Question 1: Music and Popular Culture
问题一：音乐与大众文化
音乐文化代写 Music is one of the few industries that have experienced disruption predominantly due to the advent of technology. Equally important…
Introduction
Music is one of the few industries that have experienced disruption predominantly due to the advent of technology. Equally important is the fact that technology has transformed the very structure of the music industry, which has changed the role of the artist. For instance, the mode of consumption of music has shifted from reliance on vinyl music records to music streaming (Maasø, 2018). Moreover, the ease of access that contemporary forms of music consumption have changed dramatically, and so has the perspective of the iconic celebrity as evidenced by K-pop groups. In essence, the structure has changed in that no longer do establish record labels have a monopoly on marketing control insofar as the copyright images of the artists are concerned.
Additionally, the advent of YouTube has created an ideal platform whereby musicians are allowed to showcase their talents to a mass audience at no extra cost. Therefore, an evaluation of the history of music reveals the significant impact created by celebrity icons in the music industry, which subsequently led to the rise of popular culture. Ideally, artists such as Elvis Presley and Michael Jackson were pioneers of a youth movement that culminated in the creation of an entire generation characterized wit distinct identity.
介绍 音乐文化代写
译文：音乐是少数由于技术的出现而经历了颠覆性发展的行业之一。同样重要的是，技术改变了音乐产业的结构，改变了艺术家的角色。例如，音乐的消费方式已经从对黑胶唱片的依赖转变为音乐流式传输（Maasø，2018）。此外，当代音乐消费形式的易用性已经发生了巨大变化，K-pop乐队也证明了标志性名人的观点。从本质上说，结构已发生变化，就艺术家的版权图像而言，建立唱片公司不再是市场营销控制的垄断者。
此外，YouTube的出现创造了一个理想的平台，音乐家可以在此平台上向大众展示自己的才华，而无需支付额外费用。因此，对音乐历史的评估揭示了名人偶像在音乐行业中所产生的重大影响，从而导致了流行文化的兴起。理想情况下，埃尔维斯·普雷斯利（Elvis Presley）和迈克尔·杰克逊（Michael Jackson）等艺术家是青年运动的开拓者，他们最终造就了具有独特身份的整个一代。
Moreover, the influence of the Beatles was so significant that it stimulated political discourse and social movements (Brown, 2019).
Equally important is the fact that extensive marketing efforts have been deployed in the creation of the global music industry.Generally, the entertainment industry is perceived to be motivated by capital, which facilitates the transmission of cultural media through marketing and advertising. Ideally, this implies that influences of power and money determine the dissemination of cultural exchange that is inherent in the entertainment. Besides, the existing power structures leverage their impact on regulating technological changes since such a risk pays off.
Additionally, the acts of these power structures adapt with trends to accommodate their target market, which, more often than not, is the youth. Consequently, the focus of this essay is to offer insights into the literature surrounding the lessons that may be learned by digital culture through studying music.
此外，甲壳虫乐队的影响力是如此之大，以至于激发了政治言论和社会运动（布朗，2019年）。
译文：同样重要的是，在全球音乐产业的创造中已经进行了广泛的营销工作。通常，娱乐业被认为是由资本推动的，这促进了文化媒体通过营销和广告的传播。理想情况下，这意味着权力和金钱的影响决定了娱乐活动固有的文化交流的传播。此外，现有的权力结构利用其对规范技术变革的影响，因为这种风险得到了回报。 音乐文化代写
此外，这些权力结构的行为与趋势相适应，以适应其目标市场，而目标市场往往是年轻人。因此，本文的重点是对与数字文化相关的课程的见解提供见解，而数字文化可以通过学习音乐来学习。
The Advent of Contemporary Music
Evidence-based research indicates that the progress made in the contemporary music industry has transformed how society, in general, perceives the influence of music in culture. Some of the dynamics that may be considered include, how the artist is presented to the audience, and the means through which music is consumed. Moreover, these two concepts have been revolutionized by the proliferation of technology in the music industry. Initially, the album concept in music production and consumption had gained traction; hence the launch of music would warrant an event. Nevertheless, the digital revolution has been at the heart of transforming how audiences consume music.
For instance, digital downloading and mass piracy had significant adverse effects on the album itself as well as the sales. Full-length albums were sold as complete records, but in contemporary music, a music fan has facilitated the opportunity of selecting favorite individual tracks from a given collection. Equally important is the fact that music streaming also created a sense of disruption insofar as music consumption is concerned (Klein, Meier & Powers, 2017).
In this regard, an artist is facilitated with the opportunity of uploading their content of popular medium and, in the process, gain an extended user base. Therefore, music fans can use different discovery genres of music on a global scale due to the inherent advantages associated with the incorporation of technology. Likewise, the image portrayal of an artist has been transformed following the proliferation of technology in the music industry.
