sound and global forms

world music: what does it mean? the term came about when trying to market Paul Simon’s Graceland in the 1980s. its a commercial term and erases differences from around the world – all bundled together under this term.

world music 2.0: with the increasing availability of recording and music making equipment, people start to make music, related to where they are and drawing on local traditions and influences – both local and global. this music undermines the western focus and finds new ways of distribution. this method of making and distribution is often artists to artist influenced and is more non hierarchical.

example: DJ Figo in Egypt.

language: language can be a force for homogenisation or not. having multilingual components is becoming increasingly acceptable aesthetics in both visual arts and sound/music.

example: ‘Sufi Plug-Ins’ a plug in system in sound editing which has cultural references, e.g. tuning systems of Arabic music and not always from a western perspective. also, many software programmes default to English and this system also plays with this.

rhythm: a formal element of sound. rhythm, repetition and ritual are closely connected. sacred sound traditions often are the starting point for wider appeal of music traditions – gospel, and Islam calls to prayer influencing Arabic sound ideas. examples –  Sheik Mustafa Ismael. 

ethical and active listening: as music globalises, context and providence is important. example – Sahel Sounds run by Christopher Kirkley, where local Sahel musicians make music for audiences in other parts of the world. not as a ‘cultural plunder’ of other cultures but as a dialogue.