As a more general term within musical and other writing, ‘orientalism’ can carry a variety of meanings. The noun ‘orientalist’ is the traditional label for a scholar of Middle Eastern languages, culture and archeology; but the term ‘orientalism’ (and the adjective ‘orientalist’) have frequently been applied (since Said, 1978) to the entire imperialist system that in the past few centuries has defined, ruled or ‘spoken for’ the Middle East. The diverse manifestations of orientalism are now defined to include not just scholarly treatises but also Western colonial regulations, journalistic writings, school textbooks, travel posters, poetry, paintings and operas. Most recently, the term has been used to refer to European or European-derived attitudes towards any other culture, not just one located in North Africa or Asia. Lipsitz, for example, speaks of Paul Simon's and David Byrne's ‘orientalist’ fascination with the musics of sub-Saharan Africa or the Caribbean; Kramer does the same for Ravel's evocation of ancient Greece (the very cradle of Western civilization) in Daphnis et Chloé. In such writings, the term sometimes becomes a near-synonym for ‘exoticist’.