Occupational rhetoric and ideology: A comparison of copy and original music performers

Groce, Stephen B.

doi:10.1007/bf00989399

Cited by 26 publications

(18 citation statements)

References 11 publications

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“…However, a range of behaviours suggest that many of these occupational artefacts assume the status of totems with symbolic and nostalgic value even though they may become redundant in a practical sense through career change or retirement. The material declines in importance into retirement while symbolic status grows (cf Groce, 1989). This latter point is intimately associated with the individual chef and their career and it would be of future research interest to determine whether the symbolic importance vested in these artefacts extends beyond the lifespan of that individual, and indeed tease out gender differences and so gendered politics (cf Hinton, 2014).…”

Section: Resultsmentioning

confidence: 99%

Work(ing) artefacts: Tools of the trade, totems or trophies?

Robinson

Baum

2019

Human Relations

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Do workplace artefacts have utility for their custodians beyond the workplace context? A new materiality perspective allowed the conversation to move beyond the parameters of the organisation and into the private spheres of both practicing and retired para-professionals. In this study of chefs, we discover the deliberate acquisition of occupational artefacts beyond their organisational utility. These artefacts betray a post-occupational identity deeply revelatory of materiality. We ask in what ways are these artefacts symbolic, or totemic? Findings provide fresh insights into how artefacts are mobilised as reverent ‘working’ objects, as totems and trophies for nostalgia. This facilitates reflections on how work was or ought to be, and so in turn who or ‘what I am’ or ‘who I was’. Theoretically, this enables us to extend the nexus of materiality and work and materiality and everyday life over both time and place.

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Section: Resultsmentioning

confidence: 99%

Work(ing) artefacts: Tools of the trade, totems or trophies?

Robinson

Baum

2019

Human Relations

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“…Yet, commercial considerations alter the pure esthetic hierarchy of a music scene. Musicians who perform highbrow orchestral music (e.g., Dowd and Kelly ) and those who perform lowbrow covers of popular music (e.g., Groce ; Mullen ) must narrow their routines to secure stable careers. While these musicians limit their oeuvre for professional mobility, musicians in other scenes view the performance of cover music to be low profile and low‐status work because it does not deal with “serious” or “art” music (Frederickson and Rooney ; MacLeod ).…”

Section: Status In Creative Careersmentioning

confidence: 99%

Making It in a Cover Music Scene: Negotiating Artistic Identities in a “Kmart‐Level Market”

Scarborough

2016

Sociological Inquiry

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This research examines how musicians understand art and commerce in a music scene dominated by cover bands. Drawing on thirty semi‐structured interviews and one hundred hours of ethnographic observation, I find that most musicians self‐identify as artists yet perceive social status to be rooted in commercial success. This research details what it means to “make it” in an art world that offers little institutional support or remunerative reward for artistry. Musicians employ three approaches to negotiate the disconnect between artistic identities and commercially defined status: segregating their artistic and commercial pursuits, locating artistry in their commercial work, and justifying their commercially viable activities as a means to attaining a comfortable lifestyle. This on‐the‐ground account of commercial influences’ effects on musicians informs post‐Bourdieusian research on fields of cultural production. I suggest that future research on culture producers must distinguish between social status—a position in a social hierarchy—and interpersonal respect. When esthetics are marginalized as a basis for status, musicians’ status becomes bound to employment opportunities and expansible relative to the extent of the scene.

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“…All interactions have identity effects. As such, occupational identity is constructed, reconstructed, and sustained within a community of workers as they collectively deploy various rhetorical and other devices to make sense of their work context, differentiate themselves from other occupational groups, and support their individual identities (Groce 1989;Fine 1996;Kitay and Wright 2007;Clarke, Brown, and Hailey 2009;Thornborrow and Brown 2009).…”

Section: Occupational Identity Constructionmentioning

confidence: 99%

Invisibilised dirty work: The multiple realities of US airline pilots’ work

Fraher

2016

Culture and Organization

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Occupational rhetoric and ideology: A comparison of copy and original music performers

Cited by 26 publications

References 11 publications

Work(ing) artefacts: Tools of the trade, totems or trophies?

Work(ing) artefacts: Tools of the trade, totems or trophies?

Making It in a Cover Music Scene: Negotiating Artistic Identities in a “Kmart‐Level Market”

Invisibilised dirty work: The multiple realities of US airline pilots’ work

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