Exploiting World Music

After reading “Is Ethno-techno exploiting world music?” written by Tony Naylor, there are many perspectives on world music given by several artists. Firstly, Naylor mentions about the positive perspectives received from Ricardo Villalobos, who was inspired by ethnography. He mixes Latin music with electronic styles to create a wonderful music while also follows the cultural rules of music. Hence, “he retains the spirit of music,” said Swiss-Chilean DJ. Swiss-Chilean DJ and producer Luciano also give out a positive perspective. Their work was sampled to produce La Mezcla. However, they say that La Mezcla respects the South American music’s rules and indeed has an integrity. Given all the positive perspectives, there are negative perspectives as well. Firstly, Naylor mentions about payment for the musicians who get sampled. In this article, it says that Cadenza pay all the musicians whose works were sampled. However, it is complicated for (truly) all the musicians will get paid, especially for the chase bands. Another negative perspective was given by Matias Aguayo. He thinks that mixing samples of traditional songs with a techno beat is horrible taste of music and indeed considered as …show more content…
151-154), Fled mentions about two different types of narratives, anxious and celebratory. These two types of narratives can be compared and related to the article written by Tony Naylor mentioned above. Anxious narratives can be related to those who gave out negative perspectives on world music. In this particular article written by Fled, anxious narratives conceive that world music destroy music diversity, and does not seem to focus on cultural stuff. Moreover, they think that globalization is more like displacement, where the world music replaces the old traditional music. These ideas are as same as the negative perspective given by Matias Aguayo in Naylor’s