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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。

d by its social base, but each social group or subculture corresponds to certain acceptable genres. During the 1970’s and 1980’s the idea that the characteristics of a musical form could give life or influence to the social reality of a culture became more and more popular with incorporated sociological categories such as class, ethnicity and importantly age.

“In 1987 John Shepard extended this type of analysis to gender, arguing that different voice types or timbres in popular music gave expression to different kinds of gender identities”.

(Clayton, M. Herbert, T. Middleton, R. 2003, p. 7, p. 14)

The 1990’s saw different factors concerning the cultural study of music and the analytical evidence with particular social categories such as, class, ethnicity, age, subculture and counterculture. This had been replaced with a more embracing and persistent concern with social identity. With the concept of youth culture, it’s assumed that teenagers share similar leisure interests and pursuits and were involved in some kind of revolt against their parents and elders.

The arrival of youth culture is said to be linked with the growth and increased incomes of early working class youths which allowed greater spending power and the means to express their individual interests and styles which caused large markets to develop more interest for the youth culture, most notably resulting in music and fashion. It’s with particular music styles, genres and clothing styles and labels that predominantly place our identities within a culture or subculture, which technology helps shape and create aspirations in a similar way.

“Teenage culture is a contradictory mixture of the authentic and the manufactured: it is an area of self-expression for the young and a lush grazing ground for the commercial providers”.

(Hall, S. Whannel, P. 1964, p.????)

“The compressed file format known as MP3 is at the centre of debate towards file-sharing and digital downloading and is thought to be downgrading towards the level of audible quality in music. Yet the mp3 is also a cultural artefact, apsychoacoustic technology that literally playsits listeners. Being a container technology type for recorded sound, the mp3 proves that the quality of ‘portability’ is central to the history of auditory representation and shows that digital audio culture works according to logics somewhat dissimilar from digital visual culture”.

(Jonathan Sterne, 2006. New Media and Society, Vol. 8, No. 5, 825-842 DOI: 10.1177/1461444806067737)

Today’s young generation aren’t so aware of the historical factors and important issues which lead to the advances, demands and uses of audible quality music but more so, on the social aspects of consumption, portability and quantity of music.

A spokes person for the Recording Industry Association of New Zealand, Terrance O’Neill-Joyce, argues that:

“The problem is not with the actual technology of MP3, which he believes is being effectively used by many music producers, but rather the ineffective means of securing remuneration for artists. It’s a case of technology outstripping legislation and a lack of proper commerci本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。