当代音乐的来临 音乐文化代写
译文：循证研究表明，当代音乐产业所取得的进步已经改变了社会总体上对音乐在文化中的影响的认识。可以考虑的一些动态因素包括，如何将艺术家展示给听众，以及消费音乐的方式。而且，这两个概念已随着音乐行业技术的发展而发生了革命性的变化。最初，专辑概念在音乐生产和消费中获得了关注。因此，音乐的发行将保证一个事件。尽管如此，数字革命仍是改变观众消费音乐方式的核心。
例如，数字下载和大量盗版对专辑本身以及销售产生了严重的不利影响。完整专辑以完整唱片的形式出售，但是在当代音乐中，音乐迷为从给定收藏中选择喜爱的单曲提供了便利。同样重要的是，就音乐消费而言，音乐流媒体也会产生一种破坏感（Klein，Meier＆Powers，2017）。
在这方面，使艺术家有机会上载他们流行媒体的内容，并在此过程中获得了扩展的用户群。因此，由于与技术整合相关的固有优势，音乐迷可以在全球范围内使用不同的音乐发现类型。同样，随着音乐行业技术的发展，艺术家的形象刻画也发生了变化。
Conventionally
Savvy marketers and record labels had certain rights on the portrayed image of a music celebrity to the audience (Morris, 2014). However, the creation of social media platforms has facilitated the freedom of interaction between artists and their respective fans. Consequently, this implies that the content recipient and creator can communicate effortlessly and with promptness.
Only recently, music stars were considered in a different standard since the passionate listeners were idolized music stars divinely. Moreover, music was regarded as more than a mere form of entertainment as it catalyzed cultural identity and political change for large social groups. For example, popular culture was integral to the advent of the Occupy movement protest, which took place in 2011 in the U.S. (Brown, 2019). Ideally, the protest gained traction as the fundamental theme was to draw attention to the economic disparities.
按照惯例
译文：精明的营销人员和唱片公司对音乐名人向观众的刻画形象享有一定的权利（Morris，2014年）。 但是，社交媒体平台的创建促进了艺术家与其粉丝之间互动的自由。 因此，这意味着内容接收者和创建者可以毫不费力地，及时地进行通信。
直到最近，才将音乐明星视为一个不同的标准，因为热情的听众被神化为音乐明星的偶像。 此外，音乐被认为不仅仅是一种娱乐形式，因为它促进了大型社会群体的文化认同和政治变革。 例如，流行文化是2011年在美国发生的占领运动抗议活动不可或缺的一部分（布朗，2019年）。 理想情况下，抗议活动吸引了人们的注意，因为基本主题是提请人们注意经济差异。 音乐文化代写
Moreover, there is a need to reduce the influence of corporations in global politics and society.
Some of the music that was considered during the protests include Ry Cooder’s “No Banker Left Behind” and “Makana’s “We Are the Many.” Equally important is the fact that the fundamental component of self-identity was the genre of music in which fans illustrated their loyalty and preferences.
Moreover, music stars were treated as deity predominantly because such idols were perceived as being untouchable in terms of connectivity. At the time, media could not facilitate the direct access that is characteristic of the contemporary culture, hence creating a sense of untouchable glamor and augmentation in celebrity worship (Street, 2003).
The personal disconnection between content creators and their fans created a loophole whereby the music industry and record label executives the opportunity to create the desired image of a musician to the consumers since the messages presented to the public could be crafted. Nevertheless, the development of social media platforms has allowed the integration of musicians and popular culture by facilitating ease of communication with fans where the two entities become more connected.
此外，需要减少公司在全球政治和社会中的影响。 音乐代写
译文：抗议期间考虑的一些音乐包括Ry Cooder的“不放过任何银行家”和“ Makana的“我们是很多人”。同样重要的是，自我认同的基本组成部分是歌迷所喜欢的音乐流派说明了他们的忠诚度和偏好。
此外，音乐明星主要被视为神灵，因为这样的偶像在连通性方面被认为是不可触碰的。当时，媒体无法促进当代文化所特有的直接访问，因此在名人崇拜中产生了无法触及的魅力和增添感（Street，2003年）。 音乐文化代写
内容创建者及其粉丝之间的个人脱节造成了一个漏洞，音乐产业和唱片公司的高管有机会向消费者创造音乐家的理想形象，因为可以向公众展示这些信息。尽管如此，社交媒体平台的发展通过促进与两个实体之间的联系更加紧密的粉丝之间的沟通便利性，使音乐家和流行文化得以融合。
Consumption Trends
The study of the popular mode of consumption offers insights into the strides made when considering music progression since changes witnessed in digital platforms have a significant impact on both the listeners and the music industry at large. Initially, the full album concept was utilized in music consumerism, where physical products such as CDs and vinyl records where the listener was compelled to commit to the embedded tracks. Equally important is the fact that music records were considered as being a social commodity, which was significantly sought after in a similar manner in which technological products are being found in contemporary society.
Hence, the desire to acquire an album as a concrete product was integral in creating an intrinsic value and, in the process, modify culture through the consumers’ desires. Music consumerism became connected with a physical record. Which leads to the manifestation of a Marxian ideology of the social use value and augmented psychological association (Willett, 2011).Additionally, this implies that the possession of physical products in the form of vinyl records created a sense of satisfaction due to real ownership.
