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    the american music industry markets world music as a variant of what larger genre?


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    World music

    World music

    From Wikipedia, the free encyclopedia

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    For other uses, see World Music (disambiguation).

    Contemporary folk music


    Cultural origins Indigenous music worldwide

    Derivative forms Folktronica


    World fusionethnic fusionglobal fusion

    (complete list) Fusion genres Worldbeatethno jazz Regional scenes

    Europe and North America Balkans

    World music (term)

    Etymology Coined early 1960s to describe non-European, non-North American music[1]

    World music is an English phrase for styles of music from non-Western countries, including quasi-traditional, intercultural, and traditional music. World music's inclusive 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 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]


    1 Lexicology 2 Forms 3 Hybrid examples 3.1 World fusion 4 Precursors 5 Popular genres 5.1 Western

    5.1.1 1987 industry meeting

    6 Relationship to immigration and multiculturalism

    7 Radio programs 8 Awards 9 Festivals 10 See also 11 References 11.1 Citations

    11.2 General sources

    12 External links


    Main article: World music (term)

    Delhi 2 Dublin in 2012

    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]


    Alan Stivell in concert at Brest (Brittany), 2013

    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]

    Hybrid examples[edit]

    Vampire Weekend performing at Red Rocks Amphitheatre in 2013

    Since the music industry established this term, the fuller scope of what an average music consumer defines as "world" music in today's market has grown to include various blends of ethnic music tradition, style and interpretation,[9] and derivative world music genres have been coined to represent these hybrids, such as ethnic fusion and worldbeat. Good examples of hybrid, world fusion are the Irish-West African meld of Afro Celt Sound System,[16] the pan-cultural sound of AO Music[17] and the jazz / Finnish folk music of Värttinä,[18] each of which bear tinges of contemporary, Western influence—an increasingly noticeable element in the expansion genres of world music. Worldbeat and ethnic fusion can also blend specific indigenous sounds with more blatant elements of Western pop. Good examples are Paul Simon's album , on which South African mbaqanga music is heard; Peter Gabriel's work with Pakistani Sufi singer Nusrat Fateh Ali Khan; the Deep Forest project, in which vocal loops from West Africa are blended with Western, contemporary rhythmic textures and harmony structure; and the work of Mango, who combined pop and rock music with world elements.

    Source : en.wikipedia.org

    American Popular Music Midterm Flashcards

    Study with Quizlet and memorize flashcards terms like A&R, arranger, backbeat and more.

    American Popular Music Midterm

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    artist and repertoire; the department of a record company whose responsibility it is to discover and cultivate new musical talent and to find material for the artists to perform

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    a person who adapts or arranges the melody and chords of a song to exploit the capabilities and instrumental resources of a particular musical ensemble

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    1/215 Created by katie_kerr3

    Terms in this set (215)


    artist and repertoire; the department of a record company whose responsibility it is to discover and cultivate new musical talent and to find material for the artists to perform


    a person who adapts or arranges the melody and chords of a song to exploit the capabilities and instrumental resources of a particular musical ensemble


    in rock music, the accenting of the 2nd and 4th beat of a four-beat bar


    a type of song consisting usually of verses set to a repeating melody in which a story, often romantic, historic, or tragic is sung in narrative fashion

    "Barbara Allen"

    child ballad #84 performed by Jean Ritchie recorded in 1960

    black spirituals

    the most impressive and extensive repertory created by the slaves

    British Ballad Tradition

    a type of music that thrived in America where songs were reworked to suit the life of circumstances of new immigrants


    a ballad that is printed on a single sheet of paper; popular from the 17th through the 19th centuries; an early form of sheet music


    a characteristic feature of much African American music, in which musical forces alternate with one another, usually in quick succession; these forces may be a solo singer with a larger chorus or backing group, sung lines with guitar or band passages, an instrumental solo with a larger instrumental group, or other groupings


    the style of Jewish folk songs and klezmer; the chanting of Scripture; influenced some of the melodic lines composed by the great Jewish songwriters of Tin Pan Alley


    a repeating section within a song consisting of a fixed melody and lyric that is repeated exactly each time as it occurs, typically following one or more verses


    a person who creates a piece of music

    dance music

    an area of American Popular music shaped by European influences; modeled on styles of Europe and the Continent


    a regional speech variant; one may allude to regional musical dialects to describe stylistic variants of the same basic musical genre

    folk music

    music that is orally transmitted and closely bound up with the daily lives and customs of local communities

    gospel music

    religious-themed popular music performed by both white and and African American musicians

    formal analysis

    listening for musical structure, its basic building blocks, and the ways in which these blocks are combined


    term originally by jazz, rhythm, and blues, and funk musicians to describe the channeled flow of swinging, "funky" or "phat" rhythms


    a "catchy" or otherwise memorable musical phrase or pattern


    a person who supplies a poetic text to a piece of vocal music; not necessarily the composer

    lyrics the words of a song montuno

    Spanish term for a formal section within a performance of Afro-Cuban dance music

    musical process

    the process and components that make up the dimensions of American Popular Music

    old-time music

    a category that comprises string band music (ranging from fiddle and banjo duets to larger dance ensembles with guitar, mandolin, and autoharp); ballad songs performed with or without instrumental accompaniment


    the simultaneous sounding of rhythms in two or more contrasting meters, such as three against two, or five against four


    a person engaged either by a recording artist, or more often, a record company who directs and assists the recording process


    a strong, regular, repeated pattern of movement or sound


    a simple, repeating melodic idea or pattern that generates rhythmic momentum; typically played by the horns or piano in a jazz ensemble


    individuals who farmed on land owned by former slave masters and often on the very same plantations where they and their parents had been slaves; required to buy their farming supplies, food, and clothing on credit from a local merchant to whom they would sell their harvest

