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This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License
Article
Author(s)
Haerang NOH
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DOI:10.17265/2159-5836/2014.08.005
Affiliation(s)
National Chengchi University, Taipei, Taiwan
ABSTRACT
The Korean popular cultural waves have been spread into East Asia for more than a decade. In late of 2000, for most of the perspectives about Korean waves had been moved on the 3rd stage of the K-pop industrial structure, K-pop idol stars as contents of Korean popular music have turned the pivotal contents in East Asia and West countries. This research examined how Taiwanese K-pop consumers are identified as the K-pop enthusiast legitimizing and what they represent the “prosumer” of Korean popular music. Moreover, the practice of K-pop is getting turn consumer in Korean song karaoke (KTV) in Taipei city. What sort of cultural form emerges the political representation in the cultural space, K-pop KTV in Taipei. Through how Taiwanese K-pop followers diverse K-pop music for singing K-pop in KTV, it could more elaborate the meaning of contents the culture form of space between production and consumption of the cultural mediation.
KEYWORDS
K-pop, cultural diversion, Karaoke space, practice, Marxist feminism
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References
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KTV (Executive two Korean KTV in Taipei). Retrieved from http://www.wretch.cc/blog/yaya984429/12092274
Arora, P. (2006). E-karaoke learning for gender empowerment in rural India. ICTDPaper#106: University of California.
Chick, G. (2008). Leisure as a topic for cross-cultural research. Lecture given at National Dong Hwa University January 8, 2008.
Chuang, O. L. J., & Hsu, Y. C. (2008). Girls Prefer to sing at KTV: A rational or reflective behavior?. The Journal of Travel Leisure, 14(3), 213-231.
Criss, E. (2008). The natural learning process. Music Educators Journal, 95(2), 42-46.
Dawe, K. (2005). “Power-geometry” in motion: Space, place and gender in the lyra music of Crete. Music, space and place: Popular music and cultural identity (pp. 55-65). Hants (UK): Ashgate.
Dickinson, K. (2005). “Believe”: Vocoders, digital female identity and camp. Music, space and place: Popular music and cultural identity (pp. 163-179). Hants (UK): Ashgate.
Drinker, H. S. (1967). Amateurs and music. Music Educators Journal, 54, 75-78.
EST KTV available song list. Retrieved from http://www.ikaraoke.kr/EST
EST KTV. Retrieved from http://estkara.com/?page_id=8
FANG, C. Y. (2009). A study of karaoke singing by mature adults in the Singaporean Chinese community (paper presented at the 3rd Redesigning Pedagogy International Conference, Singapore).
Folkestad, G. (2006). Formal and informal learning situations or practice vs formal and informal ways of learning. British Journal of Music Education, 23(2), 135-145.
Fun K-pop Internet KTV!! Free for your singing!!. Retrieved from http://sss501.pixnet.net/blog/post/32880352-好玩的韩国歌线上ktv!!!免钱也能唱!!
Girl’s Generation. Run Devil Run. Retrieved from http://www.youtube.com/watch?v=ACmznc4IJFA&feature=related
Go, J. M. (2011). The possibility of the cultural and economic meaning for the new Korean wave of K-pop : Beyond the Appearance, Dance, Fashion and the Compound cultural production, forward to the building of the National Brand. Newspaper and Broadcast, 490, 48-52. Seoul: KPF(Korea Press Foundation).
Go, J. M., & You, S. H. (2009). Korean wave, infinity of Asia and expand to world. Seoul: KOFIC.
Green, L. (2002). How popular musicians learn: A way ahead for music education. Aldershot: Ashgate.
Huang, W. C. (1994). The meanings of KTV for individual uses─The pleasure and the social uses analysis (Unpublished master’s thesis). National Chiao Tung University, Hsin-zhu city, Taiwan.
Kelly, J. P. (1996). Leisure. Boston: Allyn and Bacon.
Kong-er lyrics. Retrieved from http://tw.knowledge.yahoo.com/question/question?qid=1511042802107
Kpop class. Retrieved from http://kpopclass.blogspot.tw/2011/10/davichi-love-my-love.html
Lee, I. M. (2012). “K-pop, New Genre” provide new space for K-pop in Youtube. Chosun daily. Retrieved from http://biz.chosun.com
Lilliestam, L. (1996). On playing by ear. Popular Music, 15(2), 195-216.
Lum, C. M. K. (1998). The Karaoke dilemma: On the interaction between collectivism and individualism in the karaoke space. In T. Mitsui, & S. Hosokawa (Eds.), Karaoke around the world: Global technology, local singing (pp. 166-177). NY: Routledge.
Mayhew, E. (2004) Positioning the Producer: Gender divisions in creative labour and value. In S. Whitley, A. Bennett, & S. Hawkins (Eds.). Music, space and place: Popular music and cultural identity (pp. 149-162). Aldershot: Ashgate Publishing Limited.
Otake, A., & Hosokawa, S. (1998). Karaoke in East Asia: Modernization, Japanization, or Asianization? In T. Mitsui, & S. Hosokawa (Eds.), Karaoke around the world: Global technology, local singing (pp. 178-201). NY: Routledge.
QIU, J. Z. (2010). Leisure and mass media. Leisure sociology: Issues and challenges (pp. 222-236). Taipei : Yang-chih Book Com..
Roberts, K. (2010). Sociology of leisure. University of Liverpool.
SHINee. Hello. Retrieved from http://www.youtube.com/watch?v=vq_8AzohYgs&feature=related
Small, C. (1998). Musicking: The meanngs of performing and listening (pp. 39-49). Middletown: Wesleyan University Press.
Super Junior. A-CHA. Retrieved from http://www.youtube.com/watch?v=5L8ZvKNJWzM&feature=results_main&playnext=1&list=PL2FA08543BCC7DF2C
Super Junior. Mr. Simple. Retrieved from http://www.youtube.com/watch?v=M1S1C4hL84I&feature=related
T-ARA. RolyPoly. Retrieved from http://www.youtube.com/watch?v=RV-Z0pGxZt0&feature=related
Whiteley, S. (2000). Women and popular music: Sexuality, identity and subjectivity. The personal is political (pp. 44-50). NY: Routledge.
Won, Y. J. ([2009] 2010). Ch.7. feminism and popular culture. Rethinking the paradigm of popular culture (pp. 332-389). Seoul: Hannarae.
KTV (Executive two Korean KTV in Taipei). Retrieved from http://www.wretch.cc/blog/yaya984429/12092274