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Soul in SeoulAfrican American Popular Music and K-pop$
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Crystal S. Anderson

Print publication date: 2020

Print ISBN-13: 9781496830098

Published to University Press of Mississippi: May 2021

DOI: 10.14325/mississippi/9781496830098.001.0001

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PRINTED FROM Mississippi SCHOLARSHIP ONLINE (www.mississippi.universitypressscholarship.com). (c) Copyright University Press of Mississippi, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in MSSO for personal use.date: 18 September 2021

“Listen to the Music”

“Listen to the Music”

African American Popular Music and K-pop

Chapter:
(p.3) 1 “Listen to the Music”
Source:
Soul in Seoul
Author(s):

Crystal S. Anderson

Publisher:
University Press of Mississippi
DOI:10.14325/mississippi/9781496830098.003.0001

This chapter defines K-pop with a focus on hybridity that reveals citational practices that draw on African American popular music and are confirmed as authentic by fans functioning as K-pop’s music press. This definition goes beyond “idols,” or Korean performers who sing and dance, to capture the diversity of K-pop artists that share characteristics that transcend genre. Hybridity, K-pop’s most salient characteristic, is largely informed by African American popular music. It reflects intertextuality through the emulation of R&B genres and improvisation spurred by Korean popular music aesthetics that expands those genres. K-pop’s music citational practices are deemed authentic by a transcultural fandom that produces critical cultural production and, in doing so, function as part of the music press for K-pop.

Keywords:   Idols, Hybridity, Intertextuality, Citational practices, Transcultural fandom

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