Abstract
Evaluation of music by its listeners and fans is influenced by large social categories, such as age, gender, ethnicity, race, (dis)ability, socioeconomic profile, and social class. In the paper, the authors focus on the role that the complexity of cultural capital plays in the evaluation of music.
In this respect, they follow Pierre Bourdieu, who considered taste to be the most significant manifestation of habitus, which he understood as a field of cultural practices in which a person or group feel comfortable, but which is also strongly determined by socio-economic status. The authors aim to open a debate about the evaluation of pseudo-folklore and hybrid forms of folk and popular music, even in relation to the category of world music.
Specifically, they are primarily interested in debates devoted to these musical forms that are led both by their listeners, fans, and their opponents, and secondly, in the expert debate of music journalism and the academic community. At the same time, these debates reflect topics of deep social relevance, which have long been facing not only Czech, but also, for example, Serbian and Austrian societies.
The authors extend the questions of social cohesion or fragmentation into bubbles determined by taste. They point out some transgressive musical practices, which, however, confirm the general logic of colonization or gentrification of so-called lower musical forms.