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Journal articles on the topic 'Metal music'
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Sukmana, Dicky Indra, Robby Hidajat, and Tutut Pristiati. "Musisi Progressive Metal sebagai Pendorong Perkembangan Musik Djent di Kota Malang." JoLLA: Journal of Language, Literature, and Arts 2, no. 5 (May 24, 2022): 746–64. http://dx.doi.org/10.17977/um064v2i52022p746-764.
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Abstract: Djent music is music which has elements of groove and progressive metal. The creation of djent music is an innovative idea from previous metal music which in its development djent music can’t be separated from the influence of rock music, which is phenomenal in the world. This study aims to describe the development of djent music and the factors influence the development of djent music in Malang. The writing of this research was carried out using descriptive qualitative methods. Using data analysis in the form of interviews with sources. The resource persons in this study were Norman Duarte Tolle (35) as a djent music musician (C-four) in Malang, Aulia Rizky Fajar (24) as a djent music guitarist in Malang, Reynal Juliandi (27) as an observer and music guitarist djent music in Pasuruan, Fauzan Sanjaya (24) as a member of the loud music community (Undisputed), and Fajri Ramadahan (27) as a musician djent music (Ceara) in Jakarta. Observations are aimed at knowing the development of djent music in Malang based on a review of the C-four music group. The result of this research is that the existence of djent music can be seen through the music industry and internet media which play an important role in the development of djent music so that the genre is able to spread widely throughout the world, including in Indonesia and Malang especially. Keywords: development; djent music; musicians; Malang Abstrak: Musik djent merupakan musik yang memiliki unsur groove dan progressive metal. Terciptanya musik djent merupakan gagasan inovasi dari musik metal sebelumnya yang dimana dalam perkembangannya musik djent tidak terlepas dari pengaruh musik rock yang sangat fenomenal di dunia. Penelitian ini bertujuan untuk mendeskripsikan perkembangan musik djent dan faktor yang mempengaruhi perkembangan musik djent di Kota Malang. Penulisan penelitian ini dilakukan dengan menggunakan metode kualitatif yang bersifat deskriptif dengan analisis data berupa hasil wawancara dengan narasumber. Narasumber dalam penelitian ini ada Norman Duarte Tolle (35) sebagai musisi musik djent (C-Four) yang ada di Kota Malang, Aulia Rizky Fajar (24) sebagai gitaris musik djent di Kota Malang, Reynal Juliandi (27) sebagai pemerhati serta gitaris musik djent di pasuruan, Fauzan Sanjaya (24) Selaku anggota komunitas musik keras (Undisputed), dan Fajri Ramadhan (27) sebagai musisi musik djent (Ceara) di Jakarta. Observasi ditujukan untuk mengetahui perkembangan musik djent di Kota Malang berdasarkan tinjauan kelompok musik C-four. Hasil dari penelitian ini ialah bahwa eksistensi musik djent dapat dilihat melalui industri musik dan media internet yang sangat berperan penting bagi perkembangan musik djent sehingga genre tersebut mampu menyebar luas ke seluruh dunia, termasuk di Indonesia dan di Kota Malang. Kata kunci: perkembangan; musik djent; musisi; Malang
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Rahmat, Sujud Puji Nur, G. R. Lono Lastoro Simatupang, and Harsawibawa Albertus. "Musik Metal dan Nilai Religius Islam: Tinjauan Estetika Musik Bermuatan Islami dalam Penampilan Purgatory." Resital: Jurnal Seni Pertunjukan 18, no. 3 (November 26, 2019): 133–43. http://dx.doi.org/10.24821/resital.v18i3.3338.
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Musik metal terkait dengan isu kekerasan, pemberontakan, kesewenang-wenangan. Oleh karenanya, band metal juga lekat dengan citra-citra itu. Namun demikian, Purgatory, band metal dari Jakarta, mencoba memunculkan citra yang berbeda. Mereka mengusung nilai-nilai religius islami dalam karya musik dan pertunjukannya. Dalam tulisan ini, penulis berupaya untuk memahami cara band ini tetap memiliki penggemar dengan isu-isu yang diusung tersebut. Penelitian ini menggunakan pendekatan etnografi. Pengumpulan data dilakukan dengan cara observasi-partisipasi. Penulis mengikuti dalam peristiwa-persitiwa pementasan musik metal dan juga berbagai aktivitas yang mengelilinginya. Berdasarkan penelitian dapat disimpulkan bahwa ada tiga dimensi persepsi estetika yaitu mengusung nilai-nilai religius Islami, memiliki kekhasan yang menampilkan ciri musik metal, dan mensyiarkan nilai-nilai kebaikan yang mendorong Mogerz, yakni para penggemar Purgatory tetap tertarik dengan band itu dan musiknya. Metal Music and Islamic Religious Values: The Aesthetics Review of Islamic Music in Purgatory Performance. Metal music is closely related to violence, rebellion, and abuse. Therefore, the metal band is also associated with those images. Purgatory, a metal band in Jakarta, however, is trying to establish a distinctive image to those of metal bands in common. They are to promote Islamic religious values in their music and performances. In this paper, the writers seek to understand how this band remains having their fans with these issues. This study uses an ethnographic approach. Data collection is carried out by doing the participatory observation. The writers actively got involved in the metal music performances and also other various activities. Based on the research results, it can be concluded that there are three dimensions of the aesthetics perceptions, i.e. carrying Islamic religious values, having a characteristic that displays the characteristics of metal music, and broadcasting good values that support Mogerz, fans of Purgatory, to keep on attracted to the band and their music.Keywords: Islamic metal music; purgatory; mogers
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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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Quinn, Kate. "Heavy metal music and managing mental health: Heavy Metal Therapy." Metal Music Studies 5, no. 3 (September 1, 2019): 419–24. http://dx.doi.org/10.1386/mms.5.3.419_1.