Comparisons can be drawn between ancient music culture and the contemporary obsession with smartphones. In as much as smartphones have numerous functional abilities. And related applications, users have the desire to own the device itself. Consequently, the connection of value with the physical element of the ownership of the vinyl record created a fixated listening experience leading to more devotion to the product itself.
消费趋势 音乐文化代写
译文：流行消费模式的研究提供了在考虑音乐发展时所取得的进步的见解，因为数字平台中见证的变化对听众和整个音乐行业都产生了重大影响。最初，完整专辑的概念在音乐消费主义中得到了应用，其中唱片和唱片等物理产品被迫将听众奉献给嵌入的曲目。同样重要的是，音乐唱片被认为是一种社会商品，这一事实以与当代社会中发现技术产品的方式相似的方式受到了极大的追捧。
因此，获取专辑作为具体产品的愿望是创造内在价值的必要条件，并且在此过程中，可以通过消费者的需求来改变文化。音乐消费主义与实物唱片联系在一起。这导致了马克思主义者关于社会使用价值和增强的心理联系的意识形态的体现（Willett，2011）。此外，这意味着以黑胶唱片形式存在的实物产品由于具有真正的所有权而产生了一种满足感。 音乐文化代写
可以比较古代音乐文化和现代人对智能手机的痴迷。智能手机具有许多功能。和相关的应用程序，用户希望拥有设备本身。因此，价值与黑胶唱片所有权的物理要素之间的联系产生了固定的聆听体验，从而导致了对产品本身的更多投入。
Consequently, the psychological enticement of the physical album creates a robust internal relationship.
With music being heard through engagement with the product. In the process, listeners become more engrossed and invested in an artist due to the attachment of the product purchased.Besides, the proliferation of technological innovation has led to mass communication. Which has, in turn, has led to the development of mass culture. Maas culture is defined as being a component of popular culture that is customized for commercial purposes. And takes into account different aspects of globalization. Ideally, technological augmentations have facilitated the creation of digital culture through improvement in communication. And entertainment (McCourt, 2005).
Additionally, factors such as age demographics and economic factors have been identified as being integral to the evolution that is characteristic of popular culture. Social media platforms such as Facebook, YouTube, Twitter, and Whatsapp has also been crucial in the development of popular culture and have revolutionized how individuals disseminate and consume information.
因此，物理专辑的心理诱惑产生了稳固的内部关系。
译文：通过与产品互动可以听到音乐。在此过程中，由于购买了产品的附件，听众变得更加全神贯注并投资于艺术家。此外，技术创新的泛滥导致了大众传播。反过来又导致了大众文化的发展。马斯文化被定义为为商业目的而定制的流行文化的组成部分。并考虑到全球化的不同方面。理想情况下，技术增强通过改善沟通促进了数字文化的创建。和娱乐（McCourt，2005年）。 音乐文化代写
另外，诸如年龄人口统计和经济因素之类的因素已被确定为流行文化特有的进化所不可或缺的。诸如Facebook，YouTube，Twitter和Whatsapp之类的社交媒体平台在流行文化的发展中也至关重要，并且彻底改变了个人传播和消费信息的方式。
Moreover, social media has been a central conduit that supports the development of popular culture.
Like the use of platforms such as Whatsapp, Facebook, YouTube, Twitter, and Instagram have revolutionized how individuals disseminate and consume information (Bennett, 2012). Thus, social media has facilitated the creation of a novel form of socialization. That surpasses any limitations that were previously set by geographical location. Additionally, modernization through technology may be characterized through the commonality of the relationships that bind elements such as the society, an individual, and the technology itself. In the process, cultural changes manifest itself through homogenization. Which has culminated in the gradual disappearance of cultural differences.
One of the influences of digital culture is epitomized in the evolution of intrinsic signs and cultural components in product design. Initially, traditional values were depended upon when creating a product. But now modern techniques such as digital manufacture and prototyping have taken center-stage. Indeed, such benefits have resulted in a significant in pact on the current trends insofar as visual appeal is concerned (Sterne, 2006). More specifically, the advent of music streaming sites such as Spotify has been illustrated by the cultural and economic relevance. Indeed, such sites have been accredited with the eradication of non-authorized forms of file sharing. And in the process, the music market ceased to be unruly, hence led to a consistent global revenue stream.
