This article aims to show how youth subculture is mapped onto both ‘global’ and ‘glocal’ terms. The progression of the article is as follows: from a basic overview of youth subculture, black metal and current research, it then begins to slowly unpack; using familiar examples of globalization, in business and of culture. The article introduces how globalization and bricolage have intertwined to create ‘glocalization’, and how this new way to view global communities has pushed our current ideas of youth subculture towards evolution. The article hopes to encourage re-analysis in how we think of youth subculture; away from monolithic tribes towards more subtly nuanced groupings.
{"title":"Glocalization, bricolage and black metal: Towards a music-centric youth culture simultaneously exemplifying the global and the glocal","authors":"Kevin Hoffin","doi":"10.1386/mms_00003_1","DOIUrl":"https://doi.org/10.1386/mms_00003_1","url":null,"abstract":"This article aims to show how youth subculture is mapped onto both ‘global’ and ‘glocal’ terms. The progression of the article is as follows: from a basic overview of youth subculture, black metal and current research, it then begins to slowly unpack; using familiar examples of globalization, in business and of culture. The article introduces how globalization and bricolage have intertwined to create ‘glocalization’, and how this new way to view global communities has pushed our current ideas of youth subculture towards evolution. The article hopes to encourage re-analysis in how we think of youth subculture; away from monolithic tribes towards more subtly nuanced groupings.","PeriodicalId":36868,"journal":{"name":"Metal Music Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44341003","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 considers how genre is treated in metal fan communities and metal scholarship. In identifying shortcomings in the existing literature with regard to genre definitions, it argues that musical characteristics should be the primary defining characteristics of metal subgenres. To this end, this article posits both a taxonomy for classifying metal genres and a model for analysing their characteristics. This model consists of five characteristics – pitch, timbre, form, rhythm and aesthetics – which, when combined, can elucidate the specific musical and extra-musical elements that comprise metal’s various subgenres. This provides a framework through which metal musicology and other scholarship can develop a common background and work towards concrete definitions of metal subgenres.
{"title":"Considering genre in metal music","authors":"Benjamin Hillier","doi":"10.1386/mms_00002_1","DOIUrl":"https://doi.org/10.1386/mms_00002_1","url":null,"abstract":"This article considers how genre is treated in metal fan communities and metal scholarship. In identifying shortcomings in the existing literature with regard to genre definitions, it argues that musical characteristics should be the primary defining characteristics of metal subgenres. To this end, this article posits both a taxonomy for classifying metal genres and a model for analysing their characteristics. This model consists of five characteristics – pitch, timbre, form, rhythm and aesthetics – which, when combined, can elucidate the specific musical and extra-musical elements that comprise metal’s various subgenres. This provides a framework through which metal musicology and other scholarship can develop a common background and work towards concrete definitions of metal subgenres.","PeriodicalId":36868,"journal":{"name":"Metal Music Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45336358","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}
The German epic heavy/doom metal band Atlantean Kodex has written two concept albums based on the folklore and paganism of old Europe and the West: The Golden Bough and The White Goddess. The two albums owe their titles to two books that have influenced the rise of modern paganism, though they remain deeply problematical. In this article, I explore possibly the most important influence on Atlantean Kodex, which is also one of the most important influences on modern paganism: the 1973 horror film The Wicker Man. I discuss the ways in which the film uses the speculative folklore of Frazer and Graves to construct a set of invented traditions about paganism and its alternative, counter-Christian nature, which have made paganism appealing to extreme metal musicians and fans. In this discussion, I use examples from other metal bands and fans who have name-checked the themes and the traditions of the film. In discussing the folklore of the Wicker Man, I also explore the folk music used in the soundtrack, which has also contributed to the invention of modern paganism and extreme folk music. I conclude by suggesting that, although many pagans have adopted this extreme music and myth into their world-views, the myth of the Wicker Man is also used as a playful rejection of Christianity and its authority by those of a secular or humanist persuasion.
