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+The Jazz is strong in this     one=Presentation and positioning of   knowers in performance        student texts         ...
What is jazz?Man, if you haveto ask you’ll neverknow.         Louis Armstrong
+you must learnthe ways of Jazz=Jazz in tertiary education
subjectsknowledge practices             objects
epistemic relations                                                                             ER+                       ...
Emphasises demonstration                                                            epistemic relations                   ...
knowing             practicesknowledge practices              knower             categories
subjective relations                     knower                                                                SubR+      ...
subjective relations                       knower                                                musicality               ...
+The Jazz is withyou, young student,but you are not an academic musician        yet+ Students as knowers in their         ...
Participant   Example                                     Number              Here we see a very common progression Senser...
Mental               Example                                          Numberprocess               As the author deems comp...
I have been playing trombonefor seven years, played pianofor 11, have listened tocountless recordings oftrombone players a...
subjective relations                                                                           musicality                 ...
Participant Example                            Writer   Reader           Here we see a very common Senser                 ...
Participant      Example                                 Writer   Reader                 Here we see a very commonSenser  ...
Participant       Example                                          Paper Actor            This project will analyse blues ...
+The Jazz runs strong in my   family+Associations of legitimation
• Family musical pedigree• Competition success• Young success• Berklee College of Music• Jazz musicians: Maynard  Ferguson...
Prominence:                             ‘greatest’, ‘famous’, ‘established’            Normality   28                     ...
Technique:           “makes use of large intervallic           leaps within phrases…”           “developed his technique a...
This command [judg: cap] of advanced [judg: cap]improvisational techniques coupled with a strongsense of musicality [judg:...
Regardless of the instruments he plays, and perhapsmost [grad: force: int] importantly [app: val], Mason isan exceptionall...
subjective relations                                                                             musicality               ...
+May the Jazz be   with you+    Conclusion
Bernstein, B. (1999). Vertical and Horizontal Discourse: an essay. British Journal of Sociology ofEducation, 20(2), 157-17...
jodie.martin@adelaide.edu.autwitter.com/jazzlinguistabout.me/jodiemartin
The Jazz is strong in this one ISFC
The Jazz is strong in this one ISFC
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The Jazz is strong in this one ISFC

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My first presentation at the 39th International Systemic Functional Congress. "The Jazz is strong in this one: the presentation and positioning of knowers in performance student texts."
Full paper viewable at http://www.legitimationcodetheory.com/pdf/2012JLMartin.pdf

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The Jazz is strong in this one ISFC

