Music Practices Across Borders

Glaucia Peres da Silva, Konstantin Hondros (eds.) Music Practices Across Borders Music and Sound Culture | Volume 35 Glaucia Peres da Silva (Dr.) works as assistant professor at the Institute of Sociology at the University of Duisburg-Essen. Her research focuses on global markets and music. Konstantin Hondros works as a research associate at the Institute of Sociology at the University of Duisburg-Essen. His research focuses on evaluation, music, and copyright. Glaucia Peres da Silva, Konstantin Hondros (eds.) Music Practices Across Borders (E)Valuating Space, Diversity and Exchange The electronic version of this book is freely available due to funding by OGeSo- Mo, a BMBF-project to support and analyse open access book publications in the humanities and social sciences (BMBF: Federal Ministry of Education and Research). The project is led by the University Library of Duisburg-Essen. For more information see https://www.uni-due.de/ogesomo. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Na- tionalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de This work is licensed under the Creative Commons Attribution 4.0 (BY) license, which means that the text may be remixed, transformed and built upon and be copied and redistributed in any medium or format even commercially, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by/4.0/ Creative Commons license terms for re-use do not apply to any content (such as graphs, figures, photos, excerpts, etc.) not original to the Open Access publication and further permission may be required from the rights holder. The obligation to research and clear permission lies solely with the party re-using the material. First published in 2019 by transcript Verlag, Bielefeld © Glaucia Peres da Silva, Konstantin Hondros (eds.), chapters by respective authors Cover layout: Maria Arndt, Bielefeld Proofread by Michael R. Kinville Typeset by Mark-Sebastian Schneider, Bielefeld Printed by Majuskel Medienproduktion GmbH, Wetzlar Print-ISBN 978-3-8376-4667-2 PDF-ISBN 978-3-8394-4667-6 https://doi.org/10.14361/9783839446676 Content Introduction—Music practices across borders (E)valuating space, diversity and exchange Glaucia Peres da Silva & Konstantin Hondros �� 7 Valuation in a reversed economy The case of contemporary art music in France and the United States Annelies Fryberger �� 41 Culture, creativity and practice (E)valuating the Kenya Music Festival as a transnational music space Mukasa Situma Wafula ��61 “Come and expose yourself to the fantastic music from around the world” Experiencing world music festivals Peter Lell �� 85 From desire for recognition to desire for independence World music filtered in the market economy Sandrine Le Coz ��105 The invention of African art music Analyzing European-African classical cross-over projects Nepomuk Riva ��127 Contemplating musical life in Tunisia under the French protectorate—the society and challenges Alla El Kahla �� 151 The construction of an Italian diasporic identity in the city of Buenos Aires at the turn of the 19th century Daniela Anabel González ��167 Brazilian grooves and cultured clichés Janco Boy Bystron & Chico Santana �� 191 About the authors ��211 Introduction—Music practices across borders (E)valuating space, diversity and exchange Glaucia Peres da Silva & Konstantin Hondros Music practices, understood as activities connected to humanly organized sound, extend beyond enclosed spaces both physically and metaphorically, crossing borders of all kinds. When they cross the borders of national states and create stable networks among musicians, fans, people involved in the music business, etc., they can be considered transnational. Central to this concept is the idea that members of this network are embedded in more than one national state at the same time, combining elements of all of them to create and experience music. Analyses of transnational music practices (see, for example, Guilbault 1996; Glick Schiller/Meinhof 2011) point to the importance of the social space created through transnational music practices, where different forms of exchange take place and result in a diversity of sounds, performances, ways of listening, involved actors, etc. Interest- ingly, transnational music practices enjoy different meanings and statuses according to the context in which they happen (see, for example, Gaudette 2013). Although the literature describes cases where it applies, we still know little about the ways in which music practices are valued and evaluated in transnational contexts. For this reason, we consider it important to gain in- sight from new developments in the Sociology of Valuation and Evaluation (SVE) (Lamont 2012) in order to better understand how space, diversity and exchange are entangled with the valuation and evaluation of transnational music practices. Literature on valuation has indicated that the concept of value has several meanings and that different perspectives can be distinguished. Central to our understanding is John Dewey’s seminal differentiation between the perspectives of value as a verb and thus as a process and value as a noun. As a noun, values appear to be fixed entities; it is the perspective of valuing as 8 Glaucia Peres da Silva & Konstantin Hondros a process or verb that allows for several meanings of valuation to emerge. Dewey makes us aware that valuing might come in the form of prizing, in the sense of regarding something as precious. In music, this prizing could be connected to the intrinsic value of the music based on aesthetics or the lis- tener’s emotions. Valuing can also be used to appraise, which indicates an as- signing of value, whereby value is used instrumentally. In music, we can find these kinds of valuations in the form of criticism or rankings. Thus, evaluation is connected to the existence of multiple criteria and categories that are used to judge and classify objects in comparison to each other. With Lamont, we understand valuation as practices which give worth or value and evaluation as practices that assess “how an entity attains a certain type of worth.” (2012: 205) In our approach, we opted to use both concepts in the form of (e)valuation. Putting the “e” in parentheses—creating “(e)valuation”—indicates the fluid boundaries of and challenges associated with separating value and evaluation in practice. Inspired by these ideas, we organized a conference at the University of Duisburg-Essen in June 2018, entitled (E)valuating Transnational Music Prac- tices: Space, Diversity, and Exchange, in which 23 scholars from different parts of the world participated. This book presents a selection of the papers dis- cussed at the conference, offering a colorful overview of the current research on the (e)valuation of transnational music practices. The result is deliberately interdisciplinary, comprising contributions from sociology, history, musi- cology, anthropology and ethnomusicology. The papers presented in this volume discuss a myriad of coordination modes mobilized by actors involved in transnational music practices when faced with evaluative processes in different parts of the world and during different historical periods. Together, these papers broaden the perspectives of each discipline and contribute to a better understanding of their main topics in connection to transnationalism, (e)valuation and music practices. In order to offer a guideline for exploring the papers that follow, this introduction delineates a theoretical framework to shed light on the intersec- tion of both migration studies and the sociology of valuation and evaluation in the analysis of music practices. We start by defining our object—music practices—and point to its connection to both transnational aspects and (e) valuation processes. Then, we present some considerations on the study of music practices in the literature on migration and globalization before mov- ing on to discuss the theory of valuation and the value of music. In the final Introduction—Music practices across borders 9 part, we present a short case study on the (e)valuation of transnational music practices emerging from the Eurovision Song Contest (ESC). Music and music practices Discussions on the definition of music as a scientific concept have produced a series of approaches that are difficult to reconcile. Most basically, music can be understood as “sound organized into socially accepted patterns.” (Blacking 1969: 36) For Blume and Finscher (1994: 1195), “music” originally re- fers to a group of key words—Musiké, musica, Musik—whose history, defi- nitions, classifications and meanings interweave in complex ways and are interpreted differently in each subject

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