Bibliografie tematiche / Digital music files

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Letteratura scientifica selezionata sul tema "Digital music files"

Autore: Grafiati
Pubblicato: 4 giugno 2021
Ultima modifica: 2 febbraio 2022

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Articoli di riviste sul tema "Digital music files"

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Ismanto, Brizky Ramadhani, Tubagus Maulana Kusuma, and Dina Anggraini. "Indonesian Music Classification on Folk and Dangdut Genre Based on Rolloff Spectral Feature Using Support Vector Machine (SVM) Algorithm." IJCCS (Indonesian Journal of Computing and Cybernetics Systems) 15, no. 1 (2021): 11. http://dx.doi.org/10.22146/ijccs.54646.

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Music Genre Classification is one of the interesting digital music processing topics. Genre is a category of artistry, in this case, especially music, to characterize and categorize music is now available in various forms and sources. One of the applications is in determining the music genre classification on folk songs and dangdut songs.The main problem in the classification music genre is to find a combination of features and classifiers that can provide the best result in classifying music files into music genres. So we need to develop methods and algorithms that can classify genres appropr
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Shea, Thomas B., and Ruth Remington. "Spontaneous Neuronal Signaling is Inherently Musical and Mathematical: Insight into the Universal Human Affinity for Music." Open Neurology Journal 12, no. 1 (2018): 64–68. http://dx.doi.org/10.2174/1874205x01812010064.

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Objective:Audio files of spontaneous signal streams generated byex vivoneuronal networks cultured on multi-electrode arrays generated an oscillating sine wave with an inherent musical quality. This was not anticipated considering that synaptic signals are “all - or – none”, and therefore digital, events.Methods:These findings may provide insight into why music can be perceived as pleasurable and invoke a calm mood despite that music is ultimately perceived and stored as a series of digital signals; it is speculated that music may reinforce and/or enhance this spontaneous digital stream.Results
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Kushner, D. "Digital decoys [fake MP3 song files to deter music pirating]." IEEE Spectrum 40, no. 5 (2003): 27. http://dx.doi.org/10.1109/mspec.2003.1197473.

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Cornford, Stephen. "Digital Economy Action: Composition by Participatory Piracy." Leonardo Music Journal 21 (December 2011): 9–10. http://dx.doi.org/10.1162/lmj_a_00051.

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The author discusses the inspiration and design of an as-yet-unrealized composition in which participants serve in the roles of composer, performer and consumer all at the same time. Provoked by the passage of a law restricting sharing and distribution of music files, he explores the potential for file sharing as a compositional process.
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Sorussa, Kanawat, Anant Choksuriwong, and Montri Karnjanadecha. "Emotion Classification System for Digital Music with a Cascaded Technique." ECTI Transactions on Computer and Information Technology (ECTI-CIT) 14, no. 1 (2020): 53–66. http://dx.doi.org/10.37936/ecti-cit.2020141.205317.

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Music selection is difficult without efficient organization based on metadata or tags, and one effective tag scheme is based on the emotion expressed by the music. However, manual annotation is labor intensive and unstable because the perception of music emotion varies from person to person. This paper presents an emotion classification system for digital music with a resolution of eight emotional classes. Russell’s emotion model was adopted as common ground for emotional annotation. The music information retrieval (MIR) toolbox was employed to extract acoustic features from audio files. The c
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Hunt, Kenneth A., and Andrew Mellicker. "A Case Study Of The Music Industry." Journal of Business Case Studies (JBCS) 4, no. 3 (2011): 79. http://dx.doi.org/10.19030/jbcs.v4i3.4770.

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Every industry in the world is affected by technological advancements. As new products and methods are invented, old products and methods become obsolete. Perhaps no industry illustrates this basic principle better than the music industry. From the invention of sheet music to the digital music files known today, the music industry has remade itself time after time. With the development of the latest technology, old products have repeatedly been abandoned. This case will explore the history of the music industry by highlighting the various technologies that changed the industry. In addition, a
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Brennan, Matt, and Kyle Devine. "The cost of music." Popular Music 39, no. 1 (2020): 43–65. http://dx.doi.org/10.1017/s0261143019000552.