德国史诗般的重/厄运金属乐队Atlantean Kodex以旧欧洲和西方的民间传说和异教为基础，创作了两张概念专辑《The Golden Bough》和《The White Goddess》。这两张专辑的标题都归功于影响了现代异教兴起的两本书，尽管它们仍然存在深刻的问题。在这篇文章中，我探讨了可能对亚特兰蒂斯Kodex最重要的影响，也是对现代异教最重要的影响之一:1973年的恐怖电影《柳条人》。我讨论了这部电影如何利用弗雷泽和格雷夫斯的推测性民间传说来构建一套关于异教及其另类、反基督教性质的虚构传统，这些传统使异教吸引了极端金属音乐家和粉丝。在这个讨论中，我引用了其他金属乐队和粉丝的例子，他们都提到了电影的主题和传统。在讨论柳条人的民间传说时，我也探讨了配乐中使用的民间音乐，这也促成了现代异教和极端民间音乐的发明。我的结论是，尽管许多异教徒将这种极端的音乐和神话纳入了他们的世界观，但柳条人的神话也被那些世俗或人文主义说服的人用作对基督教及其权威的戏谑的拒绝。
{"title":"From The Wicker Man (1973) to Atlantean Kodex: Extreme music, alternative identities and the invention of paganism","authors":"K. Spracklen","doi":"10.1386/mms_00005_1","DOIUrl":"https://doi.org/10.1386/mms_00005_1","url":null,"abstract":"The German epic heavy/doom metal band Atlantean Kodex has written two concept albums based on the folklore and paganism of old Europe and the West: The Golden Bough and The White Goddess. The two albums owe their titles to two books that have influenced the rise of modern paganism, though they remain deeply problematical. In this article, I explore possibly the most important influence on Atlantean Kodex, which is also one of the most important influences on modern paganism: the 1973 horror film The Wicker Man. I discuss the ways in which the film uses the speculative folklore of Frazer and Graves to construct a set of invented traditions about paganism and its alternative, counter-Christian nature, which have made paganism appealing to extreme metal musicians and fans. In this discussion, I use examples from other metal bands and fans who have name-checked the themes and the traditions of the film. In discussing the folklore of the Wicker Man, I also explore the folk music used in the soundtrack, which has also contributed to the invention of modern paganism and extreme folk music. I conclude by suggesting that, although many pagans have adopted this extreme music and myth into their world-views, the myth of the Wicker Man is also used as a playful rejection of Christianity and its authority by those of a secular or humanist persuasion.","PeriodicalId":36868,"journal":{"name":"Metal Music Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-02-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47969131","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}
Viking metal, Teutonic metal, Mesopotamian metal – labels of this kind are common in fan discourse, media and academia. Whereas some research has investigated such labels and related them to the artist’s stage presentation, music videos, artwork and lyrics, there is still a lack from the perspectives of music production and performance as to how such culturally and geographically associated labels differ musically. This article explores culture-specific production and performance characteristics of Teutonic metal, focusing on how metal from Germany differed from British and US-American productions in the 1980s and 1990s, during which time metal spread to Continental Europe and German speed metal achieved an international reputation for its original interpretation of metal. The study is based on a qualitative interview design with three record producers who were crucial for the rise of German metal labels and their bands: Harris Johns for Noise Records, Siggi Bemm for Century Media and Charlie Bauerfeind for Steamhammer. The findings suggest that performances differed between bands from Germany, America and Great Britain regarding timing, rhythmic precision, ensemble synchronization and expressiveness. Likewise, production approaches varied due to distinct preferences for certain guitar amplifiers, drum tunings, microphone techniques, mixing concepts and studio acoustics. Despite such culture-specific differences, it proved difficult for the interviewed producers to identify distinguishing features. Genre conventions seem to have a stronger impact than cultural origin overall.
