{"id":25508,"date":"2022-10-19T10:30:21","date_gmt":"2022-10-19T08:30:21","guid":{"rendered":"https:\/\/www.auxsons.com\/?post_type=focus&#038;p=25508"},"modified":"2022-11-17T16:25:22","modified_gmt":"2022-11-17T15:25:22","slug":"world-music-denomination-and-domination-a-short-socio-linguistic-history","status":"publish","type":"focus","link":"https:\/\/www.auxsons.com\/en\/focus\/world-music-denomination-and-domination-a-short-socio-linguistic-history\/","title":{"rendered":"<span class=\"dquo\">\u201c<\/span>World music\u201d: denomination and domination. A short socio-linguistic history"},"content":{"rendered":"<p>(editor\u2019s note) Challenged for its ethnocentrism and the legacy of colonialism and global capitalism, the term \u201cworld music\u201d raises questions. Should we update our words, that carry, summon and shape our imaginations and our sensibilities ? Words that have consequences for the material conditions of creation, distribution and reception of the works produced.<\/p>\n<p>Four articles open this reflection:<\/p>\n<ul>\n<li>a sociolinguistic point of view, with an investigation by researcher Philippe Blanchet<\/li>\n<li><a href=\"https:\/\/www.auxsons.com\/en\/focus\/questioning-world-music-todays-world-musicians-are-forming-the-backbone-of-western-pop-music\/\" target=\"_blank\" rel=\"noopener\">a journalistic point of view with the analysis of Shiba Melissa Mazaza<\/a><\/li>\n<li><a href=\"https:\/\/www.auxsons.com\/en\/focus\/questioning-world-music-common-denominations-and-historical-disputes\/\" target=\"_blank\" rel=\"noopener\">a musicological point of view, with a study by ethnomusicologist Marta&nbsp;Amico<\/a><\/li>\n<li><a href=\"https:\/\/www.auxsons.com\/en\/focus\/25963\/\" target=\"_blank\" rel=\"noopener\">an artistic point of view, with a collection of testimonies from artists of different generations by Anne-Laure Lemancel.<\/a><\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<p style=\"text-align: right;\"><strong><span class=\"dquo\">\u00ab<\/span><em> \u201cIt\u2019s hard to see the point to which words, verbs and ready-made expressions are simply subliminal messages which end up indoctrinating our view of things<\/em> \u00bb Besancenot, O., <em>Petit dictionnaire de la fausse monnaie politique<\/em>, Paris, \u00e9ditions du Cherche-Midi, 2016, p.&nbsp;7.<\/strong><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Recent, massive dissemination<\/strong><\/p>\n<p>&nbsp;<\/p>\n<p>The expression \u201cworld music\u201d (<span class=\"caps\">WM<\/span>) [<em>musiques du monde<\/em> in French] is relatively recent. It began to be used in a limited way in English by musicologists during the first half of the XXth century<a href=\"#_ftn1\" name=\"_ftnref1\">[1]<\/a>. A search of the Google Books data base using the NGram Viewer<a href=\"#_ftn2\" name=\"_ftnref2\">[2]<\/a> has shown that its use in English increased from 1960-1980 onwards and then exponentially from 1990. It was the same in the French language (diagram 1): probably translated from English around 1960, the expression began to be noticeable during the 1980s and exploded in 1990, only to decrease since 2008 (I\u2019ll come back to that). In French, a variation in the singular [<em>musique du monde<\/em>] peaked at the same time, but more weakly (I\u2019ll come back to that too). This curve is parallel to that of the use of the phrase <em>traditional music<\/em>, a notion often associated with <em>world music<\/em> and used almost twice as&nbsp;much.<\/p>\n<p><strong>1 : Search of the Google Books database by NGram Viewer<\/strong><\/p>\n<img decoding=\"async\" class=\"wp-image-25389 size-full lazyload\" data-src=\"http:\/\/www.auxsons.com\/wp-content\/uploads\/2022\/10\/blanchet-schema-1-interrogation-de-la-base-de-donnees-google-books-par-ngram-viewer.png\" alt=\"Blanchet Sche\u0301ma 1 Interrogation De La Base De Donne\u0301es Google Books Par Ngram Viewer\" width=\"2556\" height=\"902\" data-srcset=\"https:\/\/www.auxsons.com\/wp-content\/uploads\/2022\/10\/blanchet-schema-1-interrogation-de-la-base-de-donnees-google-books-par-ngram-viewer.png 2556w, https:\/\/www.auxsons.com\/wp-content\/uploads\/2022\/10\/blanchet-schema-1-interrogation-de-la-base-de-donnees-google-books-par-ngram-viewer-300x106.png 300w, https:\/\/www.auxsons.com\/wp-content\/uploads\/2022\/10\/blanchet-schema-1-interrogation-de-la-base-de-donnees-google-books-par-ngram-viewer-1024x361.png 1024w, https:\/\/www.auxsons.com\/wp-content\/uploads\/2022\/10\/blanchet-schema-1-interrogation-de-la-base-de-donnees-google-books-par-ngram-viewer-768x271.png 768w, https:\/\/www.auxsons.com\/wp-content\/uploads\/2022\/10\/blanchet-schema-1-interrogation-de-la-base-de-donnees-google-books-par-ngram-viewer-1536x542.png 