Globalization and Musical Hierarchy in the United States, France, Germany, and the Netherlands

Schmutz, Vaughn; Dowd, Timothy J.

doi:10.1007/978-3-319-64586-5_8

Cited by 1 publication

(2 citation statements)

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“…First, we assess contemporaneous success in two nations, the United States and the United Kingdom. This mirrors the publishing home of two of the consecrating agents ( Rolling Stone and Prog , respectively) and captures the two nations at the core of popular music more broadly and progressive rock in particular (Dowd et al, 2016; Schmutz & Dowd, 2018). Contemporaneous critical success occurs when prog albums appeared on annual “best of” listings provided by mainstream critics at Village Voice (the United States; https://www.villagevoice.com) or at New Musical Expres s (the United Kingdom; https://www.nme.com).…”

Section: Methodsmentioning

confidence: 88%

“…Two of these outlets are traditional magazines respectively published in the United States ( Rolling Stone ) and the United Kingdom ( Prog )—with Rolling Stone being a rock music generalist, and Prog being a progressive rock specialist. These are reasonable choices given the prominent (if not hegemonic) role that the nations in which they are based play in terms of global popular music, in general, and global progressive rock, in particular (Dowd, 2013, 2014a; Schmutz & Dowd, 2018). The third ( Prog Archives ) is an online outlet.…”

Section: Methodsmentioning

confidence: 99%

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Retrospective Consecration Beyond the Mainstream: The Creation of a Progressive Rock Canon

Dowd

Ryan

Schmutz

et al. 2019

American Behavioral Scientist

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Based on a sample of 28,360 albums identified by an online community devoted to progressive rock, this article examines factors that shape the retrospective consecration of music that operates beyond the mainstream. Drawing on previous work on fields of cultural production, genre trajectories, and creative careers, the article produces findings that both replicate and innovate. As in previous research, critical acclaim greatly enhances the likelihood of consecration; however, it is not mainstream critics but underground critics whose opinions are most influential and most consistent with popular appeal among the progressive rock audience. Likewise, although performers from the “first wave” of progressive rock and from the United Kingdom have an advantage in getting consecrated, a more recent wave of performers in the online era see higher odds of consecration and there is neither a significant advantage for U.S.-based performers nor a significant disadvantage for performers from the margins. Findings suggest that the relationship between different types of legitimation varies across fields and that in progressive rock—a field with a high degree of aesthetic solidarity—some sources of acclaim often thought of as being in competition are actually compatible.

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Section: Methodsmentioning

confidence: 88%

Section: Methodsmentioning

confidence: 99%