{"title":"Culture-specific production and performance characteristics: An interview study with ‘Teutonic’ metal producers","authors":"Jan Herbst","doi":"10.1386/mms_00059_1","DOIUrl":"https://doi.org/10.1386/mms_00059_1","url":null,"abstract":"Viking metal, Teutonic metal, Mesopotamian metal – labels of this kind are common in fan discourse, media and academia. Whereas some research has investigated such labels and related them to the artist’s stage presentation, music videos, artwork and lyrics, there is still a lack from the perspectives of music production and performance as to how such culturally and geographically associated labels differ musically. This article explores culture-specific production and performance characteristics of Teutonic metal, focusing on how metal from Germany differed from British and US-American productions in the 1980s and 1990s, during which time metal spread to Continental Europe and German speed metal achieved an international reputation for its original interpretation of metal. The study is based on a qualitative interview design with three record producers who were crucial for the rise of German metal labels and their bands: Harris Johns for Noise Records, Siggi Bemm for Century Media and Charlie Bauerfeind for Steamhammer. The findings suggest that performances differed between bands from Germany, America and Great Britain regarding timing, rhythmic precision, ensemble synchronization and expressiveness. Likewise, production approaches varied due to distinct preferences for certain guitar amplifiers, drum tunings, microphone techniques, mixing concepts and studio acoustics. Despite such culture-specific differences, it proved difficult for the interviewed producers to identify distinguishing features. Genre conventions seem to have a stronger impact than cultural origin overall.","PeriodicalId":36868,"journal":{"name":"Metal Music Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-01-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45340550","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}
A series of interviews were conducted to explore the experience of what it is like to be a member of metal music culture living with mental health conditions and/or developmental disabilities. Ten participants were interviewed, three of which had schizophrenia, four with autism spectrum disorder, two had bipolar affective disorder and one had borderline personality disorder. Thematic analysis was utilized to explore the experiences of people living with various types of mental illness and developmental disabilities in the context of metal, which resulted in the development of three overarching themes. It was found that participants felt that the metal music community was more welcoming to them due to the broad use of lyrics about mental health topics and the prevalence of metal musicians that have mental health concerns. The broad application of mental health topics in metal was seen as having a de-stigmatizing effect towards mental health concerns, but at the cost of accuracy, as topics like schizophrenia are seen as fetishized and inaccurately depicted. Participants reported that the metal community affords its members with mental health conditions and developmental disabilities a number of benefits including a sense of belonging, the facilitation of mood maintenance and the management of lesser symptoms. Symptom management appeared to be mitigated by symptom severity and influenced how participants experienced metal music.
{"title":"The experiences of metal fans with mental and developmental disorders in the metal music community","authors":"K. Messick, Blanca E. Aranda, Chris Day","doi":"10.31219/osf.io/tz7gh","DOIUrl":"https://doi.org/10.31219/osf.io/tz7gh","url":null,"abstract":"A series of interviews were conducted to explore the experience of what it is like to be a member of metal music culture living with mental health conditions and/or developmental disabilities. Ten participants were interviewed, three of which had schizophrenia, four with autism spectrum\u0000 disorder, two had bipolar affective disorder and one had borderline personality disorder. Thematic analysis was utilized to explore the experiences of people living with various types of mental illness and developmental disabilities in the context of metal, which resulted in the development\u0000 of three overarching themes. It was found that participants felt that the metal music community was more welcoming to them due to the broad use of lyrics about mental health topics and the prevalence of metal musicians that have mental health concerns. The broad application of mental health\u0000 topics in metal was seen as having a de-stigmatizing effect towards mental health concerns, but at the cost of accuracy, as topics like schizophrenia are seen as fetishized and inaccurately depicted. Participants reported that the metal community affords its members with mental health conditions\u0000 and developmental disabilities a number of benefits including a sense of belonging, the facilitation of mood maintenance and the management of lesser symptoms. Symptom management appeared to be mitigated by symptom severity and influenced how participants experienced metal music.","PeriodicalId":36868,"journal":{"name":"Metal Music Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-09-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46224349","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}
In the underground subgenre of depressive suicidal black metal (DSBM), extremes of violence against the self are presented in combination with a restrictive version of black metal. Album covers feature explicit photographs of self-cutting or drawings of suicide by hanging; vocals are tortured screams expressing extreme suffering, and guitar sounds are so distorted that they begin to approach an ambient atmospheric blur. Given the history of concern about metal and its health implications, I investigate DSBM as a case in which representation of harm in music is overt, explicit and extreme, yet the health impact of the music is undetermined. I discuss how different modalities of distortion and restriction may connect the sound of DSBM to themes of violence against the self, presenting a theoretical framework for approaching DSBM as music which negotiates a complex economy of the staging and control of violence with respect to the self.