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AbstractWhat is the cost of music in the so-called Anthropocene? We approach this question by focusing on the case of sound-recording formats. We consider the cost of recorded music through two overlapping lenses: economic cost, on the one hand, and environmental cost, on the other. The article begins by discussing how the price of records has changed from the late 19th to the 21st century and across the seven most economically significant playback formats: phonograph cylinder, gramophone disc, vinyl LP, cassette tape, compact disc, digital audio files on hard drive, and streaming from the clo
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Carroll, Sam. "Hepfidelity: Digital Technology and Music in Contemporary Australian Swing Dance Culture." Media International Australia 123, no. 1 (2007): 138–49. http://dx.doi.org/10.1177/1329878x0712300113.

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Since its revival in the 1980s, Lindy hop along with other swing dances has become increasingly popular with middle class youth throughout the developed world. Social dancing plays a central part in local swing dance communities, and DJing recorded music has become an essential part of social dancing. Marked by class and gender, DJing in swing dance communities is also shaped by digital technology, from the CDs, computers and portable media devices which DJs use to play digital musical files to the discussion boards and websites where they research and discuss DJing and the online music stores
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GÜRFİDAN, Remzi, and Mevlüt Ersoy. "Blockchain-Based Music Wallet for Copyright Protection in Audio Files." Journal of Computer Science and Technology 21, no. 1 (2021): e2. http://dx.doi.org/10.24215/16666038.21.e2.

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The works produced within the music industry arepresented to their listeners on a digital platform,taking advantage of technology. The problems of thepast, such as pirated cassettes and CDs, have left theirplace to the problem of copyright protection on digitalplatforms today. Block chain is one of the mostreliable and preferred technologies in recent timesregarding data integrity and data security. In thisstudy, a blockzincir-based music wallet model isproposed for safe and legal listening of audio files.The user's selected audio files are converted intoblock chain structure using different t
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Le Prell, C. G., Q. Yang, and J. G. Harris. "Modification of digital music files for use in human temporary threshold shift studies." Journal of the Acoustical Society of America 130, no. 4 (2011): EL142—EL146. http://dx.doi.org/10.1121/1.3630017.

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Tesi sul tema "Digital music files"

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Coduto, Kathryn D. "Tangibility and Immateriality: Understanding Consumers' Changing Sense of Touch in the Music Industry." Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1406148708.

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Liese, Christin. "Kaufst du noch oder streamst du schon?" Bachelor's thesis, Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-223500.

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Abstract (sommario):
Die Zeiten der Plattensammlung sind vorbei, Kassetten und CDs sind der MP3-Datei gewichen und nun wird Musik ausschließlich gestreamt. Dieses Zukunftsszenario ist bis dato noch nicht eingetreten, aber wird dies überhaupt passieren? Wird der Kauf von physischen Musikdatenträgern und digitalen Musikdateien dank der immer stärker ansteigenden Streaming Aktivitäten komplett eingestellt? Oder können beide Formen nebeneinander existieren? Um diesen Fragen auf den Grund zu gehen, wurde im Rahmen dieser Arbeit eine Umfrage mit 1.661 Studenten der Technischen Universität Dresden durchgeführt. Die Ergeb
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Buonviri, Nathan. "Audio-OnlyTest [Digital File]." Diss., Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/254227.

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Music Education<br>Ph.D.<br>The purpose of this study was to determine how pitch and rhythm aspects of melodic memory are affected by aural distractions when melodic stimuli are presented both visually and aurally, as compared to aurally only. The rationale for this research is centered on the need for improved melodic memory skills of students taking melodic dictation, and the possibility that temporary visual imagery storage of target melodies might enhance those skills. The participants in this study were undergraduate and graduate music majors (n=41) at a large northeastern university. All
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Buonviri, Nathan. "Audio-VisualTest [Digital File]." Diss., Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/254228.

