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The Globalization of K-Pop: the Interplay of External and Internal Forces
THE GLOBALIZATION OF K-POP: THE INTERPLAY OF EXTERNAL AND INTERNAL FORCES Master Thesis presented by Hiu Yan Kong Furtwangen University MBA WS14/16 Matriculation Number 249536 May, 2016 Sworn Statement I hereby solemnly declare on my oath that the work presented has been carried out by me alone without any form of illicit assistance. All sources used have been fully quoted. (Signature, Date) Abstract This thesis aims to provide a comprehensive and systematic analysis about the growing popularity of Korean pop music (K-pop) worldwide in recent years. On one hand, the international expansion of K-pop can be understood as a result of the strategic planning and business execution that are created and carried out by the entertainment agencies. On the other hand, external circumstances such as the rise of social media also create a wide array of opportunities for K-pop to broaden its global appeal. The research explores the ways how the interplay between external circumstances and organizational strategies has jointly contributed to the global circulation of K-pop. The research starts with providing a general descriptive overview of K-pop. Following that, quantitative methods are applied to measure and assess the international recognition and global spread of K-pop. Next, a systematic approach is used to identify and analyze factors and forces that have important influences and implications on K-pop’s globalization. The analysis is carried out based on three levels of business environment which are macro, operating, and internal level. PEST analysis is applied to identify critical macro-environmental factors including political, economic, socio-cultural, and technological. -
Mood Music Programs
MOOD MUSIC PROGRAMS MOOD: 2 Pop Adult Contemporary Hot FM ‡ Current Adult Contemporary Hits Hot Adult Contemporary Hits Sample Artists: Andy Grammer, Taylor Swift, Echosmith, Ed Sample Artists: Selena Gomez, Maroon 5, Leona Lewis, Sheeran, Hozier, Colbie Caillat, Sam Hunt, Kelly Clarkson, X George Ezra, Vance Joy, Jason Derulo, Train, Phillip Phillips, Ambassadors, KT Tunstall Daniel Powter, Andrew McMahon in the Wilderness Metro ‡ Be-Tween Chic Metropolitan Blend Kid-friendly, Modern Pop Hits Sample Artists: Roxy Music, Goldfrapp, Charlotte Gainsbourg, Sample Artists: Zendaya, Justin Bieber, Bella Thorne, Cody Hercules & Love Affair, Grace Jones, Carla Bruni, Flight Simpson, Shane Harper, Austin Mahone, One Direction, Facilities, Chromatics, Saint Etienne, Roisin Murphy Bridgit Mendler, Carrie Underwood, China Anne McClain Pop Style Cashmere ‡ Youthful Pop Hits Warm cosmopolitan vocals Sample Artists: Taylor Swift, Justin Bieber, Kelly Clarkson, Sample Artists: The Bird and The Bee, Priscilla Ahn, Jamie Matt Wertz, Katy Perry, Carrie Underwood, Selena Gomez, Woon, Coldplay, Kaskade Phillip Phillips, Andy Grammer, Carly Rae Jepsen Divas Reflections ‡ Dynamic female vocals Mature Pop and classic Jazz vocals Sample Artists: Beyonce, Chaka Khan, Jennifer Hudson, Tina Sample Artists: Ella Fitzgerald, Connie Evingson, Elivs Turner, Paloma Faith, Mary J. Blige, Donna Summer, En Vogue, Costello, Norah Jones, Kurt Elling, Aretha Franklin, Michael Emeli Sande, Etta James, Christina Aguilera Bublé, Mary J. Blige, Sting, Sachal Vasandani FM1 ‡ Shine -
Survey of the Actual State of the Coal Related Research And
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Hong Kong Summer Fun
Hong Kong Summer Fun Hong Kong Summer Fun True to its name, the Hong Kong Summer Fun “Shop.Eat.Play” (HKSF) campaign delighted even the most discerning visitors with all the amazing surprises one could ask for in a holiday. Visitors were treated to a range of attractive packages, lucky draws and citywide rewards we solicited through vigorous trade cooperation. Together with our comprehensive public relations and consumer communications initiatives, the summer promotion was an excellent demonstration of the industry’s determination to power up Hong Kong’s tourism. Developing Pre-Trip Awareness A great vacation starts with well-thought-out planning, and we understand that everyone could do with a bit of inspiration to make the most out of their precious time off. Employing a 360-degree communication plan allowed us to reach consumers worldwide as early as their research stage to get them interested in Hong Kong’s summer attractions before they become overwhelmed with choices. The purpose of the appealing offers we put together was to make their decision-making easier. Large-scale consumer communications campaign New “Shop.Eat.Play” TV commercial This 30-second video, showcasing some of Hong Kong’s finest shopping, eating and playing experiences during the HKSF campaign, was broadcast on Discovery Networks, Fox, Star Movies, CNN, BBC World News, National Geographic, and other major local channels. Digital promotions We extended our reach to a wider audience through key digital platforms, such as YouTube, Google and our own website and social media accounts. We ran a daily social media contest for a trip to Hong Kong to build up excitement during the countdown to the launch of the HKSF campaign. -
