The editorial introduces Ross Hagen as a new member of the editorial team and outlines the articles and reviews in Metal Music Studies (MMS) 9.1.
这篇社论介绍了罗斯哈根作为编辑团队的新成员，并概述了金属音乐研究(MMS) 9.1的文章和评论。
{"title":"Editorial","authors":"Ross Hagen","doi":"10.1386/mms_00091_2","DOIUrl":"https://doi.org/10.1386/mms_00091_2","url":null,"abstract":"The editorial introduces Ross Hagen as a new member of the editorial team and outlines the articles and reviews in Metal Music Studies (MMS) 9.1.","PeriodicalId":36868,"journal":{"name":"Metal Music Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47016707","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Metal and Religion Conference, organized by the Department for the Study of Religions at Masaryk University and Czech Metal Studies, Masaryk University, Brno, Czechia, 7–8 September 2022","authors":"Jeremy J. Swist","doi":"10.1386/mms_00097_7","DOIUrl":"https://doi.org/10.1386/mms_00097_7","url":null,"abstract":"","PeriodicalId":36868,"journal":{"name":"Metal Music Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42251405","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Reflections on the International Society for Metal Music Studies 5th Biennial Conference, National Autonomous University, Mexico City, 7–10 June 2022","authors":"M. Levine","doi":"10.1386/mms_00098_7","DOIUrl":"https://doi.org/10.1386/mms_00098_7","url":null,"abstract":"","PeriodicalId":36868,"journal":{"name":"Metal Music Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46457689","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Decolonial Metal Music in Latin America, Nelson Varas-Díaz (2021)","authors":"Edward Banchs","doi":"10.1386/mms_00100_5","DOIUrl":"https://doi.org/10.1386/mms_00100_5","url":null,"abstract":"Review of: Decolonial Metal Music in Latin America, Nelson Varas-Díaz (2021)\u0000 Bristol: Intellect, 256 pp.,\u0000 ISBN 978-1-78938-393-5, h/bk, $127.80","PeriodicalId":36868,"journal":{"name":"Metal Music Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47944155","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Metal on Merseyside: Music Scenes, Community and Locality, Nedim Hassan (2021) Cham: Palgrave Macmillan, 221 pp., ISBN 978-3-03077-680-0, e-book, £43.99
{"title":"Metal on Merseyside: Music Scenes, Community and Locality, Nedim Hassan (2021)","authors":"Kimi Kärki","doi":"10.1386/mms_00099_5","DOIUrl":"https://doi.org/10.1386/mms_00099_5","url":null,"abstract":"Review of: Metal on Merseyside: Music Scenes, Community and Locality, Nedim Hassan (2021)\u0000 Cham: Palgrave Macmillan, 221 pp.,\u0000 ISBN 978-3-03077-680-0, e-book, £43.99","PeriodicalId":36868,"journal":{"name":"Metal Music Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48239376","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article builds on a new theory of metal song form () to show how different versions of compound AABA form can carry narrative meaning, illustrated by analyses of a number of famous metal songs in mainstream (i.e. not underground/extreme) styles. First, I discuss how some songs about rituals use conventional compound AABA form such that the ‘transformation’ event of the ritual occurs during the song’s B section, focusing on examples by Mercyful Fate and Ghost. Next, I show how several metal ballads use a shortened version of the conventional form (AAB) to depict a protagonist who loses control, getting ‘stuck’ at the same time as the form gets ‘stuck’ in the B section, focusing on examples by Metallica and Pantera. I end with a short analysis showing how aspects of these two established strategies are combined in a unique pairing of form and narrative in Iron Maiden’s ‘Run to the Hills’. As I analyse these songs, I explore how musical form can structure fans’ participation in the music and shape their experiences of these songs’ stories.