1536w, https:\/\/www.auxsons.com\/wp-content\/uploads\/2022\/10\/blanchet-schema-1-interrogation-de-la-base-de-donnees-google-books-par-ngram-viewer-2048x723.png 2048w\" data-sizes=\"(max-width: 2556px) 100vw, 2556px\" src=\"data:image\/svg+xml;base64,PHN2ZyB3aWR0aD0iMSIgaGVpZ2h0PSIxIiB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciPjwvc3ZnPg==\" style=\"--smush-placeholder-width: 2556px; --smush-placeholder-aspect-ratio: 2556\/902;\">\n<p>These two denominations were used, while at the same time as the use of the term <em>folklore<\/em>, borrowed from the English around 1880, where it means \u201cpopular culture\u201d, was decreasing: an increase from 1880 to 1980, then a threefold decrease since 1980 (diagram 2). The use of the term <em>folklore <\/em>has always been quite restricted in French and has negative connotations which affect what it describes. Indeed, the Tr\u00e9sor de la Langue Fran\u00e7aise<a href=\"#_ftn1\" name=\"_ftnref1\">[4]<\/a> [Treasury of the French Language] offers the following definitions: \u201cFolklore: 1. A collection of the popular arts and traditions (of a country, region or human grouping). 2. A collection of the memories or subjects of conversation common to the members of a restricted human grouping). 3. (pejorative) Something which is facilely picturesque and devoid of gravity.\u201d This largely explains why the term was abandoned for <em>traditional<\/em>, including when talking about other cultural practices such as dance or costumes, with which it is more often associated.<a href=\"#_ftnref1\" name=\"_ftn1\"><\/a><\/p>\n<p><strong>2 : search of the Google Books database by NGram Viewer<\/strong><\/p>\n<img decoding=\"async\" class=\"wp-image-25535 size-full lazyload\" data-src=\"http:\/\/www.auxsons.com\/wp-content\/uploads\/2022\/10\/scema-2-v2.png\" alt=\"Blanchet Sche\u0301ma 2 Interrogation De La Base De Donne\u0301es Google Books Par Ngram Viewer\" width=\"945\" height=\"337\" data-srcset=\"https:\/\/www.auxsons.com\/wp-content\/uploads\/2022\/10\/scema-2-v2.png 945w, https:\/\/www.auxsons.com\/wp-content\/uploads\/2022\/10\/scema-2-v2-300x107.png 300w, https:\/\/www.auxsons.com\/wp-content\/uploads\/2022\/10\/scema-2-v2-768x274.png 768w\" data-sizes=\"(max-width: 945px) 100vw, 945px\" src=\"data:image\/svg+xml;base64,PHN2ZyB3aWR0aD0iMSIgaGVpZ2h0PSIxIiB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciPjwvc3ZnPg==\" style=\"--smush-placeholder-width: 945px; --smush-placeholder-aspect-ratio: 945\/337;\">\n<p>&nbsp;<\/p>\n<p>This dating of <em>world music<\/em> in French is confirmed by a search of the Europress database<a href=\"#_ftn1\" name=\"_ftnref1\">[5]<\/a> over a vast collection of French written media since 1945: there, the use of this denomination has increased as follows: 25 times between its appearance in 1961 and 1989 (an average of 0.8 times\/year), 2,744 between 1990 and 2000 (275\/year), 100,210 between 2001 and 2021 (10,000\/year), 3,215 from 01\/01\/2022 to 30\/06\/2022 (around 6,500\/year).<\/p>\n<p><strong>Sch\u00e9ma 3 : Query of the Europress database - \u201cWorld Music\u201d average annual occurrences in the&nbsp;media<\/strong><\/p>\n<img decoding=\"async\" class=\"wp-image-25393 size-full lazyload\" data-src=\"http:\/\/www.auxsons.com\/wp-content\/uploads\/2022\/10\/blanchet-schema-3-interrogation-de-la-base-de-donnees-europress.jpg\" alt=\"Blanchet Sche\u0301ma 3 Interrogation De La Base De Donne\u0301es Europress\" width=\"1200\" height=\"770\" data-srcset=\"https:\/\/www.auxsons.com\/wp-content\/uploads\/2022\/10\/blanchet-schema-3-interrogation-de-la-base-de-donnees-europress.jpg 1200w, https:\/\/www.auxsons.com\/wp-content\/uploads\/2022\/10\/blanchet-schema-3-interrogation-de-la-base-de-donnees-europress-300x193.jpg 300w, https:\/\/www.auxsons.com\/wp-content\/uploads\/2022\/10\/blanchet-schema-3-interrogation-de-la-base-de-donnees-europress-1024x657.jpg 1024w, https:\/\/www.auxsons.com\/wp-content\/uploads\/2022\/10\/blanchet-schema-3-interrogation-de-la-base-de-donnees-europress-768x493.jpg 768w, https:\/\/www.auxsons.com\/wp-content\/uploads\/2022\/10\/blanchet-schema-3-interrogation-de-la-base-de-donnees-europress-600x385.jpg 600w\" data-sizes=\"(max-width: 1200px) 100vw, 1200px\" src=\"data:image\/svg+xml;base64,PHN2ZyB3aWR0aD0iMSIgaGVpZ2h0PSIxIiB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciPjwvc3ZnPg==\" style=\"--smush-placeholder-width: 1200px; --smush-placeholder-aspect-ratio: 1200\/770;\">\n<p>Beyond its quantitative presence, the notion of \u201cworld music\u201d has been subject to gratifying recognition to the point of having been institutionalised. In France, for example, there is an International Institute of World Music (a private educational centre)<a href=\"#_ftn1\" name=\"_ftnref1\">[6]<\/a> and a Regional World Music Centre in the Cit\u00e9 de la Musique in Marseilles, supported by local authorities (with association status)<a href=\"#_ftn2\" name=\"_ftnref2\">[7]<\/a>. Most music academies (public bodies) have set up a \u201cworld music\u201d section, which is also the classification used in media libraries and points of sale<a href=\"#_ftn3\" name=\"_ftnref3\">[8]<\/a>.