【精品文档】606关于网络粉丝经济文化的毕业设计论文英文英语外文文献翻译成品资料：体验粉丝圈、现场音乐和互联网将来自音乐粉丝文化的洞见应用到新媒体制作中去（中英文双语对照）

本文是中英对照毕业设计论文外文文献翻译，下载后直接可用！省去您找文献、pdf整理成word以及翻译的时间，一辈子也就一次的事！文献引用作者出处信息:Tim Wall and Andrew Dubber Journal of New Music Research 2019, Vol. 39, No. 2, pp. 159169 (如年份太老，可改为近2年，很多毕业生都这样做，毕竟外文翻译要求也不高)英文5420单词，33690字符(字符就是印刷符)，中文8201汉字。（如果字数多了，可自行删减，大多数学校都是要求选取外文的一部分内容进行翻译的。）Experimenting with Fandom, Live Music, and the Internet: Applying Insights from Music Fan Culture to New Media ProductionAbstract: This article maps and theorizes online jazz fandom activities around live music, and then reports on applied experimental work that the authors undertook with jazz promoters and musicians to explore ways in which live music can be situated in the activities of online fandom. Three theoretical themes of online taste-maker-led fan communities, narratives of online fan experience, and modularization of content are explained and discussed. Two case studies, where the theoretical themes are applied to the practical needs of live events organizers, are then introduced, discussed and evaluated. The authors then draw conclusions about the extent to which an understanding of fan practices and the possibilities of online platforms can be combined to extend the experiences of live musical events into online experiences. They also consider the possible ways in which online media readdress a series of questions about narrative and narration, agency and subjectivity, expertise and accessibility.1. IntroductionThis article reports on some experimental production work the authors undertook with promoters and musicians, in which we applied theoretical insights developed in earlier studies of fan practice to explore ways in which new media texts can be constructed to mesh with the activities of online fandom. Although we reflect on the texts we produced, we do not report extensively on the reception of these texts. Our work was mainly formal in its aim and practice. In other words, we seek to explore the implications of our current under-standing of music audiences for new forms of produc-tion, and to report on our experiments in creating online texts which are led by theoretical and practical under-standings of the way in which fans operate, rather than determined by the forms of technology we are working with or by accepted ways of constructing music websites.The specific cases we discuss were just two of a much larger number that we have been working on as part of the Interactive Cultures research team at Birmingham City University. One was initiated as part of an Arts and Humanities Research Council (AHRC)-funded Knowl-edge Transfer (KT) Fellowship project, and the second as a KT commission. This is pertinent because, although the cases started as two of the thirty projects defined for us by our knowledge transfer partners, in these two instances we used the opportunity as a jumping-o point for more developed experimental research. Our partners here were the promoter of an international jazz festival and a musician with a significant commitment to experimenta-tion in the development of live music events. In each case, in line with the brief set by the partner, we attempted to extend, and expand upon, the involvement of audiences in live events. We drew upon our understanding of jazz as a cultural community, online activity as a social practice, and the internet as a set of interactive technologies, in order to develop the ideals of live performance amongst both regular audience members and new recruits. In both cases, we established prototype technological solutions to meet the partners needs. Intrigued by the possibilities, though, we worked with our partners to develop these prototypes further, outside the scope of the KT funding, to produce fully working solutions.Although we are keen to identify the origins of these projects in knowledge transfer work, and recognize the support of that works funders, we want to make it equally plain that the research element of our additional experimental work is not based on evaluating the success of the knowledge transfer prototypes in attracting new audiences. That will have to wait for another piece of longer-term investigation. Here we report on practice-based research, which within media and cultural studies is a well-founded, if relatively undeveloped, paradigm. In such work, producers explore ideas about form, produc-tion process or meaning by making innovative texts in the form of written, video or audio media. In this case we work across these forms, taking in newer aspects of interaction and of social media which are at the centre of online media. The key question we work with, then, is how could and should we respond as producers to key ideas about fandom which are derived from more abstract theoretical work, and more empirical data collection? In doing so, we hope we are offering an innovative approach both to understanding audiences for live music, and to experimental, practice-based new media research.This article, therefore, does