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1+1 NatiOnal L10rary 01 Canada Bibliothèque nationale du Canada Canadian Theses

1+1 NatiOnal L10rary 01 Canada Bibliothèque nationale du Canada Canadian Theses Service Service des thèses canadiennes Ottawa. Canada K1A ON4 NOTICE AVIS The qual~yolthis microlormis heavilydependentupon the quality of the original thesis submitted lor microlilming. Every effort has been made to ensure the I:ighestqualily 01 reproduction possible. :l pages are missing, contact the univers~ywhichgranted the degree. Sorne pages may have indistinct print especially if the original pages were typed with a poor lypewriter ribbon or if the university sent us an inferior photocopy. Reproduction in full or in part of this microform is govemed by the Canadian Copyright Act, R.S.C. 1970. c. C-30, and subsequent amendments. "L·3J9 ('.6ô.'O<.lc La qual~é de cette microforme dépend grandement de la qualité de la thèse soumise au microfilmage. Nous avons tout lait pour assurer une qualilé supérieure de reproduc· tion. Sil manque des pages. veuUlez communiquer avec l'université qui a conféré le grade. La qualüé d'impression de certaines pages peut laisser à désirer. surtout si les pages originales ont été dactylogra· phiées à l'aide d'un ruban usé ou si runiversité nous a tall parvenir une photocopie de qualité inférieure. La reproduction, même partielle, de celle microforme es. soumise à la Loi canadienne sur le droit d'auteur, SRC 1970, c. C-30, et ses amendements subséquents. Canada Pop.ùar !lJs1c 88 Qùtural C<wwoll.ty, 'lbe Al!er1œn llecorded !lJsic IIdmtr1es 1976-1985 WU H/WI O. Strali Hay, 1990 GndJate Plqu/WI in C<wmm1cat:l.œB !k:Gill University, Itntreal A 'lbe616 lllll-.1.tted to the Fawlty of GraàJate 5tlld1es and. Rese,reh in partial j·1l1f1]].....t o~ the ~ts for the dtgzee of Doctor of Hl1.l.œoliJy (C<wmm1cat:l.œB). CC) 1990 William Straw 1+& National lt1xary of Canada Bibl;othèque nationale du Canada Canadian Theses Service SefViœ des thèses canadiennes Ottawa. Caroda KtAQN4 The author has granted an irrevocable non· exclusive licence a1lowing the Naliona\ I.Jbrary of canada to reproduce,loan, élStribute orsen copies of hislher thesis by any means and in any fonn or format, making this thesis avaJ1able to interested persons. The author retains ownership of the copyright in his/her thesis. Neither the thesis nor substantial extracts from it may be printed or otherwise reproduced without hislher per- mission. L'auteur a accordé une licence irrévocable et non exclusive permettant à la BibflOthèque nationale du Canada de reproduire, prêter, clistnbuer ou vendre des copies de sa thèse de quelque manière et sous quelque forme que ce soit pour mettre des exemplaires de cette thèse à la disposition des personnes intéressées. L'auteur conserve la propriété du droit d'auteur qui protège sa thèse. Ni la thèse ni des extraits substantiels de celle-ci ne doivent être imprimés ou autrement reproduits sans son autorisation. ISBN 0-315-67858-5 Canada Acknowldgements Abstract Chap"ter CXle: · . . . . . . . . . .. . . . . . . . . . . . . . . . · . . . . . . . . . . . . . . . . . . . . . . . . . Cultural Coamodites and Cultural Inàustries .... i il 1 Chap"ter Two: POp.llar Music as Cul'tural Coamodity . . . . . . . . 69 Chap"ter Three: Innovat~on l'lithin the Music Industries: The ExalnPle of Disco Music . . . . . . . Chap"ter Four: Barriere te Innovation: 1979-1982 ..... • • 119 . 196 Chap"ter Five: Conclusion: BibliograPhY Renewed Coherence: 1982-1985.. . . . . . . . . . 254 · . . . . . . . . • . . . . . . . . . . . . . . . . 313 • . • . . . . . . • . . • . . . . . • . • . . . . . 326 :1 This dissertation is an analYBis of historical change within those cultural industries involved in the production and dissemination of powlar l!llBic. Through an analysis of the relationship between the recording and radio industries within tàe United States. during the period 1976-1985. the manner in which crises within these industries arise and are resolved is traced. The emergence of such l!llBical fonns as "disco" and "New Wave". and the manner in which these fonns have been illtegrated within the functioning of the l!llBic-related industries. are central concerna of the dissertation. At the same tilDe. more general theoretical hypotheses concerning the role played by taste in the creation of audiences for different categories of powlar IlUsic are elaborated and employed within the study of specific l!llBica: genres, c- Cette thèse examine les changements intervenus dans la période de 1976 à 1985 dans le secteur des industries culturelles liées à la production et à la disBémination de la lll.IBique populaire. Elle analyse les relations entre les industries américaines de la radiodi:f:fusion et du disque