Relevant bibliographies by topics / Popular music – Korean influences

Academic literature on the topic 'Popular music – Korean influences'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Popular music – Korean influences"

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Gruzdev, Aleksandr. "The development of musical and singing culture and sociopolitical situation on the Korean Peninsula from the liberation to the Korean War." Genesis: исторические исследования, no. 12 (December 2020): 161–70. http://dx.doi.org/10.25136/2409-868x.2020.12.34506.

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The subject of this research is the impact of sociopolitical situation on the Korean Peninsula upon the establishment and development of musical culture of the Koreans since 1945 to the beginning of the Korean War. The goal is to demonstrate the effect of political and social situation upon music and songs of the Koreans, as well as outline the vectors of their development during the period under review. In the course of research, the author analyzes the historical, political and social background, within the framework of which was formed the musical and song tradition of the Koreans of that time. The article also traces the evolution of Korean music and song genre and the factors that exerted influence on it. The Russian Korean studies do not feature comprehensive research dedicated to musical and song culture of the Koreans of the period after liberation from the Japanese Rule, which defines novelty of this work. The conclusion is made that the political and social situation on the Korean Peninsula significantly influences the development of music and song genre. The two categories of music performers were determined: politicized and non-politicized. Politicized performers were represented by the supporters of left-wing views or right-wing views. The adherers of left-wing views sought for a new path of development of the Korean music, while the right-wing supporters used the motifs already familiar to the Korean public. Non-politicizes music performers and singers followed the popular trends among the audience, which was influenced by the presence of US military on the Korean Peninsula.
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Capistrano, Erik Paolo. "Understanding Filipino Korean Pop Music Fans." Asian Journal of Social Science 47, no. 1 (March 12, 2019): 59–87. http://dx.doi.org/10.1163/15685314-04701004.

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Abstract Hallyu’s success has caught the attention of academic research of various fields of expertise. This research endeavours to understand what makes Korean Pop music popular to Filipinos, addressing two research gaps: the lack of empirical management discourse, and the lack of focus on the Philippine KPop market. This research employs a theoretical model derived from an academic and practical product development and consumer behaviour discourse. Data collected from 932 Filipino respondents was subjected to several statistical tests, including exploratory factor analysis (EFA), hierarchical regression, and analysis of variance (ANOVA). The results suggest that Filipino KPop fans are more concerned about the external environment that influences what is popular, rather than what looks and sounds good. Furthermore, KPop fan behaviour homogeneously cuts across age, gender, and backgrounds. This presents several useful theoretical and managerial implications enhancing the overall picture of KPop’s international impact.
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SUCIU, Marian. "Korean movies: from the survival of the old heritage to the modernized tradition." Bulletin of the Transilvania University of Brasov. Series IV: Philology and Cultural Studies 14 (63), no. 1 (November 2021): 105–18. http://dx.doi.org/10.31926/but.pcs.2021.63.14.1.7.

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Generally, the younger generations tend to rapidly embrace new subcultures and trends, weakening the role of traditions. Such is the case of Korea in the last hundred years, as Koreans have had to adapt to various new influences, and the old traditions were either maintained with great effort or adapted to new situations. The “Korean Wave”, which is not only the promotion of Korean pop music, but also of Korean movies and television series, reflects this continuous process by shining a spotlight on both the old traditions and the new trends of the Korean society. The survival of the Korean traditions is portrayed in the movie “Seopyeonje” (1993), directed by Im Kwon-taek, which follows two teenagers, who were taught pansori by their stepfather, as they strive to survive as pansori singers in a society where Western songs are more appealing. Conversely, the movie “Love, Lies” (2016), directed by Park Heung-sik, showcases why the old way of singing will become less appreciated, as the new Korean pop music gains more and more popularity. While the former shows how traditions might be lost, the latter offers a popular solution to the problem of preserving traditions, using Homi Bhabha’s (2004) hybridity theory.
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Jeong, Yoo Chun. "Influence of Bupyeong Samneung(三稜) and Sinchon(新村) on the Korean Popular Music History." Institute For Kyeongki Cultural Studies 43, no. 2 (December 31, 2022): 57–70. http://dx.doi.org/10.26426/kcs.2022.43.2.57.

