European appropriations of exotic and primitive musical cultures for the development of musical modernism were paralleled by Occidentalist appropriations of Western music globally. The rise of mass-mediated popular musics and developments in recording technology over the past century served as cardinal signs of modernity in both the West and the East. This chapter explains that the exploitation of Asianness within intra-Asian popular culture has been inspired by a wide array of motivations. It focuses on examples of Chinese and Chinese diaspora popular music from the more recent past that illustrate the roles of world music and Orientalist representation in proclaiming modernity and ethnic pride for Asian and Asian American musicians. The chapter suggests that these developments increasingly proceed independently of direct Western/white intervention and many of these musicians were initially inspired by models of cross-cultural appropriation from Euro-American musics, both modernist and popular.

It is argued that a historically informed approach to the study of Oceania facilitates the understanding of how Oceanian and European cultures were both respectively and mutually shaped by centuries of cross-cultural contact and exchange. Recent scholarship on Oceania's networks of knowledge and culture obviates the need to reconstruct forgotten forms of musical practice or trace strands of musical dissemination and appropriation. Encounter music marked a new aural occurrence in the soundscapes of eighteenth- and early nineteenth-century voyagers and islanders, and it impacted the social relations and power dynamics of the transacting parties. Music and dance constituted an important aspect of Oceanian voyaging: sea songs, fiddle tunes, and hornpipes provided exercise and recreation for European sailors and officers during long passages at sea. Western assumptions about the social and public character of music are confounded by notions of ownership, restricted audience, and secrecy prevalent in parts of Oceania.

This chapter explores the development of Western music in Korea, and the impact it has had on music and musical discourse. The twentieth century saw the development of music education and musicology in Korea, and the introduction of music training in universities and conservatoires, using Western models and, initially, focusing on Western music. Western music became a formal part of the Korean school curriculum shortly after Japan took control. Music training for budding Western musicians was initiated at the Choyang Club. Musicology catapulted kugak into the public arena, encouraging government agencies to promote it. The transition whereby kugak moved onto public stages was assisted by recording and broadcast technologies. Post-liberation at the end of the Pacific War, Western music dominated the media in South Korea. Public pop music retained eponymous pan-Asian balladry, based in Korea on yuhaengga, until democracy and music videos arrived in the early 1990s.

There are traditions of scholarship and thought that take the concept of a world-music history as a point of departure. This chapter examines early scholarly literature, central issues such as processes in which twentieth-century works that set out to narrate and comments on the history of world music. It explores the role that the world-music concept, viewed historically, has played in the recent history of music scholarship. For the people whose culture turned into Western civilization, music was developed inexorably to greater complexity until it reached various kinds of climax in the nineteenth and twentieth centuries. The chapter summarizes some of the landmarks among the early works that may claim in some way to be histories of world music. A few scholars, however, devoted themselves substantially to the notion that there is a world history of music in which Western music plays an important role.

Western music was involved in developments outside the colonial possessions of the enlarged Europe that came to define itself as the West. The most fundamental aspect of musical modernization lies in the influence of Western aesthetic values. The Western pop basis of world music, the real common practice style of the late twentieth and early twenty-first century, provides a structure that is as ubiquitous and universal as Western science and engineering, while local elements merely add exotic color. Both indigenous and Spanish musics were performed on ceremonial occasions in the missions of sixteenth-century Florida, while European visitors frequently commented on the general excellence of Indian musicians, singers and instrumentalists. The twentieth-century Africanization of popular music represents a massive countercurrent to the established hegemonies of global capitalism. Western classical music is a form of musical utopia and can therefore act as world music.