RESEARCH METHODOLOGY
This particular research study aims to determine the Pinoy Youth’s Preference for Korean Pop Music and how does it affect their taste for Original Pilipino Music (OPM). Regarding this, the researchers will seek to know whether factors like rhythm and music composition of Korean Popular Music really affect the Pinoy teenagers’ preference towards Original Pilipino Music In addition, the researchers want to distinguish the respondents (female residents of the University of the Philippines Cebu College Dormitory and other chosen students in UPVCC) view toward Korean Pop music as well as their outlook in the Original Pilipino Music (OPM).
Moreover, this study would identify if the students’ music preference would affect their sense of nationalism. In doing this, the researchers gathered information which will help in achieving the goal of the researchers. This would serve as support to the current research study.
RESEARCH ENVIRONMENT
This study will be conducted at the University of the Philippines Cebu College (UPVCC). The location will be the University of the Philippines Campus in Gorordo Avenue Lahug Cebu City. The place is accessible to the researchers for they would not spend much time travelling. The researchers choose the locale since one of the researchers is currently residing in the dormitory and because it is more accessible in terms of distributing the survey questionnaires.
RESEARCH PARTICIPANTS
The major concern of choosing respondents would be the residents staying in the UP dormitory which consists of 9 rooms with 53 student residents but the researchers respondents are on to chosen female dormers only. On the other hand, there will also be some respondents who do not stay in the dormitory but still female students in the University of the Philippines Cebu College.
RESEARCH INSTRUMENT
Simple random sampling was done for the sample selection. This sampling method is conducted where each member of a population has an equal opportunity to become part of the sample. As all members of the population have an equal chance of becoming a research participant, this is said to be the most efficient sampling procedure.The researchers will list down all the names of the female respondents. After that, the researchers will use the fishbowl technique and will randomly pick 15 out of these 32 respondents including the chosen respondents not staying in the dormitory. The researchers decided to use this fishbowl technique since all the respondents are females and would only choose by means of “draw by lots”. This method involves the selection of the sample at random from the sampling frame through the use of random number tables (Saunders, Lewis & Thornhill, 2003). Numbers were assigned for each respondent in the master list. These numbers were written on pieces of paper and drawn from a box; the process was repeated until the sample size was reached.
This research study will use a survey questionnaire as a research tool. The survey will be arranged basing on the factors that affect the respondents’ preference toward Korean Pop Music and how it affects their taste to Original Pilipino Music (OPM). There are 4 factors that the researchers consider. These are the respondents’ outlook towards the performers of the Korean Pop Music and Original Pilipino Music, the rhythm of music that K-pop and OPM music brings, as well as music’s composition and the message being delivered by both K-pop and OPM music. Every factor will be stated in a form of table.
The researchers prepared an introductory part for survey consisting of 3 questions involving whether the respondents’ are into K-pop music or OPM Music. One of the questions determines what music does the respondent like from the two choices, the Korean Pop Music or the Original Pilipino Music. The second question is just related to a supporting answer to question number one in which the choices pertains to the time that the respondents often listens to her preferred music.
Below the introductory question will be 2 tables, one for K-pop music and the other one is for OPM music. The two tables are divided into 5 columns. These columns would serve as the respondents’ ratings from 1 to 5 and 5 as the most appreciated towards K-pop and OPM Music. Each factor consists of 3 phrases related to the factor revealed. As mentioned earlier, one factor that affects the respondents’ preference toward music is the performers. The second factor involves the pattern of beats that the music contains. The third one relates to the lyrics of the music and how the message is being delivered to the listeners or audience.
The researchers provide a survey questionnaire with a letter of permission to the chosen respondents. If the respondents approved the letter, they would answer the questionnaire automatically. If not, the researchers would pick another respondent and will answer directly to the survey questionnaire after approval. The respondents would just directly answer the questions with no time limit. After the respondents have completed answering the questions, the questionnaire will be collected.