afin de dêcrire les nrxlal j tés d"émergence et de résolution des criBeB dans ce secteur. L"émergence des fonnes lIJ..1Sicales telles que la "disco" et la "New Wave" ainsi que leurs nrxlalités d"intégration au fonctionnement des industries para-lll.IBicales en =stituent également des foyers de préoccupation. Parallêlement, des hypothèses théoriques plus générales concernant le rôle du goût dans la fozmation des publ1œ des diverses catégories de lll.IBique populaire seront développées et déployées dans le cadre d"une analyse de genres lll.IBicaux particuliers. -- AçknQHJedgements At one point in the early 1980s, illY friend David Galbraith USe<1 the phrase "reconstitution of a mainstream" in a conversation we were having concerning the popular music of the t:iroe. That ~ase, and the historical develo~tsit made intelligible, were the principal and original stilnulus of the thinking and research which have gone into this dissertation. My first debt in all of this is ta David. John Shepherd. Line Grenier, Robert Saucier and the members of the Canadian branch of the International Assoc1a"t-ion for the Study of Popular Music have helped to create many of the contexts in which l was able to try out the ideas developed here. The coller.ial and friendly support of Jody Berland, Simon Frith and Larry Grossberg have been invaluable sources of sustenance to me throughout this whole endeavour. Many people maintained their faith in IllY colJ:Œlletion of this through one missed deadline after another. l am especially grateful to IllY colleagues in the Film Studies Departn)ent at Carleton University for doing everything they could, over the last five years, to ensure that l was able ta devote IlIYself to this dissertation without distracticne. My co- supervisors, Professors Marty Allor and Gertrude J. Robinson have likewise been patient and helpful, and their ongoing support and understanding have been greatly appreciated. Osvaldo Croci, St. Clair Currie, and D:>n Wallace have stilnulated and challenged IllY thinking about music in an Ongoing and highly productive fashion. l owe a special debt of gratitude to the members of IllY family -- and, eBpecially, to IllY parents -- whose faith in me never wavered, even when illY choice of a par"ticular career path DlUSt have seemed a curious one. To them, and to Sylvie Roux, whooe encouragement and SUPPOrt have been Et constant source of inspiration, l dedicate this dissertation. nmuxx:tIClf PRINCIPAL OBJECI'IVES OF THE DISSERl'ATIOO This dissertation is concerned with the modes of exifltence of pop.tlar lIll6ic aB a CCflIIX:ldlt}' within the context of the modern American cultural industries. My principal objective 16 that of elaborating certain methodological and theoretical baBeB for the analys16 of thœe industries active within the field of contel!lPorary popular lIll6ic. The !DOst s1&nificant of these industries are thœe involved in the production of lIll6ical recordings and in the broadcaBt~ of lIll6ic PI'OlitI"aJIIIling on radio and telev16ion. The interaction between these industries. and the effectB of this interaction on the hiBterical devel~t of a variet}' of pop.tlar lIll6ical fOIlll6. will be central foci of the cbapters which foll~. The methodological and theoretical corlCerns of thiB diseertation will be developed within the 8Il8.lYB16 of a specifie period within the recent hlstery of the lIllSic-related industries within the United States: that extending fran the mid 1970s te the mid 1980s\. ThiB analys16 will provide an aceount of three devel~tB during thiB period which may be 1 2 regarded as exceptional and histerically-lilnited: 1) the emergence and suooequent decline of "disco" llI.ISic: 2) the s1gnificant eoonOlllic dawnturn ~ithin the reoording induBtry during the late 1970s and early 1980s; and 3) the return of that induBtry te a condition of relative PIœperity during the mid 1980s. My examina.tion of these developoenta ia intended as a suootantive contribJ.tion te the body of e:xiBting reaearch dealing with the recent histery of American POp,llar llI.ISic. This dissertation aeeks, as weIl. te intervene within ongoing debates concerning the ways in which histeriC'i1 change within pop,llar llU5ical fonna !DaY be conceptualized. Drawing UPOn exiBting theoretical approaches te the study of the cultural induBtriea. l will develop the notion of "temporal logic," as a concept appropriate te the !ll"lalysiB of cultural COIlIIJOditiea and of thœe industries and marlteta within which such COIlIIJOdities circulate. Through its emb:xiiment in particular COlIJIlOdity fonna -- IIlO6t notably. the llI.ISical reco~ -- ~lar llI.ISic may be aeen te participate in uploads/Industriel/ popular-music-as-cultural-commodity-the-american-recorded-music-industries-19761985-pdf.pdf