Academic literature on the topic 'Black metal (Music)'
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Journal articles on the topic "Black metal (Music)"
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Thorgersen, Ketil. "Black Metal Bildung." Philosophy of Music Education Review 30, no. 2 (October 2022): 183–201. http://dx.doi.org/10.2979/philmusieducrevi.30.2.07.
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Fredriksson, Daniel. "Från djävulsmusik till konstnärligt uttryck." Puls - musik- och dansetnologisk tidskrift 9 (May 22, 2024): 44–60. http://dx.doi.org/10.62779/puls.9.2024.23737.
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From Devil's Music to Artistic Expression. The Korpela Movement, Black Metal, and Cultural PolicyThis text explores Korpelarörelsen, a Black Metal band that presents an audiovisual performance depicting a religious movement in Tornedalen during the early 20th century. In 2020 they received prolific funding from the Swedish Arts Grants Committee to conceive, rehearse and tour with the band. The article describes the band's unique portrayal of local history through the use of black metal music, while also discussing the boundaries between art and music, its implications for arts funding and the Black Metal genre's position in cultural hierarchies. The study draws on interviews, concert observations, and analysis of applications and documents outlining the funding decision from the Swedish Arts Grants Committee. The historic religious Korpela movement has been described as a doomsday cult, which believed that practicing music and dance, extrovert “childlike behavior” and even nudity and free sex, was the path to salvation. The band Korpelarörelsen depicts this through raw Black Metal, atmospheric elements, spoken word passages, and peculiar onstage-rituals. Visual aesthetics, including black robes, corpse paint, and blood-like smears, contributed to the atmosphere of mystique, darkness, and death. Korpelarörelsen’s application for cultural funding strategically positioned the project as a collaboration between various art forms and emphasized the interaction between Black Metal aesthetics and music industry methods. Korpelarörelsen's innovative approach and funding success might offer possibilities for extreme music within culturally funded systems. This case study demonstrates how a Black Metal band from Tornedalen could potentially have cultural and political impact and pave the way for other extreme music groups seeking recognition and support.
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Jordan, Jamie Boddington, and Jan-Peter Herbst. "Harmonic structures in twenty-first-century metal music: A harmonic analysis of five major metal genres." Metal Music Studies 9, no. 1 (March 1, 2023): 27–58. http://dx.doi.org/10.1386/mms_00093_1.
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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.
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Robertson, Wesley C. "Kvetching abovt kvlt: Conflicting social uses of the index ‘kvlt’ in online metal spaces." Metal Music Studies 9, no. 3 (September 1, 2023): 275–91. http://dx.doi.org/10.1386/mms_00118_1.
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The word ‘kvlt’, generally pronounced as ‘cult’, is a well-recognized linguistic feature of (black) metal discourse. To date, over a dozen academic studies have included reference to the term, and all are united in sharing a broad consensus that ‘kvlt’ serves as a marker of ‘black-metal-ness’ or black metal aesthetics. The common recognition of ‘kvlt’ in both metal scenes and academic studies belies a lack of actual investigation of how the word is used, however, with ‘kvlt’ extensively appearing in discussions of metal but seeing little analysis itself. Approaching ‘kvlt’ as an index, i.e. a linguistic form linked to contested social meaning(s), the current study attempts to better understand ‘kvlt’ itself through analysis of how ‘kvlt’ is used across contemporary metal discourses. The study’s data comes from 200 uses of ‘kvlt’ divided between two sources: the Metal Archive Forums and the Reddit forum (or ‘subreddit’) r/blackmetal. Through analysing these uses in context, the study finds that while many previously attested uses of ‘kvlt’ certainly exist, there are differences in how ‘kvlt’ is used and differences in the extent to which they actually signal internal borders within (black) metal communities. Not only do black metal focused spaces utilize ‘kvlt’ differently from more generic metal ones, but also the ways that ‘kvlt’ is used to praise, critique or even simply describe metal music and scenes differ as well. As a result, the study argues that both discourse around ‘kvlt’ and the use of ‘kvlt’ itself are more than just a form of subcultural capital, serving also as part of contemporary metal identity work, boundary policing and debates over the proper ways to ‘be’ or ‘do’ metal.
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Wallin, Jason, Jeffrey Podoshen, and Vivek Venkatesh. "Second wave true Norwegian black metal: an ideologically evil music scene?" Arts and the Market 7, no. 2 (October 2, 2017): 159–73. http://dx.doi.org/10.1108/aam-12-2016-0025.
