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© Copyright 2020 Young Dae
© Copyright 2020 Young Dae Kim The Pursuit of Modernity: The Evolution of Korean Popular Music in the Age of Globalization Young Dae Kim A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2020 Reading Committee: Shannon Dudley, Chair Clark Sorensen Christina Sunardi Program Authorized to Offer Degree: Music University of Washington Abstract The Pursuit of Modernity: The Evolution of Korean Popular Music in the Age of Globalization Young Dae Kim Chair of the Supervisory Committee: Shannon Dudley School of Music This dissertation examines the various meanings of modernity in the history of Korean pop music, focusing on several crucial turning points in the development of K-pop. Since the late 1980s, Korean pop music has aspired to be a more advanced industry and establish an international presence, based on the economic leap and democratization as a springboard. Contemporary K-pop, originating from the underground dance scene in the 1980s, succeeded in transforming Korean pop music into a modern and youth-oriented genre with a new style dubbed "rap/dance music." The rise of dance music changed the landscape of Korean popular music and became the cornerstone of the K-pop idol music. In the era of globalization, K-pop’s unique aesthetics and strategy, later termed “Cultural Technology,” achieved substantial returns in the international market. Throughout this evolution, Korean Americans were vital players who brought K-pop closer to its mission of modern and international pop music. In the age of globalization, K-pop's modernity and identity are evolving in a new way. -
1967: a Year in the Life of the Beatles
1967: A Year In The Life Of The Beatles History, Subjectivity, Music Linda Engebråten Masteroppgave ved Institutt for Musikkvitenskap UNIVERSITETET I OSLO November 2010 Acknowledgements First, I would like to express my gratitude towards my supervisor Stan Hawkins for all his knowledge, support, enthusiasm, and his constructive feedback for my project. We have had many rewarding discussions but we have also shared a few laughs about that special music and time I have been working on. I would also like to thank my fellow master students for both useful academically discussions as much as the more silly music jokes and casual conversations. Many thanks also to Joel F. Glazier and Nancy Cameron for helping me with my English. I thank John, Paul, George, and Ringo for all their great music and for perhaps being the main reason I begun having such a big interest and passion for music, and without whom I may not have pursued a career in a musical direction at all. Many thanks and all my loving to Joakim Krane Bech for all the support and for being so patient with me during the course of this process. Finally, I would like to thank my closest ones: my wonderful and supportive family who have never stopped believing in me. This thesis is dedicated to my grandparents. There are places I'll remember All my life though some have changed. Some forever not for better Some have gone and some remain. All these places have their moments With lovers and friends I still can recall. Some are dead and some are living, In my life I've loved them all. -
The Evolving Presence of Jazz in Britain Chapter 4 Case Study: in Dahomey: a Negro Musical Comedy in London, 1903
City Research Online City, University of London Institutional Repository Citation: Parsonage, Catherine Jane (2002). The evolution of jazz in Britain c. 1880- 1927: antecedents, processes and developments. (Unpublished Doctoral thesis, City University London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/14853/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] The Evolution of Jazz in Britain c. 1880-1927: Antecedents, Processes and Developments Catherine Jane Parsonage Thesis submitted for the degree of Doctor of Philosophy City University Department of Music July 2002 IMAGING SERVICES NORTH Boston Spa, Wetherby West Yorkshire, lS23 7BQ www.bl.uk THE FOLLOWING HAVE BEEN REDACTED AT THE REQUEST OF THE UNIVERSITY: Figure 1 (after page 36) Figures 2 & -
Nfts Are Booming and the Music Biz Desperately Wants In
BILLBOARD COUNTRY UPDATE APRIL 13, 2020 | PAGE 4 OF 19 ON THE CHARTS JIM ASKER [email protected] Bulletin SamHunt’s Southside Rules Top Country YOURAlbu DAILYms; BrettENTERTAINMENT Young ‘Catc NEWSh UPDATE’-es Fifth AirplayMARCH 11, 2021 Page 1 of 43 Leader; Travis Denning Makes History INSIDE NFTs Are Booming and the Sam Hunt’s second studio full-length, and first in over five years, Southside sales (up 21%) in the tracking week. On Country Airplay, it hops 18-15 (11.9 mil- (MCA Nashville/Universal Music Group Nashville),Music debuts at No. 1 onBiz Billboard ’sDesperately lion audience impressions, up 16%). Wants In Top Country• Congress Albums Passes chart dated April 18. In its first week (ending April 9), it earned$1.9T 46,000 Relief equivalent Bill: album units, including 16,000 in album sales, ac- TRY TO ‘CATCH’ UP WITH YOUNG Brett Youngachieves his fifth consecutive cordingHere’s to What’s Nielsen in Music/MRC It for Data. andBY totalMICAH Country SINGLETON Airplay No. 1 as “Catch” (Big Machine Label Group) ascends SouthsideMusic marksWorkers Hunt’s second No. 1 on the 2-1, increasing 13% to 36.6 million impressions. chart and• A Seatfourth At top The 10. It follows“It freshman was one ofLP those moments in my life where I was NFT marketplaceYoung’s called first NBA of six Top chart Shot entries, where “Sleep it sells With - Montevallo(Kids), which Table: arrived at thelike, summit ‘Holy in shit,’”No - recalls DJ-producer 3LAU, “‘I think clips of highlightsout You,” and reached accepts No. -
