N. G., & Whinston, M. D. (1986). Free entry and social inefficiency. The RAND Journal of Economics, 48-58.

Mansfield, E. (1968). Industrial research and technological innovation: An econometric analysis: Norton New York.

Marshall, L. (2005). Bootlegging: romanticism and copyright in the music industry: Sage Publications Ltd.

Maslow, A. H. (1943). A theory of human motivation. Published in.

Matell, M. S., & Jacoby, J. (1971). Is there an optimal number of alternatives for Likert scale items? Educational and psychological measurement.

Matsumoto, S. (2002). Performers in the digital era: empirical evidence from Japan. Copyright in the cultural industries, 196.

McAfee, R. P., Mialon, H. M., & Williams, M. A. (2004). What is a Barrier to Entry? American Economic Review, 461-465.

McCaffrey, E. J. (1994). Why people play lotteries and why it matters. Wis. L. Rev., 71.

MCI. (1979). MCI AT 25: A Pioneer Spirit In Studio Equipment Earns Global Respect.

McIntyre, P. (2007). Copyright and creativity: Changing paradigms and the implications for intellectual property and the music industry. Media International Australia, Incorporating Culture & Policy(123), 82.

McIntyre, P. (2008a). Creativity and cultural production: a study of contemporary western popular music songwriting. Creativity Research Journal, 20(1), 40-52.

McIntyre, P. (2008b). The systems model of creativity: Analyzing the distribution of power in the studio. Journal on the Art of Record Production, 3.

McIntyre, P. (2011). Bringing Novelty into Being: Exploring the Relationship Between ‘Creativity’ and ‘Innovation’. Paper presented at the ANZCA 2011 Communication on the Edge: Shifting Boundaries And Identities, Hamilton, New Zealand.

McIntyre, P. (2012). Creativity and cultural production: issues for media practice: Palgrave Macmillan.

McIntyre, P., & Morey, J. (2011). Working out the Split”: Creative Collaboration and Assignation of Copyright across Differing Musical World. Journal on the Art of Record Production(5).

mcir. (2012). Music Copyright Infringement Resource.   Retrieved 10.12.2012, 2012, from

McPhee, W. N. (1963). Formal theories of mass behavior: Free Press of Glencoe New York.

Melton, J. V. H. (2001). The rise of the public in Enlightenment Europe: Cambridge Univ Pr.

Menger, P. M. (1999). Artistic labor markets and careers. Annual review of sociology, 541-574.

Menger, P. M. (2006). Artistic labor markets: contingent work, excess supply and occupational risk management. Handbook on the Economics of Art and Culture, 1, 765-811.

mi2n. (2001). Musical Success Story Shows The “Bassics” Of Earning Money Online.   Retrieved March 3, 2012, from

Michaels, S. (2011). Coldplay’s Mylo Xyloto won’t be streaming on Spotify.   Retrieved April 6, 2012, from

Middleton, R. (1990). Studying popular music: Open University.

Mill, J. S. (2007). Utilitarianism, liberty & representative government: Wildside Press LLC.

Miller, G. (2000). Evolution of human music through sexual selection. The origins of music, 329-360.

Milman, O. (2011). Start-Up Profiles – Posse. startups smart.  Retrieved April 6, 2012, from

Minoff, L. (1997). Yellow Submarine. In D. Bob (Ed.).

Mitchell, G., & Newman, M. (2009, July 03, 2009 ). Exclusive: How Michael Jackson’s ‘Thriller’ Changed The Music Business. Billboard.

MOKB. (2012). Today’s MOKB on SIRIUS XMU Blog Radio Playlist : 072412.   Retrieved April 6, 2013, from

Monta, R. (1958). Concept of Copyright versus the Droit D’Auteur, The. S. Cal. L. Rev., 32, 177.

Montgomery, A. L., & Moe, W. W. (2002). Should Music Labels Pay for Radio Airplay? Investigating the Relationship Between Album Sales and Radio Airplay. Tepper School of Business, 332.

Moon, W., & Balasubramanian, S. K. (2002). Public perceptions and willingness-to-pay a premium for non-GM foods in the US and UK.

Moore, J. (2012a). Your Band Is a Virus-Expanded Edition: CreateSpace.