DATA ANALYSIS
The researchers would then tally the results obtained. The results will then be tabulated. After that, thorough analysis should be done and the results would then be interpreted. This will be done by calculating the results using the Chi-Square Test for Independence. The researchers decided to use this type of test for it is applicable whether there is a relationship between two variables. In this study, the relationship between Pinoy Youths’ Preference towards K-pop Music and OPM Music is being described. This type of test actually involves statistics.
As said earlier, the chi-square test is used to determine whether there is a “significant difference between the normal frequencies and the experimental frequencies in one or more categories. The Chi-Square statistic compares the tallies or counts of categorical responses between two or more independent groups”(Maben, 2009).
In so doing, the researchers would be helped by the Chi-Square test in determining Pinoy Youth’s Preference for Korean Pop Music and how does it affect their taste for Original Pilipino Music (OPM)
KPOP
kpop craze
Tuesday, March 15, 2011
Monday, March 14, 2011
CHAPTER III
THEORETICAL FRAMEWORK
Several theories have been gathered and analyzed in this research study to help determine the factors causing an individual to affect his/her attitude due to the type of music he/she prefers.
A theory of Rudolf Radocy and David Boyle (2003) contends that musical preference is “more than an interaction of inherent musical characteristics and individual psychological and social variables” (p. 371). They cite the work of Abeles (1980) who, after a thorough review of the pertinent literature, concluded that personality factors and emotional states were related to preference, but not in a clear cut aspect. Moreover, Radocy and Boyle (2003) stress out that music preference might be influenced by the factors of environment such as institutions, experiences, group gatherings, self-concept, mass media and among other things.
Another theorist, Warren Prince (1972) developed a paradigm for music listening with a major premise that “a listener is capable of more than one response pattern and more than one type of listening experience” (p. 446). His paradigm is proposed as an initial effort to build “a framework based on crucial decisions on what variables and what relationships between variables are to be investigated” (p. 446). In addition, his paradigm gives a graphic representation of the variables in the listening process.
Prince’s paradigm has three categories; the listener variables, response patterns and a group of learning process variables. The variables in these three categories are interrelated indicating causal relationships. Below is the diagram interpreting his paradigm.
Figure 1.5
Figure 1.5 shows the flow of Prince’s Music Listening Paradigm with the (1) listener variables that are located at the top which are directed through the listener’s general state of attention, (2) response patterns at the center and the learning process variables are located at the bottom, and mostly has the function of feedback into the responses.
Moreover, the reason why the listener variable is located on the top is that, it determines its behavior according to the influence that the environment is causing it. From here, these listeners can be able to provide their own response patterns (e.g. music materials) from what they get from the environment’s influence. This then makes the learning process variables take place giving the outcome and effect from what the listeners prefer.
Another music listening preference theory was developed by Albert LeBlanc (1982). LeBlanc’s theory conceptualizes musical judgment as a hierarchical process. LeBlanc’s music listening preference theory covers a whole system of input information. He explains that a person’s decision on music listening preference must follow “unavoidable time sequence.” He asserts that music is differently processed at different levels, which one involves personality characteristics.
When Prince built his music listening theory, he considered his theory as an initial paradigm. He mentioned that “an initial paradigm represents theoretical considerations not yet confirmed even though they may be supported strongly by research evidence. “A later paradigm or theoretical schema may emerge as a result of many studies based on the initial paradigm.” (p. 446) LeBlanc (1991) stated that his model has a different focus (music listening preference) from that of Prince (music listening). However, LeBlanc’s music listening preference theory can be classified as a later paradigm of a more specifically developed theoretical model for music listening paradigm.
The theory developed by Robert Walker (1980) similarly characterizes musical preference as only indirectly related to personality and/or attitude factors. Walker asserts that liking is directly influence by musical complexity. He point out the idea that preference is modeled by a “bell-curve” which means that there is an “optimal level of complexity that is most enjoyable. Both very low complexity and very high complexity are less enjoyable” (p. 105). “Individuals have particular optimal complexity levels, with deviations in either direction decreasing liking. Simplistic music might produce boredom while overly complex music requires extensive processing that can decrease the likelihood that an individual will continue attending to the music.” (Perkins, p. 5)
Walker’s idea stresses out the fact and/or assertion that an individual, when introduced to a new kind of music will probably like and abandon the previous preference or he/she would have the same level of likeness to the both; previous and new kind of music. This, then leads to the point where the individual’s personality and/or attitude is greatly affected and influenced by the preference he/she chooses resulting to the creation of different views of the individual.
