dc.contributor.author | Rånes, Brian Christer Nebb | |
dc.date.accessioned | 2015-04-09T14:29:20Z | |
dc.date.available | 2015-04-09T14:29:20Z | |
dc.date.issued | 2014 | |
dc.identifier.uri | http://hdl.handle.net/11250/281140 | |
dc.description.abstract | Tilstedeværelsen av K-pop-produksjon i Norge er ikke tilfeldig. Norske produsenter identifiserer både et økonomisk og et kunstnerisk potensiale i det koreanske markedet, samtidig som koreansk musikk-industri motiverer ikke-koreanske produsenter til å eksportere pop til Korea og til å samarbeide med koreanske produsenter. Denne produksjonsmodellen tilhører S.M. Entertainments globaliseringsstrategi cultural technology. Likevel finnes det marginalt med litteratur om K-pop og K-pop-produksjon. Denne masteravhandlingen utforsker musikalsk innhold og produksjonspraksis i transnasjonalt produserte K-pop låter, og undersøker videre hvordan internasjonale og transnasjonale samarbeid utfolder seg i denne produksjonsprosessen. Oppgaven forsøker å forminske avstanden mellom hovedtemaene i Hallyu-forskning – kultur, fandom, kulturgeografi, økonomi, etnografi, eller en blanding av disse – og K-pops musikalske innhold. | nb_NO |
dc.description.abstract | 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. | |
dc.language.iso | nob | nb_NO |
dc.publisher | NTNU | nb_NO |
dc.subject | K-pop | nb_NO |
dc.subject | Kpop | nb_NO |
dc.subject | Korea | nb_NO |
dc.subject | Korean Pop | nb_NO |
dc.subject | music production | nb_NO |
dc.subject | SM Entertainment | nb_NO |
dc.subject | Ylvis | nb_NO |
dc.subject | Cultural technology | nb_NO |
dc.subject | thirdspace | nb_NO |
dc.subject | globalization | nb_NO |
dc.subject | hybridisation | nb_NO |
dc.subject | global | nb_NO |
dc.subject | international | nb_NO |
dc.subject | transnational | nb_NO |
dc.subject | Design Music | nb_NO |
dc.subject | Girls' Generation | nb_NO |
dc.subject | Miss A | nb_NO |
dc.subject | DeepFrost | nb_NO |
dc.subject | otherness | nb_NO |
dc.subject | Self and other | nb_NO |
dc.title | Chocolate, Mustard and a Fox - Norwegian K-Pop, Its Production and Performance | nb_NO |
dc.type | Master thesis | nb_NO |
dc.subject.nsi | VDP::Humanities: 000::Musicology: 110::Music theory: 112 | nb_NO |