1. My 2011 entry for the 3 Minute Thesis Competition Winner of People’s Choice award in University finals! Jodie Martin @jazzlinguist Slideshare/jayelem

2. The rules: 3 minutes 1 slide No props No transitions In language an intelligent but non-specialist audience can understand

4. GO!

6. Let me tell you a story. It’s about a kid in high school who has

8. maybe he plays trombone, maybe drums, maybe he’s a

10. He’s learnt classical piano, but decides to study jazz at university where they teach him that

12. He finds that a performance degree isn’t quite

13. ----NON- -------

14. but he’s

15. and S

16. and songs from

17. and they’re

18. Before you know it, he’s gigging regularly and maybe he even gets to play with a

20. At the end of third year he’s hoping he’s going to

22. Then he gets invited to do honours – they tell him

23. –––

24. So he says,

25. In Honours, he practices piano a lot, writes music and plays in an ensemble with the other honours students. They do sound

27. Halfway through the year he remembers he needs to do a Research Project. So he chooses a

29. and transcribes his solos and analyses his technique. Now he needs to write about it. But

31. This is the point where I come into the story, a research student hoping to become a doctor

32. not a but a Doctor of Linguistics.

33. I explain that I’m interested in jazz student literacy. I don’t mean they don’t know their

35. but there are different ways of writing in every discipline

36. ity

37. Strangely enough, though, nobody’s studied music or jazz student writing.

38. Our jazz student says,

40. And I say,

41. I interviewed six honours jazz performance students and collected their research projects for analysis.

42. I’ll share with you some observations. These students

43. THEM VES

44. with more authority than honours students in other disciplines because they are already working musicians. Or at least,

46. They justify their research by emphasising how unique and highly skilled the musician they are studying is and by aligning them with famous musicians and key institutions. And they use language to elaborate on music notation and together construct and convey their message.

47. What do I hope to achieve with my research? If we are to

48. _ STUDENTS

49. we need to explore the different ways of writing at university – first analytically, which is what I’m doing, then pedagogically, helping the students. This may ultimately affect music curriculum design or student support services like writing assistance.

50. In summary, writing is a small yet important part of musical studies at university, but there is so much more involved. That’s why I like to call my research

51. Literacy….