In the 1980s, the Korean pop music market was a time when various genres of music such as dance, ballad, fork, trot, and rock coexisted. At that time, the masses could enjoy relatively different genres of music. However, with the advent of <Seo Tai... In the 1980s, the Korean pop music market was a time when various genres of music such as dance, ballad, fork, trot, and rock coexisted. At that time, the masses could enjoy relatively different genres of music. However, with the advent of <Seo Taiji and Children> in the 90s, the trend of the domestic music market will undergo a big change. At that time, Seo Taiji and the children gained popularity by combining the unfamiliar style of rap with the genre of dance, and made a precedent to make huge profits by producing music. In the 80s, when the various genres coexisted, the consumer group was naturally moved to ten, and an idol group poured out in an explosion of so-called "Teen Pop" style and "Seo Taiji and Children". Since mid-90s, middle and large-sized major companies have invested a lot of capital in music production and built a star production system. On the contrary, indie music, which is produced by handbags, was born in Hongdae street. The beginning of indie music means the full separation of mainstream music produced by powerful capital and non-mainstream music contrary to existing production system. Mainstream music communicated with the masses through the media and dominated the music market, while non-mainstream music gained generous consumerism by freeing music through club or street performances. Indie music is one of popular music styles that rejects the production system of mainstream music and carries out music activities in its own way. It has a structure to produce and distribute independent music as a piece of . There are three background reasons why early indie music could be activated. First, in 1996, the Preliminary Review System for the films and recordings of the Performance Ethics Committee of the Performance Ethics Committee was unconstitutional from the Constitutional Court (Constitutional Court 93, No. 91, No. 10, No. 94, No. 6). The abolition of the record review system at that time opened up new possibilities for indie music. Second, as the performance law of 1998 (Presidential Decree No. 15598) was revised from the permission system to the declaration system, the performance arts market in Korea became stronger. Third, a club performance that could not be played by more than 2 people became possible with the revision of the Food Sanitation Act of 1999, and the legalization of indie bands club performance (Maeil Economy, December 31, 1991). In the first five years of indie music (1995-1999), three reasons have enabled the activation of indie music, and they were able to prove themselves. But by the turn of the 2000s, indie music faced huge barriers. The mainstream music of a music company with a huge capital power has completely dominated the music market while aggressively marketing through the media. And indie music, which was the main medium of communication with the public, is pushed by the wave of mainstream music and gradually starts to stagnate. In particular, the domestic and overseas industrial markets in the early 2000s faced a new paradigm, a social chaos caused by the proliferation of information due to the development of the IT market and the clash of regulations to prevent it. The social chaos caused by the changes in the industrial market has had a considerable influence on the music market. In December 1999, A & M Records filed a complaint against Napste er (A & M Records, Inc. v. Napster, Inc. 114 F. Supp.2d 896 (NDCal. , The case in which the Korean music industry association sued Srivada (Seoul District Court 2001, 8336 et seq.), Is one of the most influential events that predict the change of the music market at that time. Informa tion Technology, which provided the cause for this incident, is now a double-edged sword. The P2P service, which was a subject of controversy at the time, did not catch up with the proliferation and regulation, but rather caused the mainstream music to become more popular, and indie music, the symbol of minority, was forced to see the trend. In the end, indie music was played in analog culture and digital culture through such a period of upheaval, and as the music production changed into sound production, it also relieved the burden on production cost. In addition, with the generalization of social network services, indie music, which has found another way to reduce marketing costs, has gradually begun to regain market vitality. In fact, the social network service has played a role as a bridgehead for musicians who act in public or mainstream music to naturally interest non - mainstream music. In particular, the indie musicians, who have been recognized for their competence, have announced their name to the over-the-air broadcasting and started their active activities by musicians who are active in mainstream music or on the recommendation of musical industry officials. Noble in the 90s and Noble in the early 2000s and several bands in the early 2000s and later in the second half of the year. >, <The Clown Band>, and the first place on the music charts can be said to be the heyday of indie music, which is not derived from history. It is undeniable that Indy music has continued to grow in line with social changes. Indeed, however, when it comes to exploring the reality, there has never been a single sustainable full success like mainstream music. Because social change has had a huge impact on indie music as well as mainstream music. In other words, the development of the music market due to social change has created a perfect polarization phenomenon with mainstream music supported by absolute majority and minor music supported by absolute minority. From the time of indie music to the present, very few Indie musicians have been successful, and uncertainty about the popularity of popularity and lack of new indie musicians have become the limitations of current Indie music. If you can not overcome these limitations, indie music will eventually disappear from the market. On the other hand, the study is not intended to undermine the indigenous indigenous spirit and the way it is produced, like some of the bands that announce their name as indie music and embrace mainstream music. However, it is a key point of this study to suggest the activation measures for indie music, to expand the range of performing market where indie music originated and their fundamental spirit, and to maintain coexistence and coexistence of mainstream and minor.
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