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Journal articles on the topic 'Guitar music (Heavy metal)'

Author: Grafiati

Published: 4 June 2021

Last updated: 24 January 2023

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1

Herbst, Jan-Peter. "Distortion and Rock Guitar Harmony." Music Perception 36, no. 4 (2019): 335–52. http://dx.doi.org/10.1525/mp.2019.36.4.335.

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Research on rock harmony accords with common practice in guitar playing in that power chords (fifth interval) with an indeterminate chord quality as well as major chords are preferred to more complex chords when played with a distorted tone. This study explored the interrelated effects of distortion and harmonic structure on acoustic features and perceived pleasantness of electric guitar chords. Extracting psychoacoustic parameters from guitar tones with Music Information Retrieval technology revealed that the level of distortion and the complexity of interval relations affects sensorial pleasantness. A listening test demonstrated power and major chords being perceived as significantly more pleasant than minor and altered dominant chords when being played with an overdriven or distorted guitar tone. This result accords with musical practice within rock genres. Rather clean rock styles such as blues or classic rock use major chords frequently, whereas subgenres with more distorted guitars such as heavy metal largely prefer power chords. Considering individual differences, electric guitar players rated overdriven and distorted chords as significantly more pleasant. Results were ambiguous in terms of gender but indicated that women perceive distorted guitar tones as less pleasant than men. Rock music listeners were more tolerant of sensorial unpleasant sounds.

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Virtala, Paula, Minna Huotilainen, Esa Lilja, Juha Ojala, and Mari Tervaniemi. "Distortion and Western Music Chord Processing." Music Perception 35, no. 3 (2018): 315–31. http://dx.doi.org/10.1525/mp.2018.35.3.315.

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Guitar distortion used in rock music modifies a chord so that new frequencies appear in its harmonic structure. A distorted dyad (power chord) has a special role in heavy metal music due to its harmonics that create a major third interval, making it similar to a major chord. We investigated how distortion affects cortical auditory processing of chords in musicians and nonmusicians. Electric guitar chords with or without distortion and with or without the interval of the major third (i.e., triads or dyads) were presented in an oddball design where one of them served as a repeating standard stimulus and others served as occasional deviants. This enabled the recording of event-related potentials (ERPs) of the electroencephalogram (EEG) related to deviance processing (the mismatch negativity MMN and the attention-related P3a component) in an ignore condition. MMN and P3a responses were elicited in most paradigms. Distorted chords in a nondistorted context only elicited early P3a responses. However, the power chord did not demonstrate a special role in the level of the ERPs. Earlier and larger MMN and P3a responses were elicited when distortion was modified compared to when only harmony (triad vs. dyad) was modified between standards and deviants. The MMN responses were largest when distortion and harmony deviated simultaneously. Musicians demonstrated larger P3a responses than nonmusicians. The results suggest mostly independent cortical auditory processing of distortion and harmony in Western individuals, and facilitated chord change processing in musicians compared to nonmusicians. While distortion has been used in heavy rock music for decades, this study is among the first ones to shed light on its cortical basis.

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WALSER, ROBERT. "HEAVY METAL MUSIC." Music and Letters 76, no. 4 (1995): 657—b—657. http://dx.doi.org/10.1093/ml/76.4.657-b.

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4

Miller, Jason. "What Makes Heavy Metal ‘Heavy’?" Journal of Aesthetics and Art Criticism 80, no. 1 (2021): 70–82. http://dx.doi.org/10.1093/jaac/kpab065.

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Abstract In this article, I raise a simple but surprisingly vexing question: What makes heavy metal heavy? We commonly describe music as “heavy,” whether as criticism or praise. But what does “heavy” mean? How is it applied as an aesthetic term? Drawing on sociological and musicological studies of heavy metal, as well as recent work on the aesthetics of rock music, I discuss the relevant musical properties of heaviness. The modest aim of this article, however, is to show the difficulty, if not impossibility, of this seemingly straightforward task. I first address the difficulties of identifying the defining features, or “Gestalt,” of heavy metal that would allow us to treat heaviness as a genre concept. Next, I discuss both the merits and the limits of analyzing heaviness in terms of an aesthetics of “noise” in rock music developed in recent philosophy of music. In the remaining sections, I consider other nonaesthetic features relevant to aesthetic judgments of heaviness and show that the term ‘heavy’ is conceptually inarticulable, if not irreducible. This, I conclude, has partly to do with the radically different, sometimes incompatible, musical properties present in the perception of musical heaviness.