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Messick, Kyle J., Blanca Aranda, and Chris Day. "The experiences of metal fans with mental and developmental disorders in the metal music community." Metal Music Studies 6, no. 2 (June 1, 2020): 193–214. http://dx.doi.org/10.1386/mms_00013_1.
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A series of interviews were conducted to explore the experience of what it is like to be a member of metal music culture living with mental health conditions and/or developmental disabilities. Ten participants were interviewed, three of which had schizophrenia, four with autism spectrum disorder, two had bipolar affective disorder and one had borderline personality disorder. Thematic analysis was utilized to explore the experiences of people living with various types of mental illness and developmental disabilities in the context of metal, which resulted in the development of three overarching themes. It was found that participants felt that the metal music community was more welcoming to them due to the broad use of lyrics about mental health topics and the prevalence of metal musicians that have mental health concerns. The broad application of mental health topics in metal was seen as having a de-stigmatizing effect towards mental health concerns, but at the cost of accuracy, as topics like schizophrenia are seen as fetishized and inaccurately depicted. Participants reported that the metal community affords its members with mental health conditions and developmental disabilities a number of benefits including a sense of belonging, the facilitation of mood maintenance and the management of lesser symptoms. Symptom management appeared to be mitigated by symptom severity and influenced how participants experienced metal music.
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Recours, Robin, François Aussaguel, and Nick Trujillo. "Metal Music and Mental Health in France." Culture, Medicine, and Psychiatry 33, no. 3 (June 12, 2009): 473–88. http://dx.doi.org/10.1007/s11013-009-9138-2.
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Raditya, Ardhie. "Membunuh Tradisi’: Adegan Musik Metal Dan Subkultur Madura." JURNAL SOSIAL Jurnal Penelitian Ilmu-Ilmu Sosial 22, no. 1 (April 26, 2021): 31–42. http://dx.doi.org/10.33319/sos.v22i1.77.
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Abstract— Metal music is not 'easy listening' music. Unlike pop music which is full of "laziness", metal music is full of "explosions" from a musical aspect so, not everyone is able and willing to explore metal music. Because of its aggressive noise, metal music is flourishing in the big cities. Madura, whose society tends to be traditional, is a serious obstacle for its young people who enjoy metal music. Those who enjoy metal music are commonly referred to as "metal youths". So far, there have not been many metal studies in Madura. In fact, Madurese metal youths performed metal music scenes that were no less great than those of outsiders. Therefore, this study seeks to describe scenes of obedience to Madurese metal youths with a musical phenomenology approach, and to explain them from the perspective of subcultural studies. Based on the results of the research, it shows that the scenes of the metalization of Madurese metal youths are not only centered on the musical scene, but also, jump out of the musical scene which shakes the stability of the tradition and the political domination of their religion.
Keywords—: Metal Music Scenes; MadureseMetalYouths; Subcultural Studies.
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Safani, Muhammad, Nur'aeni Marta, and Djunaidi Djunaidi. "Eksistensi Musik Death Metal Di Jakarta (1989-2000)." JURNAL PATTINGALLOANG 9, no. 2 (August 31, 2022): 102. http://dx.doi.org/10.26858/jp.v9i2.35480.
