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Relevant bibliographies by topics / World music

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Academic literature on the topic 'World music'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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Journal articles on the topic "World music"

1

Volk, Terese M. "World Musics and Music Education." Update: Applications of Research in Music Education 17, no. 1 (1998): 9–13. http://dx.doi.org/10.1177/875512339801700103.

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Yoo, Hyesoo, Sangmi Kang, Camilo I. Leal, and Abbey Chokera. "Engaged Listening Experiences: A World Music Sampler." General Music Today 33, no. 3 (2019): 14–20. http://dx.doi.org/10.1177/1048371319890291.

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As the U.S. population has become significantly more culturally diverse, many music educators have acknowledged the necessity to implement culturally diverse musics in music curricula. One of the challenges in teaching culturally diverse musics is designing a balance between performing-based activities and other activities such as listening, improvising, and composing activities. Despite the importance of developing students’ listening skills, listening lessons are still relatively deficient within the context of world musics. Therefore, we provide general music teachers with engaged listening

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Klump, Brad. "Origins and Distinctions of the "World Music" and "World Beat" Designations." Canadian University Music Review 19, no. 2 (2013): 5–15. http://dx.doi.org/10.7202/1014442ar.

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This article traces the origins and uses of the musical classifications "world music" and "world beat." The term "world beat" was first used by the musician and DJ Dan Del Santo in 1983 for his syncretic hybrids of American R&B, Afrobeat, and Latin popular styles. In contrast, the term "world music" was coined independently by at least three different groups: European jazz critics (ca. 1963), American ethnomusicologists (1965), and British record companies (1987). Applications range from the musical fusions between jazz and non-Western musics to a marketing category used to sell almost any

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Mallet, Julien. "« World Music »." Cahiers d'études africaines 42, no. 168 (2002): 831–52. http://dx.doi.org/10.4000/etudesafricaines.168.

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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),

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Dawe, Kevin. "Minotaurs or musonauts? ‘World Music’ and Cretan Music." Popular Music 18, no. 2 (1999): 209–25. http://dx.doi.org/10.1017/s0261143000009053.

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In a recent issue of Popular Music devoted to the music of the Middle East, Martin Stokes and Ruth Davis note that ‘the movement of Middle Eastern sounds into Western cultural spaces … has largely been ignored’ (1996, p. 255) and that ‘Middle Eastern popular musics will probably continue to mark an unassimilable and unwelcome “otherness” for most Europeans and Americans’ (ibid, p. 257). In this paper, written partly in response to these remarks, I examine the movement of contemporary Middle Eastern sounds into Greek cultural space and Greek musical culture, a musical culture that has an affini

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Cooper, Shelly. "World Musics in the General Music Classroom." General Music Today 25, no. 1 (2011): 1. http://dx.doi.org/10.1177/1048371311414882.

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Noone, Matthew. "Whose World Music?" Intercultural Relations 8, no. 2(16) (2024): 11–26. https://doi.org/10.12797/rm.02.2024.16.01.

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World music might be defined most benignly as an attempt to conceptualise all of the world’s music. More cynically though, world music can be also seen as just an advertising label for all non-Western music. Many scholars have gone even further and argue that world music is a delusional subjective fantasy, an unreal utopia and an oppressive discourse of western hegemony. Defining what world music is really depends on who is asking the question. Whose world musi is it? This paper will focus on the philosophical conundrums of ‘world music’ within the context of the current BA World Music at the

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Yoo, Hyesoo, Sangmi Kang, and Victor Fung. "Personality and world music preference of undergraduate non-music majors in South Korea and the United States." Psychology of Music 46, no. 5 (2017): 611–25. http://dx.doi.org/10.1177/0305735617716757.

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We investigated contributors of undergraduate nonmusic majors’ preferences for world musics, specifically those from Africa, Asia, and Latin America. Drawing upon the reciprocal feedback model as a theoretical framework, we determined the extent to which predictor variables (familiarity with the music, personality, and music absorption) were related to music preference. Participants were 401 undergraduate nonmusic majors from South Korea ( n = 208) and the USA ( n = 183). Participants took an online survey via Qualtrics that included demographic information, the World Musics Preference Rating

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He, Ruimei. "Malaysian Music Culture in World Music." International Journal of Novel Research in Humanity and Social Sciences 11, no. 6 (2024): 18–28. https://doi.org/10.5281/zenodo.14185820.

