doi.org/10.26112/kw.2021.114.01

Bibliography

Adamczewski, Tymon, red., All Along Bob Dylan. America and the World. New York–London: Routledge, 2020.

Burszta, Wojciech J., Marcin Rychlewski, red., A po co nam rock. Między duszą a ciałem. Warszawa: Wydawnictwo „Twój Styl”, 2003.

Gajda, Krzysztof. Szarpidruty i poeci. Piosenka wobec przemian społecznych i kulturowych ostatnich dekad. Poznań: Wydawnictwo UAM, 2017.

Gałuszka, Patryk, red., Made in Poland. Studies in Popular Music. New York–London: Routledge, 2019.

Jeziński, Marek. Muzyka popularna jako wehikuł ideologiczny. Toruń: Wydawnictwo Naukowe UMK, 2011.

Jeziński, Marek, Waldemar Kuligowski, Michał Pranke, Paweł Tański, red., Muzyczny rok 1969. Kultura rocka 4. Toruń: Wydawnictwo Naukowe UMK, 2020.

Kiec, Izolda. W szarej sukience? Autorki i wokalistki w poszukiwaniu tożsamości. Warszawa: Wydawnictwo Naukowe „Scholar”, 2013.

Maleszyńska, Joanna. Apologia piosenki. Studia z historii gatunku. Poznań: Wydawnictwo Naukowe UAM, 2013.

Marcinkiewicz, Radosław, red., Unisono na pomieszane języki. T. 1. Opole–Sosnowiec: GAD Records, 2010.

Marcinkiewicz, Radosław, red., Unisono w wielogłosie. T. 1–5. Sosnowiec: GAD Records, 2011–2014. Opole: Wydawnictwo UO, 2019.

Osiński, Jakub, Michał Pranke, Paweł Tański, red., Kultura rocka 1. Twórcy, tematy, motywy. Toruń: Wydawnictwo Naukowe UMK, 2019.

Osiński, Jakub, Michał Pranke, Paweł Tański, red., Kultura rocka 2. Słowo, dźwięk, performance. Toruń: Wydawnictwo Naukowe UMK, 2019.

Osiński, Jakub, Michał Pranke, Paweł Tański, red., Kultura rocka 3. Tradycje, poszukiwania, kontynuacje. Toruń: Wydawnictwo Naukowe UMK, 2019.

Siwak, Wojciech. Estetyka rocka. Warszawa: Wydawnictwo Naukowe „Semper”, 1993.

Tański, Paweł. Głosy i performanse tekstów. Literatura – piosenki – ciało. Toruń: Wydawnictwo Naukowe UMK, 2021.

Tański, Paweł. Nowe sytuacje polskiego rocka. Teksty – głosy – interpretacje. Poznań: Instytut Kultury Popularnej, 2016.

doi.org/10.26112/kw.2021.114.02

The foundations of pop-culture revolution in music were laid with various elements of different subcultures and traditions, resulting in a universal ethos of ethnic and class exclusion. The reception of early rock and roll was shaped by racial politics inasmuch as the unification of music was preceded by a profound social and cultural segregation. However, the ‘black’ origins of rock and roll need to be supplemented with a ‘white’ element – the socially and class-wise marginalised ‘hillbillies’. The history of pop as a homogenising language of musical emotions cannot ignore the complex identity of ‘white’ musicians and music producers from Memphis interested in ‘black’ inspirations and shaped by the perspective of their own ‘culture of scarcity’. Elvis Presley is a symptomatic example of a relationship between ‘white’ rock and roll and class exclusion. Both the musicians and audiences of early rock culture, regardless of the colour of their skin, were members of a disadvantaged group. Featuring as an aggressive prototype of a rocker on stage, Elvis inadvertently became their tribune. His radicalism echoed in the genetic mix of his songs from across a variety of genres and types. He was a mimetic model setting a direction for the emancipation of both ‘whites’ and ‘blacks’. This was the first time when teenagers disobeyed the adult culture so openly and explicitly. Presley’s song-writing also coincided with society’s melancholic reintegration with the officially repudiated traditions, helping young people move beyond the existing divides towards a greater unity.

Key words: rock and roll, the ‘hillbillie’ subculture, narcissistic mimicry, racial segregation, economic exclusion

Bibliography

Agamben, Giorgio. Profanacje. Tłum. Mateusz Kwaterko. Warszawa: Państwowy Instytut Wydawniczy, 2006.

Brabazon, Tara. Popular Music. Topics, Trends and Trajectories. London: Sage Books, 2012.

Cheseborough, Steve. Blues Traveling: The Holy Sites of Delta Blues. Jackson: University Press of Mississippi, 2009.

Dawson, Jim, Steve Propes. What Was the First Rock’n’Roll Record?. Boston, London: Faber and Faber, 1992.

Debord, Guy. Społeczeństwo spektaklu. Rozważania o społeczeństwie spektaklu. Tłum. Mateusz Kwaterko. Warszawa: Państwowy Instytut Wydawniczy, 2009.

Dregni, Michael, red., Rockabilly. The Twang Heard’ Round The World. Minneapolis: Voyageur Press, 2011.

Gajda, Krzysztof, Magdalena Chrząstowska, red., Etyka i estetyka słowa w piosence. Poznań: Wydawnictwo Naukowe UAM, 2019.

Guralnick, Peter. Last Train to Memphis. The Rise of Elvis Presley. Boston: Little, Brown and Company, 1994.

Harkins, Anthony. Hillbilly: A Cultural History of an American Icon. Oxford: Oxford University Press, 2004.

Headlam, Dave. „Appropriations of blues and gospel in popular music”. W: The Cambridge Companion to Blues and Gospel Music. Red. Allan Moore. Cambridge: Cambridge University Press, 2002.

Jensen, Joli. Creating the Nashville Sound: Authenticity, Commercialization and Country Music. Nashville: The Country Music Foundation Press, Vanderbilt University Press, 1998.

Jorgensen, Ernst. Elvis Presley. A Boy From Tupelo. The Complete 1953–55 Recordings. Copenhagen: FTD Books, 2012.