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Penelitian dengan judul Eksistensi Musik Death Metal Di Jakarta 1989-2000 bertujuan untuk mengetahui mengenai perkembangan aliran musik death metal di Jakarta. Dalam penelitian ini digunakan metode historis dengan tahapan heuristik, kritik sumber, interpretasi, dan historiografi. Hasil penelitian ini menginformasikan bahwa eksistensi musik death metal di Jakarta dimulai sejak berdirinya band Grausig pada tahun 1989. Kemudian dari tahun 1991-1998 terbentuk sebanyak 23 band beraliran death metal. Pada awal berdirinya band-band tersebut masih memainkan lagu-lagu milik band death metal mancanegara. Pada tahun 1993 berdiri tempat bersejarah bernama Poster Café yang menjadi venue rutin diselenggarakannya penampilan band-band death metal di Jakarta. Selama periode tersebut juga banyak sekali event-event perguruan tinggi dan sekolah yang menghadirkan band-band beraliran death metal. Kelahiran fanzine di Jakarta ditandai oleh beredarnya fanzine bernama Brainwashed Zine sejak September 1996. Pada tahun 1999 terjadi perubahan arah penulisan lirik lagu-lagu death metal, yang sebelumnya membahas “setan”, menjadi lagu-lagu bertemakan kritik sosial-politik. Perubahan tersebut terjadi akibat pemerintah otoriter Orde Baru. Pada tahun 2000 terbentuk label rekaman Rottrevore Records. Label tersebut melahirkan standard baru bagi eksistensi musik death metal di Jakarta. Standard baru tersebut adalah label rekaman harus menjadi wadah yang profesional bagi band-band death metal yang dinaunginya. Dapat disimpulkan bahwa lirik-lirik lagu death metal di Jakarta tidak hanya bertemakan “setan”, tetapi ada juga lirik-lirik lagu yang bertemakan kritik sosial-politik.Kata kunci : Eksistensi, Musik, Death Metal di Jakarta Abtract The research entitled The Existence of Death Metal Music in Jakarta 1989-2000 aims to find out about the development of death metal music in Jakarta. In this research, the historical method is used with heuristic stages, source criticism, interpretation, and historiography. The results of this study inform that the existence of death metal music in Jakarta began with the founding of the band Grausig in 1989. Then from 1991-1998 formed as many as 23 death metal bands. At the beginning of their establishment, these bands still played songs belonging to foreign death metal bands. In 1993, a historic place called Poster Café was established, which is a regular venue for performances by death metal bands in Jakarta. During this period, there were also many college and school events that featured death metal bands. The birth of a fanzine in Jakarta was marked by the circulation of a fanzine called Brainwashed Zine since September 1996. In 1999 there was a change in the direction of writing lyrics for death metal songs, which previously discussed “devil”, into songs with the theme of socio-political criticism. These changes occurred as a result of the authoritarian New Order government. In 2000 the record label Rottrevore Records was formed. The label gave birth to a new standard for the existence of death metal music in Jakarta. The new standard is that record labels must become a professional forum for death metal bands under their umbrella. It can be concluded that the lyrics of death metal songs in Jakarta are not only themed "devil", but there are also song lyrics with the theme of socio-political criticism.Keywords : death metal, poster café, rottrevore records
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Hillier, Benjamin. "Considering genre in metal music." Metal Music Studies 6, no. 1 (March 1, 2020): 5–26. http://dx.doi.org/10.1386/mms_00002_1.
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This article considers how genre is treated in metal fan communities and metal scholarship. In identifying shortcomings in the existing literature with regard to genre definitions, it argues that musical characteristics should be the primary defining characteristics of metal subgenres. To this end, this article posits both a taxonomy for classifying metal genres and a model for analysing their characteristics. This model consists of five characteristics – pitch, timbre, form, rhythm and aesthetics – which, when combined, can elucidate the specific musical and extra-musical elements that comprise metal’s various subgenres. This provides a framework through which metal musicology and other scholarship can develop a common background and work towards concrete definitions of metal subgenres.
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Maloy, Liam. "REVIEW | Queerness in Heavy Metal Music: Metal Bent." IASPM@Journal 8, no. 1 (August 2018): 136–39. http://dx.doi.org/10.5429/2079-3871(2018)v8i1.11en.
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Fadly, Muhammad. "Glorifikasi Instrumen Biola sebagai Sarana untuk Mengembangkan Genre Heavy Metal pada Band Musik Resolution15." Urban: Jurnal Seni Urban 3, no. 1 (April 7, 2019): 39–58. http://dx.doi.org/10.52969/jsu.v3i1.30.
