According to estimates, 40 billions of music files were shared illegally in the year 2008. This means that nearly 95 percent of all digital music files were downloaded for free. The music industry is fighting music piracy through legal offensives and copy protection. Taking into account different aspects like the attention economy, access instead of ownership, network effects, equity and voluntary donations, an analytical model is presented in order to analyze the topic from different views. Three distinct revenue models are introduced, keeping in mind three distinct user groups and considering music CDs and concerts as products. A side note to the topic presents the increasing competition between music and concert industries. It also refers to the case of two music groups which are considered to be completely exchangeable by potential users, but which lack any monopolistic power. Furthermore, the economic aspects and consequences of the three distinct revenue models are discussed. Copy protection measurements guarantee top earnings to the music industry, provided that music users value the ownership of a physical CD or that network effects bring no additional values to its users. As a matter of fact, higher earnings can be achieved without any copy protection measurements at all if network effects are valued by consumers and if concerts, which have a higher rate of network effects, are taken into consideration, too. In the latter case, also the welfare is higher than in the case of copy protection: since anyone can obtain all the music she or he wants (as long as an internet connection is available), no deadweight loss exists. Moreover, most of the artists are better off without any copy protection, especially if they give concerts. Finally, it is also shown under which circumstances the voluntary donation model can be a valuable alternative for artists.