Page - (000172) - in Knowledge and Networks

165 macro- structure. Conversely, the macro-structure is shaped by the nested micro- trajectories. The idea of coevolution can be extrapolated to different levels of analy- sis: regions, countries, organizations, and individuals. A field’s evolution in terms of its structural and normative elements is better explained by describing the coevolu- tion among its members. This research contributes to the literature in question by showing that changes in the jazz field structure from normative to competitive in the mid-1940s occurred in tandem with significant changes in the positioning of jazz musicians within the network. This research presents an empirical puzzle: More competitive structures are ben- eficial for emerging artists because they grant them better access to resources previ- ously concentrated in established musicians’ hands. Consequently, the shift from a normative to a competitive field is likely to enhance individual creativity and allow for the emergence of a new elite. However, if the new elite is unable to establish a new normative era and to curtail the competitive forces, its new styles may be quickly put to the test and its central position disputed by even more recently recog- nized musicians. As a result, the drive for innovation and better positions leads to the weakening of a field’s paradigm. Once faced with a crisis and the additional challenge of reestablishing normative controls, newly ensconced musicians are likely to look to previously predominant musicians who still retain social capital and status. A radical shift toward a competitive field is therefore likely to reestablish formerly prevailing musicians in core positions, contrary to a common sense intu- ition that those musicians would be left to occupy peripheral areas of the network. Acknowledgments I would like to thank the CAPES (Coordination for the Improvement of Higher Education Personnel) Foundation for the support received. References Abbott, A. (2001). Temporality and process in social life. In A. Abbott (Ed.), Time matters: On theory and method (pp. 209–239). Chicago: The University of Chicago Press. Accominotti, F. (2009). Creativity from interaction: Artistic movements and the creativity careers of modern painters. Poetics, 37, 267–294. doi:10.1016/j.poetic.2009.03.005 Aldrich, H. E. (1999). Organizations evolving. London: Sage. Anand, N., & Peterson, R. A. (2000). When market information constitutes fields: Sensemaking of markets in the commercial music industry [Special issue]. Organization Science, 11, 270–284. Retrieved from http://www.jstor.org/stable/2640261 Barabási, A. L. (2003). Linked: How everything is connected to everything else and what it means for business, science, and everyday life. New York: Plume. Becker, H. S. (2004). Jazz places. In A. Bennett & R. A. Peterson (Eds.), Music scenes: Local, translocal, and virtual (pp. 17–27). Nashville: Vanderbilt University Press. Bourdieu, P. (1993). The field of cultural production. Essays on art and literature. New York: Columbia University Press. Bourdieu, P. (1996). The rules of art: Genesis and structure of the literary field. Cambridge, UK: Polity Press. 8 Trajectory Types Across Network Positions: Jazz Evolution from 1930 to 1969