Lorentzen, Justin. „The culture(s) of narcissism: simultaneity and the psychedelic sixties”. W: Narcissism. A Critical Reader. Red. Anastasios Gaitanidis, Polona Curk. London: Routledge, 2007.

Meisel, Perry. The Cowboy and the Dandy. Crossing Over from Romanticism to Rock and Roll. Oxford: Oxford University Press, 1999.

Morrison, Craig. Go Cat Go! Rockabilly Music and Its Makers. Chicago: University of Illinois Press, 1996.

Starr, Larry, Christopher Waterman. American Popular Music: The Rock Years. Oxford: Oxford University Press, 2006.

Williamson, Joel. Elvis Presley. A Southern Life. Oxford: Oxford University Press, 2015.

doi.org/10.26112/kw.2021.114.03

This article tries to interpret the lyrics from From Her to Eternity (1984), a debut studio album by Nick Cave and the Bad Seeds, including a cover of a song originally written by Leonard Cohen. As an example of a rock song lyrics study, it follows the receptive trace while reflecting on the beginnings of the creative path of this outstanding songwriter, rock music composer and vocalist endowed with a captivating voice. Nick Cave’s first musical incarnation was the Boys Next Door (1976–1980, the band changed its name several times and for a longer time was known as Concrete Vulture), later followed by the Birthday Party (1980–1983), Nick Cave and the Bad Seeds (1984–), and Grinderman (2006–2011). Originating from Warracknabeal, Australia, Nicholas E. Cave is considered to be one of the best rock culture artists, confirming his class as with every new album. His last two productions, Idiot Prayer: Nick Cave Alone at Alexandra Palace (2020) and Carnage (2021, a studio album recorded in a duo with the outstanding multi-instrumentalist Warren Ellis), are beautiful, moving, and extraordinary works. The former is a concert film and a live album featuring Cave performing solo on piano, and it serves as the final film in a trilogy of this Brighton-based singer and composer, along with the phenomenal 20,000 Days on Earth (2014) and One More Time with Feeling (2016). Nick Cave is an artist who writes about loneliness, pain, and yearning for love, as clearly evidenced by From Her to Eternity, a moving study of the anthropology of love.

Key words: anthropology of rock, rock song lyrics, voice, singing, Nick Cave

Bibliography

Adamczewski, Tymon, red., All Along Bob Dylan. America and the World. New York: Routledge, 2020.

Bernhart, Walter, Lawrence Kramer, red., On Voice. Amsterdam: Brill–Rodopi, 2014.

Burszta, Wojciech J., Marcin Rychlewski, red., A po co nam rock. Między duszą a ciałem. Warszawa: Wydawnictwo „Twój Styl”, 2003.

Dalziell, Tanya, Karen Welberry, red., Cultural Seeds: Essays on the Work of Nick Cave. Farnham: Ashgate Publishing, 2009.

Eidsheim, Nina S., Katherine Meizel, red., The Oxford Handbook of Voice Studies. New York: Oxford University Press, 2019.

Godlewski, Grzegorz, Andrzej Mencwel, Roch Sulima, red., Antropologia słowa. Warszawa: Wydawnictwa UW, 2003.

Jeziński, Marek, Waldemar Kuligowski, Michał Pranke, Paweł Tański, red., Muzyczny rok 1969. Kultura rocka 4. Toruń: Wydawnictwo Naukowe UMK, 2020.

Kuligowski, Waldemar. Miłość na Zachodzie. Historia antropologiczna. Poznań: Wydawnictwo Naukowe UAM, 2004.

Marcinkiewicz, Radosław, red., Unisono na pomieszane języki. T. 1. Opole–Sosnowiec: GAD Records, 2010.

Marcinkiewicz, Radosław, red., Unisono w wielogłosie. T. 1–4. Sosnowiec: GAD Records, 2011–2014.

Marcinkiewicz, Radosław, red., Unisono w wielogłosie. T. 6. Opole: Wydawnictwo UO, 2019.

Osiński, Jakub, Michał Pranke, Paweł Tański, red., Kultura rocka 1. Twórcy, tematy, motywy. Toruń: Wydawnictwo Naukowe UMK, 2019.

Osiński, Jakub, Michał Pranke, Paweł Tański, red., Kultura rocka 2. Słowo, dźwięk, performance. Toruń: Wydawnictwo Naukowe UMK, 2019.

Osiński, Jakub, Michał Pranke, Paweł Tański, red., Kultura rocka 3. Tradycje, poszukiwania, kontynuacje. Toruń: Wydawnictwo Naukowe UMK, 2019.

Siwak, Wojciech. Estetyka rocka. Warszawa: Wydawnictwo Naukowe „Semper”, 1993.

Tański, Paweł. Głosy i performanse tekstów. Literatura – piosenki – ciało. Toruń: Wydawnictwo Naukowe UMK, 2021.

Tański, Paweł. Nowe sytuacje polskiego rocka. Teksty – głosy – interpretacje. Poznań: Instytut Kultury Popularnej, 2016.

doi.org/10.26112/kw.2021.114.04

This article seeks to decode the artistic strategies employed by Nick Cave on two of his recent albums, Skeleton Tree (2016) and Ghosteen (2019), to process the trauma related to the sudden death of his teenage son, Arthur, in July 2015. Understandably, the literary layer of both productions is marked by the author’s grief and attempts to overcome it. However, the lyrics on both albums are also an account of a recovery from a trauma. It is a process composed of four stages: the shock experienced by an individual; desperate attempts to return to the reality before the trauma, which for obvious reasons turns out to be impossible; developing a trauma narrative, i.e. retelling a traumatic event; the beginning of the healing process with accepting the loss as a crucial component. The entire process also assumes a significant participation from Cave’s audiences, as the artist consciously allows us access to an intimate and traumatic experience on a previously unprecedented scale.

Key words: Nick Cave, trauma, grief, death

Bibliography

Alexander, Jeffrey C. „Toward a theory of cultural trauma”. W: Cultural Trauma and Collective Identity, red. Jeffrey C. Alexander, Ron Eyerman, Bernhard Giesen, Neil J. Smelser, Piotr Sztompka. Berkeley: University of California Press, 2004.