<a href=\"#_ftnref1\" name=\"_ftn1\"><\/a><\/p>\n<p>Several sources confirm that the sudden dissemination of the term, or even its invention, was due to a marketing operation launched in 1987: <em>\u201cIn London, around twenty people, mainly independent record producers, got together at the initiative of Robert Armstrong and Ben Mandelson of the GlobeStyle label to define a new marketing campaign (rather than a philosophical idea). They agreed on the term world music; the creation of the Realworld label and the company behind the organisation of WoMad concerts followed.\u201d<\/em><a href=\"#_ftn1\" name=\"_ftnref1\">[9]<\/a> Among these people was the well-known English musician Peter Gabriel, often introduced as the founder of RealWorld and WoMad and whose work in this direction has been widely covered in the media<a href=\"#_ftn2\" name=\"_ftnref2\">[10]<\/a>.<\/p>\n<p><a href=\"#_ftnref2\" name=\"_ftn2\"><\/a><\/p>\n<p><strong>A negative definition and some implied ones<\/strong><\/p>\n<p>Most sources consider the definition of the notion to be vague: <em>\u201cWorld music is a \u201ccatch-all\u201d concept corresponding to the media coverage of popular forms of musical expression, the latter being themselves related to age-old traditions.\u201d<\/em><a href=\"#_ftn1\" name=\"_ftnref1\">[11]<\/a><em>&nbsp;\u201cIn an objective and pragmatic way, it could be said that \u201cworld music\u201d is a motley collection of creative output arising from various principles, whose common thread is that they are linked to at least one musical reference identified as an integral part of the expression of a traditional culture\u201d.<\/em><a href=\"#_ftn2\" name=\"_ftnref2\">[12]<\/a> A clear, more detailed description was given by a Mediapart blogger:<a href=\"#_ftnref1\" name=\"_ftn1\"><\/a><\/p>\n<ol>\n<li><em><em><span class=\"dquo\">\u201c<\/span>A first categorisation distinguishes traditional music which is \u201cprimitive\u201d or \u201cethnic\u201d in nature from certain regions of the world which have suffered almost no outside <em style=\"background-color: var(--bs-body-bg); color: var(--bs-body-color); font-family: var(--bs-body-font-family); font-size: var(--bs-body-font-size); font-weight: var(--bs-body-font-weight); text-align: var(--bs-body-text-align);\">influence. To this can be added folk music and songs performed by groups respecting tradition through the use of certain instruments or musical ensembles rooted in the region\u2019s culture.<\/em><br>\n<\/em><\/em>\n<ol>\n<li><em>A second, more blended categorisation includes music which may use folk instruments while being built on new rhythms or on non-traditional harmonic structures. To this can be added music mixing traditional and modern instruments, as well as the creative output of artists offering a blending of the musical styles from various cultures, different periods and bringing together traditional and modern instruments\u201d<\/em><a href=\"#_ftn1\" name=\"_ftnref1\">[13]<\/a><em>.<\/em><\/li>\n<\/ol>\n<\/li>\n<\/ol>\n<p>Another way of defining the concept is by observing its concrete implementation in media classification. <em>\u201cWhat can still be found today in French record shops in the \u201cworld music\u201d or \u201cmusiques du monde\u201d categories? Recordings of purely traditional pieces attached to a particular region of France, one of its overseas territories or the world, some arising from scientific ethno-musicological study, works taken from large, scholarly collections of non-Western music (that of India, Persia, the Ottoman Empire, Arabia, Andalusia), contemporary performances of popular music acclaimed in their countries or regions of origin (the Caribbean, Africa, Brazil etc.) and current music resulting from mixtures and blending\u201d<\/em><a href=\"#_ftn1\" name=\"_ftnref1\">[14]<\/a><em>.<\/em> A survey of two large record retailers has shown the use of various incoherent classifications: <em>\u201cThe scale<\/em><a href=\"#_ftn2\" name=\"_ftnref2\"><em><strong>[15]<\/strong><\/em><\/a><em> of world music does not relate to its content, but to its recipient<\/em><a href=\"#_ftn3\" name=\"_ftnref3\">[16]<\/a>\u201d<a href=\"#_ftn4\" name=\"_ftnref4\">[17]<\/a>.<a href=\"#_ftnref1\" name=\"_ftn1\"><\/a><\/p>\n<p>The say \u201cworld\u201d is problematic because, in a general sense, all music is \u201cof the world\u201d. So we still have to decide what is \u201cof the world\u201d and <em>what is not: \u201canything which does not belong to the fields found in (Western) classical music (including that known as contemporary), popular music (including pop, rock etc.) and jazz is classified under the heading \u201cworld music\u201d.