Issues in Global Popular Music

To what extent is globalization increasing musical similarity and/or promoting greater musical assortment

            The main author’s perspectives are that the city is the main capture of the world music in the new world.  The ancient history illustrates how globalization in the city has given a different position based on the musical domain due to the difference it could create and the supremacy that kept that difference work on common musical goals.  Globalization has caused music to be the center of the music domain while the life in music of the modern cities concentrates on the features of the mew music world.  As premodern world initiated the new modernized music world, it also promoted the market place of the music for the world to have a new and modernized production and the consumption of the music. The ancient culture of the music affected the production of some music such as the folk and the well-known music’s; no one describes this as more skilled currently but only the street musicians (Bohlman, 131)            Globalization means the inconsistent ways that are symbolic based on the world’s music today.  According to many people, the world music describes what is right in the world and the possibility that music brings people together. Based on globalization, the world music is the main component.  The main challenge that globalization has on the global village is that it threatens the village skills as it opts for the spaces.   The argument that is more compelling is that dissemination of music internationally depends on the seizure of the international companies that is recording the music. These companies have the negative aim of destroying the cultural resources of the music.  Globalization that is based on crossing the border also improves the music styles but they also deprive them.  The propagation on the globalization that happened in 2001 also awakened the different and the unknown meanings of the music world. Globalization gave meaning to the world music so as to get the massiveness and diversity.  Globalization that is based on culture in the current world cities, develop from the different ways that every city holds immigration from the outer domain, migration within the same city and the relations from other neighbors(Bohlman, 140) .

            The globalization from the new cities promotes the music world in ways that it gives many chances for the acculturation and the establishment of the musical heroes. This gives more chances in the practice of diversity while the musicians in the ancient world did not perform nor mixed with any different culture but rather formed complicated associations that were based on the socioeconomic, religious and racial boundaries.  Globalization was the best in giving the musicians the liberty to move on in practicing in the public places which increased the connections between the personal and the public places as they already had the movement freedom. Music has been promoted by the modernized musical shopping galleries as those who walk through these cities becomes aware of the new culture through the displays.  Globalization of the musical world has created discussions about ethics based on the recording and the modernized technology promoted the pace of the blinding technologically. The advanced musical technologies that were within the global music in the early 1990’s made it easier for everyone to enter the happenstance field of the music world.  The change of technologies as on the new modernization produces a history of the ethnomusicological ideas that reveals the genuineness in the continuous fluidity (Bohlman, 148) 

What is musical “authenticity,” why is it problematic, and why are people still invested in this idea?

            According to the author, musical authenticity is the true or the actual music deal.  The main perspective here is that everybody is aware that the world is formed with two kinds of music including that of my kind and everyone else’s music.  Most people in the current world hate the music authenticity as they want to feel that the song is real and the musician is making it real.  People want to know that the musicians are genuine as they are aware of the myths of the national and the cultural features that are moving around the music market.  People hate it as the musical unusual myth has become more real and touch the people’s real feelings.  The author’s main perspective in the hatred of music is that world music has been more of the non-western, traditional music and the known music.  The speaker tries to explain his own reason for the music hate in that music is a way of discharging the musicians from their art based on their personal lives.  Music has become a way of demoting it into a real sense, something that is weird but safe.  Music puts all things that are not ours into them, the way it puts them is not the best way of seeing the musicians becoming creative or flourishing people (Byrne, 3). 

            The speaker complains about music in the ways that some terrifying music has been innovated and moving around the world.  This music is taking people to the music hatred world much on the way it is recorded and the way its volume is.  Western pop has become the main and the best food and that the music has been more creative based on the tradition than inside it. People should remove the music dislike by hearing the right music at the right time which develops a radical change and fascist’s policy. Music creates love, creates social bonds and a heart calmer. Interest in music is not like the normal bonds but it is, it is something that needs to be grabbed and change you.  If someone listen to music and it does not affect them, it means that they lose the music.  This means that some of the music that people listen sometimes does not become interesting if one doesn’t understand the words clearly.  Things become more interesting and beneficial if one is familiar with them, but in other ways, seeing people and culture as interesting is an estrangement way that follows exploitation and racism.  If one loves that cultural music aspect, you can never again depreciate the people from the culture (Byrne, 2).

            For instance if the song is founded from the different culture from my own, then this makes me seem as I have shared some experience with the people from the culture.  This experience from another culture makes me believe that I have been contaminated by the culture as I can now recognize the different ways of the culture and its community.  This does not mean that my experience of the music becomes the same as the artists of the culture, but it means that the music is lovable and one can move on with it.  This is what people should understand that people it is what art means.  Art talks about the vibe of the song, the feeling and the attitude on our personal lives in ways that are widespread.  Thus those who like music should not move through the personal nuisance as that the artists went through. This means that those who like a certain song should love it and respect its producers.  The reason why authenticity is problematic is that based on the postmodern music which still displays the idea of authenticity and have a stable identity, some of the artists still sing with anger as ways of having their voices in the musical world Byrne,2).  Lack of love tries to rise the traditional reports even though these reports seem to be positive in the encouragement of love issues, this is continuing and making love become the main problem.  Love in music can be said to be the main problem as this is the reason people dislike authenticity due to the fact that they do not care what the artists think, do, or what they want to remain for the public to see. Despite the fact that authenticity is based on fidelity that was initiated by new technologies where the audiences well knew the songs, they dislike it as the singing styles were changed through modern pop music soundtracks.  The music sounds changed and were not the normal operatic ones and while the singing styles were the typical for the non-classical musical voices, these voices were referred as not important.  My most compelling evidence is that long play music recordings changed the listening experience if some audiences while they recording should be better in allowing the artists and the audience respond to the music and put quality on the music itself(Byrne,1). 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Work cited

David, Byrne.  Crossing Music’s Borders: ‘I Hate World Music’.  The New York Times, October 3, 1999

Philip V.  Bohlman.  Colonial music, post-colonial worlds and the globalization of world music.  Oxford University Press, 2002.