Epilepsy and Stigma in Popular Music 2290 – 3
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PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized. -
Compound AABA Form and Style Distinction in Heavy Metal *
Compound AABA Form and Style Distinction in Heavy Metal * Stephen S. Hudson NOTE: The examples for the (text-only) PDF version of this item are available online at: hps://www.mtosmt.org/issues/mto.21.27.1/mto.21.27.1.hudson.php KEYWORDS: Heavy Metal, Formenlehre, Form Perception, Embodied Cognition, Corpus Study, Musical Meaning, Genre ABSTRACT: This article presents a new framework for analyzing compound AABA form in heavy metal music, inspired by normative theories of form in the Formenlehre tradition. A corpus study shows that a particular riff-based version of compound AABA, with a specific style of buildup intro (Aas 2015) and other characteristic features, is normative in mainstream styles of the metal genre. Within this norm, individual artists have their own strategies (Meyer 1989) for manifesting compound AABA form. These strategies afford stylistic distinctions between bands, so that differences in form can be said to signify aesthetic posing or social positioning—a different kind of signification than the programmatic or semantic communication that has been the focus of most existing music theory research in areas like topic theory or musical semiotics. This article concludes with an exploration of how these different formal strategies embody different qualities of physical movement or feelings of motion, arguing that in making stylistic distinctions and identifying with a particular subgenre or style, we imagine that these distinct ways of moving correlate with (sub)genre rhetoric and the physical stances of imagined communities of fans (Anderson 1983, Hill 2016). Received January 2020 Volume 27, Number 1, March 2021 Copyright © 2021 Society for Music Theory “Your favorite songs all sound the same — and that’s okay . -
The History of Rock Music: 1976-1989
The History of Rock Music: 1976-1989 New Wave, Punk-rock, Hardcore History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) The Golden Age of Heavy Metal (These are excerpts from my book "A History of Rock and Dance Music") The pioneers 1976-78 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. Heavy-metal in the 1970s was Blue Oyster Cult, Aerosmith, Kiss, AC/DC, Journey, Boston, Rush, and it was the most theatrical and brutal of rock genres. It was not easy to reconcile this genre with the anti-heroic ethos of the punk era. It could have seemed almost impossible to revive that genre, that was slowly dying, in an era that valued the exact opposite of machoism, and that was producing a louder and noisier genre, hardcore. Instead, heavy metal began its renaissance in the same years of the new wave, capitalizing on the same phenomenon of independent labels. Credit goes largely to a British contingent of bands, that realized how they could launch a "new wave of British heavy metal" during the new wave of rock music. Motorhead (1), formed by ex-Hawkwind bassist Ian "Lemmy" Kilminster, were the natural bridge between heavy metal, Stooges/MC5 and punk-rock. They played demonic, relentless rock'n'roll at supersonic speed: Iron Horse (1977), Metropolis (1979), Bomber (1979), Jailbait (1980), Iron Fist (1982), etc. -
Extreme Metal: Subculture, Genre, and Structure
Université de Montréal Extreme metal: Subculture, Genre, and Structure par Samaël Pelletier Université de Montréal Faculté de Musique Mémoire présenté en vue de l’obtention du grade de Maîtrise en musique option musicologie avril 2018 © Samaël Pelletier. 2018 Abstract Extreme metal is a conglomeration of numerous subgenres with shared musical and discursive tendencies. For the sake of concision, the focus throughout this thesis will mainly be on death metal and black metal – two of the most popular subgenres categorized under the umbrella of extreme metal. Each chapter is a comparative analysis of death metal and black metal from different perspectives. Thus, Chapter One is historical account of extreme metal but also includes discussions pertaining to iconography and pitch syntax. Subsequently, Chapter Two concerns itself with the conception of timbre in death metal and black metal. More specifically, timbre will be discussed in the context of sound production as well as timbre derived from performance, in particular, vocal distortion. The conception of rhythm/meter will be