Pub Date : 2023-11-30DOI: 10.36775/kjpm.2023.32.117
Yun Jae Son
The onset of the 21st century marked a developmental phase that illuminated the past culturally with cycles spanning approximately 20 years. Currently, a significant re-exploration of the cultural environment manifested in the 1990s and the early 2000s is underway, with its impact discernible in the K-pop genre of popular music. This study clarified that the phenomenon of 1st generation idol music being remade across the 3rd and 4th generations is not merely imitation but a complex phenomenon shaping new musical landscapes and values. The exploration of 1st generation idol remake music focused intensively on the intertwined cultural continuity and changes between tradition and the modern era. This highlights the inherent differences and possibilities of transformation within repetition, or emphasizing the societal and cultural values of respect bestowed upon idol fandoms. The reinterpretation and recreation of musical traditions established by the 1st generation idols through subsequent generations are expected to address prevalent concerns about the authenticity of K-pop.
{"title":"Tradition and Innovation in 1st Generation Idol Music - The Case of Remakes","authors":"Yun Jae Son","doi":"10.36775/kjpm.2023.32.117","DOIUrl":"https://doi.org/10.36775/kjpm.2023.32.117","url":null,"abstract":"The onset of the 21st century marked a developmental phase that illuminated the past culturally with cycles spanning approximately 20 years. Currently, a significant re-exploration of the cultural environment manifested in the 1990s and the early 2000s is underway, with its impact discernible in the K-pop genre of popular music. This study clarified that the phenomenon of 1st generation idol music being remade across the 3rd and 4th generations is not merely imitation but a complex phenomenon shaping new musical landscapes and values. The exploration of 1st generation idol remake music focused intensively on the intertwined cultural continuity and changes between tradition and the modern era. This highlights the inherent differences and possibilities of transformation within repetition, or emphasizing the societal and cultural values of respect bestowed upon idol fandoms. The reinterpretation and recreation of musical traditions established by the 1st generation idols through subsequent generations are expected to address prevalent concerns about the authenticity of K-pop.","PeriodicalId":165088,"journal":{"name":"The Korean Association for the Study of Popular Music","volume":"79 3-4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139205864","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-30DOI: 10.36775/kjpm.2023.32.35
Soo Jin Kim, Eu Jeong Zhang
Amid changes in world politics and the chaos of musical culture in the 20th century, the need for research on the fusion of classical music and jazz emerged. Therefore, this study reveals the characteristics that the jazz elements in “Kapustin’s Piano Concerto No. 2 Op. 14” (Concerto) combined with classical music to contribute to the evolution of modern music. Analysis of various aspects such as musical form, tempo, rhythm, melody, harmony, and instrumentation based on the orchestral score revealed that Kapustin’s Concerto exhibited musical diversity and innovation through the fusion of classical music and jazz, and was a work that went beyond the boundaries of tradition and experiment. Kapustin developed a unique musical style by incorporating jazz elements into classical music and demonstrated the potential of the third stream. Kapustin’s musical fusion was clearly revealed as a new trend in modern music in which various musical elements interacted. These results can help find and create new works by promoting the popularization of classical music and innovation of popular music.