Moore, R. (2005). Alternative to what? Subcultural capital and the commercialization of a music scene. Deviant behavior, 26(3), 229-252.

Moore, S. (2012b). Interview: Skrillex talks production, plug-ins and power edits. In F. Music (Ed.).

Morrow, G. (2009). Radiohead’s Managerial Creativity. Convergence, 15(2), 15.

Müllensiefen, D., & Pendzich, M. (2009). Court decisions on music plagiarism and the predictive value of similarity algorithms. Musicae Scientiae, 13(1), 257-295.

Mulligan, M. (2013). Putting 2012 Digital Revenues Into Perspective. music industry blog.  Retrieved April 6, 2013, from

Mumford, M. D. (2011). Handbook of Organizational Creativity: Elsevier Science.

Negus, K. (1992). Producing pop: Culture and conflict in the popular music industry. London: Edward Arnold.

Negus, K. (1995). Where the mystical meets the market: creativity and commerce in the production of popular music. The Sociological Review, 43(2), 316-341.

Negus, K. (1996). Popular music in theory: an introduction: Wesleyan.

Nemiro, J. (2007). The Building Blocks for Creativity in Virtual Teams. Higher creativity for virtual teams: developing platforms for cocreation. Hershey, PA: IGI Global, 98-121.

Neon Tape Deck. (2010). Skrillex responds to the haters in neontapedeck interview.   Retrieved 15 June, 2012, from

Nimmer, D., & Menell, P. S. (2001). Sound recordings, works for hire, and the termination-of-transfers time bomb. J. Copyright Soc’y USA, 49, 387.

NME. (2007). Radiohead’s ‘In Rainbows’ to be released on CD this year.   Retrieved April 6, 2012, from

Norman, G. (2010). Likert scales, levels of measurement and the “laws” of statistics. Advances in health sciences education, 15(5), 625-632.

Oanda. (2012). Currency Converter.   Retrieved 12.03.2011, 2011, from

Oberholzer-Gee, F., & Strumpf, K. (2007). The effect of file sharing on record sales: An empirical analysis. Journal of Political Economy, 115(1), 1-42.

Oldham, G. R., & Cummings, A. (1996). Employee creativity: Personal and contextual factors at work. Academy of management journal, 39(3), 607-634.

Olivarez-Giles, N. (2009). Recording studios are being left out of the mix.   Retrieved April 6, 2012, from

Oppenheimer, P. (2012). Drowning? The iTunes Store Now Has 28 Million Songs…   Retrieved April 6, 2012, from

Orantia, J. (2012). Listen in gently down the stream.   Retrieved April 6, 2013, from

Orlowski, A. (2008). Chopping the Long Tail down to size.   Retrieved 19.06, 2012, from

Ou, T. (2006). From Wheaton v. Peters to Eldred v. Reno: An Originalist Interpretation of the Copyright Clause. Berkman Center for Internet & Society, 14.

Oxenford, D. (2008). Payola on Internet Radio – Legal?   Retrieved April 13, 2012, from

Paddison, M. (1996). Adorno, modernism and mass culture: essays on critical theory and music: Kahn & Averill London.

Palis, C., & Smith, C. (2012). Lady Gaga, Jack White, Norah Jones And More: 10 Musicians OK With Piracy And Illegal File-Sharing. The Huffington Post. Retrieved from

Park, D. (2005). Aren’t fooling around. prefix.

Parker, J. (2013). One Working Musician.   Retrieved 10.07, 2013, from

Parker, S. (2010). Sean Parker: Facebook Should Not Have Won, MySpace Blew It.   Retrieved 03.05.2012, 2012, from

Parker, S. (2011). LeWeb 2011 Sean Parker, Shervin Pishevar & Alexia Tsotsis.   Retrieved 07.12, 2012, from

Parker, S. (2012). We’ve Got You by the Balls.   Retrieved 12.07.2012, from

Passman, D. S. (2009). All You Need to Know About the Music Business: RosettaBooks, LLC.

Patterson, L. R. (1968). Copyright in historical perspective: Vanderbilt Univ Pr.

Patterson, L. R. (1992). Understanding Fair Use. Law and Contemporary Problems, 55(2), 249-266.

