Page 407 - Weiss, Jernej, ur. 2017. Glasbene migracije: stičišče evropske glasbene raznolikosti - Musical Migrations: Crossroads of European Musical Diversity. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 1
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a serbian composer in france: national identity and cosmopolitanism ...
contrasts rather than uniformity”.7 In other words, whereas universalism
as an ideology doesn’t accept and recognise cultural differences, cosmopol-
itanism implies respect and even the promotion of diversity. It could be re-
marked here that there exists a danger of tolerating differences to the lim-
it of absolutising them, which could lead to multicultural randomness. In
this situation, cosmopolitanism could have a corrective by way of the inte-
gration of the main universalist aspirations.8
It should also be taken as a normal requirement that the tolerance of
cosmopolitanism to differences should include tolerance to nationalistic
tendencies too – under condition that they be not extreme (threatening)
in form.9 In contrast to multiculturalism, which promotes the diversity of
cultures within a nation-state, cosmopolitanism applies this notion global-
ly.10 Since nation states present a reality and are here to stay for quite some
time, the notions of cosmopolitanism and multiculturalism often merge.
We have decided to use here only the former, cosmopolitanism, because
it has a more general meaning and has arisen as a concept “in the first in-
stance as a metaphor for a way of life and not in a literal guise.”11 There
are, of course, different versions of cosmopolitanism, but in this article I
am most interested in cultural cosmopolitanism.12 As has been previous-
ly mentioned, cosmopolitanism is primarily associated with the widest in-
ternational contexts, whereas multiculturalism refers to the co-existence
of different cultures within one state, that of the home nation and those
of diasporic communities, immigrants and refugees. Discourses on mu-
sic within cultural cosmopolitanism are almost exclusively linked to tradi-
tional and popular music, which is understandable since diversity of those
7 Ulf Hannerz, “Cosmopolitans and Locals in World Culture,” Theory, Culture & So-
ciety, 7/2 (1990): 239; See also: Björn Heile (2015), “Eric Bergman, Cosmopolitanism
and the Transformation of Musical Geography.” In Transformations of Musical Mod-
ernism. Series: Music since 1900, eds. Erling E. Guldbrandsen and Julian Johnson
(Cambridge: Cambridge University Press, 2005), 74–96.
8 See: Kevin Robins, The challenge of transcultural diversities. Transversal study on
the theme of cultural policy and cultural diversity. Final report. Followed by eight
research position papers (Strasbourg: Council of Europe Publishing, 2006), 161.
9 “The cosmopolitan rejects a strong nationalism,” from: “Cosmopolitanism” (entry)
in Stanford Encyclopedia of Philosophy, 2002, rev. 2013. Accessed April 25, 2016,
http://plato.stanford.edu/entries/cosmopolitanism/.
10 Anastasia Voronkova, “Are nationalism and cosmopolitanism compatible?”, p. 3.
Accessed April 15, 2016, http://www.e-ir.info/2010/11/25/are-nationalism-and-cos-
mopolitanism-compatible/.
11 Ibid..
12 Ibid..
405
contrasts rather than uniformity”.7 In other words, whereas universalism
as an ideology doesn’t accept and recognise cultural differences, cosmopol-
itanism implies respect and even the promotion of diversity. It could be re-
marked here that there exists a danger of tolerating differences to the lim-
it of absolutising them, which could lead to multicultural randomness. In
this situation, cosmopolitanism could have a corrective by way of the inte-
gration of the main universalist aspirations.8
It should also be taken as a normal requirement that the tolerance of
cosmopolitanism to differences should include tolerance to nationalistic
tendencies too – under condition that they be not extreme (threatening)
in form.9 In contrast to multiculturalism, which promotes the diversity of
cultures within a nation-state, cosmopolitanism applies this notion global-
ly.10 Since nation states present a reality and are here to stay for quite some
time, the notions of cosmopolitanism and multiculturalism often merge.
We have decided to use here only the former, cosmopolitanism, because
it has a more general meaning and has arisen as a concept “in the first in-
stance as a metaphor for a way of life and not in a literal guise.”11 There
are, of course, different versions of cosmopolitanism, but in this article I
am most interested in cultural cosmopolitanism.12 As has been previous-
ly mentioned, cosmopolitanism is primarily associated with the widest in-
ternational contexts, whereas multiculturalism refers to the co-existence
of different cultures within one state, that of the home nation and those
of diasporic communities, immigrants and refugees. Discourses on mu-
sic within cultural cosmopolitanism are almost exclusively linked to tradi-
tional and popular music, which is understandable since diversity of those
7 Ulf Hannerz, “Cosmopolitans and Locals in World Culture,” Theory, Culture & So-
ciety, 7/2 (1990): 239; See also: Björn Heile (2015), “Eric Bergman, Cosmopolitanism
and the Transformation of Musical Geography.” In Transformations of Musical Mod-
ernism. Series: Music since 1900, eds. Erling E. Guldbrandsen and Julian Johnson
(Cambridge: Cambridge University Press, 2005), 74–96.
8 See: Kevin Robins, The challenge of transcultural diversities. Transversal study on
the theme of cultural policy and cultural diversity. Final report. Followed by eight
research position papers (Strasbourg: Council of Europe Publishing, 2006), 161.
9 “The cosmopolitan rejects a strong nationalism,” from: “Cosmopolitanism” (entry)
in Stanford Encyclopedia of Philosophy, 2002, rev. 2013. Accessed April 25, 2016,
http://plato.stanford.edu/entries/cosmopolitanism/.
10 Anastasia Voronkova, “Are nationalism and cosmopolitanism compatible?”, p. 3.
Accessed April 15, 2016, http://www.e-ir.info/2010/11/25/are-nationalism-and-cos-
mopolitanism-compatible/.
11 Ibid..
12 Ibid..
405
