Stockholm is the capital of Sweden and the most populous urban area in the Nordic countries. The city stretches across fourteen islands. Just outside the city and along the coast is the island chain of the Stockholm archipelago; the area has been settled since the Stone Age, in the 6th millennium BC, was founded as a city in 1252 by Swedish statesman Birger Jarl. It is the capital of Stockholm County. Stockholm is the cultural, media and economic centre of Sweden; the Stockholm region alone accounts for over a third of the country's GDP, is among the top 10 regions in Europe by GDP per capita. It is an important global city, the main centre for corporate headquarters in the Nordic region; the city is home to some of Europe's top ranking universities, such as the Stockholm School of Economics, Karolinska Institute and Royal Institute of Technology. It hosts the annual Nobel Prize ceremonies and banquet at the Stockholm Concert Hall and Stockholm City Hall. One of the city's most prized museums, the Vasa Museum, is the most visited non-art museum in Scandinavia.
The Stockholm metro, opened in 1950, is well known for the decor of its stations. Sweden's national football arena is located north of the city centre, in Solna. Ericsson Globe, the national indoor arena, is in the southern part of the city; the city was the host of the 1912 Summer Olympics, hosted the equestrian portion of the 1956 Summer Olympics otherwise held in Melbourne, Australia. Stockholm is the seat of the Swedish government and most of its agencies, including the highest courts in the judiciary, the official residencies of the Swedish monarch and the Prime Minister; the government has its seat in the Rosenbad building, the Riksdag is seated in the Parliament House, the Prime Minister's residence is adjacent at Sager House. Stockholm Palace is the official residence and principal workplace of the Swedish monarch, while Drottningholm Palace, a World Heritage Site on the outskirts of Stockholm, serves as the Royal Family's private residence. After the Ice Age, around 8,000 BC, there were many people living in what is today the Stockholm area, but as temperatures dropped, inhabitants moved south.
Thousands of years as the ground thawed, the climate became tolerable and the lands became fertile, people began to migrate back to the North. At the intersection of the Baltic Sea and lake Mälaren is an archipelago site where the Old Town of Stockholm was first built from about 1000 CE by Vikings, they had a positive trade impact on the area because of the trade routes they created. Stockholm's location appears in Norse sagas as Agnafit, in Heimskringla in connection with the legendary king Agne; the earliest written mention of the name Stockholm dates from 1252, by which time the mines in Bergslagen made it an important site in the iron trade. The first part of the name means log in Swedish, although it may be connected to an old German word meaning fortification; the second part of the name means islet, is thought to refer to the islet Helgeandsholmen in central Stockholm. According to Eric Chronicles the city is said to have been founded by Birger Jarl to protect Sweden from sea invasions made by Karelians after the pillage of Sigtuna on Lake Mälaren in the summer of 1187.
Stockholm's core, the present Old Town was built on the central island next to Helgeandsholmen from the mid-13th century onward. The city rose to prominence as a result of the Baltic trade of the Hanseatic League. Stockholm developed strong economic and cultural linkages with Lübeck, Gdańsk, Visby and Riga during this time. Between 1296 and 1478 Stockholm's City Council was made up of 24 members, half of whom were selected from the town's German-speaking burghers; the strategic and economic importance of the city made Stockholm an important factor in relations between the Danish Kings of the Kalmar Union and the national independence movement in the 15th century. The Danish King Christian II was able to enter the city in 1520. On 8 November 1520 a massacre of opposition figures called the Stockholm Bloodbath took place and set off further uprisings that led to the breakup of the Kalmar Union. With the accession of Gustav Vasa in 1523 and the establishment of a royal power, the population of Stockholm began to grow, reaching 10,000 by 1600.