\u201d<\/em><a href=\"#_ftn1\" name=\"_ftnref1\">[18]<\/a> Without saying so, this idea presupposes that Western music, particularly modern, urban and industrialised music, is not rooted in the world, but is universal. It is laid down as a reference against which other musical forms are said to be \u201cnon-universal\u201d, therefore \u201clocal\u201d and thus relegated to a cultural grounding from which dominant forms of Western music (excluding regional traditional music) would be exempt. In addition, <em>\u201cthe development of a problem with the term world music and its use in the plural in French, \u201cles musiques du monde\u201d, cannot save it from criticism as a marketing construction\u201d<\/em><a href=\"#_ftn2\" name=\"_ftnref2\">[19]<\/a><em>.<\/em><\/p>\n<p><a href=\"#_ftnref1\" name=\"_ftn1\"><\/a><\/p>\n<p>The content of the concept appears therefore to have connotations of colonialism and capitalism.<\/p>\n<p><strong>Power relationships, inter-cultural alternatives and plundering<\/strong><\/p>\n<p>Many studies have demonstrated that the definition of the concept of \u201cworld music\u201d has been built <em>\u201cin terms of hegemonic relationships driven by the \u201cNorth\u201d over countries in the \u201cSouth\u201d<\/em><a href=\"#_ftn1\" name=\"_ftnref1\">[20]<\/a> and therefore<em> \u201cbiased by the point of view of a Western, urban listener\u201d<\/em><a href=\"#_ftn2\" name=\"_ftnref2\">[21]<\/a><em>.<\/em> Y. Raibaud observed that <em>\u201cworld music producers and those who listen to it, who select it and are responsible for the sound of World Music mostly live in the large cities of the North and work there for Western audiences\u201d<\/em><a href=\"#_ftn3\" name=\"_ftnref3\">[22]<\/a><em>.<\/em> One consequence of this definition of \u201cworld music\u201d by those who are not at the start of it is that this music, in the genuinely traditional \u201cfirst category\u201d sense above is transformed into second category, Western-urbanised music: <em>\u201cThe music industry muddies the waters, encourages blending and standardises ethnic productions to make them into products for the masses\u201d<\/em><a href=\"#_ftn4\" name=\"_ftnref4\">[23]<\/a><em>.<\/em> As has been seen across the various musical sources grouped under the \u201cworld music\u201d title, this colonialist-type domination<a href=\"#_ftn5\" name=\"_ftnref5\">[24]<\/a> pursues two main lines: Western societies over other societies in the world (particularly those of the \u201cSouth\u201d), urban societies acquired using dominant standards over rural societies which have inherited \u201ctraditional\u201d cultures (particularly those of the \u201cNorth\u201d).<\/p>\n<p>The definition of \u201ctraditionally blended\u201d or \u201ctraditionally-inspired modern\u201d music is not negative in itself. On the one hand, because this approach can also arise from a true inter-cultural encounter on an equal footing, of open and respectful attention to other musical, and therefore cultural, expressions or even new ways of living together in one world and above all in urban societies where people from different social and cultural roots come together. This approach can be used by small-scale independent producers whose ethical value may carry more weight than the greed of large production companies. This is the view with which Fran\u00e7ois Bensignor concluded his text significantly entitled \u201c<em>La revanche des autres<\/em>\u201d (\u201cretaliation\u201d in English<em>)<\/em><a href=\"#_ftn1\" name=\"_ftnref1\">[25]<\/a>. On the other hand, because the belief that what arises from a tradition is inevitably frozen comes also from colonialist disregard: <em>\u201cethno-musicology, and also anthropology in a smaller measure, has for a long time ignored the idea of creation, as if non-Western, pre-colonial societies, its privileged ground, had thrived on the reproduction of community and ritual practices which stopped the emergence of any creative action\u201d<\/em><a href=\"#_ftn2\" name=\"_ftnref2\">[26]<\/a>. The phenomenon has been particularly witnessed in France, where <em>\u201cethno-musicology has for a long time privileged the study of so-called traditional music, largely considering it to be <\/em>\u201c<em>lost <\/em><em>aesthetics\u201d which were productive in the sense of the use of well-defined (small) societies, leaving the study of music deemed popular, urban, migrant or de-territorialised to the sociologists, carried by individual composers, authors and performers participating in a world economy of cultural assets\u201d<\/em><a href=\"#_ftn1\" name=\"_ftnref1\">[27]<\/a>. Its transformation, over time and through contact with other musical forms in other contexts, is part and parcel of traditional music and <em>\u201cwe should refrain from giving way to an essentialist view of tradition\u201d<\/em><a href=\"#_ftn2\" name=\"_ftnref2\">[28]<\/a>. L. Aubert added that \u201c<em>\u2019foreign shores\u2019 and \u2018performance\u2019 can have positive effects\u201d<\/em><a href=\"#_ftn3\" name=\"_ftnref3\">[29]<\/a>. In this sense, both \u201cworld music\u201d categories are not contrary to one another, but continuous from one to the&nbsp;other.