Voice, Visual, Value in Excelsis = VIXX 最高の Voice、最高の Visual、最高の Value を兼ね備え た6人組ア
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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. -
“PRESENCE” of JAPAN in KOREA's POPULAR MUSIC CULTURE by Eun-Young Ju
TRANSNATIONAL CULTURAL TRAFFIC IN NORTHEAST ASIA: THE “PRESENCE” OF JAPAN IN KOREA’S POPULAR MUSIC CULTURE by Eun-Young Jung M.A. in Ethnomusicology, Arizona State University, 2001 Submitted to the Graduate Faculty of School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2007 UNIVERSITY OF PITTSBURGH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Eun-Young Jung It was defended on April 30, 2007 and approved by Richard Smethurst, Professor, Department of History Mathew Rosenblum, Professor, Department of Music Andrew Weintraub, Associate Professor, Department of Music Dissertation Advisor: Bell Yung, Professor, Department of Music ii Copyright © by Eun-Young Jung 2007 iii TRANSNATIONAL CULTURAL TRAFFIC IN NORTHEAST ASIA: THE “PRESENCE” OF JAPAN IN KOREA’S POPULAR MUSIC CULTURE Eun-Young Jung, PhD University of Pittsburgh, 2007 Korea’s nationalistic antagonism towards Japan and “things Japanese” has mostly been a response to the colonial annexation by Japan (1910-1945). Despite their close economic relationship since 1965, their conflicting historic and political relationships and deep-seated prejudice against each other have continued. The Korean government’s official ban on the direct import of Japanese cultural products existed until 1997, but various kinds of Japanese cultural products, including popular music, found their way into Korea through various legal and illegal routes and influenced contemporary Korean popular culture. Since 1998, under Korea’s Open- Door Policy, legally available Japanese popular cultural products became widely consumed, especially among young Koreans fascinated by Japan’s quintessentially postmodern popular culture, despite lingering resentments towards Japan. -
9/11 Report”), July 2, 2004, Pp
Final FM.1pp 7/17/04 5:25 PM Page i THE 9/11 COMMISSION REPORT Final FM.1pp 7/17/04 5:25 PM Page v CONTENTS List of Illustrations and Tables ix Member List xi Staff List xiii–xiv Preface xv 1. “WE HAVE SOME PLANES” 1 1.1 Inside the Four Flights 1 1.2 Improvising a Homeland Defense 14 1.3 National Crisis Management 35 2. THE FOUNDATION OF THE NEW TERRORISM 47 2.1 A Declaration of War 47 2.2 Bin Ladin’s Appeal in the Islamic World 48 2.3 The Rise of Bin Ladin and al Qaeda (1988–1992) 55 2.4 Building an Organization, Declaring War on the United States (1992–1996) 59 2.5 Al Qaeda’s Renewal in Afghanistan (1996–1998) 63 3. COUNTERTERRORISM EVOLVES 71 3.1 From the Old Terrorism to the New: The First World Trade Center Bombing 71 3.2 Adaptation—and Nonadaptation— ...in the Law Enforcement Community 73 3.3 . and in the Federal Aviation Administration 82 3.4 . and in the Intelligence Community 86 v Final FM.1pp 7/17/04 5:25 PM Page vi 3.5 . and in the State Department and the Defense Department 93 3.6 . and in the White House 98 3.7 . and in the Congress 102 4. RESPONSES TO AL QAEDA’S INITIAL ASSAULTS 108 4.1 Before the Bombings in Kenya and Tanzania 108 4.2 Crisis:August 1998 115 4.3 Diplomacy 121 4.4 Covert Action 126 4.5 Searching for Fresh Options 134 5. -
Interpretasi Penggemar Mengenai Skinship Yang Dilakukan Boyband
ADLN - PERPUSTAKAAN UNIVERSITAS AIRLANGGA DAFTAR ISI Halaman Judul Dalam 1 (Satu) .................................................................................... i Halaman Pernyataan Tidak Melakukan Plagiat .......................................................... ii Halaman Judul Dalam 2 (Dua) .................................................................................... iii Halaman Persembahan ................................................................................................ iv Halaman Persetujuan Pembimbing .............................................................................. v Halaman Pengesahan Panitia Penguji ......................................................................... vi Abstrak ....................................................................................................................... vii Kata Pengantar ............................................................................................................ ix Daftar Isi....................................................................................................................... x Daftar Gambar ........................................................................................................... xiii BAB I PENDAHULUAN .......................................................................................... I-1 1.1 Latar Belakang Masalah ........................................................................... I-1 1.2. Rumusan Masalah ................................................................................ -
