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Journal articles on the topic 'World music'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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1

Volk, Terese M. "World Musics and Music Education." Update: Applications of Research in Music Education 17, no. 1 (March 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 (November 25, 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 strategies for implementing world music lessons in music classrooms. The lessons provided in this article are appropriate for upper elementary and secondary general music classrooms.
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Klump, Brad. "Origins and Distinctions of the "World Music" and "World Beat" Designations." Canadian University Music Review 19, no. 2 (March 1, 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 music outside the Western mainstream.
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Mallet, Julien. "« World Music »." Cahiers d'études africaines 42, no. 168 (January 1, 2002): 831–52. http://dx.doi.org/10.4000/etudesafricaines.168.

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5

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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6

Dawe, Kevin. "Minotaurs or musonauts? ‘World Music’ and Cretan Music." Popular Music 18, no. 2 (May 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 affinity with ‘Eastern’ musics but also a strong sense of its own identity. Middle Eastern music can indeed take on the form of an ‘unwelcome “otherness”’ in Greece and I shall provide examples of this from my own fieldwork on the Greek island of Crete. Greece and the Greek islands are outposts, on the European periphery, on the frontier between ‘the East’ and ‘the West’, where a history of confrontations, invasions and forced exchanges in political, economic and demographic terms with the Middle East has ensued for millenia. Greece and Turkey still remain in dispute over territory from the Thracian borderlands to the smaller islands of the Eastern Aegean Sea.
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Cooper, Shelly. "World Musics in the General Music Classroom." General Music Today 25, no. 1 (August 30, 2011): 1. http://dx.doi.org/10.1177/1048371311414882.

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8

van der Lee, Pedro. "Sitars and bossas: World Music influences." Popular Music 17, no. 1 (January 1998): 45–70. http://dx.doi.org/10.1017/s0261143000000489.

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Popular music is sometimes discussed from a rather ethnocentric viewpoint, lacking awareness of, or not acknowledging, influences assimilated from non-Western musics, while in the field of ethnomusicology, issues such as the preservation of traditional styles (see Baumann 1992, pp. 11–15) remain important, but there is an increased interest in the processes of change and the effects of technology (see, for example, Wallis and Malm 1984). As Western and traditional styles interact, changes occur, and as Frith puts it: ‘popular music study rests on the assumption that there is no such thing as a culturally “pure” sound’ (1989, p. 3).
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9

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 (July 14, 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 Scale, the Big-Five Inventory, and the Absorption in Music Scale. Results indicated that, familiarity, followed by openness to experience, was the strongest predictor of participants’ preferences for world musics. For the U.S. participants, familiarity, followed by openness to experience, was the strongest predictor of participants’ preference for musics from each continent. By contrast, for the South Korean participants, although familiarity was also the strongest predictor for African, Latin American, and Asian musics, openness to experience was not consistently the second strongest contributor. For African music, openness to experience was ranked second; for Latin American and Asian music, agreeableness and music absorption were ranked second, respectively.
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10

Ehrlich, Cyril, Roger Wallis, and Krister Malm. "World Music Business." Musical Times 126, no. 1703 (January 1985): 28. http://dx.doi.org/10.2307/962442.

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Bertsch, Charlie. "Subverting World Music." Tikkun 21, no. 3 (May 2006): 77–78. http://dx.doi.org/10.1215/08879982-2006-3027.

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Feay-Shaw, Sheila J. "Authenticating World Music." General Music Today 14, no. 1 (October 2000): 24–26. http://dx.doi.org/10.1177/104837130001400107.

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Beegle, Amy C. "World Music Ensemble." General Music Today 25, no. 3 (January 18, 2012): 58–60. http://dx.doi.org/10.1177/1048371311434143.

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Beegle, Amy C. "World Music Resources." General Music Today 26, no. 1 (August 2, 2012): 48–49. http://dx.doi.org/10.1177/1048371312453723.

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Harahap, Irwansyah. "MERANGKAI WARNA: EKSPLORASI LARAS “PELOG” DALAM PERMAINAN ‘OUD ARABIS BERBASIS GARAPAN “WORLD MUSIC”." MELAYU ARTS AND PERFORMANCE JOURNAL 2, no. 2 (January 20, 2020): 149. http://dx.doi.org/10.26887/mapj.v2i2.974.

