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Journal articles on the topic 'Global Music'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

van der Linden, Bob. "Non-Western national music and empire in global history: interactions, uniformities, and comparisons." Journal of Global History 10, no. 3 (October 5, 2015): 431–56. http://dx.doi.org/10.1017/s1740022815000212.

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AbstractInspired by C. A. Bayly’s notion of global uniformities, this article investigates the different ways in which elitist non-Western music reformers, often with state support, canonized and institutionalized modern national music traditions during the age of liberalism and empire. As these non-Western music reformers reinterpreted liberal and earlier Enlightenment ideas, they envisaged their own musics hierarchically in comparison with Western music. In the context of comparative musicological thinking, they became particularly preoccupied with the systematization of scales, equal temperament tuning, and the origins of their own music. In the process, they often incorporated claims about authenticity and spirituality in music to give strength to burgeoning national, if not anti-imperial, identities. However, beneath the appearance of formal similarity and mutual translatability of non-Western national musics, significant sonic and cultural differences remained. As a contribution to global history scholarship, the article principally attempts to establish these global parallels and comparisons.

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2

Dura, Marian T. "The Global Music Series." Music Educators Journal 91, no. 2 (November 2004): 52. http://dx.doi.org/10.2307/3400050.

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Greer, David. "Music of Global Interest." Notes and Queries 52, no. 2 (June 1, 2005): 216–19. http://dx.doi.org/10.1093/notesj/gji231.

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4

Hu, Xiao, and Jin Ha Lee. "Towards global music digital libraries." Journal of Documentation 72, no. 5 (September 12, 2016): 858–77. http://dx.doi.org/10.1108/jd-01-2016-0005.

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Purpose The purpose of this paper is to compare music mood perceptions of people with diverse cultural backgrounds when they interact with Chinese music. It also discusses how the results can inform the design of global music digital libraries (MDL). Design/methodology/approach An online survey was designed based on the Music Information Retrieval Evaluation eXchange (MIREX) five-cluster mood model, to solicit mood perceptions of listeners in Hong Kong and the USA on a diverse set of Chinese music. Statistical analysis was applied to compare responses from the two user groups, with consideration of different music types and characteristics of listeners. Listeners’ textual responses were also analyzed with content coding. Findings Listeners from the two cultural groups made different mood judgments on all but one type of Chinese music. Hong Kong listeners reached higher levels of agreement on mood judgments than their US counterparts. Gender, age and familiarity with the songs were related to listeners’ mood judgment to some extent. Practical implications The MIREX five-cluster model may not be sufficient for representing the mood of Chinese music. Refinements are suggested. MDL are recommended to differentiate tags given by users from different cultural groups, and to differentiate music types when classifying or recommending Chinese music by mood. Originality/value It is the first study on cross-cultural access to Chinese music in MDL. Methods and the refined mood model can be applied to cross-cultural access to other music types and information objects.

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5

Stokes, Martin. "Music and the Global Order." Annual Review of Anthropology 33, no. 1 (October 2004): 47–72. http://dx.doi.org/10.1146/annurev.anthro.33.070203.143916.

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6

Tucker, Joshua. "MUSIC RADIO AND GLOBAL MEDIATION." Cultural Studies 24, no. 4 (July 2010): 553–79. http://dx.doi.org/10.1080/09502386.2010.488409.

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7

Sorensen, Vibeke. "Global Visual Music Jam Project." Leonardo 38, no. 4 (August 2005): 316. http://dx.doi.org/10.1162/leon.2005.38.4.316.

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8

Chua, Daniel. "Global musicology." New Sound, no. 50-2 (2017): 12–16. http://dx.doi.org/10.5937/newso1750012c.

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How do we think globally as musicologists? Recent attempts to write global histories of music raise various issues about how we should relate as scholars in a global community, and question whether as scholars we truly understand the nature of music given the new global perspective. Thinking globally is a key challenge. There is a strong possibility that we may fail, but taking up the challenge is like to spur our discipline forward in unexpected ways.

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Orzolek, Douglas C. "Music in Bulgaria, part of the Global Music Series." Music Educators Journal 91, no. 2 (November 2004): 53–54. http://dx.doi.org/10.2307/3400052.

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Truax, Barry. "Soundscape Composition as Global Music: Electroacoustic music as soundscape." Organised Sound 13, no. 2 (June 25, 2008): 103–9. http://dx.doi.org/10.1017/s1355771808000149.