The 17th century saw Sweden grow into a major European power, reflected in the development of the city of Stockholm. From 1610 to 1680 the population multiplied sixfold. In 1634, Stockholm became the official capital of the Swedish empire. Trading rules were created that gave Stockholm an essential monopoly over trade between foreign merchants and other Swedish and Scandinavian territories. In 1697, Tre Kronor was replaced by Stockholm Palace. In 1710, a plague killed about 20,000 of the population. After the end of the Great Northern War the city stagnated. Population growth halted and economic growth slowed; the city was in shock after having lost its place as the capital of a Great power. However, Stockholm maintained its role as the political centre of Sweden and continued to develop culturally under Gustav III. By the second half of the 19th century, Stockholm had regained its leading economic role. New industries emerged and Stockholm was transformed into an important trade and service centre as well as a key gateway point within Sweden.
The population grew during this time through immigration. At the end
Louise Hoffsten, born September 6, 1965 in Linköping, Sweden, is a Swedish songwriter and singer spanning several genres, notably rock, blues and pop. Her father, Gunnar Hoffsten, was a musician and played the trumpet in a jazz band. From her first recordings, Hoffsten's music and stage act have weaved together rock and blues influences, while sometimes moving into R'n'B and jazz territory, unified by her earthy operatic singing style and driving, lean grooves. Like many blues singers she plays the harmonica as well, a recurrent element in her songs, she has built a wide following in her native land, has won several awards and resides in Stockholm. She participated in Melodifestivalen 2013 with the song "Only the Dead Fish Follow the Stream". Four songs from her sixth studio album 6, "Dance On Your Grave", "Box Full Of Faces", "Miracle", "Nice Doin' Business", were featured on the American primetime soap opera Melrose Place. In 1999, American country artist Faith Hill recorded a cover of Hoffsten's "Bringing Out The Elvis", which Hill included on her album Breathe, one of the best-selling country albums of all time.
In 1996, Louise was diagnosed with multiple sclerosis, but despite the complications and occasional depressions, she continues to write and perform music. On January 21, 2015, she released her second book En näve grus, co-written by Lena Katarina Swanberg. In 2018, she appears on Så mycket bättre, broadcast on TV4. 1987: Genom eld och vatten 1988: Stygg 1989: Yeah, Yeah 1991: Message of Love 1993: Rhythm & Blonde 1995: 6 1996: Kära Du 1999: Beautiful, But Why? 2004: Knäckebröd Blues 2005: From Linköping to Memphis 2007: Så Speciell 2009: På andra sidan Vättern 2012: Looking for Mr. God 2014: Bringing Out the Elvis 2015: L 2017: Röster ur mörkretCompilation albums2002: Collection 1991-2002Live albums2003: Louise Hoffsten live med Folkoperans Orkester 1987: "Genom vatten, genom eld" 1987: "Ge upp, lägg av" 1988: "Längtans röst" 1988: "Vin av frihet" 1989: "Opium för dig" 1989: "Hon gör allt för dig" 1990: "Yeah yeah" 1991: "Message of love" 1991: "Warm & tender love" 1991: "Slowburn" 1993: "All about numbers" 1993: "Hit me with your lovething" 1993: "Let the best man win" 1993: "When the blue is gone" 1993: "For your love" 1994: "Padded bra" 1995: "Nice doin' business" 1995: "Dance on your grave" 1995: "Explain it to my heart" 1995: "Healing rain" 1996: "Det sorgsna hjärtat" 1997: "Kära du, jag är ju bunden" 1999: "Nowhere in this world" 2000: "Try a little harder" 2000: "Fire is a good thing" 2002: "Sockerkompis" 2005: "My favourite lie" 2005: "Shut up & kiss me" 2008: "Stumbled into heaven" 2013: "Only the Dead Fish Follow the Stream" 2018: "Lovesick" Others1997: Blues 1998: Tilde & Tiden 2015: En näve grus Soundtracks1995 Women of the House Ep. 8: The Afternoon Wife 1996 Barb Wire 1996 The Associate 1996 Just Your Luck 1996 Baywatch Ep. 1: Shark Fever 1997 Baywatch Ep. 12: Bachelor Of The Month 1998 Baywatch Ep. 20: Bon Voyage 1998 Just a Little Harmless Sex 1999 Cupid Ep. 14: The Children's Hour 1999 Coming Soon 2006 American Idol Top 9 – Country "Louise Hoffsten".
