Submission and Acknowledgements

Yesterday, on 20 / 12 / 2012, I submitted my thesis.





I don't know what I'm going to do with this blog.

I don't know what I'm going to do for a job.

I still have to get results and do revisions and who knows how long that will take.



But I thought it was worth making my acknowledgements public because what's the use of thanks hidden in a book somewhere they're not going to see?

So here they are. A huge thank you to everyone mentioned.

Acknowledgements

Thanks must go to my primary supervisor, Dr Peter Mickan, for his constant belief and encouragement, and to my secondary supervisor, Dr Jenny Rosevear.

For the analysis of this thesis, I’d also like to particularly thank external experts for providing generous advice and feedback: Dr Karl Maton on Legitimation Code Theory and Dr Lexie Don on Appraisal Theory.

For the writing of this thesis, I must thank and acknowledge my hoard of marvellous proof readers who willingly edited in return for this thanks and, at most, a picture of a puppy: Dr Nayia Cominos, Alex Price, Rachel Mullan, Claire Simpson-Smith, Rosie Lovell, Emily Heylen, Jess Scott, Shari Lapthorne, Nick Coutts, and Alexia Moncreiff.

For the PhD experience, I’d like to thank past office-mates Dr Hiromi Teramoto, Dr Celine Chu and Margareta Rebelos for going before me. Thanks also go to: the various Shut Up and Write teams – virtual and real life – for helping to churn words out; Signature Café for consistently excellent motivational coffee; and the twitter-folk who willingly followed my ramblings as jazzlinguist, for constant and incessant support, sympathy and celebration at any time of day or night. Special thanks to Maria Ioannou for motivational coffees and tomato-based productivity, and to Johanna Motteram as office-mate and co-conspirator for world conquest.

Particular thanks to the Honours Jazz Performance students for participating in my research.

Lastly the greatest thanks must go to my brother, Jeremy Martin, for answering random music- and jazz-related questions, for providing technical music support, and most importantly for inspiring this research. And to my parents, for encouraging me to aim for a floppy hat, and for being so extremely generous in their support, particularly during this final year.

All these people contributed to the best parts of this thesis; any remaining mistakes are entirely my own.