Trajectories and Themes in World Popular Music - Globalization, Capitalism, Identity - Simone Krüger Bridge

Trajectories and Themes in World Popular Music - Globalization, Capitalism, Identity - Simone Krüger Bridge

Globalization and World Music

Trajectories and Themes in World Popular Music - Globalization, Capitalism, Identity - Simone Krüger Bridge

Simone Krüger Bridge [+-]
Liverpool John Moores University
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Simone Krüger Bridge is a Reader [Associate Professor] in Music and Chair of the APS Faculty Research Degree Committee at Liverpool John Moores University (UK). She has published two monographs, Experiencing Ethnomusicology: Teaching and Learning in European Universities (2009) and Trajectories and Themes in World Popular Music (2018), and two co-edited collections, The Globalization of Musics in Transit: Music Migration and Tourism (2014) and Ethnomusicology in the Academy: International Perspectives (2011), and is currently working on the edited The Oxford Handbook of Global Popular Music (2 volumes) published by Oxford University Press. Her research on Paraguayan music, which focuses on guitar music culture and identity, has been presented in numerous talks, conference articles, and articles, such as in the The SAGE International Encyclopedia of Music and Culture (2021) and the Journal of the Royal Musical Association (2022). Her current research explores the social value of music participation in two comparative settings: Berta Rojas' music project Jeporeka 2021 and 2022, and Liverpool Cathedral's music outreach programme. Krüger Bridge is ceditor-in-chief of the Journal of World Popular Music, founding book series editor of Transcultural Music Studies (2015-2021), editorial board member for three academic journals, and has been co-editor of Ethnomusicology Forum (2010-2013), an Executive Committee member of the International Association for the Study of Popular Music (2019-2021), and a committee member of the British Forum for Ethnomusicology (2008-2011).


Chapter 3 is rooted in the 1980s when many music consumers in the west yearned for new, more authentic and meaningful music as rock and punk’s appeal began to wane and popular culture was dominated by a glitzy, artificial world of chart-friendly pop. The “new” soundtrack of globalization was the commercial pseudo-genre of World Music, which was constructed on notions surrounding authenticity, difference, and otherness. Using the notion of genre as a sociocultural framework, the World Music genre is seen here as a sub-field referring to specific musical and extra-musical conventions that are pertaining primarily to the sphere of production. The branding of World Music illustrates the way that popular music is organized and maintained as genres as a means for music industries to streamline production, and as a source of pleasure or identification for audiences and consumers. The commodification practices surrounding World Music discourses were shaped by concepts of authenticity, difference, and otherness. Genre is thereby a constructed, flux concept, and this is well illustrated by how and why musicians become constructed and (in some cases) successful as World Music stars within the World Music brand. Commercial interests in World Music were characterized by a certain academicism among consumers coupled with a “serious” educational interest in the music cultures they encountered, thereby distinguishing themselves from others through their specialized musical knowledge and cultural interests in more “authentic” musics. Yet World Music is characteristic of both hybridity and authenticity, which resembles some kind of paradox between the mixing of musical styles, on the one hand, and a desire to leave a musical “tradition” intact, on the other. Artists who “make it” as World Music stars must therefore navigate carefully between hybridity and authenticity, western consumers’ ideas and expectations of “authentic hybridity”.

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Krüger Bridge, Simone. Globalization and World Music. Trajectories and Themes in World Popular Music - Globalization, Capitalism, Identity. Equinox eBooks Publishing, United Kingdom. p. 150-173 Mar 2018. ISBN 9781781796221. Date accessed: 19 Jun 2024 doi: 10.1558/equinox.34461. Mar 2018

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