Nationalencyklopedin. Retrieved 9 May 2010. Official website
Lisa Ekdahl is a Swedish singer and songwriter in popular music. She has so far released 10 albums, most of them in the Swedish language but some in English, her voice has been described as "child-like" and "soft and smooth". Her Swedish lyrics have been praised. In 1994, at the age of 22, Ekdahl became famous overnight in Sweden with her self-titled debut album and the #1 hit single "Vem vet"; the record sold 800,000 copies and she was awarded three Swedish music prizes, one of them as the nation's best artist of the year. She repeated the success in Norway as well, she signed with EMI Records, but recorded two pop albums with RCA/BMG: "Med Kroppen Mot Jorden" and "Bortom Det Blå" in 1996 and 1997. In 1998, she recorded the English language album "When Did You Leave Heaven", which contained jazz standards. Ekdahl has been focusing on, with great success and Europe, leaving little mark in other countries such as United States, her following album, "Back To Earth", was again full of jazz standards and, like her jazz debut, recorded with the Peter Nordahl Trio.
In France alone, it sold over 40,000 copies. She received positive reviews for her live appearances in Great Britain from The Daily Telegraph and The Guardian. Ekdahl's sixth album, "Lisa Ekdahl sings Salvadore Poe", signaled a new direction and critical esteem; as the new album's title indicates, Ekdahl sings songs written by her husband known as Paul DiBartolo, guitarist in New York glam metal band Spread Eagle in the bossa nova style. Her fragile and childish voice seems to be made for this type of music, their album was a great success in France and Scandinavia, where it sold over 120,000 copies by early 2001. She has continued to record in both Swedish and English, most touring Scandinavia with an acoustic tour, her voice is variously compared to Blossom Dearie, Diana Krall, most Astrud Gilberto. Her hit song "Vem Vet" is in the soundtrack of the Korean drama Love Rain. In 2016 she participated in the music show Så mycket bättre broadcast on TV4, she was born in Hägersten, Sweden to her parents who were a nuclear physicist and kindergarten teacher.
She was raised just outside Sweden. She attended school at the Tälje Musikgymnasium, her music is published by her self named company Lisa Ekdahl AB. Ekdahl has lived in New York City. In 1999, she met American composer and guitarist Salvadore Poe, former guitarist of 1990s New York sleaze rockers Spread Eagle on a flight to India, they married in 2000, they collaborated on an album together. They are now divorced. Earlier she was married to Swedish singer Bill Öhrström with, she has a daughter born in 2012. She lives in the Södermalm district of Stockholm. Rockbjörn-- "Best Female Artist" 1994 Swedish Grammys—1994Artist of the year, Female Pop Rock artist of the Year Album of the YearThe Ulla Billquist scholarship 1994: Lisa Ekdahl 1996: Med kroppen mot jorden 1997: Bortom det blå 2000: Sings Salvadore Poe 2004: Olyckssyster 2006: Pärlor av glas 2009: Give Me That Slow Knowing Smile 2014: Look to Your Own Heart 2016: Tolkningarna - Så Mycket Bättre Säsong 7 2017: När alla vägar leder hem 2018: More of the Good 2011: At the Olympia Paris 2002: Heaven Earth & Beyond 2003: En samling sånger 1995: When Did You Leave Heaven 1998: Back to Earth 2001: Kiss & Hug: From a Happy Boy 2003: Duet with Rod Stewart in the song "Where or When" on his album As Time Goes By: The Great American Songbook 2 List of Swedes in music Official artist's site A Swedish fan page Lisa Ekdahl tribute page Lyrics Explained: Swedish lyrics explanation Lisa Ekdahl discography Lisa Ekdahl biography, photos, CD and concert reviews by cosmopolis.ch
Abdullah Ibrahim is a South African pianist and composer. His music reflects many of the musical influences of his childhood in the multicultural port areas of Cape Town, ranging from traditional African songs to the gospel of the AME Church and ragas, to more modern jazz and other Western styles. Ibrahim is considered the leading figure in the subgenre of Cape jazz. Within jazz, his music reflects the influence of Thelonious Monk and Duke Ellington, he is known for "Mannenberg", a jazz piece that became a notable anti-apartheid anthem. During the apartheid era in the 1960s Ibrahim moved to New York City and, apart from a brief return to South Africa in the 1970s, remained in exile until the early'90s. Over the decades he has toured the world extensively, appearing at major venues either as a solo artist or playing with other renowned musicians, including Max Roach, Carlos Ward and Randy Weston, as well as collaborating with classical orchestras in Europe. With his wife, the jazz singer Sathima Bea Benjamin, he is father to the New York underground rapper Jean Grae, as well as to a son, Tsakwe.
