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

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

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1

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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2

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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3

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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6

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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7

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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8

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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9

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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10

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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11

Fithratullah, Muhammad. "Globalization and Culture Hybridity; The Commodification on Korean Music and its Successful World Expansion." Digital Press Social Sciences and Humanities 2 (2019): 00013. http://dx.doi.org/10.29037/digitalpress.42264.

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The absence of borders increases the consciousness on the larger access which creates global dependency in many ways such as trades, traveling, tourism, and culture information and creates borderless countries. Lyman (2000) explains that the movement and the influence of globalization are triggered by many factors such as the economic expansion in the form of massive industrialization and the development of science, technology, and communication. The beauty of globalization is the ability to force people to be creative and innovative in creating something beneficial. Culture are wrapped and formed then exposed, which later called as “exporting culture” or in the more popular form, it is called as commodification. The boom of Korean popular culture in all over Asian countries has increased starting in 2000 it moves forward to rule all over Asia (Hyejung: 2007). The rise of Korean Popular culture through globalization triggers a favorable environment to the new commodities allowing interaction between nations. K-Pop Global expansion is through three stages “Competence” or Hard Power, “Attraction” or Soft Power and last but not least Criticism in order to be able to continue or to have a sustainable career in global industries many things should be taken including “facelift”. The purpose of this research is to figure out that commodification on culture is the answer for Korean Music to have successful world expansion and global stage powered with qualitative research is applies in this research.&nbsp;
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12

Sughra, Syeda Fatima, Mariam Shahzad, and Irfan Abbas. "THE LINGUISTIC INFLUENCE OF KOREAN WAVE FROM PAKISTAN’S PERSPECTIVE." Pakistan Journal of Social Research 04, no. 01 (March 31, 2022): 533–50. http://dx.doi.org/10.52567/pjsr.v4i1.677.

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This research paper intends to explore the influence of the “Korean Wave" on the language of non-Korean speakers especially the bilingual community in Pakistan who actively indulges in Korean popular music as well as their drama/film industry. The paper discusses how initially a local phenomenon (South Korean media industry) when transforms into a global one, spreads its cultural knowledge across the globe with language becoming a major chunk which gets transferred to the shared knowledge of the speakers being affected by this phenomenon. By taking on a quantitative approach i.e through designing a questionnaire, our data collection and discussion has helped to locate the linguistic traits, inclusive of heavily impacted sound patterns, speech, words and/or phrases, on the language of the Korean culture consumer. The results of our study have also been analysed through the corpus planning perspective, namely through their identification under the categories of “Modernization” and “Graphization”. Through this means we have strived to determine the extent to which bilingual speakers in Pakistan have been influenced by the Korean language in their day to day lives, from their borrowing of Korean terms in regular discourse to their active usage of Hallyu inspired English terminology. Keywords: Korean Wave, Pakistan, Discourse, K-pop, Hallyu, Korean Language
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13

Dillah, Sarah, Muhammad Thalal, and Muhammad Yunus Ahmad. "THE INFLUENCE OF THE KOREAN WAVE ON BEHAVIOR AMONG UIN AR-RANIRY BANDA ACEH STUDENTS." Indonesian Journal of Islamic History and Culture 3, no. 1 (May 31, 2022): 29–42. http://dx.doi.org/10.22373/ijihc.v3i1.1601.

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The Korean Wave refers to South Korean popular culture (pop culture), which has expanded throughout Asia, Europe, and America. This Korean Wave is being propagated through the entertainment sector, including music, movies, dramas, cosmetic goods, food, and so on, and is also being aided by the increasing flow of globalization. The goal of this study is to discover what variables impact the behavior of certain UIN Ar-Raniry students who like the Korean Wave and how the conduct of some UIN Ar-Raniry students who are influenced by the Korean Wave is affected. This study employed a qualitative method, with data collected through observation, interviews, and documentation. The acquired data was then examined using data analysis software. Data reduction, data presentation, conclusion drawing, and verification were used to examine the obtained data. The findings revealed that the effect of friends, families, and South Korean dramas presented on Indonesian private television channels influenced certain UIN Ar-Raniry students' liking of the Korean Wave. Some UIN Ar-Raniry students who were impacted by the Korean Wave may be noticed in their open conduct, use of language, style of dress, make-up and skin care, eating and food etiquette, and usage of social media. Their restricted conduct, methods of thinking and envisioning, growing knowledge or understanding, and developing self-confidence all have a shape.
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14