  1. 1. +The Jazz is strong in this one=Presentation and positioning of knowers in performance student texts Jodie Martin PhD Candidate Discipline of Linguistics University of Adelaide About.me/jodiemartin Supervisor: Dr Peter Mickan
  2. 2. What is jazz?Man, if you haveto ask you’ll neverknow. Louis Armstrong
  3. 3. +you must learnthe ways of Jazz=Jazz in tertiary education
  4. 4. subjectsknowledge practices objects
  5. 5. epistemic relations ER+ knowledge elite SR- SR+social relations relativist knower ER-Source. Maton (2007: 97)Maton, K. (2007) Knowledge-knower structures in intellectual and educational fields. In Christie, F. & Martin, J. (eds) Language, Knowledgeand Pedagogy. London: Continuum, 87–108.
  6. 6. Emphasises demonstration epistemic relations by pupils of specific musical knowledge or skills ER+ knowledge elite SR- SR+ social relationsEmphasisesdemonstration by relativist knowerpupils of musicaldispositions, suchas aptitude,attitude, personalexpression ER- Source. Maton (2007: 97) Maton, K. (2007) Knowledge-knower structures in intellectual and educational fields. In Christie, F. & Martin, J. (eds) Language, Knowledge and Pedagogy. London: Continuum, 87–108.
  7. 7. knowing practicesknowledge practices knower categories
  8. 8. subjective relations knower SubR+ social born knowing IR- IR+interactional relations trained/blank cultivated SubR- Social plane – gazes from Maton (Forthcoming: XX)
  9. 9. subjective relations knower musicality SubR+ social born knowing IR- IR+ interactional relationsmusicianship trained/blank cultivated SubR- Social plane – gazes from Maton (Forthcoming: XX)
  10. 10. +The Jazz is withyou, young student,but you are not an academic musician yet+ Students as knowers in their texts
  11. 11. Participant Example Number Here we see a very common progression Senser 41 in jazz standards As I listened to Mason’s solos over and Behaver 8 over again the author would suggest that the Sayer 3 rhythms be taken as a guide I have analysed transcriptions of Allan’s Actor 19 solos It is vital that one has complete Other 5 command of one’s instrument
  12. 12. Mental Example Numberprocess As the author deems compositional elements important to improvisation, so tooCognitive 25 are lyrical elements through their association with composition. I witnessed first hand what a powerful andPerceptive 10 unique performer he is. it is hoped that a better understanding ofDesiderative 4 Stewart’s style will be attained It was not only the collection of tunes IEmotive 2 found intriguing
  13. 13. I have been playing trombonefor seven years, played pianofor 11, have listened tocountless recordings oftrombone players andlistened to many trombonestudents. I would argue that Idid have the authority to saythat trombonists are lesstechnically able in general.
  14. 14. subjective relations musicality SubR+ social born IR- IR+ interactional relationsmusicianship trained/blank cultivated SubR- Social plane – gazes from Maton (Forthcoming: XX)
  15. 15. Participant Example Writer Reader Here we see a very common Senser 41 13 progression in jazz standards As I listened to Mason’s solos Behaver 8 1 over and over again the author would suggest that Sayer 3 1 the rhythms be taken as a guide I have analysed transcriptions Actor 19 6 of Allan’s solos It is vital that one has complete Other 5 1 command of one’s instrument
  16. 16. Participant Example Writer Reader Here we see a very commonSenser 41 13 progression in jazz standards As the author deems compositional- Cognitive elements important to 25 4 improvisation, I witnessed first hand what a- Perceptive powerful and unique performer he 10 9 is. it is hoped that a better- Desiderative understanding of Stewart’s style will 4 0 be attained It was not only the collection of- Emotive 2 0 tunes I found intriguing
  17. 17. Participant Example Paper Actor This project will analyse blues improvisations 17 In this research paper, I have looked at the Circ: location 5 bassist Ron Carter The first section of the body specifically Sayer addresses the range of techniques used by 3 Holdsworth My research has involved a trip to Melbourne Carrier 3 to see Frisell play The intention of this paper is to examine and Senser promote new, creative and lyrical melodies in 1 improvisation much of this research project has been based Goal on the many hours I have spent listening to 1 and studying his performances
  18. 18. +The Jazz runs strong in my family+Associations of legitimation
  19. 19. • Family musical pedigree• Competition success• Young success• Berklee College of Music• Jazz musicians: Maynard Ferguson Big Bop Nouveau• Pop musicians: Bette Midler and Jessica Simpson
  20. 20. Prominence: ‘greatest’, ‘famous’, ‘established’ Normality 28 Individuality: ‘unique’, ‘virtuoso’, ‘prodigy’Judgement Capacity 39 “[each solo] is executed with unfathomably virtuosic technique” “Elliot Mason can only be described as a musical prodigy” Tenacity 2
  21. 21. Technique: “makes use of large intervallic leaps within phrases…” “developed his technique and understanding of harmony” “advanced improvisational techniques” General proficiency:Capacity Technician Experienced commercial player Accomplished improviser Innovator “Mason’s command of the trombone allow him to perform on it as comfortably as he does on the bass trumpet”
  22. 22. This command [judg: cap] of advanced [judg: cap]improvisational techniques coupled with a strongsense of musicality [judg: cap] makes him animpressive [app: reac: imp] musician to behold and oneof the most formidable [app: reac: imp]trombonists/bass trumpeters in the world today.Further still, he manages [judg: cap] to have acompletely unique [judg: norm] musical voice.
  23. 23. Regardless of the instruments he plays, and perhapsmost [grad: force: int] importantly [app: val], Mason isan exceptionally [judg: norm; grad: force: int] musicalplayer [judg: cap], not just [grad: force: int] animpressive [judg: norm] technician [judg: cap].
  24. 24. subjective relations musicality SubR+ social born IR- IR+ interactional relationsmusicianship trained/blank cultivated SubR- Social plane – gazes from Maton (Forthcoming: XX)
  25. 25. +May the Jazz be with you+ Conclusion
  26. 26. Bernstein, B. (1999). Vertical and Horizontal Discourse: an essay. British Journal of Sociology ofEducation, 20(2), 157-173.Halliday, M. A. K., & Matthiessen, C. M. I. M. (2004). An introduction to Functional Grammar (3rd ed.).London: Edward Arnold.Hood, S. (2010). Appraising research : evaluation in academic writing. London: Palgrave Macmillan.Lamont, A., & Maton, K. (2008). Choosing music: exploratory studies into the low uptake of musicGCSE. British Journal of Music Education, 25(3), 267-282.Lamont, A., & Maton, K. (2010). Unpopular Music: Beliefs and Behaviours towards Music in Education.In R. Wright (Ed.), Sociology and Music Education (pp. 63-80). Basingstoke: Ashgate.Martin, J.L. (Forthcoming). “The Jazz is strong in this one: Presentation and positioning of knowers inperformance student texts”. Proceedings of 39th International Systemic Functional Congress.Martin, J.L. (Forthcoming). “Musicality and musicianship: specialization in jazz studies”. In K. Maton, S.Hood and S. Shay (Eds). Knowledge-building: Educational studies in Legitimation Code Theory. London:Routledge.Maton, K. (2000). Languages of legitimation: The structuring significance for intellectual fields ofstrategic knowledge claims. British Journal of Sociology of Education, 21(2), 147-167.Maton, K. (2007). Knowledge-knower structures in intellectual and educational fields. In F. Christie & J.R. Martin (Eds.), Language, knowledge and pedagogy: Functional linguistic and sociological perspectives(pp. 87-108). London: Continuum.Maton, K. (2009). Cumulative and segmented learning: exploring the role of curriculum structures inknowledge-building. British Journal of Sociology of Education, 30(1), 43-57.Maton, K. (2010). Canons and Progress in the Arts and Humanities: Knowers and Gazes. In K. Maton &R. Moore (Eds.), Social Realism, Knowledge and the Sociology of Education : Coalitions of the mind (pp.154-178). London: Continuum.
  27. 27. jodie.martin@adelaide.edu.autwitter.com/jazzlinguistabout.me/jodiemartin

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