Pub Date : 2022-05-31DOI: 10.36775/kjpm.2022.29.231
W. Jeong
This study provides an in-depth examination of the concept of Japanese City Pop, its historical formation process, and the urban pop trend in the 21st century. Individual interviews were conducted with domestic City Pop mediators, who served as City Pop guides. Qualitative research was conducted on the contents of individual interviews, focusing on City Pop guides, papers, newspapers, magazines, record guides, and online websites. First, City Pop basically pursued Western- and American-oriented musicality, but songs focused on the relationship with the space they felt and faced through Japanese singing. Here, space is a Japanese city, and more precisely, the lifestyle of Tokyo, a city on the border between daily life and leisure, with skyscrapers and resorts, is the subject of the song. Based on the abundance and stability brought by the economic boom in the 80s, City Pop demonstrates attempts to break the boundaries between daily life and leisure by responding to consumerism. At the same time, City Pop praises the sophisticated yet snob-like lifestyle, gaining sympathy from city life and young listeners who longed for urban life at the time. Even from the current viewpoint, this characteristic can be evaluated as the direction and identity of City Pop. Next, through a review of the 21st century trend of City Pop, young listeners can guess that City Pop is matching keywords such as abundance, relaxation, romance, and sophistication enjoyed by Japan in the 1980s. The keywords of City Pop they matched are of a nature that is hard to realize with the sensitivity of the current 2020s, and the scenery of the Japanese city that City Pop evokes is also unfamiliar. Hence, in the City Pop released 30-40 years ago, they discovered the consumerist North Talge language brought by the bubble economy, and it can be interpreted as enjoying it from the current perspective. In addition, while the sophisticated melody and arrangement of AOR advocated by City Pop display similarities to Western pop songs, it is interpreted that young listeners now recognize the characteristics of Japanese singing as a cool sound that feels new rather than uncomfortable. Therefore, from the perspective of current young listeners, City Pop is given the status of an old future and a new popular music. By examining Japan’s economic and cultural background that brought the City Pop trend, this study explored the concept and historical formation process of City Pop as a type of J-Pop and the identity and image of City Pop. In addition, the review of the trend of City Pop in the 21st century revealed it seeks the possibility of a new popular music and is created from the current perspective beyond the meaning of the revival of music from the past.
{"title":"The Formation Process and Trend of City Pop in the 21st Century: Focusing on the Opinions of Domestic City Pop Mediators","authors":"W. Jeong","doi":"10.36775/kjpm.2022.29.231","DOIUrl":"https://doi.org/10.36775/kjpm.2022.29.231","url":null,"abstract":"This study provides an in-depth examination of the concept of Japanese City Pop, its historical formation process, and the urban pop trend in the 21st century. Individual interviews were conducted with domestic City Pop mediators, who served as City Pop guides. Qualitative research was conducted on the contents of individual interviews, focusing on City Pop guides, papers, newspapers, magazines, record guides, and online websites. First, City Pop basically pursued Western- and American-oriented musicality, but songs focused on the relationship with the space they felt and faced through Japanese singing. Here, space is a Japanese city, and more precisely, the lifestyle of Tokyo, a city on the border between daily life and leisure, with skyscrapers and resorts, is the subject of the song. Based on the abundance and stability brought by the economic boom in the 80s, City Pop demonstrates attempts to break the boundaries between daily life and leisure by responding to consumerism. At the same time, City Pop praises the sophisticated yet snob-like lifestyle, gaining sympathy from city life and young listeners who longed for urban life at the time. Even from the current viewpoint, this characteristic can be evaluated as the direction and identity of City Pop. Next, through a review of the 21st century trend of City Pop, young listeners can guess that City Pop is matching keywords such as abundance, relaxation, romance, and sophistication enjoyed by Japan in the 1980s. The keywords of City Pop they matched are of a nature that is hard to realize with the sensitivity of the current 2020s, and the scenery of the Japanese city that City Pop evokes is also unfamiliar. Hence, in the City Pop released 30-40 years ago, they discovered the consumerist North Talge language brought by the bubble economy, and it can be interpreted as enjoying it from the current perspective. In addition, while the sophisticated melody and arrangement of AOR advocated by City Pop display similarities to Western pop songs, it is interpreted that young listeners now recognize the characteristics of Japanese singing as a cool sound that feels new rather than uncomfortable. Therefore, from the perspective of current young listeners, City Pop is given the status of an old future and a new popular music. By examining Japan’s economic and cultural background that brought the City Pop trend, this study explored the concept and historical formation process of City Pop as a type of J-Pop and the identity and image of City Pop. In addition, the review of the trend of City Pop in the 21st century revealed it seeks the possibility of a new popular music and is created from the current perspective beyond the meaning of the revival of music from the past. \u0000","PeriodicalId":165088,"journal":{"name":"The Korean Association for the Study of Popular Music","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133215467","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 : 2022-05-31DOI: 10.36775/kjpm.2022.29.195
