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Journal articles on the topic 'Korean music'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

PARK, HYE-JUNG. "Musical Entanglements: Ely Haimowitz and Orchestral Music under the US Army Military Government in Korea, 1945–1948." Journal of the Society for American Music 15, no. 1 (2021): 1–29. http://dx.doi.org/10.1017/s1752196320000450.

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AbstractShortly after Japan's surrender to Allied forces, the Soviet Union occupied the northern part of Korea, and the United States moved into the south, where it established the US Army Military Government in Southern Korea (USAMGIK, 1945–1948). In the American zone, music played a unique role in forging US hegemony over Korea. Young American pianist Ely Haimowitz (1920–2010) was the central figure in shaping that policy. Associated with “highbrow” culture, Western orchestral music helped restore Koreans’ ethnic pride damaged by Japanese colonial rule, while countering the Soviet emphasis o

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Kim, Hee-sun. "Inter-Korea Musical Exchanges and Emotional Politics of Popular Music on the Korean Peninsula." Korean Association for the Study of Popular Music 32 (November 30, 2023): 73–116. http://dx.doi.org/10.36775/kjpm.2023.32.73.

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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 No

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3

Ma, Lita. "Bentuk dan Elemen Musik Akustik dalam Piano Kover Lagu ‘DNA’ karya BangtanSonyeondan (BTS)." PROMUSIKA 9, no. 2 (2022): 78–83. http://dx.doi.org/10.24821/promusika.v9i2.5435.

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Perpaduan antara musik elektronis dan musik populer menghasilkan aliran musik baru, yaitu Electronic Dance Music (EDM). EDM merupakan genre musik elektronis perkursif dengan menggunakan peralatan berteknologi tinggi. Salah satu tempat yang mulai mengeksperimen EDM adalah Korea Selatan, yaitu Kpop atau lebih dikenal sebagai Korean Pop. Kpop menggunakan perpaduan antara musik Korea dengan musik Barat, salah satu contoh yang menggunakan EDM adalah lagu ‘DNA’ karya grup BTS. Masyarakat sekarang suka mengkover lagu ke bentuk vokal ataupun instrument, salah satunya adalah piano kover. Permasalahan y

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Yang, Yufan, and Chulhee Lee. "Comparative Analysis of NetEase Cloud Music and Korean Musician Support Service Platforms." Korean Society of Culture and Convergence 45, no. 12 (2023): 457–66. http://dx.doi.org/10.33645/cnc.2023.12.45.12.457.

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This study aims to compare NetEase Cloud Music with Korean musician support service platforms, to help Korean music platforms provide diverse support services for indie musicians. We analyzed the digital music markets and platform operations in Korea and China, finding that while Chinese platforms developed various revenue models in response to low payment rates and exclusive music sharing policies, Korean platforms have been less proactive, often influenced by telecom discounts/promotions. We also compared the characteristics of NetEase Cloud Music and Korean musician support service platform

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Jiang, Anrui. "Analysis of Korean Pop Music: The Enlightenment for Chinese Pop Music." Advances in Humanities Research 5, no. 1 (2024): 1–7. http://dx.doi.org/10.54254/2753-7080/5/2024041.

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Since the 21st century, Korean pop music, represented by TV dramas, music, movies, fashion products, and other cultural forms, has spread widely worldwide. 2012 when Psys Gangnam style swept the globe, Jay Chou, a representative figure of the Chinese music scene, said, Dont let the K-pop become more and more arrogant, the Chinese Chinese pop music is the best. However, is this the case? In 2022, the value of the cultural industry represented by the Korean Wave accounted for 18% of South Koreas GDP, nearly $320 billion (Qiu 2014). China and South Korea are culturally similar and belong to the s

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Fan, Hongtao, Congcong liu, and Bingze Du. "A Musical Messenger for Cultural Exchanges between China and South Korea: An Interview with Professor Piao Enyu from Kangwon National University." Yixin Publisher 1, no. 1 (2024): 1–5. http://dx.doi.org/10.59825/jms.2024.1.1.1.

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This article is an interview with Professor Piao Enyu of Kangwon National University, a musical messenger of cultural exchanges between China and South Korea. Professor Piao introduced the process of embarking on the research of Korean music history, and discussed the music of the Goryeo Dynasty, the similarities and differences between Chinese and Korean music history, Korean folk music, Korean elegant music, and Professor Piao’s own work Goryeo Tang Music, etc. After making an analysis, she finally put forward her own expectations for young music scholars: strive to get closer to the music e

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Park, So Hyun. "COEXISTENCE OF CLASSICAL MUSIC AND GUGAK IN KOREAN CULTURE." International Journal of Korean Humanities and Social Sciences 5 (February 28, 2020): 67–99. http://dx.doi.org/10.14746/kr.2019.05.05.

