Since its emergence in the 1990s, K-pop has constantly gained popularity and reached a wider audience. K-pop has been described as a blend of different music genres, such as pop, hip-hop, R'n’B and electronic music. However, there was Korean popular music before the rise of K-pop and not all popular music in Korea is K-pop. Using data from Spotify at the track level and exploratory data analysis tools, the paper provides an empirical analysis of the characteristics of Korean popular music since the 1990s and compares K-pop and related genres with Anglo-American pop genres in terms of acousticness, danceability, energy, speechiness and valence. While K-pop is close to the dance pop genre through its danceability, it has on average more energy and cheerfulness than Anglo-American pop. There is also more diversity in Korean popular music than suggested by the K-pop phenomenon. Finally, as K-pop became more successful, it did not become more similar in its audio features to Anglo-American pop.

This article studies how Illapu, a prominent Chilean New Song band, deals with Mapuche culture and sound. Through the analysis of four songs, I argue that by first incorporating Mapuche instruments and rhythms (1970s), and then adding engaged lyrics dealing with Mapuche history (1980s), and finally engaging with Mapuche listeners and artists (1990s–2000s), Illapu participates in the transformation of the way in which indigeneity is conceived. I assert that the transformation of their creative processes takes place in parallel with the emergence of a public political Mapuche subject distinctly identified as such. By positioning themselves as ‘brown’ exemplary agents, the members of Illapu get to voice current Mapuche political demands without resorting to supplantation.

This article focuses on Kardeş Türküler, a band that reflects the multiple cultural heritages of Anatolia in its concerts and albums. Kardeş Türküler has taken a unique stance in choosing to express itself from a culturally pluralistic perspective rather than following a single language or identity. Referring to Kardeş Türküler as ‘art action’, and utilising the non-reductive methods of John Street that focus on the two-way interaction between music and politics, I conducted in-depth interviews in 2017, 2020 and 2021 with the core members and the former coach of the group regarding its intellectual roots and internal modus operandi. There are three main reasons for Kardeş Türküler's deep engagement with music as protest: being against the cultural–artistic policies of the Republican period; the political meaning of making multilingual music in Turkiye; and Kardeş Türküler's engagement with post-neoliberal street protests such as the Gezi Park movement.

Why would Celtic women performers invoke a dead colonialist English poet in their airs and dance sets? This article provides close readings of Shakespearean elements in the musical compositions of gold- and platinum-selling artists Loreena McKennitt, Ensemble Galilei, and Méav. It assesses the archaicising musical language, structural reshapings, and ekphrastic elements as signals of ‘restitutional creativity’ and trans-temporal collaboration. It also analyses the reception of these works by fans and critics, responses replete with invocations of tradition and of timelessness. Like the fanfic-producing enthusiasts of Johnathan Pope's Shakespeare's Fans, the fans for Celtic music capitalise on their awareness of Shakespearean elements in this music to display personal expertise. In so doing, they enhance their own belonging within the Celtic music community.

The study of popular music in the Soviet-controlled East-Central European region has yet to receive the attention it merits. The objective of this study was to fill this gap by investigating the genealogy of popular music research in East Central Europe prior to 1989. It provides a comprehensive account of the evolution of popular music research in socialist East-Central Europe, with a particular focus on Czechoslovakia, Hungary and East Germany. It delineates the challenges encountered by researchers in reconciling their work with the complex cultural and political conditions of the era. Furthermore, it considers the influence of Marxist ideology on musicology and sociology, and how this may have shaped research. It offers new perspectives on the history of popular music studies in this domain, which has been lightly explored until now. It seeks to shed light on the intricate relationship between music, politics and ideology behind the Iron Curtain.

The story of East German singer-songwriter Gerhard Gundermann provides a vibrant illustration of a much-neglected area of protest song history. Gundermann, who died prematurely in 1998 at the age of 43, was an excavator driver in an open cast mine for most of his adult life. A stalwart of the singing club and Liedertheater (song theatre) movements in the GDR, he emerged after 1990 as a musical and poetic mouthpiece for the culturally and economically marginalised ‘losers’ of German unification. This article will examine Gundermann's utopian aesthetic: how he creatively transformed a socialist realist ideal of the heroic into a new narrative persona that addressed the democratic deficits of the GDR and later the growing environmental threat. It will also link his utopianism to his deep entanglement with the state, as reflected in his role as a Stasi informer in his early career. While Gundermann's case is symptomatic of the GDR's heavily state-monitored music scene, this article will also set his work within the wider context of international protest and environmental song.

This article examines the transformations in musical activity in Mozambique between 1987 and 1994, a period marked by the transition from a socialist single-party to a capitalist multiparty system. Drawing on data from articles published in local newspapers and complemented by interviews with key individuals, this study focuses on three pivotal domains of musical activity: radio broadcasting, the phonographic industry and entertainment industries. It aims to clarify the importance of musicking activities in reflecting the cultural, social and economic transformations that occurred in Mozambique, particularly in the capital city Maputo, as well as the decline of the ‘new Mozambican man’ cultural project. It also delves into various topics, including the production shift from vinyl records to cassettes, the invitation of international artists as a symbol of ‘openness’ to capitalist countries and the broader revisions made to broadcasting and phonographic publishing policies.

