Linked from

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

• DjembeRelated: International djembe performance is often presented and marketed under this category.

• Music of the United StatesNarrower topic: The label frames American music within global circulation but can obscure its internal diversity.

• Papa WembaRelated: Wemba’s international career was often presented through this category.

• Religious musicCompared with: Cultural origin alone does not establish whether music is religious.

• Alla RakhaRelated: Rakha's touring helped place Hindustani percussion within international programming and listening.

• James HornerRelated: Horner drew on sounds associated with particular cultures when shaping fictional and historical settings.

• Music of CanadaCompared with: The category highlights how Canadian music can be both national culture and part of global exchange.

• Yma SumacNarrower topic: Sumac’s international circulation anticipates debates about how non-Western music is packaged for global audiences.

• Yoko KannoCompared with: Kanno’s use of varied musical idioms is often discussed through this imperfect category.

• Ali Farka TouréRelated: International releases and collaborations placed Touré within this category, which shaped how global audiences encountered him.

• Amália RodriguesRelated: Her international recordings helped introduce Portuguese fado to audiences outside its home context.

• Daler MehndiRelated: His international reception shows how Punjabi pop traveled through global music markets.

• Demis RoussosRelated: Roussos’s international success complicates simple divisions between Greek music and global pop.

• Goran BregovićCompared with: The label shaped how international audiences encountered his Balkan-derived work.

• Hariprasad ChaurasiaNarrower topic: International recordings and collaborations helped circulate his bansuri playing globally.

• Huun-Huur-TuNarrower topic: The ensemble is often presented internationally under this category.

• Jaap KunstCompared with: Unlike Kunst’s academic discipline, this later label often groups music for commercial circulation.

• Mahotella QueensRelated: International promotion placed the Queens within this category during their global career.

• Mamady KeïtaRelated: His recordings circulated through markets and festivals that presented African music internationally.

• Manitas de PlataNarrower topic: His international circulation anticipated the global market later grouped under this label.

• Music of the United KingdomCompared with: The label can obscure the specific histories of Britain’s diverse musical communities.

• Ofra HazaRelated: Haza’s international success came partly through the era’s world-music market.

• Sabri BrothersNarrower topic: International circulation placed the brothers’ recordings within global markets for South Asian music.

• Shahram NazeriRelated: International circulation of Nazeri’s recordings brought Persian performance into global listening contexts.

• Alpha BlondyCompared with: International promotion sometimes grouped Blondy’s locally grounded reggae under this imprecise category.

• Amr DiabRelated: International distribution helped bring Diab’s Arabic-language recordings to listeners worldwide.

• Berber musicRelated: The category has brought some Amazigh recordings to international stages and audiences.

• Daniela MercuryRelated: International promotion often positioned Mercury’s Bahian music within this global market category.

• Eusèbe JaojobyRelated: International promotion helped bring his Malagasy recordings to audiences beyond the island.

• Gheorghe ZamfirNarrower topic: Zamfir’s international career anticipated later global marketing of traditional instrumental music.

• Haris AlexiouRelated: International releases and multilingual performances brought aspects of Alexiou’s work into world-music contexts.

• Irakli CharkvianiCompared with: Charkviani’s Georgian-language work complicates labels that treat non-English music as a single category.

• Joaquín CortésRelated: International marketing often placed flamenco performances within this global category.

• Mangue bitCompared with: Manguebeat’s international reach complicates labels that frame Brazilian music mainly as regional tradition.

• Manu DibangoCompared with: Dibango’s work is sometimes marketed as world music, though it resists that category’s boundaries.

• Music of AfricaCompared with: The label can flatten the distinct histories and identities represented by African musical traditions.

• Music of AustraliaNarrower topic: The label can obscure the diversity and specific histories of Australia’s Indigenous music.

• Music of FranceNarrower topic: The label frames debates about how France’s regional and diasporic traditions are categorized.

• Music of HawaiiCompared with: Its marketing labels can obscure the distinct histories and living communities behind Hawaiian music.

• Music of IndonesiaCompared with: Global circulation can recast Indonesian music through an international marketing category.

• Oumou SangaréCompared with: The label frames some international reception of her work, though it can flatten distinct Malian traditions.

• Sami YusufNarrower topic: Yusuf’s arrangements combine sounds and performance traditions associated with multiple regions.

• The ChieftainsRelated: The band’s international reach helped place Irish traditional music within global music markets.

• TinariwenNarrower topic: International marketing placed Tinariwen in this category, though it can obscure the band’s specific Tuareg context.

• YanniRelated: His compositions incorporate sounds and stylistic references associated with multiple musical traditions.

• Zucchero FornaciariRelated: His collaborations and multilingual recordings place his work across national music markets.