Hello and happy Spring Break! My name is Becca and I’ma Student Assistant Lead at the Music Library Services Desk. This week I’mmaking the most of my Spring Break by spending time with family and friends, creating music, and working in the Music Library. Here’s what I’m listening to!
Raye Zaragoza makes political folk music that feels very powerful to me and this song is no different. It also feels “spring” and “break” and beautiful.
When I listen to this song, I like to sing a crunchy little harmony during the chorus and of course, clap my hands when appropriate. Request Dragon New Warm Mountain I Believe in You from our Remote Storage location!
“Little Bit” – Lykke Li
A blend of indie pop, dream pop and electronic music, Lykke Li gives us this banger from her debut studio album, Youth Novels.
“Weekend” – Upstate
I DO “just wanna take you out on the weekend,” but I gotta go to work in the morning!
“Flowers & Superpowers” – Wafia
If anyone has any tips on how to make a song that sounds like this, please let me know. It makes me feel like I’m having the best dream.
Shoutout to UNT Commercial Music Lab (formerly The Zebras) for introducing me to this #awesome song. You’re right, Hiatus Kaiyote, I don’t wanna be anywhere but in my bedroom. Yet, we prevail! We get out, we go to work.
I’m leaving you with much to think about here. In my opinion, you should listen to this whole album if you’re into shoegaze-type, indie pop, alternative stuff.
Take a little listen to the Spotify playlist below to take a look inside my brain!
Did you know that The Soundbox at the Music Library provides high quality recording equipment that is available for checkout? This equipment is a great tool for musicians looking to update their professional recording portfolio, complete audition or competition recordings, and fulfill recording requirements for classes. Patrons can practice setting up and working with advanced audio equipment by checking out these materials. You do not have to be a trained audio engineer to get a good recording.
As a cellist and graduate performance major, I always have a recording project or two on my to-do list each semester. My role as a Graduate Services Assistant for the Music Library has made me passionate about utilizing library resources and sharing this information with others. The first time I checked out this equipment, I was beyond impressed with the sound quality. I have successfully recorded solo cello, cello with piano, string trio, and piano trio with this equipment. I have created the following guide so you can do the same.
After you have planned for your recording session, come to the Music Library to check out the following equipment: Focusrite Scarlett Audio Interface, 2 XLR cables, matched pair of Rode Microphones, and a microphone stand. Bring a big bag, as it is quite a bit to carry. You will also need a computer, Focusrite audio interface software (available for free to download from the Focusrite website), a Digital Audio Workstation (DAW) to record the audio (Audacity is easy and free to download). Additional DAWs are available for use at the Soundbox. If you are recording video, you will need a camera and tripod, which can be reserved and checked out at The Spark).
Next, do your research. Learn the basics about stereo versus condenser microphones and recording in mono/stereo. Do some research about the best microphone placement for your ensemble and consider the acoustics of your recording venue. Rode has several tutorials on microphone placement on their website. In the beginning, I did a lot of googling and watched several YouTube tutorials. The Soundbox staff can help you with your research, so do not hesitate to ask questions.
I would suggest checking out the equipment before you need it, to practice setting it up and experimenting with microphone settings for best results. Alternatively, practice setup with a friend who can help the day of your recording. This may make your life a little easier.
To set up the equipment, first make sure you have downloaded the correct Focusrite and DAW software to your computer. Attach the microphones with the XLR cables to the interface and plug the interface into the computer. Set up and position your camera if you are recording with video. All Soundbox equipment has a QR code that links directly to the equipment manual. Scan the code to consult the manuals with any questions.
Once the equipment is set up, test your sound levels. Record small sections of the softest and loudest parts of the piece to ensure the microphones pick up the full dynamic range of your playing. If playing with an ensemble, listen carefully for blend in the sound. If the sound is unbalanced, consider adjusting the gain and/or placement of the microphones.
After you have set up and tested your sound levels, you are ready to record. In my experience, this process has always been easier than the setup. My philosophy for recording sessions is to do no more than three complete takes in one sitting. Take the time you need to rehearse, then when you feel ready, record! Before you start playing, make sure to press record on both video and audio components. Clap before you play so that when you are editing later, it is easy to sync the video with the audio.
After recording, save your files to the computer. Make sure to carefully disassemble and pack up all equipment and return all checked out materials to the library by the due date. Recording materials accrue significant fines if late, so make sure to return them on time!
Once you have listened to each take and chosen the one that you prefer, sync the audio and video. This can be done easily by importing both the video and audio files into a program like Adobe Premiere, iMovie, or Microsoft Clipchamp to name a few. Many of these programs are available on library computers. Line the files up at the clap at the beginning of the recordings, then cut both files as desired. After synchronizing the audio and video components, export your final recording.
Curious to hear what kind of sound quality you can get using this recording equipment? Here is an example:
Since the first time I checked out this assortment of recording equipment from the UNT Music Library, this setup has become my preference for creating high quality recordings. I have helped multiple friends replicate this setup for their own recording projects and have even invested in some of the equipment myself for future projects. With a little time, patience, and practice, you can develop the knowledge and skills you need to produce a quality recording fitting your needs. For your next recording project, consider checking out recording equipment from the UNT Music Library. Students, faculty, and staff all have access to these resources for free. We are here to assist you as you learn!
Several student assistants from the UNT Music Library, including a recent graduate of the Music Librarianship program, attended this year’s Annual Meeting of the Music Library Association in Cincinnati, Ohio from February 28-March 3, 2024. It was a fun-filled week of learning and meeting new colleagues within the profession; for some, this included a road trip that was one for the ages, with UNT music librarian Blaine Brubaker leading the way! In this post, three emerging music librarianship professionals describe their experiences.