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ABSTRACT This writing generally discusses the term “world music” and various musical creative approaches that have been done. This writing also descriptively reviews the composition of “Merangkai Warna” in the context of melodist’s idea, instrument, concept building, and musical practice in musical composition. The musical composition “Merangkai Warna” is a musical composition inspired from the conception of world music. This composition is a form of musical exploration, namely through a set of musical instrument ‘oud Arabis, it tried to fuse and synthesize musical idioms and aesthetics via the composition of pentatonic playing style found in the area of musical era in Asia. In this composition, there is a concept of a new rhythm play called as “hetero-poly-metric rhythmic structure,” in which the basis of rhythmical play is built on metrical 7 contra 3 pattern applied in the percussion play of kendangan Sunda and ’oud. Keywords: World music, pelog, pentatonic, hetero-poly-metric rhythmic structure ABSTRAK Tulisan ini membicarakan secara umum tentang istilah “world music” dan berbagai pendekatan kreatif musikal yang telah dikerjakan. Tulisan ini juga mengulas secara deskriptif karya komposisi “Merangkai Warna” dalam konteks gagasan kompositoris, instrumetarium, bangunan konsep, dan praktik musikal dalam karya musik. Komposisi musik “Merangkai Warna” merupakan sebuah garapan musik berangkat dari konsepsi musik dunia (world music). Karya ini merupakan sebuah bentuk eksplorasi musikal dimana melalui perangkat alat musik ‘oud Arabis mencoba untuk memfusikan dan mensintesiskan idiom dan estetika musik lewat garapan gaya permainan modus pentatonik yang terdapat di wilayah peradaban musik di Asia. Dalam karya komposisi ini tertuang satu konsep permainan ritme baru, yang disebut dengan “hetero-poly-metric rhythmic structure,” dimana dasar permainan ritmikal dibangun dari pola metrikal 7 kontra 3 yang dituangkan dalam permainan perkusi kendangan Sunda dan ’oud. Kata Kunci: World music, pelog, pentatonic, hetero-poly-metric rhythmic structure
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Li, Xueqian. "Compare and Contrast Different Meanings of the Term World Music/World Music." Asian Journal of Social Science Studies 4, no. 4 (November 6, 2019): 1. http://dx.doi.org/10.20849/ajsss.v4i4.664.

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With the booming popularity of the music industry today, there has been an equally increasing demand for new or refreshing music types. Over the years, this has a resulted in alternative/non-mainstream music genres gradually being accepted as popular music. To cater for the different tastes of music for consumers, in a world where advancement in technology has accelerated globalization to unprecedented levels, music Creators are producing music that have blurred the boundaries between music genres. On the other hand World Music is one that is seen by many as one which is routed in tradition. In that aspect, world music and popular music can be seen as two contrasting categories.
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17

Guilbault, Jocelyne. "Interpreting world music: a challenge in theory and practice." Popular Music 16, no. 1 (January 1997): 31–44. http://dx.doi.org/10.1017/s0261143000000684.

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This article focuses on the issue of meanings in ‘world music’ practices. The main questions addressed are how such musical cultures take on meanings, and what meanings are constructed by such cultures. As Deborah Pacini has indicated, the term ‘world music’ in this case does not refer to a musical genre. It is used, rather, ‘[as] a marketing term describing the products of musical cross-fertilisation between the north – the US and Western Europe – and south – primarily Africa and the Caribbean Basin, which began appearing on the popular music landscape in the early 1980s’ (1993, p. 48). From 1985, the expanding ‘world music’ umbrella has come to include practically any musics of cultures of non-European origin.
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18

Mitchell, Tony. "WORLD MUSIC, INDIGENOUS MUSIC AND MUSIC TELEVISION IN AUSTRALIA." Perfect Beat 1, no. 1 (September 29, 2015): 1–16. http://dx.doi.org/10.1558/prbt.v1i1.28571.

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19

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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20

Castro, Armando Alexandre. "Axé music: mitos, verdades e world music." Per Musi, no. 22 (December 2010): 203–17. http://dx.doi.org/10.1590/s1517-75992010000200017.

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O artigo discute a Axé music, oferecendo elementos na tentativa de desconstrução de três mitos nela evidenciados: monocultura, baixa qualidade técnica e sua decadência. A metodologia utilizada privilegia a análise de conteúdo, tendo como meios de verificação e coleta de dados entrevistas semi-estruturadas com músicos, técnicos, produtores e empresários musicais de Salvador, além de pesquisa documental relacionada ao campo musical baiano atual.
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21

Moreno, J. "Multicultural Music Therapy: The World Music Connection." Journal of Music Therapy 25, no. 1 (March 1, 1988): 17–27. http://dx.doi.org/10.1093/jmt/25.1.17.

