Creative Collaborations: The Songs/Poems of Canadian Artists Leslie Uyeda and Lorna Crozier
Bibliographic record
Abstract
Composer Leslie Uyeda and poet Lorna Crozier inspire, create, and collaborate in real time. Uyeda and Crozier have an exceptional creative collaboration as they have collaborated on 9 song cycles in the past 12 years and the subject matter of much of their art can be seen as cultural reflections and critiques. This is evident in the song cycle The First Woman which speaks of the silencing of women’s voices through the tales of Lilith and Eve in the garden of Eden and the rape of Dinah, Jacob's daughter. To successfully collaborate on 9 song cycles is a feat in itself, but to also create art that embraces challenging emotions and topics concerning current gender issues is remarkable. Through a singular case study analysis consisting of in-depth interviews and musical score analysis, this monograph aims to not only provide a performance guide to two Uyeda and Crozier creations, White Cat Blues and The First Woman, but to also uncover what makes their creative collaboration process so unique and special.\nWithin the performance guide, the poetry is examined discovering theme, tone, structure, language devices, and imagery. The music is analyzed focusing on structure, style, basic harmony, and the relationship between the text and music, highlighting specific areas of word painting. The performance guide concludes with an examination of the vocal technical challenges presented to the singer, with possible solutions. Accompanying the performance guide are recordings of four Uyeda and Crozier art song collaborations.\nTo date, the researcher has not identified any contemporary research studies of creative collaboration in solo Canadian vocal work. The information about Uyeda and Crozier in combination with the performance guide to the White Cat Blues and The First Woman serve as a great resource for teachers, singers, and pianists.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.002 | 0.004 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.002 | 0.002 |
| Science and technology studies | 0.038 | 0.008 |
| Scholarly communication | 0.008 | 0.002 |
| Open science | 0.002 | 0.004 |
| Research integrity | 0.001 | 0.003 |
| Insufficient payload (model declined to judge) | 0.012 | 0.001 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".