Tradition and Novelty in Concert Programming: Bringing the Artist Back into Cultural Analysis

Participation in many cultural activity systems, such as art worlds or scientific communities, is highly skewed toward an elite creating a pattern of activity that emphasizes rationality and repeated events. At the same time, the introduction of new works and participants in these systems promotes t...

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Bibliographische Detailangaben
Veröffentlicht in:	Sociological Forum. - Eastern Sociological Society. - 8(1993), 2, Seite 221-242
1. Verfasser:	Gilmore, Samuel (VerfasserIn)
Format:	Online-Aufsatz
Sprache:	English
Veröffentlicht:	1993
Zugriff auf das übergeordnete Werk:	Sociological Forum
Schlagworte:	Art Music Art Worlds Artistic Rationality Innovation Arts Economics Philosophy Social sciences Behavioral sciences


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100	1		\|a Gilmore, Samuel \|e verfasserin \|4 aut
245	1	0	\|a Tradition and Novelty in Concert Programming: Bringing the Artist Back into Cultural Analysis
264		1	\|c 1993
336			\|a Text \|b txt \|2 rdacontent
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520			\|a Participation in many cultural activity systems, such as art worlds or scientific communities, is highly skewed toward an elite creating a pattern of activity that emphasizes rationality and repeated events. At the same time, the introduction of new works and participants in these systems promotes the opposite, that is, innovation. Rationality and innovative interests are usually approached and analyzed separately, but this article examines a social context in which they are jointly produced--concert music programming. To analyze the dominance of repertory, this paper documents concert programming over a single season and describes a model to illustrate the observed distribution of events. The skewed distribution of programming is then explained through reference to the aesthetic interests of concert artists, that is, composers and performers, and the congruence of a rationalized aesthetic to the recruitment of audiences and administrative rationality.
540			\|a Copyright 1993 Plenum Publishing Corporation
650		4	\|a Art
650		4	\|a Music
650		4	\|a Art Worlds
650		4	\|a Artistic Rationality
650		4	\|a Innovation
650		4	\|a Arts \|x Performing arts \|x Music \|x Musical performance
650		4	\|a Economics \|x Economic disciplines \|x Labor economics \|x Employment \|x Occupations \|x Artists \|x Performing artists
650		4	\|a Philosophy \|x Axiology \|x Aesthetics \|x Applied aesthetics \|x Musical aesthetics
650		4	\|a Arts \|x Performing arts \|x Music
650		4	\|a Philosophy \|x Axiology \|x Aesthetics
650		4	\|a Economics \|x Economic disciplines \|x Labor economics \|x Employment \|x Occupations \|x Artists \|x Musicians \|x Composers
650		4	\|a Arts \|x Performing arts \|x Music \|x Musical performance \|x Music ensembles \|x Orchestras
650		4	\|a Arts \|x Performing arts \|x Music \|x Music theory \|x Music composition
650		4	\|a Social sciences \|x Population studies \|x Human populations \|x Persons \|x Consumers \|x Audiences
650		4	\|a Behavioral sciences \|x Leisure studies \|x Recreation \|x Entertainment \|x Performing arts events \|x Music events \|x Music concerts
655		4	\|a research-article
773	0	8	\|i Enthalten in \|t Sociological Forum \|d Eastern Sociological Society \|g 8(1993), 2, Seite 221-242 \|w (DE-627)32891312X \|w (DE-600)2047302-3 \|x 15737861 \|7 nnns
773	1	8	\|g volume:8 \|g year:1993 \|g number:2 \|g pages:221-242
856	4	0	\|u https://www.jstor.org/stable/684636 \|3 Volltext
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952			\|d 8 \|j 1993 \|e 2 \|h 221-242