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Berklee College of Music
Sing with Me: Reborn
CE Outcome Paper
Supervisor: Pete Dyson
Seo Hyun Kim
Valencia Campus, Spain
June 2019
Table of Contents
Abstract ..................................................................................................................................... iv
1. Summary ................................................................................................................................ 1
2. The State of Music Trend, Genres, and K-pop ........................................................................ 2
2.1. The Importance of Multilingual Music as a Trend .................................................... 2
2.2. Genre Test................................................................................................................ 4
3. Objectives .............................................................................................................................. 6
3.1. Producing Six Successful Recordings for an EP ....................................................... 6
3.2. Formulating and Conducting Surveys on Key Markets ............................................. 7
4. Methodology .......................................................................................................................... 8
4.1. Survey as a tool to gather significant data ................................................................. 8
4.2. Trimming the Song for Survey Purpose .................................................................... 9
4.3. Face-to-Face Interviews ........................................................................................... 9
5. Resources ............................................................................................................................. 10
5.1. Recording Resources .............................................................................................. 10
5.2. Other Resources ..................................................................................................... 11
6. Tasks
................................................................................................................................ 12
7. GANTT/Flow Chart ............................................................................................................. 15
8. Risks ................................................................................................................................. 16
9. Outcomes ............................................................................................................................. 18
9.1. Audience as a Whole .............................................................................................. 18
9.2. Audience Divided into Three Main Markets ........................................................... 21
9.2.1. Spanish-Speaking Demographics ............................................................... 21
ii
9.2.2. English-Speaking Demographics ............................................................... 23
9.2.3. Korean Demographics ............................................................................... 25
9.3. Overall Results and Discussions ............................................................................. 26
10. Conclusion ......................................................................................................................... 28
Appendix A: Survey Questionnaire .......................................................................................... 29
Appendix B: Sing With Me – English Lyrics ............................................................................ 30
Appendix C: Sing With Me – Spanish Lyrics ........................................................................... 30
Bibliography ............................................................................................................................ 34
iii
Abstract
This paper is about a journey of my hybrid identity, as an artist Kish and a business professional
Seo Hyun Kim, on the process of re-releasing my first single, Sing with Me, in three different languages
and three different genres. The purpose of this project is to test my multi-language and multi-genre
recordings on specific target markets as an international release strategy. Throughout the process, I have
collaborated with a total of 28 musicians, recording engineers, mixing and mastering engineers, and
designers and faculties across all programs at Berklee Valencia to produce six recordings. In order to test
the market before the release, I have surveyed a sample size of 200 people, mainly targeting the markets
of English-Speaking countries, Spanish-speaking countries and Korea. Through the analysis of the survey
result, I was able to gain valuable qualitative and quantitative results that provided insights for forming an
international release strategy. It was a challenging process to produce recordings and analyze data within
a tight time frame, but rewarding in that I was able to experience interdisciplinary aspects of being an
artist and an executive producer, conducting market research and analysis, and providing a gateway for
other emerging artists.
Keywords: International Release Strategy, language, genre, EP, market analysis
iv
1. Summary
I have produced an EP of my song, Sing With Me and tested it on audiences before an
international release. This song was previously released in Korean in 20151. After receiving several
positive critiques from music producers, songwriters and a major label, I was inspired to create a
new EP spanning over multiple languages and genres. As a final product of this project, an EP
with three languages (Korean, English, and Spanish) and with three genres (Piano Trio, Rock, and
Remix) were created. The goal was to plan a successful international release strategy and find my
hybrid identity as a business professional and an artist.
To achieve this goal, I conducted a survey with a sample size of 200 participants from
different countries with varying levels of languages and genre preferences. It was assumed that
people’s nationality, language levels, and genre preferences play essential roles in their song
preferences. Based on the result, I will be able to better strategize and plan my music to market
them internationally. Furthermore, this project will provide other emerging artists platforms and
tools to plan and differentiate their international release and marketing strategies.
Throughout the year, I have collaborated with a total of 28 different artists, musicians,
songwriters, recording engineers, mixing and mastering engineers, and artwork designers across
all programs in Berklee Valencia to produce six recordings. During the process, I have learned to
professionally collaborate with other musicians, and was fully engaged in leading a group of
different creative sessions. Through focusing my survey on the key international music markets,
mainly measuring how much language and genre play a role for global audiences, I was able to
collect valuable feedback data to provide niche A&R strategies and outlooks for music trends in
the future.
1
Kish, “Sing With Me,” track 1 on Sing With Me, Swim & Shine, 2015, Spotify streaming audio,
320kbps.
1
2. The State of Music Trend, Genres, and K-pop
2.1. The Importance of Multilingual Music as a Trend
MIDEM 2019 presented a session called “The Year K-pop Broke in the USA.” This
session was composed of various international panels, ranging from Benjamin Jeff who is a K-pop
columnist for Billboard; WENGIE, a record-breaking YouTuber and an artist whose niche is also
in multilingual songs; and Melanie Fontana, a singer-songwriter for BTS. Most panels mentioned
how multilingual songs have become a new niche trend. One example is WENGIE’s multilingual
recording with a remix, Mr. Nice Guy. The panel mentioned that WENGIE is a pioneer of releasing
songs with mixed languages and this will become a trend in the near future. The panels also
emphasized that K-pop is transcendent of language, as it creates a vibe, culture and a fandom that
is beyond being able to understand the language.2
Figure 1.WENGIE’s multilingual release in 2019, Mr.Nice Guy featuring Inigo Pascual as a rapper
2
Amber David, Melanie Fontana, Lee Danny, Schulz Michel “Lindgren,” Wengie. The Year K-pop Broke
in the USA in 2019. Cannes, France: MIDEM, 2019
2
In Korea, K-Indie music is currently dominating the charts domestically. A few recent
successes include an indie band HYUKOH with the help of Korean TV show called “Infinite
Challenge”3; MELOMANCE, a duo ballad group whose song ‘Gift,’ which was released a few
years ago, becoming No.1 on the charts after their appearance on a music show called ‘Yoo Heeyeol’s Sketchbook.”4; JANNABI, an indie band whose recent songs are within the top 3 of Melon
chart, even competing against the global phenomenon BTS5 . Although a lot of them became
popular through TV shows, this interesting trend of Korean audiences being attracted to indie
music has risen almost to the same level as the mainstream K-pop music.
As an Indie artist, I wanted to see if even K-Indie music might transcend the language
itself and draw popularity from the global audience. I also wanted to see whether the audience
from the key global music market will have more or less preference towards a K-Indie song in
their own languages, or if the song will transcend the language and gain attraction across
audiences, which is the recent case of K-pop.
Likewise, I wanted to test and see if this kind of multilingual strategy will not only work
for mainstream K-pop music, but also for Indie and emerging artists like me. By testing what kind
of languages work for different target markets, I would then be able to provide roadmaps not only
for myself but also for other emerging artists from Korea.
3
Moon Su-yeon, “‘Infinity Challenge’ HYUKOH's Warigari, a song which IU mentioned, kills the
charts,” Star N, July 5, 2015, http://www.segye.com/newsView/20150705001596?OutUrl=naver
4
Choi Hyun-jung, “Melomance’s ‘Gift’ is Writing a New History in its ranking…It is Ranking the Top in
Charts,” Music Rising, Media Rising, October 16, 2017, http://www.hrising.com/music/?mode=view&no=384
5
Kim Eun-gu, “‘Trending band’ JANNABI has someone behind them!,” E Daily, May 24, 2019,
https://www.edaily.co.kr/news/read?newsId=01295606622492200&mediaCodeNo=258
3
2.2. Genre Test
According to IFPI’s survey in 2018, the world’s favorite genre was Pop, followed by Rock
and Dance/Electronic/House (See Fig.2). Although Classical/Opera genre only ranked as 7th, it
was considered one of top 10 genres in the world. Although the EDM market for the US has been
falling for the past two years6, it was still considered one of the top genres. In addition, the Hip
Hop market in the US grew above the Rock market7 last year, with its market share of 21.4%.
I have chosen four of the top five popular genres (Pop, Rock, EDM, Rap) to be tested on
the international audience. I have chosen these genres not only because they are currently world’s
most popular genres, but also because they relate to me as an artist, which I will explain more in
detail in the reflection paper.
Figure 2. The World’s Favorite Music Genres, IFPI 2018, Statista
https://www.statista.com/chart/15763/most-popular-music-genres-worldwide/
6
Richard Smirke, “Is The Party Over? EDM's Share of US Record Market Falls As DJ Earnings Slip to
Five-Year Low,” Billboard, May 23, 2019, https://www.billboard.com/articles/business/8512892/edm-dance-musicshare-us-recorded-music-market-share-ims-report.
7
Share of total music album consumption* in the United States in 2018, by genre, Statistica, January
2019, https://www.statista.com/statistics/310746/share-music-album-sales-us-genre/.
4
In addition, there have been examples of genre variation that brought positive influence,
in terms of bringing the hype around the song, reaching more audience, and covering different
dimensions of a song. For instance, Piano Guy’s string mashup cover of One Republic’s Secrets
gained 108 million views8 on YouTube, more than half of the original song’s 202 million views.9
Also, Piano Guy’s version brought hype to the original song, adding popularity to it. Another
example is Lindsey Sterling’s violin cover of a video game, Legend of Zelda, which gained 36
million views10 on YouTube, becoming one of her most popular covers. Her violin cover has
reached a new group of audiences, growing past video game players familiar with the game to
reaching a wider mainstream audience. Finally, in Korea, a famous commercial which rearranged
Pachelbel’s Canon In D with Korean traditional instruments, beatboxing, and breakdancing11 ,
drew attention as it interpreted a classical song in a completely different dimension.