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AbstractThe author covers the background of soundscape composition, as initiated by the World Soundscape Project at Simon Fraser University, and soundscape documentation as an activity that is being increasingly practised worldwide. Today there are two striking manifestations of this work: the increasing globalisation of the electroacoustic community, and the increasing sophistication of digital techniques applied to soundscape composition. In addition, the tradition of listening to environmental soundscapes as if they were music is inverted to suggest listening to electroacoustic music as if it were soundscape. What analytical tools and insights would result? The theoretical concepts introduced in soundscape studies and acoustic communication are summarised and applied first to media and digital gaming environments, noting the extensions of both their sound worlds and the related listening attitudes they provoke in terms of analytical and distracted listening. Traditional approaches to acousmatic and soundscape analysis are compared for their commonalities and differences, the latter being mainly their relative balance of attention towards inner and outer complexity. The types of electroacoustic music most amenable to a soundscape based analysis are suggested, along with brief examples of pieces to which such analysis might be directed.

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Stewart, Alan D. "Music at the margins: Popular music and global diversity." International Journal of Intercultural Relations 16, no. 4 (September 1992): 460–65. http://dx.doi.org/10.1016/0147-1767(92)90035-s.

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12

Whitener, John L., and Feiqun Shu. "Sharing Global Musics: An Introduction to the Music of China." Music Educators Journal 105, no. 2 (December 2018): 18–27. http://dx.doi.org/10.1177/0027432118811587.

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Gieseking, Martin, and Albert Gräf. "Global Village—Global Brain—Global Music 5th Annual KlangArt “New Music Technology” Congress, Osnabrück, Germany, 10-13 June 1999." Computer Music Journal 24, no. 1 (March 2000): 78–80. http://dx.doi.org/10.1162/comj.2000.24.1.78.

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14

Anderson, Robert, Wagner, and Der Ring des Nibelungen. "Global Perspectives." Musical Times 137, no. 1844 (October 1996): 37. http://dx.doi.org/10.2307/1003877.

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15

Fautley, Martin, and Regina Murphy. "Music education and global fiscal questions." British Journal of Music Education 33, no. 3 (November 2016): 245–46. http://dx.doi.org/10.1017/s0265051716000401.

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Music education is a worldwide activity. Gatherings and conferences where music educators from around the globe meet together are always interesting arenas, with as many discussions going on in the various watering holes near the conference venue as take place in the sessions themselves. But what we actually mean by music education often becomes an absorbing topic in its own right, and one we have discussed previously in these editorials (inter alia Fautley & Murphy, 2015). Differences are not just about matters of delivery, however; they also reflect often complicated local contexts and histories. They are at once philosophical, concerned with policy, concerned with curriculum, with progression, with assessment, with delivery, with modality, with jurisdictional requirements, and with regulations. All this makes for an interesting subject base.

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Tanner, Julian, Deanna Campbell Robinson, Elizabeth B. Buck, and Marlene Cuthbers. "Music at the Margins: Popular Music and Global Cultural Diversity." Canadian Journal of Sociology / Cahiers canadiens de sociologie 17, no. 2 (1992): 229. http://dx.doi.org/10.2307/3341203.

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Manuel, Peter, Deanna Campbell Robinson, Elizabeth B. Buck, and Marlene Cuthbert. "Music at the Margins: Popular Music and Global Cultural Diversity." Notes 49, no. 1 (September 1992): 157. http://dx.doi.org/10.2307/897239.

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Krüger, Simone. "Facing the Music: Shaping Music Education from a Global Perspective." Ethnomusicology Forum 19, no. 2 (November 2010): 273–75. http://dx.doi.org/10.1080/17411912.2010.511056.

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Madalane, Ignatia. "Tsonga popular music: negotiating ethnic identity in ‘global’ music practices." Journal of the Musical Arts in Africa 11, no. 1 (January 2014): 37–54. http://dx.doi.org/10.2989/18121004.2014.995435.

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20

Cain, Tim. "Facing the music: shaping music education from a global perspective." Music Education Research 13, no. 1 (March 2011): 127–29. http://dx.doi.org/10.1080/14613808.2011.554221.

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Whitener, John L. "Sharing Global Musics: A Multimedia View of the Music of Mongolia." Music Educators Journal 104, no. 1 (September 2017): 14–21. http://dx.doi.org/10.1177/0027432117719660.