Young-sam Yun
Among Asian countries, Thailand is a major consumer of Hallyu and shows active consumption of various related contents, including K-pop. In response, the Korean government is supporting various K-pop related education projects through the Korean Cultural Center in Thailand. The aim of this study was to investigate how satisfaction with a K-pop course influenced the national image based on satisfaction with the ‘2021 Thailand K-Pop Academy’ third vocal classes. Methodology included an online survey conducted with 224 local students who directly participated in the course; empirical analysis was conducted using SSPS 22.0 and Amos 21.0. It was found that cultural adaptation has a significant positive effect on class satisfaction and on the attitude toward Korea. Attitude toward Korea was found to have a significant positive effect on intention to visit Korea. Lastly, class satisfaction does not influence the intention to visit Korea. This study is meaningful in that it provides current empirical analysis that examines the influence of K-pop academy class satisfaction on Korea’s national image with various implications for staff at overseas Korean cultural centers who are operating K-pop academies.
{"title":"The Influence of National Image based on Satisfaction with the ‘2021 Thailand K-Pop Academy’ Classes","authors":"Young-sam Yun","doi":"10.36775/kjpm.2022.29.195","DOIUrl":"https://doi.org/10.36775/kjpm.2022.29.195","url":null,"abstract":"Among Asian countries, Thailand is a major consumer of Hallyu and shows active consumption of various related contents, including K-pop. In response, the Korean government is supporting various K-pop related education projects through the Korean Cultural Center in Thailand. The aim of this study was to investigate how satisfaction with a K-pop course influenced the national image based on satisfaction with the ‘2021 Thailand K-Pop Academy’ third vocal classes. Methodology included an online survey conducted with 224 local students who directly participated in the course; empirical analysis was conducted using SSPS 22.0 and Amos 21.0. It was found that cultural adaptation has a significant positive effect on class satisfaction and on the attitude toward Korea. Attitude toward Korea was found to have a significant positive effect on intention to visit Korea. Lastly, class satisfaction does not influence the intention to visit Korea. This study is meaningful in that it provides current empirical analysis that examines the influence of K-pop academy class satisfaction on Korea’s national image with various implications for staff at overseas Korean cultural centers who are operating K-pop academies. \u0000","PeriodicalId":165088,"journal":{"name":"The Korean Association for the Study of Popular Music","volume":"52 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115132888","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 : 2022-05-31DOI: 10.36775/kjpm.2022.29.307
Y. Jeong
This study examined the possibility of participation income as one of the new artist support policies. Participation income is a policy that has not yet been realized, and there is ongoing debate about its concept and feasibility. Therefore, this study, which seeks new possibilities for participatory income and artist support policies, has the character of a preliminary study. Existing support policies need to be improved in two aspects. First of all, after the COVID-19 situation, the culture and arts sector, which presupposes face-to-face contact, is in crisis. The government, local governments, and related institutions implemented emergency support policies, but these only had a temporary effect. A more sustainable support policy is needed. In addition, the existing competition selection support policy centered on excellence has problems such as customary genre classification, limited work period, result-oriented nature, and complex administrative procedures. To improve this situation, it is necessary to change the concept of art according to social change, social practice of art in response to social crises, and social recognition for the work of artists participating in the public art field. This study reviewed the cultural city project at the national level and the experimental artist support project of each local government and some institutions, paying attention to the concept and significance of participatory income. Although it is a study with limitations in the specific policies and methods of participation income, it is believed that it will contribute to a significant amount of productive discussion to explore various possibilities of the new artist support policy.
