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Fundação Getúlio Vargas Escola De Administração De Empresas De São Paulo

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Fundação Getúlio Vargas Escola De Administração De Empresas De São Paulo FUNDAÇÃO GETÚLIO VARGAS ESCOLA DE ADMINISTRAÇÃO DE EMPRESAS DE SÃO PAULO CHARLES KIRSCHBAUM CAMPOS ORGANIZACIONAIS EM TRANSFORMAÇÃO o caso do Jazz americano e da Música Popular Brasileira SÃO PAULO 2006 CHARLES KIRSCHBAUM CAMPOS ORGANIZACIONAIS EM TRANSFORMAÇÃO o caso do Jazz americano e da Música Popular Brasileira Tese apresentada à Escola de Administração de Empresas de São Paulo da Fundação Getúlio Vargas, como requisito para a obtenção do título de Doutor em Administração de Empresas Campo de Conhecimento: Estratégia Empresarial Orientador: Prof. Dr. Flávio Carvalho Vasconcelos SÃO PAULO 2006 ii Kirschbaum, Charles Campos Organizacionais em Transformação: o caso do Jazz americano e da Música Popular Brasileira / Charles Kirschbaum. – 2006. 213 f. Orientador: Flávio Carvalho de Vasconcelos Tese (doutorado) – Escola de Administração de Empresas de São Paulo. 1. Estrutura social. 2. Jazz. 3. Música popular - Brasil. 4. Música e sociedade. 5. Artes e sociedade. 6. Música – Indústria. Vasconcelos, Flávio Carvalho de. II. Tese (doutorado) - Escola de Administração de Empresas de São Paulo. III. Título. CDU 316.3 iii CHARLES KIRSCHBAUM CAMPOS ORGANIZACIONAIS EM TRANSFORMAÇÃO o caso do Jazz americano e da Música Popular Brasileira Tese apresentada à Escola de Administração de Empresas de São Paulo da Fundação Getúlio Vargas, como requisito para a obtenção do título de Doutor em Administração de Empresas Campo de Conhecimento: Estratégia Empresarial Data de Aprovação: __/__/__ Banca Examinadora: _______________________________________ Prof. Dr. Flávio Carvalho Vasconcelos (Orientador) FGV-EAESP _______________________________________ Prof. Dr. Ana Cristina Braga Martes FGV-EAESP _______________________________________ Prof. Dr. Clóvis Machado-da-Silva FGV-EAESP Prof. Dr. João Marcelo Crubellate UEM – Ciências Sociais Aplicadas Prof. Dr. Sérgio Giovanetti Lazzarini Faculdade Ibmec - São Paulo SÃO PAULO 2006 iv Para o meu zeide Natálio z”l, o maior contador e criador de histórias que eu conheci v Agradecimentos In Brazil, where basic education is still restricted, I must thank those who supported me with material means: CAPES (both the graduate and the “sandwich” support), Princeton University, for the fellowship, CNPq, for the PIBIC sponsorship to Cristina, my assistant, EAESP-FGV, for sponsoring several trips to national and international conferences. I thank my parents for the “free” B&B. I would like to thank all friends, colleagues, teachers and relatives who helped me with this thesis. I thank Profs. Carlos Osmar Bertero and Francisco Aranha for their patience in reading this thesis’ project, and for their invaluable feedback. Prof. Maria Ester de Freitas was the first teacher I had in my undergrad classes who gave the due attention to conflict in organizations. I thank her for this insight and her support for my return to the Academy. Together with Ester, Prof. Fernando Motta has been always a role-model of scholar, and the first who suggested me to read Bourdieu. Profs. Mario Aquino Alves and Servio Tulio Prado Junior gave me the opportunity to help them in the disciples Organizational Theory and Strategy. The discussions that took place at the “Clube Bohemia” have certainly impacted the following pages. Prof. Patricia da Cunha Tavares and Prof. Eduardo Loebel were the first to show me the Social Network Analysis technique. They were already using UCINET (a software for SNA) and they made it less threatening. Patricia has been, since then, a great friend and someone I could discuss extensively about music. It was at Prof. Eduardo Marques’s classes, at the Political Science department at Universidade de São Paulo, where I had the opportunity to understand the potentiality of SNA. Prof. Marques was also one of the first supporters of the idea of studying social networks among artists. I thank Prof. Ana Cristina Braga Martes for calling my attention to the Economic Sociology’s potential contributions. I would like to thank as well the “invisible college” that diligently read previous versions and very tentative pieces. Their feedback hasn’t been completely absorbed yet. These were reviewers at the Academy of Management (2005 and 2006), Enanpad (2005), Eneo (2004), and Revista de Admininstração de Empresas. At conferences I had the opportunity to discuss my work with several scholars. I owe to Stewart Clegg, Wouter de Nooy, Sérgio Lazzarini, Tracy Thompson, and Nachoem Wijnberg very extensive feedback to my work. The experience at Princeton was a watershed in this trajectory. At CACPS (Center for Arts and Cultural Policy Studies) I found the space and support to exchange ideas. Paul DiMaggio, Stanley Katz , Larry McGill, Sandy Paroly helped me to make it possible. Prof. vi DiMaggio has informally played a role of co-supervisor, providing timely feedback for several papers, opening perspectives at the Sociology world, and helping me to survive at Princeton. Both Prof. Katz and McGill spent valuable time in