Abstract
The concept of lineage is one that is frequently invoked in discussions surrounding jazz, and is used by both players in casual contexts and by academics and critics in more formal settings. However, very little attention has been paid to defining what lineage may mean in a jazz context, and to how it might actually function. Beyond a simple chronology of great players and jazz styles, an investigation of lineal traditions in jazz has ramifications for discussions of pedagogy. Using the lineal tradition of pianist Lennie Tristano and saxophonist Lee Konitz as a case study, this paper considers these issues as well as how lineal traditions may fit with the current institutional model for jazz education.- The author retains copyright over the work.
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