Think about the commercial history of “world music” as a genre designation developed by record labels in the 1980s and compare it to Timothy Rice’s description of the kinds of music that ethnomusicologists tend to privilege in their ethnographic research on music around the world. What kinds of tension are implicit in these very different understandings of “world music?” And how should we position ourselves in regard to these competing definitions in this introductory class on world music in context?
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