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Classical music and Korean traditional music ‘Gugak’ in Korean culture try various ways such as creating new music and culture through mutual interchange and fusion for coexistence. The purpose of this study is to investigate the present status of Classical music in Korea that has not been 200 years old during the flowering period and the Japanese colonial period, and the classification of Korean traditional music and musical instruments, and to examine the preservation and succession of traditional Gugak, new Korean traditional music and fusion Korean traditional music. Finally, it is exempli

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Yi, Gina J. "Teaching about the Korean Ganggangsullae Folk Tradition in General Music Class." Music Educators Journal 105, no. 3 (2019): 45–53. http://dx.doi.org/10.1177/0027432118815961.

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Korean folk music has been rarely included in the Western music curriculum due to limited materials for music teachers to use. This article introduces Ganggangsullae, a prominent Korean folk tradition (called a “folk play” by Koreans) that incorporates singing and dancing, and discusses its historical background and the unique elements of Korean folk music that it illuminates: Korean rhythm, minyo singing, dancing, and dialogue play. In addition, this article offers practical teaching guidance for incorporating Ganggangsullae into the elementary general music classroom.

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Clark, Jocelyn. "‘A Tiger’s Coming Down’: Gugak in the Metaverse." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 9 (June 27, 2022): 27–54. http://dx.doi.org/10.30819/aemr.9-3.

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Prof. Dr. Jocelyn Clark is an assistant professor at Pai Chai University in South Korea. She has published in academic journals such as The World of Music, Asian Musicology, and Perspectives on Korean Music. Her research interests include orality, music of place, and contemporary “national music” performance practices in Korea, China, and Japan. She is engaged in long-term field research on sanjo and byeongchang, Korean traditional genres of which she is also a practitioner. She commissioned and/or premiered over 30 new works for Korean gayageum.

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

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The subject of this research is the impact of sociopolitical situation on the Korean Peninsula upon the establishment and development of musical culture of the Koreans since 1945 to the beginning of the Korean War. The goal is to demonstrate the effect of political and social situation upon music and songs of the Koreans, as well as outline the vectors of their development during the period under review. In the course of research, the author analyzes the historical, political and social background, within the framework of which was formed the musical and song tradition of the Koreans of that t

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CHANG, HYUN KYONG HANNAH. "Transcending the Past: Singing and the Lingering Cold War in the Korean Christian Diaspora." Twentieth-Century Music 18, no. 3 (2021): 447–67. http://dx.doi.org/10.1017/s1478572221000207.

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AbstractProtestant music in South Korea has received little attention in ethnomusicology despite the fact that Protestant Christianity was one of the most popular religions in twentieth-century Korea. This has meant a missed opportunity to consider the musical impact of a religious institution that mediated translocal experiences between South Korea and the United States during the Cold War period (1950s–1980s). This article explores the politics of music style in South Korean diasporic churches through an ethnography of a church choir in California. I document these singers’ preference for Eu

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Felicia, Judith, and Jayanti Mandasari Sagala. "Minat Pendengar Streaming Lagu K-Pop ‘Super’ Karya SEVENTEEN pada Popular Chart di Spotify." PROMUSIKA 11, no. 2 (2023): 104–14. http://dx.doi.org/10.24821/promusika.v11i2.9728.

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K-Pop atau Korean Popular adalah jenis aliran atau tipe musik yang berasal dari Korea Selatan dengan arus musik rap, rock, techno, hip-hop, jazz, dan electronic dance music (EDM). SEVENTEEN adalah boy band Korea Selatan yang dikenal sebagai idola yang memproduksi sendiri lagu sekaligus koreografinya. SEVENTEEN merilis mini album ke-10 pada bulan April 2023 dan lagu ‘Super’ sebagai lagu utama dalam album ‘FML’. Streaming sangat lekat dengan aktivitas penggemar K-Pop, salah satu aplikasi musik digital yang dikenal ialah Spotify. Penelitian ini bertujuan untuk mengetahui hasil persentase nilai st

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Khairi, Ananda Salsabila, Hairul Amri, Haryanzelina Bancin, and Ali Ikhwan. "Analysis of the Use of Editing Techniques on the Stray Kids Thunders Music Video." JTECS : Jurnal Sistem Telekomunikasi Elektronika Sistem Kontrol Power Sistem dan Komputer 3, no. 1 (2023): 73. http://dx.doi.org/10.32503/jtecs.v3i1.3222.

