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from Part Five - Jazz takes
Published online by Cambridge University Press: 28 September 2011
One of the most striking aspects of the writing on jazz is a reluctance to relate the history of the music to the messy and occasionally sordid economic circumstances of its production.
[deveaux 1997, 12]The purpose of this chapter is to contribute towards a systematic study of those ‘economic circumstances’ by suggesting two frameworks within which jazz can be situated as part of the wider music business.
The three music markets
The first framework is a ‘horizontal’ dimension which allows jazz to be viewed in relation to the three general types of music market to be found in the twentieth century: those of traditional (or folk) music, of popular music and of art (or classical) music. At different times jazz has been part of each of these markets.
The principal characteristic of a traditional music market is the close relationship of music to social ritual: the main occasions for music are such events as weddings, funerals, carnivals and festivals. Early jazz activity in New Orleans – the parades, picnics and funerals – included elements of this music culture (see Buerkle and Barker 1973).
In societies subject to such processes as urbanisation and industrialisation, traditional music markets give way to the popular music market that supplies entertainment as a commodity to be consumed within leisure time (see Laing 1969). And from the beginning in New Orleans, the musical elements of a traditional culture were interwoven with the dance jobs, the mobile advertising jobs and other elements of a de-ritualised and commercialised leisure and entertainment economy.
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