Research Article
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BTS’ Music Scene from Sociological Perspective: Analysis of Life Goes On Performance

Year 2023, Volume: 10 Issue: 2, 800 - 816, 25.10.2023
https://doi.org/10.17336/igusbd.1035614

Abstract

South Korean popular culture K-Pop groups are rapidly increasing their online concerts with the pandemic process. This study examines the performance of "Life Goes On" by BTS, one of the K-Pop groups, at the 2020 Mnet Asian Awards from the perspective of the virtual music scene in music sociology. In this context, 15,712 comments left on the BTS_Life Goes On video of the M-Net KPOP page [2020 MAMA] on YouTube as of 28.08.2021 were analyzed using the netnographic method. As a result of the analysis, the fan comments 1) Cry out of happiness due to the appearance of Yoongi’s hologram; 2) Those who see the performance and the stage as magnificent or impressive; 3) Those who consider BTS members as beautiful or handsome; 4) Those who find BTS members cute or sweet; 5) Those who are in love with BTS members; 6) Those who see BTS members as princes or kings; 7) Those who see BTS members as angels. This analyse showed that fan comments could be examined in 7 categories.

References

  • BECKER, H. (1976). Art worlds and social types. American Behavioral Scientist, 19(3), 703-718. doi:10.1177/000276427601900603
  • BECKER, H. S. (2013). Sanat Dünyaları. Çev. Evren Yılmaz, İstanbul: Ayrıntı Yayınları.
  • BENNET, A., & PETERSON, R. (2004). Music Scenes: local, Translocal, and Virtual. Nashville: Vanderbilt University Press.
  • BİNARK, M. (2019). Kültürel Diplomasi ve Kore Dalgası "Hallyu". Güney Kore'de Sinema Endüstrisi, K-Dramalar ve K-Pop. Ankara: Siyasal Kitabevi.
  • BİNARK, M., & KARATAŞ ÖZAYDIN, Ş. (2019). Porselen Yüzleri ve Dişilleştirilmiş Erkek Bedenleriyle Kurgulanmış K-Erkeklik İmgesi: Güney Kore Yaratıcı İçerik Endüstrisi ve Aşık Olunacak "Hallyu Yıldızları". Aşkın Halleri: Aşk Üzerine Disiplinlerarası Bir İnceleme (s. 165-189). Ankara: Umag yayınları.
  • BİNARK (2020). Arttırılmış Eğlence Olarak K-Pop ve BTS'in Çekim Gücü. Asya'da Popüler Kültür ve Medya (s.189-226). Ankara: Umag yayınları.
  • BUKATMAN, S. (1993). Terminal identity: The virtual subject in postmodern science fiction. Durham & London: Duke University Press.
  • CHOI, J., & MALIANGKAY, R. (2015). Introduction: WhyFandom Matter to the International Rise of K-Pop. J. Choi, & R. Maliankay. K-Pop: The International Rise of the Korean Music Industry (s. 1-18). New York: Routledge.
  • COHEN, S. (1999). Scenes. T. Swiss, & B. Horner. Key Terms in Popular Music and Culture (s. 239-250). Oxford: Blackwell Publishers.
  • DAWSON, L. (2004). Religion and the Quest for Virtual Community. D. E.-L. Dawson içinde, Religion Online: Finding Faith on the Internet. London: Routledge.
  • DIJK, J. V. (2006). The network society. London: Sage Publications.
  • FRATER, P. (2020, 06 14). BTS' 'Bang Bang Con: The live' Claims Record Viewership for Online Concert. Erişim tarihi: 26.08.2021: http://variety.com/2020/digital/asia/bts-big-bang-con-the-live-record-online-concert-1234635003/
  • FUHR, M. (2016). Globalization and popular music in south korea: sounding out k-kop. London: Routledge.
  • HABERLİ, M. (2012). Yeni Bir Örgütlenme Biçimi Olarak Sanal Cemaatler. İnsan ve Toplum Bilimleri Araştırmaları Dergisi, 1(3), 118-134.
  • HARVEY, D. (2010). Postmodernliğin durumu: kültürel değişimin kökenleri. (S. Savran, Çev.) İstanbul: Metis.
  • KOREA JOONGANG DAILY. (22.06.2020). K-pop finds new home online but fon how long? Erişim tarihi: 24.08.2021 https://www.youtube.com/watch?v=rG2mP9BalhU&t=15s
  • KOZINETS, R. V. (2002). The Field Behind the Screen: Using Netnography for Marketing Research in Online Communities. Journal of Marketing Research(39), 61-72.
  • KOZINETS, R. V. (2012). Marketing Netnography: Prom/ot(ulgat)ing i New Resarch Method. Methodological Innovations Online, 7(1), 37-45.
  • KOZINETS, R. V. (2015). Netnography: Redefined. Los Angeles: Sage Publications.
  • KOREZIN (13.11.2020) Aespa'nın paylaşılan yeni grup tanıtım fotoğrafları. Erişim tarihi: 06.12.2021, https://korezin.com/2020/11/13aespanin-paylasilan-yeni-grup-tanitim-fotograflari/
  • MANIETTA, J. (2015). Transnational Masculinites: The Disturbutivite Performativity of Gender In Korean Boy Bands. Master Thesis. Missouri State University.
  • NELSON, M. R., & OTNES, C. C. (2005). Exploring cross-cultural ambilvalence: a netnography of intercultural wedding message boards. Journal of Business Research, 58(1), 89-95. doi:10.1016/s0148-2963(02)00477-0
  • ONO, A. K., & KWON, J. (2013). Re-Worlding culture? YouTube as a K-pop Interlocutor. Y. Kim içinde, The Korean Wave: Korean Media Go Global (s. 199-214). London: Routledge.
  • PETERSON, A., & BENNETT, A. (2004). Introducing the scene perspective. A. Peterson, & A. Bennett içinde, Music Scenes: Local, Trans-Local and Virtual (s. 1-16). Nashville: University of Vanderbilt Press.
  • RHEINGOLD, H. (2008). Virtual communities-exchanging ideas through computer bulletin boards. Journal of Virtual Worlds Research, 1(1), 1-5.
  • SMENTERTAINMENT (28.10.2020). Soo-Man Lee, chairman of Sm Entertaınment Group,delivered a speech at the 1st World Cultural Industry Forum as a represantative of the Korean cultural community!. Erişim tarihi: 27.08.2021: https://www.smentertainment.com/PressCenter/details/5084
  • YOON, K. (2018). Transnational fandom in the making: K-pop fans in Vancouver. The International Communication Gazette. 81 (2): 1-17. DOI: 10.1177/1748048518802964.
  • YOUTUBE (06.12.2020) BTS_Life Goes On. Erişim tarihi: 06.12.2021, https://www.youtube.com/watch?v=Gsj_Xq7K-_M&t=41s
  • YUQIAO, J. (31.01.2021). China’s virtual idol industry booming,attracts more than 300 million fans. Erişim tarihi: 27.08.2021 https://www.globaltimes.cn/page/202101/1214468.shtml