{"title":"Jazz Elements in the Music of 20th Century Soviet Composer Kapustin - Focusing on “Piano Concerto No. 2 Op. 14”","authors":"Soo Jin Kim, Eu Jeong Zhang","doi":"10.36775/kjpm.2023.32.35","DOIUrl":"https://doi.org/10.36775/kjpm.2023.32.35","url":null,"abstract":"Amid changes in world politics and the chaos of musical culture in the 20th century, the need for research on the fusion of classical music and jazz emerged. Therefore, this study reveals the characteristics that the jazz elements in “Kapustin’s Piano Concerto No. 2 Op. 14” (Concerto) combined with classical music to contribute to the evolution of modern music. Analysis of various aspects such as musical form, tempo, rhythm, melody, harmony, and instrumentation based on the orchestral score revealed that Kapustin’s Concerto exhibited musical diversity and innovation through the fusion of classical music and jazz, and was a work that went beyond the boundaries of tradition and experiment. Kapustin developed a unique musical style by incorporating jazz elements into classical music and demonstrated the potential of the third stream. Kapustin’s musical fusion was clearly revealed as a new trend in modern music in which various musical elements interacted. These results can help find and create new works by promoting the popularization of classical music and innovation of popular music.","PeriodicalId":165088,"journal":{"name":"The Korean Association for the Study of Popular Music","volume":"32 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139207501","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-30DOI: 10.36775/kjpm.2023.32.151
Junghwan Shin
This study theoretically examines singing in popular music. This study defines “style reflectionism” as the view of singing style dominated by structure, system, and norm. Along with criticizing reflectionist view, this study constructs a preliminary theory of popular music singing performance. Singing and vocal style in popular music is more diverse than western classical music, but there is an obvious tendency of convention in each genre’s context. Existing studies on singing focus on interpretation of techniques and music analysis. Hence, it is necessary to reconsider the theoretical approach of popular music singing itself beyond convention as normatizing and representing. Although music studies considering performance and performativity have recently emerged, there remains a gap in the literature. John Potter, a tenor and a scholar, not only theorized singing style but also made a valid approach. Potter’s theory, which covers both traditions of western classical and popular music, explains how specific singing style exercises hegemonic power contemplating sociocultural conditions and structure. However, he schematizes the historical development of style centered on ideology, and does not overstep the limits of style reflectionism. This study reconsider Louis Althusser’s ideas of ideology, subject, and interpellation as constructing the timbral subject (subject of timbre). Furthermore, Roland Barthes’s concept of “the grain of the voice” is also reconsidered. These are useful for building and considering an anti-reflectionist view. Finally, this study argues that the theory of popular music singing performance beyond style reflectionism can be imagined by emphasizing singularity, not in a dominant-subordinate relationship between universality and specificity, which is continuous differentiation of meaning and subjectivity.
{"title":"Theory of Popular Music Singing Performance - Beyond Style Reflectionism","authors":"Junghwan Shin","doi":"10.36775/kjpm.2023.32.151","DOIUrl":"https://doi.org/10.36775/kjpm.2023.32.151","url":null,"abstract":"This study theoretically examines singing in popular music. This study defines “style reflectionism” as the view of singing style dominated by structure, system, and norm. Along with criticizing reflectionist view, this study constructs a preliminary theory of popular music singing performance. Singing and vocal style in popular music is more diverse than western classical music, but there is an obvious tendency of convention in each genre’s context. Existing studies on singing focus on interpretation of techniques and music analysis. Hence, it is necessary to reconsider the theoretical approach of popular music singing itself beyond convention as normatizing and representing. Although music studies considering performance and performativity have recently emerged, there remains a gap in the literature. John Potter, a tenor and a scholar, not only theorized singing style but also made a valid approach. Potter’s theory, which covers both traditions of western classical and popular music, explains how specific singing style exercises hegemonic power contemplating sociocultural conditions and structure. However, he schematizes the historical development of style centered on ideology, and does not overstep the limits of style reflectionism. This study reconsider Louis Althusser’s ideas of ideology, subject, and interpellation as constructing the timbral subject (subject of timbre). Furthermore, Roland Barthes’s concept of “the grain of the voice” is also reconsidered. These are useful for building and considering an anti-reflectionist view. Finally, this study argues that the theory of popular music singing performance beyond style reflectionism can be imagined by emphasizing singularity, not in a dominant-subordinate relationship between universality and specificity, which is continuous differentiation of meaning and subjectivity.","PeriodicalId":165088,"journal":{"name":"The Korean Association for the Study of Popular Music","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139200105","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This study analyzes how the meaning of death has changed in early Korean popular songs. As a representation of social change and popular sentiment, such songs have constantly changed the meaning of death throughout history. The view of death and the way it is sung has also changed at different points in the 100-year history of Korean popular songs, which began as a praise of death. The nihilism of the loss of sovereignty during the emergence of popular song was expressed in songs of personal mourning, martyrdom for the emperor during the period of increased militarism, and mourning for those who died for their country during the period from liberation to the Korean War. As we learn about the future from the past, a retrospective of the history of popular songs about death at a time when the coronavirus pandemic is forcing us to reflect on death more seriously will be an opportunity to observe not only the changes in public interest in death, but also the cross-section of death as perceived by society.
