Don’t play it again, Sam

McCormick, Lisa

doi:10.1057/ajcs.2014.2

Cited by 2 publications

(2 citation statements)

References 6 publications

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“…An ever‐expanding body of scholarship fuels theoretical extensions, qualifications, and criticisms of Bourdieu's theoretical model of cultural production. While one can dismiss “the standard Bourdieuian account” as a composition of “well‐worn refrains” (McCormick :260–61), Bourdieu definitely overemphasizes the division of the social world into heteronomous and autonomous spheres (Hesmondhalgh ). The on‐the‐ground reality is more nuanced than Bourdieu's typology suggests (Anheier, Gerhards, and Romo ; Lena and Pachucki ; Sapiro ).…”

Section: Status In Creative Careersmentioning

confidence: 99%

Making It in a Cover Music Scene: Negotiating Artistic Identities in a “Kmart‐Level Market”

Scarborough

2016

Sociological Inquiry

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This research examines how musicians understand art and commerce in a music scene dominated by cover bands. Drawing on thirty semi‐structured interviews and one hundred hours of ethnographic observation, I find that most musicians self‐identify as artists yet perceive social status to be rooted in commercial success. This research details what it means to “make it” in an art world that offers little institutional support or remunerative reward for artistry. Musicians employ three approaches to negotiate the disconnect between artistic identities and commercially defined status: segregating their artistic and commercial pursuits, locating artistry in their commercial work, and justifying their commercially viable activities as a means to attaining a comfortable lifestyle. This on‐the‐ground account of commercial influences’ effects on musicians informs post‐Bourdieusian research on fields of cultural production. I suggest that future research on culture producers must distinguish between social status—a position in a social hierarchy—and interpersonal respect. When esthetics are marginalized as a basis for status, musicians’ status becomes bound to employment opportunities and expansible relative to the extent of the scene.

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Section: Status In Creative Careersmentioning

confidence: 99%

Making It in a Cover Music Scene: Negotiating Artistic Identities in a “Kmart‐Level Market”

Scarborough

2016

Sociological Inquiry

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“… 10 Typically, leading musicians of neither camp occupy leading institutional positions; for example, the most prestigious double bass players did not even study jazz at jazz institutions – another reason for treating the importance of jazz auditions with care (see McCormick 2014, p. 263).…”

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confidence: 99%

The logic of distinctions in the Hungarian jazz field: a case study

Havas¹

2020

Pop. Mus.

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This study aims to make the contemporary Hungarian jazz field the focus of a sociological investigation, based on a critical reinterpretation of Bourdieu's relational theory of artistic fields. It aims to grasp the logic of symbolic distinctions by analysing the free/mainstream dichotomy. This dichotomy of historically constituted poles is understood as a system of structuring oppositions that play a decisive role in the position-takings and prestige-construction of jazz musicians. The analysis of qualitative data shows how different evaluations and interpretations of shared musical references are instrumentalised in order to occupy positions in the field. Further, this article argues that such a qualitative analysis of local jazz fields transcends the national context, since culturally hybrid jazz diasporas offer an excellent terrain for analysing how the circulation of transnational artistic references influences the cultural dynamism of local fields that are embedded within global networks of cultural production.

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Don’t play it again, Sam

Cited by 2 publications

References 6 publications

Making It in a Cover Music Scene: Negotiating Artistic Identities in a “Kmart‐Level Market”

Making It in a Cover Music Scene: Negotiating Artistic Identities in a “Kmart‐Level Market”

The logic of distinctions in the Hungarian jazz field: a case study

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