Cho, Hyung Keun. "The Influence of America on Korean Popular Music before and after Liberation: Under the Triangular structure of the American, Japanese and Korean." Korean Association for the Study of Popular Music, no. 23 (May 30, 2019): 168–202. http://dx.doi.org/10.36775/kjpm.2019.23.168.

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15

Lee, Su-hyeon, and Si-lim Lee. "A Study on Phenomenon of the Korean Popular Music Industry Oligopolies and its Influence - Focusing on the Oligopoly of Idol Industry." Journal of Korea Culture Industry 18, no. 2 (June 30, 2018): 51–64. http://dx.doi.org/10.35174/jkci.2018.06.18.2.51.

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16

Berliana, Alya Ditha, and Harwintha Yuhria Anjarningsih. "“Such a Good Night”: Analyses of Korean-English code-switching and music video comments of ASTRO’S songs." Indonesian Journal of Applied Linguistics 12, no. 2 (September 30, 2022): 293–307. http://dx.doi.org/10.17509/ijal.v12i2.32911.

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To attract global multilingual audiences, English lyrics had been included in K-Pop songs for decades as a strategy (Lauren, 2018; Sea, 2018). This paper analyzed the English usage of “All Night”, “Blue Flame”, and “Knock” by ASTRO, a third-generation K-Pop group from a non-mainstream agency to examine code-switching and the global recognition of K-Pop songs. All songs were examined by using code-switching theories from Poplack (1980) and Bullock and Toribio (2009) and other theories on function analysis by Lawrence (2010) and Lee (2004) and comment analysis by Fernandez-Martinez et al. (2014) and Kwon (2019). The findings revealed that the majority of code switches in “All Night” and “Blue Flame” were inter-sentential, yet “All Night” and “Knock” were more similar in utilizing English by having a new function (i.e., emphasizing a dialog from one’s perspective), an important addition to Lee’s (2004) functions. Furthermore, from the usage and function analysis and the comment analysis, the audience responses seemed to be influenced by the singers’ mispronunciations and the non-existence of a new function that failed to create uniqueness in English usage in “Blue Flame,” which may have led to the song’s failure to win awards. In conclusion, the research suggested that, in the near-absence of promotional support from the agency, the interplay among the number of switches, accurate pronunciations, and a new English-switching function seemed to play an important role in making “All Night” and “Knock” popular among multilingual audiences.
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Han, Seungri. "The Influence of Background Music on People’s Judgment of others on Social Media." Advances in Social Science and Culture 5, no. 1 (December 23, 2022): p1. http://dx.doi.org/10.22158/assc.v5n1p1.

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This study explored whether background music on Social Networking Service (SNS) can influence people’s judgments about others’ personalities. We used the most popular SNS app in Korea and manipulated the background music. Forty-four participants were recruited and randomly assigned one of two conditions: music from either classical or rock genres. After exploring the profile, the participants answered a questionnaire asking them to assess the profile’s owners’ personality. It was found that both male and female participants viewed the profile owner’s personality differently depending on the background music. The implication of personality judgment in an SNS context was discussed.
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van der Lee, Pedro. "Latin American influences in Swedish popular music." Popular Music and Society 21, no. 2 (June 1997): 17–45. http://dx.doi.org/10.1080/03007769708591666.

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van der Lee, Pedro. "Sitars and bossas: World Music influences." Popular Music 17, no. 1 (January 1998): 45–70. http://dx.doi.org/10.1017/s0261143000000489.

