Introduction
American culture has a lot of influence on the surroundings because of the prominent market that surrounds it and the numerous activities that it participates in. British popular music and culture result from multiple cultural interactions and platforms. The culture and the practices included comprise the collection of various states and regions, which creates a sense of life in the music. America and modernity can be considered close because of the significant influences arising from the interaction.[1] It is evident that the atmosphere expressed in music and culture depends on the audience and the extent of interaction revealed. A lot about music and culture is defined by the interaction with the origin and spread. Aspects like globalization and expansion beyond the definite cultural locations can point to an understanding of the well-defined music and culture. Popular music is a unique form of music that reveals a deep interaction with a vast audience. The audience faced is beyond the ordinary or interactive scope, making everything appear quite unimaginable.[2] Popular music refers to the exchange of sound beyond a specific level because of the essential features of experienced music. The extent of interaction is based on the music’s traits and preferability. Based on the music and essential elements, many can be included to define and investigate specific influences and impacts. This essay analyzes the resonating effects of America on British popular music and culture, together with the possible counterarguments that have been presented on the transformation.
Modernity spreads quickly, with people’s significant intentions and purposes shifting to more practical and enlightening strategies. Technology and other improvements in various locations are indicators of a unique form of cultural and interactive platforms. Modernity refers to the inclusion of technology and the transformation of cultural views into the regular activities that people engage in. The British popular music and culture can be identified by numerous inclusions of other aspects from various cultures and characteristics.[3] The significant interactions with the standard platforms and the transformation beyond a specific scope can define the cultural practices. The audience determines the popularity and identification of music because they form the primary consumers of the products. Based on the interaction and relationship, there is an immediate need to ensure the audience’s complete and total satisfaction as they engage in the numerous listening platforms and areas. Modernity has introduced a unique interest where people are more interested in the value they achieve and not the original tastes. The American culture, through modernity, has caused specific changes in British popular music and culture, where the significant implements are based on interaction. Modernity introduced a taste that had to be pursued to ensure a well-defined scope of activities. America can be considered a considerable product and result of modernity, where several aspects are included and processed distinctively.
The influence of America on music cannot be explained and expressed in detail without considering the analysis of how the spread of information and exposure occurs. Pop music can be regarded as an integration of significant cultural aspects and interaction, not only pegged on the English nature in the region. The expansion of ideas and elements of the study can only be confirmed after analysis and research of the cultural aspects and the expected results.[4] The British culture can be considered as the origin of British popular music. However, modernity, in a period defined by the title, ‘late-modernity,’ various transformations have been introduced into the system through multiple areas of interest. Modernization has created and developed a platform where most activities can be considered integration of numerous practices. The spread of such ideas and the significant influence in such an area as music can be attributed to globalization. The expansion of activities and interaction beyond specific countries into other regions causes the spread of ideas that can be explained in detail, focusing on the trends.
For example, Ragtime is a form of music introduced in Britain during a crisis caused by the rise of certain aspects of society.[5] The crisis period is actively defined by modernity, where various elements can be included to understand the significant activities of passing cultural practices. The origin of Ragtime is the US in the early 1890s, which confirms American influence.
Ragtime includes a rhythmic piano bass in music, with well-composed and defined strains. Such an aspect can only be transferred during a detailed interaction and changes. The direct exchange platforms include modernization, expressed into action through globalization. American influence is a significant contributor to the several changes pointed out in society, with a general focus on expanding and spreading ideas. Through the interaction in various platforms and regions, Ragtime achieved an introduction into Britain and influenced popular music and culture. The explanation behind the interaction and possible influence results can be pointed and indicated by America’s primary name and interaction scope.[6] As earlier pointed out, America has a significant influence on culture and music because of the big interactive platforms and connections. The essential aspects of culture based on the interaction can be considered necessary because of the need for sustainability and progress. Through globalization, various attributes of change and modernity can be classified as the influential influencers of most activities faced and included in generational studies. The British popular culture and music began as a combination of substantial cultural aspects and inclusions. As pointed out, the US and UK act as the primary developers of popular music. However, Britain serves as the producer of the specific type of music, and the influence shown indicates the critical understanding of popular music. Popular music is defined by the interaction with the population and culture, making America part of the major influencers of every activity and state.
The producers and those who make the music matter in the analysis define the popularity and functionality of music. Most of the producers of British popular music can be considered generally decent, with the originality of music being Britain. Britain is regarded as an origin but not the updater of the specific music systems.[7] The entire investigations and processes belonging to such music are defined by the producers who engage in various platforms determining the extent of understanding generated. Study as the whole of such music understands that most producers prefer the American implements because of the desired popularity index. The aspects of popular music define the extent of the recorded spread. The entire combination of processes and activities can quickly be established by understanding the role and nature of the producers. The music producers are not actively involved in the original music features but the meaning created by the music. A deep analysis of British popular music and culture is defined by understanding its importance. America is considered the primary influencer of the musical content and qualities because the producers work on the most applicable music states. American musical culture has introduced a more resonated musical essence that can be considered a significant driver of the population. Therefore, based on the need to satisfy the population demands and interests, the cultural aspects introduced by the producers have a relationship with American culture and aspects.