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ARNETT, JEFFREY. "Adolescents and Heavy Metal Music." Youth & Society 23, no. 1 (1991): 76–98. http://dx.doi.org/10.1177/0044118x91023001004.

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6

Poutiainen, Ari, and Esa Lilja. "Heavy Metal and Music Education." Procedia - Social and Behavioral Sciences 45 (2012): 517–26. http://dx.doi.org/10.1016/j.sbspro.2012.06.589.

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7

Quinn, Kate. "Heavy metal music and managing mental health: Heavy Metal Therapy." Metal Music Studies 5, no. 3 (2019): 419–24. http://dx.doi.org/10.1386/mms.5.3.419_1.

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8

Riches, Gabby, and Karl Spracklen. "Raising the horns: Heavy metal communities and community heavy metal music." International Journal of Community Music 7, no. 2 (2014): 149–51. http://dx.doi.org/10.1386/ijcm.7.2.149_2.

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9

Maloy, Liam. "REVIEW | Queerness in Heavy Metal Music: Metal Bent." IASPM@Journal 8, no. 1 (2018): 136–39. http://dx.doi.org/10.5429/2079-3871(2018)v8i1.11en.

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10

Barratt-Peacock, Ruth. "Heavy metal made for children? Interrogating the adult/child divide in Heavysaurus’s heavy metal humour." Metal Music Studies 8, no. 3 (2022): 293–308. http://dx.doi.org/10.1386/mms_00082_1.

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Heavysaurus (a German act founded in 2017, from a concept that originated in Finland in 2009) is marketed as metal music made for children. As with most children’s media, Heavysaurus’s music utilizes a dual address, entertaining both parents and children, particularly through its comedic value. The following article examines the implications of combining metal aesthetics with children’s media, and the resulting music’s relationship to humour. Although humour in metal music has been brought into connection with the Bakhtinian carnival, this article argues that Heavysaurus’s use of the carnivalesque and other elements of heavy metal humour does not represent a Bakhtinian upheaval of power structures (by challenging dominant constructions of childhood for instance) but instead challenges and makes visible the constructed nature of adulthood itself.

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11

Archer-Capuzzo, Sonia. "Mining For Metal: Heavy Metal and the Music Library." Notes 78, no. 1 (2021): 7–26. http://dx.doi.org/10.1353/not.2021.0056.

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12

Hadžajlić, Hanan. "Heavy Metal and Globalization." AM Journal of Art and Media Studies, no. 17 (October 16, 2018): 129. http://dx.doi.org/10.25038/am.v0i17.276.

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Heavy Metal is a specific, alternative music genre that exists on the fringe of popular music, where it is classified by its own culture: musical style, fashion, philosophy, symbolic language and political activism. For over five decades of the existence of heavy metal, its fans have developed various communication systems through different types of transnational networks, which significantly influenced the development of all aspects of metal culture, which relates both to divisions within the genre itself and to various philosophical and political aspects of heavy metal activism – of a global heavy metal society. Going through the processes of globalization, and so glocalization, heavy metal is today a significant part of popular culture in North and South America, Europe, Asia, Australia; while in some societies it represents the cultural practice of a long tradition with elements of cultural tourism, in some countries where conservative, religious policies are dominant, it represents subversive practices and encounters extreme criticism as well as penalties. Globalization in the context of the musical material itself is based on the movement from idiomatic, cultural and intercultural music patterns to transcultural – where heavy metal confronts the notion of one's own genre. Post-metal, the definition of a genre that goes beyond the aesthetic concepts of heavy metal, contains the potential of overcoming the genre itself. Article received: March 30, 2018; Article accepted: May 10, 2018; Published online: October 15, 2018; Preliminary report – Short CommunicationsHow to cite this article: Hadžajlič, Hanan. "Heavy Metal and Globalization." AM Journal of Art and Media Studies 17 (2018): 129−137. doi: 10.25038/am.v0i17.276

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13

Lacourse, Eric, Michel Claes, and Martine Villeneuve. "Heavy Metal Music and Adolescent Suicidal Risk." Journal of Youth and Adolescence 30, no. 3 (2001): 321–32. http://dx.doi.org/10.1023/a:1010492128537.