Aubrey, Elizabeth. „Nick Cave and the Bad Seeds – Ghosteen Review: a beautiful account of harrowing grief”. New Musical Express, 9 października 2019.

Cave, Nick. Skeleton Tree. Bad Seed, 2016.

Cave, Nick. The Red Hand Files. 2018.

Cave, Nick and the Bad Seeds. Ghosteen. Bad Seed, 2019.

Currin, Grayson H. „Review. Nick Cave & the Bad Seeds Ghosteen”. Pitchfork, 9 października 2019.

Derrida, Jacques. „In memoriam: of the soul”. W: Jacques Derrida. The Works of Mourning. Tłum. Pascale-Anne Brault, Michael Naas. Chicago: The University of Chicago Press, 2001.

Grow, Kory. „Nick Cave and the Bad Seeds embrace anguish on Skeleton Tree”. Rolling Stone, 9 września 2016.

Grow, Kory. „Nick Cave looks for peace and finds hope on Ghosteen”. Rolling Stone, 10 października 2019.

Leys, Ruth. Trauma: A Genealogy. Chicago: The University of Chicago Press, 2000.

Luckhurst, Roger. The Trauma Question. London: Routledge, 2008.

Smelser, Neil J. „Psychological trauma and cultural trauma”. W: Jeffrey C. Alexander, Ron Eyerman, Bernhard Giesen, Neil J. Smelser, Piotr Sztompka. Cultural Trauma and Collective Identity. Berkeley: University of California Press, 2004.

Vickroy, Laurie. Trauma and Survival in Contemporary Fiction. Charlottesville: University of Virginia Press, 2002.

Whitehead, Anne. Trauma Fiction. Edinburgh: Edinburgh University Press, 2004.

doi.org/10.26112/kw.2021.114.05

This article focuses on female hard rock and (heavy) metal artists largely marginalised in previous national research on the anthropology of popular music. The current state of research is presented in a context. Selected topics are discussed related to the artistic practices and image, the multidimensionality of the voice, the category of the body, and the aesthetics of the aging of female artists. The (heavy) metal culture is analysed in the context of exhibitionism defined in a non-reductionist manner not only as a kind of sexual paraphilia, but more broadly as a tendency (at times excessive) to reveal personal and intimate details to others, expose one’s self, and in some cases also one’s body. The text focuses on Girlschool, the British longest-running all-female rock band whose career can be viewed from the perspective of longue durée, and Otep, an American band synthetically characterised through its leader’s political manifestations represented on the album Kult 45 (2018). The careers of the both bands are analysed in terms of the dominant metal masculinist paradigm, as well as from the perspective of ideological discourses and the (trans)media logic of convergence culture.

Key words: rock culture, female artists of the Anglosphere, artistic practices, anthropology of hard rock

Bibliography

Barthes, Roland. „Ziarno głosu”. Tłum. Jakub Momro. Teksty Drugie 5, 155 (2015).

Bauman, Zygmunt. Ciało i przemoc w obliczu ponowoczesności. Toruń: Wydawnictwo UMK, 1995.

Burszta, Wojciech J. „Wojny metakulturowe i metakultura nowości”. Kultura Współczesna 51, 1 (2007).

Burszta, Wojciech J., Marcin Rychlewski, red., A po co nam rock. Między duszą a ciałem. Warszawa: Wydawnictwo „Twój Styl”, 2003.

Clifford-Napoleone, Amber R. Queerness in Heavy Metal Music: Metal Bent. New York: Routledge, 2015.

Eidsheim, Nina S., Katherine Meizel, red., The Oxford Handbook of Voice Studies. New York: Oxford University Press, 2019.

Foucault, Michel. Nadzorować i karać. Narodziny więzienia. Tłum. Tadeusz Komendant. Warszawa: Aletheia, 1993.

Frith, Simon. Sceniczne rytuały. O wartości muzyki popularnej. Tłum. Marek Król. Kraków: Wydawnictwo UJ, 2011.

Herron-Wheeler, Addison. Wicked Woman: Women in Metal from the 1960s to Now. Scotts Valley: CreateSpace, 2014.

Hill, Rosemary L. Gender, Metal and the Media. Women Fans and the Gendered Experience of Music. London: Palgrave Macmillan, 2016.

Kiec, Izolda. W szarej sukience? Autorki i wokalistki w poszukiwaniu tożsamości. Warszawa: Wydawnictwo Naukowe „Scholar”, 2013.

Leibetseder, Doris. Queer Tracks: Subversive Strategies in Rock and Pop Music. Farnham: Ashgate, 2012.

Reddington, Helen. The Lost Women of Rock Music. Female Musicians of the Punk Era. Sheffield: Equinox, 2012.

Shusterman, Richard. „Somatoestetyka i «Druga Płeć». Pragmatystyczne odczytanie arcydzieła feminizmu”. Tłum. Wojciech Małecki. Teksty Drugie 109–110, 1–2 (2008).

Walser, Robert. Running with the Devil. Power, Gender and Madness in Heavy Metal Music. Middletown: Wesleyan University Press, 1993.

doi.org/10.26112/kw.2021.114.06

This article analyses Western popular music in terms of content related to climate change. While references to nature have been present in song lyrics and various artistic at least since the 1960s, they seem to be gaining momentum in the view of the current ecological crisis. The discussion focuses on the ecological dimensions of rock defined also as a record of the cultural function of popular music, allowing us to take a closer look at the applications, description methods, and the purpose of environmental references. The aim of this article is not only to identify artists who address these issues, but also to reflect on the actual effects of incorporating the environmental content into popular music and its potential to express the cultural resistance. The paper is not so much interested in the recognition and cataloguing of references to the biosphere and its state or listing protest songs that call for greater care for the environment, but in how these issues have been exploited in recent cultural productions. The discussion focuses on popular music in English-speaking cultures, putting particular emphasis on broadly defined rock music recognised as largely responsible for the globalisation of many stereotypes and lifestyles so willingly copied and developed in other parts of the world.

Key words: Anthropocene, climate disaster, environment, popular music, ecocriticism

Bibliography

Baudrillard, Jean. Przejrzystość zła. Tłum. Sławomir Królak. Warszawa: Wydawnictwo Sic!, 2009.

