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Psychological ownership and music streaming consumption

机译：心理所有权和音乐流媒体消费

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Streaming is becoming the most common format from which people access, share and listen to music and it is suggested that such practices are indicative of a shift towards a 'post-ownership' economy. In the case of music, consumers may place greater value (emotional and monetary) on the physical product because of the lack of legal ownership and/or absence of perceived ownership associated with streaming. This article examines how experiences of ownership are articulated through music streaming formats via qualitative interviews and an online themed discussion group. Drawing from psychological ownership theory we identify motivations (place, identity and control), antecedents (investing the self, coming to intimately know the target, pride and controlling the target) and outcomes (loyalty, empowerment and social rewards) of psychological ownership that are evident in the consumers' experiences of music streaming. This has theoretical and managerial implications for our understanding of how consumers engage with the post-ownership economy. Crown Copyright (C) 2016 Published by Elsevier Inc. All rights reserved.
机译：流媒体正在成为人们访问，共享和听音乐的最常见格式，并且建议这种做法表明向“后所有权”经济的转变。就音乐而言，由于缺乏合法所有权和/或缺乏与流媒体相关的感知所有权，消费者可能会在实物产品上赋予更高的价值（情感和货币价值）。本文研究了如何通过定性访谈和在线主题讨论小组，通过音乐流格式表达所有权的体验。从心理所有权理论中，我们确定了心理所有权的动机（位置，身份和控制），先例（投资自我，逐渐了解目标，自豪感和控制目标）和心理所有权的结果（忠诚，赋权和社会奖励）在消费者的音乐流媒体体验中显而易见。这对我们对消费者如何与后所有权经济互动的理解具有理论和管理意义。 Crown版权所有（C）2016，由Elsevier Inc.保留。保留所有权利。

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