<\/p>\n<p>Where the notion of \u201cworld music\u201d is flawed, however, and perhaps received as such, is when plundering occurs. Regarding the Western, urban audience with its dominant cultures, \u201c<em>the search for authenticity (\u2026) is one of its main shortcomings: the Western listener is fascinated by the \u201coriginal\u201d purity of popular or ethnic music because he or she is often seeking something radically different.\u201d<\/em><a href=\"#_ftn1\" name=\"_ftnref1\">[30]<\/a><em>.<\/em> This shortcoming can lead to various, and often cumulative, forms of expropriation.<\/p>\n<p>&nbsp;<\/p>\n<p>There is the plundering of ownership, firstly, by seizing so-called \u201ctraditional\u201d compositions which are therefore deemed, from a certain point of view, to have no author or to be in the public domain. The industrial commodification of these works can lead to symbolic recognition and\/or considerable profits of which the people and\/or communities which effectively created these works are deprived. It is precisely for this reason that <em>\u201cfaced with a countless amount of pillaging and plundering to which the majority of indigenous peoples in the world have been victim - and which several still suffer - it was necessary to fix an international legislative framework contributing towards the defence of their rights. It was with this in mind that the legal notion of \u201ccollective intellectual property\u201d was introduced\u201d<\/em><a href=\"#_ftn1\" name=\"_ftnref1\">[31]<\/a><em>.<\/em><\/p>\n<p>Next, the plundering of visibility. Schematically urban-modern-blended-assimilated Category 2 \u201cworld music\u201d, supported by the industrial power of marketing and dissemination by the large \u201cmajor retailers\u201d, occupies the major share or even the entirety of the space for the public expression of \u201cworld music\u201d, to the detriment of that in Category 1. Indeed, <em>\u201cwhether it appears in an \u201cauthentic\u201d form, in a folked-up version or dressed-up to be openly modern responding to the demands of transcultural world music (\u2026), music then becomes a product for consumption which, like any other, is then subject to market forces\u201d<\/em><a href=\"#_ftn1\" name=\"_ftnref1\">[32]<\/a><em>.<\/em> And in the ferocious competition of the capitalist marketplace, \u201cworld music\u201d has an enormous disadvantage over \u201cworld music 2\u201d which then contributes to its further marginalisation. Thus,<em> \u201ca lot of musical <\/em><em>heritage is disappearing in front of our eyes - or rather our ears - and it is urgent and necessary to collect the last traces of it, if only to retain some memory of it\u201d<\/em><a href=\"#_ftn1\" name=\"_ftnref1\">[33]<\/a> \u2014 or to recognise its rights and grant it the means to survive.<\/p>\n<p><a href=\"#_ftnref1\" name=\"_ftn1\"><\/a><\/p>\n<p>Finally, the plundering of identity, because <em>\u201cthe problems relating to intellectual property are included in a much wider debate, also revolving around a people\u2019s self-determination, their rights to land and ecological questions\u201d<\/em><a href=\"#_ftn1\" name=\"_ftnref1\">[34]<\/a><em>.<\/em> This urban-modern-blended-assimilated \u201cCategory 2 world music\u201d ends up being the only music perceived or claimed as the custodian or representative of specific cultural identities, substituting schematically rural-traditional-authentic-marginalised \u201cCategory 1 world music\u201d. Category 2 \u201cworld music\u201d is showcased and received as being <em>\u201can exoticism which claims authenticity\u201d <\/em>but which <em>\u201cis rooted in a purely aesthetic construction of otherness\u201d<\/em><a href=\"#_ftn2\" name=\"_ftnref2\">[35]<\/a> rather than being anchored in historical or geographical experience. Artists from dominant spheres therefore claim <em>\u201cto go traditional\u201d<\/em> by transforming, deforming, even inventing musical practices and as far as the language in which the lyrics are sung or even the designations in lieu of these peoples and their authentic cultural practices. \u201cCultural identity is not a question of authenticity, but authority: who has the authority to say identity?