Drawing from these examples, I wanted to see if the Piano Trio version, although not the
most popular genre, can bring hype to my song and draw a different target audience than listeners
of my original song. I have assumed that this is a good way to reach niche markets and different
age groups, perhaps older generations or people with varying preferences who are not familiar
with Pop as much as the mainstream audience. Finally, I wanted to test the non-lyrical aspect of
8
OneRepublic, “OneRepublic - Secrets (Official Music Video),” directed by Chris Sims, May 12, 2010,
YouTube Video, Accessed June 14, 2019, 3:52, https://www.youtube.com/watch?v=qHm9MG9xw1o
9
The Piano Guys, “Beethoven's 5 Secrets - OneRepublic - The Piano Guys,” posted by ThePianoGuys,
February 9, 2012, Accessed June 14, 2019, 5:07, https://www.youtube.com/watch?v=mJ_fkw5j-t0
10
Lindsey Sterling, “Zelda Medley - Lindsey Stirling,” posted by Lindsey Sterling, November 27, 2011,
Accessed June 14, 2019, 4:08, https://www.youtube.com/watch?v=b3KUyPKbR7Q
11
Jizo Entertainment, “CANON D REMIX BY KOREAN GROUP BBOY, B-BOY,
BREAKDANCING,” posted by jizoentertainment, August 20, 2007, Accessed June 14, 2019, 3:12,
https://www.youtube.com/watch?v=2-yYjMg1lvs
5
the Piano Trio version – whether the audience will respond to my song with the same level of
positivity as the ones with vocals and lyrics.
3. Objectives
The objectives for my CE project was to form the best international release strategy for
gaining maximum global popularity as a Korean indie artist. Furthermore, I wanted to integrate
my diverse background and previous working experiences in the entertainment industry into a
hybrid personal brand, combining business strategist and artist.
3.1. Producing Six Successful Recordings for an EP
In order to achieve this and solidify my project, my sub-objective was to produce six
recordings to test the audience’s response to varying languages and genres. I also wanted to
experience being an executive producer and artist at the same time, liaising with different music
professionals.
Language Reason
Korean
I am Korean, this song is originally in Korean, and K-pop is a popular genre
English
It is the most marketable language worldwide
Spanish
It is the second marketable language, and there is a Latin music boom
Genre
Piano
Trio
Reason
I wanted to produce a non-lyrical, purely instrumental version, contrasting from the
Pop genre
This is a live version I have performed throughout the semesters in a K-pop band
called K LIVE; Also, rock genre is linked with live performances in general
EDM is currently the most popular electronic genre, and is linked with the Ableton
elective I took
Rock
EDM
Table 1. Reasons for producing six recordings for an EP
6
3.2. Formulating and Conducting Surveys on Key Markets
After completing the sub-objective of producing six recordings, I wanted to test the
international audience’s response, especially targeting the world’s largest and fastest growing
music markets. According to Global Music Report 2019 from IFPI,12 Korea is the fastest growing
global music market, with 17.9% growth for the year 2018. In addition, Latin America grew
16.8%, which is also the second highest rate of growth globally. In addition, North America also
grew 14% in 2018. USA, UK, and Canada are the world’s first, third and ninth largest market in
2018, which justifies as one of the most important markets to look at. Therefore, I chose the North
American and UK market, the Spain and Latin American market, and Korea. My objective was to
see if the people from these major territories respond differently to the same song in terms of their
native language and genre preference. It will also be interesting to see how the same song with
diverse genres can have varying levels of acceptance by a global audience.
These results provide valuable insights into custom-marketing the EP, formulating
different strategies for each target market. Knowing the language preference among different target
groups then enables me to know which languages to choose in the future when producing new
tracks. Genre preference enables me to form clever strategies on artistic experimenting and
developing several genres for my EP, and future releases.
Through this project, I wanted to gain some valuable insights on international release
strategies which I could use for strengthening and strategizing my EP release. These results will
then be used towards track ordering, choosing the main title, and adjusting the promotional strategy
for main international markets. Eventually, this will also be used for building my hybrid identity
12
“2018 Figures by Region,” Global Music Report 2019, IFPI, June 1, 2019,
https://www.ifpi.org/downloads/GMR2019.pdf
7
as an artist and a business professional, providing tools for other emerging musicians for successful
international releases.
4. Methodology
4.1. Survey as a tool to gather significant data
A survey was implemented as the main data collection in this study to collect constructive
and meaningful feedback data, which would have been harder to achieve through releasing and
gathering market data from platforms. The data collection period lasted two weeks, and 200
participants were recruited. They were distributed evenly among four main categories as people
from English-Speaking Countries, Spanish-Speaking Countries, Korea, and the rest of the world.
The approach of collecting and analyzing data before rather than after releasing the EP was
implemented to reduce the level of risks for marketing. The survey questions13 using Google
Forms were designed to answer the following two main research questions, as follows:
1) Measurement of the role languages have on a song
The Korean, English, and Spanish versions were recorded and produced with new
instrumentals and the only differences were the lyrics in different languages. The purpose of this
was to measure how the change of a language influences an audience perception on a song.
2) Measurement of the role different genres on a song
Three different genre versions were produced – a Piano Trio version without lyrics, a Rock
version by K LIVE, a K-pop band I was in, and an EDM remix by a DJ. This variation was to see
how people respond differently to a same song in different genres. For genre test, I did not vary
13
See the survey questions in the link here: https://forms.gle/z4fXsdujJugKXVQXA
8
the language and only placed Korean for both Rock and EDM, as the main variable I wanted to
see was genre.
4.2. Trimming the Song for Survey Purpose
Nowadays, people judge a music by 30 seconds or so. Apple Music’s preview play is
about 30 seconds, while Korean DSP melon’s preview play is 1 minute. Therefore, I found it a
legitimate length for the audience to listen and judge a song. The other reason of trimming the
music was to keep the survey short and simple so that the participants would not skip over a song
and thus would not create an objective standard to judge a song.
4.3. Face-to-Face Interviews
When I interviewed survey respondents in real life, I was able to retain more qualitative
responses, and it became a session of sharing music more intimately. I was able to interview 10%
of the total target audience. I conducted face-to-face interviews in order to gather more in-depth
understanding of the data and feedbacks. It also provided me more stories to tell about the
journey of producing songs in multiple languages and genres.
9
5. Resources
5.1. Recording Resources
A total of 27 people collaborated for the recording of EP across all programs, ranging
from SFTV, MPTI, CPPD, GEMB, and undergraduate students.
1) Executive Producer/Videographer/Main Vocal
-
Seo Hyun Kim(Kish)
2) Musicians
-
Piano Trio Version: Taylor Fleming, Emily Gelineau, Daniel Seo
-
Rock Version: Daniel Seo, Volk, Raco, Alex, Sunghyun
-
Original: Marco Chiavetta (Bass), Issaya Rouson Whitesides (Drum), Sam Borrello (Elec
Guitar), Leo Son (Guitar)
3) Rappers
-
Julian Williams
-
Jose Diaz
4) Background Vocals
-
Randle Thompson
-
Jose Diaz
-
Seo Hyun Kim
5) Songwriters
-
Tommy Mills - English Lyrics
-
Oscar De Lara - Spanish Lyrics
6) Remixer
-
Jon Sabillón
10
7) Recording Engineers
-
Li Ying- K LIVE, Piano Trio ver
-
Marcelo Willson - Spanish Ver
-
Mariah Moore - English Ver
-
Mohammadreza Rezaei - K LIVE Ver
8) Mixing/Mastering
-
Brett Mayer - Korean/English/Spanish original ver mixing & mastering
-
Robby Glade - K LIVE Rock ver mixing & mastering
-
Xavery Scott - Vocal Tuning, Mastering EDM version mixing & mastering
-
Ben Cantil – EDM ver mixing
-
Simon Tomas - Piano Trio ver mixing & mastering
5.2. Other Resources
1) Album Jacket
- Chris N Fong Chew, Kyrie
2) Software
- Ableton, Protools, Adobe Premiere
I am involving in production side as well, editing recordings with ProTools, remix version with
Ableton, and music video with Adobe Premiere.
3) Survey Data Tools
- Google Form, Excel Spreadsheet
I have surveyed 200 people through Google Form, and organized the data in Excel Spreadsheet.
11
6. Tasks
1) Choosing Languages
In order to release a multi-lingual EP, I chose a language that I could speak and is suitable
for the mainstream market. Since I am a Korean currently living in Spain with six years of living
abroad in the US, and with North America, UK, Korea and Latin America as main music markets
of 2018, it made a logical sense for me to choose Korean, English, and Spanish as the three main
languages to release my recordings.
2) Choosing Genres
I chose three genres that are distinctively different yet can add to the original music. I also
collaborated with some of the best musicians from Berklee and used AKSS studio, utilizing the
school’s resources. I have chosen Piano Trio, as I wanted to try non-lyrical recording as one version
and also to test if this genre can expand my song’s audience. I also observed a lot of string players
at Berklee, which provided me an opportunity to collaborate with undergraduates and SFTV
students. I have also chosen a Rock version, because I was in a K-pop band and performed with
the band several times, including a full hour K-pop concert, which had great responses from the
audience. Finally, I have chosen EDM Remix, as EDM is currently one of the most popular global
genres, and since I took the Ableton Class during spring semester.
3) Songwriting in English/Spanish
I had regular meetings with Oscar De Lara and Tommy Miller on “translative” lyrics
writing. I met up with Oscar every Wednesday after Publishing Class for about a month, discussing
possible ways to make the Spanish lyrics better. Since I did not fully understand Spanish, I tried
12
to discuss relevant themes, keywords and visualization for us to write the lyrics that best fit the
theme of Sing With Me.
4) Recording Six Tracks
I recruited musicians, background vocal singers, rappers, recording engineers, and mixing
and mastering engineers in order to record and produce the recordings. For the multi-language
versions, common instrumental was recorded, with new drum, bass, acoustic guitar, and electric
guitar, advancing from the instrumentation of the original version. For the vocals, I needed to
record main vocal and dubbing vocals for chorus and harmonies. I also needed two rappers, each
fluent in English and Spanish for featuring. Finally, for the Piano Trio, I needed a pianist, violinist,
and cellist; for rock version, I requested K LIVE band to do a live recording; for EDM version,
Jon Sabilion from GEMB made a remix with Ableton.