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A genre or an approach in art is an identity for the art. It is not just itself in an empty space, but it was born and developed in an established system. Likewise, the genre in music; in general stable and orderly systems are ‘broken’ to form new genres. This product of musical violation produces an innovation, and evolves by being characterized by a constant flow of new violations, mainly due to the support of technological advances. In addition to technology, the personality of the musicians also contributes significantly; they add certain characteristics that are unique and distinctive to a band. This research is a study of the glorification process on violins by Earl Maneein in the metal core music band, Resolution15; glorification is a new technique and serves as the instrumentation media in the heavy metal music genre, and metal core is a further development of the genre. This study aims to analyze the creation of new genres through violin glorification in the bigger genre of heavy metal music. As a case study with historical and musicological approaches, this research shows that the glorification of instruments can be a new part of the classification of the formation of genre.Sebuah aliran atau genre di dalam seni adalah sebuah identitas bagi sebuah seni. Tidak berada di dalam ruang hampa, genre lahir dan berkembang di dalam sebuah sistem yang mapan. Demikian juga dengan genre musik; pada umumnya sistem yang stabil dan teratur ‘dilanggar’ untuk membentuk genre baru. Produk pelanggaran ini menghasilkan sebuah inovasi, dan berevolusi dengan ditandai oleh aliran pelanggaran baru yang konstan, terutama karena dukungan kemajuan teknologi. Selain teknologi, pribadi musisi juga berkontribusi secara signifikan; ia memberikan ciri tertentu yang unik dan khas pada sebuah band. Penelitian ini merupakan kajian tentang proses glorifikasi pada biola yang dilakukan Earl Maneein di dalam band musik metalcore, yaitu Resolution15; glorifikasi itu berupa teknik serta media instrumentasi baru di dalam genre musik heavy metal, dan metalcore merupakan perkembangan lebih lanjut dari genre tersebut. Penelitian ini bertujuan menganalisis penciptaan genre baru melalui glorifikasi biola di dalam genre besar musik heavy metal. Sebagai studi kasus dengan pendekatan sejarah dan musikologi, penelitian ini menunjukkan bahwa glorifikasi instrumen dapat menjadi bagian baru untuk mengklasifikasikan terbentuknya genre.
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Vestergaard, Vitus. "Blackletter logotypes and metal music." Metal Music Studies 2, no. 1 (March 1, 2016): 109–24. http://dx.doi.org/10.1386/mms.2.1.109_1.
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ARNETT, JEFFREY. "Adolescents and Heavy Metal Music." Youth & Society 23, no. 1 (September 1991): 76–98. http://dx.doi.org/10.1177/0044118x91023001004.
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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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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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Eischeid, Susanne A., Julia Kneer, and Birte Englich. "Peace of mind: The impact of metal gestures on stress and power." Metal Music Studies 5, no. 2 (June 1, 2019): 137–50. http://dx.doi.org/10.1386/mms.5.2.137_1.
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Findings on metal research show an action-oriented, socially competent and less stressed community, opposing the assumption that metal reduces well-being and induces depression. Our study aimed to investigate the stress-reducing effects of metal for its fans and if this is influencing power experience. The idea is based on findings that indicate positive psychological and physical effects of music in general as well as the stress-reducing effects found for open, expansive gestures (e.g. ‘Metal gestures’). After stress was raised, participants listened either to metal or to classical music. While music was played, movements of half of the participants were blocked, thus, metal gestures were not possible. Metal music led to stress reduction of such blocked movements while classical music was found only to reduce stress when movements were not blocked. Stress reduction predicted the experience of power, but metal music and movements did not.
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Cellini, Gianluca. "Some Analytical Consideration on Indonesian Metal Music." International Journal of Creative and Arts Studies 4, no. 1 (June 1, 2017): 71. http://dx.doi.org/10.24821/ijcas.v4i1.1956.
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The widespread of metal music had crossed the borders of its native lands as a musical and socio-cultural phenomenon that emerged many studies mostly starting from sociological standpoint. By emphasizing the musicological aspect, this paper tried to show how the theoretical proposals of some scholars may be reflected in particular metal music through structural analysis approach. The analysis of a particular folk metal music in Indonesia showed the inclination of its instruments to mimic the interlocking of Balinese Gamelan in terms of patterns, hierarchy, and scale. The character of folk metal music in Indonesia was explained as the rebellion against a world unrestrained consumerism yet in the same time was an attempt to follow the post-modern need to find meeting points that is practicable. This paper suggested to insert the phenomenon of Indonesian metal music in the broader framework of worldwide expansion of this genre.
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Ridwan, Endrizal, and Bardi Rahmawan. "The heavy metal genre in an Islamic city of Padang: struggle and promotion." ATTARBIYAH: Journal of Islamic Culture and Education 6, no. 1 (August 15, 2021): 1–14. http://dx.doi.org/10.18326/attarbiyah.v6i1.1-14.
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A qualitative research was conducted on how heavy metal survived and competed with other genres in a sacred city of Padang Indonesia, where metal and religion seemed to be unmatched. This research aims at understanding why heavy metal showed no significant progress despite its long existence in the city. An interview of five musicians from the five most popular metal bands in the city revealed that the metal music genre had struggled to survive for two reasons: the stigma of its negative influence on society and the failure of metal musicians in proving that metal symbols and lifestyle were irrelevant to the arts of metals. A SWOT analysis suggests that the metalheads need to utilize their subcultural capital by modifying their music using religious lyrics within the scene and by following social norms outside the scene.
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Saurama, Anna, and Titus Hjelm. "Jesus and Metal Music Don’t Mix? The Controversy over the ‘Metal Mass’ in Finland." Journal of Religion in Europe 12, no. 1 (November 18, 2019): 27–48. http://dx.doi.org/10.1163/18748929-01201002.