\u201d<a href=\"#_ftn3\" name=\"_ftnref3\">[36]<\/a>. The answer is unfortunately well-known: authority is always held by the most powerful, in this case by Category 2 \u201cworld music\u201d and by its mass audience rathe than by Category 1 \u201cworld music\u201d and the groups, underestimated in many ways, which support it. In this sense, the over-reaching notion of \u201cworld music\u201d participates in \u201c<em>the loss or breakdown of social ties, territorial and community rationales and musical idiosyncrasies to the benefit of marketing subject to the single, massive commercial world music label\u201d<\/em><a href=\"#_ftn4\" name=\"_ftnref4\">[37]<\/a><em>.<\/em><\/p>\n<p>This plundering therefore drains the notion of \u201cworld music\u201d of part of its meaning and completely re-directs it. Faced with the difficulties overlain by this designation, its limits and derivatives, the criticism which can be laid on its, its usage began to decrease from around 2008 (cf diagram 1). The notion of traditional music, which as seen above also retains some less pejorative ambiguities, has remained more widely used in French (<em>musique(s) traditionnelle(s)<\/em>) and could impose itself in the end, including in inflected or specified forms, such as<em> folk music<\/em><a href=\"#_ftn1\" name=\"_ftnref1\"><em><strong>[38]<\/strong><\/em><\/a>, <em>trad music<\/em> or, more originally, as <em>ghetto-folk<\/em><a href=\"#_ftn2\" name=\"_ftnref2\"><em><strong>[39]<\/strong><\/em><\/a>. In social contexts, there is no neutral and independent designation. And words are important.<\/p>\n<p><a href=\"#_ftnref1\" name=\"_ftn1\"><\/a><\/p>\n<p>&nbsp;<\/p>\n<p><strong><em>This dossier is only a beginning and we do not claim to answer all the questions it raises, nor to close this debate. It is intended to be fed and enriched by other perspectives. Do not hesitate to contact us if you wish to contribute to the debate or if you wish to hear another opinion! (editor\u2019s note)<\/em><\/strong><\/p>\n<p>&nbsp;<\/p>\n<p><a href=\"#_ftnref1\" name=\"_ftn1\">[1]<\/a> Besancenot, O., <em>Petit dictionnaire de la fausse monnaie politique<\/em>, Paris, \u00e9ditions du Cherche-Midi, 2016, p.&nbsp;7.<\/p>\n<p><a href=\"#_ftnref2\" name=\"_ftn2\">[2]<\/a> Selon Wikipedia, toujours \u00e0 contre-v\u00e9rifier, \u00ab&nbsp;Le terme <em>Weltmusik<\/em> fut employ\u00e9 pour la premi\u00e8re fois en 1906 par Georg Capellen, un musicologue allemand, alors qu\u2019il r\u00eavait d\u2019un nouveau souffle pour la musique occidentale trouv\u00e9 \u00e0 partir d\u2019emprunts ou de m\u00e9langes d\u2019\u00e9l\u00e9ments exotiques ou orientaux&nbsp;\u00bb (https:\/\/\u200bfr\u200b.wikipedia\u200b.org\/\u200bw\u200bi\u200bk\u200bi\u200b\/\u200bM\u200bu\u200bs\u200bi\u200bq\u200bu\u200be\u200bs\u200b_\u200bd\u200bu\u200b_\u200bm\u200bo\u200bnde).<\/p>\n<p><a href=\"#_ftnref3\" name=\"_ftn3\">[3]<\/a> <a href=\"https:\/\/books.google.com\/ngrams\">https:\/\/\u200bbooks\u200b.google\u200b.com\/\u200bn\u200bg\u200br\u200bams<\/a><\/p>\n<p><a href=\"#_ftnref4\" name=\"_ftn4\">[4]<\/a> <a href=\"http:\/\/stella.atilf.fr\">http:\/\/\u200bstella\u200b.atilf\u200b.fr<\/a> (<span class=\"caps\">CNRS<\/span>).<\/p>\n<p><a href=\"#_ftnref5\" name=\"_ftn5\">[5]<\/a> <a href=\"http:\/\/www.europresse.com\/fr\/bibliotheque-denseignement\/\">http:\/\/\u200bwww\u200b.europresse\u200b.com\/\u200bf\u200br\u200b\/\u200bb\u200bi\u200bb\u200bl\u200bi\u200bo\u200bt\u200bh\u200be\u200bq\u200bu\u200be\u200b-\u200bd\u200be\u200bn\u200bs\u200be\u200bi\u200bg\u200bn\u200be\u200bm\u200be\u200bnt\/<\/a><\/p>\n<p><a href=\"#_ftnref6\" name=\"_ftn6\">[6]<\/a> <a href=\"https:\/\/iimm.fr\">https:\/\/\u200biimm\u200b.fr<\/a><\/p>\n<p><a href=\"#_ftnref7\" name=\"_ftn7\">[7]<\/a> <a href=\"https:\/\/www.citemusique-marseille.com\/pole-musique-du-monde\/\">https:\/\/\u200bwww\u200b.citemusique\u200b-marseille\u200b.com\/\u200bp\u200bo\u200bl\u200be\u200b-\u200bm\u200bu\u200bs\u200bi\u200bq\u200bu\u200be\u200b-\u200bd\u200bu\u200b-\u200bm\u200bo\u200bn\u200bde\/<\/a><\/p>\n<p><a href=\"#_ftnref8\" name=\"_ftn8\">[8]<\/a> Par exemple sur <a href=\"https:\/\/fr.statista.com\/infographie\/27392\/genre-musique-preferes-en-france-pourcentage-auditeurs\/\">https:\/\/\u200bfr\u200b.statista\u200b.com\/\u200bi\u200bn\u200bf\u200bo\u200bg\u200br\u200ba\u200bp\u200bh\u200bi\u200be\u200b\/\u200b2\u200b7\u200b3\u200b9\u200b2\u200b\/\u200bg\u200be\u200bn\u200br\u200be\u200b-\u200bm\u200bu\u200bs\u200bi\u200bq\u200bu\u200be\u200b-\u200bp\u200br\u200be\u200bf\u200be\u200br\u200be\u200bs\u200b-\u200be\u200bn\u200b-\u200bf\u200br\u200ba\u200bn\u200bc\u200be\u200b-\u200bp\u200bo\u200bu\u200br\u200bc\u200be\u200bn\u200bt\u200ba\u200bg\u200be\u200b-\u200ba\u200bu\u200bd\u200bi\u200bt\u200be\u200bu\u200brs\/<\/a><\/p>\n<p><a href=\"#_ftnref9\" name=\"_ftn9\">[9]<\/a> F. Picard, \u00ab&nbsp;Le point de vue critique de l\u2019anthropologie musicale&nbsp;\u00bb dans Jean During \u00e9d., <em>La musique \u00e0 l\u2019esprit&nbsp;: Enjeux \u00e9thiques du ph\u00e9nom\u00e8ne musical<\/em>. Paris, L\u2019Harmattan, 2008, p. 115-122 (https:\/\/\u200bwww\u200b.cairn\u200b.info\/\u200bl\u200ba\u200b-\u200bm\u200bu\u200bs\u200bi\u200bq\u200bu\u200be\u200b-\u200ba\u200b-\u200bl\u200b-\u200be\u200bs\u200bp\u200br\u200bi\u200bt\u200b-\u200b-\u200b9\u200b7\u200b8\u200b2\u200b2\u200b9\u200b6\u200b0\u200b6\u200b1\u200b8\u200b3\u200b5\u200b-\u200bp\u200ba\u200bg\u200be\u200b-\u200b1\u200b1\u200b5\u200b.