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Journal articles on the topic 'World music'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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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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2

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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3

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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4

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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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),

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6

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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7

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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8

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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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 (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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10

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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11

van der Lee, Pedro. "Sitars and bossas: World Music influences." Popular Music 17, no. 1 (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

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12

Harahap, Irwansyah. "MERANGKAI WARNA: EKSPLORASI LARAS “PELOG” DALAM PERMAINAN ‘OUD ARABIS BERBASIS GARAPAN “WORLD MUSIC”." MELAYU ARTS AND PERFORMANCE JOURNAL 2, no. 2 (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 th

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13

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

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14

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

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15

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

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16

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

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17

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

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18

Guilbault, Jocelyne. "Interpreting world music: a challenge in theory and practice." Popular Music 16, no. 1 (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

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19

Li, Xueqian. "Compare and Contrast Different Meanings of the Term World Music/World Music." Asian Journal of Social Science Studies 4, no. 4 (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. I

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20

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

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21

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

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22

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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23

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

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24

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

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25

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 (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

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26

Lancashire, Terence. "World music or Japanese - the gagaku of Tôgi Hideki." Popular Music 22, no. 1 (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,

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27

Winik, Marta Fuchs, Szymon Laks, and Chester A. Kisiel. "Music of Another World." Notes 48, no. 4 (1992): 1271. http://dx.doi.org/10.2307/942131.

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28

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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29

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

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30

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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31

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

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32

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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33

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

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34

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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35

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

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36

GALLOPE, MICHAEL. "World Music Without Profit." Twentieth-Century Music 17, no. 2 (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 argue

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37

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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38

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

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39

Azamova, Mukhlisa Azam kizi. "ANCIENT WORLD MUSIC PERFORMANCE." ACADEMIC RESEARCH IN MODERN SCIENCE 1, no. 17 (2022): 151–54. https://doi.org/10.5281/zenodo.7312302.

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This article provides detailed information about the history of the creation of early musical instruments, the appearance of musical instruments, and the procedure for using musical instruments in various ceremonies.

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40

Raditya, Michael HB. "Musik sebagai Wujud Eksistensi dalam Gelaran World Cup." Resital: Jurnal Seni Pertunjukan 15, no. 1 (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

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41

Palmer, Anthony J. "World Musics in Music Education: The Matter of Authenticity." International Journal of Music Education os-19, no. 1 (1992): 32–40. http://dx.doi.org/10.1177/025576149201900105.

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42

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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43

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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44

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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45

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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46

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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47

Baily, John, Alain Danielou, John Evarts, et al. "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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48

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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49

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

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50

Gronow, Pekka, and Max Peter Baumann. "World Music/Musics of the World: Aspects of Documentation, Mass Media and Acculturation." Notes 51, no. 3 (1995): 961. http://dx.doi.org/10.2307/899323.

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