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22

Moore, Robin, and Timothy D. Taylor. "Global Pop: World Music, World Markets." Notes 55, no. 1 (September 1998): 130. http://dx.doi.org/10.2307/900380.

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23

Impey, Angela. "Global Soundtracks: Worlds of Film Music." Ethnomusicology Forum 18, no. 1 (June 2009): 170–72. http://dx.doi.org/10.1080/17411910902790424.

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24

McCaffrey, Tríona, Katrina McFerran, Gustavo Gattino, and Sumathy Sundar. "The Global Music Therapy Educators Network." British Journal of Music Therapy 34, no. 2 (November 2020): 80–81. http://dx.doi.org/10.1177/1359457520969322.

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Music therapy educators around the globe are united in their commitment to the development of the profession through the education of new professionals. Although different university programmes emphasise diverse approaches and are representative of their surrounding cultures, there is much that is shared between different programmes and educators. However, prior to the COVID-19 pandemic, there was minimal interaction between educators as a group, possibly due to time pressures and a lack of need to unite and celebrate our diversities. With the onset of the pandemic and the rapid transition to online learning, an unexpected space emerged for collective dialogue among the music therapy educator community. Brought together by the challenges imposed on professional training due to a global pandemic, a number of global educators united in discussion to seek a way forward.

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Moreno, J., M. Brotons, M. Hairston, T. Hawley, H. Kiel, D. Michel, and M. Rohrbacher. "International Music Therapy: A Global Perspective." Music Therapy Perspectives 8, no. 1 (January 1, 1990): 41–46. http://dx.doi.org/10.1093/mtp/8.1.41.

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26

Hoene, Christin. "Audible Empire: music, global politics, critique." Social History 42, no. 1 (January 2, 2017): 133–35. http://dx.doi.org/10.1080/03071022.2016.1253351.

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27

Camarena-Ibarrola, Antonio, and Edgar Chávez. "Online music tracking with global alignment." International Journal of Machine Learning and Cybernetics 2, no. 3 (July 1, 2011): 147–56. http://dx.doi.org/10.1007/s13042-011-0025-0.

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28

Burton, Justin D., and Ali Colleen Neff. "Sounding Global Southernness." Journal of Popular Music Studies 27, no. 4 (December 2015): 381–86. http://dx.doi.org/10.1111/jpms.12146.

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29

Wilder, JaNell Lynn. "Carnival Music in Trinidad, a title in the Global Music Series." Music Educators Journal 91, no. 2 (November 2004): 54–55. http://dx.doi.org/10.2307/3400053.

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30

Rossant, Florence. "A global method for music symbol recognition in typeset music sheets." Pattern Recognition Letters 23, no. 10 (August 2002): 1129–41. http://dx.doi.org/10.1016/s0167-8655(02)00036-3.

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31

Colista, Celia, and Glenn Leshner. "Traveling music: Following the path of music through the global market." Critical Studies in Mass Communication 15, no. 2 (June 1998): 181–94. http://dx.doi.org/10.1080/15295039809367041.

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32

Beegle, Amy. "Media Review: Facing the Music: Shaping Music from a Global Perspective." Journal of Historical Research in Music Education 34, no. 2 (April 2013): 182–84. http://dx.doi.org/10.1177/153660061303400209.

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33

Kvetko, Peter. "Can the Indian Tune Go Global?" TDR/The Drama Review 48, no. 4 (December 2004): 183–91. http://dx.doi.org/10.1162/1054204042441964.

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The opening of India's economy did not lead to homogenized mass consumption of Western pop music, but rather fueled creativity within the local music scene. Indipop connects local performers to global audiences even as it builds a bridge between tradition and modernity

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34

Loos, Helmut. "World Music or Regionality? A Fundamental Question for Music Historiography." English version, no. 10 (October 22, 2018): 13–22. http://dx.doi.org/10.51515/issn.2744-1261.2018.10.13.