discussed in Chapter Three which will simultaneously allow for a discussion of the fluidity of genre boundaries between death metal and progressive metal – largely because of the importance placed on rhythm by the latter subgenre. Instead of a focus on musical practices, Chapter Four will instead take a sociological approach with the aim of answering certain issues raised in the first three chapters. Ultimately, this thesis aims to elucidate two questions: What are the different aesthetic intentions between practitioners of death metal and black metal? And, how do fans conceptualize these aesthetic differences? Sarah Thornton’s notion of subcultural capital – which is derived from Pierre Bourdieu’s notion of cultural capital – will help to answer such questions. -
Musikproduktion Im Modernen Extreme Metal: Technische Und Gestalterische Standards Sowie Besonderheiten Des Genres
Musikproduktion im modernen Extreme Metal: technische und gestalterische Standards sowie Besonderheiten des Genres. Recording, Mixing und Mastering Gerald C. Hauzenberger MASTERARBEIT eingereicht am Fachhochschul-Masterstudiengang Digital Arts in Hagenberg im September 2013 © Copyright 2013 Gerald C. Hauzenberger Diese Arbeit wird unter den Bedingungen der Creative Commons Lizenz Namensnennung–NichtKommerziell–KeineBearbeitung Österreich (CC BY- NC-ND) veröffentlicht – siehe http://creativecommons.org/licenses/by-nc-nd/ 3.0/at/. ii Erklärung Ich erkläre eidesstattlich, dass ich die vorliegende Arbeit selbständig und oh- ne fremde Hilfe verfasst, andere als die angegebenen Quellen nicht benutzt und die den benutzten Quellen entnommenen Stellen als solche gekennzeich- net habe. Die Arbeit wurde bisher in gleicher oder ähnlicher Form keiner anderen Prüfungsbehörde vorgelegt. Hagenberg, am 20. September 2013 Gerald C. Hauzenberger iii Inhaltsverzeichnis Erklärung iii Vorwort vii Kurzfassung x Abstract xi 1 Einleitung 1 2 Extreme Metal 3 2.1 Historische Entwicklung . 3 2.2 Abkehr vom Mainstream . 5 2.2.1 Thrash Metal . 5 2.2.2 Death Metal . 8 2.2.3 Black Metal . 13 3 Preproduction 17 3.1 Vorbereitung . 17 3.2 MIDI-Notation und Click Tracks . 19 3.3 Weitere Überlegungen . 23 4 Recording 24 4.1 Strategien . 24 4.1.1 Overdubbing . 24 4.1.2 Mikrofonauswahl und Aufstellung . 27 4.1.3 Effektbearbeitung und Headroom . 31 4.2 Drums . 33 4.2.1 Mikrofonierung . 34 4.2.2 Alternative Ansätze . 45 4.3 E-Gitarren . 51 4.4 E-Bass . 59 4.5 Vocals . 62 iv Inhaltsverzeichnis v 5 Editing 65 5.1 Power Through Order . 65 5.2 Fades und Comping . -
Punk Section
A “nihilistic dreamboat to negation”? The cultural study of death metal and the limits of political criticism Michelle Phillipov Thesis submitted for the degree of Doctor of Philosophy Discipline of English University of Adelaide October 2008 CONTENTS Contents ................................................................................................................... II Abstract.................................................................................................................... IV Declaration ........................................................................................................ VI Acknowledgements ............................................................................. VII Introduction ...................................................................................................... 1 From heavy to extreme metal ............................................................................................. 9 The politics of cultural studies .......................................................................................... 20 Towards an understanding of musical pleasure ............................................................. 34 Chapter 1 Popular music studies and the search for the “new punk”: punk, hip hop and dance music ........................................................................ 38 Punk studies and the persistence of politics ................................................................... 39 The “new punk”: rap and hip hop .................................................................................. -
313 3D in Your Face 44 Magnum 5 X a Cosmic Trail A