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Popular music is sometimes discussed from a rather ethnocentric viewpoint, lacking awareness of, or not acknowledging, influences assimilated from non-Western musics, while in the field of ethnomusicology, issues such as the preservation of traditional styles (see Baumann 1992, pp. 11–15) remain important, but there is an increased interest in the processes of change and the effects of technology (see, for example, Wallis and Malm 1984). As Western and traditional styles interact, changes occur, and as Frith puts it: ‘popular music study rests on the assumption that there is no such thing as a culturally “pure” sound’ (1989, p. 3).
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Kim, Gooyong. "Neoliberal feminism in contemporary South Korean popular music." Politics of Sound 18, no. 4 (June 12, 2019): 560–78. http://dx.doi.org/10.1075/jlp.18058.kim.

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AbstractThis paper examines how South Korean popular music (K-pop) promotes neoliberal feminism by a discourse of resilience. In a therapeutic narrative of overcoming obstacles and achieving goals, K-pop videos deliver a hegemonic message that individuals have to be responsible for their success and well-being rather than blaming external, institutional conditions. While ostensibly promoting female empowerment, the videos update and reinforce patriarchal gender norms and expectations. To substantiate this point, I analyze music videos of the most successful K-pop group, Girls’ Generation’s “Into the New World” (2007) and “All Night” (2017) to investigate how they promote resilience discourse along with neoliberal positive psychology as a hegemonic ideal of female subjectivity.
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Ryu, Jungyop, Erik Paolo Capistrano, and Hao-Chieh Lin. "Non-Korean consumers’ preferences on Korean popular music: A two-country study." International Journal of Market Research 62, no. 2 (August 28, 2018): 234–52. http://dx.doi.org/10.1177/1470785318796951.

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This research employs a mix of theoretical and data-driven approaches to understand how Korean pop music (KPop) consumption, despite physical and social barriers, is currently at unprecedented levels. The stimulus-organism-response (S-O-R) model was used as a basis to examine factors regarding influencing KPop’s popularity on non-Koreans, focusing on production and consumer-based factors inducing their attitudes and preferences. Data gathered from 951 Taiwanese and 949 Philippine survey respondents were analyzed through structural equation modeling (SEM), in which 13 of the hypothesized 16 direct, mediating, and moderating relationships were supported. This research demonstrates how, through appropriate theoretical lenses supported by empirically tested data, production-based factors of visual and audio components can sway favorable attitudes and preferences under customer-based contextual factors, including peer pressure, self-efficacy, and media. This guides producers to appreciate cultural nuances affecting KPop’s global popularity, and the importance of deciding the product mix strategies best suited for different markets.
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Andraschke, Peter, Richard Middleton, and David Horn. "Popular Music. A Yearbook. Bd. 1: Folk or Popular? Distinctions, Influences, Continuities." Jahrbuch für Volksliedforschung 30 (1985): 221. http://dx.doi.org/10.2307/848839.

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Choi, Tae-Sun. "Popular Music Singer Training System and Sustainability of Korean Music(K-pop)." Journal of the Edutainment 4, no. 4 (December 31, 2022): 15–26. http://dx.doi.org/10.36237/koedus.4.4.15.

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Lee, Jang Lyl. "Bupyeong Study as a Center of Korean Popular Music." Institute For Kyeongki Cultural Studies 41, no. 2 (December 30, 2020): 135–72. http://dx.doi.org/10.26426/kcs.2020.41.2.135.

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Aniuranti, Asfi. "Exploring Register Variation in Korean Popular Music (K-Pop)." NOTION: Journal of Linguistics, Literature, and Culture 1, no. 2 (November 6, 2019): 56. http://dx.doi.org/10.12928/notion.v1i2.887.

