DOCSLIB.ORG

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

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Diversity of K-Pop: a Focus on Race, Language, and Musical Genre 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,
Load more

Recommended publications
  • Gangnam Style’
    POLITICS, PARODIES, AND THE PARADOX OF PSY’S ‘GANGNAM STYLE’ KEITH HOWARD∗ ABSTRACT In 2012, ‘Gangnam Style’ occasioned large flash mobs, three of the early ones taking place in Pasadena, Times Square in New York, and Sydney, Australia. Today, Psy, the singer of ‘Gangnam Style’, is regularly talked about as having brought K-pop to the world beyond East and Southeast Asia, and Korean tourism chiefs are actively planning a Korean Wave street in Gangnam, the district of Seoul lampooned by the song. But, ‘Gangnam Style’ has proved challenging to K-pop fans, who have resisted its gender stereotyping, its comic framing, and its simple dance moves that subsume the aesthetics of movement under a sequence of locations and action vignettes. At the same time, foreign success has given the song, and its singer, legitimacy in Korea so much so that, despite lyrics and video images that critique modern urban life and caricature the misogynistic failures of its protagonist, Psy headlined the inauguration celebrations of Korea’s incoming president, Park Geun-hye, in February 2013. This paper explores the song, its reception and critique by fans and others, and notes how, in an ultimate paradox that reflects the age of social media and the individualization of consumerism, the parodies the song spawned across the globe enabled Koreans to celebrate its success while ignoring its message. Keywords: Korean Wave, K-pop, popular music, parody, mimesis, consumerism, social media, Gangnam Style, Psy. INTRODUCTION In 2012, ‘Gangnam Style’ occasioned large flash mobs, three of the early ones taking place in Pasadena, Times Square in New York, and Sydney, Australia.
    [Show full text]
  • How to Be the 'Perfect' Boy Band
    On CD and ONLINE! AUDIO TRACK 6: Listen to an 80s’ boy band member THEBUZZ talk about life behind the scenes www.mg-plus.net/audio HOW TO BE THE ‘PERFECT’ BOY BAND Harry Styles Niall Horan Zayn Malik Louis Tomlinson Liam Payne THE 5 COMMANDMENTS ne Direction – Britain’s newest boy phenomenon. Just how successful? The band One Direction band sensation – almost didn’t “America is one of the toughest places O happen. In 2010, five English and for UK artists to crack●, but this band has become a global Irish solo singers, aged 17 to 19 – Niall made it look easy,” writes Greg Dawson Horan, Zayn Malik, Liam Payne, Harry on BBC online. phenomenon. CURRENT Styles and Louis Tomlinson – auditioned Last spring, their debut album Up to compete in the talent TV series The X All Night went straight to number one reveals the secrets Factor. None of them made it through. in the U.S.: “They’re the first British But as X Factor producer and judge band to top the charts with their debut, behind their success. Simon Cowell tells it: “When they left, I something even The Beatles failed to had a bad feeling – and the idea came manage,” says Dawson. Band member about to see if they could work as a Niall Horan’s response: “As you can group. The minute they stood there for imagine, we were over the moon●.” the first time together, it was weird. They Just what makes One Direction so just looked like a group. And after they ‘perfect’? worked together for five weeks, they came back and were sensational.” Turn the page for the One Direction didn’t win the ‘5 commandments’ Before you read: series – they came in third – but in • What are the key qualities that another sense they won the bigger behind their meteoric make a good boy or girl band? prize: they went on to become a global success.
    [Show full text]
  • Netease Cloud Music and Big Hit Entertainment Team up to Launch BTS' Song Catalog
    NetEase Cloud Music and Big Hit Entertainment team up to launch BTS' song catalog HANGZHOU, China, May 4, 2018 /PRNewswire/ -- NetEase Cloud Music, China's leading music platform, entered into a partnership agreement with South Korea-based Big Hit Entertainment, whereby the Chinese platform will launch BTS' repertoire of songs on the platform. Big Hit Entertainment, a South Korea-based entertainment company focused on music, represents and manages BTS, the company's leading all-male group, which debuted in 2013. BTS is comprised of seven male vocalists: RM, Jin, SUGA, j-hope, Jimin, V and Jung Kook. BTS, the abbreviation for Bangtan Sonyeondan, also stands for Bulletproof Boys and Beyond The Scene. Since the group's first appearance, they have received several major awards at music festivals held in South Korea as well as some international events. In 2017, they were named Top Social Artist by Billboard Music Awards, garnering the group worldwide attention. This February, they were again listed as an award candidate, competing with international superstars. Recently, NetEase Cloud Music launched BTS' widely popular catalog of songs on its platform, including MIC Drop (Steve Aoki Remix) (Feat. Desiigner), DNA, Spring Day, Not Today, Blood Sweat & Tears, Fire, Dope and I need U. In addition to music copyright, NetEase Cloud Music will cooperate with Big Hit Entertainment on artist and music promotion, marking the start of a close collaboration that will cover all aspects of the music business. The two parties look forward to jointly driving the popularity of music artists and their works via multiple channels, while offering higher quality music services to wider audiences.
