За концепта WELTMUSIK на Калхайнц Щокхаузен: към генезата на етикета world music
About the WELTMUSIK Concept of Karlheinz Stockhausen: Towards the Genesis of the Label World Music

Summary/Abstract: The name world music is considered to be a typical postmodern generalization of a spontaneous group marketing attempt and a postmodern semantic gesture, advertised in the sound-recording studios, media and popular culture with a new (locally de-contextualized and de-contextualizing) manifestation of traditional musical phenomena and factors. As if though in the course of time the established by the market phenomena started to manifest style and meaning which were formatted by the term world music. It is often considered, for example, that in contrast to the critical term postmodern the name world music has started its existence actually as an anti-critical term, as a fluid inserted category. But is that true if we look into the actual genesis and the actual authorship of the term which has been attributed with an exclusive postmodern spirit and undefined ‘authorship’? The author of the concept is not anonymous (as this was declared in some encyclopedias); actually this was the German composer Karlheinz Stockhausen, one of the most vivid representatives of the post-Webber avant-garde. The concept and the numerous thesis connected with it, though defined not through the prism of postmodern visions but through the typical modern point of view, have been stated in his study “Weltmusik (World Music)’ written on April 8th 1973 for the journal “Musik International. Information ueber Jazz, Pop, ausser-europaeische Musik”, ed. E. Puetz & H.W. Schmidt = “Die Garbe” V, Cologne 1975.

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