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Under the Japanese colonialism the Incheon Army Arsenal was created in the Bupyeong area, and since Korea’s independence, this area was converted into a US military camp, forming a new modern urban landscape. The representative legacy created in this new modern urban landscape is Korean popular music that developed around the Samneung[三稜] and Sinchon[新村] in Bupyeong area. Although the popular music spaces of Bupyeong Samneung and Sinchon have a special and national meaning in the history of popular music in Korea, no full-scale research has been conducted. This study examines the formation process of Korean popular music space that appeared in the process of converting the Incheon Army Arsenal in the Bupyeong area into the US military camp since independence. The heritage value of the Incheon Army Arsenal can only be revealed when we look diachronically not only at the arsenal itself but also at the post-liberation landscape changes, and a plan to utilize it based on profound understanding can be sought.
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Milani, Camila Alonso. "K-pop. Os reflexos do hibridismo cultural na identidade e na música popular coreana." Todas as Artes Revista Luso-Brasileira de Artes e Cultura 5, no. 1 (2022): 133–48. http://dx.doi.org/10.21747/21843805/tav5n1a6.

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This article seeks to analyze how K-pop, (sub) musical genre born in South Korea, is able to portray reflexes of cultural hybridism in pop music and in South Korean identity. To this end, a survey of facts and historical data was carried out to demonstrate the cultural identity suppression suffered by the Korean people over the centuries, until its consolidation as an independent nation. Then, from the post-war context, an analysis is made of the North American influence on the country's trajectory in music and in the construction of its pop culture. Finally, the role of all these interferences in the solidification of the South Korean identity is investigated, as well as the role of globalization in the establishment of the K-popper subculture and the new position of the peninsular country in the world
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Xu, Tongbo, and Hyuntai Kim. "The Influence of New Media on Korean Popular Music Production." Journal of Humanities and Social sciences 21 12, no. 6 (December 30, 2021): 3439–50. http://dx.doi.org/10.22143/hss21.12.6.243.

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Wicaksono, Liswindwinanto, and Robert La Are. "THE INFLUENCE OF KOREAN POP CULTURE TOWARD CONSUMER INTENTION ON SELECTING KOREAN FOODS." Emerging Markets : Business and Management Studies Journal 4, no. 1 (October 11, 2018): 13–23. http://dx.doi.org/10.33555/ijembm.v4i1.58.

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The purpose of the research is to find out the influence of Korean Pop Culture toward consumerintention on selecting Korean food. Korean Drama and Korean pop music are two phenomenal Korean pop culture which are spreaded around the world. In 1997, Korean Drama was first broadcast in China, following with the big step in 2004 where Korean Drama exported also to Hong Kong and Taiwan while Korean Pop Music start to gain popularity in the late of 1990s. In Indonesia, Korean Drama and K-pop music began to be popular in beginning of 2000’s. Their popularity are followed by Korean foods in 2014. This research is to look specifically on whether Korean Pop Culture influence Indonesian people to choose Korean foods as their options. Using SPSS software and with simple linear regression method analysis, 100 respondents’ data collected is processed through validity and reliability test, classical assumption test and hypothesis testing. The results show that Korean Pop Culture influence Indonesian people to choose Korean foods.
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Xue, Yuqing. "How Tact Influences Reputation." Writing across the University of Alberta 1, no. 1 (November 13, 2020): 15–24. http://dx.doi.org/10.29173/writingacrossuofa12.

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For this assignment, students analyzed everyday writing—writing that we might not think about in the same ways as we think about writing at a university—and how communities use this everyday writing to accomplish a particular goal. In this case, Yuqing Xue looked at how the Chinese fans of Korean pop music (K-pop) stars use tact to subtly persuade other fans to further the community’s goals: to keep their idols’ reputations intact and to make them as popular as possible. K-pop fan groups recently demonstrated the power of their coordinated action campaigns by booking tickets for a Trump rally that they had no intention of attending. These inflated numbers led the Trump campaign to believe that more supporters would attend their rally than did. This recent example reveals how the writing of communities that we believe to be trivial may wield power and influence in other contexts.
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Adira Fadia Putri Padmo, Aji, Achbil Khumaini Fajrin Muhammad, Adityamas Perdana Al-Hafidh, and Muhammad Aria Senna. "DIPLOMASI KPOP SEBAGAI KEBIJAKAN LUAR NEGERI KOREA SELATAN TERHADAP INDONESIA." Jurnal PIR : Power in International Relations 5, no. 1 (April 3, 2021): 33. http://dx.doi.org/10.22303/pir.5.1.2020.33-45.

