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ASAN491G Pop Pacific 2016 6 07 ASAN 491 The Pop Pacific: South Korean and Japanese Popular Music & Society University of Hawai‘i – Mānoa, summer session I, 2016 May 23 to June 17, 2016; CRN 97344, Oral Focus Webster 101 MT & RF 9:00AM – 12:00 PM (Wednesdays off) The Korean group SNSD has attained huge success overseas. This song and video for “Love and Girls” was released only in Japan (in Japanese), reflecting the relationship between Korean pop and the larger Japanese market. In some ways, they have become a “Japanese” group. Instructors Dr. Jayson Makoto Chun Dr. Patrick Patterson Office Moore 426C (Best way to catch us is in the classroom) Office Hours By appointment (or usually after class) Classroom Webster 101 Email [email protected] [email protected] Course Description and Student Learning Outcomes This course examines changes in modern Japan and South Korea through a historical investigation of popular music. We will examine urban popular music from chart-topping idols, boy bands, and rock groups as well as "traditional" Korean teuroto and Japanese enka music and the lesser-known subcultures of folk and computer music. You the student (well, at least some of you), most likely know more about K-pop or J-pop than the instructors. So this course is not a place for fan discussions – remember, not all of the class will be pop music experts. And there are so many key artists and songs that we are unable to cover all key works in detail. 2 ASAN 491 The Pop Pacific: South Korean and Japanese Popular Music & Society University of Hawai‘i – Mānoa, Summer 2016 Rather, we care going to look at a “Pop Pacific,” a space of transnational cultural construction where “Korean” and “Japanese” popular music, with heavy American influence, has been created through a process of cultural exchange mediated through the physical presence of Japantowns and Koreatowns in the U.S, American bases in East Asia, TV, and the Internet. This hybridized popular music culture largely took root from the mid-1920s with Japanese-American jazz musicians performing in Japan, Japanese composers mixing Korean music and western scales, Japanese enka records making its way to colonial Korea, and Korean domestication of these outside trends. In the postwar period, the presence of music on American military bases and the growing interplay between television and music corporations accelerated and mediated this transnational flow. By the turn of the new millennium, the Internet allowed for near instantaneous access to information and provided easier means for fan interactions, helping to expand the global market. The “Pop Pacific” will reveal the hidden transnational aspects of today’s K-pop (Korean pop) and J-pop (Japanese popular music), and show that much of this Asian popular music was part of a larger global web of world music and so labels of national origin like “Japanese,” “Korean,” or “American” hide the true nature of transnational web of popular music. You will learn the following (Asian studies divisional outcomes are listed in parenthesis): SLO 1: Describe 20th century Japanese and South Korean popular music and its relation to the rest of the world) (A2, A3, A4, A5, A6) ● Describe the beginnings of modern east asian popular music such as “ryūkōka” 流行歌 /yuhaengga 유행가 and Jazz in the early 20th century. ● Describe postwar Japanese and South Korean urban popular music, from “traditional” enka/ to chart-topping idols, to the alternative music. ● Describe globalization: South Korea and Japanese music abroad and the entry of foreign trends into these nations. SLO 2: Examine popular music in the context of cultural studies (A2, A3, A4, A5, A6) ● Examine how the producer and audiences work together to create meaning in popular culture products, how media culture is a source of values for society, and ● Examine how recording technology and distribution influences musical culture ● Examine how it functions to legitimate or challenge the social structure. ● Examine how media culture and issues of gender, national identity, and race. SLO 3: Analyze various genres of popular music and their relationship with South Korean, Japanese and world society (A2, A3, A4, A5, A6) ● Describe their relationship to the historical currents of the time. ● Analyze the lyrics, visual imagery, and music itself as reflections of the continued modernization process in Japan. This course is interdisciplinary, covering a range of subjects including Japanese cultural history and music, East Asian studies, popular music and culture, and music as modern text. Knowledge of Japanese or Korean is not necessary, nor is formal training in music. 