Below is the diagram of the Theoretical Framework:
Conceptual Framework:
Base on the ideas of the theories that were combined, the researcher came up with the above conceptualized framework. The music environment variables which include the institutions, experiences, group gatherings, self-concept and mass media are located at the top of the framework, followed by the second variable—students that become affected by the music environment.
From this, the second variable could experience the exposure of the third variable which is considered to be the various types of music materials and response patterns. Then, they can assess their response patterns by weighing the dominance of the dominant music which becomes the fourth variable in the framework. Upon weighing the dominance, the students will learn to choose and prefer the more dominant kind of music which then, formulates their views on it and the effect comes after.
The variables in this framework are considered the specified factors following the points and ideas from the theories mentioned. In addition, the framework’s flow is also based on the things that the theories pointed out.
Below is the diagram of the Conceptual Framework:
Operational Framework:
The variables featured on the operational framework as showed below are the most specified factors that become a background flow of the research study.
Home, UP Grounds, television, pals—variables found at the top of the framework are part of music environment which functions as the ones mainly influencing the second variable—the selected UP Female Students. This student variable now becomes the dependent variable in a way that its reactions depend on a certain situation due to the process that takes place in the music environment.
In reacting to the environment variable, students tend to enumerate in their minds the response patterns—KPOP’s beat, rhythm, composition, styles and performers—that they get from the influence of the music environment.
Having the response patterns settled, students will have a selection of one type of music leaving the other type. Appearing in the framework, the dominance of KPOP music on the preference of Pinoy Youth becomes the outcome gained from the response patterns.
The dominance of KPOP music can possibly be assessed that Pinoy Youth will end up selecting and/or preferring KPOP music over OPM (original Pilipino music), which is another variable based on the framework.
The effect of selecting Kpop over OPM by the Pinoy Youth will probably lead to the effect on their personality and/or attitude questioning now their sense of nationalism.
In accordance with these analyses, the specific flow of ideas showed in the framework is only based on the points pondered by several theories provided in the previous pages having the views of the theorists, respectively.
Below is the diagram of the Operational Framework:
Several theories have been gathered and analyzed in this research study to help determine the factors causing an individual to affect his/her attitude due to the type of music he/she prefers.
A theory of Rudolf Radocy and David Boyle (2003) contends that musical preference is “more than an interaction of inherent musical characteristics and individual psychological and social variables” (p. 371). They cite the work of Abeles (1980) who, after a thorough review of the pertinent literature, concluded that personality factors and emotional states were related to preference, but not in a clear cut aspect. Moreover, Radocy and Boyle (2003) stress out that music preference might be influenced by the factors of environment such as institutions, experiences, group gatherings, self-concept, mass media and among other things.
Another theorist, Warren Prince (1972) developed a paradigm for music listening with a major premise that “a listener is capable of more than one response pattern and more than one type of listening experience” (p. 446). His paradigm is proposed as an initial effort to build “a framework based on crucial decisions on what variables and what relationships between variables are to be investigated” (p. 446). In addition, his paradigm gives a graphic representation of the variables in the listening process.
Prince’s paradigm has three categories; the listener variables, response patterns and a group of learning process variables. The variables in these three categories are interrelated indicating causal relationships. Below is the diagram interpreting his paradigm.
Figure 1.5 shows the flow of Prince’s Music Listening Paradigm with the (1) listener variables that are located at the top which are directed through the listener’s general state of attention, (2) response patterns at the center and the learning process variables are located at the bottom, and mostly has the function of feedback into the responses.
