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- Rapidly shifting demographics brought previously independent cultures into contact and also created new cultures and subcultures, and music evolved to reflect these changes. Among the most important cultural influences on music are migration, the evolution of youth culture, and racial integration.
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Jan 26, 2018 · Music may transcend cultural boundaries to become universally human — Harvard Gazette. A new Harvard study suggests that people around the globe can identify lullabies, dancing songs, and healing songs — regardless of the songs’ cultural origin — after hearing just a 14-second clip. Image by Adobe.
- Overview
- Early history
- Britain and the United States
- Later developments
The term world music refers to the music of the world’s cultures. In the 1980s, world music was used to label non-English recordings released in Great Britain and the United States. This controversial category amalgamated the music of sources as diverse as Tuvan throat singers, Zimbabwean guitar bands, Pakistani qawwalī (Sufi-music) singers, Cajun fiddlers, and Hawaiian slack-key guitarists.
When did the term world music originate?
The use of the term world music dates to 1982–83, when British and American promoters, record companies, distributors, and stores, as well as journalists and broadcasters, began to promote music from other countries, especially African music.
When did the Grammy Awards introduce the world music category?
In 1991 the National Academy of Recording Arts and Sciences added a world music category to its Grammy Awards. Among the artists who benefited most from this new visibility were the Gipsy Kings, Cesaria Evora, and several “ambient-global,” or “ethnotechno,” projects, including Enigma (from Germany) and Deep Forest. In 2020 the Best World Music Album award was replaced with one called the Best Global Music Album.
global music, broadly speaking, music of the world’s cultures. The term global music replaced world music, which had been adopted in the 1980s to characterize non-English recordings that were released in Great Britain and the United States. Employed primarily by the media and record stores, this controversial category amalgamated the music of such diverse sources as Tuvan throat singers, Zimbabwean guitar bands, and Pakistani qawwalī (Sufi music) singers, as well as nonmainstream Western folk musicians such as Cajun fiddlers and Hawaiian slack-key guitarists. Previously, international music had limited currency as a catchall term that ranged from tourist souvenir records to field recordings made by ethnomusicologists in Africa, Asia, and elsewhere. Although purists argued that no musical style could be identified as “world music,” the term was coined to bring “foreign” music closer to the mainstream of Western popular music. In many ways the history of world music is the story of the marketing of foreign music by Western record companies. Despite these commercial origins, by the early 1990s the term had precipitated a change in the consciousness of musicians and producers, and world music had become a bona fide musical genre. By the 21st century some people found the term world music offensive, and several institutions replaced the term with global music.
The birth of world music can be dated to 1982–83, when British and American promoters, record companies, distributors, and stores, as well as some journalists and broadcasters, began to promote music from other countries, especially African music, which for a time was virtually synonymous with world music. The clearest sign of the growing interest in African music was the success of Nigerian juju bandleader King Sunny Ade, whose first two internationally released albums for Island Records sold more than 100,000 copies each in the United States in 1983–84. This figure—less than half of Ade’s sales in Nigeria and much less than the millions in sales that defined success for Western popular performers—established a benchmark for the many new companies that emerged in response to the attention attracted by world music. The phrase world music was adopted by a group of British independent labels who believed they would get better access to record stores and more media recognition if they could agree to formalize one generic description. Their hope was to bring together the diverse strands that included music from not only all areas of Africa but also eastern Europe, Asia, South and Central America, and the Caribbean.
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Paradoxically, world music was often synonymous with local or regional music, and interpretations of what fitted tended to shift from one country to the next. Although some artists from countries on the margins of the Western popular music market could now aspire to a worldwide audience, those who took superstars such as Michael Jackson, Madonna, and Bob Marley as their role models were usually frustrated by the idiosyncratic tastes of world music mediators. World music was welcomed for its “authenticity,” as a counterpoint to the increasingly synthetic and robotic sounds favoured by Western pop producers during the 1980s.
Most of the world music labels launched in Britain between 1983 and 1986 had much lower sales horizons and only a few survived, notably Hannibal, Stern’s Africa, World Circuit, and rock singer Peter Gabriel’s Real World Records. Gabriel’s support had been instrumental in the formation and survival of the annual World of Music, Arts and Dance (WOMAD) festivals, which began in 1982 and played a vital role in introducing many artists who later became leading world music figures, including Youssou N’Dour and Pakistani qawwalī singer Nusrat Fateh Ali Khan.
Several American labels—notably Rounder, Rykodisc, and Shanachie—initiated or extended their world music repertoires during this period, when three established American rock artists—Paul Simon, David Byrne, and Ry Cooder—played a vital role in helping to expand the world music market. Simon’s Grammy Award-winning album Graceland (1986) featured black South African musicians who controversially recorded and toured with him despite a widespread trade boycott of South Africa. The album proved quite popular. In the wake of its success, record stores became more willing to stock world music, including the a cappella group Ladysmith Black Mambazo and the mbaqanga group Mahlathini and the Mahotella Queens.
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Industry recognition of world music came in 1990, when the influential American trade magazine Billboard introduced a world music chart. A year later the National Academy of Recording Arts and Sciences added a world music category to its Grammy Awards. Among the artists who benefited most from this new visibility were the Gipsy Kings, the French pop-flamenco group that sweetened strong vocals with strummed guitars, catchy songs, and a neo-disco beat; an avalanche of Irish-related artists, many featuring the word Celtic in their album titles, that included 1997 Grammy winners the Chieftains; Cesaria Evora, a smoky-voiced nightclub singer from Cape Verde; and several “ambient-global,” or “ethnotechno,” projects, including Enigma (from Germany) and Deep Forest (1995 Grammy winners from France), who merged so-called ethnic voice samples with state-of-the-art rhythm programming.
In the 21st century, however, world music was recognized as having “connotations of colonialism, folk, and ‘non-American,’” as the National Academy of Recording Arts and Sciences observed in a 2020 statement announcing the renaming of the Grammy Award for best world music album to best global music album. The term global music was said to be “more relevant, modern, and inclusive,” and other institutions soon adopted it. The replacement, however, seemingly offered little substantive change to the genre.
- Charlie Gillett
Contents [ show] Different Ways Music Influences Cultures. Music and culture are intricately intertwined, with each influencing and shaping the other. As societies evolve, so does the music. They create and consume, perpetually shaping and being shaped by culture. Here are some ways in which music influences culture:
Mar 1, 2023 · From religious ceremonies to social gatherings, music plays a significant role in different cultures around the world. Ethnomusicology is the study of music across cultures and seeks to understand how music reflects cultural values and beliefs.
Nov 3, 2021 · November 3, 2021. How Does Music Affect Society? By Lia Peralta. Music has shaped cultures and societies around the world for generations. It has the power to alter one’s mood, change perceptions, and inspire change. While everyone has a personal relationship with music, its effects on the culture around us may not be immediately apparent.
Feb 12, 2019 · While cultural evolution will never explain all aspects of music, it offers a useful theoretical framework for understanding diversity and change in the world’s music.
Aug 14, 2018 · Georgina Barton. 2151 Accesses. 7 Citations. Abstract. Music is inextricably linked with the context in which it is produced, consumed and taught and the inter-relationship between music, society and culture has been researched for many decades.