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<p align="center"><em>Abstract</em></p><p><em>South Korea implements a soft power strategy, namely cultural diplomacy through the Korean Wave in its diplomatic relations with Indonesia. This strategy has get responded positively to relations between the two countries because the Korean Wave is now one of the most popular cultures in Indonesia. This paper aims to identify and analyze the interest of K-Pop cultural diplomacy on the cooperation between South Korea and Indonesia. The Korean Wave is part of Korean cultural diplomacy in Indonesia and has a great influence on bilateral relations between the two countries. South Korea has a great opportunity for the interest of the Indonesian people to K-Pop music because it can be used as a means of increasing closer cooperation with Indonesia, especially in the economic and socio-cultural fields</em></p><p><strong><em>Keywords</em></strong><em>: Cultural Diplomacy, South Korea, Indonesia, Korean Wave, Soft Power</em></p><p align="center">Abstrak</p><p>Korea Selatan menerapkan soft power strategy yaitu diplomasi budaya melalui Korean Wave dalam hubungan diplomatiknya dengan Indonesia. Strategi ini telah memberikan respon positif terhadap hubungan kedua negara karena Korean Wave kini menjadi salah satu budaya yang paling diminati oleh masyarakat Indonesia. Paper ini bertujuan untuk mengetahui dan menganalisis kepentingan diplomasi budaya K-Pop terhadap hubungan kerjasama Korea Selatan dan Indonesia. Korean Wave yang merupakan bagian dari diplomasi budaya Korea di Indonesia dan memiliki pengaruh yang besar terhadap hubungan bilateral kedua Negara. Korea Selatan mempunyai peluang yang besar atas ketertarikan masyarakat Indonesia terhadap musik K-Pop karena hal tersebut dapat dijadikan sebagai alat untuk meningkatkan kerjasama yang lebih erat dengan Indonesia, khususnya di bidang ekonomi dan sosial budaya</p><p><strong>Kata Kunci: </strong>Diplomasi Budaya, Korea Selatan, Indonesia, Korean Wave, Soft Power</p>
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Sung, Sang-Yeon. "Constructing a New Image. Hallyu in Taiwan." European Journal of East Asian Studies 9, no. 1 (2010): 25–45. http://dx.doi.org/10.1163/156805810x517652.

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AbstractThis paper discusses how hallyu—the recent influx of Korean popular culture in Taiwan—has transformed the image of South Korea among the people of Taiwan. South Korea and Taiwan share a similar historical past. Nevertheless, the Taiwanese did not have a positive image of South Korea after 1992, when South Korea broke off diplomatic relations with Taiwan in order to establish diplomatic relations with mainland China. This work is based on ethnographic research done in Taiwan and South Korea from 2001–2003 and 2007–2009. It explores how hallyu has contributed to the rebuilding of the image of South Korea in Taiwan. It discusses Taiwanese perceptions of this image and the role of the South Korean government in improving it. It focuses on how a once-held negative image of South Korea has been transformed. The hallyu boom inspired many Taiwanese to remark on the influence of South Korean dramas and pop music in renewing their relationship with South Korea. It has provided an opportunity for Taiwan and South Korea to build positive relationships after the break-up of their diplomatic relations. Through hallyu, South Korea became a country that Taiwanese want to emulate, a model nation for Taiwan today.
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Dissertations / Theses on the topic "Popular music – Korean influences"

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Williams, Zaneh M. "American Influence on Korean Popular Music." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/500.

