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\u003cdiv\u003e\u003cp\u003e\"World music\" is an awkward phrase. Used to describe the hugely multifaceted nature of a range of typically non-English-language popular music from the world over, it's a tag that throws up as many problems as it does solutions.\u003c/p\u003e\u003cp\u003eLouise Gray's \u003cI\u003eThe No-Nonsense Guide to World Music\u003c/I\u003e attempts to go behind the phrase to explore the reasons for the contemporary interest in world music, who listens to it, and why. Through chapters that focus on specific areas of music, such as rembetika, fado, trance music, and new folk, Gray explores the genres that have emerged from marginalized communities, music in conflict zones, and music as escapism.\u003c/p\u003e\u003cp\u003eIn this unique guide, which combines the seduction of sound with politics and social issues, the author makes the case for music as a powerful tool able to bring individuals together.\u003c/p\u003e\u003cp\u003e\u003cB\u003eLouise Gray\u003c/B\u003e is a writer and editor whose work on music and performing arts has appeared in the \u003cI\u003eNew Internationalist\u003c/I\u003e, \u003cI\u003eThe Wire\u003c/I\u003e, \u003cI\u003eThe Independent on Sunday\u003c/I\u003e, the \u003cI\u003eGuardian\u003c/I\u003e, and \u003cI\u003eArt Review\u003c/I\u003e. She co-edited \u003cI\u003eSound and the City\u003c/I\u003e (British Council, 2007), a book exploring the changing soundworld of China.\u003c/p\u003e\u003c/div\u003e |
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