Ibrahim was born in Cape Town on 9 October 1934, was baptized Adolph Johannes Brand. He attended Trafalgar High School in Cape Town's District Six, began piano lessons at the age of seven, making his professional debut at 15, he is of mixed-race heritage, making him a Coloured person according to the South African government. His mother played piano in a church, the musical style of, he became well known in jazz circles in Cape Johannesburg. In 1959 and 1960, Ibrahim played with the Jazz Epistles group in Sophiatown, alongside saxophonist Kippie Moeketsi, trumpeter Hugh Masekela, trombonist Jonas Gwangwa, bassist Johnny Gertze and drummer Makaya Ntshoko. Although the group avoided explicitly political activity, the apartheid government was suspicious of it and other jazz groups, targeted them during the increase in state repression following the Sharpeville massacre, the Jazz Epistles broke up. Ibrahim moved to Europe in 1962. In February 1963, his wife-to-be, Sathima Bea Benjamin, convinced Duke Ellington, in Zürich, Switzerland, on a European tour, to come to hear Ibrahim perform as "The Dollar Brand Trio" in Zurich's "Africana Club".
After the show, Ellington helped set up a recording session with Reprise Records: Duke Ellington presents The Dollar Brand Trio. A second recording of the trio performing with Sathima as vocalist was recorded, but remained unreleased until 1996; the Dollar Brand Trio subsequently played at many European festivals, as well as on radio and television. Ibrahim and Benjamin moved to New York in 1965 and that year he played at the Newport Jazz Festival, followed by a first tour through the US. In 1967, a Rockefeller Foundation grant enabled him to study at the Juilliard School of Music in New York. While in the US he interacted with many progressive musicians, among them Don Cherry, Ornette Coleman, John Coltrane, Pharoah Sanders, Cecil Taylor and Archie Shepp; as the Black Power movement developed in the 1960s and 1970s, it influenced a number of Ibrahim's friends and collaborators, who began to see their music as a form of cultural nationalism. Ibrahim in turn began to incorporate African elements into his jazz.
Ibrahim returned to South Africa in the mid-1970s, having in 1968 converted to Islam. He met Rashid Vally at the latter's Kohinoor record shop in Johannesburg in the early 1970s, Vally produced two of Ibrahim's albums in the following years; the pair produced a third album in 1974, titled Underground in Africa, in which Ibrahim abandoned his financially unsuccessful folk-infused jazz of the previous albums. Instead, the new album was a fusion of jazz, rock music, South Africa popular music, sold well. While recording Underground, Ibrahim collaborated with Oswietie, a local band of which Robbie Jansen and Basil Coetzee were saxophonists, who played a large role in creating the album's fusion style. After the success of Underground, Ibrahim asked Coetzee to bring together a supporting band for his next recording: the group Coetzee put together included Jansen, as well as others who had not worked on Underground; the composition "Mannenberg" was recorded in June 1974 during one of Ibrahim's visits back to South Africa, in a studio in Cape Town, was produced by Rashid Vally.