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<strong>Abstract:</strong> In recent years, various public events in Malaysia have contributed to an image of “mystery” projected to the outside world. Furthermore, due to limited domestic focus and research on various aspects of Malay culture, the Malay ethnicity remains relatively obscure in the global perspective. Our understanding of the cultural characteristics, ethnic traits, and national spirit of the Malay population remains superficial. These factors heighten our curiosity about this "familiar yet unfamiliar" neighboring culture. This paper examines language, religion, and

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Dissertations / Theses on the topic "World music"

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Taylor, Timothy D. "World Music Revisited." Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A71782.

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Johnson, Sherry Anne. "High-school music teachers' meanings of teaching world musics." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq22326.pdf.

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Panteli, Maria. "Computational analysis of world music corpora." Thesis, Queen Mary, University of London, 2018. http://qmro.qmul.ac.uk/xmlui/handle/123456789/36696.

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The comparison of world music cultures has been considered in musicological research since the end of the 19th century. Traditional methods from the field of comparative musicology typically involve the process of manual music annotation. While this provides expert knowledge, the manual input is timeconsuming and limits the potential for large-scale research. This thesis considers computational methods for the analysis and comparison of world music cultures. In particular, Music Information Retrieval (MIR) tools are developed for processing sound recordings, and data mining methods are conside

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Sarkar, Mihir Ph D. Massachusetts Institute of Technology. "World music technology : culturally sensitive strategies for automatic music prediction." Thesis, Massachusetts Institute of Technology, 2012. http://hdl.handle.net/1721.1/77812.

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Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2012.<br>Cataloged from PDF version of thesis.<br>Includes bibliographical references (p. 103-112).<br>Music has been shown to form an essential part of the human experience-every known society engages in music. However, as universal as it may be, music has evolved into a variety of genres, peculiar to particular cultures. In fact people acquire musical skill, understanding, and appreciation specific to the music they have been exposed to. This process of enculturati

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Vogelgesang, Anna Ruye. "An Investigation of Philosophy and Practice: Inclusion of World Musics in General Music Classes." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1554376600823459.

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Chatwin, Fiona Lilian Hooey Steven Henderson Moya Beckett Alison. "A challenge of world premieres /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3236637.

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Thesis (D.M.A.)--University of California, San Diego, 2006.<br>Vita. Material related to a thesis recital on April 9, 2006. Accompanying sound recording shelved in Music Department Tape Archive as: 06 IV 09. Appendix includes scores of Sirens in December by Steven Hoey, Divers by Moya Henderson, and Four dollars and fifteen cents by Alison Beckett.

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Degirmenci, Koray. "Turkish World Music: Multiple Fusions And Authenticities." Phd thesis, METU, 2008. http://etd.lib.metu.edu.tr/upload/3/12610077/index.pdf.

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This dissertation investigates the case of world music in Turkey as an illustration of the discursive mechanisms involved in the production of a global cultural form from what the globality has defined as the &lsquo<br>local&rsquo<br>. The study attempts to show the complicated nature of the process by examining how the musical forms and themes supposedly belonging to the &lsquo<br>local&rsquo<br>are incorporated into and appropriated in the discourses associated with world music and into the corresponding strategies of the actors. The discursive compilations, articulations and dislocations ta

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North, Adrian C. "Responses to music in the real world." Thesis, University of Leicester, 1996. http://hdl.handle.net/2381/9224.

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This thesis concerns aesthetic responses to music, and is divided into four main parts, with each comprising an initial literature review and subsequent empirical studies. Part A describes 5 studies which employed conventional laboratory techniques to investigate how theories of aesthetic response might be extended to explanations of emotional responses to music and liking for musical styles. This part of the thesis also discusses how these theories might be reconciled. In contrast, Parts B-D of the thesis provide several examples of how responses to music in the real world are not made in the

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Gibbs-Singh, Cheynne. "World music in the British secondary school." Thesis, SOAS, University of London, 2018. http://eprints.soas.ac.uk/30251/.

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World music has enjoyed increasing representation in the National Curriculum up to Key Stage 3. At the same time, music in higher education in the UK is becoming increasingly diverse, with degrees in popular music, world music and jazz becoming more commonplace. This, alongside the growing diversity of the population, supports arguments for introducing and maintaining a diverse music curriculum, particularly one that includes world music, throughout secondary education. The importance of world music in education has been advocated both in the UK (e.g. Wiggins (1996), Stock (1991)) and in other

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Geldenhuys, Daniël G. "The Idiosyncratic Use of the Term 'World Music' as a Music Concept." Bärenreiter Verlag, 2000. https://slub.qucosa.de/id/qucosa%3A36676.