5) Editing/Mixing/Mastering
I have comped total of 20 vocal tracks, and also comped acoustic guitar. Many MPTI
students and a faculty worked on mixing and mastering my tracks - Brett Mayer mixed the multilanguage versions, while Robby Glade mixed a Rock version, and Ben Cantil helped mixing EDM
track, with Xavery Scott mastering it. Simon Tomas from SFTV mixed a Piano Trio, as that is his
main expertise.
6) Forming the Survey and Measuring 200 People
I have formed my survey that asks questions about their demographics and email for future
marketing purposes, and also other questions to measure their preference on language and genre.
For 200 participants, I have surveyed Berklee Masters students from all across programs; Berklee
Boston College students I met here and in Silicon Valley trip; Music industry professionals I met
13
at MIDEM; European friends I met while traveling; A group of young people from Spain and Latin
America from local Spanish church; a group of Koreans in a local Korean church in Valencia; I
even interviewed Equipment Room staffs, librarians, Security employee, and Front Desk personnel
at Berklee. I also interviewed and surveyed even two French people I met during a carpool ride to
Cannes; and a cook from Turkish restaurant I go every week- I was surveying all kinds of people
around me, using my networking skills both face to face and remotely, as much as possible.
7) Planning for Korean & Worldwide Release
I have signed a contract with Disrupción Records for a Worldwide release, excluding
Korea and China. For Korea, I have proposed a release with special promotion through a Korean
distributor FEEL MUSIC, a company where I distributed original song Sing With Me before, which
was accepted with a set date to be released early Fall this year.
14
7. GANTT/Flow chart
15
8. Risks
There were some risks that could be ameliorated or be resolved, and other risks that were
not avoidable. Time constraint, pro-music bias, and large number of required musicians and
engineers were risks that were able to be resolved or ameliorated. Choosing to produce six
recordings on one song instead of six songs, placing order of songs in the survey, and slight
difference in the mixing process for each song were factors that were unavoidable.
1) Time Constraint
Time constraint for the production was the largest obstacle of this project, as I had to
produce and deliver six recordings within a year. It was also challenging because I needed to recruit
a large number of musicians for different genre and find songwriters and rappers native in English
and Spanish. This constraint was resolved by changing the direction of my project, from postrelease market analysis to pre-release market test. Instead of gathering real market data from DSPs,
I was able to gather both quantitative data and qualitative feedbacks from evenly distributed target
audience.
2) Pro-Music Bias
Another risk was having more Berklee students participate in the survey than the rest of
the audience, which might shift the survey’s result in different direction. However, as I
implemented the survey, I found that pro-music bias can actually work better for the genre test, as
the pro-music participants typically had more experience listening to many genres and can be more
objective and open-minded for the experimentation on genre. For the multi-language test, I have
divided up the target audience into equal amount of people per target group to decrease the risk. I
16
have also tried to reach out to as many non-Berklee people as possible using my network outside
of school.
3) Requirement of a Large Number of Musicians/Engineers
Since I needed to produce six recordings, I had to collaborate with a large number of
musicians and engineers. This meant that I needed to depend a large portion of my work on other
people and risk the challenge of scheduling and finding times for a group of people for each
session.
I was able to resolve this issue through scheduling sessions in advance and double
checking with musicians; sometimes for some simple sessions that I could not find an engineer, I
sought help from the Graduate Assistants and engineered the session myself, involving in the
production side as well.
4) Slight Difference of Production Quality on Each Song
Because the Korean vocals were the released version that has already been mastered, it
was inevitable to avoid having some differences with how English and Spanish vocals were
produced. The English and Spanish versions had a chorus that sounded more like singing together,
which is actually an enhancement from the Korean version, but it was impossible to change the
Korean vocal that was already recorded four years ago.
17
5) Order of the Songs
For the survey, the song was placed in an order of Korean-English-Spanish. It was
inevitable to place one language earlier than the other. The order of the song might have slightly
biased people to choose a certain version, which was one comment I received from the survey.
6) Six Recordings for One Song
The six recordings were recorded and produced all for one song, for one same melody.
Because I invested most of my time in producing six different versions of one song, it was a risk
that was taking away other opportunities for me to record. However, this experience has led me to
produce a trilingual recording called ‘Superficial’, instead of making it into three different
versions, which shows that this risk has actually provided me ways to decrease risks for the future
release.
9. Outcomes
9.1. Audience as a Whole
1) Demographics
As a whole, the audience was evenly distributed into four groups – people from Englishspeaking countries, Spanish-speaking countries, Korea, and Rest of the World. They had an
average age of 26.8, 54.1% of them were female, and 58.3% of them were from Berklee.14
In terms of language skills, 85% of them spoke English, 50% Spanish, 29% Korean, and
27% other languages or multiple languages. For English 48.8% of them spoke fluently (level 5),
followed by level 4 (21.7%), and level 3 (19.3%). For Spanish, however, there were less people
14
The result from this paragraph onwards is coming from my survey on 200 people created on Google
Forms. Link in Appendix.
18
that were relatively fluent (27.1%), and more people that had Spanish as beginning level (level 3
– 18.4%, level 2 – 19.3%). From here, it could be indicated that more percentage of people spoke
Spanish as their second language. For Korean, it was almost exclusively native (level 5, 24.9%),
with the exception of others in level 2-4 (7.8%).
For the fluency of other languages, for the first language, 31.7% chose native for the first
language, while 40.8% chose level 2-4. For the fluency of second language, relatively less people
chose native (10.1%), and 43% chose midrange, level 2-4. The overall language skills were less
evenly distributed than the demographics of people from different countries, which could be
considered another factor that determines people’s choices of favorite versions.
For their preference of a song and a rap in different languages, and their generally
preferred genre and the genre they chose for my song in different versions, are listed with graphs
in the next page.
2) Language Preference
Overall, the majority of people preferred Korean version, with song slightly higher degree
(55%) than the rap (51%). English was the second preferred version, with rap (29%) slightly higher
than song (27%). Also for Spanish, slightly more people preferred it in rap (19%) than the song
(16%). The result indicated that preference for a song and a rap may vary slightly and should be
taken account when forming a song in different languages.
19
3) Genre Preference
The overall demographic’s genre preference was quite evenly distributed, with Pop (21%)
being the top, followed by K-pop (11%), Classical (10%), Indie/Jazz (9%), and EDM (8%).
However, the result of their favorite version in genre was quite different from their genre
preference; Piano Trio was remarkably the top choice (37%), followed by One of the Originals
(29.6%), which is a Pop/Indie genre, and Rock (23%), with EDM (9%) being the last. This result
indicated that the audience’s preference of genre does not always result in their favorite songs, and
factors other than merely genre, such as arrangement, melody, and production quality can lead the
listeners to listen to recordings that are not even their favorite genre.
20
9.2. Audience Divided into Three Main Markets
In order to see if there are differences of response from the target markets, the results are
also analyzed according to each target market below. Rest of the World market is skipped for
further research in the future.
9.2.1. Spanish-Speaking Demographics
1) Language Preference
Surprisingly, only 8% of people from
Spanish-speaking country chose Spanish
as their favorite version. Instead, the
majority chose Korean (58%), followed by
English (34%) version.
For
Rap
preference,
the
order
of
preference was the same as the song, but
here an interesting founding was that there
were less percentage of people who
preferred
Korean
(50%),
and
more
percentage of people preferring Spanish
version (18%) than the song. English rap
preference (32%) was similar to the
percentage of English preference (34%) for a song. This could indicate that more people from
Spanish-speaking countries specifically prefer rap in their own language than for the entire song.
21
2) Genre Preference
For Spanish-speaking people, Pop (31%),
Rock (27%), and Indie (17%) are top three
genres, followed by Classical (10%) and
EDM/Remix (6%). EDM/Remix was not
really a popular genre compared to English
target market. One important thing to note is
that “Pop” and “Indie” to Spanish people (in
Spain) actually means Spanish Pop and Spanish Indie, as those two are the most popular genre in
Spain. For Latin Americans, it needs more research.
The favorite version aligned with their genre
preference in some ways, with Original
version (36%) followed by Rock (32%), but
Piano Trio (24%) was an exception, as with
their genre preference it was only 10%. This
indicates that preference of genre does not
always result in choosing their favorite song,
and a preferred genre can be transcended by a good melody and better arrangements.
For those who chose Korean, a lot of comments were that “it sounds more natural and
real,” with one person preferring Korean because it sounded “exotic.” For those who chose
English, some of their comments were that “the song suits English better” or it “sounds better in
English.” For those that chose Spanish, some comments were “because they sound more urban”
or “has more power” and “rhythm” to it.
22
9.2.2. English-Speaking Demographics
1) Language Preference
Korean (56%) was the most preferred language,
with English (22%) and Spanish (22%)
perceived the same. The preference of Korean
song was similar to Spanish/Korean audience,
but the main difference was that more Englishspeaking people chose their own language,
English, for the song preference.
For rap, much more percentage of people
chose Korean (64%) compared to the Spanish
audience. Spanish (20%) and English (16%)
percentage were more even with each other
2) Genre Preference
23
Pop (18%), Jazz (16%), and EDM (12%) are the
most popular genre, with Classical, Indie, K-pop
and R&B all evenly distributed (8%). Jazz was one
of the main genres, partly because many Berklee
performance
students from English-speaking
countries were surveyed.
Piano Trio (36%) and One of the Originals (36%)
had the same percentage of preference, while
EDM (18%) preference was much more than the
Spanish-speaking people’s preference (8%). This
was partially because English-speaking people
prefer EDM genre more, but the percentage was
much higher than their genre preference itself. Also, Piano Trio was equally as popular as the
Pop/Indie genre of the original, also supporting the idea that a great song can transcend a genre
and can be elevated by a genre that is not necessarily people’s preference.
24
9.2.3. Korean Demographics
1) Language Preference
The Korean people also chose Korean (46%)
as their main preference, but here it was
interesting because English (38%) preference
was not much far away from the Korean
preference. A good percentage of people also
chose Spanish (16%) as their favorite. Korean
people’s preferred percentage of foreign
language was higher than that of audience from Spanish-speaking or English-speaking countries.