The track was recorded in one take during a period of collective improvisation. The piece was inspired by the Cape Flats township where many of those forcibly removed from District Six were sent; the recordings made with Jansen and Coetzee, including "Mannenberg", "Black Lightning". "Mannenberg" came to be considered "the unofficial national anthem" of South Africa, th
Monica Zetterlund was a Swedish singer and actress. Zetterlund began by learning the classic jazz songs from radio and records not knowing the language and what they sang about in English, her hit songs included "Sakta vi gå genom stan", "Visa från Utanmyra", "Sista jäntan", "Trubbel", "Gröna små äpplen", "Monicas vals", "Stick iväg, Jack!", "Att angöra en brygga", "Var blev ni av", "Måne över Stureplan" and "Under vinrankan!", among many, many others. She interpreted the works of such Swedish singer-songwriters as Evert Taube, Olle Adolphson and Povel Ramel, all through her life interpreted the works of international and American jazz musicians/songwriters, she worked with some of the greatest international jazz names including Louis Armstrong, Bill Evans, Stan Getz, Steve Kuhn and Quincy Jones, in the Scandinavian jazz world with people like Georg Riedel, Egil Johansen, Arne Domnérus, Svend Asmussen and Jan Johansson. In 1964, she recorded the critically acclaimed jazz album Waltz for Debby with Bill Evans, a record she herself described as "the best I've done" and was the most proud of.
Her professional skill was amply demonstrated in this album in performing the challenging Harold Arlen song, "So Long, Big Time". Her long career included the song "En gång i Stockholm", she finished last and scored the infamous nul points, but still managed to remain successful in Sweden. Her collaboration with the comic duo Hasse & Tage led to a stage career in revues and films. Memorable are her parts in films Att angöra en brygga and Äppelkriget, with her most memorable role being in Jan Troell's Utvandrarna as Ulrika, a former prostitute who together with her teenage daughter Elin join the main characters in their emigration to America in the 1850s, a role for which Zetterlund received a Guldbagge Award for Best Supporting Actress, she appeared in television series throughout her life. She suffered from severe scoliosis which began after a childhood accident, as a result was forced to retire from performing in 1999. On 12 May 2005, she died following an accidental fire in her apartment in Stockholm due to her habit of smoking in bed.
Swedish Sensation Ahh! Monica Make Mine Swedish style Waltz for Debby Ohh! Monica Monica Zetterlund. Monica – Monica Chicken Feathers Den sista jäntan Hej, man! It Only Happens Every Time Monica Zetterlund - Ur Svenska Ords Arkiv Holiday for Monica Monica Zetterlund sjunger Olle Adolphson For Lester And Billie Monica Z Varsamt Nu är det skönt att leva Topaz Ett lingonris som satts i cocktailglas The Lost Tapes @ Bell Sound Studios NYC Det finns dagar Bill Remembered Z - Det bästa med Monica Zetterlund "Va' e' de' där" "En gång i Stockholm" "Sakta vi gå genom stan" Swedish Portraits Docking the Boat Night Games The Apple War The Emigrants The New Land Stubby Guttersnipes Sweden for the Swedes The Children from Blue Lake Mountain Official site - Monica Zetterlund Society & Memory Fund News report of her death Monica Zetterlund on IMDb
John Birks "Dizzy" Gillespie was an American jazz trumpeter, bandleader and singer. Gillespie was a trumpet virtuoso and improviser, building on the virtuoso style of Roy Eldridge but adding layers of harmonic and rhythmic complexity unheard in jazz, his combination of musicianship and wit made him a leading popularizer of the new music called bebop. His beret and horn-rimmed spectacles, his scat singing, his bent horn, pouched cheeks, his light-hearted personality provided some of bebop's most prominent symbols. In the 1940s Gillespie, with Charlie Parker, became a major figure in the development of bebop and modern jazz, he taught and influenced many other musicians, including trumpeters Miles Davis, Jon Faddis, Fats Navarro, Clifford Brown, Arturo Sandoval, Lee Morgan, Chuck Mangione, balladeer Johnny Hartman. Scott Yanow wrote, "Dizzy Gillespie's contributions to jazz were huge. One of the greatest jazz trumpeters of all time, Gillespie was such a complex player that his contemporaries ended up being similar to those of Miles Davis and Fats Navarro instead, it was not until Jon Faddis's emergence in the 1970s that Dizzy's style was recreated Arguably Gillespie is remembered, by both critics and fans alike, as one of the greatest jazz trumpeters of all time".
