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Diversity of K-Pop: a Focus on Race, Language, and Musical Genre

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DIVERSITY OF K-POP: A FOCUS ON RACE, LANGUAGE, AND MUSICAL GENRE Wonseok Lee 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 August 2018 Committee: Jeremy Wallach, Advisor Esther Clinton Kristen Rudisill © 2018 Wonseok Lee All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor Since the end of the 1990s, Korean popular culture, known as Hallyu, has spread to the world. As the most significant part of Hallyu, Korean popular music, K-pop, captivates global audiences. From a typical K-pop artist, Psy, to a recent sensation of global popular music, BTS, K-pop enthusiasts all around the world prove that K-pop is an ongoing global cultural flow. Despite the fact that the term K-pop explicitly indicates a certain ethnicity and language, as K- pop expanded and became influential to the world, it developed distinct features that did not exist in it before. This thesis examines these distinct features of K-pop focusing on race, language, and musical genre: it reveals how K-pop groups today consist of non-Korean musicians, what makes K-pop groups consisting of all Korean musicians sing in non-Korean languages, what kind of diverse musical genres exists in the K-pop field with two case studies, and what these features mean in terms of the discourse of K-pop today. By looking at the diversity of K-pop, I emphasize that K-pop is not merely a dance- oriented musical genre sung by Koreans in the Korean language. I argue that K-pop is not confined to a certain region, ethnicity, or language. In the globalization era, it exists as a global cultural flow amalgamating diverse races, languages, and musical genres. My thesis thus demonstrates how diverse races, languages, and musical genres are interwoven in the K-pop field. iv Dedicated with love and appreciation to Jiyoun. v ACKNOWLEDGMENTS First and foremost, I am immensely grateful to my advisor, Dr. Jeremy Wallach, for all his guidance, encouragement, and valuable comments through this entire project. He inspires me to pursue the field of ethnomusicology and cultural studies further. My special thanks goes to my other committee members, Dr. Esther Clinton and Dr. Kristen Rudisill, for their insightful comments. I do not think I could have completed this project without their support and encouragement during the last two years. I also want to thank the rest of the faculty in the Department of Popular Culture at Bowling Green State University for their support, as well as Dr. Katherine Meizel and Dr. Sidra Lawrence in the College of Musical Arts for their expertise in ethnomusicology. I was very fortunate that I was able to take their classes. Their classes were extremely useful and I am grateful for the time and energy they gave to me. In addition, I would like to thank my colleagues. Specifically, I want to thank one of my colleagues, Jason Maageria, from Kenya. He and I pushed each other to concentrate on each project. Meeting with him regularly was very helpful for this thesis. And I must express my special appreciation to all the musicians, informants, and interviewees for this project. Finally, I would like to thank my family and friends for their support, understanding, and patience throughout the whole process of this project. Specifically, I am extremely grateful to Jiyoun for her constant love and support. This project could not have been accomplished without her. I am truly indebted to her. vi TABLE OF CONTENTS Page INTRODUCTION ................................................................................................................. 1 Methodology .............................................................................................................. 6 Chapter Previews ....................................................................................................... 7 CHAPTER ONE: THE DEVELOPMENTAL PROCESS OF K-POP ................................ 11 The Appearance of Seo Taiji ..................................................................................... 12 Influences of the Trainee System on K-pop .............................................................. 19 The Involvement of the Korean government ............................................................. 28 CHAPTER TWO: RACE AND LANGUAGE ...................................................................... 35 K-pop Songs Sung by Koreans but in Non-Korean Languages ................................ 35 Lyric Translations .......................................................................................... 37 Lyric Translations .......................................................................................... 44 K-pop Songs Sung by non-Koreans but in Korean .................................................... 47 CHAPTER THREE: JAMBINAI AND 2ND MOON .......................................................... 62 Jambinai As Another K-pop ...................................................................................... 68 Musical Features of Jambinai ........................................................................ 70 2nd Moon ............................................................................................................ 76 The Gugak Project ......................................................................................... 78 CONCLUSION ...................................................................................................................... 88 REFERENCES ...................................................................................................................... 93 vii LIST OF FIGURES Figure Page 1 Seo Taiji and Boys’ first debut album (Bando, BDL-0023, 1992) ...................... 13 2 SM Entertainment’s Global Audition Official Web Page in 2017 ............................ 24 3 Poster of MU:CON 2016 ........................................................................................... 32 4 Oricon Single Chart on Feb 19, 2018 ........................................................................ 44 5 Comparison Reid’s original curly hair with her hair during “Star a Fire” ................. 53 6 The geomungo riff of “They Keep Silence” .............................................................. 70 7 Metric modulation part of “They Keep Silence” ....................................................... 71 8 The geomungo riff and drum pattern of “Time of Extinction” .................................. 71 9 4/4 time signature part of “Time of Extinction” ........................................................ 72 10 A vocal melody and chord progression in a verse of “They Keep Silence” .............. 72 11 Comparison of traditional geomungo player with Shim Eun-yong of Jambinai ....... 73 12 Comparison of traditional haegeum player with Kim Bo-mi of Jambinai ................. 74 13 A performance with 2nd Moon at Jeongdong theater in Korea in 2014 ................... 79 14 The guitar comping in the introduction of “Sarang-ga” ............................................ 82 15 A combination of Chunhyang-ga melody (upper) and 2nd Moon’s melody (bottom) in the last part of “Sarang-ga” .................................................................................... 83 16 A melody in a verse of “Eosa Chooldoo” .................................................................. 85 viii LIST OF TABLES Table Page 1 The distribution of theme of popular songs from 1984 to 1994 ....................... 17 2 Assessment items of KOCCA for the popular music album production aid 2018 .... 33 3 Comparison between Japan and South Korea music consumers ............................... 43 4 20 K-pop groups having non-Korean members ......................................................... 48 5 Nationality and ethnicity of non-Korean members .................................................... 49 1 INTRODUCTION After I finished my military service in spring 2006, I worked as a session musician with famous popular musicians in South Korea (hereafter Korea). I performed with them in concerts, festivals, and music TV programs in Korea as well as other Asian countries. Specifically, when Sg Wannabe, a male vocal trio, and Lee Min-woo, a member of the idol group Shinhwa, were on concert tours in Asia, I was able to perform with them in many cities in Korea, China, and Japan. While participating in the concert tours, I was impressed by the enthusiasm of fans of Korean popular music in other countries. Not only did they enjoy the concerts by singing along, some fans awaited their stars in front of their hotels. One day in Japan, I asked Japanese fans what made them become fans of Korean popular musicians and music. They told me that they loved Sg Wannabe and their music because there were no such vocal groups in Japan. They especially emphasized that the three members of Sg Wannabe were so attractive and good at singing. One fan was very proud of the fact that she started to learn Korean in order to fully understand Sg Wannabe’s songs. Since the early 2000s, many Korean popular musicians have promoted their music to other countries taking advantage of Hallyu, which is the term referring to the transnational appeal of Korean popular cultural products, especially in Asia at that time. According to Lee (2015), “The term Hallyu was first coined by Chinese media in 1998 to describe Chinese youths’ sudden craze for Korean popular-culture products. Hallyu floated to the other side of Asia as well” (p. 6). By pointing out Hallyu’s fuzzy boundary, a film scholar,
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