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Is there a growing homogenization of the world's popular music? Or, conversely, is there a continuing and perhaps ever increasing diversity of song styles and forms? With a focus is on how the process of popular music production is perceived by local musicians, this book addresses this issue, testing the more conventional 'cultural imperialism' hypothesis by comparison with empirical findings from a study by the International Communication and Youth Culture Consortium.
Deanna Campbell Robinson, Elizabeth Buck, Marlene Cuthbert