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Books on the topic "World music"

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Miller, Terry E., and Andrew Shahriari. World Music. Routledge, 2020. http://dx.doi.org/10.4324/9780367823498.

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Thomas, Roger. World music. Heinemann Library, 1998.

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Roger, Thomas. World music. Heinemann Library, 1998.

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Bartolome, Sarah J. World Music Pedagogy. Routledge, 2019. http://dx.doi.org/10.4324/9781315164076.

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Shahriari, Andrew. Popular World Music. Routledge, 2017. http://dx.doi.org/10.4324/9781315543833.

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Coppola, William J., David G. Hebert, and Patricia Shehan Campbell. World Music Pedagogy. Routledge, 2020. http://dx.doi.org/10.4324/9780429278617.

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Campbell, Patricia Shehan, and Chee-Hoo Lum. World Music Pedagogy. Routledge, 2019. http://dx.doi.org/10.4324/9781315157924.

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Shahriari, Andrew C. Popular world music. Pearson Education, 2010.

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Silver Burdett & Ginn (Firm), ed. World of music. Silver Burdett & Ginn, 1990.

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Mary, Palmer, and Silver Burdett Ginn (Firm), eds. World of music. Silver Burdett & Ginn, 1991.

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Book chapters on the topic "World music"

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Smith, John Arthur. "Music." In The Early Christian World. Routledge, 2017. http://dx.doi.org/10.4324/9781315165837-36.

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Campbell, Patricia Shehan, and Chee-Hoo Lum. "Performing World Music." In World Music Pedagogy. Routledge, 2019. http://dx.doi.org/10.4324/9781315157924-4.

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Campbell, Patricia Shehan, and Chee-Hoo Lum. "Creating World Music." In World Music Pedagogy. Routledge, 2019. http://dx.doi.org/10.4324/9781315157924-5.

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Campbell, Patricia Shehan, and Chee-Hoo Lum. "Integrating World Music." In World Music Pedagogy. Routledge, 2019. http://dx.doi.org/10.4324/9781315157924-6.

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Bartolome, Sarah J. "Performing World Music." In World Music Pedagogy. Routledge, 2019. http://dx.doi.org/10.4324/9781315164076-4.

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Bartolome, Sarah J. "Creating World Music." In World Music Pedagogy. Routledge, 2019. http://dx.doi.org/10.4324/9781315164076-5.

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Bartolome, Sarah J. "Integrating World Music." In World Music Pedagogy. Routledge, 2019. http://dx.doi.org/10.4324/9781315164076-6.

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Coppola, William J., David G. Hebert, and Patricia Shehan Campbell. "Performing World Music." In World Music Pedagogy. Routledge, 2020. http://dx.doi.org/10.4324/9780429278617-4.

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Coppola, William J., David G. Hebert, and Patricia Shehan Campbell. "Creating World Music." In World Music Pedagogy. Routledge, 2020. http://dx.doi.org/10.4324/9780429278617-5.

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Coppola, William J., David G. Hebert, and Patricia Shehan Campbell. "Integrating World Music." In World Music Pedagogy. Routledge, 2020. http://dx.doi.org/10.4324/9780429278617-6.

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Conference papers on the topic "World music"

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Jaeger, Antoine. "Enhancing Earth Observation with Music - Hello World Live." In IAF Space Education and Outreach Symposium, Held at the 75th International Astronautical Congress (IAC 2024). International Astronautical Federation (IAF), 2024. https://doi.org/10.52202/078378-0137.

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D'Acierno Canonici Cammino, Maria Rosaria. "Music in Education and in Therapy." In 28th World Multi-Conference on Systemics, Cybernetics and Informatics. International Institute of Informatics and Cybernetics, 2024. http://dx.doi.org/10.54808/wmsci2024.01.325.

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Yenkikar, Anuradha, Riddhi Mirajkar, Pallavi Ahire, Prajakta Shinde, and Dhanashree V. Patil. "Machine Learning-Based Music Recommendation System Based on User Interest." In 2024 2nd World Conference on Communication & Computing (WCONF). IEEE, 2024. http://dx.doi.org/10.1109/wconf61366.2024.10692020.

