The Jazz Community

Merriam, Alan P.; Mack, Raymond W.

doi:10.2307/2574084

Cited by 28 publications

(17 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…He claimed that most “consumers” are not willing to identify the music they buy as “products”: “what was missing in the 2009 bill was perhaps that it is not only artists who should start to identify themselves as entrepreneurs, but consumers, too, should start to identify what we create as “products” instead of artistic objects allegedly belonging to another sphere than ordinary consumption goods”. Merriam and Mack (), supporting that notion, found that “the specific character which sets the jazz community apart from all other occupational groups … is that not only the professionals constitute a group, but their public is included in it”. This is equally relevant for classical and ethnic musicians.…”

Section: Interviewsmentioning

confidence: 97%

Musicians as entrepreneurs or entrepreneurs as musicians?

Albinsson

2018

Creat Innov Manage

View full text Add to dashboard Cite

This study investigates how Swedish musicians in the non‐profit sector accept the “entrepreneur” label for themselves. The background section describes how identity work among “serious” musicians has, historically, made them shun any facet related to money‐making. The qualitative study shows that there is some remaining reluctance. But it is obvious that freelance musicians recognize the need for entrepreneurial skills. A majority of those interviewed regard themselves as “entrepreneurs”, although in most cases it is out of necessity. It seems that the older generations are more hesitant than the younger. I conclude that it would be beneficial if musicians, during their higher education, were introduced to basic entrepreneurial skills.

show abstract

Section: Interviewsmentioning

confidence: 97%

Musicians as entrepreneurs or entrepreneurs as musicians?

Albinsson

2018

Creat Innov Manage

View full text Add to dashboard Cite

show abstract

“…For the most part, the community of jazz modernists in St. Louis prefers the self-isolation reported in earlier studies (Cameron, 1954;Merriam and Mack, 1960). Members are knowledgeable in some areas of life such as sex, drugs, and street survival, but naive in many others because their Downloaded by [New York University] at 11:16 25 June 2016 profession's work schedules and demand for practice removes them from many everyday activities.…”

Section: Primary Relationsmentioning

confidence: 89%

“…Because of this strain between the roles of "the creative artist" and "the commercial entertainer," public hostility, and their isolation as "night people" from many areas of social life, jazz musicians had partitioned the world into two segments. The first was composed of insiders, jazz players and a portion of their audience; the second was composed of outsiders or "squares" (Merriam and Mack, 1960). The goal of avoiding contamination by limiting contacts with outsiders was of central importance to the jazz musician.…”

mentioning

confidence: 99%

The occupational orientations of jazz musicians: Some recent findings and a reexamination of the evidence

Corzine

Sherwood²

1983

Sociological Spectrum

View full text Add to dashboard Cite

“…He had many of the attributes of the Chicago jazz musician in the late 1940s as described by Becker (1951) and further examined by Merriam and Mack (1960). It touches on a persistent myth in our own culture, evoking ideas of youthful genius doomed to burn itself out and die an early and tragic death.…”

Section: Discussionmentioning

confidence: 99%

Amin-e Diwaneh: the musician as madman

Baily¹

1988

Pop. Mus.

View full text Add to dashboard Cite

While engaged in research on the long-necked lute called Herati dutdr in 1974,1 was frequently told about a virtuoso dutdri (dutdr player) who had died a few years earlier after a fight with a gang of 'thugs' in the city of Kandahar. His name was Amin-e Diwaneh. The Persian word diwaneh means 'crazy', and was applied to people who (in terms of Western psychiatry) might be classed as 'insane', though the cause of insanity was usually attributed to spirit possession. Diwaneh was also a description for individuals who were particularly erratic in their behaviour, and was often used affectionately. Amin the dutdri was such a person.Amin-e Diwaneh was said to have been a remarkable dutdr player; in his hands the dutdr 'talked', or 'shouted', it sang like a crazy spirit. He was said to have a special gift from God (bakshish-e Khoddi). He was described as the best dutdr player in Afghanistan; no other dutdri could 'play in front of him'. Although he was a selftaught musician it was claimed that he played better than the hereditary professional musicians (sdzandeh), who received musical training from an early age. He was very eccentric, certainly in terms of Afghan norms of behaviour. He wore his shirt front undone, exposing his chest, a degree of public nakedness which was considered quite unusual, and he wore metal amulets (tawiz) around his neck. He always carried his dutdr around with him, whereas other musicians concealed their instruments in public, for they were often criticised by orthodox Muslims for engaging in 'the work of Satan'. Amin would play anywhere, in teahouses, even in the bazaar.He was said to be 'deep' in his life; although he moved in this world he seemed to be in another. Many people were frightened by him and his reputation for being a diwaneh, a madman, but he appealed to the 'Majnun types', those who rejected the norms and conventions of society at large, and who, like Majnun (in the famous tale of Leyli and Majnun) wanted to get away, to be alone in the desert. Such people, described as having complexes about life, sadnesses, dissatisfactions -who rejected the world of material things -they liked him and called him Diwaneh out of respect and admiration. And he liked such people and responded to them. He was a charsi, a habitual smoker of hashish (or chars as cannabis resin is called in Afghanistan) and he could be very aggressive. Towards the end of his life he gave up living in the city and became an itinerant amongst the ziydrats, the shrines of Sufi saints which abound in the Herat valley. He was then likened to a malang, a type of religious mendicant who inhabited such places. These were the kinds of comments made about Amin-e Diwaneh by other dutdr players.Herat, where Amin lived and died, is the third largest city in Afghanistan, and is located in the west, 80 miles from the border with Iran, and far from Kabul, Afghanistan's capital, situated in the east. Herat was a provincial city, which since the 1930s had in musical terms been orientated towards Kabul, although Herat's

show abstract

The Jazz Community

Cited by 28 publications

References 0 publications

Musicians as entrepreneurs or entrepreneurs as musicians?

Musicians as entrepreneurs or entrepreneurs as musicians?

The occupational orientations of jazz musicians: Some recent findings and a reexamination of the evidence

Amin-e Diwaneh: the musician as madman

Contact Info

Product

Resources

About