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In 2006, a Metal Mass—a regular Lutheran mass with accompanying metal music—was celebrated in Helsinki and created a controversy on several online forums. On the one hand, the focus was the appropriateness of metal music in the context of a Christian mass. On the other hand, the issue at stake was the appropriateness of Christianity in the context of metal music and culture. In this article, we concentrate on how the controversy over the boundaries of ‘good’ religion is constructed in discourse about the appropriateness of metal music in the context of a national church and its services. We argue that the controversy over the Metal Mass is a case of broader negotiation between the function and performance of religious actors in contemporary Finland, yet when it happens within a secularized context, the temporarily full pews turn out to be an anomaly rather than a sign of revival.
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Terentyev, S. S. "Genre and Style Features of Dutch Symphonic Metal (on the Example of Epica)." Art & Culture Studies, no. 3 (October 2021): 380–405. http://dx.doi.org/10.51678/2226-0072-2021-3-380-405.
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The article is devoted to the work of the famous Dutch symphonic metal band Epica. The material highlights the genre and stylistic features of the music of this group, reveals the key features of the album concepts, determines the place of the band in the genre and style context of rock music in general and symphonic metal in particular. The genetic connection of symphonic met.al with progressive metal is revealed. On the example of Epica’s many-part compositions, which are based on various cultural sources and references to scientific theories, clothed in complex conceptual forms, the principle of “superhybridity” (J. Heiser’s term) is derived. As a formative principle of the group’s album triptych (The Quantum Enigma, The Holographic Principle, Omega), the concept of “metanarrative” (term by J.-F. Lyotard) is considered, the rehabilitation of which can be observed in the mainstream of the general processes of metamodernism in music. The author also refers to the developments of a number of researchers who have devoted their scientific works to the issues of terminology and typology of rock music.
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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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Bogt, Tom T., William W. Hale, and Andrik Becht. "“Wild Years”: Rock Music, Problem Behaviors and Mental Well-being in Adolescence and Young Adulthood." Journal of Youth and Adolescence 50, no. 12 (October 11, 2021): 2487–500. http://dx.doi.org/10.1007/s10964-021-01505-0.
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AbstractAdolescent preferences for non-mainstream types of rock music can be markers of adolescent problem behaviors, but no study has ever investigated whether this relationship continues into adulthood. In a six-wave study, 900 Dutch adolescents were followed from ages 12 to 21 (Mage T1 12.4, 51.1% girls), while reporting on depressive symptoms, mental well-being, aggression and drug use. A latent class growth analysis on their preferences for specific types of rock music revealed four fan groups. When these fan groups were compared to one another, in adolescence, the all-out rock fans displayed the highest peak in depressive symptoms and the lowest dip in well-being and the rock/metal fans reported the most aggression. And for both these groups, drug use increased at the onset of adulthood. Pop fans displayed a profile characterized by low depressive symptoms and aggression, and high in mental well-being. Finally, the popular rock fans held an in-between position between pop fans, on one side, and the all-out rock fans and rock/metal fans, on the other side. Thus, music preferences can be markers of problems, not only in adolescence but also in young adulthood. Still, music can enhance mood, helps to cope with problems, and peers in fan groups can provide support. This research focuses on the relationship between music and problem behaviors, specifically among members of the all-out rock fans and rock/metal fans, but many of these young people might have had more personal problems if they had not had their music and their fan-group peers.
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González Martínez, Susana, and Nelson Varas-Díaz. "Heavy metal music as communal intervention: Experiences and challenges in the context of the metal-academia dyad in Jaén, Spain." Metal Music Studies 7, no. 1 (March 1, 2021): 7–26. http://dx.doi.org/10.1386/mms_00029_1.
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In this article we aim to address the complex interrelation between metal music and academia through a case study design and analysis. The case study examined is an academic conference held during the past seven years at the University of Jaén, located in Jaén, a province in the south of Spain. This sociocultural project, entitled the ‘Rock and Metal Encounter’ (RME), has taken place in a context of frequent out-migration, with a precarious rural economy, and poor communication networks. There a small metal scene has resisted a precarious setting characterized by restrictive public policies towards music and culture. The RME has combined two lines of action; a purely academic one, through the diffusion of studies on metal music; and a social one, in which community intervention components have been interspersed with the aim of promoting social cohesion and cultural development among Jaén’s metal scene. In light of this experience, we discuss the potential use of metal music as a form of community intervention to foster the cultural development of small music scenes in disadvantaged settings, and the university’s role in this process. We also explore resistance and tensions faced by the incursion of metal music as a community intervention practice in this particular academic setting.
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Juszczyk, Andrzej. "The Global and Local Dimension of Metal Music." Annales Universitatis Paedagogicae Cracoviensis | Studia de Cultura 14, no. 3 (September 30, 2022): 63–71. http://dx.doi.org/10.24917/20837275.14.3.5.
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This article deals with the development of local metal scenes in Africa and Asia in relation to the metal mainstream. The article addresses the problem of Western centrism in the current perception of metal music and introduces researchers to the current interests of non-Western music scenes. The article also proposes a psychosocial perspective on local metal scenes and, at the same time, the imaginary global metal community.