{"title":"Song form and storytelling in mainstream metal","authors":"Stephen S. Hudson","doi":"10.1386/mms_00092_1","DOIUrl":"https://doi.org/10.1386/mms_00092_1","url":null,"abstract":"This article builds on a new theory of metal song form () to show how different versions of compound AABA form can carry narrative meaning, illustrated by analyses of a number of famous metal songs in mainstream (i.e. not underground/extreme) styles. First, I discuss how some songs about rituals use conventional compound AABA form such that the ‘transformation’ event of the ritual occurs during the song’s B section, focusing on examples by Mercyful Fate and Ghost. Next, I show how several metal ballads use a shortened version of the conventional form (AAB) to depict a protagonist who loses control, getting ‘stuck’ at the same time as the form gets ‘stuck’ in the B section, focusing on examples by Metallica and Pantera. I end with a short analysis showing how aspects of these two established strategies are combined in a unique pairing of form and narrative in Iron Maiden’s ‘Run to the Hills’. As I analyse these songs, I explore how musical form can structure fans’ participation in the music and shape their experiences of these songs’ stories.","PeriodicalId":36868,"journal":{"name":"Metal Music Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42581747","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Because of its marketing impact and key role in the definition of a band’s visual identity, the artwork of a metal album is carefully designed to reflect the music played by the band. Bearing in mind the historical association between colour and music, we performed a quantitative colorimetric analysis of 1150 metal album artworks (MAA) (and of 400 non-metal artworks for the purpose of comparison) in order to study the place of colours in metal artworks visual identity. In each artwork, we have extracted its five dominant colours (with a k-means clustering algorithm) and underwent a colour histogram analysis. We showed that MAA appear darker than their non-metal counterparts. We derived a colour palette of MAA and showed that black, (dark) grey and brown/orange tones are by far the most frequently used colours. The presence of these ‘metal colours’ is very consistent between metal subgenres. However, the visual identity of some metal subgenres encompasses specific artwork colorimetric rules. Black metal album covers are darker and mainly use black and dark grey. Groove metal artworks tend to display warmer and more saturated colours with an increased use of brownish and orange tones. Drone metal albums are lighter while crossover albums have a mottled appearance. Nevertheless, for most of the metal subgenres the artwork visual identity seems to rely on colour-independent elements. We suppose that this identity might rather be built on thematic elements and probably also on the logotypes’ style. A lot of work remains to be done to clearly understand what makes metal albums look so peculiar.
{"title":"A k-means clustering and histogram-based colorimetric analysis of metal album artworks: The colour palette of metal music","authors":"G. Friconnet","doi":"10.1386/mms_00095_1","DOIUrl":"https://doi.org/10.1386/mms_00095_1","url":null,"abstract":"Because of its marketing impact and key role in the definition of a band’s visual identity, the artwork of a metal album is carefully designed to reflect the music played by the band. Bearing in mind the historical association between colour and music, we performed a quantitative colorimetric analysis of 1150 metal album artworks (MAA) (and of 400 non-metal artworks for the purpose of comparison) in order to study the place of colours in metal artworks visual identity. In each artwork, we have extracted its five dominant colours (with a k-means clustering algorithm) and underwent a colour histogram analysis. We showed that MAA appear darker than their non-metal counterparts. We derived a colour palette of MAA and showed that black, (dark) grey and brown/orange tones are by far the most frequently used colours. The presence of these ‘metal colours’ is very consistent between metal subgenres. However, the visual identity of some metal subgenres encompasses specific artwork colorimetric rules. Black metal album covers are darker and mainly use black and dark grey. Groove metal artworks tend to display warmer and more saturated colours with an increased use of brownish and orange tones. Drone metal albums are lighter while crossover albums have a mottled appearance. Nevertheless, for most of the metal subgenres the artwork visual identity seems to rely on colour-independent elements. We suppose that this identity might rather be built on thematic elements and probably also on the logotypes’ style. A lot of work remains to be done to clearly understand what makes metal albums look so peculiar.","PeriodicalId":36868,"journal":{"name":"Metal Music Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42212745","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Le Hellfest: Un pèlerinage pour metalheads (Hellfest: A Pilgrimage for Metalheads), Corentin Charbonnier (2017) Azay-sur-Cher: Corentin Charbonnier éditions, 208 pp., ISBN 978-2-95587-890-3, p/bk, €17
评论：Hellfest：金属头朝圣，Corentin Charbonnier（2017）Azay sur Cher:Corentin CharbonnierEditions，208页，ISBN 978-2-95587-890-3，P/BK，17欧元
{"title":"Le Hellfest: Un pèlerinage pour metalheads (Hellfest: A Pilgrimage for Metalheads), Corentin Charbonnier (2017)","authors":"Etienne Farvaque","doi":"10.1386/mms_00101_5","DOIUrl":"https://doi.org/10.1386/mms_00101_5","url":null,"abstract":"Review of: Le Hellfest: Un pèlerinage pour metalheads (Hellfest: A Pilgrimage for Metalheads), Corentin Charbonnier (2017)\u0000 Azay-sur-Cher: Corentin Charbonnier éditions, 208 pp.,\u0000 ISBN 978-2-95587-890-3, p/bk, €17","PeriodicalId":36868,"journal":{"name":"Metal Music Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48209926","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Although the connection between (heavy) metal and ‘class’ still is one of the most controversial research questions in ‘metal studies’, little historical research has been done on working metalheads and musicians. Therefore, this article explores the regional working biographies of metal musicians in the German Ruhr area and in Birmingham/ the Black Country to show how these occupational lives changed during the long 1980s and how they were related to the regional metal scenes and to the concept of ‘class’. Based on the latest and historical interviews with musicians, the article focuses on the ways in which work in the scenes and work out of the scenes developed in the massive structural changes, on the role the families played, and how these shifts can be contextualized in contemporary history. The findings suggest that metal musicians mattered as pioneers into a broader social transition from working biographies based on milieus to those based on lifestyles. Beyond that, especially in the form of the extreme metal underground, the scene’s attitudes towards work epitomized the beginning of a new subject culture that took shape as a result of the do-it-yourself mentality, of global communication and of broadened horizons of what to consider as possible for the future.