Steven Sellers
Steven is a recent graduate of the music librarianship program at the University of North Texas and now uses skills learned through the College of Information and at the Music Library to create metadata in a new position. Prior to starting his new job, Steven attended the Music Library Association conference and participated in a variety of ways, from presenting on video game music to performing in the big and rock bands. About his experience, Steven shares:
“I recently had the privilege to present at the annual Music Library Association conference in Cincinnati, Ohio in February/March of 2024, and I had a pretty remarkable experience! I worked with my colleagues at UNT and other institutions to discuss the lifecycle of video game music in the library, with our panel being led by Joshua Deringer of the University of Minnesota. My section of the presentation focused on preservation of video game music (VGM), and I was elated to see so many eager researchers, musicians, and librarians that were interested and attending our presentation. Some of the topics I talked about included how it is important to enclose your media, store items in a climate-controlled environment, and remove any batteries of media or playback devices to prevent corrosion. My colleagues also spoke on topics in their area of expertise, like VGM access, acquisitions, research and outreach. In order to properly prepare for this presentation, I created a list of common problems I have encountered in my own work as a music processor and preservation assistant. I also reviewed materials from classes I have taken on the subject of preservation during my Master of Library and Information Science (MLIS) degree. Additionally, I met with a colleague at Willis library who specializes in preservation and briefly interviewed them about some of the practices they employ when considering how to properly retrieve, store, and preserve media. I compiled this information into a brief bulleted list of notes, and included some keywords and transitional phrases to allow me to keep my focus on the audience attending our presentation rather than reading my notes verbatim. Overall, I am really pleased with the result and grateful for the opportunity to work with more established professionals in my field on a topic that we are all passionate about. Below is a photo that we took at a Buc-ees along the way :)”
Steven is currently working on a co-authored writing piece for the Journal of Sound and Music in Games as part of the Press Start Special Series within the journal.
Joseph Sioui
This was Joseph’s first year attending the conference and was one of the recipients of the association’s Diversity Scholarship. About the scholarship, Joseph writes, “It was an honor to be acknowledged for my passion for improving diversity at music libraries. It made it possible for me to attend the conference.” About the conference, Joseph states, “I had a great experience! Getting involved in the big band, rock band, and attending all of the lunches/coffee breaks, receptions, and presentations that I could. It was fun and helped me feel comfortable, grow, and network with other attendees.”
Left to right: Steven Sellers, Buc-ee, Blaine Brubaker, and Joseph Sioui.
Alexa Frederick
Alexa prepared an informative poster presentation on open access educational resources for this year’s conference and describes some helpful opportunities offered through the Music Library Association’s mentoring program and the Music Library Student and Emerging Professionals Interest Group (MLStP). She reflects:
“I recently attended my first National Music Library Association conference in Cincinnati, Ohio at the end of February and beginning of March 2024. I had an amazing experience at the conference through the conference mentorship program, the MLStEP events, and by presenting my first in-person poster!
For any students or early career professionals attending their first MLA, I would highly recommend participating in the conference mentorship program! It’s a great opportunity to meet new librarians in the music librarianship profession. I was paired with Catherine Hammer, who works as a librarian at AMDA College and Conservatory of the Performing Arts in New York City. We met at the first-time attendee’s reception, which is a welcome event for first time conference attendees and mentors, and we attended sessions together. Catherine introduced me to other professionals in MLA that I might not have met otherwise! There are other networking events sponsored by MLStEP, which is the students and emerging professionals’ group in MLA. There was an MLStEP social at the hotel where students and emerging professionals gathered to talk and enjoy drinks at the hotel. There was also a karaoke night that was open to students and emerging professionals. I was surrounded by a wonderful community of students and professionals at MLA as a first-time attendee!
I also had the opportunity to present a poster at MLA. My poster is called Free and Open Access Resources for Music Education Students and Music Educators. This poster was initially a project I worked on as a senior music education student where I gave a research presentation on critical source evaluation for Diversity, Equity and Inclusion resources for the music classroom. I realized that the free online resources I collected for that project would be helpful for librarians across the country to share with their music education faculty and patrons. In addition to sharing those resources, I researched the needs of educators when it comes to accessing resources for the classroom. I was initially nervous about presenting this poster. I prepared for the presentation by receiving feedback through one-on-one meetings with the Information Literacy and Outreach Librarian, Kristin Wolski, and completing practice presentations with the librarians at the Music Library. At the conference, there were many people that were receptive to learning more about how they can support their music education students and music educator patrons. I am grateful for the opportunity and felt successful in sharing the information about this topic with other librarians.”
Alexa Frederick Standing with Poster at the Music Library Association Conference 2024.
Alexa continues, “For any students looking to grow their network and learn more about music librarianship, I highly recommend attending an MLA meeting. While I enjoyed the National conference, I understand that attending this kind of conference might be financially daunting. There are support systems in place from MLA to help students attend through scholarships, travel grants, and the room lottery. There are regional chapters as well that host meetings. The cost of attendance is typically lower than the national conference, and the regional chapter meetings are easier to travel to.”
Alexa Frederick Presenting Poster at The Music Library Association Annual Meeting 2024.
