For those who are interested in Scandinavian pop music, you know the impact that Swedish songwriters and artists play in making sure that fans are highly entertained by talented individuals.
For centuries, people have been gravitating toward this kind of music and nurturing the relationship between the music and the artists. In fact, in the Scandinavian musical industry, this has been central to the reputation of many artists and if you were to read the Kensington escort reviews online, you would also notice how popular Scandinavian pop music is to that industry as well.
Today, the backstage technicality of producing music is where the artists really shine.
The Influence
More and more, Swedish and the Scandinavian communities have influenced the industry, turning it into a lucrative niche by lending the music production expertise to various singers. In this article, we will assess the role of Scandinavian pop musicians and how it is played out in the K-Pop or Korean Pop musical industry. Record labels from Korea became the headhunters for K-Pop musicians after their material was written by Scandinavian pop artists. One of the reasons is the attention they were getting from the Western markets.
The Songwriter
Tat Tong was a songwriter from Singapore and used Scandinavian pop machines as a reference to musicians from Europe that crafted K-Pop songs, which were signed by Korean record labels. The Scandinavian music producers and songwriters were from Norway and Sweden and they typically worked behind the scenes.
It is undisputed, even with an obvious low profile that Scandinavian pop machines were prominent, especially in the K-Pop music industry. When it comes to making hits, K-pop musical idols were quite reliable and popular. For example, a song by one group known as ‘Girlís Generations” was written by someone based in Norway and it made it to the number ten position on various music charts within a few days upon its release.
Sorting Out Differences
There is a very close connection between South Korea and songwriters of Scandinavia on a professional level. This might seem a little strange to some because both countries are from differing parts of the globe.
In addition to the cultural and language barriers, musicians in Scandinavia have geographical disparities to overcome because they are based primarily in Europe and not South Korea. With that being said, companies in Korea decided that it was worth the effort to recruit these songwriters because of their successful track record.
In particular, Sweden is known for its strength in the music industry in the United States. In fact, its lucrative market value was about five billion U.S. dollars in 2012. For example, Max Martin, a music producer in Sweden got to number 17 on the Billboard top hits in the mid-1990s. This included hits by Britney Spears and Backstreet Boys.
Did you know who was watching the correlation between the Western market and Scandinavian pop music? South Korea took notice of this.
The Musicians
Musicians in Scandinavia and the clients of Korea tried to overcome the language barrier by relying on uniform workflow. For one, the musicians in Scandinavia published their demos and sent them to entertainment companies in Korea.
The company in Korea chose a song and requested the instrumental version void of the vocals from the music publisher. Once this is received, the entertainment company in Korea adds the lyrics into the instrumental version, vocalizing it themselves in their language.
What helps is K-Pop or Korean Pop was much easier for the songwriters in Scandinavia to become familiar with because of its influence on universal music styles. In the early 1990, K-Pop musicians were incorporating American genres such as rock, rap and techno into their own music. In fact, the Rolling Stone described K-Pop as a combination of Japanese Pop music and popular Western music.
Scandinavian Competency
As the fame of Max Martin indicates, pop music in Scandinavia was able to earn worldwide acclaim because of its competency. In particular, Sweden placed emphasis on inclusive policies that supported their musicians. There are several reasons for the competency of Scandinavian pop music. For one, an environment of collaboration exists instead of rivalry between the musicians.
In doing so, all musicians can earn fair pay. In addition, the Swedish government has always supported Scandinavian pop music by providing the best resources and equipment. The government funds about ten per cent of the most popular music. Thirdly, music education in Sweden is of the highest level. The syllabus includes not only songwriting but also various music genres such as rock and pop.
Helping Each Other
Even though Scandinavian pop music plays a considerable backstage role, it does have a lively Internet presence. Scandinavian songwriters are able to discover avenues where they can be creatively expressive.
On the Internet, songwriters might post recommendations and suggestions so they can help each other. One Facebook community of 2,000 songwriters has provided budding Scandinavian musicians and songwriters with a professional platform where they can share videos, tips and events. In the group, each member has a different responsibility and role.
However, members display a desire to help each other and everyone actively contributes to the group.
Conclusion
As luck would have it, even as Korean-Pop music is assuming influences from Western markets, the fans seem to be returning to prominence on genuine Scandinavian musical expression instead of manufactured tunes by special musical hitmakers.
Today, some of the most popular artists are looking to songwriters in Sweden to provide a template of what is working in playlisting, radio and pop charts. Unlike their American musical counterparts, Scandinavian musicians stay away from language barriers that may give otherís inhibitions about putting crazy words together in a song.
While English is their second language, they prefer to please the consumers, using emotional pop songs to contribute to the realness of everyday life. Scandinavian pop songwriters such as Justin Tranter, Julia Michaels and Sara Aarons; among others have embraced this idea and continue to deliver these types of emotional feelings in music.
