05662nam 2201273Ia 450 991078696780332120230126210343.01-4008-4648-X10.1515/9781400846481(CKB)2670000000367971(EBL)1144310(OCoLC)847526698(SSID)ssj0000888152(PQKBManifestationID)12319017(PQKBTitleCode)TC0000888152(PQKBWorkID)10847476(PQKB)11607278(MiAaPQ)EBC1144310(StDuBDS)EDZ0001752265(MdBmJHUP)muse43351(DE-B1597)453912(OCoLC)979758557(DE-B1597)9781400846481(Au-PeEL)EBL1144310(CaPaEBR)ebr10718662(CaONFJC)MIL496458(EXLCZ)99267000000036797120130327d2013 uy 0engurcn|||||||||txtccrShaping jazz[electronic resource] cities, labels, and the global emergence of an art form /Damon J. PhillipsCore TextbookPrinceton, NJ Princeton University Press20131 online resource (233 p.)Description based upon print version of record.0-691-15088-5 Includes bibliographical references and index.Front matter --Contents --Acknowledgments --Introduction. Sociological Congruence and the Shaping of Recorded Jazz --Chapter 1. The Puzzle of Geographical Disconnectedness --Chapter 2. Further Exploring the Salience of Geography --Chapter 3. Sociological Congruence and the Puzzle of Early German Jazz --Chapter 4. Sociological Congruence and Record Company Comparative Advantage --Chapter 5. The Sociological Congruence of Record Company Deception --Chapter 6. The Sociological Congruence of Identity Sequences and Adoption Narratives --Chapter 7. Pulling It Together and Stretching It Beyond --Appendix --Notes --References --IndexThere are over a million jazz recordings, but only a few hundred tunes have been recorded repeatedly. Why did a minority of songs become jazz standards? Why do some songs--and not others--get rerecorded by many musicians? Shaping Jazz answers this question and more, exploring the underappreciated yet crucial roles played by initial production and markets--in particular, organizations and geography--in the development of early twentieth-century jazz. Damon Phillips considers why places like New York played more important roles as engines of diffusion than as the sources of standards. He demonstrates why and when certain geographical references in tune and group titles were considered more desirable. He also explains why a place like Berlin, which produced jazz abundantly from the 1920's to early 1930's, is now on jazz's historical sidelines. Phillips shows the key influences of firms in the recording industry, including how record companies and their executives affected what music was recorded, and why major companies would rerelease recordings under artistic pseudonyms. He indicates how a recording's appeal was related to the narrative around its creation, and how the identities of its firm and musicians influenced the tune's long-run popularity. Applying fascinating ideas about market emergence to a music's commercialization, Shaping Jazz offers a unique look at the origins of a groundbreaking art form.JazzSocial aspectsJazzHistory and criticismAfrican Americans.Berlin.German jazz.Milenburg Joys.New York.Victorian-era firms.Weimar Germany.adoption narratives.anti-jazz sentiments.authenticity.black musicians.bottled water.consumers.critics.cultural elites.cultural markets.cultural objects.cultural products.diffusion.discographical canon.disconnected cities.disconnectedness.geographic mobility.geography.green technology.identity sequences.identity threats.identity.incumbents.jazz music.jazz recordings.jazz standards.jazz.legitimacy.markets.mobility networks.musicians.nanotechnology.organizational role identities.product appeal.production.pseudonyms.race.re-recording.reception.record company deception.record company.record labels.recording industry.recording location.social congruence.social systems.sociological congruence.software.JazzSocial aspects.JazzHistory and criticism.781.6509Phillips Damon J.1968-1529546MiAaPQMiAaPQMiAaPQBOOK9910786967803321Shaping jazz3773876UNINA