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Innovation and Selection: Symphony Orchestras and the Construction of the Musical Canon in the United States (1879–1959)

Identifieur interne : 002635 ( Istex/Corpus ); précédent : 002634; suivant : 002636

Innovation and Selection: Symphony Orchestras and the Construction of the Musical Canon in the United States (1879–1959)

Source :

Social Forces [ 0037-7732 ] ; 2010-03.

RBID : ISTEX:B6596600037B12AF5FD017D28DE08E69D33BBFAB

Abstract

This article analyzes the determinants of innovation and success of innovation in the field of U.S. symphony orchestras from 1879 through 1959: why did major orchestras (N = 27) innovate by introducing works of new composers to the repertoire instead of sticking to canonical pieces? Can organizational processes account for the selection and the popularization of new composers in the repertoire? By integrating field theory and organizational theory, this analysis shows that orchestra and musical director consecration and local elite cohesiveness favored innovative programming. Composers introduced by consecrated actors and entering the repertoire at a time of low competition with established composers and high field-level innovation were more likely to survive in the repertoire and have their works performed frequently. These effects became magnified throughout composers' careers.

Url:

https://api.istex.fr/document/B6596600037B12AF5FD017D28DE08E69D33BBFAB/fulltext/pdf

DOI: 10.1353/sof.0.0314

Links to Exploration step

ISTEX:B6596600037B12AF5FD017D28DE08E69D33BBFAB

Le document en format XML

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<p>For comments and advice on previous drafts, I would like to thank Paul DiMaggio, Jennifer Lena, Gregoire Mallard, Kees van Rees, Gabriel Rossman, Martin Ruef King-To Yeung and anonymous reviewers for <italic>Social Forces</italic>
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<corresp id="cor1">Direct correspondence to Pierre-Antoine Kremp, Department of Sociology, 125 Wallace Hall Princeton NJ 08540. E-mail: <email>pkremp@princeton.edu</email>
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<p>This article analyzes the determinants of innovation and success of innovation in the field of U.S. symphony orchestras from 1879 through 1959: why did major orchestras (N = 27) innovate by introducing works of new composers to the repertoire instead of sticking to canonical pieces? Can organizational processes account for the selection and the popularization of new composers in the repertoire? By integrating field theory and organizational theory, this analysis shows that orchestra and musical director consecration and local elite cohesiveness favored innovative programming. Composers introduced by consecrated actors and entering the repertoire at a time of low competition with established composers and high field-level innovation were more likely to survive in the repertoire and have their works performed frequently. These effects became magnified throughout composers' careers.</p>

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<abstract>This article analyzes the determinants of innovation and success of innovation in the field of U.S. symphony orchestras from 1879 through 1959: why did major orchestras (N = 27) innovate by introducing works of new composers to the repertoire instead of sticking to canonical pieces? Can organizational processes account for the selection and the popularization of new composers in the repertoire? By integrating field theory and organizational theory, this analysis shows that orchestra and musical director consecration and local elite cohesiveness favored innovative programming. Composers introduced by consecrated actors and entering the repertoire at a time of low competition with established composers and high field-level innovation were more likely to survive in the repertoire and have their works performed frequently. These effects became magnified throughout composers' careers.</abstract>
<note>For comments and advice on previous drafts, I would like to thank Paul DiMaggio, Jennifer Lena, Gregoire Mallard, Kees van Rees, Gabriel Rossman, Martin Ruef King-To Yeung and anonymous reviewers for Social Forces.</note>
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<identifier type="ISSN">0037-7732</identifier>
<identifier type="eISSN">1534-7605</identifier>
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<part><date>2010</date>
<detail type="volume"><caption>vol.</caption>
<number>88</number>
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<detail type="issue"><caption>no.</caption>
<number>3</number>
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<extent unit="pages"><start>1051</start>
<end>1082</end>
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<identifier type="istex">B6596600037B12AF5FD017D28DE08E69D33BBFAB</identifier>
<identifier type="DOI">10.1353/sof.0.0314</identifier>
<accessCondition type="use and reproduction" contentType="copyright">© The University of North Carolina Press</accessCondition>
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Innovation and Selection: Symphony Orchestras and the Construction of the Musical Canon in the United States (1879–1959)

Innovation and Selection: Symphony Orchestras and the Construction of the Musical Canon in the United States (1879–1959)

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