NORMALPROGRAMM, IMPORTE, usw. Richtung Within Temptation mit einem guten Schuß Sentenced ALLOY CZAR ANGEL SWORD ACCUSER Awaken the metal king CD 15,50 Rebels beyond the pale CD 15,50 Dependent domination CD 15,50 Moderater NWoBHM Sound zwischen ANGRA BITCHES SIN, SARACEN, DEMON, Secret garden CD 15,50 Diabolic CD 15,50 SATANIC RITES gelegen. The forlorn divide CD 15,50 ALLTHENIKO ANGRA (ANDRE MATOS) Time to be free CD 29,00 ACID Back in 2066 CD 15,50 Japan imp. Acid CD 18,00 Devasterpiece CD 15,50 ANGUISH FORCE Engine beast CD 18,00 Millennium re-burn CD 15,50 2: City of ice CD 12,00 ACRIDITY ALMANAC 3: Invincibile imperium Italicum CD 15,50 For freedom I cry & bonustracks CD 17,00 Tsar - digibook CD & DVD 18,50 Cry, Gaia cry CD 12,00 ACTROID ALMORA Defenders united MCD 8,00 Crystallized act CD 29,00 1945 CD 15,50 Japan imp. RRR (1998-2002) CD 15,50 Kalihora´s song CD 15,50 Sea eternally infested CD 12,00 ABSOLVA - Sid by side CD 15,50 ADRAMELCH Kiyamet senfonisi CD 15,50 Broken history CD 15,50 ANIMETAL USA Shehrazad CD 15,50 Lights from oblivion CD 15,50 W - new album 2012 CD 30,00 313 ALTAR OF OBLIVION Japan imp. Opus CD 15,50 Three thirteen CD 17,00 Salvation CD 12,00 ANNIHILATED ADRENALINE KINGS 3D IN YOUR FACE ALTERED STATE Scorched earth policy CD 15,50 Same CD 15,50 Faster and faster CD 15,50 Winter warlock CD 15,50 ANNIHILATOR ADRENICIDE Eine tolle, packende Mischung aus AMARAN Alice in hell CD 12,00 PREMONITION (Florida) ILIUM, HAN- War begs no mercy CD 15,50 KER und neueren JAG PANZER. -
Scarica Gratis Una Parte Del Libro in Formato
Daniel Ekeroth Swedish Death Metal La vera storia del Death Metal Svedese Traduzione di Massimo Baroni e Stefania Renzetti Indice Ringraziamenti ..................................................................................................................................................7 Prefazione ..........................................................................................................................................................9 Introduzione di Chris Reifert ..........................................................................................................................12 Introduzione: Perché la Svezia? .......................................................................................................................14 1 L’ALBA DEI MORTI VIVENTI ............................................................................................................16 Il Legame con il Punk ...............................................................................................................................26 2 IL METAL SVEDESE VIENE BRUTALIZZATO ..............................................................................34 La Svezia Perde l’Innocenza ......................................................................................................................42 I Bathory si Addentrano nel Fuoco Eterno................................................................................................44 Obscurity e Mefisto: l’Ascesa dell’Underground ........................................................................................47 -
The Thematical and Stylistic Evolution of Heavy Metal Lyrics and Imagery from the 70S to Present Day
1 Jeroen Buts Master Engels The Thematical and Stylistic Evolution of Heavy Metal Lyrics and Imagery From the 70s to Present Day Master scriptie Faculteit Letteren en Wijsbegeerte Promotor: Prof. Dr. Gert Buelens 2 Prologue You cannot make me feel guilty/ I don't give a shit about respect I won't join your moral masturbation/ I'm the prodigal son gone off the tracks You cannot make me feel sorry/ I don't give a damn about your pride I'm the cat-piss on your carpet/ The last crushing thought before you die Don't fit in your picture Don't fit in your world Don't match all the lies you feed your kids Feel no loyalty/ This deal was made without me Sure I never signed it/ Your contracts don't apply to me I'll fuck your dog/ Do you still wanna get along with me? I'd rape your daughter/ On payment of a small fee I'll fuck your dog/ Do you still wanna get along with me? I'd rape your daughter/ How much would you pay? (“Dead Serious and Highly Professional”, The Ocean) If someone were to tell you, dear reader, that heavy metal is just a louder, faster and more formulaic version of that popular musical genre which defined the late 70s, called hard rock, that someone would probably be wrong. The above lyric contains several elements which indicate just how incomplete such a statement would be. Most importantly, it divides those who read it almost instantly: a metal fan, even if his taste is for a different subgenre of metal, will recognize a specific quality in this text. -
