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The adults embrace a slow dancing mechanism, which is contrary to the youth preferred dancing method. The adults uphold a psychological perspective that the youth‘s dancing style entail an immoral portion where men and women dance together; thus, highlighting signs of immorality to the entire society. Evidence indicates that they view the music under such perspective in the sense that they protect the children from viewing such practices through the social media. In the second perspective, the young society embrace a character encompassed with loudness and complexity where the current music is loudly approached to attract the attention of a large popularity. Resources indicate that they engage such a platform to extend their identity, make the music cheap and incite its effect in the society.
In a comparative approach, music has endured a prosperous transformation over the years where it has developed to a certain condition where the citizens appreciate it in distinct dimensions. It has divided the society into the specific groups where every group enjoys its type. In a more critical review, its exposure to the adolescent and middle age artists changes its cultural approach. Sources assert that the adolescents engaged the intense form of music in the 21st century where they embrace loudness and complexity. Critically, the genre did not exist in the 1950s when evolution and alterations in the music began (Baker and William, 286). The approach has been engaged in the argument that music does not establish its taste at adulthood. Further, the music is facilitated by the need for autonomy. Romantic songs have changed over the years where the current dancing style is distinct to the old dancing approach. In a more critical review, the approach has changed every implication of the music where it has embraced high emotions to the society and romance. The society has engaged the
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