The globalization of the urban music of the Democratic Republic of Congo

Abstract

The term "globalization" has recently become a catchword in most languages. In the field of music, globalization begets the concept of "world music". As a new concept in music, globalization presents a charge to scholars and layman as to scope of its definition. In this paper I assert that regardless of its accepted definition and concept "world music" is becoming a reality as a product of the globalization process. As a hybrid product, "world music" is feeding on music cultures of the world. As with its community, and its culture, the semantic field of its language is also at present being defined. This assertion is sustained by a myriad of sound recordings born out experimental collaboration by musicians, the urban music of the Democratic Republic of Congo has contributed and continues to the evolution of the hybrid product in the attainment of its new identity.