Have you ever wondered why the drum-thumping sounds across West Africa, the swings and Zulu-inspired vocals from Southern Africa, the guitar-riffing sounds from Central Africa, the polyrhythmic sounds from Northern Africa, or the complex rhythms from East Africa all fall under one category called World Music? Could this really be accurate?

Well, what exactly does the term world music mean? Where did the term emerge from?

The term World music is primarily attributed to American ethnomusicologist Robert E. Brown. However, the first recorded use of the term in print dates back to 1906, when the German word, Weltmusik, was introduced by German musicologist Georg Capellen. He used it to describe the non-Western influences present in the music of prominent composers of his time.

In the 1960s, while at Wesleyan University, Brown developed the World Music Program. He introduced the term World Music into English to define and emphasize his new music curriculum, which focused on six types of music: Western, jazz, Indian, Javanese, Japanese, and Native American.

During this period, other authorities in the music industry— the European jazz critics and British record companies—also used the term world music. A key figure was German scholar, promoter, and producer Joachim Ernst Berendt. In the 1960s, he organized the first World Music festival, inviting different musicians from Asia, Africa, and Latin America to participate. Berendt defined world music as contemporary jazz that incorporates traditional music from around the globe.

In the 1970s, the music curriculum expanded in new institutions across the United States, along with other programs. Over time, the meaning of the term world music evolved from Brown’s original definition and became a broad category for all music originating from non-Western regions. Today, world music refers to a classification of music from Africa, Asia, Latin America, and other non-Western areas. However, this broad categorization can create a problematic everything-else bucket that overlooks distinctions among these different sounds.

The diverse music from the 54 countries in Africa, categorized under the umbrella term world music, tends to oversimplify their uniqueness. For example, South Africa's amapiano features distinctive log drums and jazzy piano melodies, while Mali's desert blues is characterized by hypnotic guitar work and call-and-response vocals. Although both genres are incredible, they have little in common other than their continent of origin.

Artists like Angélique Kidjo, whose work blends Beninese traditions with contemporary influences; Youssou N'Dour, who revolutionized Senegalese mbalax; Salif Keita, the "Golden Voice of Africa," who transformed Malian music; and Fela Kuti, the pioneer of Afrobeat, have all created groundbreaking work that defies simple categorization, drawing from regional traditions while incorporating elements of funk, jazz, rock, and electronic music.

Furthermore, the term world music presents a complex, dual perspective on global music. It pits Western music against all other genres, positioning Western music as the most prominent and implying that it is more significant than others. This implication is evident in  Grammy categories, radio programming, and the organization of streaming platforms. However, it is essential to recognize that no sound is superior to another; each musical form has its own unique value.

What should be done? Both African musicians and their music lovers must educate global audiences about their music while continuing to innovate on their sounds. African music deserves recognition beyond the broad category of world music, and we all have a role to play in educating the world about it.

The drum-thumping sounds of West Africa,  amapiano from South Africa, and desert blues from Mali all fall under one blanket category: world music.

Deconstructing World Music

The drum-thumping sounds of West Africa, amapiano from South Africa, and desert blues from Mali all fall under one blanket category: world music.

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