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Further, the book reveals how K-Pop is deployed for strategies of national identity construction in connection with Korean cultural politics, with transnational music production circuits, and with the transnational mobility of immigrant pop idols. Fuhr examines the conditions and effects of transnational flows, asymmetrical power relations, and the role of the imaginary "other" in K-Pop production and consumption, relating them to the specific aesthetic dimensions and material conditions of K-Pop stars, songs, and videos. It provides detailed insights into the transformative process in and around the field of Korean pop music since the 1990s, which paved the way for the recent international rise of K-Pop and the Korean Wave. This book offers an in-depth study of the globalization of contemporary South Korean idol pop music, or K-Pop, visiting K-Pop and its multiple intersections with political, economic, and cultural formations and transformations. This signifies that embracing technology advancement can enhance the competitiveness of cultural industries. It has also transformed the management focus of the industry from analog to digital, from offline to online, from albums to songs, from specialization to integration, from domestic providers to international suppliers, from audio sound to visual images, from possessing to accessing, and from limited integration to synergistic network. Digitization has influenced various sectors of the Korean music industry such as business, society, and consumers.
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This constitutes the focus for this paper. Understanding the key to its international breakthrough can thus produce meaningful lessons for the music industries of other countries for their own further takeoff. Yet, the global emergence of Korean pop music or K-pop suggests a different narrative, particularly given that its growth was largely unexpected among industry experts.
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There are a number of voices who blame digitization for having a number of negative effects on the music industry including a decline in album sales, copyright infringement, unfair royalty payments, and competition with foreign multinationals.
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