The purpose of this study is to identify the aspects of continuation and variation of K-pop implied the lyrics and music and the essence of K-pop aesthetics based on comprehensive in-depth analysis of K-pop and to investigate the implications of K-pop... The purpose of this study is to identify the aspects of continuation and variation of K-pop implied the lyrics and music and the essence of K-pop aesthetics based on comprehensive in-depth analysis of K-pop and to investigate the implications of K-pop in terms of the history of Korean art. Historically, the Korean poetry and song has constantly changed through active interactions with external factors and their most recent form is K-pop. Considering the fact that universal inclination of traditional songs is sustained till today, it is not appropriate to see K-pop as a commodity product in market. Instead, it should be taken as a comprehensive cultural outcome from a historical vein. This is why a synchronic and diachronic approach is needed in interpreting K-pop. K-pop is the Korean pop music, more specifically, the Korean mainstream genre focused on dance music following the late 1990s. K-pop is very closely related to Hallyu as development process of Hallyu and its associated phenomena have made a significant impact on generation of K-pop terms and building relevant characteristics. From a diachronic perspective, K-pop has inherited a number of factors of Korean traditional poetry and song as the customs and deconstruction aesthetics implied in K-pop lyrics and music are deeply rooted in unique Korean socio-cultural attributes. This is the true identity of K-pop. In other words, K-pop features time and spatial distinctiveness of Korea, which has created its unique characteristics. K-pop must be dealt with within the historical framework as it is only way to properly identify its identity and aesthetics. The lyrics of K-pop have elements that are sustained from existing pop music genre and further from traditional poetry and song. At the same time, variations that have been made in line with changes in society, period and the concerned class are also clearly noticeable. That is K-pop mostly deals with love as the universal theme of song genre but the circumstance and the method of response of a narrator are quite different as a wide difference in period and society, and in narrator’s character and emotions create just as much diversity in stories of songs. Second, the social protest is just as clearly demonstrated as in other genres but the themes are restricted mostly to youth related issues, including school violence and college entrance exam. Third, K-pop seeks pleasure and delight based on Koreans’ unique exhilarating and cheerful spirit but is also accompanied by self-display based on self-love due to the influence of hip-hop culture. Fourth, the traditional method of composition that aligns with rhyme has been further reinforced while sexual instinct is expressed in a figurative and creative manner while avoiding social restrictions. Most of all, K-pop lyrics feature a combination of Korean and English, which is partly attributed to public sentiment that English lyrics sometimes sound more sophisticated and elegant. On top of it, it has something to do with management strategy of entertainment agencies that takes international consumption taken into account in the era of globalization. English lyrics as one of the essential elements for commercial success contributes greatly to gaining popularity in overseas markets along with K-pop’s unique decency against the expression of curse, violence, sex, drug, alcohol, and cigarette. Generally, K-pop has the characteristics of dance music. While the musical characteristics of such K-pop show rather complex and hybrid aspects due to interference between genres and other exterior factors, core elements as dance music definitely exist. The origins of this can be found in traditional Korean music. From ancient songs related to rituals to folk songs, repetition, rhythm, and simplicity, which are the core of dance music, have been consistently manifested. In particular, the tonal structures and unique sentiments inherited from folk music reveal characteristics that belong solely to K-pop and which are different from those of foreign dance music. On one hand, K-pop has also been strongly influenced by foreign dance music and it has the main characteristics of genres which were popular in each era such as rhythm and blues, jazz, funk, disco, hip hip, electronica. On top of this, the emergence and development of the new visual medium of music videos made its stance stronger and it also experienced variations due to interference from other genres of the same era such as trot, ballad, rock. Korean youths have their inner stress and mental fatigue built up surrounded by the old and obsolete social order characterized by conservatism and authoritarianism and they have sought to quench their thirst through K-pop. In other words, K-pop is designed to express resistance and criticism against existing oppressive and absurd orders as well as sympathy toward members of community in the mist of unreasonable education environment and closed sex culture. On top of that, K-pop deconstructs the language system of lyrics of existing pop music along with the grammar of music that has long prevailed thanks to the development of technology. These destructive syndrome of K-pop lyrics and music is a typical example of being irrational and far from being pretty from traditional perspectives but is still meaningful in that it has created new values and meanings in the process of exposing the virtual truth that has been uncritically accepted so far and overturning the time-old tide. K-pop contains the aesthetics of relieving complaint from violence oppression and unbalance between idealism and reality, that is the aesthetic consciousness of untangling pent-up frustration and transforming it to a state of balance. It can be defined as the beauty of humor or comedy from a traditional concept. In other words, sharp criticism toward social problems and instinctive desire that has been oppressed inside has been disclosed through metaphorical expressions and pla ，韩语毕业论文，韩语论文范文 |