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In sociolinguistics, language varieties are one of interesting topics discussed, and among those varieties, there is a variety called register. This study itself investigates one of register features namely English terms in Korean Popular Music (K-Pop). The topic is chosen due to the high number of English terms in K-Pop (at least 105 terms) and the difficulties in understanding their meanings. The objectives of this study are (1) describing the form of the terms, (2) describing the formation of the terms, and (3) explaining the specificity of the meanings by comparing the meanings of the terms with the meanings on the dictionary. This study was conducted through several phases called data gathering, data analysis and result presentation of data analysis. Overall, the results reveal several prominent findings. First, most of the terms are in a form of word, meanwhile the terms in phrase are limited. Second, there are several types of term manufacturing, and the most dominant one is compounding. Third, most of the terms’ meanings have been changed from meanings on the dictionary, and they are classified as semantic narrowing.
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Zhang, Qian, and Keith Negus. "East Asian pop music idol production and the emergence of data fandom in China." International Journal of Cultural Studies 23, no. 4 (February 10, 2020): 493–511. http://dx.doi.org/10.1177/1367877920904064.

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This article traces the formation of popular music idol industries in China and the emergence of data fandom. It charts the growth of digital platforms and historicizes the commercial and geopolitical itinerations linking cultural production in Japan, South Korea, and China. It locates data fandom as an integral part of the popular music industries reconfigured by digital social media platforms; a structural change from the production-to-consumption ‘supply chain’ model of the recording era towards emergent circuits of content that integrate industries and audiences. Data fans understand how their online activities are tracked, and adopt individual and collective strategies to influence metric and semantic information reported on digital platforms and social media. This article analyses how the practices of data fans impact upon charts, media and content traffic, illustrating how this activity benefits the idols they are following, and enhances a fan’s sense of achievement and agency.
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Krishna, Keya. "Foreign Influences and Localization: The Evolution of Korean Music Through History." Asian Culture and History 14, no. 2 (October 30, 2022): 168. http://dx.doi.org/10.5539/ach.v14n2p168.

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Korean music has a distinct history and characteristics that can be traced back centuries. Over the years, while Korea has maintained its cultural identity through years of struggle and oppression, its engagements with neighboring countries and foreign occupying powers have had a lasting and syncretic impact on its musical evolution. This journey has been shaped by a number of social, political, and historical factors, including national pride, extensive foreign presence through most of the twentieth century, governmental concerns over the preservation of Korean authenticity in music, the development of global music markets, and a dynamic domestic youth culture. Throughout, Korean music has been able to preserve its unique characteristics while accepting a high level of foreign musical influence. It has conquered large domestic and global audiences by generating new musical styles through a complex and divergent mix of imitation and localization of foreign influences while continuously reverting to and maintaining Korean authenticity.
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McLEOD, KEN. "Bohemian rhapsodies: operatic influences on rock music." Popular Music 20, no. 2 (May 2001): 189–203. http://dx.doi.org/10.1017/s0261143001001404.

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Opera and operatic images have invaded nearly all aspects of popular culture. Films (even silent films), radio, television, literature and numerous other media have all, to one degree or another, appropriated either actual opera or operatic devices and conventions. One important realm of popular culture that has appeared relatively immune to operatic influence, however, is rock music. Though several studies have illustrated the impact of ‘classical’ instrumental music on heavy metal and pop music, no serious scholarship has as yet explored the considerable influence exerted by opera, and its conventions, on various forms of rock music (Aledort 1985; McClary and Walser 1990; Walser 1992; Covach 1997). This essay examines the various manifestations of opera in rock music with particular concentration on works by Queen, Nina Hagen, Klaus Nomi and Malcolm McLaren that employ specific instances of operatic vocality or borrowing. Such opera–rock fusions are often predicated upon the transgression of conventional musical boundaries and often reflect an analogous rejection of traditional cultural boundaries surrounding sexual orientation, gender and class. Long overlooked, recognising opera's cross-relations with rock offers new insights into the postmodern blurring of traditional distinctions between ‘high’ and ‘low’ art and broadens our understanding of both genres.
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Martins, Carlos Alberto. "Popular music as alternative communication: Uruguay, 1973–82." Popular Music 7, no. 1 (January 1988): 77–94. http://dx.doi.org/10.1017/s0261143000002543.

