1. Carol Boyko
107064624
SOC 348
Globalization Through Rock n’ Roll
Globalization can be understood as the crossing of cultures on a worldwide scale.
It is the effortless mobility of an idea, product, people or currency to flow to a different
location. Each society has its own way of being, but their traditions and concepts become
incorporated in other areas, and spread from culture to culture. Once every culture
intertwines and gains from one another, it is fair to say globalization has occurred. The
globalization of music, more specifically rock n’ roll, portrays this self-fulfilling process
perfectly. In this essay I will discuss how this process has affected music, its authenticity,
and genre ambiguity.
When considering the globalization of music it is necessary to look at it in terms
of cultural globalization. Music is a large part of culture being a driving force for rituals,
recreation, traditions and everyday routine. Cultural globalization is a phenomena that
has had many outcomes, many of which apply to music. Isomorphism, the tendency for
cultures to turn to similar outcomes and traits, has been a prominent theme in the music
industry. Due to the fact that it is an income driven entity, such as most things are, there
comes a time when musicians feel as though they much follow the lead of their more
successful and inspirational forefathers. This leads to a homogenization of the music’s
central aspects.
As music travels in this flat world that globalization has provided, it is blatant
how styles blend. It travels so fast that action can be taken equally as fast. Recording a
song and posting it on the internet to give listeners instantaneous accessibility can occur

2. in just minutes. As soon as that listener decides what he finds impressive and wants to
incorporate into his own music, he can begin writing a song with his newly found
inspiration. It is this vicious cycle that creates the extremely diverse world where
eventually there is so much music out there, that all the diversity sounds like something
one has heard before. Hybridization subconsciously occurs when old styles are mixed to
create a new product.
In the age of hybrid “world music” there is a pattern of non-mainstream styles
hitting popular culture through the means of the music industry (Wajima 104).
Popularizing non-Western styles and adding elements to make them fit in with the
mainstream is a common occurrence. Glocalization hence has a severe impact while
musicians struggle to maintain their roots while conforming to the conventional.
Use of the internet creates a whole new element making social context global and
virtual, not just a tangible stance. Extensive media provided by the web creates more
room and freedom (Ryan 42). There is a greater freedom of expression and
experimentation, taken from one’s garage to homes all over. Through browsing websites
such as Youtube, the music world changes in an instant. Ideas are grasped instantly and it
even makes way for a path to the popular culture. Youtube sensations such as Justin
Bieber and Soulja Boy gained fame and fortune through videos they posted which
received massive amounts of hits. Such glamour would not be associated with their music
if it were not for the internet and the billions of views they received worldwide.
At the same rate, any amateur can potentially become a professional by using
Google to learn to play an instrument. He then can post videos of how quickly he
progressed and possibly become immersed in the mainstream as well. Not only is there a

3. rapid growth of skill and experience, but competition is now on a global scale in the flat
world of technology (Beckmann-Collier 27).
When music is constantly zooming from one area to another, music genres are
constantly evolving based on individuals’ changes. It is affected by their context, both
physical and social, and the broader scheme of what is going on in the world. Genres are
progressively fluid trends that never remain the same. Ever-changing and advancing in
their analytic traits, this constant emergence of new genres and new sounds render
ordinary categories obsolete.
To be able to identify and label a genre, a multifaceted sound must be diagnosed
into many simpler attributes that proclaim a certain identity of a society, leading to a
feeling of unity and meaning. There is a certain rubric that is followed, with topics such
as whether the expression is a genuine one of emotion, or if it is finance-driven
insincerity. Whether it is counter-culture or norm abiding, whereas political systems play
a big role in society. Historical tendencies are then compared and an analysis is formed
(Ryan 36). Defining a genre categorizes the central force of emotion, social and political
stance, target audience and expected outcome of that audience. Much more than just the
sound of the music itself, genres are a whole realm of everyone involved. Creation and
appreciation are conjoined.
Assessment in rock has been pattern-abiding to other forms of music. It is likely
split into categories of authentic expression, or straight emotion that has been structured.
Great rock musicians are considered so because they pour their heart and soul into their
music. And so, there is a hierarchy that has been institutionalized into the nature of rock
n’ roll (Regev). The problem leads us to the question of why the interpretation of