The Pop Scene Around the World Andrew Clawson Iowa State University
Volume 2 Article 13 12-2011 The pop scene around the world Andrew Clawson Iowa State University Emily Kudobe Iowa State University Follow this and additional works at: http://lib.dr.iastate.edu/revival Recommended Citation Clawson, Andrew and Kudobe, Emily (2011) "The pop cs ene around the world," Revival Magazine: Vol. 2 , Article 13. Available at: http://lib.dr.iastate.edu/revival/vol2/iss1/13 This Article is brought to you for free and open access by the Student Publications at Iowa State University Digital Repository. It has been accepted for inclusion in Revival Magazine by an authorized editor of Iowa State University Digital Repository. For more information, please contact [email protected]. Clawson and Kudobe: The pop scene around the world The POP SCENE Around the World Taiwan Hong Kong Japan After the People’s Republic of China was Japan is the second largest music market Hong Kong can be thought of as the Hol- established, much of the music industry in the world. Japanese pop, or J-pop, is lywood of the Far East, with its enormous left for Taiwan. Language restrictions at popular throughout Asia, with artists such film and music industry. Some of Asia’s the time, put in place by the KMT, forbade as Utada Hikaru reaching popularity in most famous actors and actresses come the use of Japanese language and the the United States. Heavy metal is also very from Hong Kong, and many of those ac- native Hokkien and required the use of popular in Japan. Japanese rock bands, tors and actresses are also pop singers. -
An Ideological Analysis of the Birth of Chinese Indie Music
REPHRASING MAINSTREAM AND ALTERNATIVES: AN IDEOLOGICAL ANALYSIS OF THE BIRTH OF CHINESE INDIE MUSIC Menghan Liu A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS December 2012 Committee: Jeremy Wallach, Advisor Kristen Rudisill Esther Clinton © 2012 MENGHAN LIU All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor This thesis project focuses on the birth and dissemination of Chinese indie music. Who produces indie? What is the ideology behind it? How can they realize their idealistic goals? Who participates in the indie community? What are the relationships among mainstream popular music, rock music and indie music? In this thesis, I study the production, circulation, and reception of Chinese indie music, with special attention paid to class, aesthetics, and the influence of the internet and globalization. Borrowing Stuart Hall’s theory of encoding/decoding, I propose that Chinese indie music production encodes ideologies into music. Pierre Bourdieu has noted that an individual’s preference, namely, tastes, corresponds to the individual’s profession, his/her highest educational degree, and his/her father’s profession. Whether indie audiences are able to decode the ideology correctly and how they decode it can be analyzed through Bourdieu’s taste and distinction theory, especially because Chinese indie music fans tend to come from a community of very distinctive, 20-to-30-year-old petite-bourgeois city dwellers. Overall, the thesis aims to illustrate how indie exists in between the incompatible poles of mainstream Chinese popular music and Chinese rock music, rephrasing mainstream and alternatives by mixing them in itself. -
International Standards for Arts Education