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Uruguay is a country of immigrants. By the middle of the last century little remained of its original inhabitants or their culture. To Spanish influences were added others, mainly of European origin, which together formed the hybrid culture which is twentieth-century Uruguay.
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Lee, Seung-Ah. "Decolonizing Korean Popular Music: The “Japanese Color” Dispute over Trot." Popular Music and Society 40, no. 1 (September 27, 2016): 102–10. http://dx.doi.org/10.1080/03007766.2016.1230694.

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Chansanam, Wirapong, Kornwipa Poonpon, Yuttana Jaroenruen, and Nattapong Kaewboonma. "Global Research Trend of Korean Popular Music: A Bibliometric Analysis." Journal of Scientometric Research 11, no. 3 (January 6, 2023): 419–26. http://dx.doi.org/10.5530/jscires.11.3.45.

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Lee, Chang Ku, and Seungyon-Seny Lee. "A Popular Music Rhythm Content Development through a Convergence of Korean Folk Music and Latin Music." Asia-Pacific Journal of Advanced Research in Music, Arts, Culture and Literature 1, no. 1 (November 30, 2016): 17–22. http://dx.doi.org/10.21742/ajmacl.2016.1.1.03.

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Um, Hae-Kyung. "The poetics of resistance and the politics of crossing borders: Korean hip-hop and ‘cultural reterritorialisation’." Popular Music 32, no. 1 (January 2013): 51–64. http://dx.doi.org/10.1017/s0261143012000542.

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AbstractThis paper examines the ways in which hip-hop has taken root in Korean popular culture. The processes that began in the early 1990s include appropriation, adaptation and ‘cultural reterritorialisation’. By looking at recent Korean hip-hop outputs and their associated contexts, this paper explores the ways in which Korean hip-hop has gained its local specificities. This was achieved by combining and recontextualising Afro-American and Korean popular musical elements and aesthetics in its performance and identification in the context of the consumption and commodification of Korean hip-hop as a ‘national(ised) cultural product’.
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Mistry, Nakhila, and Crista Arangala. "Music genomics: Determining musical similarities with seriation algorithms." Discrete Mathematics, Algorithms and Applications 07, no. 04 (December 2015): 1550041. http://dx.doi.org/10.1142/s179383091550041x.

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Music plays a prominent role in society and companies have even started studying its aspects for commercial purposes. It is only natural to ask what characteristics make certain songs appealing. While much research has been conducted on the mathematical principles of sound, there has been less focus on analyzing the structure of popular songs from a mathematical perspective. One mathematical tool that researchers have used to study musical structure is seriation, ordering. This paper applies several types of seriation algorithms to conduct a mathematical analysis of the structural qualities of several musical pieces. This paper focuses on 10 popular artists and their musical influences. The artists chosen for this research are linked because of the influences they cite, musical genre, and the popularity of their music. Results show that an artist’s songs have a higher quantitatively measured connection with the artists they cite as influences rather than the artists who they never mention as musical influences.
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Kim, Ki-Deog. "The Study for Idol Music as New Korean Wave and Ecosystem Equilibrium of Korean Popular Music Market 2000-2014." Journal of the Korea Contents Association 15, no. 6 (June 28, 2015): 157–67. http://dx.doi.org/10.5392/jkca.2015.15.06.157.

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Kim, You Jin, and Moo Kyoung Song. "Exploring teachers’ approaches to popular music: Attitudes, learning practice, and issues in South Korea." International Journal of Music Education 38, no. 3 (April 28, 2020): 456–69. http://dx.doi.org/10.1177/0255761420919570.