\u200bh\u200bt\u200bm\u200b#\u200bno2) qui ajoute en note&nbsp;:&nbsp;\u00ab&nbsp;L\u2019histoire est d\u00e9sormais (2007) bien document\u00e9e&nbsp;: voir Ian Anderson, \u00ab&nbsp;World Music History&nbsp;\u00bb, <em>fRoots<\/em> 201, mars 2000 (http:\/\/\u200bwww\u200b.frootsmag\u200b.com\/\u200bc\u200bo\u200bn\u200bt\u200be\u200bn\u200bt\u200b\/\u200bf\u200be\u200ba\u200bt\u200bu\u200br\u200be\u200bs\u200b\/\u200bw\u200bo\u200br\u200bl\u200bd\u200b_\u200bm\u200bu\u200bs\u200bi\u200bc\u200b_\u200bh\u200bi\u200bs\u200bt\u200bo\u200bry\/). La premi\u00e8re mention de cette histoire est due \u00e0 Ronnie Graham, <em>Stern\u2019s Guide to Contemporary African Music<\/em>, London, Zwan Publications, 1988&nbsp;\u00bb. Information identique chez F. Bensignor \u00ab&nbsp;Musiques du monde ou \u201cWorld Music\u201d, la revanche des \u201cautres\u201d&nbsp;\u00bb, <em>Hommes et Migrations<\/em>, 1221, 1999, p. 56-68 (https:\/\/\u200bwww\u200b.persee\u200b.fr\/\u200bd\u200bo\u200bc\u200b\/\u200bh\u200bo\u200bm\u200bi\u200bg\u200b_\u200b1\u200b1\u200b4\u200b2\u200b-\u200b8\u200b5\u200b2\u200bx\u200b_\u200b1\u200b9\u200b9\u200b9\u200b_\u200bn\u200bu\u200bm\u200b_\u200b1\u200b2\u200b2\u200b1\u200b_\u200b1\u200b_\u200b3\u200b384).<\/p>\n<p><a href=\"#_ftnref10\" name=\"_ftn10\">[10]<\/a> <a href=\"https:\/\/worldmusiccentral.org\/2017\/11\/04\/artist-profiles-peter-gabriel\/\">https:\/\/\u200bworldmusiccentral\u200b.org\/\u200b2\u200b0\u200b1\u200b7\u200b\/\u200b1\u200b1\u200b\/\u200b0\u200b4\u200b\/\u200ba\u200br\u200bt\u200bi\u200bs\u200bt\u200b-\u200bp\u200br\u200bo\u200bf\u200bi\u200bl\u200be\u200bs\u200b-\u200bp\u200be\u200bt\u200be\u200br\u200b-\u200bg\u200ba\u200bb\u200br\u200bi\u200bel\/<\/a>&nbsp;; <a href=\"https:\/\/realworldrecords.com\/artists\/peter-gabriel\/\">https:\/\/\u200brealworldrecords\u200b.com\/\u200ba\u200br\u200bt\u200bi\u200bs\u200bt\u200bs\u200b\/\u200bp\u200be\u200bt\u200be\u200br\u200b-\u200bg\u200ba\u200bb\u200br\u200bi\u200bel\/<\/a><\/p>\n<p><a href=\"#_ftnref11\" name=\"_ftn11\">[11]<\/a> E. Lledo, <a href=\"http:\/\/www.universalis-edu.com.distant.bu.univ-rennes2.fr\/encyclopedie\/world-music\/\" target=\"_blank\" rel=\"noopener\">\u00ab World music et musiques du monde \u00bb<\/a>, <em>Encyclop\u00e6dia Universalis,<\/em><\/p>\n<p><a href=\"#_ftnref12\" name=\"_ftn12\">[12]<\/a> F. Bensignor. <a href=\"https:\/\/www.persee.fr\/doc\/homig_1142-852x_1999_num_1221_1_3384\" target=\"_blank\" rel=\"noopener\">Musiques du monde ou \u201cWorld Music\u201d, la revanche des \u201cautres\u201d<\/a>. In: Hommes et Migrations, n\u00b01221, Septembre-octobre 1999. Immigration, la dette \u00e0 l\u2019envers. pp.&nbsp;56-68,<\/p>\n<p><a href=\"#_ftnref13\" name=\"_ftn13\">[13]<\/a> <a href=\"https:\/\/blogs.mediapart.fr\/edition\/musiques-du-monde\/article\/231116\/musiques-du-monde-au-pluriel-sil-vous-plait\">https:\/\/\u200bblogs\u200b.mediapart\u200b.fr\/\u200be\u200bd\u200bi\u200bt\u200bi\u200bo\u200bn\u200b\/\u200bm\u200bu\u200bs\u200bi\u200bq\u200bu\u200be\u200bs\u200b-\u200bd\u200bu\u200b-\u200bm\u200bo\u200bn\u200bd\u200be\u200b\/\u200ba\u200br\u200bt\u200bi\u200bc\u200bl\u200be\u200b\/\u200b2\u200b3\u200b1\u200b1\u200b1\u200b6\u200b\/\u200bm\u200bu\u200bs\u200bi\u200bq\u200bu\u200be\u200bs\u200b-\u200bd\u200bu\u200b-\u200bm\u200bo\u200bn\u200bd\u200be\u200b-\u200ba\u200bu\u200b-\u200bp\u200bl\u200bu\u200br\u200bi\u200be\u200bl\u200b-\u200bs\u200bi\u200bl\u200b-\u200bv\u200bo\u200bu\u200bs\u200b-\u200bp\u200bl\u200bait<\/a><\/p>\n<p><a href=\"#_ftnref14\" name=\"_ftn14\">[14]<\/a> F. Bonsignor, op. cit. p.&nbsp;58.<\/p>\n<p><a href=\"#_ftnref15\" name=\"_ftn15\">[15]<\/a> C\u2019est-\u00e0-dire ici \u00ab&nbsp;l\u2019ampleur&nbsp;\u00bb.<\/p>\n<p><a href=\"#_ftnref16\" name=\"_ftn16\">[16]<\/a> C\u2019est-\u00e0-dire aux clients, dans ce cas \u00e0 Bordeaux.<\/p>\n<p><a href=\"#_ftnref17\" name=\"_ftn17\">[17]<\/a> N. Jaujou, <a href=\"https:\/\/journals.openedition.org\/etudesafricaines\/169\" target=\"_blank\" rel=\"noopener\">\u00ab Comment faire notre Musique du monde ? \u00bb<\/a>, <em>Cahiers d\u2019\u00e9tudes africaines<\/em> 168, 2002,&nbsp;ici p.&nbsp;860.