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22

van der Linden, Bob. "SIKH SACRED MUSIC, EMPIRE AND WORLD MUSIC." Sikh Formations 7, no. 3 (December 1, 2011): 383–97. http://dx.doi.org/10.1080/17448727.2011.637364.

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Lancashire, Terence. "World music or Japanese - the gagaku of Tôgi Hideki." Popular Music 22, no. 1 (January 2003): 21–39. http://dx.doi.org/10.1017/s0261143003003027.

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The term ‘world music’ usually conjures up images of musics from ‘remote’ corners of the world. However, that remoteness is not always geographical and can, for example, be chronological. Tôgi Hideki, a former musician from the Imperial court in Japan, has sought to introduce court music - gagaku - to a wider audience through the reworking of traditional gagaku pieces and new compositions for gagaku instruments. Gagaku boasts a history of over 1,200 years and its esoteric nature inhibits popular interest. Tôgi Hideki’s popularised gagaku, on the other hand, has found a new audience for gagaku, and his music serves as a bridge introducing Japanese back to a remote part of Japanese musical culture.
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Winik, Marta Fuchs, Szymon Laks, and Chester A. Kisiel. "Music of Another World." Notes 48, no. 4 (June 1992): 1271. http://dx.doi.org/10.2307/942131.

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Henderson, David. "World Music Videos Today." World Literature Today 88, no. 2 (2014): 7. http://dx.doi.org/10.1353/wlt.2014.0241.

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Hazo, Samuel. "The World of Music." Teachers College Record: The Voice of Scholarship in Education 110, no. 14 (November 2008): 40–43. http://dx.doi.org/10.1177/016146810811001412.

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David Henderson. "World Music Videos Today." World Literature Today 88, no. 2 (2014): 7. http://dx.doi.org/10.7588/worllitetoda.88.2.0007.

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Anderson, Rick. "The World-Music Web." Acquisitions Librarian 15, no. 29 (September 24, 2003): 3–12. http://dx.doi.org/10.1300/j101v15n29_02.

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Miller, Sara Stone, Michel Asselineau, Eugene Berel, and Tran Quang Hai. "Music of the World." Asian Music 26, no. 2 (1995): 143. http://dx.doi.org/10.2307/834438.

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Chouvel, Jean-Marc. "Music: a world apart?" Musicae Scientiae 5, no. 2_suppl (September 2001): 35–38. http://dx.doi.org/10.1177/10298649010050s205.

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Henry, Stephen, and Carlos E. Peña. "Naxos Music Library World." Notes 73, no. 2 (2016): 325–27. http://dx.doi.org/10.1353/not.2016.0141.

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Fairley, Jan. "European world music charts." Popular Music 11, no. 2 (May 1992): 241–44. http://dx.doi.org/10.1017/s0261143000005055.

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GALLOPE, MICHAEL. "World Music Without Profit." Twentieth-Century Music 17, no. 2 (June 2020): 161–95. http://dx.doi.org/10.1017/s1478572220000018.

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AbstractThis article explores political and aesthetic dimensions of the ‘bubu music’ made by Sierra Leonean émigré Janka Nabay while living in the United States from 2010 to 2017. It narrates Nabay's story while tracing granular flows of creative labour, collaboration, and negotiations of cultural and economic capital at some level of ethnographic detail. The central sections of the article excavate the complex and often non-linear labour that went into the production of his band's music, and gives readers a sense of the way Nabay himself intellectually framed this process. It ultimately argues that Nabay was a resilient but often-dehumanized subject who exemplified the cultural and economic cross-currents of ‘World Music 2.0’ in ways that set privileged Western values of artistic autonomy into vivid relief. As an economically precarious subject split between indigenous nationalism and Western forms of cultural capital, Nabay lived a life of profound contradictions, by turns dissenting and exuberant.
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Wilcken, Lois E., Michel Asselineau, Eugene Berel, and Tran Quang Hai. "Music of the World." Ethnomusicology 41, no. 1 (1997): 113. http://dx.doi.org/10.2307/852585.

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hazo, samuel. "The World of Music." Yearbook of the National Society for the Study of Education 107, no. 2 (October 2008): 40–43. http://dx.doi.org/10.1111/j.1744-7984.2008.00160.x.

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Sukmana, Dicky Indra, Robby Hidajat, and Tutut Pristiati. "Musisi Progressive Metal sebagai Pendorong Perkembangan Musik Djent di Kota Malang." JoLLA: Journal of Language, Literature, and Arts 2, no. 5 (May 24, 2022): 746–64. http://dx.doi.org/10.17977/um064v2i52022p746-764.

