2016
DOI: 10.1017/s0265051716000103
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Stealing Knowledge in a Landscape of Learning: Conceptualizations of Jazz Education

Abstract: Theoretical approaches to learning in practice-based jazz improvisation contexts include situated learning and ecological perspectives. This article focuses on how interest-driven, self-sustaining jazz learning activities can be matched against the concepts of stolen knowledge (Brown & Duguid, 1996) and landscape of learning (Bjerstedt, 2014). Based on an extensive interview study with Swedish professional jazz musicians, it argues that the multidirectedness involved in jazz improvisational practice calls … Show more

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Cited by 5 publications
(2 citation statements)
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“…It could also be possible to better tailor instruction to the unique characteristics and demands of each instrument within the piano trio, empowering students to not only master their own role but also comprehend the intricacies of their fellow ensemble members. This, in turn, aligns with the broader ethos of jazz education, which entails helping a student to develop their own "sound" through careful study of a wider tradition _________________________________________________________________________________ of recordings and performances (Bjerstedt, 2016;Johansen, 2013) and a growing awareness of their position in the broader musical community (Berliner, 1994).…”
Section: ____________________________________________________________...mentioning
confidence: 84%
“…It could also be possible to better tailor instruction to the unique characteristics and demands of each instrument within the piano trio, empowering students to not only master their own role but also comprehend the intricacies of their fellow ensemble members. This, in turn, aligns with the broader ethos of jazz education, which entails helping a student to develop their own "sound" through careful study of a wider tradition _________________________________________________________________________________ of recordings and performances (Bjerstedt, 2016;Johansen, 2013) and a growing awareness of their position in the broader musical community (Berliner, 1994).…”
Section: ____________________________________________________________...mentioning
confidence: 84%
“…Even so, power is at issue in a wide range of contexts related to music education. Questions have been raised about the conservatoire model imposed on other traditions such as jazz (Bjerstedt, 2016), popular music (Lebler & Hodges, 2017) and indigenous or minority cultures (Ricken, 2006); power imbalances have been explored in relation to gender (Almqvist & Werner, 2022) and studio pedagogy (Gaunt, 2017); entrenched norms in musical interpretation have been questioned (Leech-Wilkinson, 2021); and the dangers of psychological and even sexual abuse have been raised (Fernández-Morante 2018;Hays et al, 2000). Each of these represents and deserves an area of discourseincluding scholarship and both professional and public discussionin itself.…”
Section: Introductionmentioning
confidence: 99%