This article explores the relationships between utopianism, activism and networks in the early career of the Hungarian musicologist János Maróthy (1925–2001). A prolific author of pioneering work on the social history of European peasant and urban folk songs from the antiquity to the modern era, Maróthy is noteworthy for establishing academic research of popular music in Hungary, both preceding and contributing to the emergence of new musicology and popular music studies in European and Anglo-American academia at the turn of the 1980s. Maróthy mediated between various grassroots movements and the party state's institutions and was a participant observer of various off-the-mainstream music-related scenes formed in Romani workers’ hostels and jazz clubs. His Department of Music Sociology (at the Institute for Musicology of the Hungarian Academy of Sciences) conducted and commissioned research on the local history of workers’ songs, urban folklore, empirical studies of musical taste, and the social life and institutions of youth music. This article offers a critical overview of Maróthy's career from its onset in 1948 up to the mid-1960s. This turbulent period witnessed the most repressive years of Stalinism, the anti-Soviet revolution of 1956, its defeat, and the gradual consolidation of a more liberal Kádár-led regime. It examines how changing political and intellectual trends, ideologies and national and supranational realignments within the Soviet Bloc (and beyond) shaped the forms and meanings of Maróthy's multi-faceted activism, along with his shifting ideas about the relationships between music, political movements and entertainment.

The cross-pollination between popular music and performance that Philip Auslander has coined as ‘musical persona’ is a concept that is continuously renegotiated against ongoing developments on the intersection of music, performance, technology and new media. Zooming in on the entanglement of character, persona and real person in contemporary popular music culture, this article examines how the identity performance of indie musician Connan Mockasin stages the interlacement of fictional characters and other forms of self-presentation. The fictional music teacher character Mr Bostyn that Mockasin has introduced with the Jassbusters album exists in an intriguing interplay with his broader eccentric identity performance, as demonstrated by the artist's self-presentation with an album collaboration with his father, It's Just Wind. Through the prism of the fictional band frame and music documentary practices I argue that Mockasin's self-presentation across various media formats turns the interplay between theatrical play and performative display into a fundamental aspect of his persona.

The Rolling Stones played a core role in establishing the generic conventions of rock. A key ideological element of this was the band's reverential dedication to the blues and the importance of the blues to their musical development. However, what is much less recognised is the influence of soul on the band's sound. By looking at the band's repertoire, composition and performing style, this paper explores the influence that soul, particularly Southern soul, had on the band's formative years and argues that, in many ways, they have adopted the aesthetic conventions of soul, rather than rock, for the majority of their career. Rethinking The Stones’ style in this way may help us better understand their position in the rock canon, while also encouraging careful interrogation of the racialised division of rock and soul that emerged in the late 1960s.

This article examines writing about popular music which took place outside the academic sphere in the Czech nation after 1945. This is not just the usual magazine and book journalism. Owing to the censorship of all publishing entities by the state and the Communist Party of Czechoslovakia 1948–1989, alternative publishing platforms played a very important role in mediating the professional exchange of opinions and information on topics that were not preferred or even forbidden elsewhere. These included periodicals of various social organisations and interest institutions as well as privately produced and distributed printed matter and manuscripts. The article compares how these activities have evolved over time in the context of political change and reflects on the functions they have fulfilled in society.

Fifty-six years after its establishment, the Ghana National Symphony Orchestra in 2015 recorded its debut album Ghanaian Classics at the Institute of African Studies, University of Ghana, Legon. Despite the overwhelming challenge of low patronage of art music in Africa generally, the choice of repertoire and composers for this historic album was largely drawn from the Ghanaian popular music domain. This paper investigates the extent to which the album recording and launch represented a deliberate attempt by the orchestra to negotiate its multiple identities through Ghanaian highlife music and musicians. We argue that the album recording, the choice of the highlife genre and artists featured on the CD, the instrumentation and the venues for the recording and launch were all a deliberate attempt to de-escalate the elitist label the Ghana National Symphony Orchestra has carried right from its inception and to court a larger following from the Ghanaian populace as a national cultural asset.

Like any form of artistic production in the Soviet 1970s (Brezhnev's ‘Stagnation’ era), films had to tread a fine line between being acceptable to official organs, yet managing to appeal to the average citizen. Music – and specifically popular music or estrada – was an important factor contributing to how filmmakers could express themselves and connect with audiences despite official restraint. This article will explore the soundscapes of two iconic movies embodying that tension: The Twelve Chairs (Двеннадцать стульев, 1971, dir. Leonid Gaidai) and The Irony of Fate, or Enjoy Your Bath! (Ирония судьбы, или с легким паром!, 1975, dir. El'dar Riazanov). A close reading of musical scenes from these Stagnation-era artefacts will expose several key tactics that emerge in the complicated nexus between composer, director and text, demonstrating how popular music fits into a complex and multi-faceted relationship of minor liberties and major limits.

This article explores Auto-Tune's importance to the production, perception and reception of trap music, a sub-genre of hip hop. Central to this exploration is the observation that Auto-Tuned trap vocals are readily audible as such because the software's pitch correction function is applied unnaturally quickly to the vocal audio signal, a feature herein termed ‘zero-onset Auto-Tune’. First, I posit that although Auto-Tune is ostensibly a pitch-correction device, its impact on vocal timbre is not well documented or understood. Second, I argue that Auto-Tune's recent importance as a creative tool in trap recasts it as an instrument. Third, I suggest that understanding Auto-Tune's repurposing as an instrument begets its situation in a lineage of technologies repurposed, adapted and embraced by the hip-hop community, including the turntable, digital sampler, and analogue mixer. And fourth, I propose that this repurposing surfaces in Auto-Tune's ability to facilitate emotiveness in trap vocals.