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Music Education<br>Ph.D.<br>The purpose of this study was to determine how pitch and rhythm aspects of melodic memory are affected by aural distractions when melodic stimuli are presented both visually and aurally, as compared to aurally only. The rationale for this research is centered on the need for improved melodic memory skills of students taking melodic dictation, and the possibility that temporary visual imagery storage of target melodies might enhance those skills. The participants in this study were undergraduate and graduate music majors (n=41) at a large northeastern university. All
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Vidiksis, Adam. "Vidiksis-Transfigurations [Digital File]." Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/253842.

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Music Composition<br>D.M.A.<br>Transfigurations is a symphonic work in one movement for orchestra and live computer processing utilizing the graphical audio programming language Pure Data. The score and patch for this piece are accompanied by an essay describing the audio processing techniques and the compositional processes employed in this work. Programming methods discussed include strategies for data capture, patch structure, user interface, and processor management. All audio processing in the work is realized in realtime. These sounds are derived directly from the orchestra in performanc
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Hensley, Evan, and Efstathios Kassios. "Understanding the Digital Music Customer : Attributes of Satisfaction." Thesis, Jönköping University, JIBS, Economics, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-12548.

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<p>Record companies are suffering due to a downturn in recorded music sales. Innovative firms have developed digital music services that offer recorded music products to customers in new ways, yet sales are not what they used to be. Web 2.0 technologies have changed the customer’s tastes, expectations, and desires. Thus, a deeper understanding of the new “digital customer” is needed in order to better offer services in a way that he or she prefers most.</p>
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Durham, Blake. "Regulating dissemination : a comparative digital ethnography of licensed and unlicensed spheres of music circulation." Thesis, University of Oxford, 2018. https://ora.ox.ac.uk/objects/uuid:2912f7b5-b88b-4a8c-af7a-11c6a51fda0c.

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This thesis examines the transformations of music circulation and consumption brought about by new media platforms. Specifically, it shows how the social and technical design of online music platforms link the consumption of music immanently to its circulation. The thesis makes contributions to ethnomusicology, media studies, and digital anthropology, as well as to the study of music's technical cultures. It is based on a comparative ethnographic study of music circulation and consumption within two field sites: the commercial streaming service Spotify and the extralegal, unlicensed peer to pe
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Bicher, Katrin, and Barbara Wiermann. "Normdaten zu „Werken der Musik“ und ihr Potenzial für die digitale Musikwissenschaft." De Gruyter, 2018. https://slub.qucosa.de/id/qucosa%3A36381.

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Der Aufsatz diskutiert Normdaten zu musikalischen Werken in der GND und erörtert Möglichkeiten ihrer (Nach-)Nutzung in bibliothekarischen und musikwissenschaftlichen Kontexten. Herausforderungen sowohl des theoretischen Konzepts als der praktischen Umsetzung werden benannt und das Potenzial der in den Normdaten enthaltenen Informationen wird aufgezeigt.<br>The paper discusses conceptual matters and implementation practices for authority information for musical works in the German authority file (GND). Options of re-use of the authority data in libraries as well as in musicological contexts are
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Michel, Norbert. "A Theoretical and Empirical Analysis of the Impact of the Digital Age on the Music Industry." ScholarWorks@UNO, 2003. http://scholarworks.uno.edu/td/64.

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We present an in-depth analysis of the music industry and use our findings to judge the practical assumptions and design of an original theoretical model. The model is in three stages, where, in a Hotelling-type framework, the last agents to act are consumers who choose between copying, purchasing, or staying out of the market for music. Prior to the last stage, the record label chooses its profit maximizing price and, in the first stage, we incorporate the artist-label bargaining agreement into a theoretical framework using the Nash cooperative bargaining solution. The current structure
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Lundström, Justus, Jonas Widriksson, and Viktor Zaunders. "Changes in media consumption and file sharing : The impact of legislation and new digital media services." Thesis, Jönköping University, JIBS, Business Informatics, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-12534.