{"title":"A Preliminary Study on the Transformation of Artist Support Policy and the Possibility of Participation Income","authors":"Y. Jeong","doi":"10.36775/kjpm.2022.29.307","DOIUrl":"https://doi.org/10.36775/kjpm.2022.29.307","url":null,"abstract":"This study examined the possibility of participation income as one of the new artist support policies. Participation income is a policy that has not yet been realized, and there is ongoing debate about its concept and feasibility. Therefore, this study, which seeks new possibilities for participatory income and artist support policies, has the character of a preliminary study. Existing support policies need to be improved in two aspects. First of all, after the COVID-19 situation, the culture and arts sector, which presupposes face-to-face contact, is in crisis. The government, local governments, and related institutions implemented emergency support policies, but these only had a temporary effect. A more sustainable support policy is needed. In addition, the existing competition selection support policy centered on excellence has problems such as customary genre classification, limited work period, result-oriented nature, and complex administrative procedures. To improve this situation, it is necessary to change the concept of art according to social change, social practice of art in response to social crises, and social recognition for the work of artists participating in the public art field. This study reviewed the cultural city project at the national level and the experimental artist support project of each local government and some institutions, paying attention to the concept and significance of participatory income. Although it is a study with limitations in the specific policies and methods of participation income, it is believed that it will contribute to a significant amount of productive discussion to explore various possibilities of the new artist support policy. \u0000","PeriodicalId":165088,"journal":{"name":"The Korean Association for the Study of Popular Music","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132851637","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 : 2022-05-31DOI: 10.36775/kjpm.2022.29.79
Kwan-Ik Park, Won Mo Yang, Jun Young Lee
This study is based on perceptions toward the trot genre and audition programs; accordingly, it is expected that the problems caused by biased media production can be predicted. First, this study’s results revealed the general perception of the public about the trot genre. It was observed that viewers tend to enjoy trot-related entertainment shows more than trot music itself. Notably, it can be a result of the fact that the trot craze began with the creation of trot singing stars on audition programs. Furthermore, this can be considered as evidence that reflects the current trend of trot popularity. Analyzing the results of the study on viewer attitude toward trot-related programs, there was a mix of negative and positive findings. The positive results include the popularity of trot shows that people from different generations can enjoy together, as there are now more trot programs than before that encompass all generations. The negative results include viewer aversion to trot itself or to excessive programming, which was caused by broadcasting stations deciding to produce too many programs that feature trot singers. In particular, the high negative perception toward entertainment featuring trot singers is an inevitable result of these media practices. In addition, the statement, “I don’t watch the trot-related TV programs because I don’t like the broadcasting station” was commonly given. This may be because the production of trot-related programs was started mainly by general programming cable TV channels. These TV channels have the freedom to make whatever shows they want, and they have produced countless trot-related TV shows. The TV shows produced by the general programming cable TV channels, unlike the ones made by the three major land-based TV stations of South Korea-KBS, MBC, and SBS-have unique characteristics based on each specific broadcasting station. Subsequently, this creates differences in individual preferences for different trot-related TV shows. The study also shows that viewers do not believe that success in these programs guarantees that the winners will become stars. This shows that the excessive production of trot-related TV programs has made it hard for viewers to recognize who has won the audition. Contrary to the negative perception of these trot-related programs, a very positive evaluation was given in terms of the fairness of the judging. Through the combination of the overall perception concerning trot itself and the perception of trot-related media programs, the results of this study reflect the popularity of the current trot genre. Importantly, viewer perception towards the media related to trot was negative. Contrary to the current high popularity of the trot genre, the existence of negative perceptions regarding trot-related media content has significant implications for media content production. This study has academic significance; principally, it is an empirical analysis of the trot craze that has gripped the Kor