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14

Morris, Martin. "Extreme Heavy Metal Music and Critical Theory." Germanic Review: Literature, Culture, Theory 90, no. 4 (2015): 285–303. http://dx.doi.org/10.1080/00168890.2015.1096167.

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15

James, Kieran, and Rex Walsh. "Religion and heavy metal music in Indonesia." Popular Music 38, no. 2 (2019): 276–97. http://dx.doi.org/10.1017/s0261143019000102.

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AbstractWe trace the history of Indonesian Islamic metal bands, including Purgatory, Tengkorak and Kodusa, and the One Finger Movement that revolved around these bands (centred mainly on Jakarta). We look at the differences in symbols, heroes, rituals and values between One Finger Movement bands and the Bandung (Indonesia) secular Death Metal scene. We also study Bandung Death Metal band Saffar, which was known for its Islamic lyrics on its debut album but which has been for a few years in something of a limbo owing to the departure of vocalist and lyricist Parjo. We also look at Saffar's positioning of itself as a ‘secular’ band with Islamic and Anti-Zionist lyrical themes rather than as an Islamic bandper se. This dichotomy can be best explained by the phrase ‘a band of Muslims rather than a Muslim band’. The secular Bandung scene context is a significant explanatory factor here.

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16

Thompson, Douglas E. "Media Review: Heavy Metal Music in Britain." Journal of Historical Research in Music Education 34, no. 1 (2012): 87–91. http://dx.doi.org/10.1177/153660061203400107.

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17

Brown, Andy. "Gerd Bayer, Heavy Metal Music in Britain." Volume !, no. 9 : 2 (December 15, 2012): 220–23. http://dx.doi.org/10.4000/volume.3330.

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18

Herbst, Jan-Peter, Christoph Reuter, and Isabella Czedik-Eysenberg. "Guitar profiling technology in metal music production: Public reception, capability, consequences and perspectives." Metal Music Studies 4, no. 3 (2018): 481–506. http://dx.doi.org/10.1386/mms.4.3.481_1.

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19

Marino, Michael P. "Metal Rules the Globe: Heavy Metal Music around the World." Popular Music and Society 37, no. 1 (2013): 106–8. http://dx.doi.org/10.1080/03007766.2013.767068.

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20

Djurslev, Christian Thrue. "The Metal King: Alexander the Great in heavy metal music." Metal Music Studies 1, no. 1 (2014): 127–41. http://dx.doi.org/10.1386/mms.1.1.127_1.

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21

Hill, Rosemary Lucy. "Amber Clifford-Napoleone, Queerness in heavy metal music: metal bent." Volume !, no. 13 : 1 (November 25, 2016): 191–94. http://dx.doi.org/10.4000/volume.5108.

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22

Slaven, James E., and Jody L. Krout. "Musicological analysis of guitar solos from the roots of rock through modern heavy metal." Metal Music Studies 2, no. 2 (2016): 245–51. http://dx.doi.org/10.1386/mms.2.2.245_1.

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23

Walser, Robert. "Professing Censorship: Academic Attacks On Heavy Metal." Journal of Popular Music Studies 5, no. 1 (1993): 68–78. http://dx.doi.org/10.1111/j.1533-1598.1993.tb00083.x.

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24

Pichler, Peter. "Red Metal: Die Heavy-Metal-Subkultur der DDR, Nikolai Okunew (2021)." Metal Music Studies 8, no. 3 (2022): 433–34. http://dx.doi.org/10.1386/mms_00090_5.

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25

Špoljarić, Bernard. "The Goat-God Motif in Heavy Metal Music." Studia Polensia 10, no. 1 (2022): 87–114. http://dx.doi.org/10.32728/studpol/2021.10.01.06.