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<p>In this study we investigate how the attitude and behaviour concerning illegal file shar-ing have changed among the young population in Sweden. The study will analyze the impact of the IPRED law that was introduced in April 2008 and new digital media ser-vices that have emerged in the last couple of years. It is also evaluated which of these have had the most impact on the attitude and behaviour of the selected population.</p><p>The main part of our research consists of a quantitative survey handed out to a sample population among high school students (ages 16-20) in Jönköping, Sweden. This
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Libri sul tema "Digital music files"

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Williams, Ryan. WindowsXP Digital Music For Dummies. John Wiley & Sons, Ltd., 2004.

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Making music with GarageBand and Mixcraft. Course Technology, 2011.

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Cousins, Mark. Logic Pro 9: Audio and music production. Focal Press/Elsevier, 2010.

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Cousins, Mark. Logic Pro 9: Audio and music production. Focal Press, 2010.

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Roberts, David E. Digital Performer for engineers and producers: Music production, mixing, film scoring, and live performance. Hal Leonard Books, 2013.

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Macworld music handbook. Sanctuary, 2001.

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Cousins, Mark. Logic Pro 9: Audio and music production. Focal Press, 2010.

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Gary, Rosenzweig, ed. MacAddict guide to making music with GarageBand. Que, 2004.

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Russ, Hepworth-Sawyer, ed. Logic Pro 9: Audio and music production. Focal Press, 2010.

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Shaffer, Jay. MacAddict Guide to Making Music with GarageBand, The. Pearson Education, 2005.

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Capitoli di libri sul tema "Digital music files"

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Margounakis, Dimitrios, and Dionysios Politis. "Music Libraries." In E-Publishing and Digital Libraries. IGI Global, 2011. http://dx.doi.org/10.4018/978-1-60960-031-0.ch006.

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Abstract (sommario):
Nowadays, there is a great increase in music distribution over the Internet. This phenomenon is common in many countries and therefore involves many issues such as: ways of distribution, music format, organizing music and copyright issues. The revolution in music prototypes (especially the MP3 music format) urged many people to turn to the Internet for free and easy-to-find music. Music files can be downloaded easily from the Internet anywhere in the world and be burned into a CD or DVD or transferred to a friend via usb-sticks. Music is also widely available as streams in Internet trough various services such as MySpace, YouTube and Spotify. Internet also is full of questions what is legal and what is not, because exchange of files is hard to supervise and the laws between countries also differ. All the legal services are constructed around a digital music library, containing millions of songs. Vast music libraries are easily accessed through Internet from users and serve as the ultimate way to find and listen to the music they desire. In this chapter, some representative popular music libraries are presented. Moreover, the interaction between the user and a music repository or a music store (a web site that sells music over the Internet) is another subject presented in this chapter. In section 1, terms and definitions related to digital music libraries are explained. Section 2 presents some popular music libraries, while section 3 presents some popular Internet music stores. Finally, a special version of a digital music library in streaming format (Internet Radio) is presented in section 4.
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Fernandes, Kylyn, Ankit Rishi Gupta, Pratik Panchal, and Ramchandra Mangrulkar. "Application of Steganography for Secure Data Transmission Using Lossless Compression." In Multidisciplinary Approach to Modern Digital Steganography. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-7160-6.ch013.

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Steganography is the art of hiding messages or files in a way that prevents the detection of the existence of these hidden messages. It encompasses several techniques, including physical methods like invisible ink on paper and digital techniques like hiding text on multimedia files like images and music files. In the modern digital era, steganography has become a useful tool to evade detection and perusal of secret messages. With the advent of social media, it is very easy to encode a message or file onto an image and upload it online for the intended recipients to access, decode, and read or use. In this case of digital steganography of messages or files onto images, an important factor to consider is the effect of image compression on the hidden message. Since most social media and other online image posting websites run some sort of compression, cropping, and other image transformations on the uploaded images, understanding these techniques and their effect on the hidden text can help one choose the most suitable steganography technique to use for a particular use case.
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Neumayer, Robert, and Andreas Rauber. "Map-Based User Interfaces for Music Information Retrieval." In Handbook of Research on Digital Libraries. IGI Global, 2009. http://dx.doi.org/10.4018/978-1-59904-879-6.ch032.