Patterson, L. R., & Lindberg, S. W. (1991). The nature of copyright: a law of users’ rights: University of Georgia Press.

Pecknold, R. (2012). YouTube comment.   Retrieved 12.11, 2012, from

Peitz, M., & Waelbroeck, P. (2005). An economist’s guide to digital music. CESifo Economic Studies, 51(2-3), 359.

Peitz, M., & Waelbroeck, P. (2006). The Effect of Internet Piracy on CD Sales: Cross-Section Evidence. Review of Economic Research on Copyright Issues, 1(2), 71-79.

Peoples, G. (2011). Business Matters: U.K. Dance Labels Pull Out of Spotify, Other Subscription Services.   Retrieved April 6, 2012, from – UKK6CO2pDtiDKEmy.99

Peterson, R. A. (1982). Five Constraints on the Production of Culture: Law, Technology, Market, Organizational Structure and Occupational Careers*. The Journal of Popular Culture, 16(2), 143-153.

Peterson, R. A. (1990). Why 1955? Explaining the advent of rock music. Popular Music, 9(01), 97-116.

Peterson, R. A., & Berger, D. G. (1971). Entrepreneurship in organizations: Evidence from the popular music industry. Administrative Science Quarterly, 97-106.

Peterson, R. A., & Berger, D. G. (1975). Cycles in symbol production: The case of popular music. American Sociological Review, 158-173.

Philips, C. (2001a). Recording Stars Challenge Music Labels’ Business Practices.   Retrieved 18 June, 2012, from

Philips, C. (2001b). Record Label Chorus: High Risk, Low Margin.   Retrieved March 19, 2012, from

Phillimore, J. (1999). Beyond the linear view of innovation in science park evaluation An analysis of Western Australian Technology Park. Technovation, 19(11), 673-680. doi:

Picard, R. G., & Toivonen, T. E. (2004). Issues in Assessment of the Economic Impact of Copyright. Review of Economic Research on Copyright Issues, 1(1), 27-40.

Png, I. P. L., & Wang, Q. (2006). Copyright duration and the supply of creative work.   Retrieved May 19, 2012, from

Polit, D. F., & Beck, C. T. (2008). Nursing Research: Generating and Assessing Evidence for Nursing Practice: Wolters Kluwer Health/Lippincott Williams & Wilkins.

Pollock, R. (2007). Forever minus a day? Some theory and empirics of optimal copyright.

Preston, C. C., & Colman, A. M. (2000). Optimal number of response categories in rating scales: reliability, validity, discriminating power, and respondent preferences. Acta psychologica, 104(1), 1-15.

proxymis. (2012). Music for flash game needed.   Retrieved September 12, 2012, from

Ranaivoson, H. (2005). The economic analysis of product diversity.

Raschka, O. D. (2006). Digitale Musik – Eine industrieökonomische Analyse der Musikindustrie. (PhD), University of Hohenheim.  

Records, P. L. (2012). Pretty Lights Records.   Retrieved 06.07, 2012, from

Regner, T., & Barria, J. A. (2009). Do consumers pay voluntarily? The case of online music. Journal of Economic Behavior & Organization, 71(2), 395-406.

Remix Competition. (2012). Remix competition where the winner is never announced.   Retrieved 19.12., 2012, from

Rennie, S. (2013). Publishing Deals vs. Record Deals.   Retrieved 15 September, 2013, from

Rentfrow, P. J., & Gosling, S. D. (2003). The do re mi’s of everyday life: the structure and personality correlates of music preferences. Journal of personality and Social Psychology, 84(6), 1236.

Reuters. (2012). GEMA seeks YouTube deal after German copyright case.   Retrieved May 19, 2013, from

Reynolds, S. (2006). Rip it up and start again: Postpunk 1978-1984: Penguin Group USA.

Riesman, D. (1950). Listening to popular music. American Quarterly, 359-371.

Rimmer, M. (2005). The Grey Album: Copyright law and digital sampling. Media International Australia, 114, 40-53.

Rob, R., & Waldfogel, J. (2006). Piracy on the High C’s: Music Downloading. Sales Displacement, and Social Welfare in a Sample of College Students, 49.