Some comments were that “the English versions seem to fit the light and upbeat atmosphere of the
song/rap the most,” and also that it sounded more energetic and rhythmic. For Spanish, people
commented that “it sounds unique” and “more passionate.”
Rap version’s result was interesting, because less
percentage chose Korean rap (46%), and more on
English (34%) and Spanish (20%). For both
Koreans and Spanish-speaking people, English rap
was much more popular than it was to Englishspeaking people.
25
2) Genre Preference
K-pop (35%) was the most popular genre
among Koreans, followed by Classical (14%),
Pop (12%) and Indie/Jazz (10%). It was
interesting because classical was the second
most popular genre, although not high in terms
of percentage.
Piano Trio (40%) was Korean people’s favorite
genre, tightly followed by One of the Originals
(36%). Rock (18%) was also popular to some
extent, with comments stating “the genre fits
with the lyrics” and “adds energy” to the music.
Koreans, their preferred genre does in some
extent lead to choosing their favorite version, which was different from that of the target audience
from Spanish-speaking and English-speaking countries. However, more than twice the percentage
of people whose favorite genre is classical chose Piano Trio, still indicating that their favorite
version transcends their favorite genre.
9.3. Overall Results and Discussions
Regarding language, one important founding was that exotic languages were deemed more
attractive to target markets outside of Korea, especially audience from English and Spanishspeaking countries. An important factor to note is that for rap, more percentage of people in general
preferred it in their own language, although foreign language, especially Korean, was the most
26
popular choice. One major difference between people’s preference of a song and a rap is that much
more percentage of people preferred song in Korean, which could be linked to K-pop’s popularity
regardless of people not being able to understand the language, whereas for the rap, less people
preferred Korean one and actually preferred English version more, which indicates that rap’s main
language as English plays a role and that it is more universal language that can be transferred better
via rap, unlike songs with melodies. From this, I could conclude that instead of producing three
tracks in three separate languages, it might be more unique and draw more attention to mix
different languages, especially incorporating different language for a song and a rap.
Overall, people’s preference of genre was not necessarily parallel to their choice of
favorite version of genre. This indicates that other factors come into play, such as a transferrable
melody, a better arrangement, and a difference in production quality. I have also learned that
sometimes, a track with a completely different genre from the original version can actually hype
up the song in an unexpected way and expand the target audience to a larger realm.
Some further research and analysis needed are on the rest of the world’s perception of
languages and genres; whether Piano Trio is perceived differently across different age groups;
including Hip-hop as a main genre in a question asking about a preference of genre in a new
following survey on A Cappella and Mix-language versions; analyzing main shortcomings of each
genre; and forming specific strategies to market each language and genre.
27
10. Conclusion
Through this project, I have learned that the most important factor in determining a song’s
success is not necessarily the audience’s language background or preferred genre, but more about
the authenticity. IFPI’s Global Music Report 201915 mentions George Ezra and J Balvin as artists
who gained global success transcending genres and languages because of their authentic and
honest approach to music. Likewise, my future task will be to develop myself as a genuine Korean
artist, experimenting with languages and genres that are more authentic to my artist identity.
In addition, through the survey’s quantitative and qualitative feedbacks, I was able to gain
valuable insights and suggestions. The results of the survey showed that different genres,
especially Piano Trio and Rock version, added to the original music and made people appreciate
the song even better. The most popular language was Korean among all target markets, suggesting
that even for K-Indie genre, a good song can transcend the language to reach global audience. I
was also given several suggestions during the surveying process. One suggestion was to also
produce an A Cappella version so that DJs and other producers can remix my song. Another was
to mix the languages within one recording instead of designating each language to an individual
track. These suggestions can be tested through another quantitative survey and be incorporated for
an international release strategy in the future.
As a next step, I would like to incorporate what I have learned from this operational project
into an international release strategy, specifically through choosing and focusing on the key track
to be promoted, optimizing track order and main title for each target market, and building myself
as a hybrid brand of an artist and market strategist.
15
“Case Study: George Ezra,” and “Case Study: J Balvin,” Global Music Report 2019, IFPI, June 1,
2019, https://www.ifpi.org/downloads/GMR2019.pdf
28
Appendix A: Survey Questionnaire
A link to the Google Form survey is here: https://forms.gle/z4fXsdujJugKXVQXA
Screenshot of questions asked:
29
Appendix B: Sing With Me – English Lyrics
INTRO:
Sing with me
Cantaremos tu y yo
Sing it loud Sing it proud
Won’t you let it free
Come on sing some more
We can celebrate and drink
Make a toast and feel the beat
You can jive
By my side
When you dance with me
Sing with me
Bailaremos tu y yo
Don’t hold back
Just react
Come on, feel the beat
RAP:
Fresh air cold water let’s get out and
party like it’s your birthday
Don’t let others get into your way
Now’s the time to enjoy the weekend
Let the rhythm come up and sink in
You gotta vibe and ride with the feeling
Live it up and sing like you like it
Floor is yours so dance like you mean it
VERSE1:
Put your worries all behind
It is time to let them go
Take a chance
Sing and dance
Won’t you free your soul
CHORUS 2ND:
You and me
We can sing out in the street
No one can
stop you now
when you’re young and free
Come to me
Let’s get caught up in the scene
Dance and jive
Feel the vibe
Come on ride with me
Come get caught up in the sound
And get caught up by the scene
Don’t be shy
You will fly
If you dance with me
CHORUS:
Sing with me
Cantaremos tu y yo
Sing it loud
Sing it proud
Won’t you let it free
CHORUS (repeat)
Come to me
Bailaremos tu y yo
Don’t hold back
Just react
Come on, feel the beat
OUTRO:
Sing with me
Come to me
Won’t you sing and dance with me,
sing and dance with me,
Sing and dance with me
VERSE2:
If you’re ever feeling down
If you’re ever feeling low
Let it out
Say out loud
Sing with me
Come to me
Won’t you sing and dance with me
Yeah~yea
30
Appendix C: Sing With Me – Spanish Lyrics
INTRO:
Cantemos
Let’s sing
Sana el corazón
heal the heart
Oye Como Suena la canción
Listen how the song sounds
Cantaremos Tu y Yo
You and I, let’s sing
Al Ritmo de tu voz
To the rhythm of your voice
Por amor
For love
Cantala
sing it
Con valor
With pride
Tocala
play it
Por el dia de hoy
For today
Bien te Sentiras
You will feel good
Cantemos
Let’s sing
Bailaremos tu y yo
Let’s dance, you and me
CHORUS:
Cantemos
Let’s sing
Y al final
At the end
Cantaremos Tu y Yo
You and me, let’s sing
Tu verás
You will see
Por amor
For love
Que es el amor
What is love
Con valor
With pride
VERSE1:
Cuando Creas Que Estas
When you’re feeling that
Por el dia de hoy
For today
Bailemos
Let’s dance
E-Envuelto en dolor
You are surrounded by pain
Bailaremos tu y yo
You and me, let’s dance
Vamos Ya
Let’s go now
Y al final
At the end
Baila ya
Dance now
31
Tu verás
You will see
Que esperas? Siente el movimiento
What are you waiting for?
Feel the movement
Que es el amor
What is love
Tienes talento, y el cuerpo lo siente
You have talent, and the body feels it
VERSE 2:
Nunca debes olvidar
You shouldn’t forget
Canta! Que esta canción es tuya
Sing! Because this song is yours
La belleza de vivir
The beauty of life
Vamos! Que se sienta la bulla
Let’s go! Let the noise be heard
Siente lo
Feel it
Dale, cántala, báilala, tócala
Give it, sing it, dance it, play it
Goza lo
Enjoy it
Quiero quel mundo sepan
I want the world to know
Suelta el corazon
Let go of your heart (Free your soul)
‘Sing With Me’
CHORUS 2ND:
Junto a ti
Together with you
Mira como gozan en España hoy
Look how they are enjoying (life/moment)
in Spain today
Voy a vivir y sonreir
Come live and smile
Los músicos del mundo
The musicians from the world
Y los dos
And the two of us
Esto si
This is
Seremos
We will be
Qués vivir (Que es vivir)
Really living (it)
Muy felices hoy
Very happy today
Ven a compartir
Come share it (Come join Berklee)
Ven aquí
Come here
RAP:
Mira como baila la gente
Look how people are dancing
A vivir con emoción
To live with emotion
Y hasta los árboles ya se mueven
And even the trees are moving
Y al final
At the end
32
Tu verás
You will see
-remos tu y yo
-ing with me, you and me
Que es el amor
What is love
-remos tu yo
-ing with me, you and me
CHORUS (Repeat)
OUTRO:
Cantemos
Sing with me
Cantemos
Sing with me
Bailemos
Sing with me, you and me
Bailemos
Dance with me
Cantaremos tu y yo
Sing with me, you and me
Cantaremos tu y yo
Sing with me, you and me
Yeah~ yea
33
Bibliography
“2018 Figures by Region.” Global Music Report 2019. IFPI, June 1, 2019.
https://www.ifpi.org/downloads/GMR2019.pdf.
David, Amber. Melanie Fontana, Danny, Lee. Michel, Schulz. “Lindgren.” Wengie. The Year Kpop Broke in the USA in 2019. Cannes, France: MIDEM, 2019.
“Case Study: George Ezra,” and “Case Study: J Balvin.” Global Music Report 2019. IFPI, June
1, 2019. https://www.ifpi.org/downloads/GMR2019.pdf.
Kish. “Sing With Me.” Track 1 on Sing With Me. Swim & Shine, 2015. Spotify streaming audio.
320kbps.
Sterling, Lindsey. “Zelda Medley - Lindsey Stirling.” posted by Lindsey Sterling. November 27,
2011, Accessed June 14, 2019. YouTube Video, 4:08,
https://www.youtube.com/watch?v=b3KUyPKbR7Q.
“Share of total music album consumption* in the United States in 2018, by genre.” Statistica.