Regional Chapter Meetups
Left to right: Megan Cooper, Alexa Frederick, and Blaine Brubaker
An added bonus about the annual Music Library Association meeting is that regional chapters often meet for a fun dinner! The annual meeting also serves as an excellent time to reconnect with local colleagues. From the Texas Music Library Association dinner, Alexa met with colleagues Blaine Brubaker (University of North Texas) and Megan Cooper, (Prairie View A&M University), with the rest of the Texas crew pictured behind them.
With a sturdy foundation of choreography, vocals, and merchandise from the previous generations, the years 2012-2018/2019 represent the third generation of K-pop. During this generation, the Hallyu Wave starts to expand to the Western Hemisphere. While Western media infiltrated Korean media for decades before this time, Korean media finally reached the West and is still expanding its global audience. Some would argue that Psy’s “Gangnam Style” in 2012 was the start of Generation Three, others believe that groups such as EXO, BTS, Seventeen, TWICE, and Blackpink paved the way. When Psy’s viral music video became a huge sensation, K-pop was introduced to many who did not know this genre of music existed. Soon, fans became curious about K-pop, allowing people to find other third generation groups.
Figure 1. BTS at the 2022 Grammy Awards
With this influx of attention, Generation Three started debuting a string of members called the “global line”. These members are artists that are not from Korea but went through similar training periods to debut. Trainees spend months to years practicing dancing, singing, rapping, acting, and more while going to school. These students spend hours a day in a practice room honing their skills to hopefully debut and transition into “idol” status. International trainees would take additional classes to learn Korean and experience Korean culture. These members are a crucial part of each team in performances, but also when communicating with fans from different countries. As K-pop continues to expand, groups want to ensure they can communicate with fans around the world. Idols can audition from practically anywhere, including the United States, Canada, Australia, Britain, Indonesia, Thailand, Japan, China, Mongolia, and more.
This extended communication is especially helpful when groups started Asia and World Tours. As Korean media became popular, entertainment companies fulfilled international fans’ wishes to see their favorite artists in person. These tours could last for months, or even a year, and allowed artists to meet their fans. Many groups have a translator at venues to be able to communicate more easily. Members who can speak the fan’s language fluently communicate without delay, creating an exciting concert experience for both fans and artists.
Figure 2. Seventeen’s “Be the Sun” World Tour in Ft. Worth, Texas
Much of Generation Three’s merchandise was similar to Generation Two, but photocards and light sticks became a staple in the K-pop industry. More advancements in advertisement and merchandise were made in Generation Four.
Generation Four
The fourth generation of K-pop groups starts around 2018/2019, bringing a new era of sound and sampling. Groups and producers experiment with different genres and instrumentation that are not traditional in K-pop. In the early stage of Generation Four, many groups sampled tracks from classical music, such as J.S Bach’s “Air on the G String” in Red Velvet’s “Feel My Rhythm,” or Beethoven’s “Symphony No. 9” in Ateez’s “Wonderland.” Additionally, some groups started sampling tracks from other music, such as Frere Jacques’ “Traditional Folk” in NMIXX’s “Young, Dumb, Stupid,” and “I Will Survive” by Gloria Gaynor in IVE’s “After Like.” Along with samples in songs, Generation Four starts expanding into different genres of music. Groups and solo artists are expanding into genres like reggaetón, such as LE SSERAFIM’s “Fire in the Belly” and Kai’s “Rover,” or rock and hip-hop in Stray Kids’ “Time Out” and “District 9”.
Figure 3. LE SSERAFIM, Generation Four Artist
This is also the generation of COVID-19. Covid greatly affected the K-pop industry. Due to social distancing requirements, idols were not able to meet fans in person or go on tours. This resulted in many events moving to a virtual platform and forced companies and fans to find creative ways to support each other during these rough times. In-person fan-sign events and concerts were moved online and even merch became available virtually.
Fans all over the world would use social media like X (formerly Twitter) to publish forums and post compilation videos of themselves singing the artists’ songs. Official fan accounts would team up with the artists’ management company and send these videos to show at concerts as a surprise event/gift for the artist. Fans also showed support by ordering café or food trucks and sending them to the artists’ filming sites so the artists and staff could eat while working.
Although the pandemic was a hard and bleak time, it created new methods of entertainment. Even now as the pandemic has relaxed, many artists continue to have online and in-person concert tickets for both Korean fans and international fans. They also have online opportunities such as birthday and anniversary events and web magazines.
As K-pop and the Hallyu Wave continue to grow, more generations of K-pop will emerge and bring new music and entertainment to a vast worldwide audience. Some say Generation Five is already here, with new groups such as NewJeans, ZEROBASEONE, and BoyNextDoor bringing a happier and more nostalgic sound. Others say K-pop is in a transition phase, but fans can only wait with hope to see what Generation Five and beyond can bring to this genre of music.
Check out our playlist featuring music from the groups mentioned in this blog!
Mathew Velilla (Author), Meghan Sprabary and Kristin Wolski (Editors)
This blog was initially inspired by a library Subject Guide that I helped curate in the Spring of 2021. The guide is a compilation of LGBTQ+-related resources that we have in the Music Library collection at the Willis Library. As it developed, I was interested in starting a project relating to the music and history of the AIDS virus in the United States from the 1980s until now.
Since the start of the HIV/AIDS epidemic during the 1980s, the disease has taken the lives of 675,000 Americans and nearly 40.1 million globally. As a Latino and gay musician, I found this topic hitting close to home. I have friends and acquaintances who have the virus and are living happily today due to advancements in medicine. I wish to push more awareness about the disease that has plagued the gay community, and how we have made tremendous strides in a positive direction to find new treatments for HIV/AIDS. How does this relate to music, you may ask? Well, if we take a quick peek in history, we find that some of the great composers we know of today were part of the LGBTQ+ community. However, they were not always able to express their true nature publicly.