<\/p>\n<p><a href=\"#_ftnref18\" name=\"_ftn18\">[18]<\/a> <a href=\"https:\/\/doi.org\/10.3917\/kart.marti.2002.01.0397\">\u00ab&nbsp;Les \u00ab musiques du monde \u00bb&nbsp;: Imaginaires contradictoires de la globalisation&nbsp;\u00bb<\/a>. Dans : Denis-Constant Martin \u00e9d., <em>Sur la piste des Objets Politiques Non Identifi\u00e9s<\/em> (pp. 397-430). Paris, Karthala.<\/p>\n<p><a href=\"#_ftnref19\" name=\"_ftn19\">[19]<\/a> N. Jaujou, op. cit., p.&nbsp;865.<\/p>\n<p><a href=\"#_ftnref20\" name=\"_ftn20\">[20]<\/a> E. Olivier, <a href=\"https:\/\/www.academia.edu\/10337576\/Ethnomusicologie_cr\u00e9ation_musicale_et_globalisation_Ethnomusicology_Musical_Creation_and_Globalization?auto=citations&amp;from=cover_page\" target=\"_blank\" rel=\"noopener\">\u00ab Ethnomusicologie, cr\u00e9ation musicale et globalisation \u00bb<\/a>,<\/p>\n<p><a href=\"#_ftnref21\" name=\"_ftn21\">[21]<\/a> Y. Raibaud, \u00ab Les Musiques du monde \u00e0 l\u2019\u00e9preuve des \u00e9tudes postcoloniales \u00bb, dans G\u00e9ographie, musique et postcolonialisme, 2008, http:\/\/ journals\u200b.openedition\u200b.org\/\u200bv\u200bo\u200bl\u200bu\u200bm\u200be\u200b\/\u200b167, p.&nbsp;5.<\/p>\n<p><a href=\"#_ftnref22\" name=\"_ftn22\">[22]<\/a> Y. Raibaud, ibid., p.&nbsp;8.<\/p>\n<p><a href=\"#_ftnref23\" name=\"_ftn23\">[23]<\/a> Y. Raibaud, ibid., p.&nbsp;9.<\/p>\n<p><a href=\"#_ftnref24\" name=\"_ftn24\">[24]<\/a> On peut d\u00e9finir l\u2019id\u00e9ologie colonialiste comme la croyance dans la sup\u00e9riorit\u00e9 d\u2019un groupe humain et de ses attributs (culturels, linguistiques, \u00e9conomiques, politiques\u2026) qui le constitue en mod\u00e8le, en r\u00e9f\u00e9rence, et qui justifierait l\u2019exercice de sa domination, y compris cens\u00e9ment \u00ab&nbsp;pour le bien&nbsp;\u00bb des autres humains.<\/p>\n<p><a href=\"#_ftnref25\" name=\"_ftn25\">[25]<\/a> Fran\u00e7ois Bensignor, op.&nbsp;cit.<\/p>\n<p><a href=\"#_ftnref26\" name=\"_ftn26\">[26]<\/a> E. Olivier, op. cit., p.&nbsp;7.<\/p>\n<p><a href=\"#_ftnref27\" name=\"_ftn27\">[27]<\/a> E. Olivier, op. cit., p.&nbsp;10.<\/p>\n<p><a href=\"#_ftnref28\" name=\"_ftn28\">[28]<\/a> L. Aubert, \u00ab&nbsp;Du \u2018\u2019bon usage\u2019\u2019 des musiques du monde. Questions sur une \u00e9thique de la diversit\u00e9 culturelle&nbsp;\u00bb. <em>Les Cahiers de la Soci\u00e9t\u00e9 qu\u00e9b\u00e9coise de recherche en musique<\/em>, 11(1-2), 21\u201329. <a href=\"https:\/\/doi.org\/10.7202\/1054020ar\">https:\/\/\u200bdoi\u200b.org\/\u200b1\u200b0\u200b.\u200b7\u200b2\u200b0\u200b2\u200b\/\u200b1\u200b0\u200b5\u200b4\u200b0\u200b2\u200b0ar<\/a>, p.&nbsp;22.<\/p>\n<p><a href=\"#_ftnref29\" name=\"_ftn29\">[29]<\/a> L. Aubert, op. cit., p.&nbsp;26.<\/p>\n<p><a href=\"#_ftnref30\" name=\"_ftn30\">[30]<\/a> Y. Raibaud, op. cit., p.&nbsp;5<\/p>\n<p><a href=\"#_ftnref31\" name=\"_ftn31\">[31]<\/a> L. Aubert, op. cit., p.&nbsp;23.<\/p>\n<p><a href=\"#_ftnref32\" name=\"_ftn32\">[32]<\/a> L. Aubert, op. cit., p.&nbsp;26.<\/p>\n<p><a href=\"#_ftnref33\" name=\"_ftn33\">[33]<\/a> L. Aubert, ibid., p.&nbsp;23.<\/p>\n<p><a href=\"#_ftnref34\" name=\"_ftn34\">[34]<\/a> L. Aubert, ibid., p.&nbsp;23<\/p>\n<p><a href=\"#_ftnref35\" name=\"_ftn35\">[35]<\/a> E. Olivier, op. cit., p.&nbsp;11.<\/p>\n<p><a href=\"#_ftnref36\" name=\"_ftn36\">[36]<\/a> Y. Raibaud, op. cit., p.&nbsp;6.<\/p>\n<p><a href=\"#_ftnref37\" name=\"_ftn37\">[37]<\/a> E. Olivier, op. cit., p.&nbsp;11.<\/p>\n<p><a href=\"#_ftnref38\" name=\"_ftn38\">[38]<\/a> Parfois comprise comme r\u00e9duite au folk \u00e9tats-unien.<\/p>\n<p><a href=\"#_ftnref39\" name=\"_ftn39\">[39]<\/a> <a href=\"https:\/\/vladlabel.bandcamp.com\/merch\">https:\/\/\u200bvladlabel\u200b.bandcamp\u200b.com\/\u200bm\u200be\u200brch<\/a><\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>(editor\u2019s note) Challenged for its ethnocentrism and the legacy of colonialism and global capitalism, the term \u201cworld music\u201d raises questions. Should we update our words, that carry, summon and shape our imaginations and our sensibilities ? Words that have consequences for the material conditions of creation, distribution and reception of the works produced. Four articles<\/p>\n","protected":false},"author":271,"featured_media":25388,"menu_order":0,"template":"","format":"standard","meta":{"_acf_changed":false,"wp_typography_post_enhancements_disabled":false,"footnotes":""},"class_list":["post-25508","focus","type-focus","status-publish","format-standard","has-post-thumbnail","hentry"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>&quot;World music\u201d: denomination and domination. A short socio-linguistic history - #AuxSons<\/title>\n<meta name=\"description\" content=\"(editor&#039;s note) Challenged for its ethnocentrism and the legacy of colonialism and global capitalism, the term &quot;world music&quot; raises questions. 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