In the late 1980s, due to the growth in popularity of so-called World Music - especially the success of the Bulgarian polyphonic choral recordings of the album Le Mystère des Voix Bulgares - Corsican artists such as Voce di Corsica began to record music for the international market. Attempts to appeal to this market had a major effect on Corsican music. Ethnomusicologist Caroline Bithell describes some of these changes, saying that "paghjella" recordings began to shift from a more polyphonic sound to a more "homophonic sound where the emphasis is on the effect created by the sum of the voices," as opposed to earlier examples of "paghjella," "where the individual voices and melodic lines are far more clearly differentiated and behave more independently." Additionally, younger singers may have a tendency to exaggerate use of elements considered by outside music consumers to be "typically Corsican," such as heavy use of melisma. Despite the changes initiated by interaction with the world music market, Bithell argues that Corsica can also be seen as "one of the success stories, in musical terms, of an era where there are tales aplenty of once unique and flourishing musical cultures threatening to disappear forever," and that partly as a result of commercial recordings, "indigenous music has been pulled from the brink of the grave and grown to take its place as a national emblem."