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Ma, Qian. "Neural Network Model Music Data Recommendation Algorithm based on Deep Belief." In 2024 IEEE 3rd World Conference on Applied Intelligence and Computing (AIC). IEEE, 2024. http://dx.doi.org/10.1109/aic61668.2024.10730912.

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Plescan, Costel, Vlad Batranu-Pintea, and Camelia Kojqiqi. "IMPACT OF VIRTUAL WORLDS IN COLLECTIVE MENTALITY. FROM PHANTASMAGORICAL PLACES AND WHIMSICAL MUSIC TO TANGENT, LIVELY ASPECTS." In 11th SWS International Scientific Conferences on SOCIAL SCIENCES - ISCSS 2024. SGEM WORLD SCIENCE, 2024. https://doi.org/10.35603/sws.iscss.2024/s10/75.

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In a world where technology has risen dramatically and every aspect of our lives include technology one way or another, there are many aspects to mention when it comes to the virtual world. Virtual worlds contain many unbelievable places, incredible sceneries, colorful areas and fantastic creatures and NPCs (non-player characters). The problem arises when people forget which is reality and which is phantasmagory. Many teenagers get trapped in these whimsical worlds and fall prey to their gaming device that takes a toll on them eventually, especially on their mental health and even physical hea

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Ballantine, Christopher. "Music, the word and the world; or the banality of (South African) classification." In Situating Popular Musics, edited by Ed Montano and Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.04.

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NICA, Maria-Isabela. "The World Music Phenomenon Through the Perspective of Philip V. Bohlman." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2024. https://doi.org/10.35218/icds-2024-0004.

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Renowned ethnomusicologist Philip V. Bohlman has made a remarkable contribution to the study of the World Music phenomenon and its impact on culture and society. An alumnus of Yale and Harvard, Bohlman has built a distinguished academic career across various countries, conducting extensive research in ethnomusicology. His work delves into the intricate relationships between music, cultural identity, nationalism, and migration, addressing themes such as music in the Holocaust, musical folklore, Jewish and Roma music. Overall, the volume World Music: A Very Short Introduction is one of the essen

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He, Yumeng. "Influence Analysis for Children's Music Achievement: A Survey of Children's Music Education in China." In World Congress on Education. Infonomics Society, 2022. http://dx.doi.org/10.20533/wce.2022.0007.

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Brost, Brian, Rishabh Mehrotra, and Tristan Jehan. "The Music Streaming Sessions Dataset." In The World Wide Web Conference. ACM Press, 2019. http://dx.doi.org/10.1145/3308558.3313641.

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Moccozet, Laurent, Camille Tardy, Hassan Lakhdar, Anne Lakhdar, Richard Rentsch, and Michaël Wirth. "FEEL THE MUSIC: ENGAGING PUPILS IN CLASSICAL MUSIC APPRECIATION THROUGH SOCIAL MULTIMEDIA AND EMOTIONS." In VII World Congresson Communication andArts. Science and Education Research Council (COPEC), 2014. http://dx.doi.org/10.14684/wcca.7.2014.6-10.

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Reports on the topic "World music"

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Ferreira, Fernando, and Joel Waldfogel. Pop Internationalism: Has A Half Century of World Music Trade Displaced Local Culture? National Bureau of Economic Research, 2010. http://dx.doi.org/10.3386/w15964.

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Trifon, Maria, Alin Savu, Bogdan Pălici, Cristian Georgescu, and Dinu Ion. Music streaming practices. Spotify usage in Romania. National Institute for Cultural Research and Training, 2025. https://doi.org/10.61789/pub.cdi.psm.en25.

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This publication provides an overview of music streaming practices, taking the use of the Spotify platform in Romania as a case study. Given that streaming has become the dominant form of cultural consumption nowadays (Arditi, 2021), analyzing the consumption trends and preferences recorded in Spotify charts in Romania becomes relevant. Spotify is a popular digital music streaming service that provides users with access to a vast library of songs, podcasts and other audio content from various artists and creators around the world.

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Feller-Simmons, Paul G., and Cesar D. Favila. The Virgin Mary's Essence in New Spanish Song. Society for Seventeenth-Century Music, 2025. https://doi.org/10.53610/bdlm1317.