此外，社交媒体已经成为支持流行文化发展的主要渠道。 音乐文化代写
译文：就像使用Whatsapp，Facebook，YouTube，Twitter和Instagram这样的平台一样，人们也改变了个人传播和消费信息的方式（Bennett，2012年）。因此，社交媒体促进了一种新型的社会化形式的创建。这超出了以前由地理位置设置的任何限制。另外，通过技术实现现代化可以通过绑定社会，个人和技术本身等要素的关系的共性来表征。在此过程中，文化变革通过同质化体现出来。最终导致文化差异的逐渐消失。
数字文化的影响之一体现在产品设计中固有标志和文化成分的演变中。最初，传统价值是在创建产品时依赖的。但是现在，诸如数字制造和原型制作之类的现代技术已经占据了中心位置。的确，就视觉吸引力而言，这样的好处已经在当前趋势上取得了重大进展（Sterne，2006）。更具体地说，音乐流媒体网站（如Spotify）的出现已通过文化和经济意义进行了说明。实际上，此类站点已获得根除非授权形式的文件共享的认可。在此过程中，音乐市场不再是一成不变的，因此导致了稳定的全球收入来源。
For instance, it is estimated that Spotify contributes an average of $20 per user.
While that earnings from YouTube average $1 per user (Vonderau, 2019). Equally important is the fact that both YouTube and Spotify have served as benchmarks for other services that rely. On digital technology to establish a distribution chain of cultural goods. Additionally, Spotify’s business model incorporates a comprehensive advertising scheme that is founded on the notion that the Internet is a conduit that facilitates access to culture. In this regard, there is the expected tradeoff between users. And advertisers through the establishment of free access to music content rather ta relying on the enhanced targeting through online ads.
The cultural shift in consumption of music whereby ownership of content changed to ease of access based on the approach of economies of scale. Which is integrated into online content distribution in digital markets. Equally important is the fact that “Web 2.0” has significantly augmented the targeting capabilities to the consumers hence creating what is commonly referred to as platform business. Accordingly, Spotify is regarded as a two-sided market that draws in two or more distinct groups of users. And the process generates revenues through such interactions. Moreover, digital marketing companies have been positively associated with augmentation in supply. And demand by providing more music to a broader audience.
例如，据估计，Spotify为每个用户平均贡献了20美元。 音乐文化代写
译文：虽然YouTube从每位用户那里获得的平均收入为1美元（Vonderau，2019年）。同样重要的是，YouTube和Spotify均已成为其他依赖服务的基准。在数字技术上建立文化商品的分销链。此外，Spotify的商业模式结合了全面的广告计划，该计划基于互联网是促进文化交流的渠道这一观念。在这方面，用户之间存在预期的权衡。而广告商则通过建立免费访问音乐内容的方式，而是依靠通过在线广告来增强针对性。
音乐消费的文化转变，因此，基于规模经济的方法，内容的所有权已变为易于获取。已集成到数字市场中的在线内容分发中。同样重要的是，“ Web 2.0”极大地增强了对消费者的定位功能，从而创造了通常被称为平台业务的事实。因此，Spotify被视为吸引两个或更多不同用户组的双向市场。并且该过程通过这种交互产生收入。此外，数字营销公司与增加供应量有着积极的联系。通过向更多受众提供更多音乐来满足需求。
Such an approach ensures that the marginal costs are diminished per unit.
Including the exploitation of the indirect positive externalities that are associated with the dynamics of digital music markets. The business model established by Spotify has enabled advertisers to gain benefits by having a significant presence of consumers on the platform. While users benefit from advertisers through the discovery of innovative services and products (Negus, 2019).
Equally important is the fact that the commodification of music. And audience coupled with the links established through a complex digital environment has created a unique business model specifically for Spotify. Indeed, one may argue that Spotify as grown beyond being a mere music streaming platform to become a media company whereby. Its business operations are defined by the intersection between technology, music, advertising, and finance.
这种方法可确保每单位的边际成本减少。
译文：包括对与数字音乐市场动态相关的间接积极外部性的利用。 Spotify建立的商业模式使广告商可以通过在平台上拥有大量消费者来获得收益。 用户通过发现创新的服务和产品而从广告商中受益（Negus，2019）。 音乐文化代写
同样重要的是音乐的商品化这一事实。 受众以及通过复杂的数字环境建立的链接已经创建了专门针对Spotify的独特业务模型。 确实，有人可能会说Spotify的发展已经超越了单纯的音乐流媒体平台，成为了一家媒体公司。 它的业务运营是由技术，音乐，广告和金融之间的交叉点定义的。
Impact of music in filmmaking
The concept of narrative media music has gained traction, especially in the creation of television content, film, and video games. Moreover, the first use of narrative media music was invented to achieve an interplay with the visuals. In essence, narrative media music has become a significant source of musical experience in an individual’s life. Equally important is the fact that the narrative media music is transparent and is often interpreted by the audience as a means to comprehending the plot of the film. Consequently, this implies that what the human eye sees is somehow influenced by what we hear and vice versa (Wingstedt Brändström & Berg, 2010).
The conceptual resonance between sound and image is a phenomenon whereby music makes an individual perceive images differently, and the new model created makes the human mind understand an image separately, creating an in-depth understanding. The phenomenon of the narrative media music may be embodied through iconic performances of Whitney Houston both as an actress and singer.
