How do Outsider Styles Become Legitimated? The Introduction of Bossa Nova in the Jazz Field

dc.contributor.authorCHARLES KIRSCHBAUM
dc.coverage.cidadeSão Paulopt_BR
dc.coverage.paisBrasilpt_BR
dc.date.accessioned2023-07-25T03:41:02Z
dc.date.available2023-07-25T03:41:02Z
dc.date.issued2012
dc.description.abstractThis paper explores the emergence and enactment of new musical styles from the perspective of critics. As the field absorbs a new style, the critics assess whether it belongs or not to the established tradition. In parallel, as musicians produce art works following the new style, critics classify and rate them. This signaling activity helps us to understand how the legitimacy process takes place vis-à-vis the production of new records. For that purpose, we explore the introduction of Bossa Nova in the Jazz field. Our results show that as this process evolved, records that combined Bossa Nova elements with Jazz were more likely to penetrate the core of the community. Conversely, musicians who played pure Bossa Nova were kept in the periphery. Finally, the assessment of “what is Bossa Nova” moved back and forth from positive statements (BN “is” Brazilian Music, inter alia) to negative statements (e.g. BN “is not” Jazz, inter alia). This swing between positive and negative statements accompanied distinctive inflection points in the institutionalization of Bossa Nova.
dc.description.otherThis paper explores the emergence and enactment of new musical styles from the perspective of critics. As the field absorbs a new style, the critics assess whether it belongs or not to the established tradition. In parallel, as musicians produce art works following the new style, critics classify and rate them. This signaling activity helps us to understand how the legitimacy process takes place vis-à-vis the production of new records. For that purpose, we explore the introduction of Bossa Nova in the Jazz field. Our results show that as this process evolved, records that combined Bossa Nova elements with Jazz were more likely to penetrate the core of the community. Conversely, musicians who played pure Bossa Nova were kept in the periphery. Finally, the assessment of “what is Bossa Nova” moved back and forth from positive statements (BN “is” Brazilian Music, inter alia) to negative statements (e.g. BN “is not” Jazz, inter alia). This swing between positive and negative statements accompanied distinctive inflection points in the institutionalization of Bossa Nova.pt_BR
dc.format.extent17 p.pt_BR
dc.format.mediumDigitalpt_BR
dc.identifier.issueBEWP 151/2012
dc.identifier.urihttps://repositorio.insper.edu.br/handle/11224/5936
dc.language.isoInglêspt_BR
dc.publisherInsperpt_BR
dc.relation.ispartofseriesInsper Working Paperpt_BR
dc.rights.licenseO INSPER E ESTE REPOSITÓRIO NÃO DETÊM OS DIREITOS DE USO E REPRODUÇÃO DOS CONTEÚDOS AQUI REGISTRADOS. É RESPONSABILIDADE DO USUÁRIO VERIFICAR OS USOS PERMITIDOS NA FONTE ORIGINAL, RESPEITANDO-SE OS DIREITOS DE AUTOR OU EDITORpt_BR
dc.titleHow do Outsider Styles Become Legitimated? The Introduction of Bossa Nova in the Jazz Fieldpt_BR
dc.typeworking paper
dspace.entity.typePublication
local.subject.cnpqCiências Sociais Aplicadaspt_BR
local.typeWorking Paperpt_BR
relation.isAuthorOfPublication6a78e139-d40f-41eb-b258-6922f24afda5
relation.isAuthorOfPublication.latestForDiscovery6a78e139-d40f-41eb-b258-6922f24afda5

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