Sosyolojik Açıdan BTS’in Müzik Sahnesi: “Life Goes On” Performansının Analizi

Year 2023, Volume: 10 Issue: 2, 800 - 816, 25.10.2023
https://doi.org/10.17336/igusbd.1035614

Abstract

Güney Kore popüler kültür ürünü K-Pop gruplarının pandemi süreciyle birlikte çevrimiçi konserlerini gittikçe arttırdığı görülmektedir. Bu çalışma K-Pop gruplarından BTS’in 2020 Mnet Asya Ödüllerinde sergilediği “Life Goes On” performansını müzik sosyolojisindeki sanal müzik sahnesi perspektifinden incelemektedir. Bu kapsamda YouTube’daki M-Net KPOP sayfasının [2020 MAMA] BTS_Life Goes On videosuna 28.08.2021 tarihi itibariyle bırakılan 15.712 yorum netnografik yöntemle incelenmiştir. Analiz sonucunda hayran yorumlarının 1) Yoongi’nin hologram ile yansıtılmasından dolayı mutluluktan ağlayanlar; 2) Performansı ve sahneyi muhteşem/etkileyici görenler; 3) BTS grubu üyelerini güzel/yakışıklı görenler; 4) BTS grubu üyelerini sevimli/tatlı görenler; 5) BTS grubuna/üyelerine âşık olanlar- sevenler; 6) BTS grubu üyelerini prens/kral gibi görenler; 7) BTS üyelerini melek olarak görenler olmak üzere 7 kategoride incelenebileceği anlaşılmıştır.