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Abstract (sommario):
In this chapter, we introduce alternative ways to access digital audio collections. We give an overview of existing applications based on tow-dimensional, map-like representations of music collections. Further, we explain two applications for accessing audio files that are based on the Self-Organising Map, an unsupervised neural network model. These two applications—PlaySOM and PocketSOM—will be explained in greater detail, paying special attention to their unique properties and implementations for several mobile devices. These examples are supposed to gain the readers’ interest for alternative interfaces to large audio collections. Besides, we hope to show that alternative interfaces are feasible for both desktop computers and mobile devices and offer a practical approach to pressing issues in accessing digital collections.
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Hughes, Jerald, and Karl Reiner Lang. "Content Sharing Systems for Digital Media." In Encyclopedia of Multimedia Technology and Networking, Second Edition. IGI Global, 2009. http://dx.doi.org/10.4018/978-1-60566-014-1.ch035.

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In 1999, exchanges of digital media objects, especially files of music, came to constitute a significant portion of Internet traffic, thanks to a new set of technologies known as peer-to-peer (P2P) file-sharing systems. The networks created by software applications such as Napster and Kazaa have made it possible for millions of users to gain access to an extraordinary range of multimedia files. However, the digital product characteristics of portability and replicability have posed great challenges for businesses that have in the past controlled the markets for image and sound recordings. ‘Peer-to-peer’ is a type of network architecture in which the various nodes may communicate directly with other nodes, without having to pass messages through any central controlling node (Whinston, Parameswaran, &amp; Susarla, 2001). The basic infrastructure of the Internet relies on this principle for fault tolerance; if any single node ceases to operate, messages can still reach their destination by rerouting through other still-functioning nodes. The Internet today consists of a complex mixture of peer-to-peer and client-server relationships, but P2P file-sharing systems operate as overlay networks (Gummadi, Saroiu, &amp; Gribble, 2002) upon that basic Internet structure. P2P file-sharing systems are software applications which enable direct communications between nodes in the network. They share this definition with other systems used for purposes other than file sharing, such as instant messaging, distributed computing, and media streaming. What these P2P technologies have in common is the ability to leverage the combined power of many machines in a network to achieve results that are difficult or impossible for single machines to accomplish. However, such networks also open up possibilities for pooling the interests and actions of the users so that effects emerge which were not necessarily anticipated when the network technology was originally created (Castells, 2000). In a narrow sense, P2P file-sharing systems refer to applications that exchange content over computer networks where the nodes act both as client and server machines, requesting and serving files (e.g., Kazaa, BitTorrent). In a wider sense, P2P file-sharing systems also include any application that lets peer users exchange digital content among themselves (e.g., YouTube, Flickr).
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Katz, Mark. "Authorship in the Age of Configurable Music." In Rethinking American Music. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042324.003.0015.

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Mark Katz takes up the up the subject of “configurable music,” by which he means music for which “electronic technologies are used to fashion works that are recognizable as permutations of [prerecorded sounds,] ‘found’ sounds and compositions.” He explores broader questions of authorship among two types of musicians: contemporary hip-hop DJs, known as turntablists, and mashup artists working at personal computers using digital sound files and constructing collages distributed over the internet. Despite their similarities, these two types of artists have very different views about the authorship of their creations. Turntablists in general strongly assert authorship over their work. By contrast, mashup artists tend to reject the notion that are authors (or composers) of anything, characterizing their practice as one of arranging, remixing, or juxtaposing.
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Boudreault-Fournier, Alexandrine. "Street Net and Electronic Music in Cuba." In Audible Infrastructures. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190932633.003.0007.