{"title":"Distortion, restriction and instability: Violence against the self in depressive suicidal black metal","authors":"O. Coggins","doi":"10.1386/mms.5.3.401_1","DOIUrl":"https://doi.org/10.1386/mms.5.3.401_1","url":null,"abstract":"In the underground subgenre of depressive suicidal black metal (DSBM), extremes of violence against the self are presented in combination with a restrictive version of black metal. Album covers feature explicit photographs of self-cutting or drawings of suicide by hanging; vocals are tortured screams expressing extreme suffering, and guitar sounds are so distorted that they begin to approach an ambient atmospheric blur. Given the history of concern about metal and its health implications, I investigate DSBM as a case in which representation of harm in music is overt, explicit and extreme, yet the health impact of the music is undetermined. I discuss how different modalities of distortion and restriction may connect the sound of DSBM to themes of violence against the self, presenting a theoretical framework for approaching DSBM as music which negotiates a complex economy of the staging and control of violence with respect to the self.","PeriodicalId":36868,"journal":{"name":"Metal Music Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41809862","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":"Heavy metal music and managing mental health: Heavy Metal Therapy","authors":"K. Quinn","doi":"10.1386/mms.5.3.419_1","DOIUrl":"https://doi.org/10.1386/mms.5.3.419_1","url":null,"abstract":"","PeriodicalId":36868,"journal":{"name":"Metal Music Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43138284","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}
Joshua Retallick, Niall Scott, Alexander Milas, Tom O’Boyle, S. Barone, Lina Khatib
This work is a critical report on the world metal congress held at Richmix, Shoreditch, London on 21–22 March 2019, reviewing the panel discussions, screenings of Syrian Metal Is War and Songs of Injustice: Heavy Metal in Latin America as well as the live performances at the event.
{"title":"World Metal Congress, Rich Mix, Shoreditch, London, 21‐22 March 20191","authors":"Joshua Retallick, Niall Scott, Alexander Milas, Tom O’Boyle, S. Barone, Lina Khatib","doi":"10.1386/mms.5.3.425_4","DOIUrl":"https://doi.org/10.1386/mms.5.3.425_4","url":null,"abstract":"This work is a critical report on the world metal congress held at Richmix, Shoreditch, London on 21–22 March 2019, reviewing the panel discussions, screenings of Syrian Metal Is War and Songs of Injustice: Heavy Metal in Latin America as well as the live performances at the event.","PeriodicalId":36868,"journal":{"name":"Metal Music Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43800964","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":"‘Ancien folklore québécois’: An analysis of the phonographic and identity-based narrative of themétal noir québécoiscommunity","authors":"M. St-Laurent","doi":"10.1386/mms.5.3.379_1","DOIUrl":"https://doi.org/10.1386/mms.5.3.379_1","url":null,"abstract":"","PeriodicalId":36868,"journal":{"name":"Metal Music Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44082774","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":"Terminology issues with the poïetic aspect of vocals in heavy metal studies: A suggestion for a multidisciplinary approach","authors":"Paolo Ribaldini","doi":"10.1386/mms.5.3.315_1","DOIUrl":"https://doi.org/10.1386/mms.5.3.315_1","url":null,"abstract":"","PeriodicalId":36868,"journal":{"name":"Metal Music Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49596066","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：