References

  • BECKER, H. (1976). Art worlds and social types. American Behavioral Scientist, 19(3), 703-718. doi:10.1177/000276427601900603
  • BECKER, H. S. (2013). Sanat Dünyaları. Çev. Evren Yılmaz, İstanbul: Ayrıntı Yayınları.
  • BENNET, A., & PETERSON, R. (2004). Music Scenes: local, Translocal, and Virtual. Nashville: Vanderbilt University Press.
  • BİNARK, M. (2019). Kültürel Diplomasi ve Kore Dalgası "Hallyu". Güney Kore'de Sinema Endüstrisi, K-Dramalar ve K-Pop. Ankara: Siyasal Kitabevi.
  • BİNARK, M., & KARATAŞ ÖZAYDIN, Ş. (2019). Porselen Yüzleri ve Dişilleştirilmiş Erkek Bedenleriyle Kurgulanmış K-Erkeklik İmgesi: Güney Kore Yaratıcı İçerik Endüstrisi ve Aşık Olunacak "Hallyu Yıldızları". Aşkın Halleri: Aşk Üzerine Disiplinlerarası Bir İnceleme (s. 165-189). Ankara: Umag yayınları.
  • BİNARK (2020). Arttırılmış Eğlence Olarak K-Pop ve BTS'in Çekim Gücü. Asya'da Popüler Kültür ve Medya (s.189-226). Ankara: Umag yayınları.
  • BUKATMAN, S. (1993). Terminal identity: The virtual subject in postmodern science fiction. Durham & London: Duke University Press.
  • CHOI, J., & MALIANGKAY, R. (2015). Introduction: WhyFandom Matter to the International Rise of K-Pop. J. Choi, & R. Maliankay. K-Pop: The International Rise of the Korean Music Industry (s. 1-18). New York: Routledge.
  • COHEN, S. (1999). Scenes. T. Swiss, & B. Horner. Key Terms in Popular Music and Culture (s. 239-250). Oxford: Blackwell Publishers.
  • DAWSON, L. (2004). Religion and the Quest for Virtual Community. D. E.-L. Dawson içinde, Religion Online: Finding Faith on the Internet. London: Routledge.
  • DIJK, J. V. (2006). The network society. London: Sage Publications.
  • FRATER, P. (2020, 06 14). BTS' 'Bang Bang Con: The live' Claims Record Viewership for Online Concert. Erişim tarihi: 26.08.2021: http://variety.com/2020/digital/asia/bts-big-bang-con-the-live-record-online-concert-1234635003/
  • FUHR, M. (2016). Globalization and popular music in south korea: sounding out k-kop. London: Routledge.
  • HABERLİ, M. (2012). Yeni Bir Örgütlenme Biçimi Olarak Sanal Cemaatler. İnsan ve Toplum Bilimleri Araştırmaları Dergisi, 1(3), 118-134.
  • HARVEY, D. (2010). Postmodernliğin durumu: kültürel değişimin kökenleri. (S. Savran, Çev.) İstanbul: Metis.
  • KOREA JOONGANG DAILY. (22.06.2020). K-pop finds new home online but fon how long? Erişim tarihi: 24.08.2021 https://www.youtube.com/watch?v=rG2mP9BalhU&t=15s
  • KOZINETS, R. V. (2002). The Field Behind the Screen: Using Netnography for Marketing Research in Online Communities. Journal of Marketing Research(39), 61-72.
  • KOZINETS, R. V. (2012). Marketing Netnography: Prom/ot(ulgat)ing i New Resarch Method. Methodological Innovations Online, 7(1), 37-45.
  • KOZINETS, R. V. (2015). Netnography: Redefined. Los Angeles: Sage Publications.
  • KOREZIN (13.11.2020) Aespa'nın paylaşılan yeni grup tanıtım fotoğrafları. Erişim tarihi: 06.12.2021, https://korezin.com/2020/11/13aespanin-paylasilan-yeni-grup-tanitim-fotograflari/
  • MANIETTA, J. (2015). Transnational Masculinites: The Disturbutivite Performativity of Gender In Korean Boy Bands. Master Thesis. Missouri State University.
  • NELSON, M. R., & OTNES, C. C. (2005). Exploring cross-cultural ambilvalence: a netnography of intercultural wedding message boards. Journal of Business Research, 58(1), 89-95. doi:10.1016/s0148-2963(02)00477-0
  • ONO, A. K., & KWON, J. (2013). Re-Worlding culture? YouTube as a K-pop Interlocutor. Y. Kim içinde, The Korean Wave: Korean Media Go Global (s. 199-214). London: Routledge.
  • PETERSON, A., & BENNETT, A. (2004). Introducing the scene perspective. A. Peterson, & A. Bennett içinde, Music Scenes: Local, Trans-Local and Virtual (s. 1-16). Nashville: University of Vanderbilt Press.
  • RHEINGOLD, H. (2008). Virtual communities-exchanging ideas through computer bulletin boards. Journal of Virtual Worlds Research, 1(1), 1-5.
  • SMENTERTAINMENT (28.10.2020). Soo-Man Lee, chairman of Sm Entertaınment Group,delivered a speech at the 1st World Cultural Industry Forum as a represantative of the Korean cultural community!. Erişim tarihi: 27.08.2021: https://www.smentertainment.com/PressCenter/details/5084
  • YOON, K. (2018). Transnational fandom in the making: K-pop fans in Vancouver. The International Communication Gazette. 81 (2): 1-17. DOI: 10.1177/1748048518802964.
  • YOUTUBE (06.12.2020) BTS_Life Goes On. Erişim tarihi: 06.12.2021, https://www.youtube.com/watch?v=Gsj_Xq7K-_M&t=41s
  • YUQIAO, J. (31.01.2021). China’s virtual idol industry booming,attracts more than 300 million fans. Erişim tarihi: 27.08.2021 https://www.globaltimes.cn/page/202101/1214468.shtml
There are 29 citations in total.

Details

Primary Language Turkish
Subjects Sociology of Music
Journal Section Articles
Authors

Alptekin Keskin 0000-0001-9955-1803

Early Pub Date October 25, 2023
Publication Date October 25, 2023
Acceptance Date September 30, 2022
Published in Issue Year 2023 Volume: 10 Issue: 2

Cite

APA Keskin, A. (2023). Sosyolojik Açıdan BTS’in Müzik Sahnesi: “Life Goes On” Performansının Analizi. İstanbul Gelişim Üniversitesi Sosyal Bilimler Dergisi, 10(2), 800-816. https://doi.org/10.17336/igusbd.1035614

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