4. authentic and inauthentic is widely accepted and creates this form. As globalization in
rock n’ roll spreads, this hierarchy is transmitted to its audience (Tucker 556). Therefore,
categorizing by authenticity becomes a defining factor in the music industry.
History ties in strongly with music and genre analysis. Bernadette Ryan refers to
historiography when approaching on social details stating, “The concepts we use to
constitute facts are themselves constituted by history, they change over time and in
different contexts.” (Ryan 37)
Rock n’ roll itself was creating as a blend of different styles. Combining country,
rhythm and blues, and jazz. Mixing elements from almost every underground genre that
was not pop, rock started as a hybrid for the counter-culture. It was the epitome of
counter-hegemony from the day it began, with Elvis as the pretty face to lead the
movement.
Rock music has only had a fairly short history in respect to other genres so it is
easy to trace. Targeting younger generations specifically, when it first began in the 1950s
it was a clear social and political blow. It was a rebel’s taste. Adults were strongly against
it, thinking it was just noise. Although some adults may still think this about some many
of rock, back then it was only a smooth variation on 12-bar blues, contrary to current
times which include a harder sound. Very basic forms were as far as it went with songs
that sound similar to each other to an untrained ear. Of course, rock has come a long way
since then, both socially and musically.
When surveying rock’s history, it is always cut up into specific eras. Beginning
with Elvis and Chuck Berry, racism was subsided when it came to mainstream music in a

5. revolutionary time. The Beach Boys lead a wave of surfers and surf-music. This is where
the genre begins to grow, with plenty of experimentation going on in the studio.
Perhaps the most important groundbreaking band to happen to rock n’ roll were
the Beatles in the 60’s, completely crumbling the foundation of rock n’ roll and
reinventing the familiar sound. This was the first time that rock n’ roll was infiltrated by a
group from outside of the United States, creating the phenomena known as the British
Invasion. Globalization was finally peeking its head into the world of rock n’ roll. Not
only that, but they also brought in styles, experimental sounds, and instruments from
other countries, such as the drone-y sound of Indian music, the sitar, flutes, coughing, and
scratching (Friedlander 88).
Afterwards, Bob Dylan and folk-rock created a hybrid of the two genres, folk and
rock. The Who made a large impact on rock n’ roll by using a synthesizer, which is now a
commonly used instrument. Come the 70’s, the San Francisco sound added elements of
distortion and heavy emphasis on improvisation while leading one of the largest social
movements America has seen, the counter-culture of the hippies (Friedlander 191).
Political and social emergence lead by music was at its prime at this time. Anti-
establishment later became a prominent theme for musicians, possibly more so than the
music itself. Punk in the 80’s became the violent, savagely, frightening force bestowed
upon society (255). It is clear that there is a distinct sound and social environment for
every era that occurred.
Fast forward to now, and you will find a completely different scenario. It is
almost difficult to assume one particular sound when thinking rock n’ roll. Scanning the
rock Billboards chart you will find many different kinds of bands. There will be the soft

6. Coldplay, which can be considered Britpop, as well as the harder Foo Fighters who have
more of a grunge sound. Then there is the gothrock Evanescence next to the metal
Avenged Sevenfold (Billboard). It has gotten to the point where all these artists can fall
under the category of “alternative rock” because in actuality, there is no real concrete
label for them. Some contemporary bands actually struggle to maintain a “good old
American sound,” which can even lead to criticism since there is a strong consistency
without growth and change. On the other hand, less popular bands are experimenting by
adding new textures and concepts, even using peculiar time signatures, but remaining
under the broad genre of rock n’ roll.
Socially, a “rocker” can be identified as anyone who wears black when it is
unconventional, or wears studs on his clothes and in his ears. There are hippies wearing
tie-dye, goths wearing chain pants, metalheads growing their hair long, and much more.
Yet any of these characteristics can go with any of these labels interchangeably. And any
of these people can go under the category of “rocker.” The recurring pattern of an
ambiguous conglomerate remains for the social scene associated with rock n’ roll.
Therefore, there is this constant underlying problem of whether or not the genre
rock n’ roll has become obsolete. If the term itself does not say enough about what the
music sounds like, should it even be used anymore? Jam bands are using saxophones,
metal bands are using violins and nearly everyone is using synthesizers. What started off
as two guitars (rhythm and lead), a bass, drums, and piano (Friedlander 305), has turned
into anything that sounds good. It is almost impossible to create and keep a label.
Bands are beginning to travel to distant locations in order to incorporate styles of
all sorts. For example, Consider the Source, labeled as Sci-Fi Middle Eastern Fusion, is a