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South Korea is internationally well known for its ethnic and cultural homogeneity, economic and technical success, and strong sense of nationalism. The peoples of South Korea have flourished economically after a series of colonizations, industrialization and political chaos. Over the past few decades, Korea has gained interest internationally for its entertainment industry through the Korean Wave (or Hallyu in Korean). Korean Wave is a term that refers to the increase in the popularity of South Korean culture since the late 1990’s due to Korean music, television shows and fashion. The Korean Wave first swept and captivated the hearts of citizens in East and Southeast Asia and now has expanded its popularity beyond Asia and has captivated millions of people all over the world. After a steady increase in cultural exports as a result of the Korean Wave since 2005, the Korean Tourism Organization (KTO) has realized the value in the exportation of Korean culture and goods and has now created programs that capitalize on this popularity and increase tourists South Korea. Korean popular music or K-Pop is a large and profitable aspect of the Korean Wave. According to CNBC in Move Over Bieber — Korean Pop Music Goes Global “The [k-pop] industry’s revenues hit about $3.4 billion in 2011, according to the Korea Creative Content Agency (KOCCA), a government group that promotes the country’s cultural initiatives. K-pop’s exports also rose to $180 million last year — jumping 112 percent compared to 2010. Exports have been growing on an average annual rate of nearly 80 percent since 2007.” And that “for every $100 of K-Pop exports, there was an average increase of $395 worth of I.T. goods such as cell phones or electronics that were being exported” (Naidu-Ghelani). The exportation of K-pop music and cultural can be seen as an economic success story. But in fact, for the Black American community it is the exportation of cultural appropriation and the degradation of Black American culture. The Korean Wave is packaging, promoting and exporting a “window into Korean culture, society and language that can be as educational as a trip to Korea. South Korea is using the Korean wave to promote its traditional culture within Korea and abroad” (“Hallyu, the Korean Wave” 1). Despite South Korea’s strong sense of nationalism and cultural homogeneity, its pop music has a distinct Black American musical influence. Rap and hip-hop musical style/culture (which is distinctly affiliated with representative of Black Americans) is an integral, if not necessary, part of Korean popular music. The synchronized dance moves, attractive idols and “rap/hip hop” style draws in millions of fans from every walk of life all over the world. The “hip hop” dance moves, clothing and lyrics that dominate Korean popular music, however crosses the line of cultural appreciation and instead can be defined as cultural appropriation.
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Choi, Yujin. "A Study of Selected Pedagogical Aspects of Two Intercultural Pieces for Late Intermediate and Early Advanced Students: "Variations sur un thème populaire coréen" by Sung-Ki Kim and "Six Pieces for Piano ‘Nori'" by Chung-Sock Kim." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609156/.

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I contend that young students should be introduced to intercultural contemporary music, as this exposure brings benefits to their artistic development and fosters appreciation of other cultures. Variations sur un thème populaire coréen by Sung-Ki Kim (b. 1954) and Six Pieces for Piano ‘Nori' by Chung-Sock Kim (b. 1940) are effective pedagogical works that fit perfectly into the intercultural mold mentioned above, and both are suitable for late intermediate or early advanced level students. A detailed comparison of these two works can help instructors understand the ways by which these composers incorporate Korean folk materials and blend them with Western contemporary techniques. An analysis of Sung-Ki Kim's Variations sur un theme populaire coréen and Chung-Sock Kim's Six Pieces for Piano ‘Nori' can be divided into three categories: harmony, rhythm, and performance-related aspects. By analyzing these two pieces, these study illustrates in greater depth their intercultural aspects, showing the way by which both composers merged traditional Korean folk idioms through the inclusion of traditional Korean rhythms, and the imitation of sounds of several traditional Korean instruments with Western contemporary technique such as non-traditional sounds and use of sostenuto pedal. Finally, this study provides some practicing suggestions and listing exercise on how to practice musical and technical challenges.
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Han, Ae Jin. "The aesthetics of cuteness in Korean pop music." Thesis, University of Sussex, 2016. http://sro.sussex.ac.uk/id/eprint/61472/.

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The aesthetic of ‘cuteness' in South Korean popular music (known as K-pop) is a pivotal concept in Korean media and culture and is frequently used to describe performances by both male and female K-pop groups. Aegyo is a fundamental part of this aesthetic, also called ‘K-cute', and it refers to the behaviour of ‘acting cute' that denotes a particular coquettish style not only in K-pop but also in South Korean society in a broader sense. This thesis explores K-pop performance from the mid-2000s to the 2010s through an examination of K-pop artists' training process, an analysis of K-pop music videos' lyrical and visual codes and a study of notable live performances. The aesthetic of ‘cuteness' in K-pop is contextualised through a historical and cultural review of South Korea and the forms through which aegyo has been represented. Thus, we see how aegyo has evolved in response to gender stereotyping in both traditional and contemporary South Korean society and how it has come to represent a unique idea of Korean-ness expressed in a cultural form that also fulfils its potential for flexibility. Furthermore, this thesis investigates how the K-pop industry influences aegyo through issues of gender and sexuality, primarily examining Richard Schechner's performance theory and Erving Goffman's notion of self-presentation. A significant aspect of this investigation is the sexualisation of K-pop idol boy and girl groups through the deliberate adoption of the aegyo aesthetic, a process that forms a key part of the marketing strategy behind their ‘Korean wave' global success. Finally, I explore mediatised performances of aegyo and the possibility that remediation, as outlined by Bolter and Grusin, provides a potent vehicle for the repetition and reinforcement of ‘cuteness' via holographic and digitalised K-pop performances.
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Ha, Jarryn. "My Song is My Power: Postcolonial South Korean Popular Music." Case Western Reserve University School of Graduate Studies / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=case1522941303946503.