AMI Packet Day #1 Dynamics Instructions: Write a Paragraph
AMI Packet Day #1 Morrilton Choirs Name: __________________________________ Date:__________ Period:__________ Dynamics Instructions: Write a paragraph defining dynamics and the purpose of dynamics within choral music. 3-5 sentences. You may also give examples of dynamics we have used in your choir class describing how the volume may or may not have reflected the meaning of the lyrics. Make sure to write the title of the song so I can know what you are referencing. ______________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ Send me a remind or email if you are struggling with this work but ONLY during the school day hours on the snow day! [email protected] AMI Packet Day #2 Morrilton Choirs Name: ____________________________ Date: ______ Period: _____ Choir Persuasive Writing Essay Write a persuasive essay convincing 6th graders from -
A Night at the Opera: Performance, Theatricality, and Identity In
A NIGHT AT THE OPERA: PERFORMANCE, THEATRICALITY, AND IDENTITY IN THE MUSIC OF QUEEN A THESIS IN Musicology Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree MASTER OF MUSIC by GRACE KATE ODELL B.M., Furman University, 2016 Kansas City, Missouri 2016 ©2019 GRACE KATE ODELL ALL RIGHTS RESERVED 2 A NIGHT AT THE OPERA: PERFORMANCE, THEATRICALITY, AND IDENTITY IN THE MUSIC OF QUEEN Grace Kate Odell, Candidate for the Master of Music Degree University of Missouri-Kansas City, 2016 ABSTRACT Many discussions of the rock band Queen (vocalist Freddie Mercury, guitarist Brian May, drummer Roger Taylor, and bassist John Deacon) reference their theatricality, yet few analyze what makes Queen’s music and performances theatrical. Through examining Queen’s theatricality from different angles, this thesis shows the different layers of Queen’s performativity and its relationship to identity. After an introductory chapter that surveys the literature about Queen, the second chapter of the thesis analyzes the theatricality of Queen’s music from a stylistic basis. The chapter begins by addressing Queen’s camp theatricality through their use of music hall, iii operetta, and musical theatre styles. It then addresses their drama-based theatricality through their use of opera and film music styles. The third chapter analyzes Queen’s performance of gender and sexuality through their use of different genres. It first discusses Queen’s participation in the genre of glam rock, in which they performed a more feminine persona, but were still understood as heterosexual. Then it explores Queen’s disco and funk influenced music and Mercury’s “castro clone” image as simultaneously a more masculine and more homosexual performance. -
Downloaded by Users to Use As They See Fit on Any Platform
Map of the Soul: Data-based Body Play Across Media in K-Pop Amélie Rols East Asian Studies, Faculty of Arts McGill University, Montreal March 2020 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Master of Arts ©Amélie Rols, 2020 1 Table of Contents Abstract 2 Acknowledgments 5 Table of figures 6 Introduction 8 Literature review 12 Fan studies 12 Digital ecosystems 14 K-Pop and Hallyu studies 15 Body politics 16 Gamification 17 Organization of the thesis 18 Digital Body Play in the K-Pop Fandom 20 Messy edits 20 Superflat 36 Brokering role of the K-Pop industry 42 Conclusion 48 Playful Neoliberal Self-care & K-Pop 51 Bodies at the center of the database 51 Korean brand of body care 63 Transmission of techniques of the self from industry to fan 70 Conclusion 83 K-Pop and Gaming 87 Online gaming in South Korea 87 The intersection of K-Pop and gaming industries 90 K-Pop mobile games 98 The embodiment of fans in mobile and video games 104 Conclusion 112 Conclusions: Avatarization 113 Bibliography 122 Works cited 122 Online news articles 129 Online resources 133 2 Abstract Throughout the past decade, Hallyu, the “Korean Wave”, has taken the global pop music scene by storm. Credits are due in part to international fans who, by word of mouth and abundant engaging derivative works, helped spread idol groups’ popularity online. Since many of these fans never see their idols in the flesh, idols are now making themselves more available through an increasing number of channels, including live-streams or mobile games.