    [Show full text]
  • 2017 Global Drug Survey
    Prepared by the GDS Core Research Team Dr Adam Winstock, Dr Monica Barratt, Dr Jason Ferris & Dr Larissa Maier Global overview and highlights N > 115,000 Global Drug Survey GDS2017 © Not to be reproduced without authors permission Hi everyone On behalf of the GDS Core Research Team and everyone of our amazing international network partners and supportive media organisations we’d like to share our headline report deck. I know it won’t have everything that everyone wants but we are hopeful it will give people an idea of how the world of drugs is changing and highlight some of the key things that we think people can better engage with to keep themselves and those they care for safe. Once we cleaned the data from 150,000 people we chose to use data from just under 120,000 people this year for these reports. We have data reports addressing 18 different areas for over 25 countries. We can only share a fraction of what we have here on the site. However, we are very open to sharing the other findings we have and would ask researchers and public health groups to contact us so we can discuss funding and collaboration. We have almost completed designing GDS2018 so that we can start piloting early and give countries where we have not yet found friends to reach out to us. We particularly want to hear from people in Japan, Eastern Europe, Africa and the Middle East. Dr Adam R Winstock Founder and CEO Global Drug Survey Consultant Psychiatrist and Addiction Medicine Specialist Global Drug Survey GDS2017 © Not to be reproduced without authors permission We think this will be interesting.
    [Show full text]
  • Landscapes of Korean and Korean American Biblical Interpretation
    BIBLICAL INTERPRETATION AMERICAN AND KOREAN LANDSCAPES OF KOREAN International Voices in Biblical Studies In this first of its kind collection of Korean and Korean American Landscapes of Korean biblical interpretation, essays by established and emerging scholars reflect a range of historical, textual, feminist, sociological, theological, and postcolonial readings. Contributors draw upon ancient contexts and Korean American and even recent events in South Korea to shed light on familiar passages such as King Manasseh read through the Sewol Ferry Tragedy, David and Bathsheba’s narrative as the backdrop to the prohibition against Biblical Interpretation adultery, rereading the virtuous women in Proverbs 31:10–31 through a Korean woman’s experience, visualizing the Demilitarized Zone (DMZ) and demarcations in Galatians, and introducing the extrabiblical story of Eve and Norea, her daughter, through story (re)telling. This volume of essays introduces Korean and Korean American biblical interpretation to scholars and students interested in both traditional and contemporary contextual interpretations. Exile as Forced Migration JOHN AHN is AssociateThe Prophets Professor Speak of Hebrew on Forced Bible Migration at Howard University ThusSchool Says of Divinity.the LORD: He Essays is the on author the Former of and Latter Prophets in (2010) Honor ofand Robert coeditor R. Wilson of (2015) and (2009). Ahn Electronic open access edition (ISBN 978-0-88414-379-6) available at http://ivbs.sbl-site.org/home.aspx Edited by John Ahn LANDSCAPES OF KOREAN AND KOREAN AMERICAN BIBLICAL INTERPRETATION INTERNATIONAL VOICES IN BIBLICAL STUDIES Jione Havea Jin Young Choi Musa W. Dube David Joy Nasili Vaka’uta Gerald O. West Number 10 LANDSCAPES OF KOREAN AND KOREAN AMERICAN BIBLICAL INTERPRETATION Edited by John Ahn Atlanta Copyright © 2019 by SBL Press All rights reserved.