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Purpose The second wave (true Norwegian) black metal music scene has garnered attention for its ostensible negative impact upon contemporary consumption. Producers and consumers of the scene, as potential heretics, have been associated with acts of church burning, Satanism, murder, and violence. Such actions have circulated under the signifier of evil, and have been associated with anti-Christian semiotics and pagan practices. Contemporary media has positioned such acts of evil beyond rational comprehension via the deployment of a rhetoric of evil. This enframement has evaded the psychoanalytic question of evil and the significant role of negative ethics in theorizing the allure and potential impact of black metal music. The purpose of this paper is to examine the evil in the music scene, its relation to ID evil, and its consumption and production practices. Design/methodology/approach Drawing upon Zizek’s (2006) development of evil through Lacan’s three registers, this paper examines evil production and consumption through a detailed analysis of true Norwegian black metal. The authors rehabilitate the complex corridors of evil against its conceptual collapse as merely the ontological absence of good. Via Zizek, the authors offer a reconsideration of the anti-establishment violent activities enacted by some proponents of black metal ideology. Herein, the authors deploy a reading of ideological evil in order to interrogate the role of enjoyment and desire at work in the black metal scene. Findings After extensive immersion in the true Norwegian black metal scene, the authors elucidate on the key issues surrounding good, evil and Satanism, and their relationships to production and consumption. What many might term as “evil” is far more complex than what appears on the surface-level aesthetics. Originality/value While there have been examinations of the black metal scene, there has been scant literature that delves deep into the symbolism of the Satanic and the evil beyond the surface. This paper sheds light on the value of exploring evil in a scene as something that is much more than the mere absence of what is considered good.
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Carey, Joshua. "Pure fucking art: Self-harm and performance art in Per ‘Dead’ Ohlin’s musical legacy." Metal Music Studies 9, no. 1 (March 1, 2023): 101–18. http://dx.doi.org/10.1386/mms_00096_1.
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Although black metal would reach international notoriety with the actions of Varg Vikernes, who murdered his friend and fellow musician Øystein ‘Euronymous’ Aarseth in 1993, the foundation of the genre’s violent, misanthropic image was set several years earlier by the Swedish vocalist of Mayhem, Per ‘Dead’ Ohlin, whose onstage penchant for self-harm and eventual gruesome suicide earned him almost mythical status within the realm of metal music. The fact that Dead’s influence on metal music has remained so strong in the 30 years following his suicide has significant artistic implications, especially considering that he never managed to record a studio album with his band. Although Dead’s suicide colours his self-harm with obvious elements of mental illness and trauma, his role as an artist warrants a deeper analysis of his onstage theatrics, viewing them from the perspective of intense devotion to his art. By reading Dead’s artistic endeavours within the context of performance art involving self-harm, his actions become an aesthetic expression of that pain, which, when combined with the atmosphere of the music and his lyrics, creates an intense portrait of Dead’s quest for an expressive outlet in his performance. Dead’s self-inflicted performative violence echoes the work of pioneering artists such as Chris Burden, Yoko Ono and Marina Abramovic, and although Dead undoubtedly suffered from serious mental illness, viewing his self-harm alongside other visceral artistic expressions of pain and trauma helps refigure his aesthetic contributions to black metal as a unique synthesis of destruction and creation.
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Mustamo, Aila. "The Crisis of the Welfare State and the Politics of the Past in Black Metal and Folk Metal Subcultures." YOUNG 28, no. 1 (July 26, 2019): 69–84. http://dx.doi.org/10.1177/1103308819836318.
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Anti-modernism has always been a part of the ideology of black metal and folk metal subcultures. In addition to Christianity, a common enemy in the field of modernity is the ‘social democratic’ welfare state. Although at least black metal can be considered as a counterculture, both black metal and folk metal subgenres reflect widely shared ideas from the mainstream. Based on interview material, this article examines how members of black metal and folk metal subcultures participate in the discussion about the welfare state. It gives voice to individuals rarely heard in music media or in the gatherings of the black metal and folk metal scenes. This article brings forward critical discourses about the apolitical tradition of heavy metal subcultures. It discusses ideologies and representations, and reception of ideas shared in metal communities.