January 2019. https://www.statista.com/statistics/310746/share-music-album-sales-usgenre/.
The Piano Guys. “Beethoven's 5 Secrets - OneRepublic - The Piano Guys.” posted by
ThePianoGuys. February 9, 2012. Accessed June 14, 2019. YouTube Video, 5:07,
https://www.youtube.com/watch?v=mJ_fkw5j-t0.
“The World’s Favorite Music Genres.” IFPI 2018, Statista.
https://www.statista.com/chart/15763/most-popular-music-genres-worldwide/.
34
Sing with Me: Reborn
CE Outcome Paper
Supervisor: Pete Dyson
Seo Hyun Kim
Valencia Campus, Spain
June 2019
Table of Contents
Abstract ..................................................................................................................................... iv
1. Summary ................................................................................................................................ 1
2. The State of Music Trend, Genres, and K-pop ........................................................................ 2
2.1. The Importance of Multilingual Music as a Trend .................................................... 2
2.2. Genre Test................................................................................................................ 4
3. Objectives .............................................................................................................................. 6
3.1. Producing Six Successful Recordings for an EP ....................................................... 6
3.2. Formulating and Conducting Surveys on Key Markets ............................................. 7
4. Methodology .......................................................................................................................... 8
4.1. Survey as a tool to gather significant data ................................................................. 8
4.2. Trimming the Song for Survey Purpose .................................................................... 9
4.3. Face-to-Face Interviews ........................................................................................... 9
5. Resources ............................................................................................................................. 10
5.1. Recording Resources .............................................................................................. 10
5.2. Other Resources ..................................................................................................... 11
6. Tasks
................................................................................................................................ 12
7. GANTT/Flow Chart ............................................................................................................. 15
8. Risks ................................................................................................................................. 16
9. Outcomes ............................................................................................................................. 18
9.1. Audience as a Whole .............................................................................................. 18
9.2. Audience Divided into Three Main Markets ........................................................... 21
9.2.1. Spanish-Speaking Demographics ............................................................... 21
ii
9.2.2. English-Speaking Demographics ............................................................... 23
9.2.3. Korean Demographics ............................................................................... 25
9.3. Overall Results and Discussions ............................................................................. 26
10. Conclusion ......................................................................................................................... 28
Appendix A: Survey Questionnaire .......................................................................................... 29
Appendix B: Sing With Me – English Lyrics ............................................................................ 30
Appendix C: Sing With Me – Spanish Lyrics ........................................................................... 30
Bibliography ............................................................................................................................ 34
iii
Abstract
This paper is about a journey of my hybrid identity, as an artist Kish and a business professional
Seo Hyun Kim, on the process of re-releasing my first single, Sing with Me, in three different languages
and three different genres. The purpose of this project is to test my multi-language and multi-genre
recordings on specific target markets as an international release strategy. Throughout the process, I have
collaborated with a total of 28 musicians, recording engineers, mixing and mastering engineers, and
designers and faculties across all programs at Berklee Valencia to produce six recordings. In order to test
the market before the release, I have surveyed a sample size of 200 people, mainly targeting the markets
of English-Speaking countries, Spanish-speaking countries and Korea. Through the analysis of the survey
result, I was able to gain valuable qualitative and quantitative results that provided insights for forming an
international release strategy. It was a challenging process to produce recordings and analyze data within
a tight time frame, but rewarding in that I was able to experience interdisciplinary aspects of being an
artist and an executive producer, conducting market research and analysis, and providing a gateway for
other emerging artists.
Keywords: International Release Strategy, language, genre, EP, market analysis
iv
1. Summary
I have produced an EP of my song, Sing With Me and tested it on audiences before an
international release. This song was previously released in Korean in 20151. After receiving several
positive critiques from music producers, songwriters and a major label, I was inspired to create a
new EP spanning over multiple languages and genres. As a final product of this project, an EP
with three languages (Korean, English, and Spanish) and with three genres (Piano Trio, Rock, and
Remix) were created. The goal was to plan a successful international release strategy and find my
hybrid identity as a business professional and an artist.
To achieve this goal, I conducted a survey with a sample size of 200 participants from
different countries with varying levels of languages and genre preferences. It was assumed that
people’s nationality, language levels, and genre preferences play essential roles in their song
preferences. Based on the result, I will be able to better strategize and plan my music to market
them internationally. Furthermore, this project will provide other emerging artists platforms and
tools to plan and differentiate their international release and marketing strategies.
Throughout the year, I have collaborated with a total of 28 different artists, musicians,
songwriters, recording engineers, mixing and mastering engineers, and artwork designers across
all programs in Berklee Valencia to produce six recordings. During the process, I have learned to
professionally collaborate with other musicians, and was fully engaged in leading a group of
different creative sessions. Through focusing my survey on the key international music markets,
mainly measuring how much language and genre play a role for global audiences, I was able to
collect valuable feedback data to provide niche A&R strategies and outlooks for music trends in
the future.
1
Kish, “Sing With Me,” track 1 on Sing With Me, Swim & Shine, 2015, Spotify streaming audio,
320kbps.
1
2. The State of Music Trend, Genres, and K-pop
2.1. The Importance of Multilingual Music as a Trend
MIDEM 2019 presented a session called “The Year K-pop Broke in the USA.” This
session was composed of various international panels, ranging from Benjamin Jeff who is a K-pop
columnist for Billboard; WENGIE, a record-breaking YouTuber and an artist whose niche is also
in multilingual songs; and Melanie Fontana, a singer-songwriter for BTS. Most panels mentioned
how multilingual songs have become a new niche trend. One example is WENGIE’s multilingual
recording with a remix, Mr. Nice Guy. The panel mentioned that WENGIE is a pioneer of releasing
songs with mixed languages and this will become a trend in the near future. The panels also
emphasized that K-pop is transcendent of language, as it creates a vibe, culture and a fandom that
is beyond being able to understand the language.2
Figure 1.WENGIE’s multilingual release in 2019, Mr.Nice Guy featuring Inigo Pascual as a rapper
2
Amber David, Melanie Fontana, Lee Danny, Schulz Michel “Lindgren,” Wengie. The Year K-pop Broke
in the USA in 2019. Cannes, France: MIDEM, 2019
2
In Korea, K-Indie music is currently dominating the charts domestically. A few recent
successes include an indie band HYUKOH with the help of Korean TV show called “Infinite
Challenge”3; MELOMANCE, a duo ballad group whose song ‘Gift,’ which was released a few
years ago, becoming No.1 on the charts after their appearance on a music show called ‘Yoo Heeyeol’s Sketchbook.”4; JANNABI, an indie band whose recent songs are within the top 3 of Melon
chart, even competing against the global phenomenon BTS5 . Although a lot of them became
popular through TV shows, this interesting trend of Korean audiences being attracted to indie
music has risen almost to the same level as the mainstream K-pop music.
As an Indie artist, I wanted to see if even K-Indie music might transcend the language
itself and draw popularity from the global audience. I also wanted to see whether the audience
from the key global music market will have more or less preference towards a K-Indie song in
their own languages, or if the song will transcend the language and gain attraction across
audiences, which is the recent case of K-pop.
Likewise, I wanted to test and see if this kind of multilingual strategy will not only work
for mainstream K-pop music, but also for Indie and emerging artists like me. By testing what kind
of languages work for different target markets, I would then be able to provide roadmaps not only
for myself but also for other emerging artists from Korea.
3
Moon Su-yeon, “‘Infinity Challenge’ HYUKOH's Warigari, a song which IU mentioned, kills the
charts,” Star N, July 5, 2015, http://www.segye.com/newsView/20150705001596?OutUrl=naver
4
Choi Hyun-jung, “Melomance’s ‘Gift’ is Writing a New History in its ranking…It is Ranking the Top in
Charts,” Music Rising, Media Rising, October 16, 2017, http://www.hrising.com/music/?mode=view&no=384
5
Kim Eun-gu, “‘Trending band’ JANNABI has someone behind them!,” E Daily, May 24, 2019,
https://www.edaily.co.kr/news/read?newsId=01295606622492200&mediaCodeNo=258
3
2.2. Genre Test
According to IFPI’s survey in 2018, the world’s favorite genre was Pop, followed by Rock
and Dance/Electronic/House (See Fig.2). Although Classical/Opera genre only ranked as 7th, it
was considered one of top 10 genres in the world. Although the EDM market for the US has been
falling for the past two years6, it was still considered one of the top genres. In addition, the Hip
Hop market in the US grew above the Rock market7 last year, with its market share of 21.4%.
I have chosen four of the top five popular genres (Pop, Rock, EDM, Rap) to be tested on
the international audience. I have chosen these genres not only because they are currently world’s
most popular genres, but also because they relate to me as an artist, which I will explain more in
detail in the reflection paper.
Figure 2. The World’s Favorite Music Genres, IFPI 2018, Statista
https://www.statista.com/chart/15763/most-popular-music-genres-worldwide/
6
Richard Smirke, “Is The Party Over? EDM's Share of US Record Market Falls As DJ Earnings Slip to
Five-Year Low,” Billboard, May 23, 2019, https://www.billboard.com/articles/business/8512892/edm-dance-musicshare-us-recorded-music-market-share-ims-report.
7
Share of total music album consumption* in the United States in 2018, by genre, Statistica, January
2019, https://www.statista.com/statistics/310746/share-music-album-sales-us-genre/.
4
In addition, there have been examples of genre variation that brought positive influence,
in terms of bringing the hype around the song, reaching more audience, and covering different
dimensions of a song. For instance, Piano Guy’s string mashup cover of One Republic’s Secrets
gained 108 million views8 on YouTube, more than half of the original song’s 202 million views.9
Also, Piano Guy’s version brought hype to the original song, adding popularity to it. Another
example is Lindsey Sterling’s violin cover of a video game, Legend of Zelda, which gained 36
million views10 on YouTube, becoming one of her most popular covers. Her violin cover has
reached a new group of audiences, growing past video game players familiar with the game to
reaching a wider mainstream audience. Finally, in Korea, a famous commercial which rearranged
Pachelbel’s Canon In D with Korean traditional instruments, beatboxing, and breakdancing11 ,
drew attention as it interpreted a classical song in a completely different dimension.