    [Show full text]
  • SNSD and the Art of Bridging The
    Situations Vol. 3 (Winter 2009) © 2009 by Yonsei University Mariah Junglan Min1 [email protected] The Art of Crossing the Line Although the intensive coverage provided to the new all-boy and all-girl bands through the Internet and in more traditional media such as television may make it seem as though such they have long dominated popular music, the current explosion in popularity of idol groups begun only two years ago. What is more, this is not the first time that such groups have stormed the K-pop charts. The first wave of massively popular idol groups was in the late 90s, when a veritable army of teens made their debut as singers. Korean multi-entertainment companies recognized the business potential in well-trained young and attractive stars, and the feverish reception from the public confirmed this. The result was that H.O.T., Sechs Kies, Shinhwa, Fin.K.L., S.E.S., and G.O.D. enjoyed chart success and outstanding album sales. Around 2002, this first golden age of idol groups came to an end. Most of the first wave of idols split up, while some individual members went on to pursue solo careers. Although some groups did continue, with Shinhwa performing as recently as 2008, the moment of the idol group seemed to have passed. For a short time, the K-pop scene was now host to a series of successful solo artists, such as Rain and Yi Hyo-ri, the latter a former member of the all-girl band Fin.K.L. In 2004, the first forerunners of the second wave began to appear, with TVXQ, for example, releasing their first single that year.
    [Show full text]
  • 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.
    [Show full text]
  • Pop and K-Dramas: a Billion Dollar Business
    Jain Muskan, Nelly Kavira Mangu Mangu, International Journal of Advance Research, Ideas and Innovations in Technology. ISSN: 2454-132X Impact factor: 4.295 (Volume 4, Issue 1) Available online at www.ijariit.com K-Pop and K-Dramas: A Billion Dollar Business Muskan Jain Kavira Mangu Mangu Nelly Christ University, Bangalore, Karnataka Christ University, Bangalore, Karnataka [email protected] [email protected] ABSTRACT The paper demonstrates how the South Korean Pop music and TV-dramas have proven their mark around the globe. With the ever growing popularity of these entertainment methods from Korea, they are not only topping music and tv charts but also evolving into a business worth billions of dollars and most importantly it looks sustainable with the innovation and disruption they are bringing into the world market. Keywords: Pop Music, TV-Dramas, South Korea, Disruption, Innovation. INTRODUCTION When in the 1990s diplomatic relations were made between China and South Korea, South Korean soap dramas like ‘What is Love’ began airing on Chinses television. It soon gained a lot of popularity, with millions of Chinese tuning in to watch the show with their friends and family. Cut to some years later in the 2000s and now in the second decade of this century, there are hundreds of Korean TV series and Korean Pop bands making waves internationally. It is therefore evident how the impact fully the South Korean culture is being propagated across the globe. Being a country that boasts of heavy exports of cellphones and gadgets as such as well as cars and other automobiles have now added K-Pop and K- soaps in the leading export industry, quite possibly on the 2nd or 3rd place.
    [Show full text]
  • The K-Pop Wave: an Economic Analysis
    The K-pop Wave: An Economic Analysis Patrick A. Messerlin1 Wonkyu Shin2 (new revision October 6, 2013) ABSTRACT This paper first shows the key role of the Korean entertainment firms in the K-pop wave: they have found the right niche in which to operate— the ‘dance-intensive’ segment—and worked out a very innovative mix of old and new technologies for developing the Korean comparative advantages in this segment. Secondly, the paper focuses on the most significant features of the Korean market which have contributed to the K-pop success in the world: the relative smallness of this market, its high level of competition, its lower prices than in any other large developed country, and its innovative ways to cope with intellectual property rights issues. Thirdly, the paper discusses the many ways the K-pop wave could ensure its sustainability, in particular by developing and channeling the huge pool of skills and resources of the current K- pop stars to new entertainment and art activities. Last but not least, the paper addresses the key issue of the ‘Koreanness’ of the K-pop wave: does K-pop send some deep messages from and about Korea to the world? It argues that it does. Keywords: Entertainment; Comparative advantages; Services; Trade in services; Internet; Digital music; Technologies; Intellectual Property Rights; Culture; Koreanness. JEL classification: L82, O33, O34, Z1 Acknowledgements: We thank Dukgeun Ahn, Jinwoo Choi, Keun Lee, Walter G. Park and the participants to the seminars at the Graduate School of International Studies of Seoul National University, Hanyang University and STEPI (Science and Technology Policy Institute).
