On notes and knowers: the representation, evaluation and legitimation of jazz.
| dc.contributor.advisor | Mickan, Peter Frank | en |
| dc.contributor.advisor | Rosevear, Jennifer Claire | en |
| dc.contributor.author | Martin, Jodie Louise | en |
| dc.contributor.school | School of Humanities | en |
| dc.date.issued | 2013 | en |
| dc.description.abstract | Each discipline has its own way of representing and evaluating knowledge which is reflected in its discourse. Success for students involves appropriately adopting this discourse in order to demonstrate the acquisition of knowledge and the internalisation of both values and forms of valuing. In creative disciplines such as music performance, written tasks are not the main form of assessment but are often required; little research however has been conducted into writing about music. This study represents an analysis of writing about music. This thesis investigates musical discourse by taking a cohort of six local students of Jazz Performance. Its corpus is formed by the 5000-word research projects each student wrote as part of their Honours year. The thesis focuses on three aspects of musical discourse in the corpus: the multisemiotic representation of jazz through the use and incorporation of music notation, the evaluation of jazz through evaluative language, and the legitimation of jazz through the positioning of knowers. Music notation is considered as part of a social semiotic system and its selection, repurposing and integration into the texts is analysed. The elaboration of the notation through the accompanying linguistic text is also examined to consider how information is variously unpacked and repacked from the notation to enable greater abstraction and generalisation and how the examples are grounded in the performances they come from. The examination of evaluative language reveals underlying priorities in the performance of jazz and in particular how the focal musicians of the research projects are established as worthy of research. The representation and structuring of knowers is held to be particularly important in jazz performance; this is investigated with particular focus on the student writers as well as the focal musicians to reveal the legitimation of jazz performance. The representation with notation and the legitimation with esteemed knowers together demonstrate the jazz understanding which underlies student research into jazz performance. | en |
| dc.description.dissertation | Thesis (Ph.D.) -- University of Adelaide, School of Humanities, 2013 | en |
| dc.identifier.uri | http://hdl.handle.net/2440/84700 | |
| dc.provenance | This electronic version is made publicly available by the University of Adelaide in accordance with its open access policy for student theses. Copyright in this thesis remains with the author. This thesis may incorporate third party material which has been used by the author pursuant to Fair Dealing exceptions. If you are the owner of any included third party copyright material you wish to be removed from this electronic version, please complete the take down form located at: http://www.adelaide.edu.au/legals | en |
| dc.subject | academic discourse; music discourse; music education; jazz; multimodality; music notation; evaluative language; musicians | en |
| dc.title | On notes and knowers: the representation, evaluation and legitimation of jazz. | en |
| dc.type | Thesis | en |
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