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17 1, 2014 4, pp.3~34
K-pop
* **
. . . . .
K-Pop . . , . , , K-pop .
2 200 . 7 . , , , , , , AC(Verse, Chorus) .
1 2 3 , 4 , 5 , 6 , 7 () . .
. . .
: , K-pop, , ,
* **
: 2014 3 18, : 2014 4 17, : 2014 4 23
4
.
(Winner takes all)
.
. .
.
.
(1999), (2005)
, .
. (Money Chord) .
.1)
The Axis of Awesome 35
, . (British Invasion)
60 (The Beatles) Let It Be
. 1988
.
,
. 2011
2005 .
.2)
.
K-pop 5
> .
(Polyphonic HMI) (Hit Song
Science: HSS) .
, 8
8 (Norah Jones).
HSS .
(. , 2003, 2003, 2004).
, , .
. , K-pop
.
.
. ,
.
.
.
1.
(1)
.
, (Burke 1994, Stamm 2000). Burke
6
.
()
(. , ) .
. , ,
.
, TV,
. 1990 , TV
(
2000, 1998). Bhattacharjee et
al.(2007) Stevans and Sessions(2005)
, (2000) P2P
. (1998) ,
. (2011)
(LP, CD, MP3 ) .
,
.
OST
(Mussulman 1974). Strobl & Turker(2000) OST, (Greatest Hits)
. (2005)
OST .
, . Rosen(1981) MacDonald(1988)
. Chung and Cox(1994)
. Hamlen(1991)
.
Sumiko(2011)
, , . , (2005)
, . , ,
.
,
. Sumiko(2011)
K-pop 7
. (2003) PD
. (2007)
.
2011 Top200 20
.
(2)
.
(Spectrum Analysis), HSS(Hit Song Science), HPE(Hit Potential Equation) .
Richard & John(1975) .
, (Frequency), (Amplitude)
.
.
Polyphonic HMI HSS
. 1 10 , 7
. 50 (Pop), (Rock),
(Country), (Rap), (Jazz), (Classic) 350
, (Melody), (Tempo), (Rhythm), (Chord
Progression), (Pitch) .
. (Bristol)
50 UK 40 30
40 (University of Bristol
2012). , (Time Signature), (Song Length), ()
3) (Harmonic Simplicity), , ,
.
3) (Harmony) , . , , 3 .
8
23
(Hit Potential Equation) , .4).
Top5 30 60%
.
80 , 80
. 90 ,
.
(3)
.
.
, ,
. ,
, , ,
, , , , , ( , 2009).
(Moore 1993).
. (Art Rock)
,
.
,
( , 2009). 1920 ,
, 1980
1960 Rock (Hardy & Laing 1990).
.
4) , , 201112.18.
K-pop 9
()/
Sloboda(1985) Gaston(1968)
. (rythm)
,
.
(Apel 1944).
(Fraisse 1982, Sink 1984, Lundin 1967,
Farnsworth 1969, Cooper & Meyer 1960). (tempo) 5).
(Lundin
1967, Farnsworth 1969). .
,
.
. , bpm 60-120
(Geringer, Madsen & Duke, 1993), bpm 120
(Duke 1987)6).
(Geringer & Madsen 1984, Wang 1984).
: , ,
.
(Brilliance) (Fullness of Sound) . ,
, , .
. (Volume; loud)
, (Density) (Radocy & Boyle, 2007). Guisao &
Stevens(1964) Stevens(1975) .
.
,
. , ,
5) Mursell(1937) (Phrase Rhythm) , Creston(1964) (Meter), (Pace), (Accent), (Pattern) . Gordon(1971) (Tempo Beat), (Meter Beat), (Melodic Rhythm) .
6) bpm 100 1 100 bpm .
10
. , TV
.
. (Noisy)
Lo-Fi . Lo-Fi Hi-Fi7)
. () .
.
1994 Lo-Fi
Hi-Fi , 12bit
. , Lo-Fi
. Hi-Fi Lo-Fi .
. 5
, 2~3 . Intro, Verse, b-part,
Chorus , Intro(Introduction) , Verse A, b-part(Transitional
Bridge B-Section) B, Chorus C(), Solo(Interlude) , Bridge(Primary
Bridge) D, Outro . 1
. .
, ABC, ABCD, AC, CABC , ABC 1 A, B,
C , ABCD 1 D
. D
. AC Verse Chorus AC .