{"title":"Working metal musicians: A case of transition in the long 1980s","authors":"Marco Swiniartzki","doi":"10.1386/mms_00094_1","DOIUrl":"https://doi.org/10.1386/mms_00094_1","url":null,"abstract":"Although the connection between (heavy) metal and ‘class’ still is one of the most controversial research questions in ‘metal studies’, little historical research has been done on working metalheads and musicians. Therefore, this article explores the regional working biographies of metal musicians in the German Ruhr area and in Birmingham/ the Black Country to show how these occupational lives changed during the long 1980s and how they were related to the regional metal scenes and to the concept of ‘class’. Based on the latest and historical interviews with musicians, the article focuses on the ways in which work in the scenes and work out of the scenes developed in the massive structural changes, on the role the families played, and how these shifts can be contextualized in contemporary history. The findings suggest that metal musicians mattered as pioneers into a broader social transition from working biographies based on milieus to those based on lifestyles. Beyond that, especially in the form of the extreme metal underground, the scene’s attitudes towards work epitomized the beginning of a new subject culture that took shape as a result of the do-it-yourself mentality, of global communication and of broadened horizons of what to consider as possible for the future.","PeriodicalId":36868,"journal":{"name":"Metal Music Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49513432","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article investigates whether and how five of the major metal subgenres differ in their harmonic practices in the twenty-first century. One hundred metal tracks – twenty from each of the five subgenres of power metal, black metal, metalcore, melodic death metal and progressive metal – released since 2000 were analysed, capturing their chord progressions and modulation techniques. Tonal analysis indicated that although each subgenre seems to adopt the techniques used by the early heavy metal bands of the 1970s and 1980s, individual signature styles contribute to the desired sonic aesthetic. The study found pronounced harmonic practices in most subgenres, yet the most distinctive in power metal and black metal. While black metal focused on non-diatonic minor chords for a dark atmosphere and dissonant aesthetic, power metal emphasized the brighter Dorian mode and employed baroque and classically influenced secondary dominants and diminished seventh chords to add colour to progressions and brighten the sound.
{"title":"Harmonic structures in twenty-first-century metal music: A harmonic analysis of five major metal genres","authors":"Jamie Boddington Jordan, Jan Herbst","doi":"10.1386/mms_00093_1","DOIUrl":"https://doi.org/10.1386/mms_00093_1","url":null,"abstract":"This article investigates whether and how five of the major metal subgenres differ in their harmonic practices in the twenty-first century. One hundred metal tracks – twenty from each of the five subgenres of power metal, black metal, metalcore, melodic death metal and progressive metal – released since 2000 were analysed, capturing their chord progressions and modulation techniques. Tonal analysis indicated that although each subgenre seems to adopt the techniques used by the early heavy metal bands of the 1970s and 1980s, individual signature styles contribute to the desired sonic aesthetic. The study found pronounced harmonic practices in most subgenres, yet the most distinctive in power metal and black metal. While black metal focused on non-diatonic minor chords for a dark atmosphere and dissonant aesthetic, power metal emphasized the brighter Dorian mode and employed baroque and classically influenced secondary dominants and diminished seventh chords to add colour to progressions and brighten the sound.","PeriodicalId":36868,"journal":{"name":"Metal Music Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49132555","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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