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The term “world music” is still relatively new. It came into use around the end of the twentieth century and denotes a new musical genre, one which links European-American pop music to folk and non-European music cultures. It can be seen in a larger context as a phenomenon of postmodernism in that the challenge to the strict laws and boundaries of modernism allowed for a connection between regionality and global meaning to be established. Music in the German-speaking world had previously been strictly divided into the categories of “entertainment music” (U-Musik) and “serious music” (E-Musik), the latter functioning as art-religion in the framework of modernism and thus adhering to its principles. Once these principles of modernism became more uncertain, this rigorous divide began to dissolve. For example, the “serious music” broadcast consisting of classical music, previously a staple of public radio, gradually disappeared as an institution from radio programming. A colourful mixture of various low-key, popular music was combined with shorter classical pieces, so that the phenomenon known as “crossover”, a familiar term in popular music since the middle of the twentieth century, then spread to the realm of classical music. This situation differs fundamentally from the circumstances that once dominated the public consciousness from the nineteenth century well into the twentieth century and that indeed remain influential in certain parts of the population to this day. Historical-critical musicology must adapt to this transformed state of consciousness. Doing so will allow for a number of promising perspectives to unfold.

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byungjunechun and 최동길. "Trend of Global Music Industry and Strategy of Korean Companies for Domestic and Global Digital Music Markets." Journal of International Trade & Commerce 6, no. 3 (September 2010): 349–78. http://dx.doi.org/10.16980/jitc.6.3.201009.349.

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36

Pascual, Cristian. "Programming Brazilian music for a global film audience." Alphaville: Journal of Film and Screen Media, no. 19 (July 23, 2020): 139–45. http://dx.doi.org/10.33178/alpha.19.11.

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Music is one of the most cherished topics in Brazilian documentary filmmaking. Vinicius (Miguel Faria Jr., 2005), Raul: O início, o fim e o meio (Raul: The Beginning, the End and the Middle, Walter Carvalho, 2012) and Chico: Artista brasileiro (Chico: Brazilian Artist, Miguel Faria Jr., 2015) feature among the most successful Brazilian documentaries from the last twenty years, which makes clear their appeal to national audiences. However, to better articulate their significance it is also crucial to understand them from an international context. The In-Edit – International Music Documentary Film Festival, an event solely devoted to the screening and discussion of music documentaries, allows us to do so. First organised in Barcelona in 2003 and swiftly exported and adapted in multiple countries, the current In-Edit occurs annually in Chile, Brazil, Greece and the Netherlands. Throughout the years, it has also been celebrated in Argentina, Mexico, Germany, Colombia and Peru. In-Edit Brasil was first organised in São Paulo in 2009 and showcases a wide variety of music documentaries both from Brazil and abroad. At the same time, some Brazilian music documentaries are screened in other In-Edits, such as Chile and Spain. In effect, In-Edit organisers hold a privileged perspective on the role that Brazilian music and Brazilian music documentaries play within the international scene. Cristian Pascual (Barcelona, 1980) was the director of In-Edit Barcelona from 2007 to 2019, and he is still part of the organising committee. We met him in São Paulo in 2017, and he provided us with a programmer’s view of music documentaries from all over the world. Despite how political events have altered the country’s international influence in global politics (most notably Jair Bolsonaro taking over as president at the beginning of 2019), we believe that Pascual’s views present a rich reflection on Brazilian specificities regarding the production and reception of music documentaries today.

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Lum, Chee-Hoo. "My country, my music: Imagined nostalgia and the crisis of identity in a time of globalization." International Journal of Music Education 35, no. 1 (June 23, 2016): 47–59. http://dx.doi.org/10.1177/0255761415619425.

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This qualitative research study seeks to examine definitions of Singapore music, music by Singapore composers and musics of/in Singapore through the eyes of tertiary music educators in a local institute of teacher education, and to determine pedagogical implications of such definitions in the space of the music classroom. Extensive informal interviews with seven tertiary music educators (key informants) serve as the methodological base for this phenomenological study. Findings suggest that music educators should give focus to the historical, socio-cultural and musical characteristics of the lived and living musical practices that comprise Singapore while being cognizant of contradictions brought forth by recent migratory flows and the emergence of a global city identity.

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38

Power, Anne, and Mike Horsley. "Pathways from global education understandings to teaching music." British Journal of Music Education 27, no. 2 (June 2, 2010): 141–50. http://dx.doi.org/10.1017/s0265051710000057.

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Research has shown that undergraduate disciplinary study provides new teachers with knowledge schemas derived from their discipline. The key question considered in this article is: what existing disciplinary knowledge do pre-service music teachers call upon to construct their schemas of global education? This is a critical question as global education is introduced to a range of national curriculums. Further, this article investigates ways music disciplinary schemas connect with knowledge, skills and values for pre-service teachers of high school music, and how this influences their approach, understanding and future teaching of global education. The conclusion is that global education, with its knowledge, skills and attitudes, pervades all school subjects and that teaching music incorporates global knowledge, skills and attitudes in quite specific ways.