    "Soldier's Joy"

    one of the most venerable, popular, and widely distributed fiddle tunes in the old-time repertoire


    a type of sacred song created by and for African Americans that originated in oral tradition

    string band tradition

    repertoire of old-time string bands provide evidence of the impact of new environments on the traditions that English, Scots, Irish, and Welch immigrants brought with them to the Americas


    a song form that employs the same music for each poetic unit in the lyrics


    the "tone color" or characteristic sound of an instrument or voice, determined by its frequency and overtone components

    Source : quizlet.com

    The Latest US Music Industry Stats and Trends [2022]

    The U.S. music industry is full of surprises. In our analysis of the American market, we explore every detail of the USA music business, from revenue structure to the power of radio in the age of streaming.

    Music Markets • 13 min read

    Music Market Focus: Sizing Up the US Music Industry

    By Dmitry Pastukhov

    Published March 16, 2022

    Jump to

    Sizing the American music industry

    Recording industry: Live industry:

    Publishing industry:

    Streaming is King

    Radio in the digital age

    The power of the Airplay

    The Future of Radio

    Radio and Music Consumption

    Coachella Effect

    Local Context of the Global Trendsetter

    The Country of Country

    The U.S. music market is not only the largest market in the world. The influence of the U.S. spreads far beyond the country's borders, securing its place as a trendsetter of the global music industry. As of March 2019, over 70% of the songs on Spotify’s Global Top-50 playlist were recorded by US-based artists. American acts are leading the industry, but, at the same time, the American music market itself is often left somewhat under-explored by the international music community. It is easy to write it off as entirely globalized – while the industry is actually full of surprises and local quirks when you get to the bottom of it.

    Sizing the American music industry

    It’s not always clear where to draw the line when sizing the music industry. The broad definition will include not only the actual customer’s expenses (on concert tickets, streaming subscriptions and so on) and B2B licensing cash flows, but also ad-revenues of radio and other music-related media. That definition will put total revenue of the U.S. music market at whopping 43$ billion.

    Under a more conservative approach, however, only a fraction of radio revenue will be included in the music industry in the form of royalty payments. In the U.S., however, even that won't be exactly the case, as American radio stations don’t pay out performance royalties to recording artists, stating that they provide “free publicity and promotion to the artist”. Accordingly, the US radio is only compensating the owners on the composition — songwriters and their publishers. So, adopting a more precise definition, the industry's revenue can be estimated by summarizing the cash flows of the following core businesses:

    Recording industry:

    The recording industry is growing, and revenue is up 16,5% in 2017, adding up to $8,8 billion in retail value.

    That growth is primarily powered by the rise of streaming services. Over the same period, streaming revenue went up by 43%.

    In 2018, streaming accounted for 75% of the total recording revenues.

    US Recording industry revenues, 2005-2017, US$ billion

    Source: Recording Industry Association of America

    Live industry:

    While the recording industry is precisely measured, there is no consensus when it comes to the live sector's revenue. The estimation becomes problematic due to various reasons, from the complexity of revenue attribution to the volume of the secondary ticket market. As a result, revenue estimations vary between the different sources.

    Drawing primarily on Citi and PwC estimations, the total revenue of the live industry can be put at around $9,5 billion.

    Around 80% of live revenue comes directly from ticket sales, while brand sponsorships and merchandise generate another 20%.

    Publishing industry:

    According to the MIDiA Research, publishing generated $1,8 billion in the U.S. in 2017

    Overall publishing revenue increased 8% over the course of 2017.

    According to Citigroup, this growth is primarily driven by the surge of performance royalties, connected to the rise of streaming.

    Summarizing the cash flows of recording, live and publishing segments, total revenue of the U.S. industry can be put at around $20 billion.

    U.S. Music Industry Revenues by Source, 2017

    Source: RIAA, Citigroup, PwC, MIDiA Research

    Streaming is King

    The U.S. music market seems to be utterly reliant on streaming as the music consumption medium. The latest BuzzAngle report states that it accounts for as much as 85% of all recording revenues, while the global average is at around 38%. The U.S. has completed its transition to the new music distribution paradigm: Drake’s Scorpion takes the top spot on the BuzzAngle's end-year chart with 500 thousand CD sales vs. 6 billion on-demand streams, and A Boogie Wit Da Hoodie’s SZN reaches the #1 on Billboard with just 823 album sales. However, don’t rush to the conclusion. The structure of music consumption is not that simple.

    Radio in the digital age

    There is a big chunk of consumption that is not reflected in the industry revenues. As previously mentioned, terrestrial radio doesn’t contribute directly to the industry’s revenues, as the U.S. law rules that the promotional effect of airplay is enough to compensate right holders. At the same time, radio remains the most powerful medium in the U.S, reaching 92% of Americans every week. This reach is not only high but also stable – those ~90% figures are persistent over the last decade. To put it in perspective, according to Nielsen’s research, throughout 2017 the average weekly consumption via radio was about 14 times bigger than the aggregated consumption through audio streaming services (including all sites and internet applications designed to provide audio content, e.g., Pandora, Spotify, iHeartRadio).

    Source : soundcharts.com

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