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Cuba has one of the lowest internet penetration rates in the world. This encourages Cubans to create alternative ways of coping with digital scarcity, including hidden wi-fi antennas and ethernet cables strung over streets and rooftops, and physical networks of digital media circulation that rely on memory sticks and other portable devices. These alternative networks counter the inefficiency and unreliability of the official media infrastructures, providing the population with access to digital media and to what presently circulates outside of Cuba. Electroacoustic and electronic musicians benefit from these physical networks of circulation by accessing text, audio, and image files, as well as cracked software, anti-virus definitions, and plug-ins. This chapter explores the creative impacts of evolving media infrastructures on the production and circulation of digital media in Cuba, looking at how wires, waves, and webs affect the creation of new collectives and new music during a period of rapid economic and political transformation. It addresses the strategies adopted by electronic musicians to access programs and software, and to create music in a context of digital scarcity and through illicit and legal infrastructures. The chapter discusses telecommunications networks and the digitalization of music on this island, where the creative strategies for dealing with such infrastructures (or the lack thereof) contribute to new fields of musical practice. Digital culture in Cuba is about alternative local intranets as much as the official global internet, hand-to-hand data sharing as much as peer-to-peer file transfers, human “servers” as much as computer servers.
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Beer, David. "The MP3 Player as a Mobile Digital Music Collection Portal." In Mobile Computing. IGI Global, 2009. http://dx.doi.org/10.4018/978-1-60566-054-7.ch096.

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Abstract (sommario):
MP3 players are often described as music collections in our pockets or the pocket jukebox. Indeed, it would seem that MP3 players have significantly transformed music collections, music collecting practices, and contemporary understandings of the music collection. The MP3 player may be used to store, retrieve, and reproduce digital music files, and, therefore, it can be described as a portal—if we define the term portal as an entrance, doorway, or gateway—into these simulated (Baudrillard, 1983) mobile music collections. It is an interface between the human body and archives of digitally compressed music. This can perhaps be understood as constituting a kind of musical cyborg, a cybernetic organism, a hybrid of human and machine (Haraway, 1991). The MP3 player, in this hybridised sense, is a gateway into the digital, virtual, or simulated (Baudrillard, 1983) material cultural realm of music, a mobilised cyber-collection. The question then is what becomes of the music collection and the music collector when music shifts from the objectified disc and spool to the digital compression format and MP3 player portal? And, what are the social and cultural implications of the MP3 player portal’s increasing pervasiveness and embeddedness in the flows of everyday life? The purpose of this article is to briefly introduce and discuss these questions alongside some of the technical details of the MP3 player. This article aims to use the material and technical details and definitions of the MP3 player to open up a range of possible questions that may be pursued in future research in this area. I will begin by defining the MP3 and the MP3 player.
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Manzo, V. J. "Audio Effects and Processing." In Max/MSP/Jitter for Music. Oxford University Press, 2011. http://dx.doi.org/10.1093/oso/9780199777679.003.0020.

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In the last two chapters, we addressed ways to get live audio and sound files to play in your patch. In this chapter, we will address implementing audio effects into the patch. Many DAWs (Digital Audio Workstations) allow you to add effects such as delays, reverb, and chorus into the audio signal path. Max, however, gives you complete control over the effects that you add since you build them yourself. For example, if you want to build a delay effect that delays the incoming audio signal by quarter notes for 5 seconds, sixteenth notes for 2 seconds, and eighth notes for 11 seconds, you may find that this very specific task is easier to carry out in Max than in the automation window of most DAWs. Similarly, if you wanted to perform some sort of filtering on audio in a buffer, you have complete control over the audio in your patch and the way that actions are carried out on it. Since the nature of building effects is rather complex, we will focus on the concept of implementation using some simpler effects in the process. We will begin discussing delays, that is, combining an audio signal with a duplicate of the signal delayed by some amount of time. In addition to being a useful effect in itself, delays are the basis for other effects such as reverb, chorus, and flanging. Let’s build a patch that will allow us to audition a few effects that we will build together. We will use some of the sound files that were installed on your computer when you installed Max (like jongly.aif ) and sfplay~ to play these files back. As you should know, you can just as easily implement these effects into a patch that uses live audio.
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Steinebach, Martin. "File-Sharing and the Darknet." In Encyclopedia of Criminal Activities and the Deep Web. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-5225-9715-5.ch011.