August 2013 The College Board Office of Academic Initiatives 45 Columbus Avenue New York, NY 10023 National Coalition for Core Arts Standards 800-587-6814 Prepared by: Amy Charleroy, The College Board, New York Alison Thomas, PhD, 92nd Street Y School of Music Access to this publication is available at advocacy.collegeboard.org/preparation-access/arts-core and at nccas.wikispaces.org. Individuals are encouraged to cite this report and its contents. In doing so, please include the following attribution: The College Board, International Arts Education Standards: A survey of standards, practices, and expectations in thirteen countries and regions, New York, NY, August 2013. 2 Executive Summary …………………...……………………………………………………………………………… 4 Australia ....……..……………………………………………………………………………………………………… 15 Austria ....……..……………………………………………………………………………………………………… 26 Canada [British Columbia] ...……………………………………………………………..……………………… 34 China ....……..……………………………………………………………………………………………………… 59 Finland ....……..……………………………………………………………………………………………………… 66 Ireland ....……..……………………………………………………………………………………………………… 82 Japan ....……..……………………………………………………………………………………………………… 104 New Zealand ....……..……………………………………………………………………………………………………… 114 Scotland ....……..……………………………………………………………………………………………………… 123 Singapore ....……..……………………………………………………………………………………………………… 131 Sweden ....……..……………………………………………………………………………………………………… 143 United Kingdom …………………………………………………………………………………………………… 153 United States ....……..……………………………………………………………………………………………………… 166 3 Background and rationale -
2017 a Decade of Decisions
Complaints Bureau Orders 2007- 2017 A Decade of Decisions Communications and Multimedia Content Forum of Malaysia Forum Kandungan Komunikasi dan Multimedia Malaysia Published by Communications and Multimedia Content Forum of Malaysia (CMCF) March 2021 Copyright © 2021 Communications and Multimedia Content Forum of Malaysia (CMCF). E ISBN: All rights reserved. No part of this work may be reproduced or transmitted in any form or by any means electronic or mechanical, including photocopying or web distribution, without the written permission of the publisher. EDITOR Dr. Manjit Kaur Ludher While every effort is made to ensure that accurate information is disseminated through this publication, CMCF makes no representation about the content and suitability of this information for any purpose. CMCF is not responsible for any errors or omissions, or for the results obtained from the use of the information in this publication. In no event will CMCF be liable for any consequential, indirect, special or any damages whatsoever arising in connection with the use or reliance on this information. PUBLISHER Communications and Multimedia Content Forum of Malaysia (CMCF) Forum Kandungan Komunikasi dan Multimedia Malaysia Unit 1206, Block B, Pusat Dagangan Phileo Damansara 1 9 Jalan 16/11, Off Jalan Damansara, 46350 Petaling Jaya Selangor Darul Ehsan, MALAYSIA Website: www.cmcf.my This book is dedicated in loving memory of Communications and Multimedia Content Forum’s founding Chairman Y. Bhg. Dato’ Tony Lee CONTENTS Foreword by Chairman, CMCF…………………………………………………………………………………. -
Jo Girard Juillet 2007 2041
Année Ville Source Diffusion Frequence Titre Archive Contenu Date Diffusion 1896? Archive N/A Extrait marconi 1924 Archive N/A Broadcasting tests PP Eckersley: re-recording 14/05/24 1924 Archive N/A Open speech by King-George V 1928 Archive N/A Allocution-Charles Lindbergh 11/04/28 1929 Archive N/A Radio Hongroise en 1929 1930's Archive N/A Radio Normandie programme en anglais 1933 Archive N/A Annonce horloge "19h58mn40sec…" 1933 Archive N/A Discours Hitler aux sa et ss 30/01/33 1935 Bruxelles RTBF Funérailles de la reine Astrid 1935 Londres BBC Round London at night, quaint introduction to a program on London by Robert Dougall 14/12/35 1935 Londres BBC The Great Family, Christmas message The Great Family, (25.12.35) 25/12/35 Christmas message. 1935 Guglielmo-Marconi 6/12/35 1936 Londres BBC Death of King Georges V announcement by the then Dir of the BBC John Reith 20/01/36 1936 Paris Radio Cité Identification de la station 1937 Londres(?) A rechercher Extract One, Thomas Woodrooffe was drunk when he did this commentary at the Spit head royal naval 20/05/37 review 1937 Paris Radio Cité Carillon de Radio Cité 1939 Radio Meditérranée je reçois bien volontiers les vœux de Radio Méditerranée… Edouard Branly "je reçois bien volontiers les vœux de Radio Méditerranée…" 1939 Archive N/A Annonce début 2eme guerre mondiale. 1939 Archive N/A Appel radio US crise polonaise août-39 1939 Archive N/A Interview Abbé Joseph Bovet 1939 Archive N/A Reportage de F Poulin La descente des Alpes à Hauteville 1939 Archive N/A NewsWar39: Soviet Clean mono 1940 Archive N/A Benito Mussolini Discours public. -
Reading List for Taiwan's Popular Music Chang, S