{"title":"A study on the public's perception of the trot genre and the trot audition program","authors":"Kwan-Ik Park, Won Mo Yang, Jun Young Lee","doi":"10.36775/kjpm.2022.29.79","DOIUrl":"https://doi.org/10.36775/kjpm.2022.29.79","url":null,"abstract":"This study is based on perceptions toward the trot genre and audition programs; accordingly, it is expected that the problems caused by biased media production can be predicted. First, this study’s results revealed the general perception of the public about the trot genre. It was observed that viewers tend to enjoy trot-related entertainment shows more than trot music itself. Notably, it can be a result of the fact that the trot craze began with the creation of trot singing stars on audition programs. Furthermore, this can be considered as evidence that reflects the current trend of trot popularity. Analyzing the results of the study on viewer attitude toward trot-related programs, there was a mix of negative and positive findings. The positive results include the popularity of trot shows that people from different generations can enjoy together, as there are now more trot programs than before that encompass all generations. The negative results include viewer aversion to trot itself or to excessive programming, which was caused by broadcasting stations deciding to produce too many programs that feature trot singers. In particular, the high negative perception toward entertainment featuring trot singers is an inevitable result of these media practices. In addition, the statement, “I don’t watch the trot-related TV programs because I don’t like the broadcasting station” was commonly given. This may be because the production of trot-related programs was started mainly by general programming cable TV channels. These TV channels have the freedom to make whatever shows they want, and they have produced countless trot-related TV shows. The TV shows produced by the general programming cable TV channels, unlike the ones made by the three major land-based TV stations of South Korea-KBS, MBC, and SBS-have unique characteristics based on each specific broadcasting station. Subsequently, this creates differences in individual preferences for different trot-related TV shows. The study also shows that viewers do not believe that success in these programs guarantees that the winners will become stars. This shows that the excessive production of trot-related TV programs has made it hard for viewers to recognize who has won the audition. Contrary to the negative perception of these trot-related programs, a very positive evaluation was given in terms of the fairness of the judging. Through the combination of the overall perception concerning trot itself and the perception of trot-related media programs, the results of this study reflect the popularity of the current trot genre. Importantly, viewer perception towards the media related to trot was negative. Contrary to the current high popularity of the trot genre, the existence of negative perceptions regarding trot-related media content has significant implications for media content production. This study has academic significance; principally, it is an empirical analysis of the trot craze that has gripped the Kor","PeriodicalId":165088,"journal":{"name":"The Korean Association for the Study of Popular Music","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127675553","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 : 2022-05-31DOI: 10.36775/kjpm.2022.29.39
Jungmin Nam
Third Stream, born in the late 1950’s, was of a musical experiment for a confluence between classical and jazz music without undermining the natures of advanced formal structure and the improvisational spontaneity, respectively. Venturing the trials to overcome misunderstandings, stratify the idea of Third Stream a smooth space reproducing style than being a style-in-itself, for the musicians from each territories regarded the opponents as obstacles mutually, as an infection to classic and restriction to jazz. The DeleuzoGuattarian geo-philosohpy defines work of art as result of monument bearing, giving birth to an existence with style, and also the power of escape and return as ritornello, which means dynamics of experimental improvisation and re-territorializing creative style principle of the consistent and striped strata. A drifting trajectory of style constructing and reinterpreting artwork need rather only the smooth space of free taxing than consistent and striped space of polis. As a smooth space of ritornello and drifting line of free flight, the third stream had expanded and overcome the critical points of racial conflict and commercialization through the threshold of musical revolutions.