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Video ialah media komunikasi terkini yang menjadi salah satu bagian dari media eketronik berbentuk digital. Video hadir dengan karakteristik film, serta video juga dapat dipadukan kedalam dunia musik yaitu seperti digunakan sebagai musik video. Korean pop (K-Pop) merupakan sebutan yang sudah tak lazim lagi bagi pecinta aliran musik pop Korea. K-Pop atau Korean pop ialah musik yang sedang banyak digemari dan berasal dari Korea Selatan.Perkembangan musik K-Pop menyebar dengan sangat cepat di kalangan anak muda Indonesia. Salah satu grup Korea pop yang popular saat ini yaitu Stray Kids dengan sal

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Koo, Sunhee. "Reconciling Nations and Citizenship: Meaning, Creativity, and the Performance of a North Korean Troupe in South Korea." Journal of Asian Studies 75, no. 2 (2016): 387–409. http://dx.doi.org/10.1017/s0021911815002077.

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Since 2000, a number of performing troupes have been established in South Korea, made up largely of musicians and dancers who were professionally trained in North Korea prior to their migration and presenting a range of music and dances related to both the North and South. Combining ethnographic data with performance analysis of one such troupe, the Pyŏngyang Minsok Yesultan, I show how the nation and the state intersect in the space of performing arts as the troupe's creative culture reflects the settlement experiences of North Koreans in the South. While the troupe's organization, membership

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Melisa, Melisa, Suyanto Suyanto, and Olivia Tanaya. "Korean Wave in Indonesia: Are there any changes in perception and intention to visit Korea?" Innovative Marketing 19, no. 3 (2023): 171–86. http://dx.doi.org/10.21511/im.19(3).2023.15.

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South Korea has a good image overseas due to the success of its national branding. With the Korean Wave as their national branding, Koreans introduce their country and culture through Korean entertainment. Indonesia is one of the Asian countries exposed to the Korean Wave, especially Korean dramas. This paper aims to analyze the determinants of changes in perceptions and the desire of Indonesians to visit South Korea as a tourist destination. International strategy theory, international marketing theory, and Korean Wave types are analyzed. The research sample consists of 237 randomly selected

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Putri, Astrid Hidayanti Ananda. "The Representation of Non-Heterosexuality in YouTube: Study on K-Pop Girl Group Music Video." MUHARRIK: Jurnal Dakwah dan Sosial 4, no. 02 (2021): 201–18. http://dx.doi.org/10.37680/muharrik.v4i02.844.

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Since the late 2000s, the Korean pop music industry (K-pop) has made significant progress outperforming the music industry of other countries. The abundance of South Korean media content showing the concept of “Girl Band” is engaging because of changes in gender representation in the Korean pop music industry. This study focuses on the representation of non-heterosexuality in the music videos of the K-Pop girl groups Mamamoo, Loona, and Red Velvet. The Music Video (MV) of the three girl bands shows other sexual orientations, as is often shown in the South Korean media. By observing the three m

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Qian, Huirong. "Discussion on Chinese Translation of Korean Lyrics in Online Music Platform." Yixin Publisher 2, no. 2 (2024): 49–56. http://dx.doi.org/10.59825/jhss.2024.2.2.49.

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In recent years, cultural exchanges between China and South Korea are no longer as active as before due to China's growing awareness of protecting local culture. However, “Korean wave” culture, especially Korean pop songs such as K-POP, remains hugely popular in China. On China's major online music platforms, Korean songs account for a large proportion of listeners. Music is a borderless language, and lyrics are an important means to promote music. Therefore, it is of great significance to study the Chinese translation of Korean lyrics. Although there are some similarities between Chinese and

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18

Kim, Seon ah. "From early composed art songs in Japanese occupation period to korean style art songs: the correlation between poetry and music in Park Tae-joon s art Song." Korean Society of Music Education Technology 47 (April 30, 2021): 209–28. http://dx.doi.org/10.30832/jmes.2021.47.209.

