Identificador: TDX:2248
Autores: Gómez Muns, Rubén
Resumen:
Frequently, the term world music is associated with the marketing of the difference because it offers the possibility of promoting, mainly in Europe and the USA, music and musicians from non-Western countries. Usually, in world music’s market, the non-western music adopts Western commercial music patterns. This process promotes the fixation of musical genres and socio-musical practices and, at the same time, denies the experimentation and innovation.
The contemporary context characterized by globalization and the intensity of the circulation of cultural flows, is perfect for the world music. Issues relating to the questions about global-local, modernity, hybridization and multiculturalism, etc., also they affect the world music because music includes musical and extra-musical practices. The music has the ability to build and to express, at the same time, different imaginaries and narratives. Music is an excellent tool of communication. Music understood in this sense, contacted different actors (musicians, audience, music producers, etc.) which articulate a musical scene. In this case, the world music has connected musicians and music from the Mediterranean area, historically characterized by encounters of different intensity between different cultures and peoples, as well as many more agents. All they have articulated a musical scene where unequal power relations are reflected and, at the same time, this musical scene is a direct testimony of different narratives about identity, intercultural processes and hybridization.
Repositori URV