Divergences and convergences across European musical preferences: How taste varies within and between countries

• The relationships between musical preferences vary in each of the six countries. • The symbolic values of music genres vary across blocks of countries. • Music preferences are, at least to some extent, nationally framed. • Their associations with cosmopolitan practices are weak and vary across nations. • There is little evidence for a transnational elite with a very similar music taste. When investigating relational structures in culture, research in Europe has often either mapped the relationship between cultural tastes in a particular context, or mapped differences in cultural tastes (measured consistently) in different countries, without assessing how these differences can vary across them. Indeed, the idea of national homology (namely that the structures of cultural capital would be fairly similar in nations across Europe) has never been really tested, probably due to a lack of cross-national research on cultural preferences. Using data from the EUCROSS survey that took place in Denmark, Germany, Italy, Romania, Spain and the UK (2012–2013, n = 6016), we first use multiple correspondence analysis to estimate the relationships between a set of items on musical tastes. We then extend this through the use of class-specific analysis, to investigate how these relationships vary in each of the six countries. Finally, we analyse the relationships between the underlying dimensions of music tastes and different components of cosmopolitanism, compared with key demographic variables. We show that the musical field significantly varies across the nations represented in the survey, demonstrating that musical preferences remain largely anchored in national contexts. Cultural preferences are shaped by historical and social dynamics specific to each country, with significant variations in the symbolic value and demographic associations of music genres.