What is world music and why do we have such a category?

It is often problematic when trying to define what World Music is. The genre defines any type of ‘indigenous’ music which doesn’t fit into the ‘Anglo American nexus’. Shuker discussed how the wide distribution of popular music from dominant countries to inferior countries had led to a form of cultural imperialism, Anglo American popular music then had been established as the standard global template for music. The birth of the World Music category was then due to ‘indigenous’ artists holding onto their cultural identity and dismissing the Anglo American standards. However I agree with Smith who criticized the theory for being out dated as it relies on ‘analysis of the relationships between nation-states whereas we live in an increasingly globalized world'.
Personally I think that the reason for why do we have such a category is due to its position as a genre for music which is hard to define. Without its ability to fit into category, record labels would have problems promoting the music and so the creation of the World Music category can be seen as purely a selling device for record companies.

Is popular music a mass produced commodity or a genuine art form?

When looking at which types of music are considered as genuine art forms it is hardly ever popular music which is included. Much like Adorno, we often take the stance that music produced within the popular music industry are products of industrial standardization, mass produced with the sole purpose of making a large profit, lacking in both creativity and artistic substance. There is much evidence to support this claim with programmes for example such as The X Factor. Bernard Gendron argues against the views of Adorno, believing that the focus is on the way in which the different artists manipulate the meaning of a song through their performance. The Smiths for example were categorized as popular music due to their quick popularity and huge success. This popularity was due to their unique sound and meaningful lyrics which is now highly praised. It is then interesting to suggest that the idea of a mass produced commodity and a genuine art form as polar is wrong and that perhaps popular music can be explained as a mixture of the two. 

How useful is a production of culture perspective in understanding the birth of rock and roll?

Peterson’s production of culture perspective is useful in understanding the birth of Rock n Roll. It addresses 6 points which developed at the same point in time which consequently influenced its emergence. This approach is more realistic than the idea that the genre was born from its artists or that it was a result of the post war baby boom.
This approach tackles many of the factors which contributed to Rock n Roll’s emergence, however it’s hard to ignore that it doesn't account for a major factor which contributed to its birth, the music itself. It doesn't discuss the production or content of the music but rather its distribution. It doesn't pinpoint why it was this particular genre which emerged in 1955. Technologically it doesn't discuss the development of the microphone, amplification, recording and the electric guitar, all major aspects of Rock n Rolls unique sound. Lastly it doesn't address the connection and engagement between the genre and teenagers, the audience which had most control over its popularity. It is therefore plausible to suggest that if these factors were combined with the 6 points in the production of culture perspective that perhaps we would have a much more concise picture of why it actually was 1955. 

Is it reasonable to consider that rock music is gendered male?

It is noticeable that within rock music the ratio between men and women rock musicians is very unbalanced. Mavis Beyton suggests that the reason for women’s absence in rock music is entirely social, something which is installed in each generation, proof of this is how children are often assigned to a musical instrument depending on there gender, girls play pianos and boys play guitars. The guitar is a masculine object, so when a woman plays a guitar she must ensure that she is also sexually appealing. This takes the artists full attention away from playing in turn producing music which is not considered innovative. Charlotte Greig points out that for a woman to become a successful she must become ‘masculine’, it is then interesting how many male rock musicians often become successful through combining their masculinity with elements of femininity. It is therefore clear that from its artists right through to its links with technology which is considered masculine that overall rock music is gendered male.