Download pdf
Analysis of Korean Pop Music: The Enlightenment for Chinese Pop Music
- 1 East China Normal University
* Author to whom correspondence should be addressed.
Abstract
Since the 21st century, Korean pop music, represented by TV dramas, music, movies, fashion products, and other cultural forms, has spread widely worldwide. 2012 when Psy’s Gangnam style swept the globe, Jay Chou, a representative figure of the Chinese music scene, said, “Don’t let the K-pop become more and more arrogant, the Chinese Chinese pop music is the best.” However, is this the case? In 2022, the value of the cultural industry represented by the Korean Wave accounted for 18% of South Korea’s GDP, nearly $320 billion (Qiu 2014). China and South Korea are culturally similar and belong to the same East Asian region, so the spread of Korean pop music in China is also of some reference significance. This paper will take BlackPink as a case study and analyze why K-pop has gained tremendous popularity worldwide by combining music characteristics, team characteristics, and marketing strategy. It will then explore the way of overseas global marketing of Chinese pop culture to maintain the features and style of Chinese culture while spreading Chinese pop culture to the world and expand the vision of cross-cultural marketing of Chinese pop music by learning from the Korean market, to provide a reference basis for the cross-cultural marketing of China’s contemporary pop music and fill the blank of transnational cultural dissemination of Chinese pop music.
Keywords
Korean pop music, Chinese pop music, BlackPink
[1]. Baidu. “Zhang Yixing ‘Lotus’” Last modified June 2, 2020. [1] https://baijiahao.baidu.com/s?id=1668380628033273710&wfr=spider&for=pc
[2]. Bruner, Raisa. "Rap Monster of Breakout K-Pop Band BTS on Fans, Fame and Viral Popularity." Time.Com, 28 June 2017, p. 1. EBSCOhost, ccny-proxy1.libr.ccny.edu/login url=http://search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=123845408&siteehost-live.
[3]. Durrer, Victoria and Toby Miller. The Routledge Handbook of Global Cultural Policy. Edited by Dave O\’Brien. New York: Routledge, 2018. https://doi.org/10.4324/9781315718408.
[4]. Gao Yixuan. “On the influence of Korean idol groups on Chinese pop music over the past twenty years.” People’s Music 10(2020): 86-89. ISSN:0447-6573(In Chinese)
[5]. Google. “BTS’s Butter”. Lsat modified July 7, 2021. https://chinese.korea.net/NewsFocus/Culture/view?articleId=200617
[6]. Jia Jia. Research on the Sustainable Development Capability of the Korean Popular Music Industry, Yunnan University, 2015. https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD201502&filename=1015610727.nh.(In Chinese)
[7]. Kim, Gooyong. “From Hybridity of Cultural Production to Hyperreality of Post-Feminism in K-Pop: A Theoretical Reconsideration for Critical Approaches to Cultural Assemblages in Neoliberal Culture Industry.” European Journal of Korean Studies, 2019.125–59. https://doi.org/10.33526/ejks.20191901.125.
[8]. Kyong Yoon. “Global Imagination of K-Pop: Pop Music Fans’ Lived Experiences of Cultural Hybridity.” Popular Music and Society 41, no. 4 (2017): 373–89. https://doi.org/10.1080/03007766.2017.1292819.
[9]. Li Chunhu.Analysis of Korea's cultural industrialization strategy and its policy inquiry. Journal of Korean Studies 02(2015): 195-213. doi:CNKI:SUN:HGYL.0.2015-02-012. (In Chinese)
[10]. Lie, John, and Ingyu Oh . “SM Entertainment and Soo Man Lee.” Handbook in East Asian Entrepreneurship. Editedy by Fu Lai Tony Yu and Ho don Yan . London: Routledge, 2014. 346–352.
[11]. Puzar, Aljosa. “Asian Dolls and The Westernized Gaze: Notes on the Female Dollification in South Korea.” Academia.edu, February 22, 2016. [11] htps://www.academia.edu/22280147/Asian_Dolls_and_the_Westernized_Gaze_Notes_on_the_Female_Dollification_in_South_Korea.
[12]. QiuYangyang. Research on the Development Status of Korean Pop Music. Harbin Normal University. 2014. https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD201501&filename= 1014376492.nh. (In Chinese)
[13]. SAEJI, CEDARBOUGH T. “Juvenile Protection and Sexual Objectification: Analysis of the Performance Frame in Korean Music Television Broadcasts.” Acta Koreana 16, no. 2 (2013): 329–65. doi:10.18399/ACTA.2013.16.2.003.
[14]. Shin Hyunjoon. “Controlling or Supporting? A History of Cultural Policies on Popular Music”. Made in Korea: Studies in Popular Music. Edited by Seung-Ah Lee. New York, NY ; Abingdon, Oxon : Routledge, 2017. https://doi.org/10.4324/9781315761626.
[15]. Wei Ting and Xinyung Li. “The Characteristics of Korean Pop Music Industry.” Chongqing Social Sciences 07(2015):67-72. doi:10.19631/j.cnki.css.2015.07.010. (In Chinese)
[16]. Wu Jiewei. “Analysis of the spread of Korean pop culture in Southeast Asia.” Southeast Asian Studies 06(2015):86-92. doi:10.19561/j.cnki.sas.2015.06.012. (In Chinese)
[17]. Xing Liju. Research on the institutional mechanism of Korean culture “going out”. People’s Forum 23 (2021): 90-94. doi:CNKI:SUN:RMLT.0.2021-23-021. (In Chinese)
[18]. Zhang Jianhua. “Analysis of the influence of Korean pop culture in China.” Hundreds of Artists S2(2012):4-7. ISSN:1003-9104. (In Chinese)
Cite this article
Jiang,A. (2024). Analysis of Korean Pop Music: The Enlightenment for Chinese Pop Music. Advances in Humanities Research,5,1-7.
Data availability
The datasets used and/or analyzed during the current study will be available from the authors upon reasonable request.
Disclaimer/Publisher's Note
The statements, opinions and data contained in all publications are solely those of the individual author(s) and contributor(s) and not of EWA Publishing and/or the editor(s). EWA Publishing and/or the editor(s) disclaim responsibility for any injury to people or property resulting from any ideas, methods, instructions or products referred to in the content.
About volume
Journal：Advances in Humanities Research
© 2024 by the author(s). Licensee EWA Publishing, Oxford, UK. This article is an open access article distributed under the terms and
conditions of the Creative Commons Attribution (CC BY) license. Authors who
publish this series agree to the following terms:
1. Authors retain copyright and grant the series right of first publication with the work simultaneously licensed under a Creative Commons
Attribution License that allows others to share the work with an acknowledgment of the work's authorship and initial publication in this
series.
2. Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the series's published
version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgment of its initial
publication in this series.
3. Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and
during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See
Open access policy for details).