Class Notes (808,754)
Canada (493,378)
Music (217)
MUS211H1 (9)
Lecture 6

MUS211H1 Lecture 6: Kpop

6 Pages
Unlock Document

University of Toronto St. George
Gabriela Jiménez

MUS211 Lecture 6 Kpop: Korean Waves, Transpacific Currents, and Piracy • Circulation of music: movement of music done legally or non-legally is where piracy comes to play, creates and maintain transnational networks o circulation means it has feedback • music piracy in South Korea shaped the emergence of Kpop and continues to inform it today • Intellectual property • Creations that by law can be owned and protected (inventions, slogans, names, artistic works, etc.) o  Copyright: protects authors of artistic works (literary, musical, visual, conceptual, etc.) o  Patents, trademark, trade secrets (e.g., Blue Ivy = registered trademark • Copyright o meant to protect the creator/s of work and heir/successors o 70 years after death, then public domain (in the U.S) ▪ work is still registered for 70+ years ▪ e.g., Mickey Mouse has to be re-registered to refrain from a public domain o 2016 and “happy birthday” song ▪ that was copy written until 2016 o “rights holders” decide (they hold the rights to copyright) ▪ they decide how, when and to what extent the song will be reproduced ▪ reproduction, public performance, broadcasting, translation, adaptation o Right holders, transfer rights to companies to administer ▪ they serve as a middle entity to author and entity who wants to use it o UK 1710 established copyright law ▪ The Queen Anne’s Copyrights Act o Protect authors from predatory publishers/labels o France 1810; Germany 1837 ▪ the copyright laws weren’t really followed until 1990s o Not until 1990 global traction; trade agreements o inspire creativity ▪ comfort authors in knowing their work are not going to be exploited o now a restriction on consumers ▪ consumers are often penalized at certain practices, before it was publishers and labels o stricter law = restriction of possibilities = more piracy • Piracy o unauthorized duplication/reproduction o downloading MP3s without paying for them, making copy of album for personal use or profit, sampling o sampling vs. covering o covers remain “true” to the source, do not alter—that much o sampling creates a whole new work from someone else’s work ▪ taking pieces and making a new piece now similar to the whole of another o easier to cover than to sample o hip-hop success ▪ sampling became an issue when hip-hop started o Murky, vague, productive tension of inspiration o melodies constitute the work not percussive elements o what can be notated, transcribed ▪ through tradition, artistic practiced o sounds that cannot be notated less likely to be considered art (property) ▪ feedback, distortion, timbre and micro-orientations o Authorship? ▪ not granted to just anyone ▪ author is always at stake o What is art? Who defines it? ▪ limited and only benefits the composer ▪ power in who gets to define what is art o Respectability politics o Creativity or profit Korea • Choson dynasty (1392-1897) • development of kugak = national music • a diverse set of musical practices now referred to as traditional Korean music • P’ansori = vocalist accompanied by drummer o often two or three people involved o vocalist, singer (man often) and drum • story singing: singing, recitation and body expressions • Rhythmic patterns = mood and story; cheers • Raspy voice and melisma = one syllable sung using many notes o singers were often trained by going to forest and singing to trees and rocks so they can project loudly (how to get raspy voice) • Japanese colonization (1910-1945) • Japan controlled Korean politics, economics, culture • language, personal names, music • Trot or teuroteu o music inspired by Japanese influences o form of Korean balladry derived from Japanese enka (Japanese balladry) • Japanese traditional melodic patterns and sentiments combined with Western pop conventions o the way the song is structured with verse and chorus is western • Trot o Enka already about loss and despair o mediates the traumas of colonial experience o lost nationalism and forced relocation o songs surveilled and censored o metaphors to evade censors • Listening: “Tears of Mokpo” 1935 o Lee Nan-Yeong o Euro-American instrumentation, prominent bass, melisma, raspy voice o Mokpo = port town; place of departure and farewell o personal separation = families torn apart from by Japanese colonialization ▪ trauma and losses one experiences through colonialism o trot speaks to Japanese as a form of protest • Korean liberation and division o 1945 Japan defeated o ends WWII o 1948 divided in two (Cold War) o North = Soviet Union o South = U.S o North Korea invades South Korea 1950 o Conflict armistice (not peace) in 1953 = DMZ (Demilitarized Zone) • South Korea o 1960s-1980s o Authoritarian regimes o rebuilding South Korea = urbanization, industrialization, nationalism o government tightly controlled popular culture o Censored anything considered political, Japanese, American, etc. o “Purifying” Korea of Japanese influences • Trot Revival o Trot’s popularity resurges o considered “too Japanese” by government (c.f. enka) o vulgar and low taste o less respectable o muted in public but still
More Less

Related notes for MUS211H1

Log In


Don't have an account?

Join OneClass

Access over 10 million pages of study
documents for 1.3 million courses.

Sign up

Join to view


By registering, I agree to the Terms and Privacy Policies
Already have an account?
Just a few more details

So we can recommend you notes for your school.

Reset Password

Please enter below the email address you registered with and we will send you a link to reset your password.

Add your courses

Get notes from the top students in your class.