Abstract
The organization of pop music uses the term world music to classify productions which do not adhere to the cores Europe/United States of America. This paper proposes three axes of discussion about the use of world music: a) to review texts on the theme; b) to identify historical narrative inequalities, from global scope, that permeate it; c) to propose an empirical analysis of the works of three artists based on Semiotics of Culture and with contributions of poststructuralist and decolonial thought to rethink world music and its function of aesthetic form.
Keywords
world music; differences; music genres; hybridities; singularities