[2016] ART & MARKET: ALIENATION OR EMANCIPATION
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Abstract
If the world of jazz in France has often been studied by French sociology (Fabiani, 1986; Roueff, 2003; Perennoud, 2006; Pequeux, 2009), this object often remained confined to the question of the legitimacy of musical forms related to value scales and practices as an objective aim that remained the domain of music called "learned". In deed, jazz music has long been for the proponents of critical sociology a strong heuristic power that allowed to observe the legitimacy games at work between two worlds: that of a part of the "learned' music that the jazz would seek to imitate in its internal organization (Roueff, 2003), another one of popular music, which would be the emanation and where artists naturally seek to distinguish themselves. Pierre Bourdieu considered jazz, as well as cinema and comics, like some "arts middle" (Bourdieu 1965; Fabiani, 2010) in search of a social legitimacy. Sign of a now bygone era on the ethnography plan, even the pioneering work of H.S. Becker did not escape the tropism of analyzing jazz musicians with the theoretical and methodological equipment from the sociology of deviance. However, in the 70s and 80s, new looks were worn on jazz. It must first be emphasized the importance of work who approached the musical culture and certain specialized aesthetic in terms of market (Moulin, 1986), or "world (s)" (Becker, 1992) where actors and mediators interacting with other motivations as the legitimacy and domination. The study of jazz music has also been approaches that fall within the sociology of work (Menger, 1986), a social anthropology lying in the passeronien inheritance (Fabiani, 1986) or that of gender studies (Buscatto, 2007). Our research consists to study the dynamics of change within the jazz market in France since the early 2000s starting with the awards in the jazz world in particular seeking to inspire communication sciences. Thus, internationally, "the price is the result of an effort and success" (Frey, 2005) while in France, our study shows that prices devote more the intermediaries of the creation. To analyze this paradox, one may be tempted to mobilize work on the emergence of musical labels and taxonomies. Our approach extends this Conventions economy approach by asking the question of collective representations about creating jazz in France. Indeed, this niche market reveals many paradoxes where insiders / experts reflect a diversity of aims and expectations of action logics. To do this, the most of these actors part is visible at the awards and professional awards each year at various ceremonies with a role of market regulation (Victoires du Jazz, Academy Award Charles Cros, Defense Springboard, etc.). In the continuation of our work on the issue of work allocation properties as belonging to the authenticity of jazz, the issue of relations (installation, belonging to multiple genres, etc.) with other aesthetics (including « world music ») and question the evolution of form. Through a survey on the reception, distribution, production in the 2000s, recognition can be analysed as a process involving different halfway circles between the arts and markets : the peers, media and critics, market actors, publics.
