最新一例来自新疆首府乌鲁木齐。 2025.07. 08 本文字数：1060，阅读时长大约2分钟 今年5月10日，新修订的《婚姻登记条例》正式施行，婚姻登记实现"全国通办"，内地居民申请结婚 登记不再需要出具户口簿，可以在任一有相关婚姻登记权限的婚姻登记机关办理。 据澎湃新闻，相关政策生效后，已有地方民政部门入驻音乐节，提供现场结婚登记服务。 过路线引导、氛围营造吸引年轻人打卡，这种创意服务模式不仅催生"跨省领证"的案例，更形成"领 证＋打卡"的传播热潮。 青羊区民政局婚姻登记处负责人当时接受采访时表示，草莓音乐节带来了庞大的年轻人流，很多人从 社交平台得知了登记处，专门来打卡，"我们的线上预约早在'五一'前就满额了，最近这几天线下排 队人数也暴涨数倍，工作人员已做好加班办理的准备。" 6月28日下午，在象山商会大厦东海音乐节现场，10对新人走向舞台，在众人的祝福中完成集体婚 礼。 据新疆广播电视台报道，7月12日至7月13日，2025新疆超级草莓音乐节将在乌鲁木齐市水磨沟区天 山明月城火热开唱。此次音乐节不仅有超燃的音乐盛宴，更有一系列"花式宠粉"福利，让乐迷们全方 位享受这场音乐狂欢。 报道称，水磨沟区民政 ...

此前，四川成都、浙江宁波等地也有在音乐节举办期间引导办理婚姻登记的类似案例。 据成都商报报道，随着"520"的到来，成都市青羊区非遗博览园婚姻登记处迎来登记高峰。5 月17日-18日，恰逢草莓音乐节在该地举办，单日吸引2.3万年轻歌迷。登记处精准捕捉此次 传播机遇，通过路线引导、氛围营造吸引年轻人打卡，这种创意服务模式不仅催生"跨省领 证"的案例，更形成"领证＋打卡"的传播热潮。 今年5月10日，新修订的《婚姻登记条例》正式施行，婚姻登记实现"全国通办"，内地居民申 请结婚登记不再需要出具户口簿，可以在任一有相关婚姻登记权限的婚姻登记机关办理。 澎湃新闻注意到，相关政策生效后， 已有地方民政部门入驻音乐节，提供现场结婚登记服务 。 最新一例来自新疆首府乌鲁木齐。 据新疆广播电视台报道，7月12日至7月13日，2025新疆超级草莓音乐节将在乌鲁木齐市水磨 沟区天山明月城火热开唱。此次音乐节不仅有超燃的音乐盛宴，更有一系列"花式宠粉"福利， 让乐迷们全方位享受这场音乐狂欢。 报道称， 水磨沟区民政局婚姻登记处将在7月13日15点至18点，进驻草莓音乐节设立临时婚 姻登记点 ，为广大新人提供结婚登记服务。符合结婚登 ...

Group 1 - The core viewpoint of the article highlights the significant role of concerts in driving urban cultural and tourism consumption, transforming cities into vibrant economic hubs during the summer [1][6] - Major concerts are not just about ticket sales; they create a comprehensive cultural tourism consumption chain, including dining, accommodation, transportation, and entertainment, significantly boosting local economies [2][3] - For instance, the upcoming 12 concerts by Mayday in Beijing are expected to enhance the "cultural + music" effect, attracting fans to various urban attractions and contributing to the city's nightlife [2][4] Group 2 - The organization and management of large concerts serve as a test of a city's governance capabilities, including traffic management, service extension, and operational coordination [3][4] - Beijing has implemented emergency measures for the Mayday concerts, such as extending public transport hours and optimizing traffic, showcasing the city's proactive approach to event management [3][4] - The integration of concerts with urban landmarks and promotional activities, such as special buses and discount policies, creates a comprehensive consumer experience, enhancing the city's appeal [3][4] Group 3 - Concerts contribute to the long-term branding of cities, serving as cultural touchpoints that resonate with younger generations and foster emotional connections to the city [5][6] - Local governments are recognizing the potential of concerts as sustainable cultural tourism products, leading to initiatives that combine performances with local tourism offerings [5][6] - The cultural events associated with concerts can become lasting memories for fans, encouraging repeat visits to the city and enhancing its cultural identity [5][6]