AB , b-part ,
(Chorus) B Verse-b-part, Verse-Chorus AB
. AB, AC .
()
(Chord) .
() ()
, ,
(Radocy & Boyle, 2007).
7) Hi-Fi 20Hz20KHz , .
K-pop 11
-, -, -
(Van de Geer, Levelt & Plomp 1962).
() (Chord Progression) , ()
. (Melody), (Rhythm), (Harmony)
. Nancy and Gerald(2001) .
(Tonic Chord: ) ,
.
.
(Melody Progression) .
. Roederer(1995)
.
.
.
/
() (Tonality) (Key)
. (), (), ()
.
. (),
.
. ,
. ,
(Radocy & Boyle, 2007).
(Key) .
. ,
, /
. ABCD ,
(C Major) Bridge , Chorus 1
(D Major) .
.
12
/
(Register) , ,
.
() . (Low Register), (Middle
Register), (High Register) , , ,
, , , .
(Octave) 8 C1() C2()
. 1 2 . C1 C2 1
, C2 C1 .
.
, .
. 4
3 . (Hit Potential
Equation) , 90 4
.
Gee (Hook Song) .
. (Hook) (Killer
Melody) . Gee gee-gee-gee-gee-gee Hook ,
.
.
1.
( ) . ,
K-pop 13
. , () .
HMI HSS , HMI , ,
. .
.
( )
. 72
72 ( 2009).
. , (Staccato)
(Accent) (Radocy &
Boyle, 2007). (Legato)
.
(, , , )
.
.
.
(2009)
.
, , / . ,
, , ,
, , , .
2.
TOP 200 . , ,
. ,
. 8) 2010~2011
8) (2009~2013) 2010 2 23
14
( ) 375 .
.
, .
. 192Kbps
MP3 FLAC(Free Lossless Audio Codec)
9), 320Kbps
. ,
, . (
, ), , , , ( , , ,
), . ,
, , . Sony Sound Forge
10 , , .
Spectrum Analyser .
Statistics MP3Gain
. BPM Analyser
.
3.
, (Allmusic.com) ,
. ,
(R&B),
,
, /,
,
, 7
. (Trot)
.
(Sound) (Volume ; Loud) (Noisy) .
Sound Forge MP3Gain
9) MP3, , 2011.04.15
K-pop 15
(%)
(%)
(Ballad) 124 32.0%
1
1 11 2.8%
(R&B) 49 12.7% 1 ~ 1 10 44 11.4%
(Dance) 45 11.6% 1 11 ~ 1 20 76 19.6%
(Electronic) 91 23.5% 1 21 ~ 1 30 86 22.2%
/(Hip-Hop/Rap) 40 10.3% 1 31 ~ 1 40 77 19.9%
(Rock) 19 4.9% 1 41 ~ 1 50 51 13.2%
(Folk) 10 2.6% 1 51 ~ 2 20 5.2%
(Etc.) 9 2.3% 2 22 5.7%
Noisy:Lo-Fi
Noisy(Lo-Fi) 183 47.3%
3 8 2.1%
Noisy(Lo-Fi) 204 52.7% 3 ~ 3 20 65 16.8%
207 53.5% 3 21 ~ 3 40 117 30.2%
180 46.5% 3 41 ~ 3 59 109 28.2%
95, 105 .
-(Lo-Fi)
. BPM .
28 ,
6 . A C
. A Verse , C
(Chorus) . ABCD, ABC,
ACD, AC CABCD, CACD . A Verse, B
b-part, C Chorus, D Bridge .
, 1, .
(Intro) (Outro) ,
. (Key) (Major) (Minor)
. ,
, .
, , , , , ,
, , ,
. .
16
(%)
(%)
ABCD 134 34.6%
4 ~ 4 20 45 11.6%ABC 70 18.1% 4 21 ~ 4 40 31 8.0%ACD 66 17.1% 4 41 ~ 4 59 8 2.1%AC 27 7.0% 5 4 1.0%
CABCD 74 19.1%
298 77.0%CACD 16 4.1% 28 7.2%%
/
= Hook 363 93.8% 2 0.5%
Hook 24 6.2% 11 2.8%
246 63.6% 40 10.3%/ / 95 24.5% 6 1.6%
46 11.9% 1 0.3%
189 48.8% 1 0.3%
198 51.2%
139 35.9%
180 46.5% 131 33.9%
207 53.5% 116 30.0%
5 74 19.1% 1 0.3%
265 68.5%
6 ~ 10 48 12.4% 122 31.5%
11 ~ 15 104 26.9%
315 81.4%16 ~ 20 79 20.4%
71 18.3%21 ~ 25 57 14.7%
1 0.3%26 ~ 30 13 3.4%
/ () 103.15
31 12 3.1% () 99.18
.