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Abstract: Djent music is music which has elements of groove and progressive metal. The creation of djent music is an innovative idea from previous metal music which in its development djent music can’t be separated from the influence of rock music, which is phenomenal in the world. This study aims to describe the development of djent music and the factors influence the development of djent music in Malang. The writing of this research was carried out using descriptive qualitative methods. Using data analysis in the form of interviews with sources. The resource persons in this study were Norman Duarte Tolle (35) as a djent music musician (C-four) in Malang, Aulia Rizky Fajar (24) as a djent music guitarist in Malang, Reynal Juliandi (27) as an observer and music guitarist djent music in Pasuruan, Fauzan Sanjaya (24) as a member of the loud music community (Undisputed), and Fajri Ramadahan (27) as a musician djent music (Ceara) in Jakarta. Observations are aimed at knowing the development of djent music in Malang based on a review of the C-four music group. The result of this research is that the existence of djent music can be seen through the music industry and internet media which play an important role in the development of djent music so that the genre is able to spread widely throughout the world, including in Indonesia and Malang especially. Keywords: development; djent music; musicians; Malang Abstrak: Musik djent merupakan musik yang memiliki unsur groove dan progressive metal. Terciptanya musik djent merupakan gagasan inovasi dari musik metal sebelumnya yang dimana dalam perkembangannya musik djent tidak terlepas dari pengaruh musik rock yang sangat fenomenal di dunia. Penelitian ini bertujuan untuk mendeskripsikan perkembangan musik djent dan faktor yang mempengaruhi perkembangan musik djent di Kota Malang. Penulisan penelitian ini dilakukan dengan menggunakan metode kualitatif yang bersifat deskriptif dengan analisis data berupa hasil wawancara dengan narasumber. Narasumber dalam penelitian ini ada Norman Duarte Tolle (35) sebagai musisi musik djent (C-Four) yang ada di Kota Malang, Aulia Rizky Fajar (24) sebagai gitaris musik djent di Kota Malang, Reynal Juliandi (27) sebagai pemerhati serta gitaris musik djent di pasuruan, Fauzan Sanjaya (24) Selaku anggota komunitas musik keras (Undisputed), dan Fajri Ramadhan (27) sebagai musisi musik djent (Ceara) di Jakarta. Observasi ditujukan untuk mengetahui perkembangan musik djent di Kota Malang berdasarkan tinjauan kelompok musik C-four. Hasil dari penelitian ini ialah bahwa eksistensi musik djent dapat dilihat melalui industri musik dan media internet yang sangat berperan penting bagi perkembangan musik djent sehingga genre tersebut mampu menyebar luas ke seluruh dunia, termasuk di Indonesia dan di Kota Malang. Kata kunci: perkembangan; musik djent; musisi; Malang
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Palmer, Anthony J. "World Musics in Music Education: The Matter of Authenticity." International Journal of Music Education os-19, no. 1 (May 1992): 32–40. http://dx.doi.org/10.1177/025576149201900105.

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Raditya, Michael HB. "Musik sebagai Wujud Eksistensi dalam Gelaran World Cup." Resital: Jurnal Seni Pertunjukan 15, no. 1 (November 10, 2014): 83–99. http://dx.doi.org/10.24821/resital.v15i1.802.

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We Are One atau “Ole Ola” merupakan lagu resmi dari gelaran World Cup. Setiap World Cupmempunyai lagu resminya ditiap gelarannya. Dalam keberlangsungannya, setiap lagu world cupmembutuhkan pertimbangan dalam pembentukannya. Aspek-aspek seperti budaya, sosial, politikdan lainya menjadi alasan penting dalam pembentukannya. Pembentukan Ole Ola didasarkan padaproses hibriditas budaya lokal dan global. Perpaduan samba dan hip hop menjadi variant dalampembentukannya. Perpaduan tersebut membentuk identitas untuk lagu itu sendiri, dan untuk gelaranworld cup. Eksistensi dari lagu sehingga makin terasa karena perpaduan yang membentuk identitas.Terlebih lagu tersebut tercipta tidak hanya karena gelaran, tetapi mempunyai fungsi dan guna untukmasyarakat. Musik sebagai media dalam mengkonstruksi pesan atas kepentingan. Musik membentukidentitas, dan mempunyai eksistensi dalam keberlangsungannya. Musik tidak lagi hanya berfungsisebagai musik saja, tetapi musik mempunyai peran dalam pembentukan identitas dan menjamineksistensi.Music as a form of Existance in the World Cup Performance. We are one or Ole Ola is the officialsong of the world cup performance. Every world cup has its official song in each event. In its development ofexistance, every song in world cup needs requires of consideration for creating process. Aspects such as cultural,social, politics and others become the important reason for creation. The creating proses of Ole Ola song isbased on the local and global cultural hybridity. The combination of samba and hip hop is a primary varianton creating process. The combination creates an identity for the song itself, and for world cup identity. Theexistance of Ole Ola is stronger because the combination may create the new identity. Moreover, the songcreated is not only for the event, but also has a function and purpose to society. Music is as a medium inconstructing the messages of interest. Music creates an identity, and has an existance in its continuty. Musicis not only for music itself, but also has a role in creating identity and ensures the existance.
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Gronow, Pekka, and Max Peter Baumann. "World Music/Musics of the World: Aspects of Documentation, Mass Media and Acculturation." Notes 51, no. 3 (March 1995): 961. http://dx.doi.org/10.2307/899323.

