Group 1 - The core argument is that the Chinese music market is driven more by music education and training rather than actual music production and consumption, indicating a disconnect in the industry [10][30][32] - The overall market size for music performances in China is projected to reach 38.733 billion yuan, while the digital music industry is expected to reach 102.746 billion yuan, and the music education and training industry is estimated at 155.48 billion yuan [10] - The current music industry in China is characterized as a "Ponzi scheme," where the focus is on perpetuating a cycle of training and fees rather than fostering genuine artistic creativity [6] Group 2 - The Korean music industry is described as having a successful but "distorted" model, focusing heavily on idol groups with significant investment but lacking diversity in music production [12][13] - The Chinese music market lacks a robust live performance scene, which is essential for artist development and audience engagement, leading to a reliance on non-music-related revenue streams [14][25] - The industry's focus on data-driven decision-making often overlooks the importance of live interactions and artist development, resulting in a market that prioritizes viral hits over sustainable artist careers [24][28][29] Group 3 - The global music market generated $76.2 billion, with live performances accounting for 46.1% of revenue, highlighting the importance of live music as a revenue source [16][17] - The Chinese music industry's reliance on digital platforms for revenue generation raises questions about its long-term sustainability, as it may not adequately support artist growth [18][30] - The industry's current structure leads to a focus on producing "potential hits" rather than nurturing a diverse range of musical talent, which could stifle innovation and creativity [28][30]