Hostname: page-component-78c5997874-g7gxr Total loading time: 0 Render date: 2024-11-02T23:04:51.417Z Has data issue: false hasContentIssue false
  • English
  • Français

Beyond the reef: role conflict and the professional musician in Hawaii

Published online by Cambridge University Press:  10 November 2008

George H. Lewis
Get access Rights & Permissions [Opens in a new window]

Extract

There have been, since Becker's pioneering work in the field of jazz (Becker 1951), a small handful of empirical studies that have focused on the popular musician in society – most specifically with respect to the conflicts such musicians can feel between what they want to play and what is demanded of them by their audience and the larger commercial market. Becker pointed out the vast differences between the expectations of the audience, those of the employers and those of the performer. In general, the audience expects the musician to play commercially popular tunes in an orthodox manner. The employer, concerned about money, applies financial sanctions to coerce the musician to fulfil audience expectations. The musicians, on the other hand, prefer to play the more individually expressive and esoteric forms of their music – in this case, jazz.

Type
Research Article
Information
Popular Music , Volume 5 , January 1985 , pp. 189 - 198
Copyright
Copyright © Cambridge University Press 1985

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Awai, George E. K. 1977. ‘Interview’, Ha' Ilono Mele, 3:8, pp. 5–6Google Scholar
Becker, H. 1951. ‘The professional dance musician and his audience’, American Journal of Sociology, 31:5, pp. 421–9Google Scholar
Bennett, H. Stith. 1980. On Becoming a Rock Musician (Amherst, Mass)Google Scholar
Cazimero, R. 1978. ‘Interview’, in Da Kine Sound, ed. Kamohalu, R. and Burlingame, B. (Hawaii), pp. 109–17Google Scholar
Coffman, J. 1972. ‘Role conflict and the rock musician’, in The Sounds of Social Change, ed. Denisoff, R. S. and Peterson, R. A. (Chicago), pp. 261–73Google Scholar
Davis, Charles H. K. 1978. ‘Interview’ in Da Kine Sound, ed. Kamohalu, R. and Burlingame, B. (Hawaii), pp. 89–96Google Scholar
Hanohano, Dwight. 1978. ‘Interview’, in Da Kine Sound ed. Kamohalu, R. and Burlingame, B. (Hawaii), pp. 188–92Google Scholar
Helm, George. 1976. ‘Language – pain revolution’, Ha' Ilono Mele, 2:6, p. 3Google Scholar
Ho, Don. 1982. ‘Interview’, Honolulu, 14, pp. 50, 54Google Scholar
Johnson, Charles. 1973. The Jazz Musician and White Sociology, MA Thesis, Vanderbilt UniversityGoogle Scholar
Kanahele, George. 1979. ‘Hawaiian renaissance grips, changes island history’, Ha' Ilono Mele, 5:7, pp. 3–4Google Scholar
Keawe, Genoa. 1980. ‘Interview’, Ha' Ilono Mele, 6:3, pp. 6–8Google Scholar
Lake, Kohamanu. 1978. ‘Interview’, in Da Kine Sound, ed. Kamohalu, R. and Burlingame, B. (Hawaii), pp. 154–62Google Scholar
Lewis, George H. 1982. ‘Positive deviance: a labeling approach to the star syndrome in popular music’, Popular Music and Society, 8:2, pp. 73–83CrossRefGoogle Scholar
Lewis, George H. 1984A. ‘Da Kine sounds: The function of music as social protest in the new Hawaiian renaissance’, American Music, 3:7, pp. 38–52CrossRefGoogle Scholar
Lewis, George H. 1984B. ‘Style in revolt: music, social protest and the Hawaiian cultural renaissance’, paper read to Pacific Sociological Association meeting,SeattleGoogle Scholar
Moon, Peter. 1977. ‘Interview’, Ha' Ilono Mele, 3:3, pp. 5, 7Google Scholar
Moon, Peter. 1981. ‘A man for all seasons’, Ha' Ilono Mele, 7:1, pp. 6–8Google Scholar
Noble, Johnny. 1943. ‘Hawaiian musicians in the jazz era’, Paradise of the Pacific, 45, pp. 20–22, 39Google Scholar
Pahinui, Gabby. 1978. ‘Interview’, in Da Kine Sound (Hawaii), pp. 17–29Google Scholar
Peterson, Richard A. 1965. ‘Artistic creativity and alienation: the jazz musician versus his audience’, Arts in Society, 3, pp. 253–64Google Scholar
Peterson, Richard A. 1967. ‘Market and moralist censors of a rising art form, jazz’, Arts in Society, 4:2, pp. 127–38Google Scholar
Ritte, Walter. 1982. ‘Interview’, Honolulu, 15, p. 68Google Scholar
Stebbins, Robert. 1968. ‘A theory of the jazz community’, The Sociological Quarterly, 9:2, pp. 318–31CrossRefGoogle Scholar
Todaro, Tony. 1974. The Golden Years of Hawaiian Entertainment (Honolulu)Google Scholar
Vaughn, Palani. 1979. ‘Interview’, Honolulu, 12, p. 147Google Scholar