Hallyu Interventions

An on-going series of works that engages with the globalization of South Korean contemporary culture otherwise known as the hallyu wave via the sounds of Korean popular music

Program Notes:

The word “baby” is one of the most frequented lyrics in K-Pop girl group songs, but that’s also true for Beyonce, The Beatles, Prince, and Aretha Franklin. What differentiates K-Pop is the specific bubblegum pop sub-genre that exhibits the Korean concept of aegyo which is not so much of a personality, but a character that forces a cute, affectionate, and often humorous and flirtatious innocence—in other words, acting and sounding like a baby.

I sample interviews from Music Bank, one of Korea’s broadcast music programs, where each performing group recites a formulaic countdown and answers questions one-by-one in rapid fire succession before performing on stage. I take vocal snippets from love songs of women pining over men and obscure the gendered aural signifiers in a queering of a genre and society that falls behind in LGBTQ advocacy and visibility. From aegyo soundbites to bizarre and campy English lyrics, I used Meta’s machine learning hybrid source separation software to isolate vocals from some of the most iconic and representative songs in this particular sub-genre by the following girl groups within the decade of 2010 to the present: SNSD (Girls’ Generation), APink, GFriend, Red Velvet, TWICE, and STAYC. While scrutinizing the exploitation of these young women, the work also recognizes their individual artistries that continue to captivate their growing fandoms.

This is the first work of a series on K-Pop samples, the second written for singing clarinetist, electronics, and animation for Eric Jacobs called listen, boy.

Program Notes:

Through Meta’s machine learning hybrid source separation software, I scavenged soundbytes of female K-Pop idols singing about a male counterpart and filtered them for a queering of our perceptions of gender, masculinity, and sexuality. With my interventions, I aspire to show the invisible ecologies within this massively globalizing musical genre via a narrative about the modern dating experience - apps, the dead conversations from them, dopamine hits, screen addiction, and ghosting.

This is the second work of a series on K-Pop samples, the first written for the HOCKET piano duo called soshi so$$$hi.