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A study on the analysis of Park Tae-joon s art song is the first step in studying the process of transforming from early composing song to Korean style art songs in the early modern era of Korea. IIt focused on changing musical factors of his pieces from his initial period of time until the time when he established matured technique. I analyzed how the music expressed the lyrics when it sings a poem and how Korean elements were used in Park Tae-joon s music works. Generally Park Tae-joon composed simple music with regular phrase such as children s songs and hymns. Sometimes he tried to e

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Marshall, Colin. "The K-Town Dream." Boom 5, no. 1 (2015): 14–19. http://dx.doi.org/10.1525/boom.2015.5.1.14.

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The author, a resident of Los Angeles's Koreatown, travels to Seoul in order to compare the Korean culture where he lives with the culture of South Korea's capital. There he finds that, while he has spent years in Koreatown dreaming of the Korea he would one day experience, South Koreans have developed their own California dreams, which manifest in the clothes, advertisements, and businesses seen all around Seoul, as well as in the conversations he has with Koreans. Even the establishments in Korea’s forward-looking capital city that preserve the Korean past, such as a 1970s-themed music bar,

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Yoo, Hyesoo, Sangmi Kang, and Victor Fung. "Personality and world music preference of undergraduate non-music majors in South Korea and the United States." Psychology of Music 46, no. 5 (2017): 611–25. http://dx.doi.org/10.1177/0305735617716757.

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We investigated contributors of undergraduate nonmusic majors’ preferences for world musics, specifically those from Africa, Asia, and Latin America. Drawing upon the reciprocal feedback model as a theoretical framework, we determined the extent to which predictor variables (familiarity with the music, personality, and music absorption) were related to music preference. Participants were 401 undergraduate nonmusic majors from South Korea ( n = 208) and the USA ( n = 183). Participants took an online survey via Qualtrics that included demographic information, the World Musics Preference Rating

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SUCIU, Marian. "Korean movies: from the survival of the old heritage to the modernized tradition." Bulletin of the Transilvania University of Brasov. Series IV: Philology and Cultural Studies 14 (63), no. 1 (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 tra

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Choi, Jin, and Dong-Hyuk Jang. "Educational Status of a Popular Korean Traditional Music and Development Plan Using Interviews with Middle and High School Music Teachers." Institute for Education and Research Gyeongin National University of Education 43, no. 4 (2023): 161–73. http://dx.doi.org/10.25020/je.2023.43.4.161.

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In this study, creative Korean traditional music, which is taught and learned educationally without clear definitions such as new folk songs, new Korean traditional music, creative Korean music, Korean traditional music, Korean traditional music, fusion Korean music, crossover, and world music presented in various textbooks, is called popular Korean traditional music. Understanding popular Korean traditional music will allow teachers and students to experience more diverse forms of Korean traditional music and will give them an easier access to traditional Korean music, which can only be felt

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Khairi, Ananda Salsabila, Hairul Amri, Haryanzelina Bancin, and Ali Ikhwan. "Analisis Penggunaan Teknik Editing Pada Music Video Stray Kids Thunders." Jurnal Sains dan Teknologi (JSIT) 3, no. 1 (2023): 1–5. http://dx.doi.org/10.47233/jsit.v3i1.445.

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Video is the latest communication media which is a part of electronic media in digital form. Video comes with the characteristics of a film, and video can also be integrated into the world of music, which is like being used as a music video. Korean pop (K-Pop) is a term that is no longer common for lovers of Korean pop music. K-Pop or Korean pop is music that is currently popular and originates from South Korea. The development of K-Pop music is spreading very quickly among young Indonesians. One of the popular Korean pop groups today is Stray Kids with one of their songs entitled Thunders. Th

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Lee, Minjung. "A Study of Musical Techniques and Korean Culture Reflected in <Go-Hyang> by D. Burge." Korean Society of Culture and Convergence 45, no. 1 (2023): 327–40. http://dx.doi.org/10.33645/cnc.2023.01.45.01.327.

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This study analyzes the deep sentiments for Korea expressed in <Go-Hyang>(Ancestral Home, 1994), a piano solo piece by David Burge, a pioneer of contemporary American music in the late 20th century. In this 6-movement work, quotation of Korean folk song and imitation of the folk rhythm allude to the wartime Korea. He portrays his lifelong friendships with Koreans through frequently interrupted melodies, linear progressions and nuances of soft dynamics, while chromatic harmonies, cluster, and poly-rhythm express Burge's identity as a contemporary composer. His relationship with Korea- his

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Hermastuti, Sendy Intania, and Arina Isti'anah. "Consonant Changes in Korean Singers� Pronunciation." Journal of Language and Literature 18, no. 1 (2018): 28–35. http://dx.doi.org/10.24071/joll.v18i1.1050.