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McReynolds, Robert Timothy. "The influences of American popular music upon twentieth-century song and chamber music." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/3088.

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Lee, YongWoo. "Embedded voices in-between empires: the cultural formation of Korean popular music in modern times." Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=95009.

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This dissertation examines the historical trajectory of colonial mentality and the genealogy of cultural modernity and Americanization in South Korea by recontextualizing popular music as a narrative of collective memories and mass trauma. By mapping out two continual colonial histories, those represented by the periods of the Japanese Empire and of the American military government, I develop a narrative of Korean popular music that echoes this submission experienced by Koreans, a movement empowered by modern western technology such as the gramophone, radio and phonograph records as well as by the appropriation of various foreign popular music genres. This research primarily explores the ways in which consumption and production practices of Korean popular music were intertwined with structures of Korean cultural modernity. By examining socio-historical transformations such as urban development, commercialization and modernization, I examine the colonial experiences of Koreans as manifest in popular music narratives that gradually embraced collective sentiments and mass perceptions of everyday life under colonial circumstances, particularly as these were influenced by burgeoning concepts of western and American modernity and represented in song lyrics and musical performances from within the interior of Japanese colonial surveillance. As I shall argue, the submissive colonial narrative in Korean popular songs was enforced by the mobilization of Japanese militarism and imperial discourses concerned with “becoming an imperial subject” within the imperial national body, such that the colonial narrative was present continuously from the post-liberation era until the 1950s when the U.S. military controlled Korean society. Thus, this research raises a set of questions concerning, first, the embedding of Japanese colonialism within Korean popular songs, and secondly, the means by which Americanization and modern life circulated within the colonial and postcolonial di
En replaçant la musique populaire dans le contexte d'une histoire de mémoire collective et de traumatisme de masse, cette thèse examine le parcours historique des mentalités coloniales et la généalogie de la modernité culturelle et de l'américanisation en Corée du Sud. En traçant les contours de deux histoires coloniales successives, de l'Empire japonais au contrôle du gouvernement militaire américain, les expériences modernes des Coréens font écho à la soumission implicite du récit colonial au sein du texte culturel, autorisée par le trope moderne des technologies occidentales – le gramophone, la radio et les enregistrements phonographiques – et la conciliation entre divers genres de musique populaire. Cette recherche explore comment les pratiques de consommation et de production de la musique populaire, s'enlacent intimement dans la formation de la modernité culturelle en examinant la commercialisation et la modernisation, avec le développement urbain. La représentation des expériences coloniales des Coréens dans le récit de la musique populaire a progressivement englobé les sentiments collectifs et les perceptions de masse des circonstances coloniales en insufflant le concept naissant de modernité occidentale/américaine dans les paroles et dans les performances, à travers plusieurs processus de modernisations macroscopiques dans la vie de tous les jours à l'intérieur de l'imaginaire colonial japonais. Par conséquent, le récit assujetti à l'empire japonais de l'expérience coloniale, dans les chants populaires, avait été renforcé par la mobilisation du militarisme japonais et des discours sur le « sujet impérial » à l'intérieur du corps impérial de la nation qui ont refait surface sous la forme de la soumission continuelle à l'intérieur des mentalités coréennes qui avaient repris les pleins pouvoirs après la libération du joug japonais durant les années 1950. Cette étude s'intéresse à la période de la guerr
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Lee, Wonseok. "Diversity of K-Pop: A Focus on Race, Language, and Musical Genre." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1526067307402648.

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Noh, Wonil. "A Conductor's Guide to Hyo-Won Woo's Choral Music as Reflected in "Oh! KOREA"." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404580/.