1.
. (factor analysis) .
K-pop 17
0.5
. , ,
, 0.6 . 1
. KMO .623, .000 .
( )
1 2 3 4
0.750 -0.028 -0.023 -0.226 0.683 0.085 0.008 0.022 0.666 -0.178 -0.158 0.123 0.559 -0.171 0.144 -0.007
-0.178 0.836 0.046 -0.035 -0.318 0.747 0.030 -0.070
0.364 0.632 -0.111 0.145
/ 0.050 0.074 0.747 0.026 0.026 -0.092 0.745 -0.068 -0.070 0.007 0.611 0.029
AC 0.025 -0.136 0.040 0.762AC -0.060 0.128 -0.039 0.703
,
. , , , / , AC
.
, .
, 1, ,
,
.
AC .
4 .
K-means . (hierarchical cluster analysis)
. 7
. 7
18
3>
.
F
1 41.683 6 0.349 375 119.410 .000 2 35.260 6 0.452 375 78.039 .000 3 38.780 6 0.396 375 98.049 .000 4 55.018 6 0.136 375 405.424 .000
2.
7 .
.
1 63% 14%
. 73% Hi-Fi , 68%
14% . 109 .
. 3 21 ~ 3 59 76%
18%p ,
, .
1 Roly-Poly
. 1 .
1 4 (Key of C) , ,
5 (Key of D) .
. 2 Bridge , 1
. 1 A() 2
Bb(b) (Key of Eb) , / /
.
K-pop 19
1 ()10)
.
, . 1 4
(Key of C) . ,
6 (Key of D) . .
2 , 3 . 3 E
() F() (Key of Eb)
/ / .
1 (1)
10)
20
1 Roly-Poly .
AmFCG(VImIVIV) . IVVIm-IV , (Key of C) C-G-Am-F. C-G, Am-F
Am-F-C-G , Roly-Poly .
Roly-Poly .
Roly-Poly11)
1 (2)
2 58% Hi-Fi ,
. 82% 28%p .
.
Chorus 31% , 55%
. / / 35%, 20%.
11)
K-pop 21
5 70% / .
17% 7%p . 2
.
3 , Hi-Fi
. , , . 69%
15%p . ABC 41% 18%
23%p . 76%, 86%
, 1, .
,
17% . 3
.
3 , , ,
. Verse .
, Dm-Dm/C-G/B-C/Bb-F/A Bb
A .
. 1 2
, 2 3 . 3
4 .
()12)
.
1 1
. 2 , 3
4 .
12)
22
3
5% 4 ,
, . AC, Verse, Chorus
. 7% AC ,
AC .
, / / 31% 6.5%p . 3
40 ,
.
4 .
,
. 4
Love Song .
5 80%
. 127, 100 , 60% Lo-Fi
. , 83%
. ABCD 55% 20%p
. 11% ,
() . 3 40
70% , 10 19%, 16~25 45%
12%p, 10%p , ,
. 5
60% . 5
2NE1 .
6 47%, (/ ) 37%
. 14p 89. Noisy 66%
/ , . 16 ~ 25 53%, 1
1 31~1 50 67%, 3 41 83%
K-pop 23
.
32% , 3
. 6 Hello Grand Final .
7 , 80% Hi-Fi
. 7
. 160 100
93 10p .
AC , 1, .
, , AC AAC A(Verse)
. 7 .
1 &
68% 14%p , 94%
, Roly-Poly
2
&
82%, Chorus 31% 55% 5 50% , 68%, 73%
,
3
70% , ABC 41% , ( 76%, 86%) : , 17%, 26%
,
4
, 50% AC(Verse, Chorus) 31% / / /,
, Love Song
5
, Noisy ()
,
6 &
// + Noisy /
Hello, Grand Final
7 AC , AC
24
3.
(1)
. , (, ) ), ,
(, ), OST, , , .
. 5, 4
. , .
2010~2011 Top200 , 59%,
48% ( 4%, 8%),
19% . 8%,
3%, 10%, 8%.