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Friconnet, Guillaume. "A k-means clustering and histogram-based colorimetric analysis of metal album artworks: The colour palette of metal music." Metal Music Studies 9, no. 1 (March 1, 2023): 77–100. http://dx.doi.org/10.1386/mms_00095_1.
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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.
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Sellheim, Nikolas P. "‘The rage of the Northmen’: Extreme metal and North-motivated violence." Polar Record 54, no. 5-6 (September 2018): 339–48. http://dx.doi.org/10.1017/s0032247419000020.
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AbstractThe Vikings have for generations yielded significant output in different cultural venues. Also the music scene has utilised perceptions of the North and the Northmen to generate a stereotypical image of medieval Scandinavian society. Extreme metal, most notably black and Viking metal, have applied narratives pertaining to the Viking Age for its own purposes. This paper examines one particular aspect of the black and Viking metal music scene: violence. It examines how the North and its inhabitants are utilised to justify violent behaviour. Drawing from pinpointed examples of extreme metal, this paper shows that stereotypical assumptions of violent Viking expansion as well as fear of subjugation motivate the ‘rage of the Northmen.’
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Apriko, M. Syendi. "Black Metal Istiqomah Dakwah "Hitam" di Media Sosial." Jurnal Komunikasi Islam dan Kehumasan (JKPI) 4, no. 1 (January 26, 2020): 1–27. http://dx.doi.org/10.19109/jkpi.v4i1.5115.
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Media supporting da'wah is not only limited to the pulpit of the mosque but has come in contact with modern communication technology, especially the use of the internet. This ease has an impact on the number of users from social media who actively share da'wah content so that it becomes viral. Another da'wah phenomenon that attracted the attention of researchers was the 'black' da'wah uploaded on social media by the Black Metal Istiqomah account through both social media Facebook and Instagram. On Instagram, this account has the name of the shadow Al-Varokah Nur Vahalla with followers of more than 16 thousand and the number of posts as many as 179. Researchers discuss further uploaded by this account and view it from the point of view of visual communication using theories that have been tested and use qualitative methods. There are several visual techniques used in Black Metal Istiqomah including; shading techniques, Dussel techniques, pointillary techniques, collage techniques and dry techniques. Work in the form of; comic stip, prayer illustration, typography made with the shape and style of Black metal music. In conclusion, the style of Black metal that is used only as an artistic form of attraction in order to create different nuances in conveying da'wah messages to young people has nothing to do with the heretical and negative schools which have been attached to Black metal music.
Dissertations / Theses on the topic "Black metal (Music)"
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Skadiang, Joel. "True Black Metal: Authenticity, Nostalgia, and Transgression in the Black Metal Scene." Thesis, Department of Gender and Cultural Studies, 2017. http://hdl.handle.net/2123/17219.
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Black metal as a distinct genre of popular music is characterized by a general yearning for authenticity. This authenticity can be expressed through production values, musical techniques adopted, and style of dress and presentation among members of the scene. In this context, members of the scene are presented with a dilemma given the demand to both showcase individuality in their taste and style while also conforming to what it means to be “true” or authentic within the scene. Due to these traits, “The debates surrounding heavy metal and the people who make it – over meaning, character, behavior, values, censorship, violence, alienation, and community – mark metal as an important site for cultural contestation” (Walser 1993: 10). This thesis explores ideas surrounding authenticity in the black metal community as they are continually reproduced through the negotiation of normative relations to tradition found within the black metal community. It will also analyse the policing of its borders, examining how certain identities and practices are inherently constructed as more “authentic” to black metal while others are underrepresented, and thus may be seen as marginalized. I want to discuss the problematic conception of authenticity in the genre, in particular its static relation to the genre’s history defined in terms of the styles of older “second-wave” bands (centrally those bands understood to be True Norwegian Black Metal) which are celebrated as the “hegemonic” form of black metal. As well as a discourse analysis of the scene in these terms, this thesis will centrally include a virtual ethnography of online communities for black metal fans. By examining the content and systems of distinction produced within these online communities, I will consider how the static nature of the authentic black metal style and associated “gate-keeping” in this community regulate how authenticity is produced within the scene.
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Olson, Benjamin Hedge. "I am the Black Wizards: Multiplicity, Mysticism and Identity in Black Metal Music and Culture." Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1206132032.