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In recent years, a strong focus on popular music has increased in South Korean music education. Although this shift in the curricular content has led to studies on the formation of popular music repertories in the curriculum, few studies have attended to teachers’ attitudes and learning practices to popular music as related factors. To understand popular music education in South Korea, we investigated music teachers’ attitudes, learning practices, and critical issues that have arisen in their teaching. We conducted an online survey with secondary music teachers ( N = 138) followed by a focus group interview ( n = 6). The findings suggest that teachers’ attitudes toward popular music (positive, neutral, or negative) were associated with their learning practices, including the time they spent on popular music, their selections of popular music genres, and musical activities. This provides a starting point for further investigation of the teachers’ attitudes related to their learning practices in shaping popular music curriculum. Regardless of the teachers’ attitudes to popular music, they agreed popular music a good place to start for their students. In addition, they had similar or divergent perceptions and concerns of teaching popular music depending on their attitudes, as they have found their own individual ways of incorporating popular music.
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Kovalcsik, Katalin. "Popular dance music elements in the folk music of Gypsies in Hungary." Popular Music 6, no. 1 (January 1987): 45–65. http://dx.doi.org/10.1017/s0261143000006607.

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Gypsy folk music is of a distinctive character compared with that of the other East European ethnic communities. The pecularities differentiating it from these other forms of folk music – improvisation and a readiness to adopt new influences – have continued to be of significance. While in several cases the folk music of peoples who have established themselves in national states is kept alive by artificial means (e.g. by promoting folk singing groups, by teaching folksongs in schools and by various revival movements), the vast majority of Gypsies have preserved their traditional music as an almost exclusive musical language.
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Willoughby, Heather A. "Under the covers: Image and imagination in Korean popular music albums." Asian Journal of Women's Studies 21, no. 4 (October 2, 2015): 345–62. http://dx.doi.org/10.1080/12259276.2015.1106860.

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Jung, Hyeri. "Agenda-setting in the realm of popular culture: The case of the Korean Wave in East Asia." Global Media and Communication 15, no. 3 (September 18, 2019): 361–77. http://dx.doi.org/10.1177/1742766519872782.

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The spread of South Korean popular culture across the globe, known as the Korean Wave, has signalled a significant challenge towards the traditional one-way flow of media culture. This study applies agenda-setting effect, which has been largely applied to political communication, to the domain of mass-produced popular culture. It explores how Korean media’s news coverage of the popularity of Korean TV drama in China influences not only the first and second agenda-setting effect but also Koreans’ perception of Chinese audiences. The findings suggest that the Korean Wave could serve as a form of reversed cultural diplomacy by promoting soft power in East Asia.
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Dobrota, Snježana, and Ina Reić Ercegovac. "Music preferences with regard to music education, informal influences and familiarity of music amongst young people in Croatia." British Journal of Music Education 34, no. 1 (October 25, 2016): 41–55. http://dx.doi.org/10.1017/s0265051716000358.

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The aim of this research was to investigate the relationship between music preference and music education, informal influences (attending classical music concerts and musical theatre productions) and familiarity of music. The research included students of the Faculty of Humanities and Social Sciences, University of Split (N=341)1. The results showed that participants usually listen to popular music in their leisure time and that popular music is their most preferred music style. A positive relationship between familiarity and preferences was found but this effect was not unambiguous. A relationship between music preferences and secondary school music education was not found, but those participants who attended music school preferred some music styles more than did those participants who did not attend music school. There was a significant correlation found between the frequency of attending classical music concerts and preferences for classical music, jazz and world music. Finally, the results indicated that people who frequently attend musical theatre productions have significantly higher preferences for jazz and world music. The authors pointed to the problem of unattractiveness of music lessons in secondary schools and suggest possible solutions to the problem.
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Jeong, Woo Sik. "The Study of Building Korean Popular Music Archive: Focused on the opinions of the people working on popular music area." Korean Arts Association of Arts Management 45 (February 28, 2018): 203–52. http://dx.doi.org/10.52564/jamp.2018.45.203.

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Pope, Edgar W. "Imported others: American influences and exoticism in Japanese interwar popular music." Inter-Asia Cultural Studies 13, no. 4 (December 2012): 507–17. http://dx.doi.org/10.1080/14649373.2012.717598.

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Forman, Murray. "‘How we feel the music’: popular music by elders and for elders." Popular Music 31, no. 2 (April 23, 2012): 245–60. http://dx.doi.org/10.1017/s0261143012000037.