Roberts, M. (2002). Digital Dilemma – Will new royalty fees kill Web radio?   Retrieved May 19, 2012, from

Rogers, J. (2011). Arctic Monkeys make the fastest-selling debut ever. the guardian.

Rohrer, T. (2002). The debate on competition in music in the twentieth century. Update: Applications of Research in Music Education, 21(1), 38.

Rose, D. (2012). Indie Record Label Economics.   Retrieved May 19, 2013, from

Rosen, S. (1981). The economics of superstars. The American Economic Review, 71(5), 845-858.

Rossiter, N., Goodrich, P., & Shaw, J. (2011). Social capital and music entrepreneurship. Journal of Management and Marketing Research, 7(6), 1-13.

Ryan, R., & Deci, E. (2000). Intrinsic and Extrinsic Motivations: Classic Definitions and New Directions. Contemporary educational psychology, 25(1), 54-67.

Salganik, M. J., Dodds, P. S., & Watts, D. J. (2006). Experimental study of inequality and unpredictability in an artificial cultural market. science, 311(5762), 854-856.

Sandall, R. (2007). The Day the Music Industry Died.   Retrieved May 19, 2011, from

Sarno, D. (2007). Need a drummer? No problem. Los Angeles Times.

Savage, J. (2002). England’s Dreaming: Anarchy, Sex Pistols, Punk Rock, and Beyond: St. Martin’s Griffin.

Sawyer, R. K. (2012). Explaining creativity: The science of human innovation: Oxford University Press.

Scheuch, F. (2000). Die Musikwirtschaft Österreichs: Ueberreuter.

Schulze, G. G. (2003). Superstars.

Schumpeter, J. A. (1934). The Theory of Economic Development: An Inquiry Into Profits, Capital, Credit, Interest, and the Business Cycle: Transaction Publishers.

Schutt, R. (2006). Investigating the Social World with SPSS Student Version 14.0: The Process and Practice of Research: SAGE Publications.

Schwartz, B. (2000). Self-determination: The tyranny of freedom. American Psychologist, 55(1), 79.

Schwartz, K. D., & Fouts, G. T. (2003). Music preferences, personality style, and developmental issues of adolescents. Journal of youth and adolescence, 32(3), 205-213.

Searls, D. (2002). Why Are So Many Internet Radio Stations Still on the Air? Linux Journal.

Segal, B. (1995). A short history of Internet protocols at CERN. CERN PDP-NS, April.

Sellers, P. (2006). MySpace cowboys.   Retrieved May 19, 2012, from

Shapiro, C., & Varian, H. R. (1998). Information rules: a strategic guide to the network economy: Harvard Business Press.

Sheldon, D. (1994). The Effects of Competitive versus Noncompetitive Performance Goals on Music Students’ Ratings of Band Performances. Bulletin of the Council for Research in Music Education, 29-41.

Sherwin, A. (2007). How Much is Radiohead’s Online Album Worth? Nothing At All, Say a Third of Fans.   Retrieved February 12, 2012, from

Shoshani, Y., & Hazi, R. B. (2007). The use of the Internet environment for enhancing creativity. Educational Media International, 44(1), 17-32.

SHOUTcast. (2001). SHOUTcast Showcase.   Retrieved 20.12.2012, 2012, from

SHOUTcast. (2012). SHOUTcast Showcase.   Retrieved 20.12.2012, 2012, from

Sifferd, J. A. (2002). Peer-to-Peer Revolution: A Post-Napster Analysis of the Rapidly Developing File-Sharing Technology, The. Vand. J. Ent. L. & Prac., 4, 92.

Simon, H. A. (1955). On a class of skew distribution functions. Biometrika, 42(3/4), 425-440.

Simpson, S., & Munro, J. (2012). Music Business: A Musician’s Guide to the Australian Music Industry by Top Australian Lawyers and Deal Makers: Music Sales Pty, Limited.

Simpson, S., & Seeger, C. (1994). Music Business. Sydney, Australia: Warner Bros. Music Australia.

Siwal, A. (2008). Facebook, MySpace Statistics. TechRadar.  Retrieved 15 April, 2011, from

Siwek, S. E., & Furchtgott-Roth, H. W. (1990). Copyright Industries in the US Economy: Economists Incorporated.

