The presence of K-pop production in Norway is not coincidental. Norwegian producers have identifi... more The presence of K-pop production in Norway is not coincidental. Norwegian producers have identified economic and artistic market opportunities in Korea, while the Korean music industry has encouraged non-domestic producers to export pop songs to the Korean market and to collaborate with Korean producers. This model of production is a part of corporate globalization strategies such as S.M. Entertainment’s “cultural technology.” Yet, literature is scarce on the music in K-pop and its production. This thesis explores the musical content and production practices in transnationally produced K-pop tracks, and further investigates how international and transnational collaborations work in the production of K-pop. It attempts to bridge the gap between the most occurring themes of Hallyu research – culture, fandom, cultural geography, economics, ethnography or an interdisciplinary amalgam of these – and K-pop’s musical content.
The presence of K-pop production in Norway is not coincidental. Norwegian producers have identifi... more The presence of K-pop production in Norway is not coincidental. Norwegian producers have identified economic and artistic market opportunities in Korea, while the Korean music industry has encouraged non-domestic producers to export pop songs to the Korean market and to collaborate with Korean producers. This model of production is a part of corporate globalization strategies such as S.M. Entertainment’s “cultural technology.” Yet, literature is scarce on the music in K-pop and its production. This thesis explores the musical content and production practices in transnationally produced K-pop tracks, and further investigates how international and transnational collaborations work in the production of K-pop. It attempts to bridge the gap between the most occurring themes of Hallyu research – culture, fandom, cultural geography, economics, ethnography or an interdisciplinary amalgam of these – and K-pop’s musical content.
The presence of K-pop production in Norway is not coincidental. Norwegian producers have identifi... more The presence of K-pop production in Norway is not coincidental. Norwegian producers have identified economic and artistic market opportunities in Korea, while the Korean music industry has encouraged non-domestic producers to export pop songs to the Korean market and to collaborate with Korean producers. This model of production is a part of corporate globalization strategies such as S.M. Entertainment’s “cultural technology.” Yet, literature is scarce on the music in K-pop and its production. This thesis explores the musical content and production practices in transnationally produced K-pop tracks, and further investigates how international and transnational collaborations work in the production of K-pop. It attempts to bridge the gap between the most occurring themes of Hallyu research – culture, fandom, cultural geography, economics, ethnography or an interdisciplinary amalgam of these – and K-pop’s musical content.
The presence of K-pop production in Norway is not coincidental. Norwegian producers have identifi... more The presence of K-pop production in Norway is not coincidental. Norwegian producers have identified economic and artistic market opportunities in Korea, while the Korean music industry has encouraged non-domestic producers to export pop songs to the Korean market and to collaborate with Korean producers. This model of production is a part of corporate globalization strategies such as S.M. Entertainment’s “cultural technology.” Yet, literature is scarce on the music in K-pop and its production. This thesis explores the musical content and production practices in transnationally produced K-pop tracks, and further investigates how international and transnational collaborations work in the production of K-pop. It attempts to bridge the gap between the most occurring themes of Hallyu research – culture, fandom, cultural geography, economics, ethnography or an interdisciplinary amalgam of these – and K-pop’s musical content.
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