The role of musical instruments in the globalization of music

 Kazadi wa-Mukuma, Ohio (United States)

https://doi.org/10.3916/C34-2010-02-08

Keywords

Ethnomusicology, globalization, technology, cultural interaction, musical instruments, hybridation

Abstract

In recent years, the term «globalization» has become a catchword in many languages. It is an open-ended process that implies different levels of unification. In music, attempts have been made by individual and collectively by artists from different cultures in the world. In each case, the process has been focused on the unification of musical sounds that can be identified within the global community. Technology is successful with the duplication of sounds of musical instruments for computer games, but the creation of zones of cultural interaction as defined by actual musical instruments is presenting challenges with the unification of cultural values into one global community. In music, globalization implies «world music» that is articulated as a hybrid product. The process of globalization is readily realized electronically, with sounds of musical instruments, but the creation of zones of cultural interaction, with the same musical instruments, will require a mixture of configuration of factors ranging from ecology to language and cultural manifestation. The objective of zones of cultural interaction is not to unify style of music, but through globalization is the sharing of actual musical instruments. To accomplish this objective, geographic spaces will have to surmount the globalization of the world ecology, language, and culture.

References

Jones, A.M. (1964). Africa and Indonesia; the Evidence of the Xylophone and other Musical and Cultural Factors. Leiden: E. J. Brill.

Link Google Scholar

Kazadi wa, M. (1979). Contribuição Bantu na Musica Popular Brasileira. São Paulo: Global Editora.

Link Google Scholar

Kazadi wa, M. (1990). The Process of Assimilation of African Musical Elements in Brazil, in The World of Music 32, 3; 104-106.

Link Google Scholar

Kazadi wa, M. (1997). Creative Practice in African Music: New Perspectives in the Scrutiny of Africanisms in Diaspora, in Black Music Research Journal 17, 2; 239-250.

Link Google Scholar

Kazadi wa, M. (1999-01). The Globalization of the Urban Music of the Democratic Republic of Congo, en Africa: Revista do Centro de Estudos Africanos. Rio de Janeiro, USP, 22-23; 111.

Link Google Scholar

Kubik, G. (1972). Oral Notation of Some West and Central African Time-line Patterns, in Review of Ethnology 3, 22; 160-176.

Link Google Scholar

Kubik, G. (1979). Angolan Traits in Black Music, Games and Dances of Brazil: A Study of African Cultural Extensions Overseas. Lisboa: Junta de Investigações Científica do Ultramar.

Link Google Scholar

Meki, N. (1997). African Music: Theoretical Content and Creative Contiuum. The Culture-Exponent’s Definitions. Olderhausen, Germany: Institut für Didaktik Populärer Musik.

Link Google Scholar

Oliveira Pinto, T. (1990). Capoeira and the Berimbau of Bahia. Unpublished lecture. Center for the Study of World Musics, Kent State University, Kent, Ohio, September 20.

Link Google Scholar

Wade, B.C. (2006). Fifty Years of SEM in the United States: A Retrospective, in Ethnomusicology 50, 2; 190-198.

Link Google Scholar

Fundref

This work has no financial support

Crossmark

Technical information

Metrics

Metrics of this article

Views: 42155

Abstract readings: 21612

PDF downloads: 20543

Full metrics of Comunicar 34

Views: 1037743

Abstract readings: 644969

PDF downloads: 392774

Cited by