The significant population involved with music and cultural relationships are the youth interested in the study points and exposure. The youth can be considered an essential component of the study because of their attribution and interaction with popular events and cultural aspects. British popular music and culture can be viewed as a significant inclusion of the preferences of the youth, where they influence most of the activities revealed.[8] The unique feature about the population composition is that they flow with modernity and revolutionary changes. Traditional music popularity and culture can only be defined by the people in existence at the period of production and introduction. However, after several transformations and changes, the youth have been gradually introduced into the music systems and exposed to modernized changing strategies.[9] Popular music is defined by the population, making the part of the population that is majorly associated with it the critical participant. A detailed analysis can only confirm the significant interactions and development with the outer atmosphere. Therefore, based on the nature and interests of the youth who act as the primary consumers of such music and culture, a lot can be considered from the American influence. Through the interaction with several parts of the world, America is regarded as the significant group for modernization characteristics and preference. Based on the interest of the considerable population, American influence became the major contributor to new features in British popular music and culture.
Counterargument
The influence of America on British popular music has shown traits of argument because some sources believe in the originality of the music. The introduction of new features like Ragtime music can be attributed to modifying the British operation systems.[10] The British are considered the producer of popular music and culture, making them the significant influencers of all the activities experienced and indicated during the analysis and study. However, the counterargument does not explain the origin of the transformations in the music. Such modification can introduce the theme of change and incorporate new aspects.[11] The introduction of all the activities and processes can only be understood if the origin is considered and interpreted in detail. Only the required musical information and influence sources can be considered when studying such a transformation.[12] Globalization and modernization are attributed, to a broader dimension, to America, making the argument limited in explaining certain features and origins. Therefore, more study needs to be presented to support the idea, which is not directly connected to America and its sphere of influence.
Conclusion
America is considered part of the significant modernization implementors, who believe in transformation and modifications. Everything about the country and the youth can be regarded as rhyming, making them part of the key influencers of such activities and processes. Globalization has introduced a platform where only certain levels of study and understanding are expressed because of the extent of analysis. Every aspect of globalization and change can be attributed to culture and general modes of conduct. Through globalization, Britain’s popular music and culture can be considered transformed. The changes and transformation extend to the level where there is the need to understand the causes and dimensions of change. Significant changes in music output can be attributed to America, which is the point of transformation. The music producers have the critical role of ensuring that the music aligns with the popular demands, making America key in such steps. Therefore, through modifications and inclusion of new aspects, America is considered a major influencer of British popular music and culture.
Bibliography
Shuker, Roy. Understanding popular music. Routledge, 2013.
Baxendale, John. “… into another kind of life in which anything might happen…’ Popular music and late modernity, 1910–1930.” Popular Music 14, no. 2 (1995): 137-154.
Mitchell, Gillian AM. “From “Rock” to “Beat”: Towards a Reappraisal of British Popular Music, 1958–1962.” Popular Music and Society 36, no. 2 (2013): 1-17.
Mitchell, Gillian AM. “From “Rock” to “Beat”: Towards a Reappraisal of British Popular Music, 1958–1962.” Popular Music and Society 36, no. 2 (2013): 19-37.
Nathaus, Klaus. “The Production of Popular Culture in Twentieth-Century Western Europe: Trends in and Perspectives on ‘Europop’.” European Review of History: Revue européenne d’histoire 20, no. 5 (2013): 737-754.
[1] Shuker, Roy. Understanding popular music. Routledge, 2013
[2] Nathaus, Klaus. “The Production of Popular Culture in Twentieth-Century Western Europe: Trends in and Perspectives on ‘Europop’.” European Review of History: Revue européenne d’histoire 20, no. 5 (2013): 737-754
[3] Mitchell, Gillian AM. “From “Rock” to “Beat”: Towards a Reappraisal of British Popular Music, 1958–1962.” Popular Music and Society 36, no. 2 (2013): 19-37
[4] Shuker, Roy. Understanding popular music. Routledge, 2013
[5] Baxendale, John. “… into another kind of life in which anything might happen…’ Popular music and late modernity, 1910–1930.” Popular Music 14, no. 2 (1995): 137-154
[6] Mitchell, Gillian AM. “From “Rock” to “Beat”: Towards a Reappraisal of British Popular Music, 1958–1962.” Popular Music and Society 36, no. 2 (2013): 19-37
[7] Mitchell, Gillian AM. “From “Rock” to “Beat”: Towards a Reappraisal of British Popular Music, 1958–1962.” Popular Music and Society 36, no. 2 (2013): 1-17
[8] Nathaus, Klaus. “The Production of Popular Culture in Twentieth-Century Western Europe: Trends in and Perspectives on ‘Europop’.” European Review of History: Revue européenne d’histoire 20, no. 5 (2013): 737-754
[9] Mitchell, Gillian AM. “From “Rock” to “Beat”: Towards a Reappraisal of British Popular Music, 1958–1962.” Popular Music and Society 36, no. 2 (2013): 19-37
[10] Baxendale, John. “… into another kind of life in which anything might happen…’ Popular music and late modernity, 1910–1930.” Popular Music 14, no. 2 (1995): 137-154
[11] Nathaus, Klaus. “The Production of Popular Culture in Twentieth-Century Western Europe: Trends in and Perspectives on ‘Europop’.” European Review of History: Revue européenne d’histoire 20, no. 5 (2013): 737-754
[12] Mitchell, Gillian AM. “From “Rock” to “Beat”: Towards a Reappraisal of British Popular Music, 1958–1962.” Popular Music and Society 36, no. 2 (2013): 1-17
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