Philip V. Bohlman is a professor of music and humanities at the University of Chicago. He has already published numerous books on ethnomusicology and anthropology. His 2001 ethnomusicology book "World Music: A Very Short Introduction" examines the effects of musicology, anthropology, sociology, history and political science on what we call "world music." The book is divided into seven chapters or "thematic leitmotifs" as According to Bohlman, these are: "In the Beginning Myth and Meaning in World Music", "The West and the World", "Between Myth and History", a focus on Arabic music, "Popular music", "Music of the nations". ', 'Diaspora', 'Colonial musics, postcolonial worlds and the globalization of world music'. Each chapter asserts not only their independence but also their interconnection with each other in some way. Recurring themes in each chapter are the ideas of "meeting", his experiences are explored, a musician (in the case of chapter five, Eurovision contestants Dana International, and chapter six, Bob Marley), an examination of meaning and identity, and world music scholars or ethnomusicologist. encounter associates music as part of the experience of it and the circumstances in which it is experienced. There is a pressure in how one "encounters" world music, being arbitrated by capitalism and global marketing. This could mean a traditional music being pushed out of its framework, hence a postcolonial evolutionary domination or a “cultural imperialism made sonic” (147). World music can also have an opposite means of identity creation, awakening and representation, promoting understanding and tranquility. Bohlman introduces different ways of approaching and interpreting the globe... at the center of the card... it has been thought of as a universal language without borders, but this expression is nothing more than a reflection of the desire to project global meaning. Cities are the centers of societies and make world music a consumption criterion like any other medium. It is not possible to separate the social contexts of the music they produce. For example, in the first chapter Naashrat Fatah Ali Khan knew the differences that the musical practice of Sufism had where Sufi music was used to decontextualize. The difference highlights the main point of the book, to interpret popular repertoire with World Music practices characteristic of revival and nostalgia. World music is renewed with new and significant meanings in today's world. Traditional melodies and functions change as Western music is subjected to them and prepare for global consumption by international labels.