{"title":"A Nomadism of Third Stream: Smooth Space of Classical and Jazz Music: Following the DeleuzoGuattarian Philosophy of Art","authors":"Jungmin Nam","doi":"10.36775/kjpm.2022.29.39","DOIUrl":"https://doi.org/10.36775/kjpm.2022.29.39","url":null,"abstract":"Third Stream, born in the late 1950’s, was of a musical experiment for a confluence between classical and jazz music without undermining the natures of advanced formal structure and the improvisational spontaneity, respectively. Venturing the trials to overcome misunderstandings, stratify the idea of Third Stream a smooth space reproducing style than being a style-in-itself, for the musicians from each territories regarded the opponents as obstacles mutually, as an infection to classic and restriction to jazz. The DeleuzoGuattarian geo-philosohpy defines work of art as result of monument bearing, giving birth to an existence with style, and also the power of escape and return as ritornello, which means dynamics of experimental improvisation and re-territorializing creative style principle of the consistent and striped strata. A drifting trajectory of style constructing and reinterpreting artwork need rather only the smooth space of free taxing than consistent and striped space of polis. As a smooth space of ritornello and drifting line of free flight, the third stream had expanded and overcome the critical points of racial conflict and commercialization through the threshold of musical revolutions. \u0000","PeriodicalId":165088,"journal":{"name":"The Korean Association for the Study of Popular Music","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114569881","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 : 2022-05-31DOI: 10.36775/kjpm.2022.29.171
Haw Suk Song
If the criteria for judging good and not good music correspond to the musical content or meaning, much popular music would not escape the judgment of yet being qualitatively low, and its representative genre is dance music. Compared with movies and dramas, pop music lacks clarity of reproduction and narrative structure. Dance music is more multi-layered and ambiguous than other pop music genres as it contains music, lyrics, and body movements as basic genre characteristics. To discuss the aesthetic aspects of dance music, focusing on the theoretical significance raised from the theory of affect, this study examines dance music (especially Korean dance music since the 2000s), the area farthest from meaning and narrative, as a process of acquiring “non-narrative narrative” based on physical sensibility and popularity.
{"title":"Narrative Possibilities through Bodyness: Aesthetic of Dance Music and Affective Turn","authors":"Haw Suk Song","doi":"10.36775/kjpm.2022.29.171","DOIUrl":"https://doi.org/10.36775/kjpm.2022.29.171","url":null,"abstract":"If the criteria for judging good and not good music correspond to the musical content or meaning, much popular music would not escape the judgment of yet being qualitatively low, and its representative genre is dance music. Compared with movies and dramas, pop music lacks clarity of reproduction and narrative structure. Dance music is more multi-layered and ambiguous than other pop music genres as it contains music, lyrics, and body movements as basic genre characteristics. To discuss the aesthetic aspects of dance music, focusing on the theoretical significance raised from the theory of affect, this study examines dance music (especially Korean dance music since the 2000s), the area farthest from meaning and narrative, as a process of acquiring “non-narrative narrative” based on physical sensibility and popularity. \u0000","PeriodicalId":165088,"journal":{"name":"The Korean Association for the Study of Popular Music","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123783379","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 : 2022-05-31DOI: 10.36775/kjpm.2022.29.123
Keun-Young Seo
In this study, in order to improve the quality of K-Pop education(HEIs), we compare and analyze the training method of trainees of a large domestic planning company, which is a leading role in K-Pop globalization, and the major curriculum at K-Pop HEIs. By comparing and analyzing the subject processes of the top three universities that entrance exam students like most, this study points out problems with the K-Pop higher education course and presents improvement measures for them. The comparison and analysis of the educational process of large domestic planning companies and K-Pop HEIs were compared and analyzed based on three criteria: “operational goals”, “selection criteria and methods for educators”, and “educational content and methods”. By examining the management and educational goals of large domestic planning companies and K-Pop HEIs, it can be confirmed that the educational goals of both institutions are essentially different and that the educational methods must also be discriminatory. In addition, we were able to reset the image of human resources to realize the educational goals of K-Pop HEIs and present the selection criteria and the direction of selection methods for educators. As a result of the analysis of the subjects of the three K-Pop HEIs selected for analysis, it was confirmed that the contents of the K-Pop HEIs are not so different from the contents of the education of the domestic planning company. In other words, it was confirmed that realistic and specialized subjects are not operated to realize the educational goal of human resource development in the K-Pop industry presented by K-Pop HEIs. This scholar confirms the need for improved measures to improve the quality of education in K-Pop HEIs, and presents problems in education in K-Pop HEIs and solutions to them. The improvement measures presented to improve the quality of education in K-Pop HEIs are as follows. In order to realize the educational goals currently presented by K-Pop HEIs, the educational goals of “human resources development in the K-Pop industry” pursued by K-Pop HEIs and K-Pop major students’ Career goals must match. For this purpose, it is necessary to select major students who have the same goals as the educational goals of K-Pop HEIs, and to organize subjects that meet the educational goals. In addition, for differentiated education with domestic agencies, the curriculum was proposed based on the competency of each of the four K-Pop industries and occupational fields that meet the educational goals of K-Pop higher education institutions. This study presents improvement plans for improving the quality of such education at the present time when the teaching methods of Korean K-Pop HEIs will soon become the mainstay of K-Pop education around the world. We hope that it will be useful for the development of K-Pop HEIs and will be used as a meaningful material for the K-Pop education world.
