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Harmonizing Forms of Legitimacy in the Consecration of Popular Music
16 references·5 citing·45 second hop
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this work references cited by second hop

References

  • 1992Language and Symbolic Power.9,964 cited
  • 1994The Field of Cultural Production3,293 cited
  • 2007Rankings and Reactivity: How Public Measures Recreate Social Worlds2,429 cited
  • 1983The field of cultural production, or: The economic world reversed1,362 cited
  • 2005The Economy of Prestige775 cited
  • 2006Jacks of All Trades and Masters of None: Audiences' Reactions to Spanning Genres in Feature Film Production629 cited
  • 2004TOURNAMENT RITUALS IN THE EVOLUTION OF FIELDS: THE CASE OF THE GRAMMY AWARDS.391 cited
  • 2000When Market Information Constitutes Fields: Sensemaking of Markets in the Commercial Music Industry364 cited
  • 1994Producing Artistic Value: The Case of Rock Music281 cited
  • 2002The Rise of a Jazz Art World206 cited
  • 2004Critical Discourse and the Cultural Consecration of American Films204 cited
  • 1993The seventh stream: the emergence of rocknroll in American popular music183 cited
  • 2013Understanding Popular Music163 cited
  • 2005Retrospective Cultural Consecration in Popular Music106 cited
  • 1997Reviewing as social practice: Institutional constraints on critics' attention for contemporary fiction104 cited

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  • 2010Gender and Cultural Consecration in Popular Music99 cited
  • Cited by

    • 2021Authenticity: Meanings, targets, audiences and third parties14 cited
    • 2021Race and Genre Ambiguity in the Critical Reception of Popular Music12 cited
    • 2023Making it big in live music: a multilevel analysis of careers in live music8 cited
    • 2020Walk the (Gendered and Racialized) Line: Retrospective Consecration and the Rock and Roll Hall of Fame6 cited
    • 2023Music consumption and taste internalisation practices among educated Brazilian metal listeners and members of musical scenes4 cited