Bennett, Andy, Sarah Baker, „Classic albums: The re-presentation of the rock album on British television”. W: Popular Music and Television in Britain, red. Ian Inglis. London: Ashgate 2010.

Bińczyk, Ewa. Epoka człowieka. Retoryka i marazm antropocenu. Warszawa: Wydawnictwo Naukowe PWN, 2018.

Connolly, Marie, Jérôme Dupras, Charles Séguin. „An economic perspective on rock concerts and climate change: Should carbon offsets compensating emissions be included in the ticket price?”. Journal of Cultural Economics 40 (2016).

Crutzen, Paul J., Eugene F. Stoermer. „The Anthropocene”. Global Change Newsletter 41 (2000).

Eyerman, Ron, Andrew Jamison. Music and Social Movements: Mobilizing Traditions in the Twentieth Century. Cambridge, New York: Cambridge University Press, 1998.

Feisst, Sabine. „Introduction: music and ecology”. Contemporary Music Review 35, 3 (2016).

Friedman, Jonathan, red., The Routledge History of Social Protest in Popular Music. New York, London: Routledge, 2013.

Frith, Simon. Sceniczne rytuały. O wartości muzyki popularnej. Tłum. Marek Król. Kraków: Wydawnictwo UJ, 2011.

Jeziński, Marek. Muzyka popularna jako wehikuł ideologiczny. Toruń: Wydawnictwo Naukowe UMK, 2011.

Kerr, Simon. „Climate, culture and music: coping in the Anthropocene”. University of Tasmania Law Review 37, 2 (2018).

Morton, Timothy. Hyperobjects: Philosophy and Ecology after the End of the World. Minneapolis, London: University of Minnesota Press, 2013.

Pedelty, Mark. Ecomusicology: Rock, Folk, and the Environment. Philadelphia: Temple University Press, 2012.

Reed, T.V. The Art of Protest: Culture and Activism from the Civil Rights Movement to the Streets of Seattle. Minneapolis: University of Minnesota Press, 2005.

Ribac, François, Paul Harkins. „Popular music and the Anthropocene”. Popular Music 39, 1 (2020).

Weinstein, Deena. „Rock protest songs: so many and so few”. W: The Resisting Muse: Popular Music and Social Protest, red. Ian Peddie. London: Ashgate, 2006.

doi.org/10.26112/kw.2021.114.07

This article focuses on the place that proper names originating from rock, or popular music in general, take or could take in dictionaries of proper names. It starts with an overview of onomastica published thus far, revealing a limited interest of Polish researchers in proper nouns related to this form of artistic activity. This discovery prompted the author to share his suggestions regarding such an onomasticon, or even onomastica, where names from popular music and specific categories would take a central place. Conditions are proposed which such a dictionary can or must meet based on the categories used in lexicography such as macro-, micro-, media- and megastructure. The final section of the article presents examples of the proposed lexicographic entries used in practice. Prepared on the example of the proper noun ‘Yes’, the first proposal is to limit the term description to basic data (spelling, pronunciation, explanation of the name, inflection in Polish). The second option develops the entry and refines it: firstly, by adopting the microstructure plan with the special role of a commentary, and secondly, in the context of the media-structure, i.e. by presenting it among other related entries.

Key words: rock, popular music, proper names, dictionary, lexicography

Bibliography

Chlebda, Wojciech. „Od Idiomatykonu do idiomatykonu. Z dziejów pewnej przygody leksykograficznej”. W: Podręczny idiomatykon polsko-rosyjski, z. 10, red. Wojciech Chlebda. Opole: Wydawnictwo UO, 2019.

Cieślikowa, Aleksandra, red., Mały słownik odmiany nazw własnych. Kraków: Instytut Języka Polskiego PAN, 2002.

Dereń, Bożena, Tomasz Wielg. „Nazwy własne. Antroponimy (3). Ludzie estrady”. W: Podręczny idiomatykon polsko-rosyjski, z. 3, red. Wojciech Chlebda. Opole: Wydawnictwo UO, 2008.

Gradowski, Mariusz. Big beat. Style i gatunki polskiej muzyki młodzieżowej (1957–1973). Warszawa: Oficyna Wydawnicza ASPRA-JR, 2018.

Grzenia, Jan. Słownik nazw własnych. Warszawa: Wydawnictwo Naukowe PWN, 2003.

Iwanowska, Anna. „Nazwy współczesnych kabaretów. Między nadawcą a odbiorcą”. Onomastica 56 (2012).

Lewicki, Roman. Polsko-rosyjski słownik nazw własnych. Lublin: Wydawnictwo UMCS, 2008.

Łukasik, Marek. „Spójność w słowniku terminologicznym”. W: Spójność tekstu specjalistycznego, red. Małgorzata Kornacka. Warszawa: IKL@, 2014.

Marcinkiewicz, Radosław. „Ile jest Niemna w Niemenie? W kręgu eponimów”. W: Unisono w wielogłosie. T. 2: W kręgu nazw i wartości, red. Radosław Marcinkiewicz. Sosnowiec: GAD Records, 2011.

Marcinkiewicz, Radosław. „O pozorności mocno uderzającego podobieństwa między big beatem i big-beatem. W sprawie ortograficznej strony terminologii rockowej”. W: Unisono w wielogłosie. T. 4: Rock a media, red. Radosław Marcinkiewicz. Sosnowiec: GAD Records, 2013.

Marcinkiewicz, Radosław. „Scena rockowa (1)”. W: Podręczny idiomatykon polsko-rosyjski, z. 3, red. Wojciech Chlebda. Opole: Wydawnictwo UO, 2008.

Marcinkiewicz, Radosław. „Scena rockowa (2). Art rock”. W: Podręczny idiomatykon polsko-rosyjski, z. 4, red. Wojciech Chlebda. Opole: Wydawnictwo UO, 2009.

Marcinkiewicz, Radosław. „Scena rockowa (3). Nieoficjalne nazwy własne”. W: Podręczny idiomatykon polsko-rosyjski, z. 10, red. Wojciech Chlebda. Opole: Wydawnictwo UO, 2019.

