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Glaucia Peres da Silva &#38; Konstantin Hondros (eds.) Bielefeld: Transcript, Open Access. About the book. Connecting migration studies and the theory of valuation, this collection offers an interdisciplinary approach to the study of transnational music practices. Conceiving music as a practice not confined to audibility, the contributions reveal how music emerges in concrete situations through people, objects, techniques, meanings, and emotions in different parts of the world and during different historic periods. Values are thereby created and shared, and creative processes are evaluated in terms of diversity, space and exchange. This book presents cases of contemporary, popular and traditional music, festivals and trade fairs, albums and band projects, shedding light on the tensions between the transfer, reconstruction and creation of music in different contexts.Glaucia Peres da Silva &#38; Konstantin Hondros: "Introduction - Music practices across borders",  p. 7-40  Excerpts.  “[…]  we consider it important to gain insight 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 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 listener’s emotions. Valuing can also be  used to appraise, which indicates an assigning 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. […] A valuable background for the discussion about heterarchies,  modes of coordination, or, as Boltanski and Thévenot (2006) call it,  orders of worth, is their seminal work On justification.  In their study opposing a neo-classical model of economics and economic  rationalization, they show how several different and distinguishable  modes of attaching value exist. While their model was initially  comprised of six orders of worth (market, industrial,  civic, domestic, inspired, and fame) (Boltanski/Thévenot 1999), it is  based on actors’ practices and is neither qualitatively, quantitatively,  nor temporarily fixed. Diverting orders of worth usually become  apparent in situations of conflict, called critical  moments, where justifications for a value judgment are uncertain. This  makes values contingent. Yet, one of Boltanski and Thévenot’s  main arguments is that coordination between actors is still possible,  and they show how diverting orders of worth can converge and allow for  compromises.” p.7/8 &#38; p.17Sandrine Le Coz: "From desire for recognition to desire for independence. World music filtered in the market economy.",  p. 105-126 Excerpts. “This  contribution will involve the structuring of a sector of music industry  in a full reconfiguration—the one still awkwardly designated by world  music syntagma—into transnational and heterogenous  networks of key players. In this way, I propose to analyze the impact  of their decision-making power in new art venues—what its participants  commonly call markets, exhibitions, fairs. Circuits, hot spots, honorary  awards, expert panels: the question that arises  regarding this ecosystem’s functioning is how is the value of an  artistic act established and decreed, and what, therefore, is the value  of the one who produces it? The word value comes from the Latin “valor”,  derived from “valere” which means “to be powerful”.  Whoever has value, therefore, becomes desirable and worthy of esteem.  In economic jargon, we talk about useable value or exchange value. In  this text, I will look at the sociological acceptance of value, defined  by Luc Boltanski and Laurent Thévenot (1991),  as economy of greatness. […] Finally, the works of John Dewey, Nathalie  Heinich and Luc Boltanski are of great help in analyzing how the bias  of value’s negotiation lets us catch a glimpse of the manufacture of a  space of social relations. The challenges of  social reproduction, in a configuration like the microcosm of  professional world music markets, are easily identified thanks to the  relationships maintained by its actors and the construction of their  sustainability within, paradoxically, piecemeal meetings  set around the world. What ensures their presence? A belief based on a  rhetoric manifesting the necessity of belonging to these networks in  order to make and maintain one’s place. For exchange and cooperation to  exist, there must be a system of reciprocal  expectations: these systems are deployed in worlds governed by the  coherence of principles that are activated there (cf. Boltanski/Thévenot  1991).” (p. 112/113)p. 105/106 &#38; p. 112/113Link to the bookDownload link