Group 1 - The "Colorful Guizhou: Wind Across the World" symphonic concert was held at the Sydney Opera House, showcasing a blend of Chinese ethnic instruments and Western orchestral music [1][3] - Highlights of the concert included the performance of traditional Dong songs, particularly "Eating New," which combines original ecological singing with modern arrangements, and "Hometown Love Song," featuring traditional instruments from various ethnic groups [3][4] - The concert was organized by the Guizhou Cultural Performing Arts Group and aimed to introduce Chinese folk music to Australian audiences while enhancing confidence in the development of ethnic music [4] Group 2 - Australian composer Elena Kats-Chernin expressed admiration for the unique charm of Chinese ethnic instruments, emphasizing their captivating nature [3] - Luke Spicer, the guest conductor of the Australian Orchestra, noted that music serves as a remarkable tool to unite people from different cultures and backgrounds, highlighting the commonalities shared among diverse groups [4] - The concert is part of a broader initiative, with performances scheduled to continue in Melbourne, indicating ongoing cultural exchange efforts between China and Australia [4]

Core Insights - The National Centre for the Performing Arts Orchestra's recording of Bruckner's Sixth Symphony has been recognized as one of the best in history, marking a significant achievement for both the orchestra and its music director, Lü Jia [1] - Lü Jia emphasizes the importance of using music as a universal language to convey Chinese culture and philosophy to international audiences [1][3] Group 1: Lü Jia's Background and Return to China - Lü Jia, the first Asian music director of the Teatro Lirico Giuseppe Verdi in Trieste, returned to China in 2012, motivated by the rapid development of Chinese music and the establishment of the National Centre for the Performing Arts [2] - He feels a sense of responsibility to help young Chinese musicians and singers, having received support during his studies abroad [2] Group 2: Unique Aspects of the National Centre for the Performing Arts Orchestra - The orchestra's youth is seen as a significant advantage, bringing enthusiasm and curiosity from international audiences unfamiliar with Chinese music [3] - The orchestra has received enthusiastic responses during international tours, showcasing the high standard of Chinese art [3] Group 3: Cultural Exchange Through Music - Lü Jia believes that music transcends language barriers, allowing for emotional and thematic understanding among diverse audiences [3] - The combination of Western symphonic music with Chinese compositions during performances is a strategic choice to present Chinese culture effectively [4] Group 4: The Essence of Chinese Music - Chinese music is fundamentally different from Western music, focusing on imagery and imagination rather than logical progression [5] - The use of Western instruments to perform Chinese works aims to convey cultural spirit rather than replicate traditional forms [5][6] Group 5: Future of Chinese Music on the Global Stage - Lü Jia predicts a prosperous era for Chinese symphonic music within the next 5 to 6 years, as the demand for high-level artistic culture continues to grow [8] - The National Centre for the Performing Arts plans to expand its international collaborations and performances, reflecting a broad vision for promoting Chinese music globally [8] Group 6: Challenges and Opportunities - The development of Chinese music requires a balance between respecting tradition and embracing innovation, utilizing Western compositional techniques to create compelling works [7] - The large population of China presents a significant opportunity for cultivating a robust audience for classical music, with the potential for millions to engage with the art form [10]

