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World music is an English phrase for styles of music from non-Western countries, including quasi-traditional, intercultural, and traditional music. World music's broad nature and elasticity as a musical category pose obstacles to a universal definition, but its ethic of interest in the culturally exotic is encapsulated in Roots magazine's description of the genre as "local music from out there".[1][2]

This music that does not follow "North American or British pop and folk traditions"[3] was given the term "world music" by music industries in Europe and North America.[4] The term was popularized in the 1980s as a marketing category for non-Western traditional music.[5][6] It has grown to include subgenres such as ethnic fusion (Clannad, Ry Cooder, Enya, etc.)[7] and worldbeat.[8][9]

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The term "world music" has been credited to ethnomusicologist Robert E. Brown, who coined it in the early 1960s at Wesleyan University in Connecticut, where he developed undergraduate through doctoral programs in the discipline. To enhance the learning process (John Hill), he invited more than a dozen visiting performers from Africa and Asia and began a world music concert series.[10][11] The term became current in the 1980s as a marketing/classificatory device in the media and the music industry.[12] There are several conflicting definitions for world music. One is that it consists of "all the music in the world", though such a broad definition renders the term virtually meaningless.[13][14]

Examples of popular forms of world music include the various forms of non-European classical music (e.g. Chinese guzheng music, Indian raga music, Tibetan chants), Eastern European folk music (e.g. the village music of the Balkans, The Mystery of the Bulgarian Voices), Nordic folk music, Latin music, Indonesian music, and the many forms of folk and tribal music of the Middle East, Africa, Asia, Oceania, Central and South America.

The broad category of world music includes isolated forms of ethnic music from diverse geographical regions. These dissimilar strains of ethnic music are commonly categorized together by virtue of their indigenous roots. Over the 20th century, the invention of sound recording, low-cost international air travel, and common access to global communication among artists and the general public have given rise to a related phenomenon called "crossover" music. Musicians from diverse cultures and locations could readily access recorded music from around the world, see and hear visiting musicians from other cultures and visit other countries to play their own music, creating a melting pot of stylistic influences. While communication technology allows greater access to obscure forms of music, the pressures of commercialization also present the risk of increasing musical homogeneity, the blurring of regional identities, and the gradual extinction of traditional local music-making practices.[15]

Depending on style and context, world music can sometimes share the new-age music genre, a category that often includes ambient music and textural expressions from indigenous roots sources. Good examples are Tibetan bowls, Tuvan throat singing, Gregorian chant or Native American flute music. World music blended with new-age music is a sound loosely classified as the hybrid genre 'ethnic fusion'. Examples of ethnic fusion are Nicholas Gunn's "Face-to-Face" from Beyond Grand Canyon, featuring authentic Native American flute combined with synthesizers, and "Four Worlds" from The Music of the Grand Canyon, featuring spoken word from Razor Saltboy of the Navajo Indian Nation.

The subgenre world fusion is often mistakenly assumed to refer exclusively to a blending of Western jazz fusion elements with world music. Although such a hybrid expression falls easily into the world fusion category, the suffix "fusion" in the term world fusion should not be assumed to mean jazz fusion. Western jazz combined with strong elements of world music is more accurately termed world fusion jazz,[19] ethnic jazz or non-Western jazz. World fusion and global fusion are nearly synonymous with the genre term worldbeat, and though these are considered subgenres of popular music, they may also imply universal expressions of the more general term world music.[9] In the 1970s and 80s, fusion in the jazz music genre implied a blending of jazz and rock music, which is where the misleading assumption is rooted.[20]

Millie Small released "My Boy Lollipop" in 1964. Small's version was a hit, reaching number 2 both in the UK Singles Chart[21] and in the US Billboard Hot 100. In the 1960s, Miriam Makeba and Hugh Masekela had popular hits in the USA. In 1969 Indian musician Ravi Shankar played sitar at the Woodstock festival.[22]

In the 1970s, Manu Dibango's funky track "Soul Makossa"[23] (1972) became a hit, and Osibisa released "Sunshine Day" (1976). Fela Kuti created Afrobeat[24] and Femi Kuti, Seun Kuti and Tony Allen followed Fela Kuti's funky music. Salsa musicians such as Jos Alberto "El Canario", Ray Seplveda, Johnny Pacheco, Fania All-Stars, Ray Barretto, Rubn Blades, Gilberto Santa Rosa, Roberto Roena, Bobby Valentn, Eddie Palmieri, Hctor Lavoe and Willie Coln developed Latin music.[25]

