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摘要：本文是一篇音乐学留学论文。在数字化的时代，音乐的使用、音乐的文化和免费音乐的价值都是极为重要的。过去十年间，音乐产业迅速发展，带来不同的文化体验，下载免费音乐长大的一代孩子仅仅会通过互联网找到他们想要的资源和娱乐内容，认为他们是免费的，他们不能接受这些娱乐方式开始收费的情况。本文主要以免费音乐文化为出发点，分析音乐文化的变迁。

er Research told Agency France-Press news agency:

“It comes back to consumers being in complete control of their media experience”.

Mr McGuire said fans were sending artists a message:

“While you may have put a lot of thought into the sequence of the album, I only like these three songs”.

BPI chief executive Geoff Taylor said:

“The UK market has shown considerable resilience in recent years while global recorded music markets have declined.”

Recording companies have a major influence on the music we listen to and shape what’s known as popular music within society. The term ‘popular music’ defies a precise straightforward definition and is usually over looked and the understanding of the term is taken for granted. To fully understand the term popular music it’s necessary to address the general field of popular culture within cultural studies. (See: Studying Popular Music Culture, Tim Wall). In this instance I refer the word popular music from the historical term for popular as the ‘ordinary people’, these days the meaning of the term has expanded, ‘all music is popular music’ meaning ‘music that is popular with someone’.

“Young peoples musical activities whatever their cultural background or social position, rest on a substantial and sophisticated body of knowledge about popular music. Most young people have a clear understanding of its different genres, and an ability to hear and place sounds in terms of their histories, influences and sources. Young musicians and audiences have no hesitation about making and justifying judgements of meaning and value”

(Willis. 1990: 59 cited in Shuker. p.98)

The music industry is big business, and international multi-billion dollar enterprise historically centred in the United States with the United Kingdom making a significant artistic contribution to the industry and developing trends as well as the emergence of Japanese media technologies playing a major part in the music industry for its commercial designs of gadgets and devices. Recording companies are the most important part of the music industry and fall into two main groups: ‘the major’ international labels and the smaller ‘independent’ labels who’s structures and operating processes take on a similar role, blurring the distinctions between the two. These differences I will try to evaluate later on in chapter 3.

The major labels are renowned for sourcing young talent, recording, promoting, marketing and distributing his/her music which has a powerful effect on the popular consumer, cultures and subcultures due to the image associated with that particular genre or style of music which is marketed, but its future is usually determined by the listener themselves.

“For after the commercial power of the record companies has been recognised, after the persuasive sirens of the radio acknowledged, after the recommendations of the music press noted, it is finally those who buy the records, dance to the rhythm and live to the beat who demonstrate, despite the determined conditions of its production, the wider potential of pop”

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