Abstract ID#: 2863 Category: Humanities/Arts Graduate

From ‘BTS’ to ‘’: How Understanding K-Pop Performers’ Artistic Training Alters College Students’ Perspectives on Career Development. 1 2 Haengsoo Seol; Keira Harman ; Robert Lagueux, PhD Background Image: BTS (2020) 1 One Soul Fellowship Inc., 59 Edgewood Road, Southborough, MA 01772; 2Berklee College of Music, 1140 Boylston Street, Boston, MA 02215 Image courtesy of the artist

To discern the unique elements of K-pop performers’ artistic training and musical performance, we designed two layers 1. Opportunity 2. Approach of research, as follows: As careers become more of an unrestrictive, lifelong development rather than a sequence of jobs (Ramsay et al., 2017)*, college students in career development seminars are advised to actively participate and engage with new career perspectives. Thus, this 3 research stems from the following question: Can elements of K-pop be an attractive topic for a career seminar, where students 2.1 K-Pop Artistic Training Process Analysis can design meaningful career paths that reflect their career motives, values, beliefs, and attitudes? Abstract Qualitative Semi-Structured interviews with K-pop artist trainers, K-pop artist candidates/trainees, and Non-English musical performances have become increasingly attractive in today’s popular culture, particularly Analysis talent agencies among native English-speaking college students across the Western hemisphere. Korean popular music (K- pop) in particular has become a global phenomenon that fulfills many young people’s desire for cultural and Literature Articles from the fields of career assessment, vocational behaviors, musical exploration. How can this exploration be used to more concretely influence people’s lives? We assert Review* higher education, the Korean entertainment industry report, etc. that elements from this cultural phenomenon can be utilized to construct a new approach that will help college students develop their career goals. 2.2 K-Pop Artist Musical Performance Analysis4 The aim of this research is to create a framework to discern how elements of K-pop performers’ artistic SELF-DISCIPLINE training may positively alter college students’ perspectives on career development. We propose that the ACCOUNTABILITY Performance Sample musical performance analysis through the anatomy characteristics of successful K-pop artistic development—which is predicated on the musicians’ self- Analysis of songwriting approach discipline, persistence, accountability, and other distinctive musical performance elements such as interactivity, improvisation, and inspiration—can be used to create a new career development curriculum for college and university students and professionals. Sample Analysis BTS “On” (Map of The Soul, 2020): https://youtu.be/mPVDGOVjRQ0 PERSISTENCE Genre: K-pop, rap music (trap style) Running time: 4:06; Tempo: 106 bpm 3. Results Chord loop: Am-Gm-Dm 3.1 K-Pop Artistic Training Status Analysis (2018)5 n = 921 K-Pop Artist Debut Status INTERACTIVITY Instrumentation: Moog-Bass, sequencing drums, various sampling, pads (2018) 0:0 0:10 0:19 0:38 0:55 1:14 2:00 2:44 3:06 4:00 4:06 25 22 20 20% 15 Main Rap in Hook Beat Change New sound Hook Break 15 Intro Intro Full Beat In Outro Debut Rate Pads Drum Beats Melody In Trap begins 10 7 8 5 Withraw Rate 5 3Semi-structured interviews are being scheduled for March and April, 2020 0 80% INSPIRATION 4 Ave. Trainees' Ave. Debut Age Ave. Total Ave. Traning Ave. Years - Photo: Red Velvet (2020) Dr. Joe Bennett’s anatomy of songwriting method, which can be found at www.joebennett.net Age Trainng Years Hours (day) Public Image courtesy of the artist Recognition IMPROVISATION Three Core Elements 4. Impact SELF-DISCIPLINE ACCOUNTABILITY PERSISTENCE The research findings may help improve the current college-level career development curriculum design process for higher education professionals. This unique approach can make college students participate more actively in career The data indicates that self- The data proposes that K-pop artists The data shows that for K-pop artists, development extracurricular activities. discipline is strongly associated require accountability to be honest with persistence is about not letting failure with K-pop artists’ higher levels of themselves and others about their be a deterrent from their goals and 4.1 A Sample Career Development Curriculum (1-hour class, 12 weeks) goal attainment and positive actions to successfully complete the seeing it as a necessary and acceptable professional outcomes training and make their debuts part of working toward anything worth (Dubrin, 2001)*. (Thoms et al., 2002)*. having (Emery & Ebert-May, 2019)*. • Week 1: Introduction of career development theory • Week 3: Introduction of K-pop (history, anatomy of music) 3.2 Sample K-Pop Musical Performance Analysis: BTS ‘On’ (Map of the Soul, 2020) - https://youtu.be/mPVDGOVjRQ0 • Week 5: Career development elements from K-pop artistic training processes (sample analysis) • Week 7: K-Pop musical performance analysis (critical and analytical listening) – Anatomy of songwriting Three Core Elements and dance performance (sample analysis) 3.3 Conclusion • INTERACTIVITY IMPROVISATION INSPIRATION Week 9: Student group project – Select a K-pop group and conduct the Week 5 and Week 7 analysis • Week 11: Final presentations These elements of the artistic • The musical analysis indicates that The analysis indicates that improvisation The song contains a message of training and musical Week 12: Final presentations and feedback performers continually interact takes place at the climax of the song self-confidence that inspires performance help K-pop artists with one another to sync their (3:34) to create drama during the listeners to feel better about complete their training and After the course, students can apply their conclusions to their career aspirations. singing and dance with the music. performance. themselves. successfully make their debuts.

5Korean Entertainment Industry Status Report. (2018). Retrieved February 1, 2020, from http://www.kocca.kr *Full reference list will be provided upon request. Acknowledgement: Dr. Joe Bennett, Berklee College of Music