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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 (November 26, 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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Baďurová, Barbora. "Philosophical Poetry in Metal Music (with Focus on Bands From Central Slovakia)." Studia Polensia 10, no. 1 (January 19, 2022): 23–42. http://dx.doi.org/10.32728/studpol/2021.10.01.02.
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Metal music is a quite popular subculture in Slovakia. Although heavy metal music simply noise for some, it is not so shallow and there are deeper meanings. There have been many metal bands that have addressed social concerns, as well as ethical and philosophical questions. Metal music uses various metaphors and other tropes to express philosophical ideas; not only in lyrics, but also in its use of melody. The focus here will be on several influential contemporary metal bands from Central Slovakia, and the philosophical and ethical aspects of their metal poetry.
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Baďurová, Barbora. "Philosophical Poetry in Metal Music (with Focus on Bands From Central Slovakia)." Studia Polensia 10, no. 1 (January 19, 2022): 23–42. http://dx.doi.org/10.32728/studpol/2021.10.01.02.
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Metal music is a quite popular subculture in Slovakia. Although heavy metal music simply noise for some, it is not so shallow and there are deeper meanings. There have been many metal bands that have addressed social concerns, as well as ethical and philosophical questions. Metal music uses various metaphors and other tropes to express philosophical ideas; not only in lyrics, but also in its use of melody. The focus here will be on several influential contemporary metal bands from Central Slovakia, and the philosophical and ethical aspects of their metal poetry.
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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 (September 1, 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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Belén Calvo, Manuela. "Indigenista perspectives in Argentine metal music." Metal Music Studies 4, no. 1 (March 1, 2018): 155–63. http://dx.doi.org/10.1386/mms.4.1.155_1.
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Heritage, Gareth. "Gender inequality in metal music production." Leisure/Loisir 43, no. 4 (October 2, 2019): 545–46. http://dx.doi.org/10.1080/14927713.2019.1699692.
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Sackl-Sharif, Susanne. "The dark side of blogging: Digital metal communities and metal influencers." Metal Music Studies 7, no. 2 (June 1, 2021): 237–55. http://dx.doi.org/10.1386/mms_00047_1.
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At the 2016 Dimebash event, Phil Anselmo made a Nazi salute and shouted ‘White power!’ at the end of his performance of the Pantera song ‘Walk’ onstage. The attendant YouTuber Chris R shared a video of the incident and thus provoked a discussion about racism in metal that also included widely discussed statements of Robb Flynn and Scott Ian, who both labelled Anselmo’s actions as racist. This is one of many examples that demonstrate changing information flows and increasingly fast-paced communication processes on social media platforms, including metal communities. Online platforms such as YouTube or Facebook not only enable musicians and bands to share videos, songs, tour dates or band gossip, but also to directly engage in discussions with their fans, which may also involve social and political issues. To provide an illustration of metal bands’ possibilities for online interaction, I have created a digital metal landscape that includes a set of digital tools, platforms and applications for different music- and non-music-related activities. Against this background, I discuss here contemporary metal musicians’ political and social engagement on social media and the reach of their comments within metal communities. Based on an analysis of Robb Flynn’s online presence in his The General Journals: Diary of a Frontman and Varg Vikernes’ Thulean Perspective, I will show that in the digital age, it is possible for metal musicians to become important influencers not only regarding music but also regarding social and political issues.
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Thomas, Niall. "Innovation and tradition in metal music production." Metal Music Studies 7, no. 3 (September 1, 2021): 423–43. http://dx.doi.org/10.1386/mms_00058_1.
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Contemporary music technology affords limitless potential and has changed the way record producers need to work with metal music, often employing a far more fragmented approach. This article explores technology’s influence on producing metal records through the lived experiences of seven renowned metal music producers, and it is argued that what can be perceived as traditional production processes are production processes that favour capturing performances, embracing the potential of technology. In contrast, the construction of recorded performances through anticipated uses of technology often embodies innovative production methodologies. There are tensions caused by the anticipated use of technology and the participants highlight that commercial and artistic pressures have informed prescriptive and homogenous production methodologies under the guise of innovation.
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Gusāns, Ingars. "2018. gada latviešu metālmūzikas albumi." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 25 (March 4, 2020): 185–200. http://dx.doi.org/10.37384/aplkp.2020.25.185.
