6

In this article, I observe an ensemble for « contemporary music » interpreting 20th century works mostly composed by Western composers, but also by Chinese and Korean composers, in Tashkent (Uzbekistan). This observation offers a case study about musical globalisation. The small-scale ethnography allows me to examine historical, political and identity issues on a local level. This paper shows that the small group of Uzbek musicians interpreting foreign composers is not only importing music from abroad. Through their practice, their taste, and their engagement, they are demonstrating their agency in their musical projects. In doing this, they are constantly renegotiating their musical identity in dialogue with external references and influences.