The ties among the notes:

The social capital of jazz musicians in three metro areas

Timothy J. Dowd (Emory University ) and Diogo L. Pinheiro (Georgia Institute of Technology)

Introduction

Three observations from research on creative careers While such work is marked by uncertainty, this is especially so for

“freelancers” (e.g., jazz musicians vs. orchestra musicians) While some creative work requires formal credentials and rigorous

auditions, other does not (e.g., jazz musicians vs. orchestra musicians)

In freelance and “uncredentialized” work, social connections can matter greatly for careers (e.g., jazz musicians and financial success)

Given the importance of such connections, we investigate factors that

shape and situate the type and extent of connections among jazz musicians

We do so by drawing upon a unique survey of jazz musicians

The data source

Turned to the Survey of Jazz Musicians (2001) Gathered by the Research Center for the Arts and Culture

(Columbia University) Representative survey of 572 individuals in three US metropolitan

areas Enabled by Respondent Driven Sampling (RDS)

Unusually rich in questions asked and data provided – including “capitals” of musicians

Economic capital: earnings Cultural capital: general education; musical training; musical

expertise Social capital: formal connections; informal connections; “remote”

connections

In our recent paper, we see How musicians compare in terms of the capitals they possess What predicts the odds of union membership (formal connections) What predicts the extent and variety of musicians known by name

(informal)

General patterns regarding “capitals”

Well positioned jazz musicians (tend to be African-American, older and in NYC)

Highest annual earnings from music (e.g., $40,000+) Advanced degrees & formal musical training Know many local musicians; AFM membership; Internet usage

Moderately positioned jazz musicians (tend to be in New Orleans) Market their music; AFM membership

Challenged musicians (tend to be women) Little earnings from music (e.g., $0 to $12,000) College education No AFM membership; no music marketing

Disconnected musicians (tend to be younger and in San Francisco) No college education; no musical training Know few local musicians; no AFM membership; no Internet usage

Predicting social capital

> General education Increased odds of union membership More local musicians known by name; fewer African American &

young known Consequence: first 2 types of social capital greater earnings

> Formal musical training Increased odds of union membership More local musicians known by name; more women musicians

known by name Consequence: first 2 types of social capital greater earnings

> Genre generalism More locals musicians known by name More African American; white; other race; women & young

musicians known Consequence: generalism greater earnings and critical

recognition

Marketed music and Internet usage for music More local musicians known by name; more types of musicians

known, as well Consequence: remote connections greater earnings

Implications

Connections are good for freelance jazz musicians More earnings flow from formal, informal and remote connections Connections combine with other resources to positions musicians

well

What fosters connection among musicians? Specialized knowledge that is not unique to jazz formal

connections Hence, education matters even for this freelance work

Knowledge unique to jazz informal connections Hence, eclecticism in music leads to diverse ties

Efforts to market and disseminate music informal connections Thus, indirect ties can lead to direct ones

Being in the right place and at right age also matter One is under musicians’ control, the other is not