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Music industry in Indonesia is now filled with many genres or types of music. One of them that is very famous nowadays is a music genre called K-pop or Korean pop, originating from South Korea. In line with the development of K-pop music that continues worldwide, Korean singers start making English songs. There were two objectives to be discussed in this article: to find out the consonants that are usually changed or replaced by Korean singers and find the phonological patterns found in the consonant changes. Phonological approach was conducted by involving purposive sampling technique to coll

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Lee, Jisun. "A Study on Development and Achievement of the Korean Musicology in Japan since 1945." National Gugak Center 48 (October 31, 2023): 137–92. http://dx.doi.org/10.29028/jngc.2023.48.137.

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This article examines the Korean musicology, developed in Japan since 1945, by period and the the results by field. During the Japanese colonial period, Japanese research on Korean music was actively conducted in relation to the ruling policy of the Japanese Government-General of Korea, but after the defeat in World War II, research on Korean music decreased significantly. Therefore, the period from 1945 to 1965 can be called the ‘gap period’ of the Korean musicology in Japan. In the 1970s, as Ethnomusicology grew significantly in Japan, Korean music&#

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Krishna, Keya. "Foreign Influences and Localization: The Evolution of Korean Music Through History." Asian Culture and History 14, no. 2 (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 deve

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Bae, Ihngyo. "The National Folk Art Center and the North Korean National Music." National Gugak Center 47 (April 30, 2023): 275–97. http://dx.doi.org/10.29028/jngc.2023.47.275.

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This article aims to enhance understanding of the National Folk Art Center (hereafter, the Center) through dividing its 75-year history and activities into three periods, and to review the trend of changes in North Korean national music, From 1947 to 1965, the Center had been reorganized as the Joseon Classical Music Research Institute, the Classical Orchestra directly under the Ministry of Culture and Propaganda, the Hyeopryuldan within the National Arts Theater, the Classical Orchestra under the direct control of the National Arts Theater, the National Classical Arts Theater, and then Nation

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YOOK, YoungSoo. "The Making of Korean Cultural·Aesthetic Discourse by Western Missionaries from the Late 19th Century to the First Half of the 20th Century." Korean Society of the History of Historiography 46 (December 30, 2022): 473–502. http://dx.doi.org/10.29186/kjhh.2022.46.473.

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The article intends to comprehend, reappraise, and criticize how Western missionaries had perceived and interpreted the origins, transformations, characteristics of Korean traditional literature, fine arts, and music by analyzing related articles and essays primarily published in The Korean Repository, The Korea Review, and Transactions of the Korea Branch of the Royal Asiatic Society from the late 19th Century to the First Half of the 20th Century. The author comes up with plausible and/or tentative conclusions as followings: First, Western missionaries contributed to building a solid foundat

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Kim, Chaek. "Transformative Approach for Popular Music Education from the Perspective of Global Citizenship Education." Korean Association for the Study of Popular Music 33 (May 30, 2024): 69–93. http://dx.doi.org/10.36775/kjpm.2024.33.69.

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This study reconsiders and reflects on the issues surrounding contemporary education such as anti-bias education, transformative education from the perspective of global citizenship, and education in the context of Korean popular music learning. The scope of popular music education not only comprises physical sonic elements but also includes complex socio-cultural phenomenon such as modernity and colonialism. However, a tendency to adopt a western art music-centric curriculum based on enlightenment notions persists in Korean popular music education. These factors are becoming a serious obstacl

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Kim, Soochul. "‘Now it's indie’: The creative turn of the cultural policy in the Korean indie music scene." International Communication Gazette 81, no. 2 (2018): 193–208. http://dx.doi.org/10.1177/1748048518802965.

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As creative industry policy discourse has travelled quickly across the South Korean cultural industry, including the Korean Wave and beyond, the indie music artists in South Korea have found opportunities to perform and promote their music overseas. The recent cultural policy along with the direct support programs are unexpected, because of the conservative nature of the government and the nature of the South Korean indie music as independent from political and economic powers. With the example of the overseas advance of South Korean indie artists, with government support, this article present

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Shinhee Lee, Jamie. "I'm the illest fucka." English Today 23, no. 2 (2007): 54–60. http://dx.doi.org/10.1017/s026607840700209x.