reading my texts and providing feedback. It was through McGill that I met Mark Schulman, from the New School Jazz program. Mr. Schulman gave me important tips on the Jazz Academy world at New York. Simin Gul helped me with all sorts of problems with computer bugs. Of course, I can not forget the afternoon spent at the Rutgers University, where I could discuss with Ann Mische my work. At Princeton, I established a great dialogue with several colleagues and professors: among them, Mafalda Cardim, Martin Ruef, Joeri Mol, Kelly Lee Patterson, Charles-Henri Reuter, Gabriel Rossman, and Hana Shepherd were great interlocutors. Mafalda, thank you for those coffee breaks and the discussions around Bourdieu. Jan Marontate, Felipe Schwartzman, and David Stevens gave me important feedback to my presentation at the CACPS luncheon. During my stay at Princeton, I had the opportunity to provide a “bridge” between Prof. DiMaggio and Prof. Clóvis Machado-da-Silva. As in any other social network situation, the tertius eventually benefits from the content that is transmitted. In my case, I had the opportunity to be acquainted with an ongoing debate between neo-institutionalism and the contemporary sociological theory. Since then, Prof. Machado-da-Silva has been a resourceful interlocutor. I would like to thank those people who helped me to do the “hard stuff”. First of all, my brother Roberto, whose programming skills made it possible to build the social network used in this research. Roberto’s true calling is the psychoanalyst therapy, and I am sure that without this talent the work would never reach its end. Cristina Sakamoto, undergraduate student at EAESP-FGV was invaluable in collecting the social network data. She was also a great advisee and instant chatter during her PIBIC research. Bruno Lessa helped me to collect data on Jazz criticism. Data on Jazz came from several sources. At the Jazz Institute at the Rutgers University I received invaluable help from Dan Morgenstern. Tom Lord provided exhausting explanations on his discography. Several musicians (and their assistants) sent their info by e- mail: I would like to thank Jessica Jary (for Michael Jary info), Ditmer Weertman from the Nederlands Jazz Archief (for Willy Langestraat, Jan Burgers, Ted Easton info), Trond Valberg from the The National Library of Norway (for Staffan Kjellmor info), Akira Hori (for Tsunetami Fukuda info), Wolfram Knauer from the Jazzinstitut Darmstadt (for Jost Münster vii info), Don Brow from the Australian Jazz Institute (for the Les Welch info), Rhoda Scott, André J. Racine, Duane Stufin (for Bill Clarke info), and Jeter Thompson. Jason Koransky from the Down Beat magazine gave me important tips on how to recover old Jazz criticism. I thank Scott Yanow for his kind appreciation of my work and explanation on how he developed his electronic database. I also would like to thank all staff at both Firestone Library and Mendel Music Library at the Princeton University for their patience and support. I owe to Daniel Boomhower the access to Down Beat’s microfilms. At EAESP-FGV several colleagues became both friends and interlocutors. Among them, my special thanks to Ricardo Gomes do Amaral, Marcelo Binder, Luiz Brito, Natércia Carona, Luiz Felipe Carvalho, Rebeca Chu, Fernando Ferreira, Augusto Galery, Rodrigo Gouvêa, Tatiana Iwai (Tets), Andre Mascarenhas, Eros Nogueira, Elvio Porto, Maurício Reinert, Andrea Leite Rodrigues, André Samartini, and Pedro Zanni. Over a “guiness” at Finnegan’s, Ricardo has pointed several biases in my writing. A new crop of friends have helped me in the last months: Renata Oliveira, Caetano Andrade, Alaíde Sipahi Dantas and Igor Tasic. At FFLCH-USP, across the river, several friends and colleagues have helped me. Among them, my special thanks to Thais Pavez. I risk now to commit a great injustice for not citing all friends involved in this trajectory. But among my friends, Maria Abreu, Andrea Valenzuela, Luiz Ojima Sakuda, Vinicius Mianna, Ulisses Sakurai and Luciana Itikawa, and Daniel and Denilde Holzhacker provided a timely support when my hands trembled. Andrea, I miss a lot our discussions on Jazz and Adorno. I would like to thank my parents for all support received, and Karin Slemenson for her help. Flavio Vasconcelos has been a supervisor, friend, co-author and confident. He supported my wildest dreams (like writing a thesis about the Jazz field in a management school) and helped me to anchor them accordingly. Finally, I thank all musicians for producing great music. This thesis would be impossible without you. Thank you all! viii I'm very glad to have met you. I like your playing very much. ~ Charlie Parker to Jean-Paul Sartre ix Resumo A teoria Neo-Institucional define Campos Organizacionais como espaços onde atores compartilham regras, esquemas interpretativos e consentem com as instituições estabelecidas. A partir dessa perspectiva, espera-se que as formas sociais sejam adotadas e difundidas pelos membros do campo. Essa visão de campo tem sido expandida para dar conta dos conflitos e inovação. A partir da investigação do campo de Jazz e da MPB, aborda-se a tranformação em campos de produção musical.
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