Moreover, the reason why the listener variable is located on the top is that, it determines its behavior according to the influence that the environment is causing it. From here, these listeners can be able to provide their own response patterns (e.g. music materials) from what they get from the environment’s influence. This then makes the learning process variables take place giving the outcome and effect from what the listeners prefer.
Another music listening preference theory was developed by Albert LeBlanc (1982). LeBlanc’s theory conceptualizes musical judgment as a hierarchical process. LeBlanc’s music listening preference theory covers a whole system of input information. He explains that a person’s decision on music listening preference must follow “unavoidable time sequence.” He asserts that music is differently processed at different levels, which one involves personality characteristics.
When Prince built his music listening theory, he considered his theory as an initial paradigm. He mentioned that “an initial paradigm represents theoretical considerations not yet confirmed even though they may be supported strongly by research evidence. “A later paradigm or theoretical schema may emerge as a result of many studies based on the initial paradigm.” (p. 446) LeBlanc (1991) stated that his model has a different focus (music listening preference) from that of Prince (music listening). However, LeBlanc’s music listening preference theory can be classified as a later paradigm of a more specifically developed theoretical model for music listening paradigm.
The theory developed by Robert Walker (1980) similarly characterizes musical preference as only indirectly related to personality and/or attitude factors. Walker asserts that liking is directly influence by musical complexity. He point out the idea that preference is modeled by a “bell-curve” which means that there is an “optimal level of complexity that is most enjoyable. Both very low complexity and very high complexity are less enjoyable” (p. 105). “Individuals have particular optimal complexity levels, with deviations in either direction decreasing liking. Simplistic music might produce boredom while overly complex music requires extensive processing that can decrease the likelihood that an individual will continue attending to the music.” (Perkins, p. 5)
Walker’s idea stresses out the fact and/or assertion that an individual, when introduced to a new kind of music will probably like and abandon the previous preference or he/she would have the same level of likeness to the both; previous and new kind of music. This, then leads to the point where the individual’s personality and/or attitude is greatly affected and influenced by the preference he/she chooses resulting to the creation of different views of the individual.
Below is the diagram of the Theoretical Framework:
Conceptual Framework:
Base on the ideas of the theories that were combined, the researcher came up with the above conceptualized framework. The music environment variables which include the institutions, experiences, group gatherings, self-concept and mass media are located at the top of the framework, followed by the second variable—students that become affected by the music environment.
From this, the second variable could experience the exposure of the third variable which is considered to be the various types of music materials and response patterns. Then, they can assess their response patterns by weighing the dominance of the dominant music which becomes the fourth variable in the framework. Upon weighing the dominance, the students will learn to choose and prefer the more dominant kind of music which then, formulates their views on it and the effect comes after.
The variables in this framework are considered the specified factors following the points and ideas from the theories mentioned. In addition, the framework’s flow is also based on the things that the theories pointed out.
Below is the diagram of the Conceptual Framework:
Operational Framework:
The variables featured on the operational framework as showed below are the most specified factors that become a background flow of the research study.
Home, UP Grounds, television, pals—variables found at the top of the framework are part of music environment which functions as the ones mainly influencing the second variable—the selected UP Female Students. This student variable now becomes the dependent variable in a way that its reactions depend on a certain situation due to the process that takes place in the music environment.
In reacting to the environment variable, students tend to enumerate in their minds the response patterns—KPOP’s beat, rhythm, composition, styles and performers—that they get from the influence of the music environment.
Having the response patterns settled, students will have a selection of one type of music leaving the other type. Appearing in the framework, the dominance of KPOP music on the preference of Pinoy Youth becomes the outcome gained from the response patterns.
The dominance of KPOP music can possibly be assessed that Pinoy Youth will end up selecting and/or preferring KPOP music over OPM (original Pilipino music), which is another variable based on the framework.
The effect of selecting Kpop over OPM by the Pinoy Youth will probably lead to the effect on their personality and/or attitude questioning now their sense of nationalism.
In accordance with these analyses, the specific flow of ideas showed in the framework is only based on the points pondered by several theories provided in the previous pages having the views of the theorists, respectively.
Below is the diagram of the Operational Framework:
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