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Shadrack, Jasmine Hazel. "Denigrata cervorum : interpretive performance autoethnography and female black metal performance." Thesis, University of Northampton, 2017. http://nectar.northampton.ac.uk/9679/.
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I am concerned with the performance of subversive ... narratives ... the performance of possibilities aims to create ... a ... space where unjust systems and processes are identified and interrogated. (Madison 280). If a woman cannot feel comfortable in her own body, she has no home. (Winterson, J; The Guardian 29.03.2013). Black metal is beyond music. It exceeds its function of musical genre. It radiates with its sepulchral fire on every side of culture [...] Black metal is the suffering body that illustrates, in the same spring, all the human darkness as much as its vital impetus. (Lesourd 41-42). Representation matters. Growing up there were only two women in famous metal bands that I would have considered role models; Jo Bench from Bolt Thrower (UK) and Sean Ysseult from White Zombie (US). This lack or under-representation of women in metal was always obvious to me and has stayed with me as I have developed as a metal musician. Women fans that see women musicians on stage, creates a paradigm of connection; that representation means something. Judith Butler states ‘on the one hand, representation serves as the operative term within a political process that seeks to extend visibility and legitimacy to women as political subjects; on the other hand, representation is the normative function of language which is said either to reveal or distort what is assumed to be true about the category of women’ (1). Butler references de Beauvoir, Kristeva, Irigaray, Foucault and Wittig regarding the lack of category of women, that ‘woman does not have a sex’ (Irigaray qtd. in Butler 1) and that ‘strictly speaking, “women” cannot be said to exist’ (Kristeva qtd. in Butler 1). If this is to be understood in relation to my research, my embodied subjectivity as performative text, regardless of its reception suggests that my autoethnographic position acts as a counter to women’s lack of category. If there is a lack of category, then there is something important happening to ‘woman as subject’. This research seeks to analyse ‘woman as subject’ in female black metal performance by using interpretive performance autoethnography and psychoanalysis. As the guitarist and front woman with the black metal band Denigrata, my involvement has meant that the journey to find my home rests within the blackened heart of musical performance. Interpretive performance autoethnography provides the analytical frame that helps identify the ways in which patriarchal modes of address and engagement inform and frame ‘woman as subject’ in female black metal performance.
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Smith, Gregory Vance. "Rhetorics of Fear, Deployment of Identity, and Metal Music Cultures." Scholar Commons, 2009. http://scholarcommons.usf.edu/etd/3676.
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The purpose of this study is to analyze the rhetorics of fear operating in public discourses surrounding metal music. This analysis focuses on how the public rhetorics deploy identity on listener populations through both the mediation and legislation of identities. Specifically, this mediation takes place using both symbols of fear and arguments constructed on potential threats. Texts for analysis in this study include film and television documentaries, newspaper articles, book-length critiques of and scholarship on heavy metal, and transcripts from the U.S. Senate Hearings on Record Labeling.
"Heavy metal" and "metal music" are labels that categorize diverse styles of music. While there is no exemplar metal song that accounts for a definition of the genre, the terms have been consistently used in rhetorics of fear. These rhetorical movements produce and deploy deviant identities, depend on the construction of cultural crisis, and generate counter rhetorics of agency for individuals and subcultures. The study moves 1) chronologically through metal history, 2) geographically from the United States to
Norway, and 3) contextually through media events that produce the public discourses of identity, crisis, and counter rhetorics. This study charts the rhetorical movements that have created fear within communities, leading to threats of legislation or criminalization of segments of the population.
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Hagen, William Ross. "Norwegian black metal: Analysis of musical style and its expression in an underground music scene (Paganism)." Diss., Connect to online resource, 2005. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1432318.
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Pilo, Baptiste. "Émergence et essor du Black Metal en Norvège entre 1991 et 1999 : histoire, imaginaire, idéologie, musique." Thesis, Rennes 2, 2020. http://www.bu.univ-rennes2.fr/system/files/theses/2020thesePiloB.pdf.