Podlawska, Daniela, Magdalena Świątek-Brzezińska. Słownik nazw osobowych i miejscowych. Warszawa, Bielsko-Biała: Wydawnictwo Szkolne PWN, 2008.

Rymut, Kazimierz. „Nazwy własne w słowniku współczesnego języka polskiego”. W: Wokół słownika współczesnego języka polskiego. Materiały konferencji w Paszkówce, 26–28 XI 1986 r., red. Władysław Lubaś. Wrocław: Zakład Narodowy im. Ossolińskich, 1988.

doi.org/10.26112/kw.2021.114.08

This article discusses the rituality of rock music and stage images adopted by rock artists as an element of the anthropology of popular culture. Rituality in this music genre emerges at the interface between a performer and the audience, and is manifested through image strategies adopted by artists as an essential aspect of their offer in the music market. This issue proved to be particularly evident in the last decades of the 20th century, when rock became a dominant genre in popular music: the marketing offer aimed at young people was frequently accompanied by social and aesthetic values, allowing audiences to perceive this music as a manifestation of ideas typical of the young generation, placed in opposition to older generations. Rock ethos is often a culture of rebellion where an individual – in this case a rock idol – rises above mediocrity. The mythology of popular music has created several artistic images of which the roles of ‘a rebel’, ‘a sensitive artist’, and ‘an attitude advocate/ideologue’ are the most significant for rock musicians’ activities and their ritualisation. The rituals accompanying rock music perform numerous functions such as the expression of artistic values, the aesthetic function, communication, group integration, identification, and finally, the satisfaction of the need to be part of a group.

Key words: rituality, rock music studies, artistic image, popular culture, rock music

Bibliography

Bell, Catherine. Ritual Theory, Ritual Practice. Oxford, New York: Oxford University Press, 2009.

Castaldo, Gino. Ziemia obiecana. Kultura rocka 1954–1994. Tłum. Jerzy Uszyński. Kraków: Wydawnictwo Znak, 1997.

Clarke, John, Stuart Hall, Tony Jefferson, Brian Roberts. „Subcultures, cultures and class: A theoretical overview”. W: Resistance Through Rituals Youth Subcultures in Post-war Britain, red. Stuart Hall, Tony Jefferson. London, New York: Routledge, 2003.

Czarnowski, Stefan. „Kult bohaterów i jego społeczne podłoże. Święty Patryk, bohater narodowy Irlandii”. W: Stefan Czarnowski. Dzieła. T. 4. Warszawa: Państwowe Wydawnictwo Naukowe, 1956.

Durkheim, Émile. Elementarne formy życia religijnego. System totemiczny w Australii. Tłum. Anna Zadrożyńska. Warszawa: Wydawnictwo Naukowe PWN, 2010.

Frith, Simon. Sceniczne rytuały. O wartości muzyki popularnej. Tłum. Marek Król. Kraków: Wydawnictwo UJ, 2011.

Hebdige, Dick. „The meaning of Mod”. W: Resistance Through Rituals Youth Subcultures in Post-war Britain, red. Stuart Hall, Tony Jefferson. London, New York: Routledge, 2003.

Horkheimer, Max, Theodor W. Adorno. Dialektyka oświecenia. Fragmenty filozoficzne. Tłum. Małgorzata Łukasiewicz, Marek J. Siemek. Warszawa: Wydawnictwo Krytyki Politycznej, 2010.

Jeziński, Marek. Mitologie muzyki popularnej. Toruń: Wydawnictwo Naukowe UMK, 2014.

Jeziński, Marek. Muzyka popularna i jej odbiorcy w poszukiwaniu autorytetu. Toruń: Wydawnictwo Naukowe UMK, 2017.

Keltie, Emma. The Culture Industry and Participatory Audiences. London: Palgrave Macmillan, 2017.

Lash, Scott, Celia Lury. Globalny przemysł kultury. Medializacja rzeczy. Tłum. Jakub Majmurek, Robert Mitoraj. Kraków: Wydawnictwo UJ, 2011.

Linton, Ralf. The Study of Man: An Introduction. New York: Appleton-Century-Crofts, 1936.

Reynolds, Simon. Retromania. Jak popkultura żywi się własną przeszłością. Tłum. Filip Łobodziński. Warszawa: Kosmos Kosmos, 2018.

Tambiah, Stanley J. Culture, Thought, and Social Action. An Anthropological Perspective. Cambridge, MA, London: Harvard University Press, 1985.

Townshend, Pete. Kim jestem. Tłum. Jacek Sikora. Wrocław: Wydawnictwo „Bukowy Las”, 2014.

Turner, Victor. The Forest of Symbols: Aspects of Ndembu Rituals. Ithaca: Cornell University Press, 1970.

doi.org/10.26112/kw.2021.114.09

The aim of this article is to analyse the relationship between bioacoustics, electronic sound production, and popular music. The electronic revolution in music production in the mid-1960s, inspired by the invention of electronic musical instruments for sound synthesis (Moog, Buchla, ARP Odyssey), was given a prominent place not only in the academic avant-garde laboratories but also in the popular music market, resulting in the emergence of new musical genres and challenging the classical instruments of rock music (guitar, bass, drums). However, abstract electronic sounds and sound-objects ‘discovered’ by rock and roll artists inevitably required new points of reference transcending beyond the existing canon (blues – classical music). One of them was to imitate (through synthesisers) or employ (through bioacoustic recordings) the sounds of insects as adequate equivalents of the ‘sound masses’ generated by electronic instruments and commonly used sound effects. It resulted in a significant re-evaluation of music production and the relationship between popular culture and avant-garde art.

Key words: rock, bioacoustics, technology, electronic music, insects

Bibliography

Deleuze, Gilles, Guattari, Félix. Tysiąc plateau. Red. językowa Joanna Bednarek. Warszawa: Fundacja Bęc Zmiana, 2015.

Holmes, Thom. Electronic and Experimental Music. Pioneers in Technology and Composition. New York, London: Routledge, 2002.

Laufer, Berthold. Insect-musicians and Cricket Champions of China. Chicago: Field Museum of Natural History, 1927.