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The choral music of Hyo-won Woo, the composer of Oh! KOREA, is being widely performed by universities and professional choruses in Korea, as well as throughout the world. The work exhibits Woo's remarkable compositional style, which displays traditional Korean musical influences. Hyo-Won Woo's Oh! KOREA consisting of four movements, is for chorus, two pianos, and both Eastern and Western percussion instruments. Woo's Oh! KOREA employs an excellent introduction to the Korean choral repertoire for Western audiences, rooted in traditional Korean folk tunes. As today's choral conductors, singers, and audience cannot fully appreciate the value of this traditional Korean work and will likely not understand its intended context, it is therefore necessary to provide an in-depth investigation of this work for any conductor considering a performance of this piece. This study includes influences of traditional Korean elements within Oh! KOREA and rehearsal and performance consideration for Western choir directors.
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Polychronakis, Ioannis. "Song odyssey : negotiating identities in Greek popular music." Thesis, University of Oxford, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669839.

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Kim, Kunwoo. "Korean dance suite for piano by Young Jo Lee an analysis /." Muncie, Ind. : Ball State University, 2008. http://cardinalscholar.bsu.edu/748.

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Books on the topic "Popular music – Korean influences"

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Ik-ki, Kim, ed. Hallyu wa Asia p'ap munhwa ŭi pyŏndong: Hallyu and the transformations of Asian pop culture. Sŏul-si: P'urŭn Kil, 2014.

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Hallyuhak kaeron: Introduction to Hallyuology. Sŏul-si: Sŏn, 2014.

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Segyehwa wa tijit'ŏl munhwa sidae ŭi hallyu: P'ul hausŭ, Kangnam sŭt'ail, kŭrigo kŭ ihu = Hallyu in globalization and digital culture era : Full house, Gangnam style, and after. Kyŏnggi-do P'aju-si: Hanul Ak'ademi, 2013.

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K-pop ŭl mein sŭt'ŭrim ŭro hanŭn chŏnhwan'gi ŭi Hallyu. Sŏul-si: Pukpuksŏ, 2013.

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K-POP Now!: The Korean Music Revolution. New York: Tuttle Publishing, 2014.

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Kim, Min-Sun, and Do kyun Kim. Hallyu: Influence of Korean popular culture in Asia and Beyond. Seoul: Seoul National University Press, 2011.

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1927-, Oliver Paul, ed. Black music in Britain: Essays on the Afro-Asian contribution to popular music. Milton Keynes [England]: Open University Press, 1990.

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Siriyuwasak, ʻUbonrat, ed. Pop culture formations across East Asia. Seoul: Jimoondang., 2010.

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Hallyu, Asia rŭl nŏmo segye ro: The Korean wave. Sŏul-si: Kukhoe Tosŏgwan, 2011.

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Bordolli, Marita Fornaro. El " cancionero norteño": Música tradicional y popular de influencia brasileña en el Uruguay. Montevideo: Instituto Nacional del Libro, Ministerio de Educación y Cultura, 1994.

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Book chapters on the topic "Popular music – Korean influences"

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Anderson, Crystal S. "That’s My Man! Overlapping Masculinities in Korean Popular Music." In The Korean Wave, 117–31. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137350282_7.

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Vilotijević, Marija Dumnić. "Urban folk music and cultural influences: Labels for narodna muzika (folk music) in Serbia in the twentieth century." In Contemporary Popular Music Studies, 39–50. Wiesbaden: Springer Fachmedien Wiesbaden, 2019. http://dx.doi.org/10.1007/978-3-658-25253-3_4.

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Yoon, Kyong. "K-pop Diaspora." In East Asian Popular Culture, 101–32. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-94964-8_4.

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AbstractFor young Korean Canadians, K-pop (Korean idol pop music) is presented not only as an ethnic media form but also as a highly global media practice. The diasporic youth’s consumption of K-pop may partly fulfill their cultural nostalgia and contribute to enhancing their ethnic ties with their ancestral homeland. Moreover, they appreciate K-pop as a global sound that is considered to be youthful, kaleidoscopic, hybrid, and relatable. While feeling ethnic and cultural affinities with K-pop, the diasporic youth engage with this genre as a cultural resource for questioning the mainstream cultural frame that takes Whiteness as a norm for granted.
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Kim, Soojin. "Gendered and Censored Modernity." In Vamping the Stage. University of Hawai'i Press, 2017. http://dx.doi.org/10.21313/hawaii/9780824869861.003.0009.