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Since its emergence as a recognizable artistic endeavor, heavy metal has brought and enabled an authentic aesthetics in the wider culture: not only has it shaped its own unmistakable sonic “landscape”, but it has also shaped forms of visual presentation. Taken together, heavy metal has an adequate language for the communication of the ideas and motifs that are in its foundations. As art is one of the ways in which human beings gain an understanding of the self and the world (the other ways are philosophy, science, mythology, etc.) it is no surprise the art engages with various ways of perceiving. It is not only that these different ways correspond with each other, but are often the subject of one another as well. Heavy metal music is no exception as it also relies and draws its content from the phenomena of the world at large, and from introspection as well: the realms of the psyche. The mythical motif of the goat-like god Pan is a motif relating to both the outside world and the psyche: it expresses many things: divinity, humanity, nature, animalism, horror, psychosis, sexuality, countermovement and contrast as well as the cultivation of the individual and the community in the arts of dance and music. Claiming that Pan as motif has attained a significant place in the art of heavy metal as a symbol is an understatement, given that the discursive approximation and the exegesis of the Pan Mythos can indeed clarify the overall aesthetic and form of heavy metal and some of its numerous subgenres specifically. The aim of this article is to provide a comparative analysis of the descriptions of the goat-god Pan originating in ancient culture, with its form and meaning in the domain of heavy metal; most notably in the artistic endeavour Arckanum.

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26

King, Paul. "Heavy metal music and drug abuse in adolescents." Postgraduate Medicine 83, no. 5 (1988): 295–304. http://dx.doi.org/10.1080/00325481.1988.11700240.

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27

Maguire, Donald. "Determinants of the production of heavy metal music." Metal Music Studies 1, no. 1 (2014): 155–69. http://dx.doi.org/10.1386/mms.1.1.155_1.

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28

Robert Freeborn. "A Selective Discography of Scandinavian Heavy Metal Music." Notes 66, no. 4 (2010): 840–50. http://dx.doi.org/10.1353/not.0.0340.

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29

Robert Walser. "Heavy Metal Music in Britain (review)." Notes 66, no. 4 (2010): 773–74. http://dx.doi.org/10.1353/not.0.0341.

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30

Shafron, Gavin Ryan, and Mitchell P. Karno. "Heavy metal music and emotional dysphoria among listeners." Psychology of Popular Media Culture 2, no. 2 (2013): 74–85. http://dx.doi.org/10.1037/a0031722.

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31

Chapman, Peter M., and Matthew Holzmann. "Heavy metal—music, not science | Cell-phone hazards." Environmental Science & Technology 41, no. 12 (2007): 6. http://dx.doi.org/10.1021/es072552o.

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32

Morris, Martin. "Negative dialectics in music: Adorno and heavy metal." European Journal of Cultural Studies 17, no. 5 (2014): 549–66. http://dx.doi.org/10.1177/1367549413515257.

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33

Arnett, Jeffrey. "Heavy metal music and reckless behavior among adolescents." Journal of Youth and Adolescence 20, no. 6 (1991): 573–92. http://dx.doi.org/10.1007/bf01537363.

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34

Stoikiv, Andrii. "THE ROLE OF THRASH METAL IN THE FORMATION OF EXTREME HEAVY MUSIC (BASED ON THE INTERVIEW OF MUSICIANS)." Scientific Herald of Uzhhorod University. Series: History, no. 1 (44) (June 27, 2021): 160–68. http://dx.doi.org/10.24144/2523-4498.1(44).2021.232681.

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The article is devoted to defining the role of thrash metal music in the foundation of extreme heavy music in the late 1980s and early 1990s. Attention focused on the importance of a separate sub-genre of heavy metal music in forming a new style of heavy music, including new vocal techniques, building more complex compositions, and expanding the lyrics' themes. Analyzed the criteria by which extreme heavy music can attribute among other sub-genres of heavy metal and defined thrash metal as a transitional stage between heavy metal and extreme music. The work is interdisciplinary, which manifested in the use of methodological approaches to history and cultural studies. The article examined various areas of development of thrash metal music, particularly the United States, where the phenomenon has appeared; Germany and Switzerland, which differed qualitatively from the American scene; and Brazil, whose musicians have set recording standards for much of the extreme music. The article identified the reasons for the popularity decline of thrash metal in the early 1990s in the context of the general development of rock music and identified the features of the evolution into extreme metal. In addition to the musical component, the article outlined the social and behavioral elements of thrash metal fans during bands' performances, which also formed the image of the extremity of metal music. Special attention in the article is devoted to the Slayer and Megadeth bands, the foundation of controversy in the subject of lyrics, which, in turn, is characterized by extreme metal. Evolving from the New Wave of British heavy metal, American thrash metal develop new features in heavy music, including fast, aggressive riffs, and sharpened the lyrics' themes, primarily political and anti-religious. Rebelled against the dominance of glam metal, thrash metal fans developed their image, which consisted of aggression and appropriate behavior during concerts. Developed in the United States, thrash metal has gained popularity in other parts of the world, whose scenes have developed their characteristics, which, in the future, influenced the formation of extreme heavy music. In the late 1980s, the US radio format shifted the demand for grunge, which supplanted thrash metal from the radio. The sub-genre began to decline and was replaced by death and black metal in the heavy metal music underground.