Manning, Peter. Electronic and Computer Music. Oxford: Oxford University Press, 2004.

Parikka, Jussi. Owady i media. Tłum. Mateusz Borowski, Małgorzata Sugiera. Kraków: Księgarnia Akademicka, 2017.

Sheppard, David. On Some Faraway Beach. The Life and Times of Brian Eno. London: Orion Books, 2015.

Stubbs, David. Future Sounds. The Story of Electronic Music from Stockhausen to Skrillex. London: Faber and Faber, 2018.

Wald, Elijah. How the Beatles Destroyed Rock’n’Roll. An Alternative History of American Popular Music. Oxford: Oxford University Press, 2009.

Wall, Tim. Studying Popular Music Culture. London: Arnold, 2003.

Young, Rob, Irmin Schmidt. All Gates Open. The Story of Can. London: Faber and Faber, 2018.

doi.org/10.26112/kw.2021.114.10

The main aim of this article is to establish the ontological status of musical emotions. Referring to the concepts of the psychology of music, the sociology of music, as well as cultural studies and philosophy, the author discusses affective reactions related to the reception of music. A significant distinction is made between the emotive reception and the cognitive reception. While musicality itself is largely shaped by brain structures, emotional sensitivity to music is a much more complex construct that includes not only neurological factors but also the listener’s personality. Based on her findings, the author concludes that one cannot speak of any fixed dispositions in this regard as the reception of music can depend on the listener’s current mood, experiences, and the context in which the music is listened to. The article discusses also methodological dilemmas that may emerge in the course of research on musical emotions.

Key words: musical emotions, aesthetic emotions, affective aspects of the reception of music, cognitive reception of music, emotional contagion

Bibliography

Arnett, Jeffrey. „Heavy metal music and reckless behavior among adolescents”. Journal of Youth Adolescence 20, 6 (1991).

Brattico, Elvira, Thomas Jacobsen. „Subjective appraisal of music neuroimaging evidence”. Annals of the New York Academy of Sciences 1169, 1 (2009).

Davies, Stephen. Musical Meaning and Expression. Ithaca: Cornell University Press, 1994.

DeNora, Tia. Music in Everyday Life. Cambridge: Cambridge University Press, 2000.

Gordon, Thomas, Ernest A. Hakanen, Alan Wells. Music preferences and the use of music to manage emotional states: Correlates with self-concept among adolescents. Paper presented to the International Communication Association. Miami 1992.

Hines, Michelle, Katrina McFerran. „Metal made me who I am: Seven adult men reflect on their engagement with metal music during adolescence”. International Journal of Community Music 7, 2 (2014).

Knobloch, Silvia, Dolf Zillmann. „Mood management via the digital jukebox”. Journal of Communication 52, 2 (2002).

Menon, Vinod, Daniel Levitin. „The rewards of music listening: Response and physiological connectivity of the mesolimbic system”. Neuroimage 28, 1 (2005).

Panksepp, Jaak. „The emotional sources of «chills» induced by music”. Music Perception 13, 2 (1995).

Recours, Robin, François Aussaguel, Nick Trujillo. „Metal music and mental health in France”. Culture Medicine Psychiatry 33, 3 (2009).

Rychlewski, Marcin. Zapiski semiotyczne. Gdańsk: Wydawnictwo Naukowe „Katedra”, 2014.

Saarikallio, Suvi, Jaakko Erkkilä. „The role of music in adolescents’ mood regulation”. Psychology of Music 35, 1 (2007).

Scherer, Klaus. „Which emotions can be induced by music? What are the underlying mechanisms? And how can we measure them?”. Journal of New Music Research 33, 3 (2004).

Sloboda, John A. Umysł muzyczny. Poznawcza psychologia muzyki. Tłum. Andrzej Białkowski, Ewa Klimas-Kuchtowa, Adam Urban. Warszawa: Akademia Muzyczna im. Fryderyka Chopina, 2002.

Thoma Myriam V., Urte Scholz, Ulrike Ehlert, Urs Nater. „Listening to music and physiological and psychological functioning: The mediating role of emotion regulation and stress reactivity”. Psychology and Health 27, 2 (2011).

doi.org/10.26112/kw.2021.114.11

This article discusses various aspects of rock musical, focusing on its relationship with the aesthetics of rock music. The introduction provides a methodological approach to this type of a musical theatre work. The existing concepts related to this term are presented, a distinction is made between the category of rock opera and rock musical, and an original definition of this subgenre is proposed. The next section explores the relationship between rock music and rock musical in terms of authenticity. Differences and similarities in the performing practice are presented for both artistic forms along with their sound representations. The final section of the article analyses two prominent musicals created in the early stages of the subgenre development – Hair and Jesus Christ Superstar. Having set certain boundary conditions for fusing rock with theatre, both productions are analysed for their structural components appropriate for the musical form (musical elements, dramatic elements of the work) in combination with rock aesthetics and the performance of this type of work on stage.

Key words: musical, rock, performing arts, rock opera, analysis

Bibliography

Elicker, Martina. „Rock opera – opera on the rocks?. W: Words and Music Studies. Essays in Honor of Steven Paul Scher and on Cultural Identity and the Musical Stage, red. Suzanne M. Lodato, Suzanne Aspden, Walter Bernhart. T. 4. Amsterdam–New York: Rodopi, 2002.

Everett, Walter. „Making sense of rock’s tonal systems”. MTO. A Journal of the Society for Music Theory 10, 4 (2004). https://mtosmt.org/issues/mto.04.10.4/mto.04.10.4.w_everett.html.

Fabbri, Franco. „A theory of musical genres: Two applications”. W: Popular Music Perspectives, red. David Horn, Philip Tagg. Goeteborg: International Association for the Study of Popular Music, 1981.

Hamm, Charles. Irving Berlin. Songs from the Melting Pot: The Formative Years, 1907–1914. Oxford: Oxford University Press, 1997.

Hischak, Thomas S. Off-Broadway Musicals since 1919: From „Greenwich Village Follies” to „The Toxic Avenger”. Lanham: Scarecrow Press, 2011.