17%, 22%, 18%, 24%, 20%, 57%, 19%, 13%, 11% .
(%)
227 59% 160 41%
186 48% 201 52%
16 4% 32 8%
74 19% 31 8% 10 3%
(OST) 40 10% 33 8%
13)
1 65 17%2 85 22%3 68 18%4 93 24%5 76 20%
14)
1 219 57%2 74 19%3 51 13%4 43 11%
13) 1 YG, 2 , CJ E&M, 3 SM, , , , 4 JYP,, , ,
K-pop 25
(2)
. , 1 2 ,
. 2 4 37% .
3 64% , 14%
. 29%, 31%
. 4 . ,
13%, 19%, 16% 10%p,
11%p, 8%p . 5 85%, 83%
. 1 2 52%
. 6 .
20%p , 3%p
. ,
. 7 67%
.
1 & , (18%) 3, 4, 5 63%
2
&
, (16%) (21%),4 (37%)
3 (31%) (64%), (14%) (29%), (26%)
4 (13%) (22%)
5 (85%) (83%) ( 1 2 80%)
6 & (31%) ( 24% )
7 AC
(67%) (67%) (56%)
DSP, F&C Music 14) 1 , CJ E&M, 2 KMP , KT, Universal Music,
3 SM, Sony Music,
26
(3)
, .
5%, 1% .
.
, 7 3 .
, 5 4 . , AC
,
.
N 1 2 3 F-test(p-value)
3 37 1,586,366
2.668 (.015*)
6 65 1,609,807 1,609,8072 68 1,674,620 1,674,6204 29 1,845,957 1,845,957 1,845,9571 55 1,860,534 1,860,534 1,860,5345 82 1,894,901 1,894,9017 8 1,969,386
.126 .111 .485
N 1 2 F test(p-value)
3 35 10,958,078
3.22 (0.004**)
1 59 12,903,251 12,903,251
7 6 13,833,372 13,833,372
2 63 14,028,011 14,028,011
6 60 14,321,066 14,321,066
4 27 15,233,989
5 82 15,489,448
.069 .176
K-pop 27
.
K-pop
.
. ,
.
. (Dan Levitin)
DNA 500 .
( 2009).
.
(University of Bristol 2012).
.
.
AC .
, , ABCD
,
.
.
,
.
, .
,
. 7
, ,
, , , , AC(Verse, Chorus)
.
.
28
. , ,
.
.
.
.
,
. , ,
, , (Key)
.
(Featuring) (Collaboration)
. , /
. MBC
(Collaboration)
.
,
.
.
.
,
.
, 2 3
, 7 AC . ,
OST,
.
. ,
,
.
.
K-pop 29
.
.
AC OST
. ,
.
.
. ,
. K-pop
. ,
.
.
.
.
.
.
30
.
(2001). , .
(2001). , .
, (2005). , , 16(2): 1-14.(1999). :
, . (2009). , .(2001). MP3 -
, (2003). ,
.
(2009) : , .(1998).
, .(2004). , , 16: 195-215.(2005). :
, , 13(4): 102-119(2007). ,
.
(1999). , ., (2011). , . (2005). , , . (2007).
, .
K-pop 31
.
Apel, W. (1944). Harvard Dictionary of Music, Cambridge: Harvard University Press.
Asai, S. (2011). Demand Analysis of hit Music in Japan, Journal of Cultural Economics.
35: 101-117.
Bhattacharjee, S., Gopal, R. D., Lertwachara, K., Marsden, J. R., & Telang, R. (2007). The
Effect of Digital Sharing Technologies on Music Markets: A Survival Analysis of
Albums on Ranking Charts, Management Science, 53(9): 13591374.Burke, A. E. (1994). The Demand for Vinyl L.P. s 19751988, Journal of Cultural Economics,
18(1): 4164.Chung, K. H., & Cox, R. A. K. (1994). A Stochastic Model of Superstardom: An Application
of the Yule Distribution, Review of Economics and Statistics, 76(4): 771775.Cooper, G., & Meyer, L. B. (1960). The Rhythmic Structure of Music, Chicago : The University
of Chicago Press.
Creston, P. (1964). Principles of rhythm, New York: Franco Columbo.
Duke, R. A. (1987). Musicians Perception of Beat in Monotonic Stimuli, Unpublished
research paper, MENC Southern Division Conference, Orlando, FL, May.
