Semiotic resources of music notation: Towards a multimodal analysis of musical notation in student texts

Writing about music: The selection and arrangement of notation in jazz students’ written texts

“…The dimension of Specialisation has been applied in a range of studies to provide insight into music education in primary and high school in the United Kingdom (Lamont & Maton, 2008, 2010), in high school in Australia (Weekes, 2014), in curriculum design in Sweden (Lilliedahl, 2013) as well as in tertiary jazz performance (Martin, 2013, 2016). This article will draw on another of the five dimensions of LCT, that of Semantics (Maton, 2013, 2014), and in particular the concept of semantic gravity .…”

“…No matter the differences in the semantic gravity profiles of the two students’ use of music notation, accompanying text can provide greater or lesser connection to the specific performance, or greater or lesser generalisation across performances; it can strengthen or weaken the semantic gravity, or do both, or neither. I will first define how this can occur in texts; this is based on linguistic analysis described elsewhere (Martin 2012, 2013, 2014).…”

“…Several studies have come from a linguistic or English for academic purposes context and have focussed on language and literacy requirements in music education. These studies cover a range of musical education contexts, from secondary (Weekes, 2014, 2015a) to non-native speakers in tertiary contexts (Wolfe, 2006, 2007) to jazz performance students in Honours (Martin, 2012, 2013, 2014) to doctoral research (Paltridge et al, 2012; Ravelli, Paltridge & Starfield, 2014; Starfield, Paltridge & Ravelli, 2012). Although they cover such a wide scope of contexts, genres, and students, they all demonstrate that the relationship between language and music is complex and the appropriate ways of representing music, other than through performance, are tacit.…”

“…In order to investigate this use of music notation, this article draws on the concept of semantic gravity from the sociological framework of Legitimation Code Theory (hereafter ‘LCT’) (Maton, 2013, 2014) to analyse the basis of selection and organisation of notation within a written text. Semantic gravity refers to the degree to which a concept or practice is embedded within a specific context, or can transcend that context.…”

¿Nuevos “clásicos básicos” en educación musical? Audición, canonización y patrimonialización de las músicas populares urbanas en (con)textos didácticos específicos

“…La música popular es, al mismo tiempo, un efectivo vehículo para la articulación de identidades culturales (Alonso, 2010;Hormigos y Martín Cabello, 2004), así como para la legitimación social del individuo, como fan, y de las colectividades, como audiencias, a través de los discursos de autenticidad y valor (Frith, 2014). El aprendizaje de las músicas populares urbanas, que se caracterizan por su condición de músicas mediáticas, masivas y modernizantes (González, 2008), se rige por una suerte de "multimodalidad" (Martin, 2014) en la cual convergen prácticas orales, escritas y multimedia. Estas músicas implican, por tanto, un importante reto para educadores musicales, ya que traen consigo, en último término, la renovación tanto de planteamientos teóricos -qué músicas, cómo y con qué finalidades han de ser enseñadas-como de estrategias metodológicas a desarrollar, en tanto dichas expresiones presentan lenguajes musicales específicos y diferenciales.…”