ABSTRACT
World music is hybridisation elevated to dogma: to be admitted into the circle, musicians must promptly accept the rules of this game of succumbing openly to the intercultural dictate. World music results from an assemblage of perfectly identifiable factors, not only musical and technological, but also sociological. World music looks for consensus: tries to satisfy the largest number of people with a product of synthesis. As a musical bridge between cultures, world music is seen as humanist, generous and revolutionary; it is the crucible of a new age, of a regained paradise in which each has the freedom to express him- or herself, thus, participating in the enrichment of all through the affirmation of his or her difference. The author not criticising the good intentions of thousands of people in the western world who wish to open their minds to other cultures.