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ABSTRACTAn analysis of African American English in South Korean hip hop. English is rarely used in face-to-face terms in South Korea, but the use of English in commerce and entertainment is not such a rarity. The presence of English expressions in advertising and pop lyrics is no longer considered extraordinary. Lee (2006) reports that 83.75% of 720 South Korean TV commercials use some type of English, and only 16.25% of advertisements rely exclusively on Korean. Pop music is another discourse space in which English is fairly frequently used, occurring in more than 50% of pop song titles. A de

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Mega Putri, Ni Wayan Liana, and Dianiangriani Dilia. "Analyzing Social Media Strategy in Korean Music Industries." PERSPEKTIF 12, no. 4 (2023): 1206–14. http://dx.doi.org/10.31289/perspektif.v12i4.10098.

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The Korean Wave (K-wave), also known as Hallyu, is the term used to describe the phenomenon of Korean pop culture, including TV dramas, movies, pop music, fashion, and online games, becoming widely popular and shared among the people of Japan, China, Hong Kong, Taiwan, and other Asian nations. Korean pop music, also known as K-pop, became a major component of the second K-wave after the first K-wave's drama-focused craze. Additionally, K-pop's fanbase has grown outside of Asia to the West thanks to the quick adoption of social media platforms like YouTube and Twitter. The popularity of K-pop t

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Kim, Jeongseob. "Opert’s Pioneering Aspects and Insights as a ‘Korean Music Critic’ introduced Western Music to Josen during the Its Opening Period." Academic Association of Global Cultural Contents 55 (May 31, 2023): 21–36. http://dx.doi.org/10.32611/jgcc.2023.5.55.21.

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German merchant Ernst Jacob Oppert(1832~1903), the mastermind of the “Opert Incident” (It refers to his theft of the royal family’s tomb) has been a rash aggressor and traitorous figure in Korean history. It has also been almost entirely negatively evaluated as a very ambitious merchant who tried to monopolize business by pushing through trade pressure and provided the Joseon government with the pretext of severe Catholic persecution. Unlike this previous evaluation, as a result of this study that analyzed Opert’s wrritten records of Korean music in his travelogue, the need for his re-evaluati

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Tinangon, Jessica Nadyla Indriyani Novita, Putri Hergianasari, and Triesanto Romulo Simanjuntak. "STRATEGI DIPLOMASI PUBLIK KOREA SELATAN DI INDONESIA MELALUI KOREAN WAVE (2021-2022)." Jurnal Ilmiah Widya Sosiopolitika 5, no. 1 (2023): 46. http://dx.doi.org/10.24843/jiwsp.2023.v05.i01.p04.

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South Korea's Public Diplomacy Strategy through the Korean Wave, has had an influence on Indonesia as one of the country's goals. The Korean Wave is one of the instruments or tools used by South Korea in the form of entertainment industry products such as music, drama and films that can introduce South Korea to the outside world, so that it is better known internationally. The method used by the author is descriptive qualitative, using the concept of Public Diplomacy using soft power techniques. This technique is an important tool in the implementation of Public Diplomacy. In this study, the a

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Kim, A.-Hyun. "Practical Approaches to Cultivating the Value of Sustainable Developmental Education in Korean Music Education." Institute for Education and Research Gyeongin National University of Education 43, no. 4 (2023): 109–27. http://dx.doi.org/10.25020/je.2023.43.4.109.

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This study presented various practical approaches to cultivating the values ultimately aimed by sustainable development education in Korean music education based on the 2022 revised music curriculum. To this end, first, literature research was reviewed to identify the meaning and value of sustainable developmental education and the connection between the 2022 revised music curriculum and sustainable developmental education. Second, on the basis of its characteristics, the relationship between Korean music education and sustainable developmental education was examined. Third, practical ap

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Kim, Sungmin. "Korean popular music in-between: Identity strategies between Japanese style and American standards in the 1960s." East Asian Journal of Popular Culture 10, no. 1 (2024): 57–73. http://dx.doi.org/10.1386/eapc_00125_1.

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This article explores collective experiences of Japanese popular music within the post-Second World War South Korean society along with related identity strategies – elimination, stratification and standardization – from postcolonial perspectives and discuss what characterizes ‘Japanese-ness’ as a musical, industrial and social product. In the context of strategies to eradicate it from the urban spaces, cultural industry and memories and bodies of Korean people, Japanese-ness – labelled under the moniker waesaek – was proscribed as a cultural remnant of imperialism, militarism and colonial dom

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Ko, Sunha, and Jongwoo Jun. "Consumption Motivation and Consumption Behavior of Korean Pop Music Consumers." Korean Society of Culture and Convergence 45, no. 10 (2023): 863–71. http://dx.doi.org/10.33645/cnc.2023.10.45.10.863.