When the HIV/AIDS epidemic hit, the gay community was impacted significantly as the disease spread like wildfire. The disease was even originally known as GRID (Gay Related Immune Disease) because the first infections were found in gay men, but it quickly changed when they found infections other groups. However, upon initial discovery of the virus, people did not know how it was spread or even why it was lethal. The lack of knowledge and awareness had created high amounts of stigma for those infected. The gay community faced significant fear and anger, and some even termed the disease “gay cancer.” The widespread impact of HIV/AIDS on the gay community inspired several protests and initiatives to try to control the disease, such as promoting contraception and sexual health, and easily accessible health care for those infected. Readers can learn more about HIV and AIDs through the MedlinePlus open-access database.
Responding through Art
As time went on, many celebrities came out as HIV positive, such as Liberace, Rock Hudson, Freddie Mercury. Other celebrities became HIV activists, like Princess Diana of Wales and Elizabeth Taylor. Due to the work of those celebrities and many other activists, HIV/AIDS began to be less stigmatized, and awareness grew for the disease and those infected. Many popular and classical musicians responded by composing new music. Pop songs such as “The Last Song” by Elton John, “Streets of Philadelphia” by Bruce Springsteen, Janet Jackson’s “Together Again,” and Madonna and her song “In this Life” were all inspired by the HIV/AIDS epidemic.
Musicians also responded musically to this time. One of the most significant pieces to come out of this time is New York City composer John Corigliano’s Symphony no.1. His first Symphony is based on his grief at the loss of so many friends during the epidemic. The piece was commissioned for the Chicago Symphony Orchestra and debuted in 1991. Symphony no. 1 has four movements of bittersweet memories, anger and strife, denial and acceptance, confusion and understanding. It was inspired by the AIDS Memorial Quilt, one of the most impactful pieces of advocacy throughout the epidemic. Each AIDS Memorial Quilt panel was 6‘ x 3‘ to represent the size of an average grave. Names of deceased AIDS victims were stitched into the quilt panels, along with art, belongings, and memories. The inaugural display of the AIDS Memorial Quilt was on October 11, 1987 in Washington, D.C. during the March on Washington for LGBT rights. 1920 panels were displayed at the time, but it continues to grow and now has nearly 50,000 panels.
Several other pieces of music were inspired by the AIDS Quilt, including Corigliano’s Ghost of Versailles, Mark Adamos’ Late Victorians, and Kevin Oldham’s Sarabandeand Toccata, Op. 19. The UNT Music Library has the original AIDS Quilt Songbook available for checkout if you would like to explore more music inspired by the HIV/AIDS crisis.
Likewise, local communities in DFW responded by making quilts to honor loved ones. For example, the Turtle Creek Chorale submitted panel block number 0600 to the AIDS Memorial Quilt. Also, Michael-David Light created a quilt honoring Turtle Creek Chorale members lost to AIDS. Find more resources from the Dallas Metroplex Chapter of the NAMES Project Foundation in the UNT Digital Library, as well as in the UNT Digital Libraries’ LGBT Collections. Also, find out more information about local responses by visiting the UNT Libraries’ Special Collection from 2017, Threads of Remembrance.
Listens to selections from the artists discussed above on our Spotify playlist.
Through the decades, K-pop has expanded in terms of choreography, genres and merchandise. This three-part series discusses the different generations of K-pop. In the previous blog, we talked about the history of Korean music before the rise of K-pop idols. Today, we will discuss the first two generations of K-pop and the rise of the Hallyu Wave.
The first generation of K-pop started with the debut of the trio boyband, Seo Taiji and Boys. They debuted in 1992 on MBC’s Talent Show, a national televised show in Seoul. Seo Taiji and Boys’ popularity was overwhelming from the start. Seo Taiji and Boys’ debut song “I KNOW” introduced a new sound and style of music into Korean mainstream culture. The song incorporated more Western style of pop instead of the more traditional Korean music and funk. With this change, Seo Taiji and Boys grew popular with the younger generation. This provided more challenges, but more room for exploration within Korean pop music. After their incredible success, Seo Taiji and Boys disbanded and each member went on their own paths. Seo Taiji continued to do music as a soloist, while Yang Hyun Sik set up an entertainment company, Y.G. Entertainment, that dominated K-pop in the early 2000s. The last member, Lee Juno, was involved in a scandal and is no longer covered in media. After their disbandment, a new group of artists came into the spotlight.
Figure 1. Seo Taiji and Boys
H.O.T. became the first group to be named “idols” in the industry. Idols can be defined as students who undergo intense training for the purpose of debuting as dancers and singers. H.O.T. debuted under the management of S.M Entertainment and quickly gained a huge fan base. After H.O.T., more groups such as S.E.S., G.O.D., and Shinhwa debuted and expanded K-pop nationally, solidifying the sound of Generation One K-pop. Soloists such as BOA and RAIN were also very popular during this time. Their strong visuals, based on the Korean beauty standards such as pale skin, thin bodies, and symmetrical facial features, and their “scandalous” performances and music videos were perceived as risqué.
Most K-pop groups of this time promoted their music by going on music shows. Korea took influence from the Western TV channel MTV and produced their own version of music charts and awards. These music shows were a way for artists to show off their performances and gain popularity. As technological advancements progressed and broadcast companies started televising variety shows, more opportunities for idols arose. These variety shows allowed idols to introduce themselves to people not in their immediate audience group and gain popularity in a larger age range.