{"title":"Ways to Improve the Quality of K-Pop Education: Comparison and Analysis of Educational Methods","authors":"Keun-Young Seo","doi":"10.36775/kjpm.2022.29.123","DOIUrl":"https://doi.org/10.36775/kjpm.2022.29.123","url":null,"abstract":"In this study, in order to improve the quality of K-Pop education(HEIs), we compare and analyze the training method of trainees of a large domestic planning company, which is a leading role in K-Pop globalization, and the major curriculum at K-Pop HEIs. By comparing and analyzing the subject processes of the top three universities that entrance exam students like most, this study points out problems with the K-Pop higher education course and presents improvement measures for them. The comparison and analysis of the educational process of large domestic planning companies and K-Pop HEIs were compared and analyzed based on three criteria: “operational goals”, “selection criteria and methods for educators”, and “educational content and methods”. By examining the management and educational goals of large domestic planning companies and K-Pop HEIs, it can be confirmed that the educational goals of both institutions are essentially different and that the educational methods must also be discriminatory. In addition, we were able to reset the image of human resources to realize the educational goals of K-Pop HEIs and present the selection criteria and the direction of selection methods for educators. As a result of the analysis of the subjects of the three K-Pop HEIs selected for analysis, it was confirmed that the contents of the K-Pop HEIs are not so different from the contents of the education of the domestic planning company. In other words, it was confirmed that realistic and specialized subjects are not operated to realize the educational goal of human resource development in the K-Pop industry presented by K-Pop HEIs. This scholar confirms the need for improved measures to improve the quality of education in K-Pop HEIs, and presents problems in education in K-Pop HEIs and solutions to them. The improvement measures presented to improve the quality of education in K-Pop HEIs are as follows. In order to realize the educational goals currently presented by K-Pop HEIs, the educational goals of “human resources development in the K-Pop industry” pursued by K-Pop HEIs and K-Pop major students’ Career goals must match. For this purpose, it is necessary to select major students who have the same goals as the educational goals of K-Pop HEIs, and to organize subjects that meet the educational goals. In addition, for differentiated education with domestic agencies, the curriculum was proposed based on the competency of each of the four K-Pop industries and occupational fields that meet the educational goals of K-Pop higher education institutions. This study presents improvement plans for improving the quality of such education at the present time when the teaching methods of Korean K-Pop HEIs will soon become the mainstay of K-Pop education around the world. We hope that it will be useful for the development of K-Pop HEIs and will be used as a meaningful material for the K-Pop education world. \u0000","PeriodicalId":165088,"journal":{"name":"The Korean Association for the Study of Popular Music","volume":"75 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125921298","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 : 2022-05-31DOI: 10.36775/kjpm.2022.29.337
Young-Jin Hur
This study set out to analyze the social nature of Cho Yong-pil’s lyrics and examine the ways social aspects are expressed and messages reflected in Korean popular songs. The findings were as follows. First, Cho’s songs such as , , and were written to commemorate historical moments. offers lyrics reflecting the pain of family separation due to the Japanese occupation, national unity, and his wish for the unification of North and South Korea. focuses on the placeness of Seoul and paints a depressing outlook for the social aspects that the nation would face after the Seoul Summer Olympic Games. reinterprets the Arirang folk song that represents the history of the Korean people’s suffering, indicating that the history of Korea faces a grand turning point. Secondly, , , and <1987 of Seoul> reflect people’ aspirations for anti-autocracy and democratization. and are set against the backdrop of “Seoul’s Spring in 1980” and the “Gwangju Democratization Movement of May,” depicting the dream of democratization that was lost in the “empty sky” and the noble spirit of sacrifice of democratic souls. The lyrics of <1987 of Seoul> talk about the historical site of a democratic protest on June 10 and the beginning of the democratic society that the Korean people finally won. Lastly, represents people’s anger toward the political world. Its lyrics are impressive for their harsh political satire. and talk frankly about the anxiety and alienation of the middle aged and the older generations that faced a rapidly changing social situation after the foreign currency crisis. These findings show that many of Cho Yong-pil’s songs contain social messages in their lyrics, that the lyrics of his songs did not enjoy as much attention as their popular awareness, that it was inevitable for him to hide his original intentions with literary expressions, and that he continued to deliver his social messages.