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This edition features thirteen villancicos transcribed from the Sánchez Garza Collection held in Mexico City’s Centro Nacional de Investigación, Documentación e Información Musical Carlos Chávez (CENIDIM). Their publication provides ensembles music for performance that was originally notated for and performed by women, in this case the nuns of Puebla’s Santísima Trinidad convent. This convent was founded in the seventeenth century in colonial Mexico (New Spain) and left behind the largest collection of women’s notated music from New Spain. The novel organization of this edition, featuring vill

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McDonald, Sophia. ECMI Minorities Blog. Stirring the Pot: Kneecap, Radical Politics and Nurturing the Irish Language. European Centre for Minority Issues, 2024. http://dx.doi.org/10.53779/erkp1374.

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Northern Irish hip hop group Kneecap have been causing controversy as they have rose to fame. At the core of their music is the fight to keep the Irish language alive. They have made waves in music scenes across the world and in doing so, they have given young Northern Irish people a voice when representation has become so important. However, they satirise Unionist politics and for some, stir up painful memories of violence which plagued Northern Ireland up until the 1990s. This blogpost explores Kneecap’s provocative politics and their fight for Irish language rights in Northern Ireland via c

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Józsa, Viven. Hallyu as Soft Power : The Success Story of the Korean Wave and its Use in South Korea’s Foreign Policy. Külügyi és Külgazdasági Intézet, 2021. http://dx.doi.org/10.47683/kkielemzesek.ke-2021.75.

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The Korean Wave is taking over the world, achieving great success in areas such as music and cinematography, and making Korean culture increasingly attractive. Culture being a crucial resource of soft power, which in turn serves as a powerful tool in international relations, the South Korean government is trying to take advantage of its improved national image and international influence. This analysis provides an overview of the relationship between the Korean government and the Korean Wave, how the perception of Korea has changed thanks to its cultural outflow, and how the government tries t

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Stahl, Geoff, and Alex Gyde, eds. Popular Music Worlds, Popular Music Histories: Conference Proceedings, Liverpool 2009. International Association for the Study of Popular Music, 2011. http://dx.doi.org/10.5429/2225-0301/2009.

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Crispin, Darla. Artistic Research as a Process of Unfolding. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.503395.

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As artistic research work in various disciplines and national contexts continues to develop, the diversity of approaches to the field becomes ever more apparent. This is to be welcomed, because it keeps alive ideas of plurality and complexity at a particular time in history when the gross oversimplifications and obfuscations of political discourses are compromising the nature of language itself, leading to what several commentators have already called ‘a post-truth’ world. In this brutal environment where ‘information’ is uncoupled from reality and validated only by how loudly and often it is

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Berggren, Erik. Migration and Culture. Linköping University Electronic Press, 2024. http://dx.doi.org/10.3384/9789180757638.

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This report is written by students in the Ethnic and Migration Studies Master’s Programme, part of the Research Institute in Migration, Ethnicity, and Society (REMESO) at Linköping University, based on the Norrköping campus. REMESO is an internationally renowned institute that pursues research in migration and ethnic relations. The Master’s Programme is highly sought after, with students coming from all over the world to attend. Their interest in how migration transforms the world and how it influences other social phenomena has fuelled their work in this publication. In their first year of st

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Cunningham, Stuart, Marion McCutcheon, Greg Hearn, Mark Ryan, and Christy Collis. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Sunshine Coast. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.136822.

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The Sunshine Coast (unless otherwise specified, Sunshine Coast refers to the region which includes both Sunshine Coast and Noosa council areas) is a classic regional hotspot. In many respects, the Sunshine Coast has assets that make it the “Goldilocks” of Queensland hotspots: “the agility of the region and our collaborative nature is facilitated by the fact that we're not too big, not too small - 330,000 people” (Paddenburg, 2019); “We are in that perfect little bubble of just right of about everything” (Erbacher 2019). The Sunshine Coast has one of the fastest-growing economies in Australia.

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Duch, Michael. Performing Hanne Darboven's Opus 17a and long duration minimalist music. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.481276.

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Hanne Darboven’s (1941-2009) Opus 17a is a composition for solo double bass that is rarely performed due to the physical and mental challenges involved in its performance. It is one of four opuses from the composers monumental 1008 page Wünschkonzert (1984), and was composed during her period of making “mathematical music” based on mathematical systems where numbers were assigned to certain notes and translated to musical scores. It can be described as large-scale minimalism and it is highly repetitive, but even though the same notes and intervals keep repeating, the patterns slightly change t

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