    [Show full text]
  • Visual Metaphors on Album Covers: an Analysis Into Graphic Design's
    Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres by Vivian Le A THESIS submitted to Oregon State University Honors College in partial fulfillment of the requirements for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems (Honors Scholar) Presented May 29, 2020 Commencement June 2020 AN ABSTRACT OF THE THESIS OF Vivian Le for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems presented on May 29, 2020. Title: Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres. Abstract approved:_____________________________________________________ Ryann Reynolds-McIlnay The rise of digital streaming has largely impacted the way the average listener consumes music. Consequentially, while the role of album art has evolved to meet the changes in music technology, it is hard to measure the effect of digital streaming on modern album art. This research seeks to determine whether or not graphic design still plays a role in marketing information about the music, such as its genre, to the consumer. It does so through two studies: 1. A computer visual analysis that measures color dominance of an image, and 2. A mixed-design lab experiment with volunteer participants who attempt to assess the genre of a given album. Findings from the first study show that color scheme models created from album samples cannot be used to predict the genre of an album. Further findings from the second theory show that consumers pay a significant amount of attention to album covers, enough to be able to correctly assess the genre of an album most of the time.
    [Show full text]
  • K-Pop Fandom in Lima,Perú
    Wesleyan ♦ University K-POP FANDOM IN LIMA, PERÚ: VIRTUAL AND LIVE CIRCULATION PATTERNS By Stephanie Ho Faculty Advisor: Dr. Mark Slobin A Dissertation submitted to the Faculty of Wesleyan University in partial fulfillment of the requirements for the degree of Master of Arts. Middletown, Connecticut MAY 2015 i Acknowledgements I would like to thank my advisor, Dr. Mark Slobin, for his invaluable guidance and insights during the process of writing this thesis. I am also immensely grateful to Dr. Su Zheng and Dr. Matthew Tremé for acting as members of my thesis committee and for their considered thoughts and comments on my early draft, which contributed greatly to the improvement of my work. I would also like to thank Gabrielle Misiewicz for her help with editing this thesis in its final stages, and most importantly for supporting me throughout our time together as classmates and friends. I thank the Peruvian fans that took the time to help me with my research, as well as Virginia and Violeta Chonn, who accompanied me on fieldwork visits and took the time to share their opinions with me regarding the Limeñan fandom. Thanks to my friends and colleagues at Wesleyan – especially Nicole Arulanantham, Gen Conte, Maho Ishiguro, Ellen Lueck, Joy Lu, and Ender Terwilliger – as well as Deb Shore from the Music Department, and Prof. Ann Wightman of the Latin American Studies Department. From my pre-Wesleyan life, I would like to acknowledge Francesca Zaccone, who introduced me to K-pop in 2009, and has always been up for discussing the K-pop world with me, be it for fun or for the purpose of helping me further my analyses.
    [Show full text]
  • The Effect of Hedonic Motivation and Consumer Attitudes Towards Purchase Decision on K-Pop CD Albums (Study on KPOPSURABAYA Community)
    The Effect of Hedonic Motivation and Consumer Attitudes Towards Purchase Decision on K-Pop CD Albums (Study on KPOPSURABAYA Community) Devita Anggraini Lestari1, Monika Tiarawati2 State University of Surabaya [email protected], [email protected] Abstract: The rapid enthusiasm of Korean pop music or K-Pop is very high among the millennial generation. The mushrooming of online music streaming like Joox, Spotify, Apple music has made the CD album sales threatened. However, K-Pop fans apparently are still enthusiastic about buying a CD album even though the price is quite expensive. This study discusses the hedomic motivations and consumers attitudes towards purchasing decisions. This type of research used in this study is a combination of purposive sampling techniques. Data collection is done by using an online questionnaire using Google forms. The statistical analysis used in this study uses SPSS and data analysis techniques in this study use the classic assumption test, multiple linear regression analysis, and hypothesis testing. It can be explained that the results of the analysis show that hedonic motivations and consumer attitudes has significant influential on purchasing decisions. Keywords: Consumer Attitudes, Hedonic Motivation, Purchase Decision INTRODUCTION The mushrooming of boyband’s or girlband’s concert tours in Indonesia shows that how much Korean music is more interested in this country compared to other countries' musicians marked by a Super Junior concert titled Super Show 4 on April 2012 in Indonesia that makes Indonesian music fans love them. Indonesia became a stop on their concert tour, such as BIGBANG, 2NE1, 2PM, to BTS. According to Franki Raden (2014) in (Zaini, 2017), the development of K-pop due to the availability of infrastructure and mechanisms, Korea has succeeded in instilling awareness of the importance of music in people's daily lives.
    [Show full text]