Implications of K-pop music's crossover with other music genres are discussed in this paper.Title : Hero Label : SM Entertainment Genre: K-POP>Man Group Release Date: Media : 2CD+1DVD Origin : Korea, South Condition: Brand New & Factory Sealed Track info CD 1. However, the idol aesthetic scale was found to be statistically insignificant in this study. The results also showed that three scales are important elements in increasing fans' general satisfaction, with Korean culture as the most important scale, followed by the talent, and performance scales.
All the sixteen statements were found to be highly reliable. A total of 207 samples were collected, and data taken from the respondents were processed with factor analysis, reliability test, descriptive statistic test, and multiple regression tests to obtain results. At the end of the survey, fans were also asked to rate their general satisfaction of K-pop music. Fans were asked to rate sixteen statements in terms of how likely each statement describes the reasons they like K-pop music.
An online survey form was generated and posted on the social media. A quantitative survey was tested on K-pop music fans to find how these factors affect the fans' general satisfaction. The original contribution of this paper is to identify a list of success factors of K-pop music and to validate the reliability of the factors identified.
It also concludes that the consumers of K-pop have effectively been conditioned to expect certain behaviour from their chosen idols and agencies as they derive enjoyment from the capitalist venture of purchasing and supporting them – as the theory of cultural industry identified in the 1940s. This dissertation concludes that the K-pop industry makes no effort to hide its purely capitalist motivation, and that its success is based primarily on such business decisions. It also identifies how Lee Soo-man’s practice of “cultural technology” became the blueprint for the K-pop industry as a whole in the early 2000s, leading it to reach substantial international success by the end of the decade. These examples include several groups, but primarily the three founders of the three most successful K-pop production houses. It draws on theories of cultural commodification, the reduction of art into a product and the standardisation of popular music using selected key examples in K-pop itself. It argues that K-pop is not only a perfect fit for the Frankfurt school’s theory, but a continuation of it in a manner that was not predicted. The aim of this dissertation is to identify how the theory of cultural industry applies to the Korean pop music industry.
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