Conceptually Androgynous
Umeå Center for Gender Studies Conceptually androgynous The production and commodification of gender in Korean pop music Petter Almqvist-Ingersoll Master Thesis in Gender Studies Spring 2019 Thesis supervisor: Johanna Overud, Ph. D. ABSTRACT Stemming from a recent surge in articles related to Korean masculinities, and based in a feminist and queer Marxist theoretical framework, this paper asks how gender, with a specific focus on what is referred to as soft masculinity, is constructed through K-pop performances, as well as what power structures are in play. By reading studies on pan-Asian masculinities and gender performativity - taking into account such factors as talnori and kkonminam, and investigating conceptual terms flower boy, aegyo, and girl crush - it forms a baseline for a qualitative research project. By conducting qualitative interviews with Swedish K-pop fans and performing semiotic analysis of K-pop music videos, the thesis finds that although K-pop masculinities are perceived as feminine to a foreign audience, they are still heavily rooted in a heteronormative framework. Furthermore, in investigating the production of gender performativity in K-pop, it finds that neoliberal commercialism holds an assertive grip over these productions and are thus able to dictate ‘conceptualizations’ of gender and project identities that are specifically tailored to attract certain audiences. Lastly, the study shows that these practices are sold under an umbrella of ‘loyalty’ in which fans are incentivized to consume in order to show support for their idols – in which the concept of desire plays a significant role. Keywords: Gender, masculinity, commercialism, queer, Marxism Contents Acknowledgments ................................................................................................................................... 1 INTRODUCTION ................................................................................................................................. -
Gaya Hidup Generasi Z Sebagai Penggemar Fanatik Korean Wave
GAYA HIDUP GENERASI Z SEBAGAI PENGGEMAR FANATIK KOREAN WAVE Skripsi Disusun Untuk Memenuhi Persyaratan Menyelesaikan Pendidikan Strata 1 Program Studi Antropologi Sosial Fakultas Ilmu Budaya Universitas Diponegoro Penyusun: Karina Amaliantami Putri 13060114140006 PROGRAM STUDI ANTROPOLOGI SOSIAL FAKULTAS ILMU BUDAYA UNIVERSITAS DIPONEGORO 2019 i HALAMAN PERNYATAAN Saya yang bertanda tangan di bawah ini: Nama : Karina Amaliantami Putri NIM : 13060114140006 Program Studi : S1 Antropologi Sosial Fakultas Ilmu Budaya Undip Dengan sesungguhnya menyatakan bahwa skripisi yang berjudul “Gaya Hidup Generasi Z Sebagai Penggemar Fanatik Korean Wave” adalah benar-benar karya ilmiah saya sendiri, bukanlah hasil plagiat karya ilmiah orang lain, baik sebagian maupun keseluruhan, dan semua kutipan yang ada di skripsi ini telah saya sebutkan sumber aslinya berdasarkan tata cara penulisan kutipan yang lazim pada karya ilmiah. Semarang, 14 Maret 2019 Yang menyatakan Karina Amaliantami Putri NIM 13060114140006 i MOTTO DAN PERSEMBAHAN MOTTO “Selalu bersyukur, jika hari ini dirasa kurang baik, cobalah berusaha lebih baik lagi untuk hari esok” PERSEMBAHAN Tugas Akhir ini Penulis Persembahkan untuk: Papa (Sunarwanto), Mama (Lily Krisnawaty Rediyanto), Adikku (Kessar Athallah Putra), dan seluruh keluarga lainnya. Sahabat-sahabatku (Khoulah, Monika, Ayu, Windi, Fariza, Zazah dan Reggy) Maulana Adieb Fadloly Seluruh mahasiswa Antropologi Undip Almamaterku Universitas Diponegoro, Program Studi Antropologi Sosial ii HALAMAN PERSETUJUAN Skripsi ini telah disetujui -
UC Riverside Electronic Theses and Dissertations