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The aim of the study is to describe metal music albums of the year 2018 from the genre, textual and artistic aspects, looking for the common and diverse in the Latvian metal music world. It is recognised that there is still no unified collection of Latvian rock and metal music resources, and that makes the researcher’s work more interesting. Even though only ten metal albums came out in 2018, their metal styles are quite wide-ranging from symphonic metal and through thrash, groove, industrial metal to classic heavy metal, which is also played in an acoustic format. Album designs, in the author’s opinion, are classic but qualitative and do not damage the first impression, especially designs of those albums that were released on physical media. Because physical media is becoming an exclusive case, the trend continues to sell albums only in digital format (at least at first); this has been done by the bands “Revelation Attic”, “Yomi”, “Seira”, “NUVO”. Perhaps knowing that Latvia is too small to live on music only, as well as wishing to expand their audience and be noticed abroad, the 5 of the albums in question are recorded in English. The debuts of several newly formed bands (“Seira”, “Revelation Attic”, “Māra”) confirm the unlost interest in metal music and also show the attempts of these groups to build their way to Latvian and the world metal music scene, which manifests in their search for a strange sound (“NUVO”) or a strong female vocal use (“Oceanpath”, “Seira”, “Māra”). In general, Latvian metal music representatives continue the world’s metal music traditions, where it is extremely difficult to surprise because the number of existing bands is so large that it is almost impossible to be original, while the population of the planet is so big that many bands can access the listener so that each band also searches for its audience, both online and in concerts.
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Daryana, Hinhin Agung, Aquarini Priyatna, and Raden Muhammad Mulyadi. "The New Metal Men: Exploring Model of Flexible Masculinity in the Bandung Metal Scene." Masculinities & Social Change 9, no. 2 (June 21, 2020): 148. http://dx.doi.org/10.17583/mcs.2020.5020.
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The global metal scene has long provided narratives and methods for solving issues of masculinities since in their particular environment in the music industry, and they are generally considered masculine. This article explores the stereotypical construction of masculinities in the Bandung metal music scene. This analysis based on in-depth interviews with Bandung professional metal male musicians who are aged 39-44 years old and are married. This investigation examines how these metal musicians negotiate alternative masculinities in various contexts, taking into account the predominantly Muslim culture in Indonesia. Using an ethnographic approach and borrowing from Millett's concepts of temperament, role, and status, this paper argues that metal music, which is generally considered hypermasculine, does not display the same construction in their performing their functions in the family. Through their roles as breadwinner, musicians maintain normative Indonesian masculinity, as well as fulfilling their responsibility to their family. However, they negotiate equity in the private space, which regards household labor division, childcare, and sharing of income. This paper argues that to some extent, musicians in the metal music scene in Bandung provide a role model of masculinity that is more gender-sensitive and egalitarian.
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Jeray, Celina. "Sex, Dr(a)gs and Rock’n’Roll: Diverse Masculinities of Glam Metal, Sleaze Metal and Hair Metal." Anglica. An International Journal of English Studies, no. 30/1 (September 1, 2021): 171–90. http://dx.doi.org/10.7311/0860-5734.30.1.11.
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The following essay retraces the genre development and correlations of three 1980s hard rock subgenres: glam metal, sleaze metal and hair metal. This issue is consid- ered, primarily, with reference to the theory of hegemonic and non-hegemonic masculini- ties developed by Raewyn Connell and reviewed against the theory of genre development by Jennifer C. Lena and Richard A. Peterson. Both theories are employed in order to un- derline the subtle differences between the subgenres, arguably linked to the masculinities performed by the artists’ assumed stage personas. Aside from the scholarly references, the research includes various interviews with the artists and music journalists, an analysis of over a hundred song lyrics and the vast repertoire of visual arts accompanying the music.
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Miller, Jason. "What Makes Heavy Metal ‘Heavy’?" Journal of Aesthetics and Art Criticism 80, no. 1 (November 25, 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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Marino, Michael P. "Metal Rules the Globe: Heavy Metal Music around the World." Popular Music and Society 37, no. 1 (February 19, 2013): 106–8. http://dx.doi.org/10.1080/03007766.2013.767068.
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Djurslev, Christian Thrue. "The Metal King: Alexander the Great in heavy metal music." Metal Music Studies 1, no. 1 (October 1, 2014): 127–41. http://dx.doi.org/10.1386/mms.1.1.127_1.
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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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Gusāns, Ingars. "Lietvārdi latviešu metālmūzikas tekstos." Vārds un tā pētīšanas aspekti: rakstu krājums = The Word: Aspects of Research: conference proceedings, no. 24 (December 2, 2020): 79–89. http://dx.doi.org/10.37384/vtpa.2020.24.079.
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Traditionally, metal music is characterised by quality, but in recent years different computer programmes and tools have increasingly been used to help one to analyze texts from a quantitative perspective. The aim of this research is to identify and describe the most common nouns in the Latvian metal music lyrics from a lexico-semantic point of view. The subject of the study – band lyrics in Latvian. Main source: Encyclopaedia Metallum (www.metal-archives.com), which is the largest metal music web resource. The subject of the study is metal band lyrics in Latvian from January 2008 to December 2019, which can be found in full-length CD or digital albums. Since many albums have come out in English or other languages, only 136 songs with Latvian lyrics were found. The AntConc programme identified the presence of 4761 words and word forms and a total of 14231 units. Overall, it can be concluded that the most common words, both in metal music lyrics and in the referential corpora (LVK2018), are auxiliary words and pronouns that do not show a specific notion of the character of this music style. The author of this research found and analysed nouns with the highest frequency appearing in the lyrics of at least three songs, which could also become keywords. Among the 12 commonly used nouns, seven lexemes – death, blood, spirit, night, end, earth and sky – reflect the lyrical sounds of metal music and these word forms are not common in the reference corpora, thus allowing them to be identified as keywords in the metal music lyrics. A contextual view allows us to see the characteristics of metal music in the applications of the rest of the word forms – land, time, world, eyes, sun and heart.
