Korean art songs are valuable cultural assets that exhibit their own cultural spirit and ethnicity, however, they are not introduced to Western singers because of the language barrier. As there are European-language diction books for singers used in pedagogy, this dissertation introduces Korean diction for non-Korean-speaking singers by using the International Phonetic Alphabet (IPA) to pronounce Korean ‘Hangeul'. Moreover, this document aims to help singers enter into a new world of Korean art songs by introducing ten Korean art songs selected from various compositional periods, along with transcriptions using the IPA, transliterations, translations, and the musical scores.

The choral music of Hyo-won Woo, the composer of Oh! KOREA, is being widely performed by universities and professional choruses in Korea, as well as throughout the world. The work exhibits Woo's remarkable compositional style, which displays traditional Korean musical influences. Hyo-Won Woo's Oh! KOREA consisting of four movements, is for chorus, two pianos, and both Eastern and Western percussion instruments. Woo's Oh! KOREA employs an excellent introduction to the Korean choral repertoire for Western audiences, rooted in traditional Korean folk tunes. As today's choral conductors, singers, and audience cannot fully appreciate the value of this traditional Korean work and will likely not understand its intended context, it is therefore necessary to provide an in-depth investigation of this work for any conductor considering a performance of this piece. This study includes influences of traditional Korean elements within Oh! KOREA and rehearsal and performance consideration for Western choir directors.

匯流時代來臨，内容的流傳速度愈來愈快，資訊以即時的方式傳達到世界各地。流行音樂單曲長度大於為5分鐘，相較於其它娛樂商品，音樂本身沒有語言的隔閡，因此音樂在文化產業當中，最適合數位環境，也最容易進行全球化。從音樂產業角度來看，韓國偶像團體「Super Junior」與「少女時代（Girls’Generation）」跨越亞洲，席捲歐洲市場，可説是匯流時代的成功案例。 本研究試圖借鏡韓國音樂產業的案例，找出因應匯流時代的全球化策略與關鍵因素，提供給音樂產業者，也希望本研究能夠幫助台灣音樂產業更發揚光大。 本研究以匯流、全球化及價值鏈為基礎，藉由目前在亞洲市場令人矚目的「Super Junior」與「少女時代」的經紀公司「S. M. Entertainment」(以下簡稱S. M. )案例，去分析匯流時代所帶來的全球化策略與成功因素。主要的研究方法是藉由分析韓國學者與資深記者發表的各種相關研究論文、學術季刊、書籍、新聞、雜誌、網路、影片等，來回答本研究問題，同時也進行S. M.、韓國政府及記者的深度訪談，來彌補文獻資料所帶來的侷限。 從S. M. 的案例研究，發現S. M. 首先建立獨特的培訓系統及全球化策略Culture Technology，再長期投資内容研發與跨國合作，來提高内容的品質，也具備在全球市場上的競爭力；隨著新媒體的出現，S. M. 也積極應用各種手段，加速全球化的發展。另外，S. M. 採用OSMU（One source multi-use）方式進行事業多元化及跨產業合作，不斷發掘新的收入來源。本研究也發現台灣與韓國相似，有市場規模的限制以及有全球品牌智慧型手機的大環境；音樂產業以產製為中心，發掘能吸引全中華市場的歌手；以中國作爲目標市場等共同點。因此可考慮結合兩國的優勢為合作共識，攜手成爲亞洲最合適的合作夥伴。 / Digital convergence leads to a global transformation in entertainment industry. Comparing with films or other entertainment products, music takes the advantage of short performance time for international coverage. Also, music can overcome the language barriers and become popular in global cultural industry. In South Korea, the Super Junior and Girls' Generation are successful cases in the music industry. This study tries to analyze the reasons why these two pop idol groups can become a fashion. By reflecting the global strategies for music industry in the age of convergence, this research also tries to contribute to music industry in Taiwan. This research investigates a famous music company in South Korea, called “S. M. Entertainment”, the management company of Super Junior and Girls' Generation, examines its global strategies in the age of convergence. By interviewing S. M. Entertainment managers, the South Korea government agency and an entertainment journalist, this study gets deep interpretation for the globalization strategy of Korean music industry. Also, researcher collects secondary data by journal papers, books, newspapers, magazines, and films to triangulate the authenticity. This study comes up with a global sourcing framework for culture technology. By sourcing local talents and building a unique incubation system, S. M. Entertainment can keep a qualified talent pool. By cooperating with global music experts and investing in music content innovation, the company can reach outstanding music intelligence globally. By innovating business model, such as “One source multi-use” (OSMU), the company can discover new opportunities by cross boundary cooperation. Taiwan’s music industry is also constrained by the market scale as South Korea. However, Taiwan has competitive technology in smart phone and in other digital technology. By leveraging the advantages of S. M. Entertainment, Taiwan’s music industry may have great breakthrough in Mainland China. Also, it may be an important stage for Taiwan and South Korea to become strategic partners in Asia’s culture industry.

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Korean composer Young Jo Lee (b.1943) is considered a precursor of Korean fusion music. In his works, he interlaces elements of traditional Korean music with compositional styles and performances techniques from western musical traditions. This dissertation provides an analysis of Lee's Dodri for Cello and Janggo (1995), one of his most representative works of fusion music. As indicated by the title Dodri (which in Korean means a "movement back and forth"), Lee intended to showcase a friendly interplay of the janggo and the cello, with each instrument playing a leading role that helps bring out the essence of traditional Korean traditional music. In this piece, Lee writes a number of melodies and uses traditional Korean performance techniques for the cello intended to imitate the sound and sentiments of traditional Korean instruments, all while preserving its inherent nature. This kind of fusion, where different musical elements are merged with each other but remain separate enough to maintain their own uniqueness, is significant to Lee's philosophy. This dissertation also describes Lee's efforts to preserve the integrity of traditional Korean music within fusion music and lend new insights regarding traditional Korean musical practice to musicologists, composers, and audiences. Furthermore, this study is intended to serve as a performer's guide for professional cellists new to Lee's music so they may approach Dodri with a greater understanding of the composer's original intentions when first learning the work.