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Home is Where You Serve: Globalization and Nationalism in Korean Popular Music
Unformatted Document Text:  7 a competitive advantage from one country to another is very crucial. It is in the economic logic of globalization that it pushes towards standardization and homogenization of markets, products and tastes, seeking a "one size fits all" approach to cultural production and consumption. By the capacity of sounds and images to communicate across linguistic frontiers and cultural boundaries, globalization of music makes it possible for a lot of cultural differences to mingle together at ease. At the same time, however, the localization of music is also possible ironically by the transferability of globalization. Music is perhaps the most expressive medium for appropriations and re-elaboration, which opens up a high level of flexibility in different localities. The dynamic relationship between localization and globalization of music comes partly from the internal characteristics of popular music, in which time and space are the basic coordinates of systems of representation. Of course every medium of representation is based on time and space and must translate its subject into spatial and temporal dimensions. The significance of popular music though is that it resonated with anxieties about the loss of a secure local identity in an era of transnational flows of cultures and people. The mobility of musical commodities, the tendency of musicians to borrow from each other, and the fragmented nature of music consumption make it difficult to identify popular music as characteristic of a particular place. Identity is deeply implicated in representations of music in contexts where global mobility and local appropriation are always in tension. Some theorists argue that the general effect of globalization has been to weaken or undermine national forms of cultural identity. Because ‘nation’ as a term is connected with ‘native’, we were believed to be born into relationships, which are typically settled

Authors: Lee, Hee-Eun.
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a competitive advantage from one country to another is very crucial. It is in the economic
logic of globalization that it pushes towards standardization and homogenization of
markets, products and tastes, seeking a "one size fits all" approach to cultural production
and consumption. By the capacity of sounds and images to communicate across linguistic
frontiers and cultural boundaries, globalization of music makes it possible for a lot of
cultural differences to mingle together at ease. At the same time, however, the
localization of music is also possible ironically by the transferability of globalization.
Music is perhaps the most expressive medium for appropriations and re-elaboration,
which opens up a high level of flexibility in different localities. The dynamic
relationship between localization and globalization of music comes partly from the
internal characteristics of popular music, in which time and space are the basic
coordinates of systems of representation. Of course every medium of representation is
based on time and space and must translate its subject into spatial and temporal
dimensions. The significance of popular music though is that it resonated with anxieties
about the loss of a secure local identity in an era of transnational flows of cultures and
people. The mobility of musical commodities, the tendency of musicians to borrow from
each other, and the fragmented nature of music consumption make it difficult to identify
popular music as characteristic of a particular place. Identity is deeply implicated in
representations of music in contexts where global mobility and local appropriation are
always in tension.
Some theorists argue that the general effect of globalization has been to weaken
or undermine national forms of cultural identity. Because ‘nation’ as a term is connected
with ‘native’, we were believed to be born into relationships, which are typically settled


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