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Ce travail de thèse propose de revenir sur un sous-genre du Metal Extrême, le Black Metal, dans le pays où il a émergé et durant la décennie qui l’a vu prendre son essor, à savoir la Norvège et les années 1990. Aucun travail du même ordre n'ayant jamais été effectué sur le sujet, nous souhaitons combler le vide existant. Premièrement, par une recherche historique poussée, en particulier sur les relations entre les différents acteurs. Deuxièmement, par une analyse des idéologies et imaginaires portés par le Black Metal en Norvège. Troisièmement, par une analyse de sa musique ainsi que celle de la réception du Black MetalThis research proposes to examine a subgenre of Extreme Metal, Black Metal, in the country where it emerged and during the decade that saw its rise, namely Norway and the 1990s. As no similar work has ever been done on the subject, we wish to fill the existing void. Firstly, through extensive historical research, in particular on the relations between the different actors of this network. Secondly, by an analysis of the ideologies and imaginations carried by Black Metal in Norway.Thirdly, through an analysis of its music and the more general reception of Black Metal
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Dunnett, Ninian. "Same old song : an exploration of originality in popular music history." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/17949.
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Originality is an important social and cultural value. In pop music its influence is comprehensive: it shapes the economics of an industry through copyright law, and the temperament of musical culture through its place as keystone of the prevailing Romantic tradition. The concept extends beyond issues of artistic and technical innovation: a point of origin is fundamental to the stories we tell about pop. What these stories tell us about ourselves and the way we use music, though, may be more complex than the orthodoxy allows; while the moderns from Eliot and Frye through Barthes and Foucault have sliced and diced originality in text, its interrogation in popular music is overdue. This study seeks to address the social and cultural context, the implications for individual identity and the issues of creative intention, status, popularity and profitability that come into play at those moments when the cultural honours of “originality” are conferred. Working from archival and textual resources, the research explores the entry of “black music” into pop culture with the Fisk University Jubilee Singers, who can be seen both as the source of several cultural streams which remain influential in popular music, and as the source of a popular mythology which has become detached from historical fact. It then proceeds to three case studies. The problem of what it means to start something new is developed in the story of Elvis Presley and the foundation myth of rock & roll. The professional use of originality is interrogated in the work of the Beatles, a foursome with a strong claim to be the greatest plagiarists, if not the greatest originators in pop. And the artistic idea of originality and its contingencies are addressed through the case of Lou Reed and the changing status of his album Metal Machine Music. A final chapter assesses the conclusions which can be made from these explorations, and the implications for future research.
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Bera, Camille. "Le Black Métal : un genre musical entre transgression et transcendance." Thesis, Normandie, 2018. http://www.theses.fr/2018NORMR087.
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Né à la fin des années 1980 en Scandinavie, le Black Metal est un genre musical underground, descendant du Heavy Metal. Nous avons tenté, dans cette thèse, de reconstituer tout d’abord sa genèse, avant de montrer comment il a construit son esthétique, au travers des concepts de la transgression et de la transcendance. Grâce à une analyse fondamentalement pluridisciplinaire, nous avons observé un grand nombre de paramètres caractéristiques du genre en convoquant un panel conséquent de groupes, majoritairement européens. Il est ici question des aspects musicaux, détaillés grâce à des analyses du langage harmonique, mélodique et rythmique, ainsi que des techniques de jeux instrumentales. Une place importante est aussi accordée à l’observation minutieuse des textes. Les attitudes scéniques et l’iconographie du Black Metal sont aussi des facettes auxquelles nous avons consacré de nombreux paragraphes au sein de cette recherche doctorale. Emaillées des références littéraires, philosophiques et spirituelles des musiciens, l’éthique, les idéologies, les croyances représentent également d’incontournables clefs de lecture en vue de la compréhension de ce genre déjà trentenaire et encore insuffisamment traité au niveau universitaire en FranceBlack Metal is an underground musical genre, descended from Heavy Metal and born in the late 80s in Scandinavia. In this dissertation, we are aiming to reconstruct its genesis before showing how it builds its aesthetics alongside the concepts of transgression and transcendence. Taking a fundamentally multidisciplinary perspective, we aim to maximise the genre’s characteristic parameters by addressing a large number of bands, mostly from Europe. The analysis addresses both the lyrics and the accompanying music, including the harmonic, melodic and rhythmical elements of the speech and the various instrumental techniques. Black Metal’s stage attitudes and iconography are also important contributions to the overall modes of expression. They have all been analysed in the context of the musicians’ personal ideologies, ethics, and beliefs, including their literary, philosophical and spiritual aspects, to provide a holistic understanding of this thirty-year-old genre
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Jonsäll, Hans. "Välsignad förbannelse : En retorisk analys av bibliskt material i Black Metallyrik." Thesis, Uppsala universitet, Gamla testamentets exegetik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-266925.