7. rock band that travelled to India for a year to “study complex tala (rhythm) of Northern
India” in order to incorporate a Middle Eastern approach to their music
(considerthesourcemusic.com). This is similar to the Beatles’ engagements in India to
accomplish a parallel goal. The simple instruments and techniques that originally made
up rock n’ roll would no longer suffice in modern day popular culture.
Perhaps the only distinction for categorization that is possible to make is
authenticity. Passion ideally is the sole driver. Music as an aesthetic world-view is
portrayed to the audience, which later creates a reality from it (Regev). The main concern
is whether or not the music is for profit or from the heart, since famous musicians can
have a great effect on society. Unfortunately, with globalization, money has become a
more leading factor for many producers who are now getting crowned although in some
cases they have not had to work very hard at all.
Music can be seen as an occupation or an artistic outlet. In popular music it is
usually for profit lessening the worth of authenticity. Rock music in particular has artistic
value due to the creativity, complexity, and commitment without alien concerns, such as
financial gain (Regev). Artistic composition is a prime motivation for the performer, and
messages conveyed are those of creative freedom (Teleaga 115). Globalization imposes
on this, making the artistic validity scarce in a world where rock n’ roll no longer means
what it used to.
When looking at the future, there is no predicting where globalization will lead us
(Teleaga 112). History may repeat itself and all the imaginative forces guiding music will
run thin leading us back to original rock n’ roll, or evolving techniques will completely

8. blind us of all we know. If globalization is synonymous with technology, the trend of
losing touch with rock n’ roll roots will be perpetuated.
In a sense, just the sole movement of rock n’ roll across the globe has been a
product of Americanization, the term used for when American aspects cross borders and
are enforced all over the globe. Many believe that it is the truest form of globalization.
But how can this be so when rock n’ roll started in America, and began changing once it
was infiltrated by outside influence? Is it Americanization or the complete opposite,
possibly deamericanization? The point being, globalization is a two-way street, with
ideas flowing in all directions back and forth.
Is it possible to say that rather than music being strongly affected by
globalization, that music is a means for globalization to occur (Tucker 555)? I have
discussed how a global culture has benefited and hindered music artistically and
industrially, but now I must step to the other side of the looking glass. Music can be the
instrument for which this globalization can occur.
Ever since networking has allowed constant communication between one culture
to the next, there has been the idea of a global language. A language we could all
understand. This has been tried with Latin and Romance languages, and more recently it
seems as though English may be taking that path. In countries all over the world, even
those where English is not the main language, words are sprinkled with English letters,
whether it be brand names or signs. But the language of music has been overlooked.
Music is written the same all over the globe. Everyone understands it, even if
interpretations happen to be different. It is a language the whole world has used to
communicate or receive a message, which can now easily be sent from one point to

9. another. This flow of music leads to the flow of ideas, income, information, and
movement. These flows are exactly what globalization entails. Music is not just
manipulated for global culture. It is an instrument for manipulation. It reaches the masses
and affects the world allowing a global culture to occur. Helping reach a goal of global
community, music brings people together, whether it be physically at a concert, or
mentally with similar interests. These similar interests can express globality with outlets
such as online forums, where music enthusiasts share their ideas on the topic.
The ideas that music conveys are far more complex than a verbal language. Songs
have such strong messages that can be far more important and in depth. Even without
lyrics this is so. Words can articulate concrete facts such as “I am sitting on a chair.” It is
true that music itself would not be able to communicate that action, but words cannot
communicate what music can. Music portrays a specific feeling with many layers. It
comes from the heart expressing emotions that one cannot, even if they are fully
comfortable with it, get across with language. “I am sad” tells a person concretely what
emotions are being felt. But writing a sad song will go into such depth, the listener will
understand every crevice of the sadness.
Emotions derived from implied meanings can be quite strong, and there is always
a distinct set up for interpretation. In this moment, one must ask himself why this widely-
accepted significance is the only that is thought of as correct (Regev). The possibility of
misinterpretation is not one that should be overlooked yet in our daily lives we
experience miscommunications regularly with speech. To assume that music is a lesser
form of expression is unfair.

10. Globalization has affected music in such a considerable way. It has altered the
industry, instruments used, social scenes, and popular culture. With all the integration of
styles, lines blur almost rendering rock n’ roll obsolete through the process. Even so,
globalization is a self-fulfilling prophecy that music itself helps complete. While some
musicians struggle to sustain authenticity and others care more for financial gain, it
becomes hard to tell what an artist’s true motives are. Music becoming a global
phenomenon puts a lot more on the plate when deciphering artistic quality. Now our
literacy and knowledge must mature to be able to grow a fond appreciation and
understanding of all that music entails.

11. Works Cited
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Music | Billboard.com. Web. 02 Dec. 2011.
<http://www.billboard.com/charts/rock-songs>.
Friedlander, Paul. Rock and Roll: a Social History. Boulder, CO: Westview, 1996.
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