Linked from

The 96 pages that link to World music, each with the reason it gives.

• Folk musicCompared with: Its marketing label can blur the specific communities and histories behind folk traditions.

• Classical crossoverCompared with: Both categories blend styles, but world music foregrounds cultural traditions rather than classical-pop exchange.

• American popular musicCompared with: The label highlights how U.S. popular music is positioned within global music classification and commerce.

• Indian classical musicNarrower topic: International circulation placed Indian classical performance in new concert and commercial contexts.

• Crossover musicCompared with: The label can frame music as culturally distinct even when it reaches global audiences.

• EthnomusicologyCompared with: The label can flatten distinct traditions into a market category ethnomusicologists scrutinize.

• Italian popular musicNarrower topic: The label places Italian music within global circulation but can obscure its distinct local histories.

• Persian classical musicNarrower topic: International circulation often frames Persian classical music within this market category.

• Cultural homogenizationRelated: Its marketing raises questions about whether global circulation preserves or flattens musical distinctions.

• Miriam MakebaRelated: Makeba’s global career helped establish African music in international markets, though the category can flatten its cultural distinctions.

• CreolizationCompared with: Its packaging of cultural difference contrasts with creolization's focus on historical formation and exchange.

• Latin musicCompared with: Its overlap with Latin music shows how record industries classify music by perceived origin.

• RaïRelated: International marketing often presented raï through the world-music category.

• African popular musicCompared with: Its marketing frames African music for global audiences, sometimes flattening regional differences.

• Paul SimonNarrower topic: The label became associated with the international influences in Simon’s solo work.

• Folk music revivalCompared with: Its packaging of diverse traditions raises related questions about audience, ownership, and representation.

• Music genreCompared with: Its umbrella usage illustrates how genre labels can reflect marketing and cultural power.

• Secular musicCompared with: Cultural origin does not determine whether music is secular or religious.

• SitarNarrower topic: Sitar recordings became prominent in international markets through this category.

• Art musicRelated: Its category shows how art-music labels can reflect cultural institutions and marketing as well as sound.

• Nusrat Fateh Ali KhanRelated: Khan’s international releases became prominent examples of how the category marketed South Asian music.

• ExoticaCompared with: Exotica's borrowed signifiers contrast with approaches that foreground identifiable musical traditions and their practitioners.

• Franco LuamboCompared with: International circulation framed Luambo's music through a category that can obscure its local history.

• Globalization of musicRelated: The category shaped how international music was marketed to Western audiences.

• IsicathamiyaRelated: International marketing placed some isicathamiya recordings within this category.

• Percussion ensembleNarrower topic: Percussion ensembles draw on instruments and practices from many musical cultures.

• Romani musicNarrower topic: Romani recordings have circulated under this category, which can obscure their specific regional contexts.

• BaulRelated: International recordings have circulated Baul music through this market, sometimes reshaping how it is framed.

• Celtic musicNarrower topic: Celtic music is often promoted within this market category rather than as one unified tradition.

• Don CherryRelated: Cherry drew on musical practices across regions, though the label can flatten their differences.

• History of musicCompared with: Its history raises questions about how scholars classify music across cultures.

• MbaqangaCompared with: Mbaqanga's global circulation shows how South African music was framed within this market category.

• New-age musicRelated: New-age recordings often borrow instruments and motifs associated with musical traditions across the world.

• Cheb MamiRelated: International releases often presented Mami’s raï through this global marketing category.

• Coke Studio PakistanRelated: International listeners often encounter the series through this marketing category.

• Grammy Award for Best World Music AlbumNarrower topic: The award institutionalized this label, whose breadth and outsider perspective drew criticism.

• Jewish musicNarrower topic: The label can group Jewish traditions with other global musics, though it obscures their specific histories.

• King Sunny AdéRelated: Adé’s Island releases became prominent examples of the category’s 1980s expansion.

• Nikhil BanerjeeNarrower topic: Banerjee’s overseas performances helped bring Hindustani music to international concert audiences.

• Original Pilipino MusicCompared with: OPM is a locally grounded identity, not merely an export-market genre category.

• Balkan musicNarrower topic: The label often frames Balkan music for international audiences, despite its broad and contested scope.

• KhaledNarrower topic: Khaled’s international releases were marketed within this category.

• Ladysmith Black MambazoRelated: The ensemble’s global marketing helped shape how African music was categorized for international audiences.

• Musical nationalismRelated: Its marketing and performance contexts can recast national traditions for international audiences.

• Paco de LucíaNarrower topic: His global success helped listeners encounter flamenco through international music circuits.

• Rachid TahaCompared with: Taha’s career illustrates the limits of packaging hybrid music under a single global category.

• Abida ParveenRelated: International promotion often placed her recordings within this global listening category.

• Ali Akbar KhanRelated: His recordings circulated internationally as audiences and institutions developed this category.

• Allauddin KhanRelated: His students' international careers helped bring Hindustani music to audiences beyond India.

• Cesária ÉvoraNarrower topic: International marketing placed Évora’s Cape Verdean recordings in this category.