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The purpose of this paper is to understand the consumption motivation and consumption behavior of Korean pop music for Generation Z, the main domestic consumer who consumes Korean pop music. Since popular music is a thoroughly audience-centered culture, the tastes and needs of the audience have a profound influence on the production of popular music. The related industry is paying attention to Generation Z as the main acceptance group of Korean pop music and the main consumer group that has led to global interest in Korean pop music. They are now the main consumers of the music and entertainme

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Choi, Hye Eun. "Kisaeng Performers and the New Media in Colonial Korea." Journal of Korean Studies 26, no. 2 (2021): 373–400. http://dx.doi.org/10.1215/07311613-9155246.

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Abstract Kisaeng, who had been hereditary female performers in pre-twentieth-century Korea, became modern professional performers during Korea’s colonial period (1910–45). Among them, some talented kisaeng attained high status in modern media as vocal performers, even while the general reputation of kisaeng steadily declined in the colonial period. These kisaeng performers who sought artistic success in the new media occupied two categories. One was yŏryu myŏngch’ang (female master vocalists), who excelled at Korean traditional music, and the other was kisaeng kasu (kisaeng singers), who speci

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Sutton, R. Anderson. "Korean Music in Hawaii." Asian Music 19, no. 1 (1987): 99. http://dx.doi.org/10.2307/833764.

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Oh, Jiyeon. "Elementary school pre-service teachers to cultivate PCK Design and execution of Korean traditional music practical classes." Korean Society of Music Education Technology 57 (October 16, 2023): 97–121. http://dx.doi.org/10.30832/jmes.2023.57.97.

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This study explored the professional knowledge (PCK) of Korean traditional music that pre-service elementary school teachers should have designed classes to cultivate it, conducted practical Korean music classes for pre-service elementary school teachers, and looked at the changes in cultivation. The study was proceeded as follows. First, PCK which is the professional knowledge of Korean music required for pre-service teachers was reviewed through previous research, and subject knowledge, teaching method knowledge, and student understanding knowledge were selected as necessary knowledge.

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Miyoung Kim. "‘Laughter’ in Modern Korean Music: with Focus on Korean Modern Instrumental Music." journal of Ewha Music Research Institute 21, no. 4 (2017): 133–70. http://dx.doi.org/10.17254/jemri.2017.21.4.004.

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Lee, Juwon. "Meaning of Acceptance of Popular Music through the Influence of the Beatles in Korean-Japanese Popular Music in the 1960s - Focused on the 1960s Band Music of Both Countries." Korean Association for the Study of Popular Music 33 (May 30, 2024): 317–40. http://dx.doi.org/10.36775/kjpm.2024.33.317.

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Since the Beatles’ arrival in New York on February 7 th , 1964 was broadcast, they have shaken up not only the United States but also the world’s popular music market. Korea and Japan, which were strongly influenced by American pop culture at the time, were also influenced by British-style band music including the Beatles. Based on this cultural phenomenon that Korea and Japan experienced simultaneously in the 1960s, this study examined the patterns of cultural spread in the Anglo-American region between the two nations via a comparison of the music of the two countries at the time. This study

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Song, Minso, and Yoojin Oh. "A Study on the Method of Korean Traditional Music Education Using a Metaverse - Focusing on UNESCO Intangible Cultural Heritage of Humanity -." Korean Society of Music Education Technology 57 (October 16, 2023): 49–72. http://dx.doi.org/10.30832/jmes.2023.57.49.

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The purpose of this study is to develop an exhibition planning program that can be applied to the classroom under the theme of “Our Music of UNESCO” using a metaverse. In order to strengthen digital capabilities based on future-oriented thinking, one of the topics in the current education world, a class guidance plan using the metaverse space was constructed. The program design was classified into three stages: knowledge·understanding, processf·unction, value, and attitude, and set learning goals for each stage and consisted of a total of four sessions. In the first session, encouraged student

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Kim, Yeogeun Yonsue. "Performed intermediality and beyond in the BTS music video ‘Idol’: K-Pop idol identities in contemporary Hallyu." East Asian Journal of Popular Culture 6, no. 2 (2020): 239–55. http://dx.doi.org/10.1386/eapc_00028_1.