3D in Your Face 44 Magnum 5 X 77 (Seventy Seven)
NORMALPROGRAMM, IMPORTE, usw. Eat the heat CD 12,00 District zero CD 29,00 The void unending CD 13,00 Restless and live - Blind rage Dominator CD 18,00 ANCIENT EMPIRE - live in Europe DCD 20,00 Female warrior CD & DVD 18,00 Eternal soldier CD 15,50 Russian roulette CD 12,00 Mermaid MCD 15,50 Other world CD 15,50 Stalingrad CD & DVD18,00 Other world CD & DVD 23,00 The tower CD 15,50 Stayin’ a life DCD 12,00 White crow CD 21,00 When empires fall CD 15,50 The rise of chaos CD 18,50 alle Japan imp. ANGEL DUST ACCID REIGN ALHAMBRA Into the dark past & bonustr. CD 15,50 Awaken CD 15,50 A far cry to you CD 26,00 official rerelease Richtung Within Temptation mit einem Japan imp. To dust you will decay - official guten Schuß Sentenced ALIVE 51 rerelease on NRR CD 15,50 ACCUSER Kissology - an Italian tribute to ANGEL MARTYR Dependent domination CD 15,50 the hottest band in the world CD 15,50 Black book chapter one CD 15,50 Diabolic CD 15,50 ALL SOUL´S DAY ANGELMORA The forlorn divide CD 15,50 Into the mourning CD 15,50 AIRBORN - Lizard secrets CD 15,50 Mask of treason CD 15,50 ACID ALLOY CZAR ANGEL WITCH Acid CD 18,00 Awaken the metal king CD 15,50 `82 revisited CD 15.50 3D IN YOUR FACE Engine beast CD 18,00 Moderater NWoBHM Sound zwischen Angel Witch - deluxe edition DCD 15,50 Faster and faster CD 15,50 Maniac CD 18,00 BITCHES SIN, SARACEN, DEMON, Eine tolle, packende Mischung aus SATANIC RITES gelegen. -
Women in New York's Extreme Metal Music Scene
City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Fall 12-21-2016 Individual Thought Patterns: Women in New York's Extreme Metal Music Scene Joan M. Jocson-Singh CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/134 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Individual Thought Patterns: Women in New York's Extreme Metal Music Scene by Joan Jocson-Singh Submitted in partial fulfillment of the requirements for the degree of Master of Arts Anthropology, Hunter College The City University of New York 2016 Thesis Sponsor: October 2, 2016 Dr. Jonathan Shannon Date Signature of First Reader October 2, 2016 Dr. Aminata Maraesa Date Signature of Second Reader ii Abstract Extreme metal music (EMM) is both an umbrella term and a sub-category of heavy metal, with origins in the early 1980s. It is a complex amplification of heavy metal that has garnered increased attention during the last two decades due to some bands becoming more popular and accessible than anticipated for the styles it comprises. Although women have a small but steady presence in heavy metal, this number shrinks when applied to extreme metal - a subculture which has typically been coded as a masculine domain (Purcell 2003; Kahn-Harris 2007; Walser 1993; Weinstein 1991). For women, participating in such an overwhelmingly male-coded environment can incur sexism, marginalization, and misogyny. -
Thesis Fulltext.Pdf (1.105Mb)
Commodified Evil’s Wayward Children: Black Metal and Death Metal as Purveyors of an Alternative Form of Modern Escapism A thesis submitted in partial fulfillment of the requirements for the Degree of Master of Arts in Religious Studies in the University of Canterbury by Jason Forster University of Canterbury 2006 Contents Abstract 1 Introduction 2 1. Black Metal and Death Metal Music 5 Audible Distinctions and Definitions: both of and between Black Metal and Death Metal Music 5 Dominant Lyrical Themes and Foci 10 A Brief History of Black Metal and Death Metal Music 15 A Complementary Dichotomy of Evil 41 2. The Nature and Essence of Black Metal and Death Metal 46 The Eclectic Nature of Black Metal and Death Metal 46 The Hyperreal Nature of Black Metal and Death Metal 54 The Romantic Nature of Black Metal vs The Futurist Nature of Death Metal 59 The Superficial Nature of Black Metal and Death Metal 73 3. Black Metal and Death Metal as purveyors of an Alternative form of Modern Escapism 80 Escapism 80 Mainstream Escapism and the “Good Guys Always Win” Motif 83 Embracing an Evil Alternative 92 A Desensitizing Ethos of Utter Indifference 99 4. The (Potential) Social Effects of Black Metal and Death Metal 103 Lyrical Efficacy 103 (Potential) Negative Social Effects 108 (Potential) Positive Social Effects 126 Conclusion 130 Bibliography 133 Abstract This study focuses on Black Metal and Death Metal music as complimentary forms of commodified evil, which, in contrast to most other forms of commodified evil, provide an alternative form of modern escapism.