Drawing from these examples, I wanted to see if the Piano Trio version, although not the
most popular genre, can bring hype to my song and draw a different target audience than listeners
of my original song. I have assumed that this is a good way to reach niche markets and different
age groups, perhaps older generations or people with varying preferences who are not familiar
with Pop as much as the mainstream audience. Finally, I wanted to test the non-lyrical aspect of
8
OneRepublic, “OneRepublic - Secrets (Official Music Video),” directed by Chris Sims, May 12, 2010,
YouTube Video, Accessed June 14, 2019, 3:52, https://www.youtube.com/watch?v=qHm9MG9xw1o
9
The Piano Guys, “Beethoven's 5 Secrets - OneRepublic - The Piano Guys,” posted by ThePianoGuys,
February 9, 2012, Accessed June 14, 2019, 5:07, https://www.youtube.com/watch?v=mJ_fkw5j-t0
10
Lindsey Sterling, “Zelda Medley - Lindsey Stirling,” posted by Lindsey Sterling, November 27, 2011,
Accessed June 14, 2019, 4:08, https://www.youtube.com/watch?v=b3KUyPKbR7Q
11
Jizo Entertainment, “CANON D REMIX BY KOREAN GROUP BBOY, B-BOY,
BREAKDANCING,” posted by jizoentertainment, August 20, 2007, Accessed June 14, 2019, 3:12,
https://www.youtube.com/watch?v=2-yYjMg1lvs
5
the Piano Trio version – whether the audience will respond to my song with the same level of
positivity as the ones with vocals and lyrics.
3. Objectives
The objectives for my CE project was to form the best international release strategy for
gaining maximum global popularity as a Korean indie artist. Furthermore, I wanted to integrate
my diverse background and previous working experiences in the entertainment industry into a
hybrid personal brand, combining business strategist and artist.
3.1. Producing Six Successful Recordings for an EP
In order to achieve this and solidify my project, my sub-objective was to produce six
recordings to test the audience’s response to varying languages and genres. I also wanted to
experience being an executive producer and artist at the same time, liaising with different music
professionals.
Language Reason
Korean
I am Korean, this song is originally in Korean, and K-pop is a popular genre
English
It is the most marketable language worldwide
Spanish
It is the second marketable language, and there is a Latin music boom
Genre
Piano
Trio
Reason
I wanted to produce a non-lyrical, purely instrumental version, contrasting from the
Pop genre
This is a live version I have performed throughout the semesters in a K-pop band
called K LIVE; Also, rock genre is linked with live performances in general
EDM is currently the most popular electronic genre, and is linked with the Ableton
elective I took
Rock
EDM
Table 1. Reasons for producing six recordings for an EP
6
3.2. Formulating and Conducting Surveys on Key Markets
After completing the sub-objective of producing six recordings, I wanted to test the
international audience’s response, especially targeting the world’s largest and fastest growing
music markets. According to Global Music Report 2019 from IFPI,12 Korea is the fastest growing
global music market, with 17.9% growth for the year 2018. In addition, Latin America grew
16.8%, which is also the second highest rate of growth globally. In addition, North America also
grew 14% in 2018. USA, UK, and Canada are the world’s first, third and ninth largest market in
2018, which justifies as one of the most important markets to look at. Therefore, I chose the North
American and UK market, the Spain and Latin American market, and Korea. My objective was to
see if the people from these major territories respond differently to the same song in terms of their
native language and genre preference. It will also be interesting to see how the same song with
diverse genres can have varying levels of acceptance by a global audience.
These results provide valuable insights into custom-marketing the EP, formulating
different strategies for each target market. Knowing the language preference among different target
groups then enables me to know which languages to choose in the future when producing new
tracks. Genre preference enables me to form clever strategies on artistic experimenting and
developing several genres for my EP, and future releases.
Through this project, I wanted to gain some valuable insights on international release
strategies which I could use for strengthening and strategizing my EP release. These results will
then be used towards track ordering, choosing the main title, and adjusting the promotional strategy
for main international markets. Eventually, this will also be used for building my hybrid identity
12
“2018 Figures by Region,” Global Music Report 2019, IFPI, June 1, 2019,
https://www.ifpi.org/downloads/GMR2019.pdf
7
as an artist and a business professional, providing tools for other emerging musicians for successful
international releases.
4. Methodology
4.1. Survey as a tool to gather significant data
A survey was implemented as the main data collection in this study to collect constructive
and meaningful feedback data, which would have been harder to achieve through releasing and
gathering market data from platforms. The data collection period lasted two weeks, and 200
participants were recruited. They were distributed evenly among four main categories as people
from English-Speaking Countries, Spanish-Speaking Countries, Korea, and the rest of the world.
The approach of collecting and analyzing data before rather than after releasing the EP was
implemented to reduce the level of risks for marketing. The survey questions13 using Google
Forms were designed to answer the following two main research questions, as follows:
1) Measurement of the role languages have on a song
The Korean, English, and Spanish versions were recorded and produced with new
instrumentals and the only differences were the lyrics in different languages. The purpose of this
was to measure how the change of a language influences an audience perception on a song.
2) Measurement of the role different genres on a song
Three different genre versions were produced – a Piano Trio version without lyrics, a Rock
version by K LIVE, a K-pop band I was in, and an EDM remix by a DJ. This variation was to see
how people respond differently to a same song in different genres. For genre test, I did not vary
13
See the survey questions in the link here: https://forms.gle/z4fXsdujJugKXVQXA
8
the language and only placed Korean for both Rock and EDM, as the main variable I wanted to
see was genre.
4.2. Trimming the Song for Survey Purpose
Nowadays, people judge a music by 30 seconds or so. Apple Music’s preview play is
about 30 seconds, while Korean DSP melon’s preview play is 1 minute. Therefore, I found it a
legitimate length for the audience to listen and judge a song. The other reason of trimming the
music was to keep the survey short and simple so that the participants would not skip over a song
and thus would not create an objective standard to judge a song.
4.3. Face-to-Face Interviews
When I interviewed survey respondents in real life, I was able to retain more qualitative
responses, and it became a session of sharing music more intimately. I was able to interview 10%
of the total target audience. I conducted face-to-face interviews in order to gather more in-depth
understanding of the data and feedbacks. It also provided me more stories to tell about the
journey of producing songs in multiple languages and genres.
9
5. Resources
5.1. Recording Resources
A total of 27 people collaborated for the recording of EP across all programs, ranging
from SFTV, MPTI, CPPD, GEMB, and undergraduate students.
1) Executive Producer/Videographer/Main Vocal
-
Seo Hyun Kim(Kish)
2) Musicians
-
Piano Trio Version: Taylor Fleming, Emily Gelineau, Daniel Seo
-
Rock Version: Daniel Seo, Volk, Raco, Alex, Sunghyun
-
Original: Marco Chiavetta (Bass), Issaya Rouson Whitesides (Drum), Sam Borrello (Elec
Guitar), Leo Son (Guitar)
3) Rappers
-
Julian Williams
-
Jose Diaz
4) Background Vocals
-
Randle Thompson
-
Jose Diaz
-
Seo Hyun Kim
5) Songwriters
-
Tommy Mills - English Lyrics
-
Oscar De Lara - Spanish Lyrics
6) Remixer
-
Jon Sabillón
10
7) Recording Engineers
-
Li Ying- K LIVE, Piano Trio ver
-
Marcelo Willson - Spanish Ver
-
Mariah Moore - English Ver
-
Mohammadreza Rezaei - K LIVE Ver
8) Mixing/Mastering
-
Brett Mayer - Korean/English/Spanish original ver mixing & mastering
-
Robby Glade - K LIVE Rock ver mixing & mastering
-
Xavery Scott - Vocal Tuning, Mastering EDM version mixing & mastering
-
Ben Cantil – EDM ver mixing
-
Simon Tomas - Piano Trio ver mixing & mastering
5.2. Other Resources
1) Album Jacket
- Chris N Fong Chew, Kyrie
2) Software
- Ableton, Protools, Adobe Premiere
I am involving in production side as well, editing recordings with ProTools, remix version with
Ableton, and music video with Adobe Premiere.
3) Survey Data Tools
- Google Form, Excel Spreadsheet
I have surveyed 200 people through Google Form, and organized the data in Excel Spreadsheet.
11
6. Tasks
1) Choosing Languages
In order to release a multi-lingual EP, I chose a language that I could speak and is suitable
for the mainstream market. Since I am a Korean currently living in Spain with six years of living
abroad in the US, and with North America, UK, Korea and Latin America as main music markets
of 2018, it made a logical sense for me to choose Korean, English, and Spanish as the three main
languages to release my recordings.
2) Choosing Genres
I chose three genres that are distinctively different yet can add to the original music. I also
collaborated with some of the best musicians from Berklee and used AKSS studio, utilizing the
school’s resources. I have chosen Piano Trio, as I wanted to try non-lyrical recording as one version
and also to test if this genre can expand my song’s audience. I also observed a lot of string players
at Berklee, which provided me an opportunity to collaborate with undergraduates and SFTV
students. I have also chosen a Rock version, because I was in a K-pop band and performed with
the band several times, including a full hour K-pop concert, which had great responses from the
audience. Finally, I have chosen EDM Remix, as EDM is currently one of the most popular global
genres, and since I took the Ableton Class during spring semester.
3) Songwriting in English/Spanish
I had regular meetings with Oscar De Lara and Tommy Miller on “translative” lyrics
writing. I met up with Oscar every Wednesday after Publishing Class for about a month, discussing
possible ways to make the Spanish lyrics better. Since I did not fully understand Spanish, I tried
12
to discuss relevant themes, keywords and visualization for us to write the lyrics that best fit the
theme of Sing With Me.
