This study uses two new datasets to examine the earnings of musicians, specifically jazz musicians, the Study of Jazz Artists 2001: American Federation of Musician Survey and the Study of Jazz Artists 2001: Respondent Driven Survey. This study tests the human capital earnings function (HCEF) on the earnings of musicians from both jazz and non-jazz performances. The results suggest that human capital investments play significant, but different roles, in the earnings from jazz music and nonjazz music.
We are concerned with a class of goods that are both scarce and valued for experiences that depend on their authenticity and unmediated access to them. Such goods include prehistoric cave paintings, spectacular natural sites, and several of the arts. Because these goods are scarce, access to them must be restricted if they are to survive. After characterizing the goods we have in mind, we will propose a scheme for distributing access to them. Finally, we will suggest that the lessons learned from considering these goods and their distribution can be applied to other kinds of goods.
In this article I argue that the production of live music shares many formal properties with that of confidence games.
We examine recorded jazz as a musical innovation of the early twentieth century.
It helps us remember that positions in this intellectual property debate are conditioned as much by history as by logic.