UC Riverside UC Riverside Electronic Theses and Dissertations Title K- Popping: Korean Women, K-Pop, and Fandom Permalink https://escholarship.org/uc/item/5pj4n52q Author Kim, Jungwon Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE K- Popping: Korean Women, K-Pop, and Fandom A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music by Jungwon Kim December 2017 Dissertation Committee: Dr. Deborah Wong, Chairperson Dr. Kelly Y. Jeong Dr. René T.A. Lysloff Dr. Jonathan Ritter Copyright by Jungwon Kim 2017 The Dissertation of Jungwon Kim is approved: Committee Chairperson University of California, Riverside Acknowledgements Without wonderful people who supported me throughout the course of my research, I would have been unable to finish this dissertation. I am deeply grateful to each of them. First, I want to express my most heartfelt gratitude to my advisor, Deborah Wong, who has been an amazing scholarly mentor as well as a model for living a humane life. Thanks to her encouragement in 2012, after I encountered her and gave her my portfolio at the SEM in New Orleans, I decided to pursue my doctorate at UCR in 2013. Thank you for continuously encouraging me to carry through my research project and earnestly giving me your critical advice and feedback on this dissertation. I would like to extend my warmest thanks to my dissertation committee members, Kelly Jeong, René Lysloff, and Jonathan Ritter. Through taking seminars and individual studies with these great faculty members at UCR, I gained my expertise in Korean studies, popular music studies, and ethnomusicology. -
2021 Breeze Show Choir Catalog
Previously Arranged Titles (updated 2/24/21) Specific details about each arrangement (including audio samples and cost) are available at https://breezetunes.com . The use of any of these arrangements requires a valid custom arrangement license purchased from https://tresonamusic.com . Their licensing fees typically range from $180 to $280 per song and must be paid before you can receive your music. Copyright approval frequently takes 4-6 weeks, sometimes longer, so plan accordingly. If changes to the arrangement are desired, there is an additional fee of $100. Examples of this include re-voicing (such as from SATB to another voice part), rewriting band parts, making cuts, adding an additional verse, etc. **Arrangements may be transposed into a different key free of charge, provided that the change does not make re-voicing necessary** For songs that do not have vocal rehearsal tracks, these can be created for $150/song. To place an order, send an e-mail to [email protected] or submit a license request on Tresona listing Garrett Breeze as the arranger, Tips for success using Previously Arranged Titles: • Most arrangements can be made to work in any voicing, so don’t be afraid to look at titles written for other combinations of voices than what you have. Most SATB songs, for example, can be easily reworked for SAT. • Remember that show function is one of the most important things to consider when purchasing an arrangement. For example, if something is labelled in the catalog as a Song 2/4, it is probably not going to work as a closer. -
Sample Song List 032419
Song Name Artist Category (If You're Wondering If I Want You To) I Want You To Weezer 00's Hip Hop, Pop, Rock 1, 2, 3, 4 Plain White T's 00's Hip Hop, Pop, Rock 1,2 Step Ciara f/Missy ELLiott 00's Hip Hop, Pop, Rock 7 Things MiLey Cyrus 00's Hip Hop, Pop, Rock 867-5309 / Jenny Tommy Tutone 00's Hip Hop, Pop, Rock A Love That WiLL Last Renee OLstead 00's Hip Hop, Pop, Rock A Moment Like This KeLLy CLarkson 00's Hip Hop, Pop, Rock A Sky FuLL of Stars CoLdpLay 00's Hip Hop, Pop, Rock A Thousand MiLes Vanessa CarLton 00's Hip Hop, Pop, Rock Alejandro Lady GaGa f/ Redone 00's Hip Hop, Pop, Rock AlL About That Bass Meghan Trainor 00's Hip Hop, Pop, Rock AlL Summer Long (Summertime) Kid Rock 00's Hip Hop, Pop, Rock American Boy (Radio Edit w/ Kanye) EsteLLe 00's Hip Hop, Pop, Rock Anaconda Nicki Minaj 00's Hip Hop, Pop, Rock Apache (Jump On It) The SugarhiLL Gang 00's Hip Hop, Pop, Rock ApoLogize TimbaLand f/ One RepubLic 00's Hip Hop, Pop, Rock Are You Gonna Go My Way Lenny Kravitz 00's Hip Hop, Pop, Rock At Last Beyoncé 00's Hip Hop, Pop, Rock Baby Got Back (Big Butt Song) Sir Mix-a-Lot 00's Hip Hop, Pop, Rock Bad Boy for Life P. Diddy, BLack Rob & Mark Curry 00's Hip Hop, Pop, Rock Bad Romance Lady Gaga 00's Hip Hop, Pop, Rock Bang Bang Jessie J, Ariana Grande & Nicki Minaj 00's Hip Hop, Pop, Rock Beat It FaLL Out Boy f/ John Mayer 00's Hip Hop, Pop, Rock Because You Live Jesse McCartney 00's Hip Hop, Pop, Rock Beep Pussycat DoLLs, The 00's Hip Hop, Pop, Rock Beer ReeL Big Fish 00's Hip Hop, Pop, Rock Berzerk Eminem 00's Hip Hop, Pop, Rock Best Friend (feat. -
Cannes, Le 9 Février 2007