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39

Kelly, Steven N. "A Sociological Basis for Music Education." International Journal of Music Education os-39, no. 1 (May 2002): 40–49. http://dx.doi.org/10.1177/025576140203900105.

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This paper seeks to illustrate that the social contributions of music education are vital to the justification of music in the schools. This position is based on the following: 1) Music behaviors are global behaviors associated with the earliest human existence; 2) If humans have maintained music, then some manner of music education has always been associated with humans; 3) If music is a global behavior, then some form of music education is a global practice; 4) If music and music education are globally associated with humans, it seems appropriate both should be part of a school curriculum.

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JUCU, Ioan-Sebastian. "Music Geographies and Iconic Music Legends: Mapping Céline Dion’s Outstanding Contribution to Music and Global Popular Music Culture." Territorial Identity and Development 4, no. 1 (May 1, 2019): 93–127. http://dx.doi.org/10.23740/tid120195.

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41

Frank Kennedy, T. "Music and Jesuits: Historiography, and a Global Perspective." Journal of Jesuit Studies 3, no. 3 (June 8, 2016): 365–76. http://dx.doi.org/10.1163/22141332-00303002.

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Historian John W. O’Malley has recently outlined significant changes in the historiography of the Jesuits. These major shifts in Jesuit historiography in the early modern period have provided for more ample avenues of study vis-à-vis Jesuits and music. The last of O’Malley’s three ages of Jesuit historiography has had the most immediate effect: not only has it in itself encouraged the study of Jesuits and music, but also has broadened the cultural field enabling a number of different foci, previously beyond consideration. Recent studies, especially from the point of view of the expressions of popular piety, are producing insights into the identity of Jesuits from the perspectives or what they did. The significant corpus of music literature that musicologists are exploring and reflecting upon, promises both a fuller portrait of the Jesuits and their “way of proceeding,” and a richer understanding of the function of this music.

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Yuliantari, Ans Prawati. "CONTESTATION BETWEEN GLOBAL AND LOCAL IN MANGGARAI RAP MUSIC." Rubikon : Journal of Transnational American Studies 3, no. 1 (July 18, 2019): 1. http://dx.doi.org/10.22146/rubikon.v3i1.34248.

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Globalization causes the spread of pop culture beyond geographical boundaries. Rap music as a form of pop culture spread around the world in the 1990s through the mass media that was driven by the transnational music industry. Its popularity was not just happened in big cities, but in peripheral regions like in Manggarai of East Nusa Tenggara as well.This article uses the transnational concept in American studies and theory of landscape advanced by Arjun Appadurai. The concept of Transnational American Studies is used to analyze the influence of American culture beyond its territory, while the theory of landscape is used to analyze the conflicts that occured between the global and the local rap music in Manggarai music spaces.This analysis shows that the process of appropriation carried out by local rapper against global rap music is a form of negotiation to adapt to local tastes as well as of creativity to face global music. The strategies undertaken in the struggle for spaces of music can be seen in the form of themes, language, dialect, or mode of production. Contestation between the global and the local is always transformed through the development of music consumers in the area.Keywords: Contestation, Rap, Transnational, Globalization

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43

Reardon, James, Denny McCorkle, Anita Radon, and Desalegn Abraha. "A global consumer decision model of intellectual property theft." Journal of Research in Interactive Marketing 13, no. 4 (November 20, 2019): 509–28. http://dx.doi.org/10.1108/jrim-07-2018-0093.