{"title":"Social Aspects of and Literary Expressions in Cho Yong-Pil’s Lyrics","authors":"Young-Jin Hur","doi":"10.36775/kjpm.2022.29.337","DOIUrl":"https://doi.org/10.36775/kjpm.2022.29.337","url":null,"abstract":"This study set out to analyze the social nature of Cho Yong-pil’s lyrics and examine the ways social aspects are expressed and messages reflected in Korean popular songs. The findings were as follows. First, Cho’s songs such as <Come Back to Busan Port>, <Seoul, Seoul, Seoul>, and <Arirang in My Dream> were written to commemorate historical moments. <Come Back to Busan Port> offers lyrics reflecting the pain of family separation due to the Japanese occupation, national unity, and his wish for the unification of North and South Korea. <Seoul, Seoul, Seoul> focuses on the placeness of Seoul and paints a depressing outlook for the social aspects that the nation would face after the Seoul Summer Olympic Games. <Arirang in My Dream> reinterprets the Arirang folk song that represents the history of the Korean people’s suffering, indicating that the history of Korea faces a grand turning point. Secondly, <The Empty Sky>, <Life>, and <1987 of Seoul> reflect people’ aspirations for anti-autocracy and democratization. <The Empty Sky> and <Life> are set against the backdrop of “Seoul’s Spring in 1980” and the “Gwangju Democratization Movement of May,” depicting the dream of democratization that was lost in the “empty sky” and the noble spirit of sacrifice of democratic souls. The lyrics of <1987 of Seoul> talk about the historical site of a democratic protest on June 10 and the beginning of the democratic society that the Korean people finally won. Lastly, <Ilseong> represents people’s anger toward the political world. Its lyrics are impressive for their harsh political satire. <My Friend’s Morning> and <One Day on the Way Back Home> talk frankly about the anxiety and alienation of the middle aged and the older generations that faced a rapidly changing social situation after the foreign currency crisis. These findings show that many of Cho Yong-pil’s songs contain social messages in their lyrics, that the lyrics of his songs did not enjoy as much attention as their popular awareness, that it was inevitable for him to hide his original intentions with literary expressions, and that he continued to deliver his social messages. \u0000","PeriodicalId":165088,"journal":{"name":"The Korean Association for the Study of Popular Music","volume":"800 ","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133051785","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 : 2021-11-30DOI: 10.36775/kjpm.2021.28.283
Jeongyeol Lee
{"title":"A Study on the Characteristics and Issues of Arts Labor Based on My Experience","authors":"Jeongyeol Lee","doi":"10.36775/kjpm.2021.28.283","DOIUrl":"https://doi.org/10.36775/kjpm.2021.28.283","url":null,"abstract":"","PeriodicalId":165088,"journal":{"name":"The Korean Association for the Study of Popular Music","volume":"102 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123538519","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 : 2021-11-30DOI: 10.36775/kjpm.2021.28.55
Byungkon Kim
{"title":"A Comparative Study of Trot and Reggae in the Context of Cultural Heritage","authors":"Byungkon Kim","doi":"10.36775/kjpm.2021.28.55","DOIUrl":"https://doi.org/10.36775/kjpm.2021.28.55","url":null,"abstract":"","PeriodicalId":165088,"journal":{"name":"The Korean Association for the Study of Popular Music","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128414951","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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