Indeed, the films in which Whitney starred in employed the emotive function of the narrative media music, whereby her ballads evoked different emotions among the audience. Moreover, the informative feature is also evident in Whitney’s films, whereby a combination of emotional and cognition have been applied to communicate to the audience. Besides, Whitney was of African-American origin, hence relied on music to demonstrate cultural settings and the oppression experienced by minority groups.
音乐在电影制作中的影响 音乐文化代写
译文：叙事性媒体音乐的概念已受到关注，特别是在电视内容，电影和视频游戏的创作中。此外，首次发明了叙事媒体音乐，以实现与视觉效果的互动。本质上，叙事媒体音乐已成为个人生活中重要的音乐经验来源。同样重要的是，叙事媒体音乐是透明的，并且经常被观众解释为理解电影情节的一种手段。因此，这意味着人眼所看到的东西在某种程度上受我们听到的声音的影响，反之亦然（WingstedtBrändström＆Berg，2010）。
声音和图像之间的概念共鸣是一种现象，音乐使个人对图像的感知不同，并且创建的新模型使人的大脑分别理解图像，从而产生了深刻的理解。叙事媒体音乐现象可以通过惠特尼·休斯顿既是女演员又是歌手的标志性表演来体现。
的确，惠特尼出演的电影运用了叙事媒体音乐的情感功能，因此她的歌谣在观众中引起了不同的情感。此外，在惠特尼的电影中信息性特征也很明显，其中情感和认知的结合已被应用到与观众的交流中。此外，惠特尼（Whitney）是非裔美国人，因此依靠音乐来展示少数民族的文化背景和压迫感。
Arguably, Whitney was multi-talented as she combined her prowess in music with her rather impressive acting skills.
Whitney’s movie debut was in The Bodyguard, which was launched in 1992 and featured Oscar-winning director-cum actor Kevin Costner. Moreover, the success of the film as evidenced by its record-breaking box office sales worldwide. Furthermore, the film was responsible for being the most significant selling motion picture and soundtrack album that was inspired by Whitney and went ahead to win the Grammy Album of the Year. The soundtrack featured singles such as “I Will Always Love You,” “Run to You,” “I Have Nothing,” and the famous “I’m Every Woman,” which contributed to the sale of over 45 million copies globally.
Equally important is the fact that the soundtrack album was accorded platinum status a record 18-times making it the most successful motion picture soundtrack ever produced. Additionally, Whitney was involved in a second film dubbed Waiting To Exhale, which was launched in 1995. The film was categorized as being critically acclaimed as it featured a crop of accomplished actresses such as Loretta Devine, Lela Rochon, and Angela Bassett.
可以说，惠特尼在音乐方面的才华与相当出色的表演技巧相结合，才华横溢。
译文：惠特尼（Whitney）的电影处女作是《保镖》（The Bodyguard），该电影于1992年推出，以奥斯卡获奖导演兼演员凯文·科斯特纳（Kevin Costner）为特色。此外，这部电影的成功由其全球票房创纪录的销售证明。此外，这部电影是受惠特尼（Whitney）启发并成为最畅销的电影和配乐专辑的原因，并因此获得了年度格莱美唱片奖。电影配乐以《我将永远爱你》，《奔向你》，《我一无所有》和著名的《我是每个女人》等单曲为特色，在全球范围内的销量超过了4500万张。 音乐文化代写
同样重要的是，配乐专辑获得了白金唱片18倍的记录，这使其成为有史以来最成功的电影配乐。此外，惠特尼还参与了第二部电影《等待呼气》，该电影于1995年上映。这部电影被评为备受赞誉，因为影片中饰有Loretta Devine，Lela Rochon和Angela Bassett等一批颇有造la的女演员。
Moreover, the film was directed by the celebrated actor Forrest Whitaker and grossed over $80 million in revenue worldwide (Tsay, 2013).
Besides, the film featured some tracks from Whitney such as “Count on Me,” which she collaborated with Cece Winans, “Why Does It Hurt So Bad,” and “Exhale.” Unsurprisingly, the album was given platinum status seven times and held the #1 spot for over five weeks. Moreover, Whitney was part of the cast in a third motion picture entitled The Preacher’s Wife, which featured famous Hollywood stars such as Courtney Vance and Denzel Washington.
Equally important is the fact that the film also integrated a gospel album soundtrack that had songs from Whitney. And was accorded platinum status three times and became the best-selling gospel album in Billboard’s history. Some of Whitney’s singles that were featured in the film include “Step by Step” and “I Believe In You and Me.” Other acting projects that Whitney participated in include Hammerstein’s Cinderella, which was exclusively produced as a movie meant for television in which Whitney. And her production team earned Emmy nominations in various categories.