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This bachelor thesis offers a rhetorical analysis of the album Maranatha by Swedish Black Metal artist Funeral Mist. Its main focus is on the intertextuality between the song "Blessed Curse" and the biblical book Deuteronomy, especially Deut 28 from which it has sampled a large portion of text. In the analysis I uncover the similarities and differences between the two texts in order to explain how the biblical fragments constitute new meanings when rearranged and taken out of their original context. The analysis concludes with relating the material to its new context i.e. the album Maranatha and the Black Metal scene by explaining other intertexts and references to the Bible and discussing which genre is best suited to describe the album as a whole. The results of the study show that the biblical quotations in the lyrics convey radically different messages and meanings compared to their original content in Deut 28. This in turn acknowledge how dependent linguistic symbols are on their context. I finish off my thesis with a few reflections on the moral and ethical implications of this use of biblical material concerning the anti-christian agenda supported by members of the Black Metal scene and specifically how Daniel Rostén of Funeral Mist view his own work and agenda.
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Andersson, Robert. "I det glimrande mörkrets djup : om religiöst gränsöverskridande, identitetssökande och meningsskapande i svensk extrem metal-lyrik." Thesis, Högskolan i Gävle, Avdelningen för kultur-, religions- och utbildningsvetenskap, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-6849.
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This study is an attempt to investigate religious perceptions and its development, function and connection to religious practise within the Swedish extreme metal scene. This is performed mainly by a qualitative method of investigation, studying lyrical content published on a number of extreme metal albums, thereafter relating the lyrical progression to the progession of the scene as a whole and also to the development of individual religious belief and practise. The lyrically expressed manifestations of religiosity within the extreme metal scene prove to be related to religious practise in some cases, most visibly in the Christian parts of the scene.The study also indicates that development of religious expression often is evident regardless of religious preference. This development also regularly relates to an increase in musical evolution and prowess often achieved with increased age and maturity. Musically and lyrically, the extreme metal scene displays transgressive attributes which assist both individual and group in the process of creating identity, meaning and individuality.Experiencing extreme metal, in concert or in the privacy of one´s own home, can be one way of perceiving spirituality in this modern age.
Books on the topic "Black metal (Music)"
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author, Connole Edia, ed. Floating tomb: Black metal theory. Italy]: Mimesis International, 2015.
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Wolves in the Throne Room (Musical group). Black cascade. Los Angeles, CA: Southern Lord, 2009.
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Fossberg, Harald. Nyanser av svart: Historien om norsk black metal. [Oslo]: Cappelen Damm, 2015.
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Cope, Andrew L. Black Sabbath and the rise of heavy metal music. Burlington, VT: Ashgate, 2009.
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Monaco, Giorgio. Heavy: Dal blues del Mississippi al black metal norvegese. Roma: Arcana, 2019.
Find full textBook chapters on the topic "Black metal (Music)"
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Hoad, Catherine. "Norwegian Black Metal and Viking Metal." In Heavy Metal Music, Texts, and Nationhood, 59–107. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-67619-3_3.
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Hoffin, Kevin. "The Norwegian Black Metal Second Wave." In Music in Crime, Resistance, and Identity, 27–38. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003186410-3.
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Radovanovic, Bojana. "Voice and Body in Extreme Metal Music." In Musik und Klangkultur, 153–62. Bielefeld, Germany: transcript Verlag, 2023. http://dx.doi.org/10.14361/9783839458914-010.
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Metal subgenres such as, for example, death metal, black metal, doom metal, which are considered as constituents of the »meta-genre« of extreme metal, have built up a very specific sound and imagery during the last several decades. As Keith Kahn-Harris noticed, this cluster of sub-genres gathers musical acts of different historical backgrounds and ideologies, which show the highest level of diversity, artistic vibrancy and dynamics, while at the same time being the most problematic area of metal culture in general. The supposed aggression, radicalism, and exclusivity in sound stem not only from the fast, virtuoso, and technically demanding playing of the instruments, but also from the very peculiar vocal emissions. Thisámonstrousávoice, which is the result of the extended vocal techniques (primarily screams, growls, squeals), is the point of intersection for several issues concerning voice, body, and technology. In this paper, Bojana Radovanović will give insight into the key points regarding these questions, while also delving into the issueáof gender. For, although metal culture has historically been considered to be male- oriented-and especially so in the extreme metal-the noticeable trend of the growing number of female musicians and vocalists in this scene encourages us to further explore who can stand behind theámonstrous voice.