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This chapter examines the ways in which a juxtaposition of two definitions of modernity are reflected in the two female singers, Yi Mi-ja and Patti Kim, who actively performed in postwar South Korea, particularly between the 1960s and the 1970s. While different social values and cultural practices constituted the modernity of South Korea, most scholarship on Korean popular music gives particular attention to the cultural products of modernity that have been influenced by the West, mostly by the U.S. This chapter, however, suggest that the different cultures from Korea, Japan, and the U.S. together constitute the modernity of Korea. Also, different collective memories from the Japanese colonial experience, the Korean War, and the Korean government-led economic development project shape the ideal form of modernization. Modernity in South Korean popular music shows that the periods between the 1960s and the 1970s juxtapose what the Korean society was facing and seeking at the time. Focusing on the Yi and Kim’s music and their performance styles, this chapter explores how different musical cultures and social values are reflected in their music as a way to construct gendered and censored modernity.
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Anderson, Crystal S. "Conclusion." In Soul in Seoul, 147–60. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496830098.003.0005.

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This chapter uses Korean indie groups to reveal the diversity of music under the K-pop umbrella and the ramifications of such diversity for music aesthetics, authenticity, and globalization. Placing K-pop within a global R&B tradition highlights K-pop as a diverse style of music largely informed by African American popular music. It reveals the extent to which Black popular music has informed K-pop. Technology enables fans to access a wide array of K-pop, foster fan communities, and act as critics and arbiters of taste. K-pop’s place in a global R&B tradition also reveals the diversity of global influences, challenging the focus on a generalized West and United States that obscures the impact of African American culture.
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Oh, Youjeong. "Introduction." In Pop City, 1–32. Cornell University Press, 2021. http://dx.doi.org/10.7591/cornell/9781501755538.003.0001.

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This chapter explores cases of place promotion as mediated through Korean popular culture since the early 2000s, specifically television dramas and K-pop music. It explicates the alliance between cultural production and urban policies, then reveals the untold stories about Hallyu, or the so-called Korean Wave, referring to the overseas popularity of Korean entertainment products, including films, television dramas, pop music (K-pop), and online games. The chapter emphasizes that K-prefixed products and services are not abstract but manifested in and associated with specific places, thus engendering “K-places.” It reinterprets the Korean Wave by casting new light on the influence of Korean pop culture not only on commercial and economic life but also on the transformation of cities. By focusing on the spatial aspects and impacts of Hallyu, the chapter examines the ways Korean municipalities commodify and sell their urban and rural spaces to potential tourists by being represented in and associated with popular culture.
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Chung, Peichi. "The Emerging Media Exchange in the Cultural Regionalization of Asia." In Global Media Convergence and Cultural Transformation, 80–93. IGI Global, 2011. http://dx.doi.org/10.4018/978-1-60960-037-2.ch006.

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This chapter focuses on the emerging media regionalization that takes place in Asia in 2000s. Japan and Hong Kong used to be the dominant cultural exporters commercializing their national media products to the nearby Asian markets. The recent market success of Korean wave and the gradual opening of Chinese market bring media regionalization to a different level. The chapter selects three cases to present the detailed image of cultural standardization in Asia’s media regionalization. The first centers on the circulation of media text in television drama, emphasizing on Korean wave and the particular TV series, Boys Over Flowers. The second case discusses Taiwanese popular music and its influence on Mandopop in the Chinese communities. The last case studies the regionalization of online game from China. This case examines the localization of Chinese online game, Westward Journey Online II. Chinese online games initially begin with the imitation of Korean game but later form their national branding based upon a mixture of global and local cultural elements that speak to the largest group of online game consumers in the pan-Asian market.
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"Inventing Korean Popular Music." In Globalization and Popular Music in South Korea, 39–58. Routledge, 2015. http://dx.doi.org/10.4324/9781315733081-2.

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Jung, Eun-Young. "Korean Pop Music in Japan." In Introducing Japanese Popular Culture, 180–90. Routledge, 2018. http://dx.doi.org/10.4324/9781315723761-17.

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Keith, Sarah. "Popular music and Korean learning." In Multilingual Sydney, 79–90. Routledge, 2018. http://dx.doi.org/10.4324/9781351215541-7.

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