The youngest of nine children of James and Lottie Gillespie, Dizzy Gillespie was born in Cheraw, South Carolina. His father was a local bandleader, so instruments were made available to the children. Gillespie started to play the piano at the age of four. Gillespie's father died, he taught himself. From the night he heard his idol, Roy Eldridge, on the radio, he dreamed of becoming a jazz musician, he won a music scholarship to the Laurinburg Institute in North Carolina which he attended for two years before accompanying his family when they moved to Philadelphia. Gillespie's first professional job was with the Frank Fairfax Orchestra in 1935, after which he joined the respective orchestras of Edgar Hayes and Teddy Hill, replacing Frankie Newton as second trumpet in May 1937. Teddy Hill's band was where Gillespie made his first recording, "King Porter Stomp". In August 1937 while gigging with Hayes in Washington D. C. Gillespie met a young dancer named Lorraine Willis who worked a Baltimore–Philadelphia–New York City circuit which included the Apollo Theater.
Willis was not friendly but Gillespie was attracted anyway. The two married on May 9, 1940, they remained married until his death in 1993. Gillespie stayed with Teddy Hill's band for a year left and free-lanced with other bands. In 1939, he joined Cab Calloway's orchestra, with which he recorded one of his earliest compositions, "Pickin' the Cabbage", in 1940. After a notorious altercation between the two men, Calloway fired Gillespie in late 1941; the incident is recounted by Gillespie and Calloway's band members Milt Hinton and Jonah Jones in Jean Bach's 1997 film, The Spitball Story. Calloway his adventuresome approach to soloing. According to Jones, Calloway referred to it as "Chinese music". During rehearsal, someone in the band threw a spitball. In a foul mood, Calloway blamed Gillespie, who refused to take the blame. Gillespie stabbed Calloway in the leg with a knife. Calloway had minor cuts on the wrist. After the two men were separated, Calloway fired Gillespie. A few days Gillespie tried to apologize to Calloway, but he was dismissed.
During his time in Calloway's band, Gillespie started writing big band music for Woody Herman and Jimmy Dorsey. He freelanced with a few bands, most notably Ella Fitzgerald's orchestra, composed of members of the Chick Webb's band. Gillespie did not serve in World War II. At his Selective Service interview, he told the local board, "in this stage of my life here in the United States whose foot has been in my ass?" He was classified 4-F. In 1943, he joined the Earl Hines band. Composer Gunther Schuller said... In 1943 I heard the great Earl Hines band which had Bird in all those other great musicians, they were playing all the flatted fifth chords and all the modern harmonies and substitutions and Gillespie runs in the trumpet section work. Two years I read that that was'bop' and the beginning of modern jazz... but the band never made recordings. Gillespie said of the Hines band, "eople talk about the Hines band being'the incubator of bop' and the leading exponents of that music ended up in the Hines band.
But people have the erroneous impression that the music was new. It was not; the music evolved from. It was the same basic music; the difference was in how you got from here to here to here... each age has got its own shit."Gillespie joined the big band of Hines' long-time collaborator Billy Eckstine, it was as a member of Eckstine's band that he was reunited with Charlie Parker, a fellow member. In 1945, Gillespie left Eckstine's band. A "small combo" comprised no more than five musicians, playing the trumpet, piano and drums. Bebop was known as the first modern jazz style. However, it was not viewed as positively as swing music was. Bebop was seen as an outgrowth of swing, not a revolution. Swing introduced a diversity of new musicians in the bebop era like Charlie Parker, Thelonious Monk, Bud Powell, Kenny Clarke, Oscar Pettiford, Gillespie. Through these musicians, a new vocabulary of musical phrases was created. With Parker, Gillespie jammed at famous jazz clubs like Minton's Playhouse and Monroe's Uptown House.