Smirke, R. (2012). IFPI 2012 Report: Global Music Revenue Down 3%; Sync, PRO, Digital Income Up.   Retrieved January 12, 2012, from

Smith, A. (1776). The wealth of nations Books I-III.

Smith, E., & Kane, Y. I. (2009). Apple Changes Tune on Music Pricing.   Retrieved May 19, 2012, from

Smith, M. D., & Telang, R. (2010). Piracy or promotion? The impact of broadband Internet penetration on DVD sales. Information Economics and Policy, 22(4), 289-298.

Solomon, D. (2012). The business of being an artist.   Retrieved 02.02., 2013, from

Sontag, J. (2012). Tiga’s six golden rules for producers.   Retrieved May 19, 2013, from

Soundcloud. (2013). Castles in the sky.   Retrieved 10.09, 2013, from

SoundScan, N. (2011). The Nielsen Company & Billboard’s 2011 Music Industry Report.   Retrieved May 19, 2012, from

Stamp, C. (2011). Kids These Days: Spotify, Radiohead, and the Devaluation of Music.   Retrieved May 19, 2012, from

Steinberg. (1997). Cubase VST.   Retrieved January 13, 2012, from

Sternberg, R. J. (1999). Handbook of Creativity. Cambridge: Camebridge University Press.

Stiegler, C. (2011). Die Radiohead-Schlagzeile.   Retrieved 09.10., 2012, from

Stigler, G. J. (1961). The economics of information. The Journal of Political Economy, 213-225.

Stigler, G. J. (1983). The Organization of Industry: University of Chicago Press.

Stigler, G. J., & Becker, G. S. (1977). De gustibus non est disputandum. The American Economic Review, 76-90.

Stirling, A. (1998). On the economics and analysis of diversity. Science Policy Research Unit (SPRU), Electronic Working Papers Series, Paper, 28.

Storey, J. (1993). An introductory guide to cultural theory and popular culture: Harvester Wheatsheaf New York.

Strachan, R. (2007). Micro-independent record labels in the UK Discourse, DIY cultural production and the music industry. European Journal of Cultural Studies, 10(2), 245-265.

SXSW. (2011, 19.06.2012). Digital Music Pricing Strategies: What Works?   , from

Taraborrelli, J. R. (2009). Michael Jackson: The Magic, the Madness, the Whole Story, 1958-2009: Grand Central Publishing.

Technorati. (2012). Entertainment / Music blogs.   Retrieved May 19, 2013, from

TechWebTV. (2012). Sean Parker, co-founder of Napster and Facebook, speaks on the future of data sharing.   Retrieved 15 September, 2013, from

The US Deparment of Justice. (2012). Justice Department Charges Leaders of Megaupload with Widespread Online Copyright Infringement.   Retrieved April 6, 2013, from

Thomas, S. J. (2004). Using web and paper questionnaires for data-based decision making: from design to interpretation of the results: Corwin Press.

Thompson, P. (2008). Radiohead’s In Rainbows Successes Revealed.   Retrieved May 19, 2012, from

Thomson, K., & Cook, J. (2012). Artist Revenue Streams.   Retrieved May 19, 2013, from

Throsby, C. D. (1994a). The production and consumption of the arts: a view of cultural economics. Journal of economic literature, 32(1), 1-29.

Throsby, C. D. (1994b). A work-preference model of artist behaviour. Cultural economics and cultural policies, 69-80.

Throsby, C. D. (2001). Economics and Culture: Cambridge University Press.

Throsby, C. D. (2003). Determining the value of cultural goods: How much (or how little) does contingent valuation tell us? Journal of Cultural Economics, 27(3-4), 275-285.

Throsby, C. D. (2006). An artistic production function: Theory and an application to Australian visual artists. Journal of Cultural Economics, 30(1), 1-14.

Throsby, C. D. (2007). Preferred work patterns of creative artists. Journal of economics and finance, 31(3), 395-402.

Throsby, C. D. (2008a). The concentric circles model of the cultural industries. Cultural Trends, 17(3), 147-164. doi: 10.1080/09548960802361951

Throsby, C. D. (2008b). From cultural to creative industries: the specific characteristics of the creative industries. Paper presented at the Troiseme Journees d’Economie de la Culture: Nouvelles Frontieres de l’Economie de la Culture, Conference held at Musee du quai Branly.