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Marchetto Santorun, M. Cecilia. "The Occultural Side of Industrial: From Its Origins to Industrial Black Metal." In Bodies, Noise and Power in Industrial Music, 143–62. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-92462-1_9.
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Wallin, Jason J. "The Dark Ecology of Black Metal." In Advances in Social Networking and Online Communities, 389–94. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-5206-4.ch022.
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For as much as an encyclopedic introduction to black metal might constitute a helpful orientation to its history or aesthetic character, what such an introduction fails to account for is the question of what black metal music does, or rather what it might do. This particular question is informed by a fundamental paradox that constitutes the core concern of this chapter. While black metal music has been linked to misanthropic tendencies and a general antipathy toward organized religion and bourgeois social mores (see Steinke, 1996) amongst its practitioners and listeners, it concomitantly functions as a highly particularized “therapeutic” vehicle for negotiating feelings of intense despair, depression, and nihilism. Hence, the question of this chapter attends not to what black metal is—a question that creators of black metal music largely reject—but rather the question of how black metal’s affective force works upon the body of the organism.
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"White Power, Black Metal and Me: Reflections on Composing the Nation." In Heavy Fundametalisms: Music, metal and Politics, 43–53. BRILL, 2010. http://dx.doi.org/10.1163/9781848880177_006.
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Bogue, Ronald. "Chapter 5 Violence in Three Shades of Metal: Death, Doom and Black." In Deleuze and Music, 95–117. Edinburgh University Press, 2004. http://dx.doi.org/10.1515/9781474465489-006.
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Laycock, Joseph P., and Eric Harrelson. "Heavy Metal." In The Exorcist Effect, 200—C8P81. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197635391.003.0008.
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Abstract This chapter explores how horror movies reflected and refracted a moral panic over heavy metal music that peaked in the 1980s. The Exorcist (1973) depicted “backmasking” and linked this concept to the demonic in the popular imagination. By the 1980s there were a series of lawsuits alleging that backmasked messages in metal albums caused suicides and musicologists were testifying about the influence of backmasking before congress. Many low-budget horror films from the 1980s depicted rock bands either committing murder or being murdered, as well as adolescents being influenced by backmasking and other supernatural effects associated with metal music. In 1993, this discourse contributed directly to the trial of the West Memphis Three and indirectly to the murder of “black metal” enthusiast Øystein Aarseth in Norway.
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"Black Metal Soul Music: Stone Vengeance and the Aesthetics of Race in Heavy Metal." In Heavy Metal Generations, 23–36. BRILL, 2012. http://dx.doi.org/10.1163/9781848881471_004.
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Ardrey, Caroline. "Baudelaire and Black Metal: Performing Poetry under Perestroika." In Multilingual Metal Music: Sociocultural, Linguistic and Literary Perspectives on Heavy Metal Lyrics, 27–45. Emerald Publishing Limited, 2020. http://dx.doi.org/10.1108/978-1-83909-948-920200005.
Full textReports on the topic "Black metal (Music)"
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Duch, Michael. Performing Hanne Darboven's Opus 17a and long duration minimalist music. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481276.
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Hanne Darboven’s (1941-2009) Opus 17a is a composition for solo double bass that is rarely performed due to the physical and mental challenges involved in its performance. It is one of four opuses from the composers monumental 1008 page Wünschkonzert (1984), and was composed during her period of making “mathematical music” based on mathematical systems where numbers were assigned to certain notes and translated to musical scores. It can be described as large-scale minimalism and it is highly repetitive, but even though the same notes and intervals keep repeating, the patterns slightly change throughout the piece. This is an attempt to unfold the many challenges of both interpreting, preparing and performing this 70 minute long solo piece for double bass consisting of a continuous stream of eight notes. It is largely based on my own experiences of preparing, rehearsing and performing Opus 17a, but also on interviews I have conducted with fellow bass players Robert Black and Tom Peters, who have both made recordings of this piece as well as having performed it live. One is met with few instrumental technical challenges such as fingering, string crossing and bowing when performing Opus 17a, but because of its long duration what one normally would take for granted could possibly prove to be challenging.