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Purpose – Despite an abundance of literature on the effects of copyright infringement on music consumption, empirical evidence remains ambiguous. The aim of this chapter is to quantify the effect of copyright infringement on recorded music purchases and live music attendance for Spanish frequent music consumers, and to measure its effect on participation for all music consumers.

Design/methodology approach – We rely on survey data for the Spanish population as our main information source and use propensity score matching to estimate the average effect of copyright infringement on music consumption. In order to do so, the methodology aims at estimating the difference between actual outcomes (record purchases or attendance to live concerts) for copyright infringers and the (counterfactual) outcome would they had not been infringers.

Findings – Two findings stand out. First, and with regards to recorded music consumption, we find a net positive effect of copyright infringement on full album purchases although a nonsignificant one for tracks. Second, there is a positive and significant effect on live attendance, which is consistent with an indirect appropriation effect across products. These results are robust when participation is considered, but some interesting differences arise between recorded music purchasers and live concerts attenders.

Originality/value – First, the use of a counterfactual control group provides an additional approach to the assessment of copyright infringement. Second, within the same framework we investigate the effects of copyright infringement on recorded and live music, an approach that sheds some light on the degree of complementarity between both markets.

This paper aims to analyze the relationship between watching dance and mood enhancement considering potential differences across gender and age brackets.

Exploratory research was undertaken through a personal survey, using a structured questionnaire on a large sample of young participants between 18 and 35 years old, split into generational cohorts (Millennials or Generation Y and Centennials or Generation Z). Quota sampling (gender and age) was the method used to select respondents.

Results show that after watching dance, more positive mood changes were observed in general. However, they were stronger among women and younger Millennials. These findings are important as they open a new area of study; show the effects of culture on people; and help design programming strategies to enlarge audiences.

The effects of specific forms of arts and cultural participation on people’s moods have been analyzed from a diversity of disciplines. In the case of dance, studies have tested this relation among practitioners (active participants) but not among viewers (attendees) as this paper does.