ABSTRACT
This chapter addresses the tension by focusing on four points. First, the ways of performing and transmitting this practice are localised phenomena that have been adapted to the contexts of such enactments. Second, the risk of conflating the category of analysis (musical practice, in this book) with the categories elaborated by practitioners. Third, the way in which practitioners define the identity of mobile practices through discourses of authenticity. Fourth, the opposition between these discourses and musical mobilities is analysed as friction. To address the ways in which practices acquire a reified identity, the chapter focuses on how a sense of consistency is produced amid constant change. It examines how the resistance produced between fixity and circulation enables movement by providing the 'grip' that sets practices in motion. The chapter also examines the variations in practice as it is enacted in different contexts.
