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100   $a20130327d2013      uy             0
101 0 $aeng
135   $aurcn|||||||||
181   $ctxt
182   $cc
183   $acr
200 10$aShaping jazz$b[electronic resource] $ecities, labels, and the global emergence of an art form /$fDamon J. Phillips
205   $aCore Textbook
210   $aPrinceton, NJ $cPrinceton University Press$d2013
215   $a1 online resource (233 p.)
300   $aDescription based upon print version of record.
311   $a0-691-15088-5 
320   $aIncludes bibliographical references and index.
327   $tFront matter --$tContents --$tAcknowledgments --$tIntroduction. Sociological Congruence and the Shaping of Recorded Jazz --$tChapter 1. The Puzzle of Geographical Disconnectedness --$tChapter 2. Further Exploring the Salience of Geography --$tChapter 3. Sociological Congruence and the Puzzle of Early German Jazz --$tChapter 4. Sociological Congruence and Record Company Comparative Advantage --$tChapter 5. The Sociological Congruence of Record Company Deception --$tChapter 6. The Sociological Congruence of Identity Sequences and Adoption Narratives --$tChapter 7. Pulling It Together and Stretching It Beyond --$tAppendix --$tNotes --$tReferences --$tIndex
330   $aThere 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.
606   $aJazz$xSocial aspects
606   $aJazz$xHistory and criticism
610   $aAfrican Americans.
610   $aBerlin.
610   $aGerman jazz.
610   $aMilenburg Joys.
610   $aNew York.
610   $aVictorian-era firms.
610   $aWeimar Germany.
610   $aadoption narratives.
610   $aanti-jazz sentiments.
610   $aauthenticity.
610   $ablack musicians.
610   $abottled water.
610   $aconsumers.
610   $acritics.
610   $acultural elites.
610   $acultural markets.
610   $acultural objects.
610   $acultural products.
610   $adiffusion.
610   $adiscographical canon.
610   $adisconnected cities.
610   $adisconnectedness.
610   $ageographic mobility.
610   $ageography.
610   $agreen technology.
610   $aidentity sequences.
610   $aidentity threats.
610   $aidentity.
610   $aincumbents.
610   $ajazz music.
610   $ajazz recordings.
610   $ajazz standards.
610   $ajazz.
610   $alegitimacy.
610   $amarkets.
610   $amobility networks.
610   $amusicians.
610   $ananotechnology.
610   $aorganizational role identities.
610   $aproduct appeal.
610   $aproduction.
610   $apseudonyms.
610   $arace.
610   $are-recording.
610   $areception.
610   $arecord company deception.
610   $arecord company.
610   $arecord labels.
610   $arecording industry.
610   $arecording location.
610   $asocial congruence.
610   $asocial systems.
610   $asociological congruence.
610   $asoftware.
615  0$aJazz$xSocial aspects.
615  0$aJazz$xHistory and criticism.
676   $a781.6509
700   $aPhillips$b Damon J.$f1968-$01529546
801  0$bMiAaPQ
801  1$bMiAaPQ
801  2$bMiAaPQ
906   $aBOOK
912   $a9910786967803321
996   $aShaping jazz$93773876
997   $aUNINA