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35

DeHart, Cameron. "Metal by numbers: Revisiting the uneven distribution of heavy metal music." Metal Music Studies 4, no. 3 (2018): 559–71. http://dx.doi.org/10.1386/mms.4.3.559_1.

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36

Krenske, Leigh, and Jim McKay. "'Hard and Heavy': Gender and Power in a heavy metal music subculture." Gender, Place & Culture 7, no. 3 (2000): 287–304. http://dx.doi.org/10.1080/713668874.

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37

Herbst, Jan-Peter. "Culture-specific production and performance characteristics: An interview study with ‘Teutonic’ metal producers." Metal Music Studies 7, no. 3 (2021): 445–67. http://dx.doi.org/10.1386/mms_00059_1.

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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.

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38

Walser, Robert, and Deena Weinstein. "Heavy Metal: A Cultural Sociology." Notes 49, no. 4 (1993): 1508. http://dx.doi.org/10.2307/899417.

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39

Herbst, Jan-Peter. "Historical development, sound aesthetics and production techniques of the distorted electric guitar in metal music." Metal Music Studies 3, no. 1 (2017): 23–46. http://dx.doi.org/10.1386/mms.3.1.23_1.

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40

Epp, André. "Heavy metal as a profession?: The Mexican heavy metal scene and its effects as an informal and non-formal learning space." Metal Music Studies 7, no. 1 (2021): 149–58. http://dx.doi.org/10.1386/mms_00039_1.

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Through the far-reaching social change experienced in modern society, spaces and places of learning increasingly transform. Schools, training companies and universities remain important, albeit formal, educational institutions; however, informal and non-formal learning spaces increasingly gain attention when it comes to the acquisition of work-related knowledge and competences. Even though in recent years, youth and music cultures have focused more on learning in general and knowledge in particular, research about the educational potential of heavy metal has remained a blind spot, seldom garnering any attention. Therefore, the article illustrates, from a biographical perspective, what influence the Mexican heavy metal scene has had on the acquisition of work-related competences and how these settings can be considered spaces and places of informal and non-formal learning. The underlying educational possibilities as well as different modalities of learning are illustrated. To record the biographies of participants from the Mexican heavy metal scene, autobiographical interviews were conducted. These autobiographical-narrative interviews allowed for the analyses of certain individual cases as well as the underlying societal structures and patterns. The results are illustrated with the help of a case study. Ultimately, the study showcases the biographical development of an individual’s life and the ways in which the spaces and places connected to heavy metal in this individual’s life offered key educational moments. Thus, the educational potential of the Mexican heavy metal scene for the acquisition of work-related knowledge is determined.

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41

DiGioia, Amanda. "Nameless, but not blameless: Motherhood in Finnish heavy metal music." Metal Music Studies 6, no. 2 (2020): 237–55. http://dx.doi.org/10.1386/mms_00015_1.

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This article argues that, in some specific cases, Finnish heavy metal lyrics are horror texts, and that mothers in Finnish heavy metal lyrics are often relegated to tropes, like being ‘othered’. This shows that motherhood in Finnish heavy metal lyrics, much like motherhood in horror texts, is rarely depicted subversively. This article will address aspects of what makes motherhood horrifying and monstrous in Finnish heavy metal music. Because Pekka Kainulainen, the lyricist for Amorphis (a Finnish heavy metal band), was interviewed specifically for this project, the main example used in this article will be the lyrics of Amorphis. However, several other Finnish metal bands will also be utilized to support this thesis.