Jones, John B. Our Musicals, Ourselves: A Social History of the American Musical Theatre. Hanover: Brandeis University Press, 2003.

McMillin, Scott. The Musical as Drama: A Study of the Principles and Conventions Behind Musical Shows from Kern to Sondheim. Princeton: Princeton University Press, 2006.

Moore, Allan. „Authenticity as authentication”. Popular Music 21, 2 (2002).

Nicholls, David. „Virtual opera, or opera between the ears”. Journal of the Royal Musical Association 129, 1 (2004).

Piotrowski, Grzegorz. Muzyka popularna. Nasłuchy i namysły. Warszawa: Państwowy Instytut Wydawniczy, 2016.

Smółka, Maciej. „Rock musical, rock opera i concept album. Rock jako gatunek zawieszony między filmem, muzyką a teatrem”. W: Spotkania z gatunkami filmowymi: Musical, red. Bogumiła Fiołek-Lubczyńska, Katarzyna Żakieta, Mateusz Żebrowski. Łódź: Wydawnictwo UŁ, 2016.

Stagg, Louis Ch. „Quadrophenia, Man of La Mancha, Hair and Jesus Christ Superstar: Humanity in anguish, searching for love”. Interpretations 6, 1 (1974).

Warfield, Scott. „From Hair to Rent: ‘rock’ a four-letter word on Broadway”. W: The Cambridge Companion to the Musical, red. William A. Everett, Paul R. Laird. Cambridge: Cambridge University Press, 2008.

Wollman, Elizabeth L. The Theater Will Rock: A History of Rock Musical, from Hair to Hedwig. Ann Arbor: The University of Michigan Press, 2006.

Young-Gerber, Christine. „‘Attention must be paid’, cried the balladeer: The concept musical defined”. Studies in Musical Theatre 4, 3 (2010).

doi.org/10.26112/kw.2021.114.12

The aim of this article is to analyse the phenomenon of corpse pain, a style of stage make-up used by black metal bands developed in Norway in the 1990s. Black metal is a subgenre of rock music. Its relationship with violence is very complex and hardly obvious. The focal point of the culture that has developed around this genre is an independent subject whose functioning is based on the categories of agency, power, and domination perceived through the prism of masculinity. Such a subjectivity emerges from the consolidation of artists’ stage and non-stage lives, and needs to have its authenticity constantly confirmed. One way to authenticate it is through the use of corpse paint. This type of stage make-up connects musicians with the content they symbolise and seek to embody. The subject is born out of the performative act of merging with corpse paint. This specific make-up may be perceived as a stage mask originating from ancient theatre. The juxtaposition of corpse paint and a theatrical mask highlights the process that leads to the creation of a black metal subject while revealing its dark sides. One of them is masculinity based on the exclusion of others. In its most extreme manifestations it reaches out for elements of fascist or racist ideologies only to reassert its power and advantage, and thus strengthen its position in the world.

Key words: black metal, corpse paint, a mask, a subject, violence

Bibliography

Baka, Anna. „Metal studies – historia powstania i przegląd badań”. Studia de Cultura 10, 3 (2018). https://studiadecultura.up.krakow.pl/index.php/sdc/article/view/4745/4454.

Baka, Anna. „Strategie autoprezentacji i stereotypizacji fanów metalu ekstremalnego w Internecie”. W: Kult(ura) szoku, red. Dominika Gortych. Poznań: Wydawnictwo „Rys”, 2014.

Berkers, Pauwke, Julian Schaap. „Grunting alone? Online gender inequality in extreme metal music”. Journal of the International Association for the Study of Popular Music 4, 1 (2014).

DiGioia, Amanda. „Women, heavy metal music, and trauma”. W: Jasmine H. Shadrack. Black Metal, Trauma, Subjectivity and Sound. Bingley: Emerald Publishing, 2020.

Kahn-Harris, Keith. Extreme Metal: Music and Culture on the Edge. Berg: Bloomsbury Publishing, 2007.

Kerényi, Karl. „Człowiek i maska”. Tłum. Anna Kryczyńska-Pham. Polska Sztuka Ludowa. Konteksty 56, 3–4 (2002).

Moynihan, Michael, Didrik Søderlind. Władcy chaosu. Krwawe powstanie satanistycznego metalowego podziemia. Tłum. Bartosz Donarski. Poznań: Kagra, 2010.

Nacher, Anna. „Dziewczyny, chłopaki i rock and roll”. W: A po co nam rock. Między duszą a ciałem, red. Wojciech J. Burszta, Marcin Rychlewski. Warszawa: Wydawnictwo Książkowe „Twój Styl”, 2003.

Phillipov, Michelle. „Extreme music for extreme people? Norwegian black metal and transcendent violence”. Popular Music History 6, 1 (2012).

Polakowski, Filip. „Od undergroundu do mainstreamu – rozwój polskiego black metalu w XXI wieku”. Studia de Cultura 3, 10 (2018). https://czasopisma.up.krakow.pl/sdc/article/view/4761.

Sierzputowski, Konrad. „Ciała dyscyplinowane czy podmioty transgresywne? Somatoestetyka fikcyjnych zespołów death- i blackmetalowych”. Studia de Cultura 10, 3 (2018). https://studiadecultura.up.krakow.pl/index.php/sdc/article/view/4750/4456.

Sirko, Radosław. „Inny noise. Biały szum a czarny metal”. Glissando 22 (2013). http://glissando.pl/tekst/inny-noise-bialy-szum-a-czarny-metal-2/.

Sułkowska, Alicja. „«Chainsaw Gutsfuck» – estetyka chaosu w muzyce blackmetalowej”. Studia de Cultura 11, 3 (2019). https://studiadecultura.up.krakow.pl/index.php/sdc/issue/view/413.

doi.org/10.26112/kw.2021.114.13

This article discusses the cultural significance of Sgt. Pepper’s Lonely Hearts Club Band, a studio album released in 1967 by the English rock band the Beatles, and the final concert in the group’s career played from the rooftop of their Apple Corps headquarters in January 1969. It suggests that both experiments were a consequence of artistic decisions dictated by the band’s general reluctance to traditional music performances and their awareness of the reality of new media: recording studios and TV performances. According to the author, both the album and the concert can be viewed as a turning point from modernity to postmodernity, with a prefiguration of postmodern aesthetic and epistemic experience. This evolution from a concept album to a TV concert resulted in a synthesis materialised in the form of video clips and the birth of the MTV music station. The discovery of the Beatles’ entanglement in this process was possible with the hermeneutics proposed by the Italian philosopher Gianni Vattimo. Consequently, we are invited to take another look at the Sgt. Pepper’s album and the famous rooftop concert from the anthropological perspective.