4) Recording Six Tracks
I recruited musicians, background vocal singers, rappers, recording engineers, and mixing
and mastering engineers in order to record and produce the recordings. For the multi-language
versions, common instrumental was recorded, with new drum, bass, acoustic guitar, and electric
guitar, advancing from the instrumentation of the original version. For the vocals, I needed to
record main vocal and dubbing vocals for chorus and harmonies. I also needed two rappers, each
fluent in English and Spanish for featuring. Finally, for the Piano Trio, I needed a pianist, violinist,
and cellist; for rock version, I requested K LIVE band to do a live recording; for EDM version,
Jon Sabilion from GEMB made a remix with Ableton.
5) Editing/Mixing/Mastering
I have comped total of 20 vocal tracks, and also comped acoustic guitar. Many MPTI
students and a faculty worked on mixing and mastering my tracks - Brett Mayer mixed the multilanguage versions, while Robby Glade mixed a Rock version, and Ben Cantil helped mixing EDM
track, with Xavery Scott mastering it. Simon Tomas from SFTV mixed a Piano Trio, as that is his
main expertise.
6) Forming the Survey and Measuring 200 People
I have formed my survey that asks questions about their demographics and email for future
marketing purposes, and also other questions to measure their preference on language and genre.
For 200 participants, I have surveyed Berklee Masters students from all across programs; Berklee
Boston College students I met here and in Silicon Valley trip; Music industry professionals I met
13
at MIDEM; European friends I met while traveling; A group of young people from Spain and Latin
America from local Spanish church; a group of Koreans in a local Korean church in Valencia; I
even interviewed Equipment Room staffs, librarians, Security employee, and Front Desk personnel
at Berklee. I also interviewed and surveyed even two French people I met during a carpool ride to
Cannes; and a cook from Turkish restaurant I go every week- I was surveying all kinds of people
around me, using my networking skills both face to face and remotely, as much as possible.
7) Planning for Korean & Worldwide Release
I have signed a contract with Disrupción Records for a Worldwide release, excluding
Korea and China. For Korea, I have proposed a release with special promotion through a Korean
distributor FEEL MUSIC, a company where I distributed original song Sing With Me before, which
was accepted with a set date to be released early Fall this year.
14
7. GANTT/Flow chart
15
8. Risks
There were some risks that could be ameliorated or be resolved, and other risks that were
not avoidable. Time constraint, pro-music bias, and large number of required musicians and
engineers were risks that were able to be resolved or ameliorated. Choosing to produce six
recordings on one song instead of six songs, placing order of songs in the survey, and slight
difference in the mixing process for each song were factors that were unavoidable.
1) Time Constraint
Time constraint for the production was the largest obstacle of this project, as I had to
produce and deliver six recordings within a year. It was also challenging because I needed to recruit
a large number of musicians for different genre and find songwriters and rappers native in English
and Spanish. This constraint was resolved by changing the direction of my project, from postrelease market analysis to pre-release market test. Instead of gathering real market data from DSPs,
I was able to gather both quantitative data and qualitative feedbacks from evenly distributed target
audience.
2) Pro-Music Bias
Another risk was having more Berklee students participate in the survey than the rest of
the audience, which might shift the survey’s result in different direction. However, as I
implemented the survey, I found that pro-music bias can actually work better for the genre test, as
the pro-music participants typically had more experience listening to many genres and can be more
objective and open-minded for the experimentation on genre. For the multi-language test, I have
divided up the target audience into equal amount of people per target group to decrease the risk. I
16
have also tried to reach out to as many non-Berklee people as possible using my network outside
of school.
3) Requirement of a Large Number of Musicians/Engineers
Since I needed to produce six recordings, I had to collaborate with a large number of
musicians and engineers. This meant that I needed to depend a large portion of my work on other
people and risk the challenge of scheduling and finding times for a group of people for each
session.
I was able to resolve this issue through scheduling sessions in advance and double
checking with musicians; sometimes for some simple sessions that I could not find an engineer, I
sought help from the Graduate Assistants and engineered the session myself, involving in the
production side as well.
4) Slight Difference of Production Quality on Each Song
Because the Korean vocals were the released version that has already been mastered, it
was inevitable to avoid having some differences with how English and Spanish vocals were
produced. The English and Spanish versions had a chorus that sounded more like singing together,
which is actually an enhancement from the Korean version, but it was impossible to change the
Korean vocal that was already recorded four years ago.
17
5) Order of the Songs
For the survey, the song was placed in an order of Korean-English-Spanish. It was
inevitable to place one language earlier than the other. The order of the song might have slightly
biased people to choose a certain version, which was one comment I received from the survey.
6) Six Recordings for One Song
The six recordings were recorded and produced all for one song, for one same melody.
Because I invested most of my time in producing six different versions of one song, it was a risk
that was taking away other opportunities for me to record. However, this experience has led me to
produce a trilingual recording called ‘Superficial’, instead of making it into three different
versions, which shows that this risk has actually provided me ways to decrease risks for the future
release.
9. Outcomes
9.1. Audience as a Whole
1) Demographics
As a whole, the audience was evenly distributed into four groups – people from Englishspeaking countries, Spanish-speaking countries, Korea, and Rest of the World. They had an
average age of 26.8, 54.1% of them were female, and 58.3% of them were from Berklee.14
In terms of language skills, 85% of them spoke English, 50% Spanish, 29% Korean, and
27% other languages or multiple languages. For English 48.8% of them spoke fluently (level 5),
followed by level 4 (21.7%), and level 3 (19.3%). For Spanish, however, there were less people
14
The result from this paragraph onwards is coming from my survey on 200 people created on Google
Forms. Link in Appendix.
18
that were relatively fluent (27.1%), and more people that had Spanish as beginning level (level 3
– 18.4%, level 2 – 19.3%). From here, it could be indicated that more percentage of people spoke
Spanish as their second language. For Korean, it was almost exclusively native (level 5, 24.9%),
with the exception of others in level 2-4 (7.8%).
For the fluency of other languages, for the first language, 31.7% chose native for the first
language, while 40.8% chose level 2-4. For the fluency of second language, relatively less people
chose native (10.1%), and 43% chose midrange, level 2-4. The overall language skills were less
evenly distributed than the demographics of people from different countries, which could be
considered another factor that determines people’s choices of favorite versions.
For their preference of a song and a rap in different languages, and their generally
preferred genre and the genre they chose for my song in different versions, are listed with graphs
in the next page.
2) Language Preference
Overall, the majority of people preferred Korean version, with song slightly higher degree
(55%) than the rap (51%). English was the second preferred version, with rap (29%) slightly higher
than song (27%). Also for Spanish, slightly more people preferred it in rap (19%) than the song
(16%). The result indicated that preference for a song and a rap may vary slightly and should be
taken account when forming a song in different languages.
19
3) Genre Preference
The overall demographic’s genre preference was quite evenly distributed, with Pop (21%)
being the top, followed by K-pop (11%), Classical (10%), Indie/Jazz (9%), and EDM (8%).
However, the result of their favorite version in genre was quite different from their genre
preference; Piano Trio was remarkably the top choice (37%), followed by One of the Originals
(29.6%), which is a Pop/Indie genre, and Rock (23%), with EDM (9%) being the last. This result
indicated that the audience’s preference of genre does not always result in their favorite songs, and
factors other than merely genre, such as arrangement, melody, and production quality can lead the
listeners to listen to recordings that are not even their favorite genre.
20
9.2. Audience Divided into Three Main Markets
In order to see if there are differences of response from the target markets, the results are
also analyzed according to each target market below. Rest of the World market is skipped for
further research in the future.
9.2.1. Spanish-Speaking Demographics
1) Language Preference
Surprisingly, only 8% of people from
Spanish-speaking country chose Spanish
as their favorite version. Instead, the
majority chose Korean (58%), followed by
English (34%) version.
For
Rap
preference,
the
order
of
preference was the same as the song, but
here an interesting founding was that there
were less percentage of people who
preferred
Korean
(50%),
and
more
percentage of people preferring Spanish
version (18%) than the song. English rap
preference (32%) was similar to the
percentage of English preference (34%) for a song. This could indicate that more people from
Spanish-speaking countries specifically prefer rap in their own language than for the entire song.
21
2) Genre Preference
For Spanish-speaking people, Pop (31%),
Rock (27%), and Indie (17%) are top three
genres, followed by Classical (10%) and
EDM/Remix (6%). EDM/Remix was not
really a popular genre compared to English
target market. One important thing to note is
that “Pop” and “Indie” to Spanish people (in
Spain) actually means Spanish Pop and Spanish Indie, as those two are the most popular genre in
Spain. For Latin Americans, it needs more research.
The favorite version aligned with their genre
preference in some ways, with Original
version (36%) followed by Rock (32%), but
Piano Trio (24%) was an exception, as with
their genre preference it was only 10%. This
indicates that preference of genre does not
always result in choosing their favorite song,
and a preferred genre can be transcended by a good melody and better arrangements.
For those who chose Korean, a lot of comments were that “it sounds more natural and
real,” with one person preferring Korean because it sounded “exotic.” For those who chose
English, some of their comments were that “the song suits English better” or it “sounds better in
English.” For those that chose Spanish, some comments were “because they sound more urban”
or “has more power” and “rhythm” to it.
22
9.2.2. English-Speaking Demographics
1) Language Preference
Korean (56%) was the most preferred language,
with English (22%) and Spanish (22%)
perceived the same. The preference of Korean
song was similar to Spanish/Korean audience,
but the main difference was that more Englishspeaking people chose their own language,
English, for the song preference.
For rap, much more percentage of people
chose Korean (64%) compared to the Spanish
audience. Spanish (20%) and English (16%)
percentage were more even with each other
2) Genre Preference
23
Pop (18%), Jazz (16%), and EDM (12%) are the
most popular genre, with Classical, Indie, K-pop
and R&B all evenly distributed (8%). Jazz was one
of the main genres, partly because many Berklee
performance
students from English-speaking
countries were surveyed.