Core Viewpoint - The article emphasizes the importance of establishing a sustainable music scene in the Chinese music industry to support local musicians and foster diverse musical styles, rather than relying on external influences and short-term trends [1][26]. Group 1: Definition and Importance of Music Scene - A music scene is defined as a complete ecosystem surrounding a specific music style, including musicians, venues, audiences, media, and industry chains, which is essential for nurturing local talent [1][2]. - Historical examples of successful music scenes include Seattle's grunge, Manchester's madchester, and Nashville's country, which illustrate the cultural phenomenon and industry model that can emerge from a strong local music ecosystem [1][2]. Group 2: Current State of Chinese Music Scene - The article argues that outside of major cities like Beijing and Taipei, there are few areas in China that have developed a true music scene with the necessary density and continuity to support local musicians [3][4]. - Beijing is highlighted as a unique exception due to its complete industry chain and cultural soil, which allows for a vibrant music ecosystem to thrive [3][4]. Group 3: Challenges Faced by Musicians - Many mainstream and subcultural music styles in China are seen as imported and lack local roots, making it difficult for authentic, homegrown music to emerge [6][7]. - The current music industry structure is heavily skewed towards a few top artists, leaving mid-tier musicians without adequate support or opportunities for growth [11][19]. Group 4: Revenue Generation Issues - The article points out that in the streaming era, music copyright revenues are minimal, and independent musicians struggle to sustain themselves solely through streaming income [10][16]. - Successful independent musicians in other countries often rely on diverse revenue streams such as touring, merchandise, and brand collaborations, which are not as accessible in the Chinese market [10][14]. Group 5: Need for Structural Support - The lack of a robust local music scene and sustainable monetization mechanisms leads to a talent drain in the independent music sector [19][23]. - The article calls for a comprehensive support system for musicians, including funding for music education, legal protections for copyright, and local government initiatives to promote regional music culture [19][20][21]. Group 6: Conclusion on Industry Structure - The fundamental issue in the Chinese music industry is identified as its structural deficiencies, which hinder the development of diverse music styles and the sustainability of musicians' careers [25][26]. - To foster a vibrant music culture, the industry must create environments similar to successful music scenes in other countries, allowing for organic growth and support for a wide range of artists [26].

本文来自微信公众号：APPSO （ID：appsolution），作者：发现明日产品的，原文标题：《OnlyFans 网红让 AI 分身 24 小时营业，躺赚收入还更多，新创作时代来了》，题图来自：AI生成 最近，一支名叫The Velvet Sundown的神秘乐队悄然入侵了很多Spotify用户的播放列表。这支乐队不到 一个月的时间连发两张专辑，听众已超过55万。 他们的音乐听起来不过是有点复古质感的摇滚乐，但不久，听众就发现了异常。首先是听感上的浑浊和 自我重复引人怀疑，而后他们在Instagram上发的乐队合照彻底打消了大家的疑虑：果然被戏耍了，这显 然就是AI啊。 其实这种类似的AI"幽灵乐队"并不是特例。如今，哪怕你不会弹琴，不懂编曲，没有录音棚，也能靠AI 生成工具发歌、出专辑、涨粉丝。算法可以模仿嗓音、搭配乐器、制造节奏，只要你把需求输进去，它 就能给你一首"听得过去"的歌，输出质量已能"混入"流媒体平台。 而听众未必在意背后的作者是谁，平台则更关注点击、完播率和播放量。在这样的体系下，AI似乎成 为了"音乐民主化"的推手。 你可能没发觉，AI在很多地方都已经开始"替你创作"了。 你最近听的歌 ...

