HEADLESS MUSICAL SEEDS AND GESTURES WITH ADJECTIVES: AN INTERVIEW WITH KEIKO DEVAUX

Keiko Devaux (b. 1982) is a Canadian composer, originally from British Columbia, who now lives in Montréal. She began her musical career in piano-performance studies as well as composing, touring and recording several albums in independent rock bands. Her concert music is widely performed throughout Canada and Europe. From 2016–18, Keiko was the composer in residence of Le Nouvel Ensemble Moderne. She joined Salvatore Sciarrino's masterclasses at L'Accademia Musicale Chigiana in Siena, Italy, between the years 2017 and 2019. Keiko was commissioned by music@villaromana festival, Florence, to create Echoic Memories. She is the inaugural winner of the Azrieli Commission for Canadian Music (2020) and is also engaged in a two-year residency as a Carrefour composer with the National Arts Centre Orchestra (2020–22). This interview was conducted over Zoom in late spring 2020, in the midst of the Covid-19 pandemic.

We Made This Song. The Group Song Writing Processes of Three Adolescent Rock Bands

<p>In garages, practice rooms and classrooms, young people are composing music in rock and pop bands; engaged in working together in the shared enterprise of group music making. This study aims to contribute to scholarly knowledge through describing, analysing and interpreting the collaborative compositional processes (song writing) of three teenage rock bands. A theoretical model was developed and is applied to an analysis of the compositional processes of each group. Communication within each of the bands is analysed in terms of musical, nonverbal and verbal communication. The teaching and cooperative learning that occurred within each of the bands is presented, and each band is described in terms of a community of practice. An analysis of the compositional processes reveals that the three bands employed similar methods to generate ideas and construct their songs. However, when the data are viewed from a number of other theoretical perspectives, it is clear that two of the bands composed collaboratively, working together within mutually supportive, highly focussed and respectful communities; and that the third band’s songs were the work of a single composer, achieved through the cooperation and participation of the other band members. The young people in all three bands were highly engaged in selfdirected music learning, finding meaning and identity in the process.</p>

We Made This Song. The Group Song Writing Processes of Three Adolescent Rock Bands

<p>In garages, practice rooms and classrooms, young people are composing music in rock and pop bands; engaged in working together in the shared enterprise of group music making. This study aims to contribute to scholarly knowledge through describing, analysing and interpreting the collaborative compositional processes (song writing) of three teenage rock bands. A theoretical model was developed and is applied to an analysis of the compositional processes of each group. Communication within each of the bands is analysed in terms of musical, nonverbal and verbal communication. The teaching and cooperative learning that occurred within each of the bands is presented, and each band is described in terms of a community of practice. An analysis of the compositional processes reveals that the three bands employed similar methods to generate ideas and construct their songs. However, when the data are viewed from a number of other theoretical perspectives, it is clear that two of the bands composed collaboratively, working together within mutually supportive, highly focussed and respectful communities; and that the third band’s songs were the work of a single composer, achieved through the cooperation and participation of the other band members. The young people in all three bands were highly engaged in selfdirected music learning, finding meaning and identity in the process.</p>

Biographical Aspects of Rock Music

It is necessary to make difference between biography as a history of a person’s life and biography as a retelling of this story made by a professional author. It is this “author’s” biography that is the subject of this article. Turning to biography as a genre, we note that it exists in the environment of other genres and forms: these are various kinds of diaries, chronicles, memoirs, testimonies. It can be based on a collection of interviews, publications from different years, and even correspondence. Among the many biographies, chronicles and biographies of musicians and rock bands, the author selects those in which a bright individuality stands out against the background of parallel and commensurate creative values. The biographies of The Beatles and, in particular, John Lennon, the versatile character of whose creative personality is demonstrated by a vivid example of an “opening” biography, are considered.

Live Performing and Afterschool Groups

This chapter discusses the challenge of launching student-led performing and creative groups without taking a heavy-handed role in their development. The chapter gives strategies for supporting student-led groups so that they attain the continuity of membership enjoyed by traditional school ensembles. Specifically, it considers three models of student-led groups. The first model is the recording club, a loosely knit group of like-minded students doing self-directed recording projects in the studio. Second is a model based on rock bands and open-mic nights, student-organized ensembles, and performance series that are supported by the school but that operate independently of formal classroom structures. The third model is the electronic music group, a novel and successful performing ensemble combining DJs, instrumentalists, vocalists, and emcees. Lebanon High School’s Electronic Music Group is described: its technical onstage setup, its nontraditional performance venues, its repertoire and creative ethos, and the faculty facilitation that makes it sustainable in a school environment.

Cultural attributes of Russian rock: elitist or mass culture?

The article deals with identifying Russian rock culture as elitist or mass culture. The author characterizes the concepts of elitist and mass culture, explaining the difference between them, and examines the characteristics of Russian rock culture on the basis of this analysis. The author concludes that Russian rock culture is a kind of reconciliation of elite and mass culture: in the second half of the XX century the complexity of the Soviet political system and ideology determined the destiny and cultural attributes of Russian rock, making it a complex, multifaceted and eclectic phenomenon. Forced to survive, rock bands had to incorporate elements of popular music into their works and use mass media to attract the public. Having joined the ranks of commercial performances, rock 'n' roll gained more popularity, and gradually there appeared some signs of the rock culture decline. In the end, however, rock culture did not transform into mass culture, and Russian rock musicians and rock poets continued to play their music in search of a new cultural niche for themselves to express their critical attitude to reality, their denial and opposition to the processes of industrialization and urbanization, returning to the history and culture of the nation, paying attention to philosophical and religious issues and to the depth and completeness of poetic content, reconstructing Russian cultural memory, reflecting on the environmental situation in the modern world. Rock culture is still a culture of resistance, but as society continues to change, the form and content of resistance is also constantly changing, and it is because of this that rock culture has acquired a kind of humanistic foundation that is much deeper than that of popular culture, so ignoring the difference between rock culture and popular culture destroys the innate spirit and the essence of rock culture itself.

Nazwy polskich zespołów rockowych o postaci grup nominalnych. Analiza składniowa i semantyczna

Names of Polish rock bands in the form of nominal groups. Syntactic and semantic analysis Summary This article reflects on the names of Polish rock bands active in the 80s and 90s of the last century which have the form of nominal simple (two-element) and extended structures. Onomastic, semantic and linguistic-cultural analyses are supplemented by syntactic characteristics of names representing various models of attribute groups. The overall studies, including grammatical description together with semantic analysis, give a full linguistic picture of units that name music groups.