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Purpose Intellectual property theft amounts to billions of dollars per year worldwide. The first step in stemming this loss is to understand the underlying precursors of this behavior. This paper aims to propose and test a model of consumer choice to purchase or pirate intellectual property, specifically music. This paper combines and applies the theory of reasoned action (TRA) and Becker’s theory of crime to develop a more comprehensive model of digital piracy behavior. Culture was tested as an antecedent to the attitudes and the perceptions of risk associated with music piracy. Design/methodology/approach A survey of 4,618 participants was conducted across 23 countries. Construct measures were validated using confirmatory factor analysis in LISREL. A conceptual model was tested using logistic structural equation modeling in MPlus. Respondents were asked about the last music they acquired to test a behavioral model of music piracy. Findings The results indicated that culture, specifically rule orientation and uncertainty avoidance, had a significant impact on attitudes toward the music industry, ethical perceptions of music piracy and risk perceptions. Respondents’ ethical perceptions of downloading had the highest impact on music piracy behavior. The personal/copy risk associated with the illegal downloading of music had a significant impact while the relative channel risk did not. The market value, quality and selection also had a significant impact on downloading behavior, as did the respondent's ability to find and download music. Research limitations/implications While this paper was limited by focusing on the illegal downloading of music, the results can provide guidance in the design of future research concerning the piracy and unlicensed downloading of other types of intellectual properties such as movies/videos, TV, paywall content and e-books. Practical implications In recent years, improved access to music and video through online streaming and online stores has significantly decreased music piracy. This research indicated that further inroads into this behavior could be made through better online purchase access and through consumer education about the ethics and results of digital downloading. Further, efforts are more efficient by targeting cultures with lower levels of rule orientation with ethics education and targeted risk messages in countries with higher uncertainty avoidance. Social implications Yearly losses to the music industry amount to about $5-29bn. Many find music and video downloading and “sharing” as acceptable. The model developed in this research has implications to affect this mass loss of revenue to the music industry and perhaps the societal view of downloading behavior that is illegal but commonly accepted. Originality/value This model is the first to integrate cultural aspects into models of digital piracy. In addition, the model is developed from a strong theoretical base (TRA and Becker’s theory of crime) to integrate multiple antecedents to intellectual property theft research.

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44

Mahoney-Steel, Tamsyn. "Review: The Global Jukebox." Journal of the American Musicological Society 72, no. 3 (2019): 902–12. http://dx.doi.org/10.1525/jams.2019.72.3.902.

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45

Roberts, Martin. "“World Music” and the Global Cultural Economy." Diaspora: A Journal of Transnational Studies 2, no. 2 (September 1992): 229–42. http://dx.doi.org/10.3138/diaspora.2.2.229.

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What is a global culture? To what extent is it meaningful to speak of such a culture today? What is the relationship, within a global culture, between global and local, center and margins, core and periphery? How are we to evaluate such a culture, as a positive or as a negative phenomenon? As something to be welcomed and celebrated, or resisted? These are some of the questions that recently have been the subject of intense discussion and debate among cultural theorists (Schneider and Wallis; Featherstone). To these questions, however, I would like to add a further set which frames the preceding ones. Why are cultural theorists so interested in global culture? What is at stake for them in theorizing about it? What larger issues and agendas are being played out in their debates? What are the implications of this theoretical discourse about global culture for that discourse itself? These are the two sets of questions I will be exploring in this essay: the first concerning the nature, meanings, and value of global culture; the second, framing the first, concerning the implications of theories of global culture for cultural theory itself. My discussion will focus on a form of cultural production that has been prominent in recent debates about global culture, the popular-music industry, and within this form, the phenomenon now commonly known in the English-speaking world as “world music.” My purpose is both to try to make sense of the world-music phenomenon itself by considering it in relation to several models of global culture and to use world music as a means of reflecting back on the theoretical models used in its interpretation and evaluation.

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46

Pennycook, Alastair. "Global Noise and Global Englishes." Cultural Studies Review 9, no. 2 (September 13, 2013): 192–200. http://dx.doi.org/10.5130/csr.v9i2.3572.

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Global Noise: Rap and Hip-Hop Outside the USA, alluding to Tricia Rose’s US rap-music book, Black Noise, aims to do much more than merely extend the reach of the study of rap and hip-hop beyond the USA, as its subtitle might suggest. While acknowledging the importance of the work of both Rose and Potter, this collection’s editor, Tony Mitchell, contests their respective views that rap and hip-hop are essentially expressions of African-American culture, and that all forms of rap and hip-hop derive from these origins. He argues that these forms have become ‘a vehicle for global youth affiliations and a tool for reworking local iden- tity all over the world’.

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47

Carnovale, Norbert, and Robert Burnett. "The Global Jukebox: The International Music Industry." Notes 54, no. 1 (September 1997): 96. http://dx.doi.org/10.2307/899966.

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48

Aróstegui, José Luis. "Exploring the global decline of music education." Arts Education Policy Review 117, no. 2 (April 2, 2016): 96–103. http://dx.doi.org/10.1080/10632913.2015.1007406.

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Roberts, Martin. ""World Music" and the Global Cultural Economy." Diaspora: A Journal of Transnational Studies 2, no. 2 (1992): 229–42. http://dx.doi.org/10.1353/dsp.1992.0015.

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