Generation Two
Generation Two of K-pop starts around 2001 and ends around 2011. Many more idol groups debuted, such as Big Bang, Girls Generation (SNSD), Shinee, 2NE1, Wonder Girls, and Super Junior. The choreography of each generation became more intricate over time. However, one of the main differences between Generation One and Generation Two were the different types of merchandise that were sold with the groups’ albums.
The classic album consisted of the CD and a photobook with the album description. However, starting in Generation Two, the first photocard was printed by SM entertainment. A photocard is a collectible picture of a member or group, about the size of a debit card. The first appearance of these photocards were in Girls Generation’s album “Oh!” in 2010. As more companies started to print their own photocards, many also added goods like multiple photocards, postcards and posters to their albums. Fans were excited for these additions and used these tradeable collectibles as a way to communicate with others within the fanbase.
During this time, the first lightstick was made for and by the K-pop group, Bigbang. The members wanted to see their fans in the crowd while they performed and proceeded to have lightsticks made for fans to purchase. With the release of “the Bangbong,” the official name of Bigbang’s lightstick, many idol groups were influenced and produced their own. This allowed each fandom to be more uniform, feel independent from other fandoms during performances, and created a sense of fandom loyalty.
Figure 3. K-pop Lightsticks
The emergence of collectibles and fandom loyalty, on top of the idols’ performances and music, made K-pop a big hit across the nation and outside of South Korea. Between 2001 and 2011, the first expansive wave of Hallyu media expanded across Central and South Asia. “Hallyu” is a Korean term defined as Korean media, such as Korean dramas, movies, music, food, etc. This spread of Korean media is known as the “Hallyu Wave”. Prior to K-pop, Korean dramas and movies were already being consumed outside of Korea. However, as more K-pop groups emerged and fanbases expanded, the Hallyu Wave extended to Western hemisphere. As we explore later generations in our final blog, we will see more global accomplishments and recognition for K-Pop artists and the effects of COVID-19 Pandemic on the genre as a whole.
Check out our playlist featuring music from K-pop Generations one and two below!
Korean pop, better known as K-pop, has been on the rise all around the world. With more K–pop artists going on world tours and more Korean music being involved in Western music award shows, many believe K-pop is new and young. However, much like any music around the world, there is a rich history and buildup that allowed the K-pop we know today to flourish and receive so much attention. In this series of blog posts, we will look into the history of Korean music and explain the different generations of K-pop we know today.
Before Korean Pop
Before the influence of pop took over Korean media in the 90’s there was a different meaning to Korean music. From Korea being annexed by the Japanese Empire, the occupation of Korea by the United States during World War II, the Korean War, to C.H Park’s dictatorial control, the music played and listened to by the public portrayed the state of the country in different points of time.
Korea was under Japanese rule from 1910-1945, and under Japan’s rule, Korea’s economy flourished from technological advancements, increased commerce, and expanded urbanization. After a couple years of remodeling, the country was soon the second most industrialized nation in Asia, right below Japan. Korea’s advancement in technology allowed different media and Western influences to be introduced to the country; and with the help of broadcasts and recordings, a wider range of music became accessible for the common people. By the 1920’s, you could hear a mix of “European instruments, Korean words, Japanese melodies, and the stylings of early American Jazz” (Scalar) on the streets. It was this fusion of music that first identified the music genre of “Trot” in Korea. Trot uses pentatonic scales and mostly has alively rhythm that helps classify this genre from others. Many agree Trot branched from Japanese Enka, an early Japanese style of music that resembles American pop ballads from the 1940’s, and through time the genre established its own unique sound with the influence of Western media.
However, these advancements did not continue to flourish. Societally, tension between the Japanese government and the Korean people were always apparent from the start. Revolts and massacres were common, which led to protests and small underground organizations to form in pursuit of independence. As we know today, the Korean Peninsula was able to gain independence, however this surreal time did not last long. World War II started in 1939, during Korea’s fight for independence, and ended the same year that Japanese control ceased* in Korea in 1945. During this time, the Korean Peninsula was split in half: north of the peninsula was supported by the Soviets, while south of the peninsula was supported by the United States. And with no agreement on unifying, this division prompted two different governments to form, forming the two countries we know today. The Democratic People’s Republic of Korea and the Republic of Korea, in other words North and South Korea.
Figure 1. Lee Mi Ja
After a brief pause and small hope that the war between the two countries were over, the tension between the two North Korea to start an attack on the South. This resulted in the beginning of the next revolution the peninsula had to endure, the Korean War (1950-1953). With more loss and economic downfall, most of the influences regarding media was the music and games brought in by U.S soldiers. Trot was still popular during this time but went through a lot of refinements. After the end of Japanese rule, the government and organizations strived “to eliminate Japanese influences and create a unique Korean identity” (Creatrip). Refinements such as using local dialects, scales and melodies into the lyrics and harmonies allowed Trot to break away from Japanese Enka. Musicians such as Lee Haeyeon, helped solidify Korean Trot with her song “Heartbreaking Miari Hill” after the Korean War. Not only was this song popular among the citizens after the war, it also portrayed the state of the country dealing with separation and loss of loved ones. Soon after, more trot artists such as Choi Sook-Ja and Lee Mi-Ja sang songs reflecting the emotions and desires of Koreans for a better future.
After Korean Trot was made independent from Japanese influences, American musical influences were on a rise. Soldiers stationed at the U.S military bases across the country were the only consumers of music performed by Korean citizens. Performers catered to American tastes by learning the then-popular genres such as swing, classic pop and rock. These performances were also a source of revenue for the country, dominating the total export earnings of South Korea in the late 1950’s, allowing a slight nudge towards modernization.