{"title":"Death in Korean Popular Songs : An Exploratory Study - Focusing on the 1920s to 1950s","authors":"Saehoon Kim, OkRan Yu","doi":"10.36775/kjpm.2023.32.9","DOIUrl":"https://doi.org/10.36775/kjpm.2023.32.9","url":null,"abstract":"This study analyzes how the meaning of death has changed in early Korean popular songs. As a representation of social change and popular sentiment, such songs have constantly changed the meaning of death throughout history. The view of death and the way it is sung has also changed at different points in the 100-year history of Korean popular songs, which began as a praise of death. The nihilism of the loss of sovereignty during the emergence of popular song was expressed in songs of personal mourning, martyrdom for the emperor during the period of increased militarism, and mourning for those who died for their country during the period from liberation to the Korean War. As we learn about the future from the past, a retrospective of the history of popular songs about death at a time when the coronavirus pandemic is forcing us to reflect on death more seriously will be an opportunity to observe not only the changes in public interest in death, but also the cross-section of death as perceived by society.","PeriodicalId":165088,"journal":{"name":"The Korean Association for the Study of Popular Music","volume":"143 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139203723","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-30DOI: 10.36775/kjpm.2023.32.73
Hee-sun Kim
In the wake of the 2018 Pyeongchang Winter Olympics, inter-Korean musical exchanges featuring reciprocal performances by South and North Korean performing arts troupes resumed after a hiatus of 16 years. Such exchanges began in 1985, serving as peace events affirming ethnic homogeneity and persisted intermittently, subject to interruption by conflict between the two Koreas arising from domestic or international political contexts. However, the 2018 inter-Korea performance deviated from earlier programs of gugak, traditional Korean music from the South and minjok eumak, ethnic music from the North, which had long been highlighted in previous peace events, and instead brought popular music from both sides to the forefront. This change demands closer examination and discussion. Since 1999, other than events primarily organized by broadcasting companies visiting North Korea, there have been no instances of the complete absence of traditional music, which represents the exclusion of national music in favor of popular music. This study initially examines the trajectory of South-North Korean musical exchange, then discuss the meaning of ‘ethnic’ music and the collective sentiments of popular music in the context of 21st-century Korean Peninsula Cold War politics, The allocation of meanings relation to ‘ethnicity,’ ‘nation,’ and ‘peace’ to the popular music in the nation-led South-North Korean musical exchange symbolically signifies the position of popular music in the 21st century Korean Peninsula. Consequently, the 2018 musical exchange became an event that both the elevated status of popular music, which had previously occupied a lowest position within the hierarchy of music genres in the 20th century Korean Peninsula, and effectively reflected shifts in attitudes and sentiments toward popular music.
{"title":"Inter-Korea Musical Exchanges and Emotional Politics of Popular Music on the Korean Peninsula","authors":"Hee-sun Kim","doi":"10.36775/kjpm.2023.32.73","DOIUrl":"https://doi.org/10.36775/kjpm.2023.32.73","url":null,"abstract":"In the wake of the 2018 Pyeongchang Winter Olympics, inter-Korean musical exchanges featuring reciprocal performances by South and North Korean performing arts troupes resumed after a hiatus of 16 years. Such exchanges began in 1985, serving as peace events affirming ethnic homogeneity and persisted intermittently, subject to interruption by conflict between the two Koreas arising from domestic or international political contexts. However, the 2018 inter-Korea performance deviated from earlier programs of gugak, traditional Korean music from the South and minjok eumak, ethnic music from the North, which had long been highlighted in previous peace events, and instead brought popular music from both sides to the forefront. This change demands closer examination and discussion. Since 1999, other than events primarily organized by broadcasting companies visiting North Korea, there have been no instances of the complete absence of traditional music, which represents the exclusion of national music in favor of popular music. This study initially examines the trajectory of South-North Korean musical exchange, then discuss the meaning of ‘ethnic’ music and the collective sentiments of popular music in the context of 21st-century Korean Peninsula Cold War politics, The allocation of meanings relation to ‘ethnicity,’ ‘nation,’ and ‘peace’ to the popular music in the nation-led South-North Korean musical exchange symbolically signifies the position of popular music in the 21st century Korean Peninsula. Consequently, the 2018 musical exchange became an event that both the elevated status of popular music, which had previously occupied a lowest position within the hierarchy of music genres in the 20th century Korean Peninsula, and effectively reflected shifts in attitudes and sentiments toward popular music.","PeriodicalId":165088,"journal":{"name":"The Korean Association for the Study of Popular Music","volume":"804 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139203032","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-31DOI: 10.36775/kjpm.2023.31.127
Ok Ran Yu
Son Seok-woo was a celebrated Korean pop song composer who passed away in 2019 at the age of 99. Although there are ongoing events commemorating his contribution to the history of Korean pop music, there is a lack of literature and research focused on music analysis. A recent analysis of the songs included in “100 Compositions by Son Seok-woo” confirmed their connection with the characteristics of the works by Son Seok-woo Ji-shin. Son Seok-woo’s music world is characterized by its liveliness and constant pursuit of novelty and evolution. Furthermore, the combination of writing and sound was thoroughly planned and calculated, resulting from multiple iterations and reworks rather than accidental matching. Lastly, Son Soek-woo utilized the poetry of a famous poet in his lyrics incorporating existing art into his synergistic medium. This showcases his desire to incorporate existing cultural elements into his musical works and create a harmonious relationship between different art forms.