Reading List for Taiwan’s Popular Music Chang, S. (2010). The face of independence? A visual record of Taiwanese indie music scene. Inter-Asia Cultural Studies, 11(1), 89–99. Chow, Y. F., & de Kloet, J. (2011). Blowing in the China wind: Engagements with Chineseness in Hong Kong’s zhongguofeng music videos. Visual Anthropology, 24(1), 59–76. https://doi.org/10.1080/08949468.2011.525492 Chua, B. H. (2001). Pop Culture China. Singapore Journal of Tropical Geography, 22(2), 113–121. Chun, A., Rossiter, N., & Shoesmith, B. (2004). Refashioning Pop Music in Asia. Flower, A., & Guy, N. (2008). Feeling a Shared History through Song: “A Flower in the Rainy Night” as a Key Cultural Symbol in Taiwan. DTR, 52(4), 64–81. Fung, A. (2008). Western Style, Chinese Pop : Jay Chou ’s Rap and Hip-Hop in China. Asian Music, 39(1), 69–80. Guy, N. (1999). Governing the arts, governing the state: Peking opera and political authority in Taiwan. Ethnomusicology, 43(3), 508 -526. Ho, T. (2003). The social formation of Taiwan’s Mandarin popular music industry. Lancaster University. https://doi.org/10.1002/ejoc.201200111 Jian, M.-J. (2017). The legendary venues and the live music scenes in Taipei and Beijing: Underworld and D22. In K. Iwabuchi, E. Tsai, & C. Berry (Eds.), Routledge Handbook of East Asian Popular Culture (pp. 124–134). London and New York: Routledge. Lin, C.-Y., & Um, H. K. (2017). From “Blue and White Porcelain” to “Island” s Sunrise’: Young audience perceptions of Chineseness and Taiwaneseness in Taiwan’s popular music. East Asian Journal of Popular Culture, 3(2), 153–167. -
ST/LIFE/PAGE<LIF-009>
THURSDAY, JUNE 11, 2015 Music LIFE! C9 2000s: Then and now Musicians who lead in the classical scene Paige Lim Over the years, many Singaporean classical musicians who studied abroad have remained over- seas to pursue their careers. Renowned violinist Chan Yoong-Han and pianist Lim Yan are among the rare few who have returned here to develop their careers. And over the past 10 or more years, the pair have made waves in the local classical music scene. Besides being members of popular piano quintet Take 5, both have played as soloists with the Singa- pore Symphony Orchestra and performed in inter- national music festivals. Life! classical music reviewer Chang Tou Liang calls them “two of the most active and busiest classical musicians” in Singapore today. “They are leaders in their fields and figures whom young Singaporean musicians can relate to and emulate,” he says. Both musicians came to prominence in the 2000s after returning to Singapore from their over- seas studies. A graduate from Rice University in the United States in 1995, Chan, 40, was awarded the 2000 Shell-NAC Arts Scholarship by the National Arts Council. He then completed his masters of music at the University of Massachusetts. In 2007, he was appointed concertmaster for the Singapore Festival Orchestra, the resident orches- tra of the Singapore Arts Festival which ended in 2012. Lim, 35, the nephew of well-known conductor Lim Yau, was the first Singaporean to play in the 12th Singapore International Piano Festival in 2005. He made history again when he became the Violinist Chan first Singaporean pianist to perform all five Yoong-Han About Sing50 Beethoven piano concertos in a cycle here in 2012. -
Limited Pidgin‑Type Patois? Policy, Language, Technology, Identity and the Experience of Canto‑Pop in Singapore
This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. Limited pidgin‑type patois? policy, language, technology, identity and the experience of canto‑pop in Singapore Liew, Kai Khiun 2003 Liew, K. K. (2003). Limited Pidgin‑Type Patois? Policy, Language, Technology, Identity and the Experience of Canto‑Pop in Singapore. Popular Music, 22(2), 217‑233. https://hdl.handle.net/10356/92192 https://doi.org/10.1017/S0261143003003131 © 2004 Institution of Engineering and Technology. This is the author created version of a work that has been peer reviewed and accepted for publication by IEE Proceedings Circuits Devices and Systems, Institution of Engineering and Technology. It incorporates referee’s comments but changes resulting from the publishing process, such as copyediting, structural formatting, may not be reflected in this document. The published version is available at: http://dx.doi.org/10.1049/ip‑cds:20040226. Downloaded on 26 Sep 2021 22:06:06 SGT Popular Music (2003) Volume 22/2. Copyright 2003 Cambridge University Press, pp. 217–233. DOI:10.1017/S0261143003003131 Printed in the United Kingdom Limited pidgin-type patois? Policy, language, technology, identity and the experience of Canto-pop in Singapore LIEW KAI KHIUN Abstract This article explores the interactions and tensions arising from a vibrant Canto-pop industry exported from Hong Kong to an interventionist nation-state of Singapore bent on discouraging the use of dialects by its ethnic Chinese population. Aside from highlighting the roles of technological and com- mercial factors behind the regional music networks, it seeks further to position this contemporary relationship within the larger historical and cultural context.