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Today the darknet is a term most often is used for privacy networks like TOR. Around the year 2000 at the high of the mp3 file sharing debate between internet activists and copyright holders, it was a term commonly used for file sharing networks allowing the transfer of digital files, especially music and movies. These former darknets were subject of multiple investigations with the aim to identify and sue users who traded copyrighted martial via these networks. Therefore, a technical development started trying to achieve privacy for file sharing users. In this article, the authors show how file sharing networks evolved into the privacy networks we know today and which impact the privacy mechanisms have on file sharing.
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Nhan, Johnny, and Alesandra Garbagnati. "Policing of Movie and Music Piracy." In Digital Rights Management. IGI Global, 2013. http://dx.doi.org/10.4018/978-1-4666-2136-7.ch056.

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Ongoing skirmishes between mainstream Hollywood entertainment conglomerates and Peer-to-Peer (P2P) file-sharing networks recently reached a crescendo when a Swedish court convicted members of the world’s largest BitTorrent, The Pirate Bay, and handed out the stiffest sentence to date.1 Four operators of The Pirate Bay received one year imprisonments and fines totaling $30 million, including confiscation of equipment. While this verdict sent shockwaves amongst P2P networks, piracy remains rampant, and this incident further exacerbated relations between file sharers and Hollywood. In retaliation, supporters of P2P file-sharing attacked websites of the law firms representing the Hollywood studios (Johnson, 2009). This victory by Hollywood studios may be a Pyrrhic defeat in the long run if the studios do not soften their antagonistic relations with the public. This chapter explores structural and cultural conflicts amongst security actors that make fighting piracy extremely difficult. In addition, it considers the role of law enforcement, government, industries, and the general public in creating long-term security models.
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Atti di convegni sul tema "Digital music files"

1

Foscarin, Francesco, Florent Jacquemard, and Raphaël Fournier-S’niehotta. "A diff procedure for music score files." In DLfM '19: 6th International Conference on Digital Libraries for Musicology. ACM, 2019. http://dx.doi.org/10.1145/3358664.3358671.

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2

Serrao, Carlos, Antonio Serra, Miguel Dias, and Jaime Delgado. "Protection of MP3 Music Files Using Digital Rights Management and Symmetric Ciphering." In 2006 Second International Conference on Automated Production of Cross Media Content for Multi-Channel Distribution (AXMEDIS'06). IEEE, 2006. http://dx.doi.org/10.1109/axmedis.2006.42.

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Lee, Chang-Yong, Young-Hyung Kim, Jong-Tae Sung, and Yong-Hwan Lee. "Tracking Piano Tone from Music File for Digital Keyboard." In Circuits, Control, Communication, Electricity, Electronics, Energy, System, Signal and Simulation 2016. Science & Engineering Research Support soCiety, 2016. http://dx.doi.org/10.14257/astl.2016.135.19.

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4

Esmaeilian, Behzad, Angshuman Deka, and Sara Behdad. "A Blockchain Platform for Protecting Intellectual Property: Implications for Additive Manufacturing." In ASME 2019 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2019. http://dx.doi.org/10.1115/detc2019-98293.

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Abstract Prior studies have already predicted that enforcement of IP on the additive manufacturing industry will not be successful due to the widespread use of file-sharing technologies, similar to the entertainment and music industry. This paper discusses the capabilities of Blockchain technology for protecting IP in the design and manufacturing area. A conceptual framework for a digital platform is defined in this paper and further, a survey study of engineering design and manufacturing students has been conducted to identify the main motivation behind developing these platforms and the type
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