This is all great for sharing various works and ideas, publishing content cheaply, etc. but there is a problem here as well, and that is what were going to discuss - the issue of Digital Rights Management or DRM for short, with a focus on music files.
One of the consequences of files spreading so easily is that “intellectual property owners lose control of distribution” (Kumik, 2003) and usually don’t get paid regardless of the time, cost, and effort that may have gone into producing it. The music industry has been particularly affected (Peitz et al, 2005). This puts off many from publishing on the Internet, but as a distribution channel, nothing else can compete, so it is attractive as well. Among end users also, there is an issue of privacy (Feigenbaum et al, 2002). Firstly, let me explain precisely what is DRM. According to Subrmanya (Subramanya, 2006), DRM broadly refers to “a set of policies, techniques and tools that guide the proper use of digital content”. It is clearly “rooted in and driven by business interests and legal concerns” as pointed out by William Rosenblatt and others in their book ‘Digital Rights Management: Business and Technology’ (Rosenblatt et al, 2001). Technology enabled the digital revolution to take place, but many content owners are therefore now eager “for more intelligent, efficient, and effective management of their content” (Hilts, 2003) as well.
If we break down the whole process of content flow from ‘packaging’, through transmission, tracking, and delivery, and of course, redelivery, protection measures can be applied at each stage. Already, we have digital watermarking, the protocols for content syndication, rights expression languages, etc. (Becker et al, 2003) But it is not straightforward because in the fast changing world we live in, implementation is still an obstacle as is the legal side, business models change, and