President Park Chung Hee played a role into South Korea’s modernization. He was president from 1963 to 1979 and had an effective growth plan that increased the economy, infrastructure, and the recording and broadcasting industry. However, to President Park’s displeasure, these advancements allowed Trot to be more mainstreamed and accessible for the people with electricity. Although Trot was adapted to fit the Korean identity, President Park thought the genre still paid an homage to the Japanese government. For the newer generation, they found Trot to be old-fashioned and did not show the hopeful energy the younger generation felt as more educational opportunities appeared and the economy continued to grow. Trot slowly declined in popularity and in return new types of popular music emerged.
Influences from the Beatles and other American artists were introduced and were received with mixed feelings. On top of American pop, genres such as rock, American folk and later in the 70’s, hip hop appeared in Korean media. However, many Koreans did not have access to electricity and when introduced to these genres, some found the music to be loud and outlandish. With having a language most don’t understand, to different chord progressions used, the genres were alien to the old and younger generation. Even so, the younger generation were more optimistic about this new media. Many musicians nitpicked the genres and started to use them in their own music to build the foundation of Korean Pop.
Park Chung Hee’s government became more repressive and authoritarian as his regime continued. In addition to banning and restricting the rights of Korea’s citizens, he banned American rock and folk revival songs in concern over political content and morality and claimed, “that all his measures were necessary to fight communism” (Britannica). These acts led to the disapproval of Park’s government and in return many university students revolted against his control.He was assassinated, ending his regime, and soon the military took control over the government in 1980. Many bans were lifted, however, students and workers demonstrated against martial law to finally get rid of authoritarian control in South Korea. Students used popular music, rock to protest against the strict government and used music videos to express a different Republic of Korea that the younger generation craved.
Korean Rock continued to grow and was consistent in popularity, however Michael Jackson’s global popularity influenced popular music in Korea. His iconic dances and singing set the premise of how Korean pop could and will be in the future. Cho Yong-Pil and Kim Wan Son, nicknamed the “Korean Madonna,” dominated Korean media from the mid 1980’s and 1990’s. Both took influences from Western genres such as dance and electronic and expanded Korean media even further. Cho Yong Pil is known for his pop/rock and good feeling music, while Kim Wan Son was known for her synth-pop and funk genres. Kim Wan Son even had choreography to fit the different vibes of her songs, giving her the charisma and name “Korean Madonna.” Both artists dominated half of Korea’s media and attention from the younger generation, while ballads dominated the other half. Artists such as Lee Sun Hee and Lee Moon-sae were set as icons in this realm. Ballad artists sang about love and loss and allowed people to express their more mellow personalities more comfortably.
The stark difference between the genres of Funk and Ballads set up a wide range of what Korean popular music could be like. From 1910 to 1980’s, the build up of the foundation of K-pop took a lot of stress and resilience to form the entertainment we know today. And through this growth, we can now discuss each generation of K-pop in future posts on the Music Library blog.
Figure 2. Choi Yong Pil
Resources Consulted:
Korean Singers Who Were Famous In The 80s. (2021, October 9). In The 1980s. https://inthe1980s.com/80s-korean-singers/
Music in Global America: SOUTH KOREAN POPULAR MUSIC. (n.d.). Music in Global America. https://scalar.usc.edu/works/music-in-global-america/south-korean-popular-music
Romano, A. (2018, February 26). How K-pop became a global phenomenon. Vox. https://www.vox.com/culture/2018/2/16/16915672/what-is-kpop-history-explained
Creatrip: Trot Is Hot Again: How The Music Genre Made A Comeback In Korea. (n.d.). Creatrip. https://www.creatrip.com/en/blog/8731
South Korea | History, Map, Flag, Capital, Population, President, & Facts. (2022, November 10). Encyclopedia Britannica. https://www.britannica.com/place/South-Korea/History
With social media and the music industry now giving more autonomy to artists than before, Native American musicians have flourished with incorporating their identity into their music in recent years!Below are just eleven of the plethora of amazing Native American musical artists’ albums that I haveenjoyed listening to thanks to the Native community and my tribe.I haverecommended tracksand included brief summaries for each album. Enjoy the playlist at the end of this post!
Tongues (2022) by Tanya Tagaq
Track recommendation: “Tongues”
Canadian Inuk artist Tanya Tagaq pairs her throat singing, vocal ability, and lyricism with experimental electronic and beat music to create art music that unapologetically shares her experience. She is a two-time JUNO Award winner, Polaris Prize winner, and member of the Order of Canada.
A Tribe Called Red (2013) by The Halluci Nation
Track recommendation: “Electric Pow Wow Drum”
DJ group The Halluci Nation electrifies the sounds of powwow music in their albums. “Electric Pow Wow Drum” is their biggest hit. They are two-time JUNO Award winners.
Medicine Bundle (2021) by Supaman
Track recommendation: “I Hope You Know” with Ashley Hall
American Crow Hip-hop rapper, DJ, and producer Supaman’s Medicine Bundle consists of lyric heavy rapping and catchy hooks, most notably “I Hope You Know” with Ashley Hall.
My All To You (2018) by Beatrice Deer
Track recommendation: “Isumavunga”
Canadian Inuk singer-songwriter Beatrice Deer incorporates her identity into indie and modern folk music. She is a Canadian Aboriginal Music Award Winner.
