The document discusses the presentation and positioning of knowers in jazz performance student texts, focusing on knowledge practices and epistemic relations in music education. It emphasizes the role of social relations and individual musicality in understanding and producing jazz. The analysis includes various examples of students' interactions with jazz standards and their development as musicians through influences and personal expression.

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. What is jazz?
Man, if you have
to ask you’ll never
know.
Louis Armstrong

3. +you must learn
the ways of Jazz=
Jazz in tertiary education

4. subjects
knowledge
practices
objects

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, Knowledge
and Pedagogy. London: Continuum, 87–108.

6. Emphasises demonstration
epistemic relations by pupils of specific
musical knowledge or skills
ER+
knowledge elite
SR- SR+
social relations
Emphasises
demonstration by relativist knower
pupils of musical
dispositions, such
as aptitude,
attitude, personal
expression 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. knowing
practices
knowledge
practices
knower
categories

8. subjective relations
knower
SubR+
social born
knowing
IR- IR+
interactional
relations
trained/blank cultivated
SubR-
Social plane – gazes from Maton (Forthcoming: XX)

9. subjective relations
knower musicality
SubR+
social born
knowing
IR- IR+
interactional
relations
musicianship trained/blank cultivated
SubR-
Social plane – gazes from Maton (Forthcoming: XX)

11. +The Jazz is with
you, young student,
but you are not an
academic musician
yet+
Students as knowers in their
texts

12. 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

13. Mental
Example Number
process
As the author deems compositional
elements important to improvisation, so too
Cognitive 25
are lyrical elements through their association
with composition.
I witnessed first hand what a powerful and
Perceptive 10
unique performer he is.
it is hoped that a better understanding of
Desiderative 4
Stewart’s style will be attained
It was not only the collection of tunes I
Emotive 2
found intriguing

14. I have been playing trombone
for seven years, played piano
for 11, have listened to
countless recordings of
trombone players and
listened to many trombone
students. I would argue that I
did have the authority to say
that trombonists are less
technically able in general.

15. subjective relations
musicality
SubR+
social born
IR- IR+
interactional
relations
musicianship trained/blank
cultivated
SubR-
Social plane – gazes from Maton (Forthcoming: XX)

16. 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

17. Participant Example Writer Reader
Here we see a very common
Senser 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

18. 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

19. +The Jazz runs
strong in my
family+
Associations of legitimation

20. • 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

21. 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

22. 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”

23. This command [judg: cap] of advanced [judg: cap]
improvisational techniques coupled with a strong
sense of musicality [judg: cap] makes him an
impressive [app: reac: imp] musician to behold and one
of the most formidable [app: reac: imp]
trombonists/bass trumpeters in the world today.
Further still, he manages [judg: cap] to have a
completely unique [judg: norm] musical voice.

24. Regardless of the instruments he plays, and perhaps
most [grad: force: int] importantly [app: val], Mason is
an exceptionally [judg: norm; grad: force: int] musical
player [judg: cap], not just [grad: force: int] an
impressive [judg: norm] technician [judg: cap].

25. subjective relations
musicality
SubR+
social
born
IR- IR+
interactional
relations
musicianship trained/blank cultivated
SubR-
Social plane – gazes from Maton (Forthcoming: XX)

26. +May the Jazz be
with you+
Conclusion

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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.
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performance student texts”. Proceedings of 39th International Systemic Functional Congress.
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(pp. 87-108). London: Continuum.
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knowledge-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.

29. jodie.martin@adelaide.edu.au
twitter.com/jazzlinguist
about.me/jodiemartin