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The recent music video ‘Idol’ (published 24 August 2018) by South Korean boy band BTS exhibits extensively Korean elements, compared to previous visual presentations of BTS music. This may be because the song ‘Idol’ attempts to explicitly delineate BTS’s identity not only as a musician in general but also as a K-Pop artist, in particular, in the context of Hallyu (the Korean Wave). The music video ‘Idol’ is an effort to visually deal with these twofold difficulties that BTS confronts as a boy band, branded also as an idol group from South Korea. To this end, throughout the music video, interme

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BOZYER, Özlem. "Kore Dalgasının (Hallyu) Türk İzleyiciler Üzerindeki Etkisi." Dünya İnsan Bilimleri Dergisi 2023, no. 2 (2023): 47–75. http://dx.doi.org/10.55543/insan.1211401.

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Hallyu başka bir deyişle “Kore Dalgası” önce Çin'e, daha sonra Japonya, Güneydoğu Asya'ya ve dünya çapında birçok ülkeye yayılmıştır. 1999 ve 2000'li yıllarda yayınlanan birkaç film ve TV dizisi Kore dalgasının başlangıcı olmuştur. Hallyu, büyük bir kültürel güç olarak ortaya çıktığı 1999 yılından bu yana istikrarlı bir şekilde büyümüştür. Ancak kültürel ve ekonomik büyüme tamamen planlanmamış değildir. Kore dramaları ve K-pop (Kore Müziği) Kore'nin dünya çapında “yumuşak gücünü” ve ekonomik gücünü geliştirmesinin bir yolu olmuştur. Gelişen medya teknolojisi, Kore kültürünün küreselleşmesini s

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Bum, Heo Jun. "History of Korean first conservatory Ewha from beginning to 1945." Moscow University Pedagogical Education Bulletin, no. 4 (December 29, 2018): 104–10. http://dx.doi.org/10.51314/2073-2635-2018-4-104-110.

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This article is about music education and its curriculum of Ewha Woman’s Conservatory from beginning to 1945 and deals with the introduction of western educational system in Korea for the first time and the process of its development at Ewha Woman’s University which was founded in the period of opening the door of Korea at the end of 19th century. The article describes that introduction of Korean traditional music as a regular subject and Women’s University’s role in the process of preserving it and its popularization.

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Matosian, Agapi E. "The Key Components of South Korea’s Soft Power: Challenges and Trends." RUDN Journal of Political Science 23, no. 2 (2021): 279–86. http://dx.doi.org/10.22363/2313-1438-2021-23-2-279-286.

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To this day political processes are less and less impacted by military force. States are increasingly resorting to the use of means of latent influence or relying on cultural attraction. Such phenomena have led to the emergence of soft power in international relations. Many countries, including the Republic of Korea, effectively use soft power tools in implementing policies at various levels. This manuscript seeks to analyze the main soft power components and tools of the Republic of Korea in foreign policy. The paper examines the background of the formation and development of soft power strat

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Ahn, Youngheyi. "The Analysis of Structural Relationships among Subjects, Environments, and Resources for Promotion of the Korean Wave Exports in Music Education: Focusing on Local Universities in Korea." Korean Society of Culture and Convergence 44, no. 5 (2022): 571–92. http://dx.doi.org/10.33645/cnc.2022.5.44.5.571.

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This study was conducted on the premise that in the crisis of local universites it is urgent to improve the quality of local universities and to make a turning point in exporting our advanced education through a quantitative increase in the number of foreign students. Accordingly, in order to analyze the structural relationship between the subject, environment, and resources for the promotion of Korean Wave of exporting music education, variables of subject, environment, and resource perceived by members of local universities in Korea were designed. In addition, the structural causal relations

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Lee, Heeju. "Beyond Fill-in-the-Blanks: Teaching Advanced Korean Through Korean Popular Music." Korean Language in America 26, no. 1-2 (2022): 114–26. http://dx.doi.org/10.5325/korelangamer.26.1-2.0114.

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ABSTRACT This article introduces the course curriculum of a third-year Korean language content course, Korean Through Popular Music, offered at a U.S. university during the pandemic in the spring semester of 2021. Although the benefits of using music in foreign language classrooms have been agreed upon in research and practice, few studies share concrete teaching strategies and assignments that incorporate music. Moreover, previous studies generally examine the role of music in beginning-level classrooms across languages. This article describes a language curriculum centered on music for a sem

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