Dancerz Groove (2012) by Northern Cree
Track recommendation: “Facebook Drama”
Powwow group Northern Cree brings modern expression to powwow music. They are nine-time Grammy nominees and two-time Juno Award nominees.
Sinematic (2019) by Robbie Robertson
Track recommendation: “I Hear You Paint Houses” with Vann Morrison
Guitarist and vocalist Robbie Robertson was a major member of The Band and worked with Bob Dylan. Sinematic is a modern blues/rock album that references the numerous collaborations Robertson has had scoring and sourcing music for Martin Scorsese’s films. “I Hear You Paint Houses” was part of Scorsese’s The Irishman (2019). He is a five-time Grammy nominee.
Axiom (2020) by Chief Xian Adjauh (Christian Scott)
Track recommendation: “Disapora”
Part of the Afro-Native American or “Mardi Gras Indian” population in New Orleans, Adjuah comes from a long line of musical performers. His musical style fuses elements of different cultural styles, such as hip-hop, blues, and West African music. Adjuah mainly plays trumpet. He is a six-time Grammy nominee and two-time Edison Award winner (Netherlands Grammy equivalent).
HUMANS (2021) by Anyma
Track recommendation: “If God Had a Boat”
Wendat Nation singer/songwriter Anyma utilizes electronic and indie pop styles to express her art.
Kikāwiynaw (2015) by Fawn Wood
Track recommendation: “Remember Me” with Randy Wood and R. Carlos Nakai
Cree and Salish vocalist and songwriter Fawn Wood often sets her music for voice and hand drum. “Remember Me” is her most popular song, featuring Navajo and Ute musician R. Carlos Nakai, an eleven-time Grammy nominee. Wood is a JUNO award winner.
Wolastoqiyik lintuwakonawa (2018) by Jeremy Dutcher
Track recommendation: “Mehcinut”
Classically trained vocalist and musicologist Jeremy Dutcher incorporates his Wolastqiyik identity into this album by teaming up with elder and song carrier Maggie Paul to breathe new life into old field recordings of their ancestors’ songs through well-produced, accessible classical sounds and sampling Maggie and the field recordings. This album won a Polaris Prize and JUNO award.
The Ballad of the Runaway Girl (2018) by Elisapie
Track recommendation: “Don’t Make Me Blue”
Inuk Canadian singer-songwriter Elisapie incorporates her identity into indie and modern folk music. She is a Juno Award winner and Polaris Prize nominee.
Wrap Up
The summaries were created based off general information found on the artists’ streaming pages, websites, award winning websites, and Wikipedia bios. Check out the playlist below to hear some selections.
LOCAL ARCHIVES, GLOBAL HISTORY: POST 8 BY EMMA WIMBERG
While Dr. Helen Hewitt was on her Guggenheim Fellowship in Paris, Hewitt’s mother, worried about Hewitt and how her time was going, wrote to her from the states to ask if she had found a women’s group with which to engage. Hewitt replied:
“I asked [a French colleague] about women’s societies; and he said they had a group of women who met to sew, etc., Tuesday afternoons at the church. Mother, do you really think I should take more afternoons off for this sort of thing, when I have so much to do? It does seem as though there are enough women who have nothing to do afternoons who can take care of such matters. I feel as though my time should be spent where it will do the most good – – in my own work.”
Hewitt was firm in her conviction about what she wanted in life: to establish herself as an organist and as a musicologist, making materials more accessible for others to study while publishing her own contributions to the field. She did not let the ideas about what a woman should be doing impact what she was going to do. This conviction—and the respect she earned through her work and actions—extended past musicology and into performance. During her time as a professor, Hewitt taught musicology classes and organ lessons. She studied under many famous organ teachers and was an incredible player in her own right, being highly sought after as an organist. This post will explore Hewitt’s reputation among performers and her dedication to the organ, and specifically to the organ studio at NTSU, its students, and the instrument the auditorium houses. This last point would eventually place Hewitt in a difficult position, where speaking her mind in the interest of attaining the best possible instrument for the university caused the Möller organ building company to consider filing a lawsuit against her for defamation.
In the mid-twentieth century, French organists commonly toured America to showcase their talent, which allowed Hewitt to forge a strong friendship with the famed organist and composer Jean Langlais. During one visit to Hewitt’s Denton residence, Langlais spent many hours playing with Hewitt’s cat, Lady Quintadina, named after an organ stop and her kittens. He became infatuated with them and not only remembered to call on the cat’s birthday, Valentine’s Day, but also wrote a piece inspired by the Lady and dedicated it to Hewitt. The movement in his American Suite was thus titled Scherzo: Cats and was first performed before its publication on the Möller organ in the North Texas State University auditorium that Hewitt herself had worked so hard to improve.
Figure 1: Newspaper clipping captioned “The Lady and the Cat.” University of North Texas Music Special Collections. Helen M. Hewitt Papers, 1887-1976, Series 1: Papers, Box 428, Folder 5.
The story of Hewitt and the Möller organ began not long after her hiring at the university. There were few organs on campus and 50 organ students. Hewitt began trying to shift the studio to be smaller and more focused, and for these changes to take hold the students needed a quality instrument with which to work. In the mid-1940s Hewitt started asking for a budget to fix the Möller organ in the auditorium, the only performance instrument used during her tenure. However, the dean at the time was more focused on furthering the vocal department rather than the instrumental one, and had turned down the previously proposed repair contract even after it had been looked over by Möller. Once Hewitt left on her Guggenheim to Paris, the dean’s retirement and the department’s regime change brought instrumental music up the ladder of priorities. The new acting dean, Dr. Walter Hodgson, who later became the dean, immediately sought out Möller to finalize a contract for the construction of a new organ console.