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AbstractThis article is inspired by the voices and perceptions of elder music fans and performing musicians, especially those older than 70 years of age. Based upon field interviews and ethnographic observations, it challenges the deleterious influences of social labelling and ageist perspectives (including casual yet damaging attributions of nostalgic yearning) that tend to delegitimise the musical interests or tastes of older citizens. By also emphasising musical performance, the article explores the active forms of music making as a strategy that mitigates notions of elders as non-productive consumers. The analysis further engages the contexts of musical performances within regulated institutional settings of assisted living residences, interrogating the logic and discourses of commercial management or State bureaucracies as they are expressed through organised musical recreation activities.
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Haessler, Elina Luise. "Visual Music: K-Pop’s ‘CAWMAN’ Effect on a Transnational Music Subculture." INSAM Journal of Contemporary Music, Art and Technology, no. 8 (July 15, 2022): 124–49. http://dx.doi.org/10.51191/issn.2637-1898.2022.5.8.124.

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South Korean popular music or K-Pop has risen phenomenally in popular music industries around the globe in little under three decades through its unique production method of embracing a combination of both musical and visual artforms. Having gained mass international popularity, K-Pop has established the characteristics of a subculture. The visual emphasis K-Pop producers place in their productions lays particularly in the foreground to its transnational attraction. Primarily in the form of music videos, narratives and aesthetics becoming communicable beyond language mediation. Using a semiotic theoretical analysis, this paper critically analyses the creation, sustainment and effects of ‘visual music’ as a foregrounding component of this transnational music subculture. To do so, the focus lies on K-Pop production company SM Entertainment’s recently established CAWMAN genre, a method of producing music media based on Cartoon, Animation, Webtoon, Motion Graphics, Avatar and Novel. With K-Pop’s central portal of communication and K-Popular practices being the Internet, this paper explores the effects and critical roles of this new genre of visual music in bringing people together across the globe.
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Sun, Meicheng, and Kai Khiun Liew. "Analog Hallyu: Historicizing K-pop formations in China." Global Media and China 4, no. 4 (December 2019): 419–36. http://dx.doi.org/10.1177/2059436419881915.

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This article will revisit the beginnings of the spread of Korean popular entertainment in China in the mid-1990s to early 2000s by examining the contents of previously untapped Chinese language popular entertainment magazines and public recollections on internet forums. Considered here as critical archival resources, the authors argue that these materials are instrumental in offering both new chronologies and insights to the circulatory process of the regionalization of Korean popular cultures or Hallyu. Korean popular music (hereafter K-pop) entered China after the normalization of diplomatic relations between the two countries. Instead of the often singularized, culturalist argument of “shared traditions,” this article offers a more dynamic historiography of the Korean Wave in China that is termed here as “Analog Hallyu.”
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Kang, Sangmi, and Hyesoo Yoo. "Effects of a Westernized Korean Folk Music Selection on Students’ Music Familiarity and Preference for Its Traditional Version." Journal of Research in Music Education 63, no. 4 (December 30, 2015): 469–86. http://dx.doi.org/10.1177/0022429415620195.

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The purpose of this study was to reveal the effects of Westernized arrangements of traditional Korean folk music on music familiarity and preference. Two separate labs in one intact class were assigned to one of two treatment groups of either listening to traditional Korean folk songs ( n = 18) or listening to Western arrangements of the same Korean folk songs ( n = 22); a second intact class served as a control group with no listening ( n = 20). Before and after the listening treatment session, pre- and posttests were administered that included 12 music excerpts of current popular, Western classical, and traditional Korean music. Results showed that participants who listened to traditional folk songs demonstrated significant increases in both familiarity and preference ratings; however, those who listened to Westernized folk songs showed increases only in familiarity ratings but not preference ratings for the same Korean songs in traditional versions. An analysis of participants’ open-ended responses showed that affective–positive responses were used most frequently when explaining preference for traditional versions of Korean folk songs (28.1%) among the traditional Korean listening group; structural–negative reasons (47.8%) were the most frequent among the Westernized listening group.
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Café, Dindo P. "The Transcontextualization of Indigenous Vocal Music: A Case of Alangan Mangyans in Victoria, Oriental Mindoro, Philippines." International Journal of Social Science Research and Review 5, no. 8 (August 15, 2022): 1–17. http://dx.doi.org/10.47814/ijssrr.v5i8.527.

