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
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular
Oceans and Deserts
Oceans and Deserts is Gang Gajang's fourth studio album. It was released on the independent Shock label in October 2002. All tracks written by Mark Callaghan. "Nomadsland" "Time" "Anodyne Dream" "Carioca Girl" "These Years" "I Will" "Waiting in the Wind" "Let It Go" "Trust" "Camp of the Moon" "Pill for the Pain"Additional backing vocals on Tracks 5, 6, 7, 8, 9 were provided by original members Kayellen Bee and Marilyn Sommer
Lingo is the third studio album recorded by Australian pop band GANGgajang. It was distributed by Warner Music Australia, it was "recorded on a 24-track analogue and a 1969 EMI Abbey Road console," with the group co-producing alongside Rick Will. It peaked in the top 100 of the ARIA Albums Chart. Chris Bailey, the group's bass guitarist and vocalist, described their motivation "The thing that drives the band, out of all the bands I've played with, is the fact it's still the best band to play with — just the music, the playability, everything." Naomi Mapstone of The Canberra Times opined " is not a new direction for the band, it's more a celebration of pop. There are pretensions here. For the most part, Lingo specialises in. All songs written by Mark Callaghan. "Hundreds of Languages" "Ordinary World" "Talk to Me" "The Way You Feel" "Place and Time" "24 Hours and Time" "Hellride" "Can't Stand Still" "Just Can't Help" "Houses with Swimming Pools" "Give Place Another Change" "Funny Old Street" "Future Days" not found at APRA
Chronologica is a double album by Gang Gajang, released only in Brazil in 2000 on Tronador Records. The album, released to coincide with the band's 2000 tour of Brazil, featured tracks unavailable in Brazil spanning the band's career. All songs written by Mark Callaghan. "Gimme Some Lovin" - 2:47 "House of Cards" - 2:48 "Giver of Life" - 3:40 "Sounds of Then" - 3:56 "The Bigger They Are" - 3:29 "Ambulance Men" - 3:24 "Distraction" - 3:20 "Shadow of Your Love" - 3:07 "Maybe I" - 3:35 "To The North" - 2:47 "Initiation" 3:28 "In Spite of Love" "The Rise and the Rise of Reverend Bobby’s Buskers" "Sounds of Then" – 3:24 "Initiation" – 3:29 "American Money" - 3:43 "Luck of the Irish" – 3:46 "Tree Of Love" – 4:18 "Roof Only Leaks" "Thanks to Dave" "Live And Learn" "Fire of Genius" "Hundreds Of Languages" – 3:36 "Talk To Me" "Ordinary World" - 3:54 "Place And Time" "Just Can't Help" "Hellride" "Houses With Swimming Pools" "Nomadsland" not found at APRA
Gang Gajang (album)
Gang Gajang is the self-titled debut album from Gang Gajang. It was sold over 120,000 copies, it was produced by Joe Wissert, with band members Mark Callaghan. All songs written by Mark Callaghan. "Gimme Some Lovin" - 2:43 "Sounds of Then" - 3:53 "Distraction" - 3:21 "Maybe I" - 3:35 "Ambulance Men" - 3:24 "The Bigger They Are" - 3:29 "Giver of Life" - 3:38 "Shadow of Your Love" - 3:05 "To The North" - 2:46 "House of Cards" - 2:45Tracks from this album were featured in the surf film Mad Wax
Gang Again is the second studio album recorded by Australian band Gang Gajang. It was distributed by Polygram Records. All songs by Mark Callaghan unless otherwise indicated. "Tree of Love" "Luck of the Irish" "In Spite of Love" "Roof Only Leaks" "Initiation" "Thanks to Dave" "American Money" "Live and Learn" "Fire of Genius" "The Rise and the Rise of the Reverend Bobby's Buskers" "Baby has Eyes for You " Ganggajang - Official Website a