此外，这部电影是由著名演员福雷斯特·惠特克（Forrest Whitaker）执导的，全球票房收入超过8000万美元（Tsay，2013年）。
译文：此外，影片还介绍了惠特尼的一些曲目，例如她与Cece Winans合作的“依靠我”，“为什么会如此糟糕”和“呼气”。毫不奇怪，专辑获得了七次白金唱片的荣誉，并连续五周蝉联第一。此外，惠特尼（Whitney）参与了第三部电影《传教士的妻子》（The Preacher’s Wife）的演出，该电影以好莱坞著名影星如考特尼·万斯（Courtney Vance）和丹泽尔·华盛顿（Denzel Washington）为例。
同样重要的是，影片还整合了福音专辑原声带，其中包含来自惠特尼的歌曲。并三度获得白金身份，并成为Billboard历史上最畅销的福音专辑。电影中出现的惠特尼单曲包括“循序渐进”和“我相信你和我”。惠特尼参加的其他表演项目包括汉默斯坦的《灰姑娘》，这部电影是惠特尼专门为电视制作的电影。她的制作团队获得了各个类别的艾美奖提名。 音乐文化代写
Analysis of the Case of K-pop Culture
K-Pop is a new popular culture that has gained attention in the global music industry. Indeed, the influence of the seemingly new genre in music culture is epitomized by pop singers and acclaimed bands such as Wonder Girls. Psy, SNSD, and TVXQ. Moreover, the influence of K-pop has gained prominence in regions such as North America, Europe, and Asia. Predominantly, the proliferation of K-pop has been attributed to the unique cultural phenomenon which is founded on the principle of Pop Asianism. Pop Asianism defines as the development of a cultural hybrid. and progression of the Indian, Chinese and Japanese subcultures with the context of the global cultural market.
Nevertheless, the concept of the globalization of K-pop is attributable to an intricate process that revolves around globalizing-localizing-globalizing (GLG) in the global music scene (Effendi, 2015). Indeed, the GLC model dictates that K-pop has its origin in Europe where new music content is identified. Before being assimilated into Korean content then is redistributed to consumers.
Equally important is the fact that K-pop is representative of a collection of social capital and talent pools of performers. And such a process was previously disjointed. Consequently, the paper captures an article review whose thesis is providing insights into the argument for GLG framework as being integral to the growth of K-pop. Additionally, the article dispels the evidence that the proliferation. Of K-pop is attributable to cultural hybridity, also referred to as Popular Asianism.
韩流文化案例分析 音乐文化代写
译文：K-Pop是一种新兴的流行文化，在全球音乐行业中得到了关注。的确，流行歌手和知名乐队（如《神力女超人》）体现了音乐文化中看似新流派的影响。 Psy，SNSD和TVXQ。此外，在诸如北美，欧洲和亚洲等地区，K-pop的影响力也日益突出。 K-pop的流行主要归因于以流行亚洲主义为基础的独特文化现象。流行亚洲主义定义为文化杂交的发展。全球文化市场背景下印度，中国和日本亚文化的发展。
然而，K-pop全球化的概念归因于一个复杂的过程，该过程围绕着全球音乐界中的全球化-本地化-全球化（GLG）而展开（Effendi，2015）。确实，GLC模型表明K-pop起源于欧洲，那里发现了新的音乐内容。在被吸收为韩文内容之前，先将其重新分发给消费者。
同样重要的是，K-pop代表着社会资本和表演者人才库的代表。这样的过程以前是不连贯的。因此，本文获得了一篇文章综述，其论文旨在为GLG框架作为K-pop增长不可或缺的观点提供见解。此外，该文章消除了扩散的证据。韩流的文化归因于文化的混杂，也被称为大众亚洲主义。
Role of Popular Culture in Growth of K-pop
Scholars in mass media and popular culture present the theory that the swift rise of K-pop and popularity in global settings may be accredited to social science, cultural studies, and mass media approaches. Hence, the dominant notion is that K-pop is a result of the hybrid between Indian, Korean. And Chinese culture, which collectively form the Asian Culture (AC). Besides, the AC grew as a response to countervailing the dominance of Western Culture. Consequently, this implies that K-pop is not an innovative cultural force that pervades the global cultural system since it traces its origins to China and Japan.
And both nations have crossbred their pop culture with a combination of WC since the 19th Century. Contrariwise, another theoretical spectrum has been presented. Which is founded on the conception that K-pop is a fairly salient export industry. That has revolutionized the conventional and rigid structure of the Korean culture. Ideally, such an understanding implies that K-pop lacks “Korean” connotations since it is a combination of commercialization and innovation in the music scene. Following this argument, one of the factors that have influenced the growth of K-pop includes. The global liberalization of music markets, especially in Asia (Yoon 2019).