ACTU Palais des Festivals et des Congrès Février 2014 MIDEM FESTIVAL 2014 Tremplin Unique vers la scène internationale Paris, le vendredi 13 décembre 2013 – La troisième édition du Midem Festival, promet un véritable tour du monde de découvertes musicales avec plus de 40 concerts. Le Midem Festival, qui se déroulera sur quatre jours, est l'un des temps forts du Midem, le plus grand événement professionnel international dédié au nouvel écosystème musical, organisé par Reed MIDEM du 1er au 4 février 2014 à Cannes. Deux scènes principales installées sur le parvis du Palais des Festivals accueilleront des showcases lors des « Music At Noon » (à l'heure du déjeuner) et des concerts « Night Sessions » en soirée. En complément, deux événements exceptionnels autour des Musiques de Film et du jazz complèteront ce programme. Le Midem Festival constitue pour les artistes un tremplin unique vers la scène internationale. La programmation, riche et variée, offre l'opportunité aux principaux acteurs de l'industrie de dénicher de nouveaux talents ; tout en proposant aux artistes un environnement idéal de promotion et de rencontres. « Nous avons eu de nos clients une forte demande de présenter leurs artistes sur scène au Midem, c'est la raison pour laquelle nous avons décidé de renforcer le positionnement b2b du festival. Ainsi cette année, beaucoup d'artistes présents au Midem Festival se sont déjà fait un nom dans leur pays, et viennent au Midem pour s'exporter » explique Bruno Crolot, Directeur des marchés Musique de Reed MIDEM. Australie, Corée du Sud, France, Taiwan, Malaisie, Royaume-Uni, Danemark, Japon, Irlande, Suède, Italie, Azerbaïdjan…, les artistes du monde entier choisissent le Midem Festival pour montrer toute l'étendue de leur talent. -
Ellsworth American : April 5, 1861
i ^flmulUvat. T poetry. ——■ Calendar of Operations for Tho Snow Port. April, 1861. A rorM FOR THR BOYS. [We note down nun-lry kiwi* of work to be done during the month, to call to mind the Various op. In tho happy days of boyhood, era ions to bo attended to. A glance over a tablo of Five and thirty yenrs Hg« like this will often suggest some piece work that otherwise bo or neglected. Life’s golder. ngr of joyhood.) might forgotten are more to tho built earth's of the snow, Our remarks especially adapted latitudes ui 3d to i.» deg.; but. will be equally ap- the drifts we quarried, glittering to further North and .South, by mansion work was rare plicable points And our due allowance for each of Tkrmsof Advertising.—Our square or less, making degree lutitudw, Aa those mansions many storied, one when l ! T*s*s. Ten copies, 110,00* copy three insertion*, *1,26; each suhftcqtteiitinser- that is, earlier for the fcnmUi, ami later lor tho out of air. within six ; at the hfmihood fashions paid month*, $1,50 expira- | tion 2ft cents. One square one year, $6 00. Nuitb. !• te n of th*‘ year, |2,00. No paper diacotiliuu made on advertise- iu not A liberal discount lonjr the wi until all arrearage* are paid. These Terms 1 £ioc iu Pccbs, uotfaears; Exri.AJ»ATIC!i8.—-f indlcatei first ; m, tho onr “lUc Brcatljs.” A lOliucs and fosses SLIjougljts, ments. *<|uareis Xonjuiriel. ramp.irts will be adhearrd to. middle and the last of the old Vatiban, strictly J ; I, month.—doubling pusaled the letters thus /, or mm, or II, gives particular tne urchin we, bosses, emphasis to tho jwriod indicated Two letters rule and r play placed together, a*Jm or ml, signify that the work were the queerest Al’RIE 1801. -
Slap Magazine
Slap_December:Layout 1 29/11/2011 08:09 Page 1 Issue 11 FREE Dec/Jan Your FREE monthly entertainment guide for Worcestershire XmasXmas && NewNew YearYear BumperBumper IssueIssue SLAP Supporting Local Arts & Performers Slap_December:Layout 1 29/11/2011 08:09 Page 2 TOWER STUDIOS Home of Drum Mechanics Chris Harvey T: 01386 555 655 M: 07899 880 876 Recording Studios 8 Fully Equipped Practice Rooms all at reasonable rates Tuition in: Drums · Guitar · Bass · Vocals Rock School Test Centre Drum repairs, Tuning & Service Sales in Strings, Sticks n Picks etc. Second hand Kits bought & sold www.tower-studio.co.uk E: [email protected] UNIT 31b · PERSHORE TRADING EST · STATION RD · PERSHORE · WORCS WR10 2DD Slap_December:Layout 1 29/11/2011 08:09 Page 3 Welcome to our 11th and final issue of 2011, does anyone know where the time has gone? We once again would like to thank everyone that got involved with us during the year, submitting reviews, photography and helping with distribution to make Slap a success. Thanks too for the support of the Arts Council, The Arts Workshop as well as the many venues, artists and performers. Most importantly we are Dec/Jan grateful to you our readers and the positive feedback. High demand for Slap has meant another increase in copies this month as well as hitting 56 pages. Slap Magazine Our monthly Slap nights are proving popular too with Unit 3E, Shrub Hill Industrial Estate, a sell out crowd for Sicknote at the Arts Workshop last Worcester WR4 9EL month. Big thanks there to all the voluteers.