Core Viewpoint - The exhibition "The Sound of Court Music: Court Music in Literature" at the National Palace Museum in Taipei showcases the evolution of court music from the Zhou Dynasty to the Qing Dynasty, highlighting the rich cultural heritage of ritual music in China [1][2]. Group 1: Exhibition Overview - The exhibition features four sections: "Court Orchestra," "Singing and Dancing," "Music Gathering from All Directions," and "Echoes Beyond Strings," presenting historical aspects of Qing Dynasty court music through documents, ancient texts, and artworks [1]. - "Court Orchestra" focuses on "Zhonghe Shaoyue," the highest-ranking music in the Qing court, performed during significant events using over ten types of instruments [1]. - "Singing and Dancing" displays various court dances from the Qing Dynasty, including ritual dances and traditional banquet performances [1]. - "Music Gathering from All Directions" illustrates the fusion and exchange of ethnic music cultures within Qing court music [1]. - "Echoes Beyond Strings" revisits historical documents, showcasing classic works on Chinese music theory and court music [1]. Group 2: Curatorial Insights - The curator, Yeh Shuhui, emphasizes the deep-rooted connection between traditional Chinese music and its role in rituals and beliefs, aiming to present the unique historical aspects of court music and dance traditions [2]. - The exhibition encourages visitors to appreciate the historical significance behind the music through literature and imagery [2]. - The ongoing practice of traditional music in various Confucian temples in Taiwan reflects the enduring legacy of court music, with instruments like bells and zithers still being used in rituals [2]. Group 3: Exhibition Duration - The exhibition will run until September 7 [3].

以知音之名，把武汉唱给你听 "来到汉阳，就是知音。"当现场观众齐声喊出这句口号，不仅是知音佳话的回响，也是 武汉人的热忱心声。 当晚，音乐人们带来了一系列汉阳原创主题歌曲。武汉邮政艺术团青年歌手洪晶晶的一 曲《懂我的秋天在汉阳》，如同一阵凉爽的秋风，吹散暑热，让人们想起了"晴川历历汉阳 树"的诗情画意，这一作品曾获得2024年"武汉音乐地图"十大"原创优秀歌曲"。汉阳区文化 馆青年干部张诗晴则用一曲《来到汉阳就是知音》，一曲《书香汉阳》唱出绵延千年的知音 文脉。 无独有偶，由汉口学院音乐学院青年教师符元曦演唱的《红色家园姚家山》，由青年歌 手邓椰子演唱的《东湖美》也都曾参与2023年"武汉音乐地图"原创歌曲征集评选，并获得年 度十大"原创优秀歌曲"。她们用"武汉抗战第一村"的故事唱出"弘扬三大精神，奋力建成支 点"的英雄豪情，也用东湖的山水之美、人民乐园唱出武汉的幸福美好。 舞台前的人群里，观众陈先生特意带来手机支架，把音乐会全程录制了下来，他说 道："每一首唱武汉的歌，都让我想起很多，真的是唱到了心里。我们武汉要历史有历史， 要风景有风景，越来越漂亮。大家一起克服过天大的困难，现在一起在这唱歌听歌，多好 呀 ...

Core Insights - The collaboration between "Decisive Peak" and Cai Xukun marks a significant cultural narrative strategy, blending gaming and music on a global stage [1][7] - The song "RIDE OR DIE" embodies the spirit of esports and resonates with the values of the younger generation, particularly Generation Z [4][6] Group 1: Collaboration and Cultural Impact - The partnership aims to create a battle anthem that reflects the competitive nature of esports, coinciding with the Chinese team's participation in the esports World Cup [1][7] - "RIDE OR DIE" serves not only as a theme song but also as a cultural identifier for "Decisive Peak," capturing the essence of players' experiences in overcoming challenges [4][5] Group 2: Market Position and User Engagement - "Decisive Peak" has achieved significant global reach, with over 110 million monthly active users and more than 1.5 billion registered users, particularly popular in Southeast Asia, the Middle East, and Latin America [5] - Cai Xukun's music career is evolving, with a notable international audience, as 35% of his streaming listeners come from the European and American markets [5] Group 3: Emotional Resonance and Global Narrative - The song's lyrics reflect a deep emotional connection to the struggles faced by esports players, emphasizing resilience and determination, which aligns with the broader narrative of youth culture [4][6] - The collaboration signifies a shift in cultural export strategies, focusing on emotional resonance rather than mere content delivery, highlighting the importance of understanding global emotional structures [7]