流行文化在韩流成长中的作用
译文：大众传媒和大众文化领域的学者提出了这样一种理论，即K-pop的迅速崛起和在全球范围内的普及可能被认可为社会科学，文化研究和大众传媒的方法。因此，主要的观念是，K-pop是印度人与韩国人混合的结果。以及中华文化，共同构成了亚洲文化（AC）。此外，AC的出现是对反击西方文化统治地位的回应。因此，这意味着K-pop并非遍及全球文化体系的创新文化力量，因为它的起源可追溯到中国和日本。
自19世纪以来，这两个国家便通过WC的结合来杂交其流行文化。相反，已经提出了另一种理论范围。它是基于韩流是一个相当突出的出口行业的概念而建立的。这彻底改变了朝鲜文化的传统和僵化的结构。理想地，这种理解意味着K-pop缺乏“韩国”的内涵，因为它是音乐领域中商业化和创新的结合。根据这一论点，影响K-pop增长的因素之一包括。音乐市场的全球自由化，尤其是在亚洲（Yoon 2019）。音乐文化代写
Another factor is technological advancement
Which has bred platforms such as YouTube, which has the preference of showcasing photogenic performers throughout the world. And it is no different even for pop singers in South Korea. Consequently, the growth of K-pop would have been unfathomable. Were it not for economic need, technological advancements, and unique export opportunities.
Equally important is the fact that J-Pop singers and Korean musicians have endeavored continuously to create an image of photogenic appeal through their live performances. And in their music videos. Subsequently, K-pop may not be termed as being either Chinese. Or Japanese in as much it bears predominantly Asian connotations. Instead, K-pop is widely regarded as global and westernized.
另一个因素是技术进步 音乐文化代写
译文：该公司培育了YouTube之类的平台，该平台更偏向于向全世界展示上镜表演者。 即使对于韩国的流行歌手来说，也没有什么不同。 因此，K-pop的增长将是深不可测的。 不是因为经济需要，技术进步和独特的出口机会。
同样重要的是，J-Pop歌手和韩国音乐家不断努力通过现场表演来创造出具有上镜感的形象。 并在他们的音乐视频中。 随后，K-pop可能不会被称为中国人。 或日语在很大程度上具有亚洲的涵义。 取而代之的是，K-pop被广泛认为是全球化的和西化的。
Role of venture capital in the growth of K-pop
Typically, to comprehend the upward trajectory of K-pop, it is vital to comprehend the inherent mechanisms. such as organizations that have severed as the epicenter for the proliferation of the culture. A case on the rise of corporations such as SM Entertainment has been lauded for being the nerve-center for the global success of K-pop. Ideally, the competence of music corporations is characterized by functionalities, such as export. And creativity management. Thus, technological advancement has been at the core of the success of corporations such as SM. It is accredited with the success of K-pop groups such as TVXQ and BoA (Jin & Ryoo, 2014).
Consequently, this implies that the growth of the global music industry has altered the conventional approach to the consumption. Of music, whereby people were required to buy music upon release by recording companies. Currently, music audiences have access to free music via the internet, especially YouTube. Which is directly linked to the rise in K-pop culture. Moreover, in contemporary society, distributors and music producers earn a living by posting free music.
On the Internet without necessarily having to seek the approval of recording companies or radio stations. Additionally, the global music industry has created an opportunity through which music producers recruit, train. And sign up different artists while also possessing copyrights to the music that is sold online on various platforms.
风险投资在韩流成长中的作用 音乐文化代写
译文：通常，要理解K-pop的上升轨迹，理解其内在机制至关重要。例如已经被切断为文化扩散中心的组织。像SM Entertainment这样的公司崛起的案例因其成为K-pop在全球成功的神经中枢而受到称赞。理想情况下，音乐公司的能力以出口等功能为特征。和创造力管理。因此，技术进步一直是SM等公司成功的核心。它获得了TVXQ和BoA等K-pop团体的成功认可（Jin＆Ryoo，2014年）。
因此，这意味着全球音乐产业的增长已经改变了传统的消费方式。音乐，指唱片公司发行唱片时要求人们购买的音乐。当前，音乐观众可以通过互联网（尤其是YouTube）访问免费音乐。这与K-pop文化的兴起直接相关。此外，在当代社会中，发行商和音乐制作人通过发布免费音乐来谋生。
在Internet上，而不必寻求唱片公司或广播电台的批准。此外，全球音乐产业还创造了机会，音乐制作人可以通过该机会进行招聘，培训。并签约不同的艺术家，同时还拥有在各种平台上在线销售的音乐的版权。 音乐文化代写
Influence of digital technologies on the growth of K-pop culture
Equally important is the fact that the proliferation of K-pop is synonymous with the growth of the Korean subculture. Which is easily accessible through platforms such as YouTube. Moreover, the growth of this subculture is dependent on a standard organizational ecology, which has served to facilitate a high level of the group. And individual participation in the production of YouTube-based music and the subsequent distribution of through popular music venture capitalism.
Subsequently, venture capitalist organizations such as YG, SM, and JYP are involved in the active recruitment. And training of future K-pop stars continually. In the long run, a large value chain is created and is comprised of elements such as musical inputs from lyricists, composers. And singers, distributors such as YouTube and other producers.