Farnsworth P, R. (1969). The Social Psychology of Music(2nd ed.). Ames: Iowa State University
Press.
Fraisse, P. (1982). Rhythm and Tempo(Ed.), The Psychology of Music(pp. 149-180).
New York : Academic Press.
Gaston, E. T. (1968). Man and Music. In E. T. Gaston (Ed.), Music in Therapy (pp.7-21).
New York: Macmillan
Geringer, J. M., & Madsen, C. K. (1984). Pitch and Tempo Discrimination in Recorded
Crchestral Music among Musicians, Journal of Research in Music Education, 32:
195-204.
Geringer, J. M., Madsen, C. K., & Duke, R. A. (1993). Perception of Beat Note Change
in Modulating Tempos, Council for Research in Music Education, 119: 49-57.
Gordon, E. (1971). The Psychology of Music Teaching. Englewood Cliffs, NJ : Prentice-Hall.
Hamlen, W. A. (1991). Superstardom in Popular Music: Empirical evidence, Review of
Economics and Statistics, 73(4): 729733.Lundin, R, W. (1967). An Objective Psychology of Music(2nd ed.), New York: Ronald Press
MacDonald, M. (1988). The Economics of Rising Stars, American Economic Review,
32
78: 155-166
Mursell, J. L. (1937). Psychology of Music, New York: McGraw-Hill.
Mussulman, J. A. (1974). The Uses of Music : An Introduction to Music in
Contemporary American Life, Englewood Cliffs, NJ : Prentice-Hall.
Roederer, J. G. (1995). The Physics and Psychophysics of Music : An Introduction(3rd
ed.), New York : Spring-Verlag.
Rosen, S. (1981). The Economics of Superstars. American Economic Review, 71(5): 845858.Sink, P. E. (1984). Effects of Rhythmic and Melodic Alterations and Selected Musical
Experiences on Rhythmic Processing, Journal of Research in Music Education,
32, 177-194.
Sloboda, J. A. (1985). The Musical Mind, Oxford: Clarendon Press.
Stamm, K. B. (2000). Music Industry Economics, Lampeter, Ceredigion, UK: The Edwin
Mellen Press.
Stevans, L. K., & Sessions, D. N. (2005). An Empirical Investigation into the Effect of
Music Downloading on the Consumer Expenditure of Recorded Music: A Time
Series Rpproach, Journal of Consumer Policy, 28(3): 311324.Stevens, S. S. (1975). Psychophysics, New York: Wiley.
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Popular Music Industry, Journal of Cultural Economics, 24, 113-134.
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Consonance, Acta Psychologica, 20: 308-319.
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of Research in Music Education, 31: 49-55.
K-pop 33
[Abstract]
Clustering K-Pop Hit Songs
Choi, Hyeok-Jae*Ahn, Sung-Ah**
The popularity of K-Pop has spread beyond Asia and into the global market.
However, although studies have focused on external factors of Korean music, such as
singers and media, there is a lack of research on the hit songs themselves.
The purpose of this study is to identify the characteristics of hit song types based on
musical factors in order to find the determinants of success in K-pop songs. Other external
characteristics such as sales are also considered to explain the differences among the types.
In this paper, data from the top 200 songs in a K-pop chart were collected and
cluster analysis was applied. The results show that there are seven hit song groups that
reflect the recent trends in the music market. First, recent hit songs have more complex
forms than older hit songs. Even songs with simple forms can have appeal to mass consumers
by using different compositions and arrangements. Second, dance music, including electronica,
has had a significant impact on K-pop, which shows an active embracing of trendy pop
arrangements and sounds. The current popular music of South Korea seems to be as
competitive as its overseas counterparts in the global market. Third, rock and indie music
with low market shares in the environment of K-pop has grown considerably through television
programs. Last, collaborations such as works that involve feature singers promote exchanges
and development between different genres.
This study plays the role of a bridge between the knowledge of music and economic
methodologies. Furthermore, the results based on musical factors have helped identify
recent music trends and offer hit musical notes and characters, topics that have not been
discussed in previous studies. Such data may be useful for producers and creators in
* Chugye university for the Arts, Graduate school of Culture and Ats Business, Department of Entertainment Business, Master of Business Administration, [email protected]
** Chugye university for the Arts, Department of Film and Entertainment. Professor, [email protected].
34
composing popular songs and developing marketing strategies.
Key Words : K-pop, music, music industry, hit song, cluster analysis