Throsby, C. D. (2012). Valuation and the cultural sector: current issues and future directions. Paper presented at the Culture and Innovation: New Ways of Capturing Value Dublin.

Throsby, C. D., & Hollister, V. (2003). Don’t give up your day job: an economic study of professional artists in Australia. Australia Council, Sydney, 11.

Throsby, C. D., & Withers, G. (1985). What price culture? Journal of Cultural Economics, 9(2), 1-34.

Tingen, P. (2007). Secrets Of The Mix Engineers: Jason Goldstein – Beyoncé’s ‘Déjà Vu’ and ‘Irreplaceable’. Sound on Sound.

Towse, R. (2001). Partly for the money: rewards and incentives to artists. Kyklos, 54(2-3), 473-490.

Towse, R. (2003). Cultural industries. A handbook of cultural economics, 170-182.

Towse, R. (2006). Human capital and artists’ labour markets. Handbook on the Economics of Art and Culture, 1, 865-894.

Towse, R. (2008). Why has cultural economics ignored copyright? Journal of Cultural Economics, 32(4), 243-259.

Triggs, T. (2006). Scissors and glue: Punk fanzines and the creation of a DIY aesthetic. Journal of Design History, 19(1), 69-83.

triple j. triple j.   Retrieved 12.08, 2013, from https://

triple j. (2012). triple j unearthed – Discover the best new Australian music.   Retrieved 10.12, 2012, from

Tschmuck, P. (2003). How creative are the creative industries? A case of the music industry. The Journal of Arts Management, Law, and Society, 33(2), 127-141.

Tschmuck, P. (2006). Creativity and innovation in the music industry: Springer.

Tschmuck, P. (2010). The Economics of Music File Sharing–A Literature Overview. Vienna music business research days. Vienna: University of Music and Performing Arts.(June 9-10).

Tschmuck, P. (2012). Creativity and innovation in the music industry: Springer.

Tschmuck, P., Pearce, P. L., & Campbell, S. (2013). Music Business and the Experience Economy: The Australasian Case: Springer.

Turner, G. (1993). Who killed the radio star? The death of teen radio in Australia. Rock and popular music: Politics, policies, institutions, 142-155.

Twitterholic. (2012). The Top 100 Twtterholics based on followers.   Retrieved 18 December, 2012, from

UNCTAD, U. (2008). Creative Economy. Report 2008. The Challenge of Assessing the Creative Economy: towards informed Policy-making. New York: Naciones Unidas.

United States District Court. (2000). UMG RECORDINGS, INC. v. MP3.COM, INC.   Retrieved January 13, 2013, from

Unterberger, R. (2009). White Light/White Heat: The Velvet Underground Day by Day: Outline Press Limited.

US Bureau of Labour Statistics. (2012). CPI Inflation Calculator.   Retrieved May 23, 2012, from

US Government Printing Office. (2011). 47 U.S.C. 317 – Announcement of Payment for Broadcast.   Retrieved January 12, 2012, from

Utterback, J. M., & Abernathy, W. J. (1975). A dynamic model of process and product innovation. Omega, 3(6), 639-656.

Utwom. (2009). Rules Of Blogging PR: What To & What Not To Do. Utwom.  Retrieved 22 April, 2012, from

Vaidhyanathan, S. (2003). Copyrights and Copywrongs: The Rise of Intellectual Property and how it Threatens Creativity: NEW YORK University Press.

Varian, H. R. (2000). Buying, sharing and renting information goods. The Journal of Industrial Economics, 48(4), 473-488.

Varian, H. R. (2005). Copying and copyright. Journal of Economic Perspectives, 19(2), 121-138.

Varian, H. R., & Ginkō, N. (1999). Markets for information goods: Institute for Monetary and Economic Studies, Bank of Japan.

Vecchio, R. P. (1977). Employee Growth Need Strength as a Moderator of Relationships Between Job Attributes and Job Satisfaction.

Vision, M. (2011). Musiksverige Svenskarnas Internet Van Or Q2 2011.   Retrieved May 19, 2012, from

Wages, M. (2013). Musician Wages.   Retrieved 09.05, 2013, from

Wahba, M. A., & Bridwell, L. G. (1976). Maslow reconsidered: A review of research on the need hierarchy theory. Organizational behavior and human performance, 15(2), 212-240.