数字技术对K-pop文化成长的影响 音乐文化代写
译文：同样重要的是，K-pop的增长与韩国亚文化的增长是同义词。 可以通过YouTube等平台轻松访问。 此外，这种亚文化的成长取决于标准的组织生态，这有助于促进该组织的较高水平。 并个人参与基于YouTube的音乐的制作，以及随后通过流行音乐风险资本主义进行的发行。
随后，诸如YG，SM和JYP之类的风险资本家组织参与了积极的招聘。 并不断培训未来的韩流歌手。 从长远来看，将创建一个巨大的价值链，其中包括来自词作者，作曲家的音乐投入等元素。 以及歌手，发行人（例如YouTube）和其他制作人。 音乐文化代写
In such an ecology, producers and distributors assume a larger cut of the proceedings due to their investments.
Moreover, venture capitalists and distributors enjoy a monopolistic position on the music value chain since K-pop producers extent their production networks to the global scene by consulting talented cultural centers from Europe and Hollywood.Generally, the globalization of K-pop culture is attributable to the innovation in the division of labor within the global music production and distribution. Ideally, this implies that that the music that is sold within each subculture is a product of the combination of venture capital firms, distributors. And music talents drawn from Europe, America, and Asia. Nevertheless, the K-pop culture is dependent on the GLG model, with the emphasis being created on the need for creativity in the locally produced music.
在这种生态环境中，由于投资，生产者和发行者承担了更大的诉讼费用。
译文：此外，风险投资家和发行商在音乐价值链上享有垄断地位，因为K-pop制作人通过咨询欧洲和好莱坞的才华横溢的文化中心将其生产网络扩展到全球范围。 全球音乐生产和发行中的分工创新。 理想情况下，这意味着在每种亚文化范围内出售的音乐是风险投资公司，发行人的组合的产物。以及来自欧洲，美洲和亚洲的音乐人才。 然而，K-pop文化依赖于GLG模式，重点放在本地制作音乐的创造力需求上。 音乐文化代写
Consequently, K-pop culture seeks to differentiate itself from other music genres in the global scene (Byun, 2014).
In essence, K-pop music is characterized as having a group of performers singing in unison while at the same time presenting synchronized dance moves. Besides, the K-pop performances and music videos incorporate the aspect of the physique. Where the performers seek to be presented as being sexually and visually appealing. The “localization” of K-pop is attributable to venture capital firms that recruit talents. And trains them on various aspects such a language, physical fitness, theatrical acting skills, and vocal ranges.
As a result, the global success of K-pop is credited to the distinctive physique. It is acquired by performers through the prolonged process of mutation or evolution. The second factor that has supported the growth of K-pop culture is political democratization. Where bans and censorship on Western and Japanese popular music have been lifted seamlessly, leading to the importation of Japanese culture into Korea. Moreover, technological advancement has led to the emergence of digital platforms. Which ensures global connectivity as audiences may sample some of their favorite K-pop songs through different platforms.
因此，K-pop文化试图将自己与全球其他音乐流派区分开来（Byun，2014年）。
译文：本质上，K-pop音乐的特征是让一群表演者一致地唱歌，同时呈现同步的舞步。此外，K-pop表演和音乐视频融合了体格方面。表演者寻求表现出性和视觉吸引力的地方。韩流的“本地化”归因于招募人才的风险投资公司。并对他们进行各种方面的培训，例如语言，身体适应性，戏剧表演技巧和人声范围。 音乐文化代写
结果，K-pop的全球成功归功于其独特的体格。它是表演者通过延长的突变或进化过程而获得的。支持韩流文化发展的第二个因素是政治民主化。西方和日本流行音乐的禁令和审查制度已无缝解除，导致日本文化传入韩国。此外，技术的进步导致了数字平台的出现。由于观众可以通过不同的平台采样一些他们喜欢的K-pop歌曲，因此可以确保全球连接。
Another reason that has facilitated the growth of the K-pop culture is the proliferation
Of the global capitalist economy that has opened up nations such as China, Latin America, Southeast Asia, and Latin America (Oh & Lee, 2014). Indeed, the K-pop phenomenon serves as a proper case study of the globalization concept of music genres. The causative agents for the proliferation of K-pop culture reinforce the ideation that the global division of labor where producers. And distributors outsource popular music for the creation of K-pop music.
Moreover, the sustainability of the popularity of K-pop is dependent on the complex GLG model rather than Pop Asianism as it had been previously suggested. Fundamentally, the K-pop culture is concerned with the process of locating music that is already popular in Europe. Before modifying it into Korean content and redistributing it to the global markets.
促进K-pop文化发展的另一个原因是扩散
译文：在开放了中国，拉丁美洲，东南亚和拉丁美洲等国家的全球资本主义经济中（Oh＆Lee，2014）。 实际上，K-pop现象可以作为音乐流派全球化概念的恰当案例研究。 K-pop文化扩散的病因强化了这种观念，即全球生产者分工的地方。 发行商将流行音乐外包，以制作K-pop音乐。
此外，K-pop受欢迎程度的可持续性取决于复杂的GLG模型，而不是先前提出的Pop Asianism。 从根本上说，K-pop文化与在欧洲已经流行的音乐定位过程有关。 在将其修改为韩文内容并将其重新分发给全球市场之前。
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