NFTs In Music Industry: Potentiality and Challenge

Conference theme: Use of new and emerging technologies in Digital Art, Data, Scientific and Creative Visualisation, Digitally Enhanced Reality and Everyware, 2D and 3D Imaging, Display and Printing, Mobile Applications, Museums and Collections, Music, Performing arts, and Technologies, Open Source and Technologies, Preservation of Digital Visual Culture, Virtual Cultural Heritage, Ethical Issues, Historical Issues, Digital Culture, Artificial Intelligence, NFTs

Conference date: 4–8 July 2022

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Author and article information

Contributors

Raffaella Folgieri

Paul Arnold

Alessandro Giuseppe Buda

Conference

Publication date: July 2022

Publication date (Print): July 2022

Pages: 63-64

Affiliations

[0001]Department of Philosophy,

Università degli Studi di Milano

Via Festa del Perdono, 7, Milan, Italy

[0002]Bob and Barn Ltd

124 Malvern Road

Cambridge, CB1 9LH, UK

Article

DOI: 10.14236/ewic/EVA2022.14

SO-VID: fbfde9b6-9f76-40bf-b395-650ae5bd8550

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This work is licensed under a Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/

Conference name: Proceedings of EVA London 2022

Conference acronym: EVA 2022

Conference number:

Conference location: London

Conference date: 4–8 July 2022

Conference sponsor: Electronic Workshops in Computing (eWiC)

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1477-9358 BCS Learning & Development

Self URI (article page): https://www.scienceopen.com/hosted-document?doi=10.14236/ewic/EVA2022.14

Self URI (journal page): https://ewic.bcs.org/

REFERENCES

D. E. Bennett (2008) Understanding the classical music profession: The past, the present and strategies for the future. Ashgate Publishing, Ltd.
S. Chevet (2018) Blockchain technology and non-fungible tokens: Reshaping value chains in creative industries. Available at SSRN 3212662.
Raeesah Chohan, and Jeannette Paschen (2021) What marketers need to know about non-fungible tokens (NFTs). Business Horizons
M. KretschmerG. M. Klimis, & R. Wallis (1999) The changing location of intellectual property rights in music: A study of music publishers, collecting societies and media conglomerates. Prometheus, 17(2), 163-186.
N. Minibayeva, & J. W. Dunn (2002, July) A digital library data model for music. In Proceedings of the 2nd ACM/IEEE-CS joint conference on Digital libraries (pp. 154-155).
F. RegnerN. Urbach, & A. Schweizer (2019) NFTs in practice–non-fungible tokens as core component of a blockchain-based event ticketing application.
F. M. Scherer (2006) The evolution of music markets. Handbook of the Economics of Art and Culture, 1, 123-143.
Q. WangR. LiQ. Wang, & S. Chen (2021) Non-fungible token (NFT): Overview, evaluation, opportunities and challenges. arXiv preprint arXiv:2105.07447.

Comments

Comment on this article

[1] D. E. Bennett (2008) Understanding the classical music profession: The past, the present and strategies for the future. Ashgate Publishing, Ltd.

[2] S. Chevet (2018) Blockchain technology and non-fungible tokens: Reshaping value chains in creative industries. Available at SSRN 3212662.

[3] Raeesah Chohan, and Jeannette Paschen (2021) What marketers need to know about non-fungible tokens (NFTs). Business Horizons

[4] M. KretschmerG. M. Klimis, & R. Wallis (1999) The changing location of intellectual property rights in music: A study of music publishers, collecting societies and media conglomerates. Prometheus, 17(2), 163-186.

[5] N. Minibayeva, & J. W. Dunn (2002, July) A digital library data model for music. In Proceedings of the 2nd ACM/IEEE-CS joint conference on Digital libraries (pp. 154-155).

[6] F. RegnerN. Urbach, & A. Schweizer (2019) NFTs in practice–non-fungible tokens as core component of a blockchain-based event ticketing application.

[7] F. M. Scherer (2006) The evolution of music markets. Handbook of the Economics of Art and Culture, 1, 123-143.

[8] Q. WangR. LiQ. Wang, & S. Chen (2021) Non-fungible token (NFT): Overview, evaluation, opportunities and challenges. arXiv preprint arXiv:2105.07447.

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