{"title":"Exploring the Characteristics of Son Seok-woo’s Music through Analysis","authors":"Ok Ran Yu","doi":"10.36775/kjpm.2023.31.127","DOIUrl":"https://doi.org/10.36775/kjpm.2023.31.127","url":null,"abstract":"Son Seok-woo was a celebrated Korean pop song composer who passed away in 2019 at the age of 99. Although there are ongoing events commemorating his contribution to the history of Korean pop music, there is a lack of literature and research focused on music analysis. A recent analysis of the songs included in “100 Compositions by Son Seok-woo” confirmed their connection with the characteristics of the works by Son Seok-woo Ji-shin. Son Seok-woo’s music world is characterized by its liveliness and constant pursuit of novelty and evolution. Furthermore, the combination of writing and sound was thoroughly planned and calculated, resulting from multiple iterations and reworks rather than accidental matching. Lastly, Son Soek-woo utilized the poetry of a famous poet in his lyrics incorporating existing art into his synergistic medium. This showcases his desire to incorporate existing cultural elements into his musical works and create a harmonious relationship between different art forms.","PeriodicalId":165088,"journal":{"name":"The Korean Association for the Study of Popular Music","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123313059","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-31DOI: 10.36775/kjpm.2023.31.281
小林 孝行
{"title":"Modern Korean trot that is being reevaluated in various ways","authors":"小林 孝行","doi":"10.36775/kjpm.2023.31.281","DOIUrl":"https://doi.org/10.36775/kjpm.2023.31.281","url":null,"abstract":"<jats:p />","PeriodicalId":165088,"journal":{"name":"The Korean Association for the Study of Popular Music","volume":"140 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127487537","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-31DOI: 10.36775/kjpm.2023.31.147
Byeong Joo Lee
Lee Sora Lyrics love and separation in The Wind Blows( The first passivity appears in proposal( waiting for other confession or., she realizes that there are some things, like the wind, that she cannot. This leads an existential search inwardquest loss, manifested death is connected symbolic star. The second loneliness from fundamental sense of disconnection seen in first album, where the between and people leads to attachment to objects and loss. loss belief in love. Here, love is not only love but also.
{"title":"The Themes of “Passivity” and “Loneliness” in Lee Sora’s Lyrics: An Analysis","authors":"Byeong Joo Lee","doi":"10.36775/kjpm.2023.31.147","DOIUrl":"https://doi.org/10.36775/kjpm.2023.31.147","url":null,"abstract":"Lee Sora Lyrics love and separation in The Wind Blows( The first passivity appears in proposal( waiting for other confession or., she realizes that there are some things, like the wind, that she cannot. This leads an existential search inwardquest loss, manifested death is connected symbolic star. The second loneliness from fundamental sense of disconnection seen in first album, where the between and people leads to attachment to objects and loss. loss belief in love. Here, love is not only love but also.","PeriodicalId":165088,"journal":{"name":"The Korean Association for the Study of Popular Music","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126644331","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-31DOI: 10.36775/kjpm.2023.31.207
Y. Jeong
Sports is a cultural field where public desires are directly expressed. The cheering song resounding at this time is condensed with the social and cultural desires of the time. This thesis grasps how cheering culture and cheering songs have changed in the development of Korean sports, and analyzes the public's desire expression through sports. To this end, an analysis of self-cultural descriptions and various literature data was attempted. After independence from Japanese imperialism, Korean sports cheering culture was dominated by collectivism for a long time. During the long-term military regime, sports policy was consistent with a project to Nationalism and the cheering culture was also expressed in a collectivist style. With the launch of professional sports and the 1988 Seoul Olympics, the desire to rise to the middle class and the aspect of urban culture practice developed, and before and after this, the use of popular music was developed. In addition, popular music became an effective way to immediately combine public sentiment and express it enthusiastically in the professional sports scene where excessive nationalism and regional base were weak before and after the 2002 Korea-Japan World Cup.
