Editing World music (section)

== Relationship to immigration and multiculturalism ==
{{further|Music of Canadian cultures}}{{Essay-like|date=September 2021|section}}
In most wealthy industrialized countries, large amounts of immigration from other regions has been ongoing for many decades. This has introduced non-Western music to Western audiences not only as "exotic" imports, but also as local music played by fellow citizens. But the process is ongoing and continues to produce new forms. In the 2010s several musicians from immigrant communities in the West rose to global popularity, such as Haitian-American [[Wyclef Jean]], Somali-Canadian [[K'naan]], [[Tamil Nadu|Tamil]]-Briton [[M.I.A. (rapper)|M.I.A.]], often blending the music of their heritage with hip-hop or pop. Cuban-born singer-songwriter [[Addys Mercedes]] started her international career from Germany mixing traditional elements of Son with pop.<ref>{{cite web|url=http://www.addysmercedes.com/|title=Addys Mercedes|website=Addysmercedes.com|access-date=2015-05-18|archive-date=2012-10-20|archive-url=https://web.archive.org/web/20121020020424/http://www.addysmercedes.com/|url-status=dead}}</ref>

Once, an established Western artist might collaborate with an established African artist to produce an album or two. Now, new bands and new genres are built from the ground up by young performers. For example, the [[Punjabi music|Punjabi]]-[[Irish folk music|Irish]] fusion band [[Delhi 2 Dublin]] is from neither India nor Ireland, but [[Vancouver]], [[British Columbia]], Canada. Country for Syria, an [[Istanbul]] based music collective, blends [[Country music|American country music]] with the music of [[Refugees of the Syrian Civil War|Syrian refugees]] and local [[Turkish music (style)|Turkish music.]]<ref>{{Cite news|url=http://www.dailysabah.com/expat-corner/2016/02/19/american-country-music-with-an-arabic-twist|title=American country music with an Arabic twist|newspaper=DailySabah|access-date=2017-02-09|archive-date=2017-02-11|archive-url=https://web.archive.org/web/20170211160410/https://www.dailysabah.com/expat-corner/2016/02/19/american-country-music-with-an-arabic-twist|url-status=dead}}</ref> Musicians and composers also work collectively to create original compositions for various combinations of western and non western instruments.

The introduction of non-western music into western culture created a fusion that influenced both parties. (Feld 31)<ref name="Feld, Steven 1988"/> With the quick demand for new music came the technicalities of ownership. As Feld states in page 31:<ref name="Feld, Steven 1988">Feld, Steven. 1988. “Notes on ‘World Beat’.” ''Public Culture Bulletin'' 1(1): 31-7.</ref> ''"This complex traffic in sounds money and media is rooted in the nature of revitalization through appropriation."'' There are collaborations between African and American popular music artists that raise questions on who is benefiting from said collaborations.(Feld 31)<ref name="Feld, Steven 1988"/> Feld mentions the example of "That was your mother". Alton Rubin and his band the Twisters collaborated with Paul Simon on the song that possessed a zydeco feel, signature of Dopsie's band. Even though Paul Simon wrote and sang the lyrics with them, the whole copyright is attributed to Paul and not to the band as well. (Feld 34) <ref name="Feld, Steven 1988"/> Because of crossovers like this one, where there was a disproportional gain when covering non-western music. Feld states that {{blockquote| "...international music scene, where worldwide media contact, amalgamation of the music industry towards world record sales domination by three enormous companies, and extensive copyright controls by a few Western countries are having a riveting effect on the commodification of musical skill and styles, and on the power of musical ownership." (Feld 32)<ref name="Feld, Steven 1988"/>}}

Immigration also heavily influences world music, providing a variety of options for the wider public. In the 1970s [[Music of Punjab|Punjabi music]] was greatly popular in the UK because of its growing Punjabi diaspora. (Schreffler 347)<ref name="Schreffler, Gibb 2012">Schreffler, Gibb. 2012. “Migration Shaping Media: Punjabi Popular Music in a Global 
Historical Perspective.” ''Popular Music and Society'' 35(3): 347-355.</ref> [[Bhangra (music)|Bhangra music]] was also greatly covered by its diaspora in cities like [[New York City|New York]] and [[Chicago]]. (Schreffler 351)<ref name="Schreffler, Gibb 2012"/> For a more mainstream integration, the Punjabi music scene integrated collaborations with rappers and started gaining more recognition. One of these successful attempts was a remix of the song "Mundiān ton Bach ke" called "Beware of the Boys" by Panjabi MC featuring Jay Z. (Schreffler 354)<ref name="ReferenceA">Schreffler, Gibb. 2012. “Migration Shaping Media: Punjabi Popular Music in a Global Historical Perspective.” ''Popular Music and Society'' 35(3): 347-355.</ref> Collaborations between outsider artists provided an integration of their music, even with foreign instrumentation, into the popular music scene.

Immigration, being a great part of music exportation, plays a big role in cultural identity. Immigrant communities use music to feel as if they are home and future generations it plays the role of educating or giving insight into what their culture is about. In Punjabi culture, music became the carrier of culture around the world. (Schreffler 355)<ref name="ReferenceA"/>