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Miller, Terry, and Alain Danielou. "The Music of Laos. Anthology of World Music." Yearbook for Traditional Music 33 (2001): 208. http://dx.doi.org/10.2307/1519681.

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Miller, Terry, Tran Van Khe, and Nguyen Huu Ba. "The Music of Vietnam. Anthology of World Music." Yearbook for Traditional Music 33 (2001): 209. http://dx.doi.org/10.2307/1519683.

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Conlon, Paula. "World Music Contemporary Inuit Music from Arctic Canada." World Literature Today 87, no. 2 (2013): 9. http://dx.doi.org/10.1353/wlt.2013.0237.

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Paula Conlon. "World Music | Contemporary Inuit Music from Arctic Canada." World Literature Today 87, no. 2 (2013): 9. http://dx.doi.org/10.7588/worllitetoda.87.2.0009.

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Blum, Stephen, Radio Baku, and Habib H. Touma. "Anthology of World Music: The Music of Azerbaijan." Yearbook for Traditional Music 35 (2003): 223. http://dx.doi.org/10.2307/4149351.

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Baily, John, Alain Danielou, John Evarts, Ustad Mohammad Omar, Zakir Hussain, Hiromi Lorraine Sakata, Rahim Takhari, and Jan van Belle. "Anthology of World Music: The Music of Afghanistan." Yearbook for Traditional Music 35 (2003): 229. http://dx.doi.org/10.2307/4149357.

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Adler, Christopher, Alain Danièlou, and Alain Danielou. "Anthology of World Music: The Music of Laos." Asian Music 32, no. 2 (2001): 200. http://dx.doi.org/10.2307/834259.

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47

Lewis, Tony. "Ethnomusicology, World Music and Analysis in African Music." Australasian Review of African Studies 37, no. 1 (June 2016): 95–117. http://dx.doi.org/10.22160/22035184/aras-2016-37-1/95-117.

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48

KASSABIAN, ANAHID. "Would You Like Some World Music with your Latte? Starbucks, Putumayo, and Distributed Tourism." Twentieth-Century Music 1, no. 2 (September 2004): 209–23. http://dx.doi.org/10.1017/s1478572205000125.

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Through an examination of the labels Hear Music and Putumayo and their place in coffee shops and retail stores on the one hand, and of world music scholarship on the other, I argue that listening to world music in public spaces demands new theoretical perspectives. The kinds of tourism that take place in listening to world music inattentively suggest a kind of bi-location. Borrowing from quantum mechanics, I suggest that the term ‘entanglement’ might offer some insight into this bi-location and the ‘distributed tourism’ that I argue is taking place.
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Stock, Jonathan. "A Case for World Music." British Journal of Music Education 8, no. 2 (July 1991): 101–18. http://dx.doi.org/10.1017/s0265051700008226.

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The basic aim of this article is to argue that world music should be an integral part of any musical curriculum. An extensive example, drawn from Chinese traditional music, outlines potential benefits that the study of world music offers to the music teacher interested in it either for its own sake or as a means of developing pupils' skills at improvisations and composition. The featured example is a composition for erhu (Chinese two-stringed fiddle) by the folk musician Abing. Ideas are raised concerning musical context, analysis, melodic structure, tonality, metre, notation and ornamentation.
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50

Turino, Thomas. "The Garland Encyclopedia of World Music: Africa:The Garland Encyclopedia of World Music: Africa." American Anthropologist 102, no. 2 (June 2000): 422–23. http://dx.doi.org/10.1525/aa.2000.102.2.422.

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