3 ASAN 491 The Pop Pacific: South Korean and Japanese Popular Music & Society University of Hawai‘i – Mānoa, Summer 2016 About the Instructors Dr. Jayson Makoto Chun is an associate professor at the University of Hawai‘i – West O‘ahu, specializing in Japanese media history and culture. He has written the book A Nation of a Hundred Million Idiots: A Social History of Japanese Television, 1953–1973, and also articles on Japanese and Korean popular culture. He has taught university courses on anime and J-pop (Japanese popular music) for over 10 years, has been featured on Japanese television and has been the keynote speaker at a conference where he gave a presentation on Hyuna’s “Bubble Pop”. He is currently stumbling through beginner’s Korean as well as writing a book about the Pop Pacific, looking at popular music in East Asia from a wider, inter-regional view. Dr. Patrick Patterson is Professor, CC, History at Honolulu Community College. He specializes in the history of Japanese popular music between 1887 and 1952. Dr. Patterson has taught classes on J-pop, History and Film, World History and Asian Studies for 15 years. He is currently doing research on Japanese journalism in the prewar period, and is working on an article about prewar Japanese music for future publication. Professor Patterson enjoys watching (and analyzing) film and learning Japanese songs for karaoke in his spare time. Readings Bourdaghs, Michael (2012). Sayonara Amerika, Sayonara Nippon: A Geopolitical Prehistory of J-Pop. New York: Columbia University Press. A bit academic, but definitely thought-provoking, this groundbreaking study of Japanese pop explores the geopolitical context between America and Japan. One of the few English language books on Japanese popular music. Hong, Y. Euny (2014). The Birth of Korean Cool: How One Nation Is Conquering the World through Pop Culture. New York: Picador. When I first visited South Korea in 1994 and brought back K-pop tapes, people laughed at me for bringing back such hick music. Not anymore How did K-pop become so popular, so quickly? What does this tell about South Korean culture today? Hong’s exploration of her own childhood will explain why. Readings and handouts via laulima.hawaii.edu. Some handouts will be distributed in class. The genius of Japanese megagroup AKB48 is that there are over 100 members, who can be split off into subunits or featured separately in TV shows. How corporate!! 4 ASAN 491 The Pop Pacific: South Korean and Japanese Popular Music & Society University of Hawai‘i – Mānoa, Summer 2016 Course Requirements and credit hour statement All papers and presentations must be done in order to pass the class. The University of Hawai‘i – Mānoa Credit Hour Policy states that students in a 3-credit course are expected to devote a minimum of 9-hours a week (135 hours/semester) on course related work. In accordance with the Credit Hour Policy, this course was reviewed to assure that the work assigned to achieve the stated student learning outcomes meets the credit hour policy. To achieve adequate learning in this course, it is expected that students will need to devote a minimum of 9 hours a week attending scheduled class meetings, completing assigned readings, working on the study questions, researching and writing the reaction papers, and studying for scheduled exams and quizzes. In plain English that means for this class each day’s class readings should reflect about 6 hours of work and readings. The course requirements are: 1st presentation (10 mins for 2 person group, 15 mins for 3) 20% Individual fan culture presentation (Pechakucha style, 6 mins 40 10% seconds each person) 2nd presentation (10 mins for 2 person group, 15 mins for 3) 20% Fan culture paper (to accompany fan presentation) 15% Quizzes based on assigned and in-class readings. 25% Instructors may have pop in-person quizzes Participation and attendance 15% Total = 100% The Korean group BIGBANG is wildly popular throughout Asia. Although not as well known overseas, the Japanese group ARASHI is one of the top-grossing groups in the world today. Both share a common lineage – from American influences like West Side Story (1961). 5 ASAN 491 The Pop Pacific: South Korean and Japanese Popular Music & Society University of Hawai‘i – Mānoa, Summer 2016 Assignment Descriptions First Presentation – Narrative of Music History. This presentation will be a discussion of the relationship of a period in modern Japanese history to the popular music of that period. ● You will be placed in groups of two. There may be three people groups. ● It must be 10 - 12 minutes for a 2-person group; 15 minutes for a 3 person group. ● You must bring up how the genre reflects the society of the time. ● What images or symbols are typical for this genre? Use a semiotic analysis. ● You must make reference to the class readings and lectures ● Give representative groups, and how they typify or deviate from genre standards. ● Explain the ideological aims of the genre, and speculate on ways of “listening otherwise.” In other words, how do consumers use (and repurpose music, giving it a different meaning)? ● If you use a genre found in Hong’s or Bourdagh’s book (such as GS sounds), do more research and add more from what you find.
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