World Music as Institutionalized Artistic Oppression The classification of music as “World Music” is a cop out and an excuse! Even David Byrne gives more validation to the term than it deserves in his critical commentary. He refers to World Music as a catchall, a marketing, and a pseudo-musical term (Byrne 1). These definitions offer some legitimacy to an intentional, degrading and oppressive tactic aimed at applying class, race, and nationalistic overtones to music for the purpose of devaluing it substantively and economically. Byrne’s comments that the phrase dismisses artists or their music as “irrelevant to one’s own life”, “relegating it to the realm of the exotic”, and “grouping anything that isn’t us into them ” is white-washing the...The end:
.....nic, animal, human, and other non-descript forms of music from around the world. I don’t like it all and I don’t dislike it all. But, in the end, I would call it all, well, music ... not world music. Works Cited Byrne, D. (1999, October 3). “Crossing Music’s Borders: I Hate World Music”. New York Times. 3 October 1999. Marcus, George and Myers, Fred. The Traffic in Culture: Refiguring art and anthropology. Berkeley: University of California Press, 1995. Nettle, Bruno. “Introduction: Studying Musics of the World’s Cultures”. In Excursions in World Music, 4th edition. Upper Saddle River, NJ: Prentice Hall, 2004. Titon , Jeff and Slobin , Mark. “The Music-Culture as a World of Music”. In Worlds of Music, 2nd edition. New York: Schirmer , 1992.