Parker's system held methods of adding ch
World music is a musical category encompassing many different styles of music from around the globe, which includes many genres including some forms of Western music represented by folk music, Jazz, as well as selected forms of ethnic music, indigenous music, neotraditional music, music where more than one cultural tradition, such as ethnic music and Western popular music, intermingle. World music's inclusive nature and elasticity as a musical category may pose for some obstacles to a universal definition, but its ethic of interest in the culturally exotic is encapsulated in Roots magazine's description of the genre as "local music from out there"; the term was popularized in the 1980s as a marketing category for non-Western traditional music. Globalization has facilitated the expansion of scope, it has grown to include hybrid subgenres such as world fusion, global fusion, ethnic fusion, worldbeat. The term 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 the doctoral programs in the discipline.
To enhance the process of learning, he invited more than a dozen visiting performers from Africa and Asia and began a world music concert series. The term became current in the 1980s as a marketing/classificatory device in the media and the music industry. 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 meaningless; the term is taken as a classification of music that combines Western popular music styles with one of many genres of non-Western music that are described as folk music or ethnic music. However, world music is not traditional folk music, it may include cutting edge pop music styles as well. Succinctly, it can be described as "local music from out there", or "someone else's local music", it is a nebulous term with an increasing number of genres that fall under the umbrella of world music to capture musical trends of combined ethnic style and texture, including Western elements.
World music may incorporate distinctive non-Western scales, modes and/or musical inflections, features distinctive traditional ethnic instruments, such as the kora, the steel drum, the sitar or the didgeridoo. Music from around the world exerts wide cross-cultural influence as styles influence one another, in recent years world music has been marketed as a successful genre in itself. Academic study of world music, as well as the musical genres and individual artists associated with it appear in such disciplines as anthropology, performance studies and ethnomusicology. In the age of digital music production the increased availability of high-quality, ethnic music samples, sound bites and loops from every known region are used in commercial music production, which has exposed a vast spectrum of indigenous music texture to developing, independent artists; these influences proliferate in a web-based music industry, now percolating as a much larger, predominantly self-promoted menu, via an increasing number of indie-artist-friendly, streaming Internet options, such as Last.fm, Live365, Jango Artist Airplay and ReverbNation.
An amalgamation of roots music in the global, contemporary listening palette has become apparent, which weakens the role major entertainment labels can play in the cultural perception of genre boundaries. As a result, definitions of the genre have become varied, determined by wide-ranging and varied opinions. Similar terminology between distinctly different sub-categories under primary music genres, such as world and pop can be as ambiguous and confusing to industry moguls as it is to consumers; this is true in the context of world music, where branches of ethnically influenced pop trends are as genre-defined by consumer perception as they are by the music industry forums that govern the basis for categorical distinction. Academic scholars tend to agree that, in today's world of consumer music reviews and blogging, global music culture's public perception is what distils a prevailing basis for definition from genre ambiguity, regardless of how a category has been outlined by corporate marketing forums and music journalism.
The world music genre's gradual migration from a clear spectrum of roots music traditions to an extended list of hybrid subgenres is a good example of the motion genre boundaries can exhibit in a globalizing pop culture. The classic, original definition of world music was in part created to instill a perceived authenticity and distinction between indigenous music traditions and those that become diluted by pop culture, the modern debate over how possible it is to maintain that perception in the richly diverse genre of world music is ongoing. In a report on the 2014 globalFEST National Public Radio's Anastasia Tsioulcas said "Even within the "world music" community, nobody likes the term "world music." It smacks of all kinds of loaded issues, from cultural colonialism to questions about what's "authentic" and what isn't, forces an incredible array of styles that don't have anything in common under the label of "exotic Other." What's more: I believe that in many people's imaginations, "world music" means a kind of awful, hippy-ish, worldbeat fusion.
It's a problematic, horrible term that satisfies no one." Examples of popular forms of world music include the various forms of non-European classical music (e.g. Japanese koto and Chinese guzheng music, In