In March of 1948, the university signed a final contract with Möller Co. for $26,400 worth of work to be done on the new organ, including a new console, new stops, and general repairs. Hewitt remained very hands-on throughout the entirety of the re-build. She constantly gave her input on what stops she wanted included and how she wanted the instrument to sound upon completion. Correspondence from Hewitt lists specific requests she had for the instrument, requests that were not all filled.
Just as construction on the organ came to a close in March of 1949, Hewitt fell ill and privately sought treatment for her ailment. During this time, there is a sizable gap in her usual letter-writing habits to the point where there are many letters from her close friends inquiring as to if she is angry with them because they had received no reply to subsequent letters over the course of a few months. This gap leaves much to be wondered concerning the final implementation of the organ and Hewitt’s relationship with the builder.
If Hewitt was such a highly respected and loved figure among the university’s music department, then why did Dean Hodgson receive a disgruntled letter about her from a well-known organ company? There is documentation of Möller considering legal action against Hewitt, but why? Many of the letters between the two concerning her displeasure are not recorded in our archives, but there is mention of the feelings the two parties had for one another. Walter Hodgson, the dean who had overseen the project, wrote to Hewitt about a disgruntled letter he had received from the Möller company (see figure 2). It reads:
Dear Hellen:
I am sorry too have to bother you with another letter right now, but I received quite a long letter from Möller, air-mail, special delivery, dated June 24, and I think that is quite important.
Ten days ago Mr. Schleigh came with an assistant and was here for four days. He is Fort Worth now so that we could get him again on certain occasions. He got the organ in fine shape for Stanley’s recital. (By the way, I turned in a card to change the “x” for Stanley’s recital to an “A” which I understood what you thought was right.) Now I have this letter from Ridgely in which he says that several churches which are prospects for large organs have been in touch with you and that you have given them negative reports regarding their work at the college. “There is one prospects in particular, the First Baptist Church at Lubbock, that is buying quite a large organ and the member of the committee, Mrs. Akinson, contacted Dr. Hewitt and received quite a negative report.”
Now I’ll ask Robert to write you regarding the voicing of the organ that Mr. Schleigh undertook. What I wonder is whether or not, in view of that, if we had better write saying that the organ has been improved. In other words, I think that we might do some harm by being too critical. You see, I wrote a very strong letter to W. R. Daniels, vice-president of Möller and received quite a long and conciliatory letter from his, and Mr. Schleigh arrived two days later.
In any case I wanted to let your know of Ridgely’s letter. He indicates that they are strongly on the defensive now and feel that they have done enough that we ought to be grateful.
Let me know what you think. With affectionate regards from the whole family.
Very sincerely,
Walter H. Hodgson, Dean
School of Music
Figure 2: Letter from Walter H. Hodgson to Helen M. Hewitt. University of North Texas Music Special Collections. Helen M. Hewitt Papers, 1887-1976, Series 1: Papers, Box 420, Folder 8.
This letter conveys a friendly scolding tone, where the dean does not truly reprimand Hewitt for her freedom in giving a negative coloring of her interaction with Möller, but gently tries to warn her of the current situation whilst trying to help figure out how to get the situation resolved. He also makes it clear that he has sent a strong letter of his own and that they are in this together.
The next important part of this letter is that Dr. Hewitt did not go around spreading a bad coloring of Möller and their work. Rather, she was asked her opinion, and she gave an honest response. Hewitt had worked hard to gain the respect she had in the musicology and organist communities, and part of this meant being trusted to give sound, honest insight to problems and questions that others had. It would have been incredibly out of character for her to take this opportunity to forge a stronger bond with Möller by recommending them to everyone against her better judgement.
It is also possible that Hewitt’s displeasure with Möller’s services could be from the poor conditions they left the school with while the organ was away being reconstructed. The first practice organ they left in its place began giving the school trouble, and scheduling the time to put a new substitute instrument in the auditorium was a nightmare as well. All of this, while the studio filled capacity at around 50 students. While much remains to be explored on this matter, it is clear that Hewitt wanted to make sure her organ students had an instrument of high caliber on which they could perform, and intended to make this need heard.
Display of photographs of coins from Ukraine from the Stephen Dunning Musical Coin Collection, UNT Music Library.
At the Music Library, a display was assembled featuring photographs and descriptions of coins from Ukraine, which were curated from the Stephen Dunning Musical Coin Collection.
Learn more about Stephen Dunning and his unique coin collection on the collection finding aid:
“The collection consists of 106 coins depicting or referring to musical culture, dating from circa 261 B.C.E. through 2019, and originating from locations including ancient Greece, former Soviet republics, African countries, Niue Island, the European Union, and the United States. Many coins feature instruments, musical works, composers, or musicians of national importance. The collection provides a multifaceted view of music and culture expressed in national coinage, along with some souvenir coins and tokens.”
Below are photographs of selected coins from the collection:
Item 47: Ukraine, 2016
5 hryvnia coin, commemorating centenary of first performance of Mykola Leontovych’s “Shchedryk” Christmas song (known in U.S. as melody of “Carol of the Bells”) by the Kiev University choir.
Thank you for visiting the digital adaptation of this display. If you are interested in accessing more coins from Stephen Dunning’s coin collection in person, please peruse the Stephen Dunning Collection finding aid and select “Request Reading Room Access” to make an appointment with our Music Special Collections Librarian, Maristella Feustle.
