Artistic-professional strategies in the music sector. The case of the jazz scene in Barcelona

Journal title SOCIOLOGIA DEL LAVORO
Author/s Marta Casals Balaguer
Publishing Year 2020 Issue 2020/157
Language English Pages 19 P. 145-163 File size 267 KB
DOI 10.3280/SL2020-157008
DOI is like a bar code for intellectual property: to have more infomation click here

Below, you can see the article first page

If you want to buy this article in PDF format, you can do it, following the instructions to buy download credits

Article preview

FrancoAngeli is member of Publishers International Linking Association, Inc (PILA), a not-for-profit association which run the CrossRef service enabling links to and from online scholarly content.

This article aims to analyse the strategies that jazz musicians in Barcelona adopt to develop their artistic careers. It focuses on studying three main areas that influ-ence the construction of their artistic-professional strategies: a) the administrative dimension, characterized mainly by management and promotion tasks; b) the artistic-creative dimension, which includes the construction of artistic identity and the creation of works of art; and c) the social dimension within the collective, which groups together strategies related to the dynamics of cooperation and col-laboration between the circle of musicians. The applied methodology came from a qualitative perspective, and the main research methods were semi-structured inter-views conducted with active professional musicians in Barcelona and from partic-ipant observation.

Keywords: Artistic work, musicians, jazz, Barcelona

  1. Abbott A. (1988). The System of Professions: An Essay on the Division of Expert Labor. Chicago: The University of Chicago Press.
  2. Ariño A., Castelló R., Hernández G.M. and Llopis R. (2006). La participación cultural en España. Madrid: Fundación Autor.
  3. Becker H. (1982). Art worlds. Berkeley: University of California.
  4. Becker H. (2000). The etiquette of improvisation. Mind, Culture, and Activity, 7(3): 171-76. DOI: 10.1207/S15327884MCA0703_0
  5. Bennet A. and Peterson, R. (2004). Music scenes: local, translocal, and virtual. Nashville: Vanderbilt University Press.
  6. Casals Balaguer M. (2017). An analysis towards the construction and the role of collaborative circles in jazz musicians of Barcelona. Digithum, (20).
  7. Casals Balaguer M. (2018). Los músicos y su profesión. Trabajo artístico y profesionalización en el jazz y la música moderna. Un análisis sociológico. (Doctoral Thesis). Barcelona: University of Barcelona.
  8. Casula C. (2018). Torn Between Neoliberal and Postmodern Trends, Corporatist Defence and Creative Age Prospects: The Ongoing Reshaping of the Classical Music Profession in Italy. Cambio, 8(16).
  9. Chan T.W. and Goldthorpe J.H. (2006). Social Stratification and Cultural Consumption: Music in England. European Sociological Review, 23(1): 1-19.
  10. Collins R. (2004). Interaction ritual chains. Princeton, New Jersey: Princeton University Press.
  11. Coulson S. (2012). Collaborating in a competitive world: musicians’ working lives and understandings of entrepreneurship. Work, Employment and Society. 26(2): 246-61. DOI: 10.1177/0950017011432919
  12. Crane D. (1992). The production of culture. Media and the urban arts. Newbury Park, California: Sage Publications.
  13. Farrell M. (2003). Collaborative circles. Chicago: University of Chicago Press.
  14. Faulkner R. (1983). Music on demand: Composers and careers in the Hollywood film industry. New Jersey: Transaction, Inc.
  15. Faulkner R. (1985). Hollywood studio musicians: Their work and careers in the recording industry. Lanham, MD: University Press of America Inc.
  16. Freidson E. (1986a). Professional Powers: A Study of the Institutionalization of Formal Knowledge. Chicago and London: The University of Chicago Press.
  17. Freidson E. (1986b). Les professions artistiques comme défi à l’analyse sociologique. Revue de sociologie française 27(3): 431-43.
  18. Frith S. (1978). The sociology of rock. London: Constable & Robinson.
  19. Guadarrama Olivera R. (2014). Multiactividad e intermitencia en el empleo artístico. El caso de los músicos de concierto en México. Revista Mexicana de Sociología. 76(1): 7-36.
  20. Larson M.S. (1977). The rise of professionalism: A sociological analysis. California: University of California Press.
  21. Lopes P. (2004). The rise of a jazz art world. Cambridge: Cambridge University Press.
  22. Mangset P., Heian M.T., Kleppe B. and Løyland, K. (2016). Why are artists getting poorer? About the reproduction of low income among artists. International Journal of Cultural Policy, 24(4): 539-558. DOI: 10.1080/10286632.2016.1218860
  23. Menger P.M. (1997). La Profession de comédien: formations, activités et carrières dans la démultiplication de soi. Paris: Ministère de la Culture et de la Communication.
  24. Menger P.M. (2006). Artistic labor markets: Contingent work, excess supply and occupational risk management. In Ginsburhg V.A. and Throsby D. (Eds.), Handbook of the economics of art and culture. Elseiver B.V.
  25. Monson I. (1996). Saying something. Jazz improvisation and interaction. Chicago: University of Chicago Press.
  26. Papo A. (1985). El jazz a Catalunya. Barcelona: Edicions 62.
  27. Pecourt Gracia J. and Rius-Ulldemolins J. (2018). La digitalización del campo cultural y los intermediarios culturales: una crítica social del utopismo digital. Revista Española de Investigaciones Sociológicas, 162: 73-90.
  28. Perrenoud M. (2007). Les musicos: enquête sur des musiciens ordinaires. Paris: La Découverte.
  29. Perrenoud M. (2009). Formes de la démultiplication ches les «musicos». In Bureau M.C., Perrenoud M. and Shapiro, R. (Eds.) L’artiste pluriel. Démultiplier l’activité pour vivre de son art. France: Presses Universitaires du Septentrion.
  30. Perrenoud M. and Bataille P. (2017). Artist, Craftsman, Teacher: “being a musician” in France and Switzerland. Popular Music and Society, 40(5): 592-604. DOI: 10.1080/03007766.2017.1348666
  31. Pujol Baulenas J. (2005). Jazz en Barcelona 1920-1965. Barcelona: Almendra Music.
  32. Stebbins R. (1968). A theory of the jazz community. The Sociological Quarterly. 9(3): 318-31.
  33. Taylor S.J. and Bogdan R. (1987). Introducción a los métodos cualitativos de investigación. la búsqueda de significados. Barcelona: Ediciones Paidós.
  34. Throsby D. and Zednik A. (2011). Multiple job-holding and artistic careers: some empirical evidence. Cultural Trends, 20(1): 9-24.
  35. Umney C. and Kretsos L. (2013). Creative labour and collective interaction: the working lives of young jazz musicians in London. Work, Employment and Society, 28(4): 571-588. DOI: 10.1177/0950017013491452
  36. Wilensky H.L. (1964). The professionalization of everyone? American Journal of Sociology 70(2): 137-158. Berkeley, CA: Department of Political Science, University of California. DOI: 10.1086/223790

Marta Casals Balaguer, Artistic-professional strategies in the music sector. The case of the jazz scene in Barcelona in "SOCIOLOGIA DEL LAVORO " 157/2020, pp 145-163, DOI: 10.3280/SL2020-157008