Perspectives in Music Arising out of Blockchain-Technology and Its Corresponding Research Strategies
Öz
For a start, let us take a look at one of the new services listed when search- ing the web for "music and blockchain". Results typically include Ujomusic, Peertracks, Revelator, DotBC, PledgeMusic, Musiconomy and more, some predominantly offering music, others primarily promoting new services for musicians and creative artists. Of course, these need not be seen in opposi- tion. I chose Ujomusic for the following examples. This was also the platform which hosted one of the earliest experiments simultaneously licensing and monetizing music from the British singer-songwriter Imogen Heap by using a blockchain. When preparing this article, the new album from the Portu- guese musician RAC was on offer:
As I was planning to pay using a cryptocurrency, I had acquired an amount of Ethereum coins beforehand, but will not go into the details of how I did this here. These can be found elsewhere on the web and typically require a registration on one of the cryptocurrency-trading-platforms. For now, we only need to know that coins are stored in a virtual wallet which enables sending and receiving money similar to a regular bank account. You might also want to know why I chose Ethereum and not Bitcoin, for example. This will become obvious further down in this article.
Kaynakça
- Benn, M. (2017). Spotify has a problem that only the independent music commu- nity can solve ..and it’s nothing to do with ‘fake artists’ or royalty payments., from https://medium.com/@MattBenn/spotify-has-a-problem-that-only- the-independent-music-community-can-solve-ad9a62a80672 [10.1.2018]
- Blaukopf, K. (1996). Die Mediamorphose der Musik als Globales Phänomen Musik im Wandel der Gesellschaft. Grundzüge der Musiksoziologie (pp. 270- 297). Darmstadt: Wissenschaftliche Buchgesellschaft.
- Blocher, W., Hoppen, A., & Hoppen, P. (2017). Softwarelizenzen auf der Block- chain. Ein rechtssicheres Verfahren für das Management von Softwarelizen- zen. Computer und Recht (5), 337-348.
- Bo, F. (2018). Blockchain: disambiguation problem. from https://medium. com/swlh/ blockchain-disambiguation-problem-ca72916bb51b [14.03.2018]
- Briegmann, F., & Jakob, H. ([2005]2009). Management der Wertschöp- fungskette. In M. Clement (Ed.), Ökonomie der Musikindustrie (pp. 87-98). Wiesbaden: DUV.
- Byrne, D. (2012). How Music Works. Edinburgh, London: Canongate.
- Cano, M.-T. (2017). Bestandsaufnahme Gurlitt: "Entartete Kunst" – Bes- chlagnahmt und verkauft. from https://www.kunstmuseumbern.ch/admin/ data/hosts/kmb/files/page_editorial_paragraph_file/file/1365/de_medienmit teilung_best andsaufnahme-gurlitt.pdf?lm=1509480987 [23.4.2018] D'Amato, F. (2016). With a little help from my friends, family and fans. DIY, participatory culture and social capital in music crowdfunding. In S. Whiteley & S. Rambarran (Eds.), The Oxford Handbook of Music and Virtuality (pp.573-592). New York: Oxford University Press.
- de Blanc, M. (2017, 29 Dec). History and implications of DRM. From tractors to Web standards. Paper presented at the 34th Chaos Communication Congress (34C3), Leipzig Retrieved from https://media.ccc.de/v/34c3-9110-his- tory_and_implications_of_ drm#t=72 [7.4.2018].
- de Filippi, P. (2016). Blockchain-based Crowdfunding: what impact on artistic production and art consumption? https://hal.archives-ouvertes.fr/hal- 01265211/ document [20.4.2018]
Perspectives in Music Arising out of Blockchain-Technology and Its Corresponding Research Strategies
Öz
For a start, let us take a look at one of the new services listed when search- ing the web for "music and blockchain". Results typically include Ujomusic, Peertracks, Revelator, DotBC, PledgeMusic, Musiconomy and more, some predominantly offering music, others primarily promoting new services for musicians and creative artists. Of course, these need not be seen in opposi- tion. I chose Ujomusic for the following examples. This was also the platform which hosted one of the earliest experiments simultaneously licensing and monetizing music from the British singer-songwriter Imogen Heap by using a blockchain. When preparing this article, the new album from the Portu- guese musician RAC was on offer:
As I was planning to pay using a cryptocurrency, I had acquired an amount of Ethereum coins beforehand, but will not go into the details of how I did this here. These can be found elsewhere on the web and typically require a registration on one of the cryptocurrency-trading-platforms. For now, we only need to know that coins are stored in a virtual wallet which enables sending and receiving money similar to a regular bank account. You might also want to know why I chose Ethereum and not Bitcoin, for example. This will become obvious further down in this article.
Kaynakça
- Benn, M. (2017). Spotify has a problem that only the independent music commu- nity can solve ..and it’s nothing to do with ‘fake artists’ or royalty payments., from https://medium.com/@MattBenn/spotify-has-a-problem-that-only- the-independent-music-community-can-solve-ad9a62a80672 [10.1.2018]
- Blaukopf, K. (1996). Die Mediamorphose der Musik als Globales Phänomen Musik im Wandel der Gesellschaft. Grundzüge der Musiksoziologie (pp. 270- 297). Darmstadt: Wissenschaftliche Buchgesellschaft.
- Blocher, W., Hoppen, A., & Hoppen, P. (2017). Softwarelizenzen auf der Block- chain. Ein rechtssicheres Verfahren für das Management von Softwarelizen- zen. Computer und Recht (5), 337-348.
- Bo, F. (2018). Blockchain: disambiguation problem. from https://medium. com/swlh/ blockchain-disambiguation-problem-ca72916bb51b [14.03.2018]
- Briegmann, F., & Jakob, H. ([2005]2009). Management der Wertschöp- fungskette. In M. Clement (Ed.), Ökonomie der Musikindustrie (pp. 87-98). Wiesbaden: DUV.
- Byrne, D. (2012). How Music Works. Edinburgh, London: Canongate.
- Cano, M.-T. (2017). Bestandsaufnahme Gurlitt: "Entartete Kunst" – Bes- chlagnahmt und verkauft. from https://www.kunstmuseumbern.ch/admin/ data/hosts/kmb/files/page_editorial_paragraph_file/file/1365/de_medienmit teilung_best andsaufnahme-gurlitt.pdf?lm=1509480987 [23.4.2018] D'Amato, F. (2016). With a little help from my friends, family and fans. DIY, participatory culture and social capital in music crowdfunding. In S. Whiteley & S. Rambarran (Eds.), The Oxford Handbook of Music and Virtuality (pp.573-592). New York: Oxford University Press.
- de Blanc, M. (2017, 29 Dec). History and implications of DRM. From tractors to Web standards. Paper presented at the 34th Chaos Communication Congress (34C3), Leipzig Retrieved from https://media.ccc.de/v/34c3-9110-his- tory_and_implications_of_ drm#t=72 [7.4.2018].
- de Filippi, P. (2016). Blockchain-based Crowdfunding: what impact on artistic production and art consumption? https://hal.archives-ouvertes.fr/hal- 01265211/ document [20.4.2018]
Ayrıntılar
| Birincil Dil | İngilizce |
|---|---|
| Bölüm | Araştırma Makaleleri |
| Yazarlar | |
| Yayımlanma Tarihi | 30 Eylül 2018 |
| Gönderilme Tarihi | 1 Haziran 2018 |
| Yayımlandığı Sayı | Yıl 2018 Sayı: 2 |
