Music practices, understood as activities connected to humanly organized sound, extend beyond enclosed spaces both physically and metaphorically, crossing borders of all kinds. When they cross the borders of national states and create stable networks among musicians, fans, people involved in the music business, etc., they can be considered transnational. Central to this concept is the idea that members of this network are embedded in more than one national state at the same time, combining elements of all of them to create and experience music. Analyses of transnational music practices (see, for example, Guilbault 1996; Glick Schiller/Meinhof 2011) point to the importance of the social space created through transnational music prac-tices, where different forms of exchange take place and result in a diversity of sounds, performances, ways of listening, involved actors, etc. Interest-ingly, transnational music practices enjoy different meanings and statuses according to the context in which they happen (see, for example, Gaudette 2013). Although the literature describes cases where it applies, we still know little about the ways in which music practices are valued and evaluated in transnational contexts. For this reason, we consider it important to gain in-sight from new developments in the Sociology of Valuation and Evaluation (SVE) (Lamont 2012) in order to better understand how space, diversity and exchange are entangled with the valuation and evaluation of transnational music practices.