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42

Thomas, Niall, and Andrew King. "Production perspectives of heavy metal record producers." Popular Music 38, no. 3 (2019): 498–517. http://dx.doi.org/10.1017/s026114301900031x.

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AbstractThe study of the recorded artefact from a musicological perspective continues to unfold through contemporary research. Whilst an understanding of the scientific elements of recorded sound is well documented, the exploration of the production and the artistic nature of this endeavour is still developing. This article explores phenomenological aspects of producing heavy metal music from the perspective of seven renowned producers working within the genre. Through a series of interviews and subsequent in-depth analysis, particular sonic qualities are identified as key within the production of this work: impact; energy; precision; and extremity. A conceptual framework is then put forward for understanding the production methodology of recorded heavy metal music, and how developing technology has influenced the production of the genre.

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43

Susino, Marco, and Emery Schubert. "Negative Emotion Responses to Heavy-Metal and Hip-Hop Music with Positive Lyrics." Empirical Musicology Review 14, no. 1-2 (2019): 2. http://dx.doi.org/10.18061/emr.v14i1-2.6376.

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This research investigated whether negative emotional responses to heavy-metal and hip-hop music could be stereotypes of the music genres. It was hypothesized that heavy-metal and hip-hop music with positive lyrics would be perceived as expressing more negative (negative valence/high arousal) emotions, compared with pop music excerpts with identical lyrics. Participants listened to either two heavy-metal or two hip-hop test stimuli and two pop control stimuli. They then responded by stating what emotion they perceived that the music expressed. Results indicated that heavy-metal and hip-hop stimuli were perceived as expressing more negative emotions than pop stimuli. Lyrics were recognized above chance in both heavy metal and hip hop, suggesting that the negative emotion bias was not a result of misunderstanding the lyrics. The Stereotype Theory of Emotion in Music (STEM) explains the findings in terms of an emotion filter which is activated to simplify emotion perception processing. The conclusions provide a novel way of understanding the cultural and social contribution of emotion in music.

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44

Trostle, Lawrence C. "Nihilistic Adolescents, Heavy Metal Rock Music, and Paranormal Beliefs." Psychological Reports 59, no. 2 (1986): 610. http://dx.doi.org/10.2466/pr0.1986.59.2.610.

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45

Epstein, Jonathon S., and David J. Pratto. "Heavy metal rock music juvenile delinquency and satanic identification." Popular Music and Society 14, no. 4 (1990): 67–76. http://dx.doi.org/10.1080/03007769008591414.

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46

Baizerman, Arek R. "Response: Heavy metal music?A view from a teen." Child & Youth Care Forum 21, no. 1 (1992): 23–24. http://dx.doi.org/10.1007/bf00757341.

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47

Gross, Robert L. "Heavy Metal Music: A New Subculture in American Society." Journal of Popular Culture 24, no. 1 (1990): 119–30. http://dx.doi.org/10.1111/j.0022-3840.1990.11984163.x.

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48

Grassy, Elsa. "Deena Weinstein, Heavy Metal: The Music and Its Culture." Volume !, no. 5 : 2 (September 15, 2006): 187–90. http://dx.doi.org/10.4000/volume.563.

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49

Walser, Robert. "Eruptions: heavy metal appropriations of classical virtuosity." Popular Music 11, no. 3 (1992): 263–308. http://dx.doi.org/10.1017/s0261143000005158.

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We have now heard him, the strange wonder, whom the superstition of past ages, possessed by the delusion that such things could never be done without the help of the Evil One, would undoubtedly have condemned to the stake – we have heard him, and seen him too, which, of course, makes a part of the affair. Just look at the pale, slender youth in his clothes that signal the nonconformist; the long, sleek, drooping hair … those features so strongly stamped and full of meaning, in this respect reminding one of Paganini, who, indeed, has been his model of hitherto undreamt-of virtuosity and technical brilliance from the very first moment he heard him and was swept away.

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50

Pichler, Peter. "Metalmorphosen: Die unwahrscheinlichen Wandlungen des Heavy Metal, Jörg Scheller (2020)." Metal Music Studies 7, no. 1 (2021): 184–86. http://dx.doi.org/10.1386/mms_00043_5.

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