Question 1: Music and Popular Culture
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…
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.
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.
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.
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.
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.
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。
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.
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.
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.
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.
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.
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.
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.
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.
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。
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.
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。
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).
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.
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.
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.
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.
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.
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.
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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