Waldfogel, J. (2012). And the Bands Played on: Digital Disintermediation and the Quality of New Recorded Music. Available at SSRN 2117372.

Walker, R. (2009, 14 October 2009). The Song Decoders. The New York Times.

Wallin, N. L., & Merker, B. (2001). The origins of music: The MIT Press.

Wallis, R., & Malm, K. (1993). From state monopoly to commercial oligopoly: European broadcasting policies and popular music output over the airwaves. Rock and popular music: Politics, policies, institutions, 156-168.

Watt, R., & Towse, R. (2006). Copyright protection standards and authors’ time allocation. Industrial and Corporate Change, 15(6), 995.

Watts, D. J., & Hasker, S. (2006). Marketing in an unpredictable world. Harvard business review, 84(9), 25-30.

West, M. A., Sacramento, C. A., & Fay, D. (2005). Creativity and innovation implementation in work groups: The paradoxical role of demands. In L. Thompson & H. S. Choi (Eds.), Creativity and innovation in organizational teams (pp. 137-159). Mahwah, NJ: Erlbaum.

Wikström, P. (2006). Reluctantly Virtual. Modeling Copyright Industry Dynamics. Doctorial dissertation. Karlstad University Studies, 44.

Wilson, N., & Stokes, D. (2002). Cultural entrepreneurs and creating exchange. Journal of Research in Marketing and Entrepreneurship, 4(1), 37-52.

Wilson, N., & Stokes, D. (2004). Laments and serenades: relationship marketing and legitimation strategies for the cultural entrepreneur. Qualitative Market Research: An International Journal, 7(3), 218-227.

Wilson, N., & Stokes, D. (2005). Managing creativity and: The challenge for cultural entrepreneurs. Journal of Small Business and Enterprise Development, 12(3), 366-378.

Withers, G. (1985). Artists’ Subsidy of the Arts. Australian economic papers, 24(45), 290-295. doi: 10.1111/j.1467-8454.1985.tb00117.x

Wodtke, L. (2008). Does NME even know what a music blog is?: The Rhetoric and Social Meaning of MP3 Blogs.

Wong, K. Y., & Aspinwall, E. (2005). An empirical study of the important factors for knowledge-management adoption in the SME sector. Journal of knowledge management, 9(3), 64-82.

Woodman, R. W., Sawyer, J. E., & Griffin, R. W. (1993). Toward a theory of organizational creativity. Academy of management review, 18(2), 293-321.

Worcester, R. M., & Burns, T. R. (1975). A statistical examination of the relative precision of verbal scales. Journal of the Market Research Society, 17(3), 181-197.

xBloome. (2011). xBloome. 10.07.2012, from

Yoon, Y., Gursoy, D., & Chen, J. S. (2001). Validating a tourism development theory with structural equation modeling. Tourism Management, 22(4), 363-372.

YouTube. (2013) Statistics.   Retrieved 10.09, 2013, from

Yule, G. U. (1925). A mathematical theory of evolution, based on the conclusions of Dr. JC Willis, FRS. Philosophical Transactions of the Royal Society of London. Series B, Containing Papers of a Biological Character, 213, 21-87.

Zajacz, R. (2004). Liberating American communications: foreign ownership regulations from the Radio Act of 1912 to the Radio Act of 1927. Journal of Broadcasting & Electronic Media, 48(2), 157-178.

zebastian21. (2009). Beatport is Discouraging the use of Lossless stems in their remix contests… .   Retrieved 19.01., 2013, from

Zeithaml, V. A. (1988). Consumer perceptions of price, quality, and value: a means-end model and synthesis of evidence. The Journal of Marketing, 2-22.

Zeithaml, V. A. (1990). Delivering quality service: Free Press.

Zentner, A. (2006). Measuring the Effect of File Sharing on Music Purchases*. The Journal of Law and Economics, 49.

Zimmerman, J. (2012). some advice on rollercoasters and shit.   Retrieved May 19, 2012, from

Dr. Phil

Former academic turned artist. PhD in media & communications with a focus on cultural economics. Composer, producer, sound engineer (SAE), DJ.