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This article reveals the concept of music encapsulated in the 18th century Enlightenment definition of music that failed to recognize the existence of expressions outside Europe. In 1964, the American anthropologist Alan Merriam (1923-1980), provided a broad-based definition of music according to the substance of Franz Boas' theory of "Cultural Relativism", which empowers individual communities to define music within the frame of reference of their own cultural context. In the present article, I argue that there are three types of harmony in the music of the Democratic Republic of Congo reflected in: 1) The linear harmony encapsulated in Ensemble Thematic Cycle (ETC) of traditional music interpreted by drum ensembles, 2) The homophonic harmony of Western genre implemented in chord progressions by urban bands composed of a variety of musical instruments, 3) The parallel harmony of vocal singing as linguistically imposed to maintain the communicative significance of the message in lyrics

The examination of the inserted nsumwinu (singular - Kasumwinu), in the lyrics of popular songs in the Democratic Republic of the Congo (DRC), reveals hidden roles that are both musical and linguistic. Musically, the compositional technique of the melodic contour is derived from the observation of the semantic level of the language represented by the sequential pattern of tones on words that compose the kasumwinu. Linguistically, this sequential pattern of tones that determines the meaning of the word, must be faithfully observed in the music's compositional process of the basic melodic contour, i.e., the linguistic tones dictate the direction of musical intervals, leaving the decision of the size of the interval to the creative discretion of the composer.1 This essay will reveal the linguistic significance and role of nsumwinu, in the urban music of the DRC, and to conclude that they provide the musical flexibility without altering the overall meaning of their intended message. ; The examination of the inserted nsumwinu (singular - Kasumwinu), in the lyrics of popular songs in the Democratic Republic of the Congo (DRC), reveals hidden roles that are both musical and linguistic. Musically, the compositional technique of the melodic contour is derived from the observation of the semantic level of the language represented by the sequential pattern of tones on words that compose the kasumwinu. Linguistically, this sequential pattern of tones that determines the meaning of the word, must be faithfully observed in the music's compositional process of the basic melodic contour, i.e., the linguistic tones dictate the direction of musical intervals, leaving the decision of the size of the interval to the creative discretion of the composer.1 This essay will reveal the linguistic significance and role of nsumwinu, in the urban music of the DRC, and to conclude that they provide the musical flexibility without altering the overall meaning of their intended message.

The term "globalization" has recently become a catchword in most languages. In the field of music, globalization begets the concept of "world music". As a new concept in music, globalization presents a charge to scholars and layman as to scope of its definition. In this paper I assert that regardless of its accepted definition and concept "world music" is becoming a reality as a product of the globalization process. As a hybrid product, "world music" is feeding on music cultures of the world. As with its community, and its culture, the semantic field of its language is also at present being defined. This assertion is sustained by a myriad of sound recordings born out experimental collaboration by musicians, the urban music of the Democratic Republic of Congo has contributed and continues to the evolution of the hybrid product in the attainment of its new identity. ; O termo globalização tornou-se recentemente um estribilho na maioria dos idiomas. No campo da música, globalização procria o conceito de "música mundial". Como um conceito novo em música, globalização apresenta um desafio a estudantes e leigos sobre a extensão de sua definição. Neste trabalho asseguro que, embora a sua definição e seu conceito fossem simplesmente aceitos, a música mundial está se tornando uma realidade enquanto produto do processo de globalização. Como um produto híbrido, "música mundial" está se alimentando da cultura musical mundial. Como com sua comunidade e sua cultura, o campo semântico de sua linguagem também está sendo definido. Esta afirmação é baseada numa miríade de gravações oriundas de colaboração experimental entre músicos. A música urbana da República Democrática de Congo contribuiu e continua contribuindo à evolução do produto híbrido rumo à sua identidade nova.