Key words: The Beatles, concept album, postmodernity, fiction, space

Bibliography

Auslander, Philip, Ian Inglis. „«Nothing is real». The Beatles as virtual performers”. W: The Oxford Handbook of Music and Virtuality, red. Sheila Whiteley, Shara Rambarran. Oxford: Oxford University Press, 2016.

Austerlitz, Saul. Money for Nothing. A History of the Music Video from the Beatles to the White Stripes. New York, London: Continuum International Publishing Group, 2007.

Barrell, Tony. The Beatles on the Roof. New York: Omnibus Press, 2017.

Davies, Hunter. The Beatles: The Only Ever Authorised Biography. London: Ebury Publishing, 2009.

Jameson, Fredric. Postmodernizm, czyli logika kulturowa późnego kapitalizmu. Tłum. Maciej Płaza. Kraków: Wydawnictwo UJ, 2011.

Letts, Marianne Tatom. Radiohead and the Resistant Concept Album: How to Disappear Completely. Bloomington: Indiana University Press, 2010.

Macan, Edward L. Rocking the Classics: English Progressive Rock and the Counterculture. Oxford: Oxford University Press, 1997.

Moore, Alan F. The Beatles: Sgt. Pepper’s Lonely Hearts Club Band. Cambridge: Cambridge University Press, 1997.

Shuker, Roy. Key Concepts in Popular Music. London, New York: Routledge, 1998.

Sierzputowski, Konrad. Słuchając hologramu. Cielesność wirtualnych zespołów animowanych. Poznań: Instytut Kultury Popularnej, 2018.

Sterne, Jonathan. The Audible Past: Cultural Origins of Sound Reproduction. Durham: Duke University Press, 2003.

Vattimo, Gianni. Koniec nowoczesności. Tłum. Monika Surma-Gawłowska. Kraków: Universitas, 2006.

Vattimo Gianni. Społeczeństwo przejrzyste. Tłum. Magdalena Kamińska. Wrocław: Wydawnictwo Naukowe Dolnośląskiej Szkoły Wyższej Edukacji, 2006.

Wald, Elijah. How the Beatles Destroyed Rock’n’Roll: An Alternative History of American Popular Music. Oxford: Oxford University Press, 2009.

doi.org/10.26112/kw.2021.114.14

This article focuses on human rights – a central topic in Bob Dylan’s works since the beginning of his career. Analysing a selection of texts in which this winner of the Nobel Prize for Literature refers to the situation of black Americans, the author tries to capture and define Dylan’s recurring narrative regarding the responsibility of individuals, structures and institutions, and their mutual relationships. The analysis focuses on the motif of accusation: who and what is it addressed to? In his discussion of Dylan’s narrative, the author refers to the concept of habitus proposed by Pierre Bourdieu. It is defined as a set of rules incorporated by an individual from the environment and later applied in individual attitudes and actions. Based on the analysis of Dylan’s most important works on human rights, the article shows that the American artist’s perception of the scope of individual and structural responsibility is similar to the concept described by Bourdieu, and as such belongs within a specific borderline sphere.

Key words: structure, racism, an individual, Bob Dylan, habitus

Bibliography

Boucher, David. Dylan i Cohen. Poeci rocka. Tłum. Jerzy Łoziński. Łódź: Wydawnictwo „Niebieska Studnia”, 2016.

Bourdieu, Pierre. Dystynkcja. Społeczna krytyka władzy sądzenia. Tłum. Piotr Biłos. Warszawa: Wydawnictwo Naukowe „Scholar”, 2005.

Bourdieu, Pierre. Szkic teorii praktyki poprzedzony trzema studiami na temat etnologii Kabylów. Tłum. Wiesław Kroker. Kęty: Wydawnictwo „Antyk” Marek Derewiecki, 2007.

Bourdieu, Pierre, Jean-Claude Passeron. Reprodukcja. Elementy teorii systemu nauczania. Tłum. Elżbieta Neyman. Warszawa: Wydawnictwo Naukowe PWN, 2006.

Bourdieu, Pierre, Loïc J.D. Wacquant. „Logika pól”. Tłum. Anna Sawisz. W: Współczesne teorie socjologiczne, red. Alekandra Jasińska-Kania, Lech M. Nijakowski, Jerzy Szacki, Marek Ziółkowski. T. 2. Warszawa: Wydawnictwo Naukowe „Scholar”, 2006.

Brinkley, Douglas. „Bob Dylan has a lot on his mind”. The New York Times, 12 czerwca 2020.

Cott, Jonathan, red., Dylan on Dylan. The Essential Interviews. London: Hodder and Stoughton, 2007.

Dylan, Bob. Kroniki. T. I. Tłum. Marcin Szuster. Wołowiec: Wydawnictwo Czarne, 2014.

Jones, William P. The March on Washington: Jobs, Freedom, and the Forgotten History of Civil Rights. New York: W.W. Norton, 2013.

McDougal, Dennis. Dylan: The Biography. New York: John Wiley and Sons, 2014.

Scaduto, Anthony. Bob Dylan. London: Sphere, 1972.

doi.org/10.26112/kw.2021.114.15

Key words: Claude Lévi-Strauss, anthropology, myth, structure

Lévi-Strauss, Claude. Mit i znaczenie. Pięć wykładów przygotowanych dla radia przez Claude’a Lévi-Straussa [Myth and Meaning. Five talks for radio by Claude Lévi-Strauss]. Wstęp do wydania pol. Andrzej Wójtowicz. Tłum. Monika Eccles, Rafał Wiśniewski. Warszawa: Narodowe Centrum Kultury, 2020.