Piano Trio (36%) and One of the Originals (36%)
had the same percentage of preference, while
EDM (18%) preference was much more than the
Spanish-speaking people’s preference (8%). This
was partially because English-speaking people
prefer EDM genre more, but the percentage was
much higher than their genre preference itself. Also, Piano Trio was equally as popular as the
Pop/Indie genre of the original, also supporting the idea that a great song can transcend a genre
and can be elevated by a genre that is not necessarily people’s preference.
24
9.2.3. Korean Demographics
1) Language Preference
The Korean people also chose Korean (46%)
as their main preference, but here it was
interesting because English (38%) preference
was not much far away from the Korean
preference. A good percentage of people also
chose Spanish (16%) as their favorite. Korean
people’s preferred percentage of foreign
language was higher than that of audience from Spanish-speaking or English-speaking countries.
Some comments were that “the English versions seem to fit the light and upbeat atmosphere of the
song/rap the most,” and also that it sounded more energetic and rhythmic. For Spanish, people
commented that “it sounds unique” and “more passionate.”
Rap version’s result was interesting, because less
percentage chose Korean rap (46%), and more on
English (34%) and Spanish (20%). For both
Koreans and Spanish-speaking people, English rap
was much more popular than it was to Englishspeaking people.
25
2) Genre Preference
K-pop (35%) was the most popular genre
among Koreans, followed by Classical (14%),
Pop (12%) and Indie/Jazz (10%). It was
interesting because classical was the second
most popular genre, although not high in terms
of percentage.
Piano Trio (40%) was Korean people’s favorite
genre, tightly followed by One of the Originals
(36%). Rock (18%) was also popular to some
extent, with comments stating “the genre fits
with the lyrics” and “adds energy” to the music.
Koreans, their preferred genre does in some
extent lead to choosing their favorite version, which was different from that of the target audience
from Spanish-speaking and English-speaking countries. However, more than twice the percentage
of people whose favorite genre is classical chose Piano Trio, still indicating that their favorite
version transcends their favorite genre.
9.3. Overall Results and Discussions
Regarding language, one important founding was that exotic languages were deemed more
attractive to target markets outside of Korea, especially audience from English and Spanishspeaking countries. An important factor to note is that for rap, more percentage of people in general
preferred it in their own language, although foreign language, especially Korean, was the most
26
popular choice. One major difference between people’s preference of a song and a rap is that much
more percentage of people preferred song in Korean, which could be linked to K-pop’s popularity
regardless of people not being able to understand the language, whereas for the rap, less people
preferred Korean one and actually preferred English version more, which indicates that rap’s main
language as English plays a role and that it is more universal language that can be transferred better
via rap, unlike songs with melodies. From this, I could conclude that instead of producing three
tracks in three separate languages, it might be more unique and draw more attention to mix
different languages, especially incorporating different language for a song and a rap.
Overall, people’s preference of genre was not necessarily parallel to their choice of
favorite version of genre. This indicates that other factors come into play, such as a transferrable
melody, a better arrangement, and a difference in production quality. I have also learned that
sometimes, a track with a completely different genre from the original version can actually hype
up the song in an unexpected way and expand the target audience to a larger realm.
Some further research and analysis needed are on the rest of the world’s perception of
languages and genres; whether Piano Trio is perceived differently across different age groups;
including Hip-hop as a main genre in a question asking about a preference of genre in a new
following survey on A Cappella and Mix-language versions; analyzing main shortcomings of each
genre; and forming specific strategies to market each language and genre.
27
10. Conclusion
Through this project, I have learned that the most important factor in determining a song’s
success is not necessarily the audience’s language background or preferred genre, but more about
the authenticity. IFPI’s Global Music Report 201915 mentions George Ezra and J Balvin as artists
who gained global success transcending genres and languages because of their authentic and
honest approach to music. Likewise, my future task will be to develop myself as a genuine Korean
artist, experimenting with languages and genres that are more authentic to my artist identity.
In addition, through the survey’s quantitative and qualitative feedbacks, I was able to gain
valuable insights and suggestions. The results of the survey showed that different genres,
especially Piano Trio and Rock version, added to the original music and made people appreciate
the song even better. The most popular language was Korean among all target markets, suggesting
that even for K-Indie genre, a good song can transcend the language to reach global audience. I
was also given several suggestions during the surveying process. One suggestion was to also
produce an A Cappella version so that DJs and other producers can remix my song. Another was
to mix the languages within one recording instead of designating each language to an individual
track. These suggestions can be tested through another quantitative survey and be incorporated for
an international release strategy in the future.
As a next step, I would like to incorporate what I have learned from this operational project
into an international release strategy, specifically through choosing and focusing on the key track
to be promoted, optimizing track order and main title for each target market, and building myself
as a hybrid brand of an artist and market strategist.
15
“Case Study: George Ezra,” and “Case Study: J Balvin,” Global Music Report 2019, IFPI, June 1,
2019, https://www.ifpi.org/downloads/GMR2019.pdf
28
Appendix A: Survey Questionnaire
A link to the Google Form survey is here: https://forms.gle/z4fXsdujJugKXVQXA
Screenshot of questions asked:
29
Appendix B: Sing With Me – English Lyrics
INTRO:
Sing with me
Cantaremos tu y yo
Sing it loud Sing it proud
Won’t you let it free
Come on sing some more
We can celebrate and drink
Make a toast and feel the beat
You can jive
By my side
When you dance with me
Sing with me
Bailaremos tu y yo
Don’t hold back
Just react
Come on, feel the beat
RAP:
Fresh air cold water let’s get out and
party like it’s your birthday
Don’t let others get into your way
Now’s the time to enjoy the weekend
Let the rhythm come up and sink in
You gotta vibe and ride with the feeling
Live it up and sing like you like it
Floor is yours so dance like you mean it
VERSE1:
Put your worries all behind
It is time to let them go
Take a chance
Sing and dance
Won’t you free your soul
CHORUS 2ND:
You and me
We can sing out in the street
No one can
stop you now
when you’re young and free
Come to me
Let’s get caught up in the scene
Dance and jive
Feel the vibe
Come on ride with me
Come get caught up in the sound
And get caught up by the scene
Don’t be shy
You will fly
If you dance with me
CHORUS:
Sing with me
Cantaremos tu y yo
Sing it loud
Sing it proud
Won’t you let it free
CHORUS (repeat)
Come to me
Bailaremos tu y yo
Don’t hold back
Just react
Come on, feel the beat
OUTRO:
Sing with me
Come to me
Won’t you sing and dance with me,
sing and dance with me,
Sing and dance with me
VERSE2:
If you’re ever feeling down
If you’re ever feeling low
Let it out
Say out loud
Sing with me
Come to me
Won’t you sing and dance with me
Yeah~yea
30
Appendix C: Sing With Me – Spanish Lyrics
INTRO:
Cantemos
Let’s sing
Sana el corazón
heal the heart
Oye Como Suena la canción
Listen how the song sounds
Cantaremos Tu y Yo
You and I, let’s sing
Al Ritmo de tu voz
To the rhythm of your voice
Por amor
For love
Cantala
sing it
Con valor
With pride
Tocala
play it
Por el dia de hoy
For today
Bien te Sentiras
You will feel good
Cantemos
Let’s sing
Bailaremos tu y yo
Let’s dance, you and me
CHORUS:
Cantemos
Let’s sing
Y al final
At the end
Cantaremos Tu y Yo
You and me, let’s sing
Tu verás
You will see
Por amor
For love
Que es el amor
What is love
Con valor
With pride
VERSE1:
Cuando Creas Que Estas
When you’re feeling that
Por el dia de hoy
For today
Bailemos
Let’s dance
E-Envuelto en dolor
You are surrounded by pain
Bailaremos tu y yo
You and me, let’s dance
Vamos Ya
Let’s go now
Y al final
At the end
Baila ya
Dance now
31
Tu verás
You will see
Que esperas? Siente el movimiento
What are you waiting for?
Feel the movement
Que es el amor
What is love
Tienes talento, y el cuerpo lo siente
You have talent, and the body feels it
VERSE 2:
Nunca debes olvidar
You shouldn’t forget
Canta! Que esta canción es tuya
Sing! Because this song is yours
La belleza de vivir
The beauty of life
Vamos! Que se sienta la bulla
Let’s go! Let the noise be heard
Siente lo
Feel it
Dale, cántala, báilala, tócala
Give it, sing it, dance it, play it
Goza lo
Enjoy it
Quiero quel mundo sepan
I want the world to know
Suelta el corazon
Let go of your heart (Free your soul)
‘Sing With Me’
CHORUS 2ND:
Junto a ti
Together with you
Mira como gozan en España hoy
Look how they are enjoying (life/moment)
in Spain today
Voy a vivir y sonreir
Come live and smile
Los músicos del mundo
The musicians from the world
Y los dos
And the two of us
Esto si
This is
Seremos
We will be
Qués vivir (Que es vivir)
Really living (it)
Muy felices hoy
Very happy today
Ven a compartir
Come share it (Come join Berklee)
Ven aquí
Come here
RAP:
Mira como baila la gente
Look how people are dancing
A vivir con emoción
To live with emotion
Y hasta los árboles ya se mueven
And even the trees are moving
Y al final
At the end
32
Tu verás
You will see
-remos tu y yo
-ing with me, you and me
Que es el amor
What is love
-remos tu yo
-ing with me, you and me
CHORUS (Repeat)
OUTRO:
Cantemos
Sing with me
Cantemos
Sing with me
Bailemos
Sing with me, you and me
Bailemos
Dance with me
Cantaremos tu y yo
Sing with me, you and me
Cantaremos tu y yo
Sing with me, you and me
Yeah~ yea
33
Bibliography
“2018 Figures by Region.” Global Music Report 2019. IFPI, June 1, 2019.
https://www.ifpi.org/downloads/GMR2019.pdf.
David, Amber. Melanie Fontana, Danny, Lee. Michel, Schulz. “Lindgren.” Wengie. The Year Kpop Broke in the USA in 2019. Cannes, France: MIDEM, 2019.
“Case Study: George Ezra,” and “Case Study: J Balvin.” Global Music Report 2019. IFPI, June
1, 2019. https://www.ifpi.org/downloads/GMR2019.pdf.
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