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This study centers on the process of transcontextualization of indigenous vocal music among Alangan Mangyan within the context of mining exploration. The ethnography sketches the indigenous vocal music of the Alangan Mangyan and the influences of etic or popular music. This paper examines the dialectic relationship between emic or indigenous vocal music and etic or popular music. Primarily, the paper argues that mining exploration in the ancestral domains of the Alangan Mangyans is a significant force in the process of transcontextualization of indigenous vocal music.
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G., Kwasi, Mark M.C., and Hope S.K. "Live Sound Reinforcement in Ghanaian Popular Music Scene (1940s–1950s)." Journal of Advanced Research and Multidisciplinary Studies 2, no. 1 (March 8, 2022): 18–28. http://dx.doi.org/10.52589/jarms-tjfbwnme.

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Live sound reinforcement has always been associated with popular music performances. However, the type of live sound reinforcement strategies and techniques employed at any given time depends on the technology available to practitioners. The 1940s–1950s represents the emergence and development of highlife big-bands and a social change in the Gold Coast, where people were becoming economically sound to enjoy evening outings. This phenomenon, however, presented live entertainers with a new challenge of reaching more audiences with their performances. In this paper, we look at the live sound reinforcement strategies employed by highlife big-bands of the 1940s–1950s and how the available technology enhanced their performances in Ghana under the period of review. Using interviews, document and audio reviews for data collection, we draw attention to Vortexion amplifier and its influences on the live sound reinforcement practices and live performance in Ghana. Subsequently, we conclude that the live sound strategies in an era mirror the performance practices and their direct influences on the performers.
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Chandi, Jasdeep Kaur, and Kulveen Trehan. "The cultural shareability of Korean popular media in India: A reflexive thematic analysis of BTS music videos." East Asian Journal of Popular Culture 8, no. 1 (April 1, 2022): 27–52. http://dx.doi.org/10.1386/eapc_00061_1.

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In this article, the BTS phenomenon in India was examined by looking closely at the music of this South Korean band. A reflexive thematic analysis was performed on five BTS music videos followed by interviews with self-identified Indian BTS fans. Three salient themes were identified in the music videos and fans’ interview responses: the fusion of multiple music video genres, cultural hybridity and love as an evolutionary process. It is suggested that these identified themes are culturally shareable with Indian fans. The cultural shareability of the music of BTS has gradually created a mere-exposure effect amongst Indians, which is responsible for their growing affinity for Korean popular media.
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Kong, Lily. "Popular Music in Singapore: Exploring Local Cultures, Global Resources, and Regional Identities." Environment and Planning D: Society and Space 14, no. 3 (June 1996): 273–92. http://dx.doi.org/10.1068/d140273.

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As an area of geographical inquiry, popular music has not been explored to any large extent. Where writings exist, they are somewhat divorced from the recent theoretical and methodological questions which have rejuvenated social and cultural geography. In this paper one arena which geographers can develop in their analysis of popular music, namely, the exploration of local influences and global forces in the production of music, is focused upon. In analysing the music of Dick Lee, a Singaporean artiste, I illustrate how music is an expression of local/national influences. At the same time I discuss how Lee's music is also reflective of the power of globalising forces, illustrating the ways in which local resources intersect with global resources in a process of transculturation. Then I discuss the ways in which musical analysis offers a handle on larger political, economic, and sociocultural developments in Asia. Lee's search for a regional sound parallels the shift in many other spheres of Asian existence whereby a new cultural assertiveness has emerged, founded on the notion of Asian values and an ‘Asian Way’.
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