The Breton musician Alan Stivell pioneered the connection between traditional folk music, modern rock music and world music with his 1972 album Renaissance of the Celtic Harp.[26] Around the same time, Stivell's contemporary, Welsh singer-songwriter Meic Stevens popularised Welsh folk music.[27] Neo-traditional Welsh language music featuring a fusion of modern instruments and traditional instruments such as the pibgorn and the Welsh harp has been further developed by Bob Delyn a'r Ebillion. Lebanese musical pioneer Lydia Canaan fused Middle-Eastern quarter notes and microtones with anglophone folk, and is listed in the catalog of the Rock and Roll Hall of Fame and Museum's Library and Archives[28][29] as the first rock star of the Middle East.[29][30][31][32][33]

The inspiration of Zimbabwe's Thomas Mapfumo in blending the Mbira (finger Piano) style onto the electric guitar, saw a host of other Zimbabwean musicians refining the genre, none more successfully than The Bhundu Boys. The Bhundu Jit music hit Europe with some force in 1986, taking Andy Kershaw and John Peel fully under its spell.

For many years, Paris has attracted numerous musicians from former colonies in West and North Africa. This scene is aided by the fact that there are many concerts and institutions that help to promote the music.

Algerian and Moroccan music have an important presence in the French capital. Hundreds of thousands of Algerian and Moroccan immigrants have settled in Paris, bringing the sounds of Amazigh (Berber), ra, and Gnawa music.

Unlike musical styles from other regions of the globe, the American music industry tends to categorize Latin music as its own genre and defines it as any music sung in Spanish from the Spanish-speaking world.[35]

The most common name for this form of music is also "folk music", but is often called "contemporary folk music" or "folk revival music" to make the distinction.[36] The transition was somewhat centered in the US and is also called the American folk music revival.[37] Fusion genres such as folk rock and others also evolved within this phenomenon.

On 29 June 1987, a meeting of interested parties gathered to capitalize on the marketing of non-Western folk music. Paul Simon had released the world music-influenced album Graceland in 1986.[38] The concept behind the album had been to express his own sensibilities using the sounds he had fallen in love with while listening to artists from Southern Africa, including Ladysmith Black Mambazo and Savuka. This project and the work of Peter Gabriel and Johnny Clegg among others had, to some degree, introduced non-Western music to a wider audience. They saw this as an opportunity.

In an unprecedented move, all of the world music labels coordinated together and developed a compilation cassette for the cover of the music magazine NME. The overall running time was 90 minutes, each package containing a mini-catalog showing the other releases on offer.

In most wealthy industrialized countries, large amounts of immigration from other regions has been ongoing for many decades. This has introduced non-Western music to Western audiences not only as "exotic" imports, but also as local music played by fellow citizens. But the process is ongoing and continues to produce new forms. In the 2010s several musicians from immigrant communities in the West rose to global popularity, such as Haitian-American Wyclef Jean, Somali-Canadian K'naan, Tamil-Briton M.I.A., often blending the music of their heritage with hip-hop or pop. Cuban-born singer-songwriter Addys Mercedes started her international career from Germany mixing traditional elements of Son with pop.[39]

Once, an established Western artist might collaborate with an established African artist to produce an album or two. Now, new bands and new genres are built from the ground up by young performers. For example, the Punjabi-Irish fusion band Delhi 2 Dublin is from neither India nor Ireland, but Vancouver, British Columbia, Canada. Country for Syria, an Istanbul based music collective, blends American country music with the music of Syrian refugees and local Turkish music.[40] Musicians and composers also work collectively to create original compositions for various combinations of western and non western instruments.

The introduction of non-western music into western culture created a fusion that influenced both parties. (Feld 31)[41] With the quick demand for new music came the technicalities of ownership. As Feld states in page 31:[41] "This complex traffic in sounds money and media is rooted in the nature of revitalization through appropriation." There are collaborations between African and American popular music artists that raise questions on who is benefiting from said collaborations.(Feld 31)[41] Feld mentions the example of "That was your mother". Alton Rubin and his band the Twisters collaborated with Paul Simon on the song that possessed a zydeco feel, signature of Dopsie's band. Even though Paul Simon wrote and sang the lyrics with them, the whole copyright is attributed to Paul and not to the band as well. (Feld 34) [41] Because of crossovers like this one, where there was a disproportional gain when covering non-western music. Feld states that .mw-parser-output .templatequote{overflow:hidden;margin:1em 0;padding:0 40px}.mw-parser-output .templatequote .templatequotecite{line-height:1.5em;text-align:left;padding-left:1.6em;margin-top:0} 2351a5e196