{"title":"Sports and Anthems: a Collective Eexpression of Iintense Emotion","authors":"Y. Jeong","doi":"10.36775/kjpm.2023.31.207","DOIUrl":"https://doi.org/10.36775/kjpm.2023.31.207","url":null,"abstract":"Sports is a cultural field where public desires are directly expressed. The cheering song resounding at this time is condensed with the social and cultural desires of the time. \u0000This thesis grasps how cheering culture and cheering songs have changed in the development of Korean sports, and analyzes the public's desire expression through sports. To this end, an analysis of self-cultural descriptions and various literature data was attempted. \u0000After independence from Japanese imperialism, Korean sports cheering culture was dominated by collectivism for a long time. During the long-term military regime, sports policy was consistent with a project to Nationalism and the cheering culture was also expressed in a collectivist style. With the launch of professional sports and the 1988 Seoul Olympics, the desire to rise to the middle class and the aspect of urban culture practice developed, and before and after this, the use of popular music was developed. In addition, popular music became an effective way to immediately combine public sentiment and express it enthusiastically in the professional sports scene where excessive nationalism and regional base were weak before and after the 2002 Korea-Japan World Cup.","PeriodicalId":165088,"journal":{"name":"The Korean Association for the Study of Popular Music","volume":"215 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115511259","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-31DOI: 10.36775/kjpm.2023.31.61
Hyun Jong Kim
Although the concept of art has long been discussed by philosophers and theorists, it has not been clearly defined and a variety of perspectives coexist today. Contemporarily, the borderline of art is becoming increasingly vague. The introduction of art created by animals or AI has triggered the need for a fundamental reconsideration of artist identity. This paper focuses on the origin of artist identity and the factors that affect it, through in-depth interviews with artists in the music field. Artist identity is formed by the inspiration received from art and shaped through the process of artistic “grinding” or creation. An artist subjectively sets “a boundary of perceived art”top of the identity salience hierarchy under the title “artist.” Next in the hierarchy sits the “art worker” as a functional being in the art field, and multi-identity is placed at the bottom. The main factors that affect artist identity are whether the artist’s intention resides in their art, changes in the sense of belonging, and feedback from colleagues in the same artistic field. Artist identity constitutes the essential factor in art and culture and often comes to closely relate to a nation’s foreign policy and economy. A study of artist identity and its discrepancies would further solidify our grasp of the true nature and meaning of art. It is also applicable in practical terms to fostering a more effective and efficient creative artistic environment.
{"title":"A Qualitatove Stidu of Artist Identity through Interviews with Artists in the Music Field","authors":"Hyun Jong Kim","doi":"10.36775/kjpm.2023.31.61","DOIUrl":"https://doi.org/10.36775/kjpm.2023.31.61","url":null,"abstract":"Although the concept of art has long been discussed by philosophers and theorists, it has not been clearly defined and a variety of perspectives coexist today. Contemporarily, the borderline of art is becoming increasingly vague. The introduction of art created by animals or AI has triggered the need for a fundamental reconsideration of artist identity. This paper focuses on the origin of artist identity and the factors that affect it, through in-depth interviews with artists in the music field. Artist identity is formed by the inspiration received from art and shaped through the process of artistic “grinding” or creation. An artist subjectively sets “a boundary of perceived art”top of the identity salience hierarchy under the title “artist.” Next in the hierarchy sits the “art worker” as a functional being in the art field, and multi-identity is placed at the bottom. The main factors that affect artist identity are whether the artist’s intention resides in their art, changes in the sense of belonging, and feedback from colleagues in the same artistic field. Artist identity constitutes the essential factor in art and culture and often comes to closely relate to a nation’s foreign policy and economy. A study of artist identity and its discrepancies would further solidify our grasp of the true nature and meaning of art. It is also applicable in practical terms to fostering a more effective and efficient creative artistic environment.","PeriodicalId":165088,"journal":{"name":"The Korean Association for the Study of Popular Music","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132197018","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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