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Gibson, Dylan Lawrence. "Mechanical and artificial ‘nü-horror metal’: The film music of Resident Evil." Metal Music Studies 8, no. 1 (March 1, 2022): 87–108. http://dx.doi.org/10.1386/mms_00062_1.
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Remaining true to its origins, the survival-horror video game film adaption, Resident Evil: The Original Motion Picture released in 2002, retains its core foundational game-like qualities. The film is heavily influenced by the video game franchise and it appears as if the audience is treated the same as the player. This is because the viewers are forced to ‘participate’ from fixed camera angles. As expected, the music contained within the moving image also borrows well-established compositional techniques from horror films and survival-horror video games. The music, therefore, serves to provide information to the viewers and acts as an auditory trigger. This type of music is defined as ‘process music’; music that appears to imitate a process of actions. An additional function of the music is to create immersion. The most prominent soundtrack cues from the film, visually and musically (‘synchronically’ matched), hint at overarching medical, artificial and mechanical themes. This immersive link is achieved through the use of the related music genres of industrial metal and nü-metal. The resultant combination of industrial/nü-metal sounds with horror imagery can effectively be termed ‘nü-horror metal’. In this article the genre label of ‘nü’ takes preference over ‘industrial’. The focus of this article will, therefore, demonstrate how the aforementioned medical, artificial and mechanical themes are effectively portrayed and heightened by the use of industrial/nü-metal music and techniques. This article will also highlight when the music serves a process function. This will be approached by appealing to traditional film music analytical tools engaging specifically with the traditional film music theory of ‘synchrony’ and ‘asynchrony’.
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Gusans, Ingars. "DESIGN OF LATVIAN METAL MUSIC ALBUM COVERS IN 2019." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 5 (May 20, 2020): 661. http://dx.doi.org/10.17770/sie2020vol5.5054.
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Latvian metal music has a small but stable place on the map of the metal music world. Each year several music albums of this genre are issued in Latvia. With the decrease in demand for physical data storage devices, brochures and well designed back covers are no longer popular; however the only remaining album cover has gained even more importance – the image, photograph, picture that represents the musical material and acts either as a reflection of the content or as an element for attracting attention and is published on the Internet as well as in printed press as a concrete symbol of the album. The research aim is to describe the design of Latvian metal music album covers in 2019 in the visual context of the albums issued in the world. The research was conducted using the comparative method, looking for the local and global, the typical and different in the visualisation of album covers on the basis of not only theoretical literature but also the many years of experience of the author as a musician and a collector of music records. In general, the visual look of album covers issued in Latvia is typical for heavy metal music and fits in with the visual design of metal band albums in the rest of the world. However, there have been attempts to include eye-catching accents using national or pseudo-national elements or colours.
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Trudzik, Artur Mariusz. "Wielowarstwowość pokładów muzyki hardrockowej/heavymetalowej w zasobach „Tylko Rocka”." Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura 3, no. 10 (2018): 165–75. http://dx.doi.org/10.24917/20837275.10.3.14.
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Multilayering hardrock/heavymetal music in „Only Rock” resources This article is composed of two parts. The first discusses the role of metal hardrock music (broadly understood) in the structure of the most opinion-making music magazine after 1989, ie „Only Rock”, and in the second study focused on analyzing the content of the monthly magazine in terms of title genres, but in the optics of genology. The text uses existing statistical data, studies and, of course, source materials. Methodologically and substantively – in a narrower sense, the publication encompasses two new streams: Metal Music Studies (humanistic) and Journalism and Music Media (social sciences, media studies), and in broader terms quantitative and qualitative research (including structural analysis). The research showed that metal music was a constitutive aspect of the subject matter in a strictly formal rock writing, and even some of the leading elements.
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Mora-Rioja, Arturo. "‘We Are the Dead’: The War Poets, metal music and chaos control." Metal Music Studies 7, no. 2 (June 1, 2021): 299–315. http://dx.doi.org/10.1386/mms_00050_1.
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During the course of the First World War, the generation of British authors known collectively as the War Poets revolutionized the popular culture of their time. Due to their changing attitudes towards armed conflict, their portrayal of war chaos included realist descriptions of life in the trenches, unusual choices of subject matter and an eventual challenge to the political and religious establishment of their time. Metal music, a genre with an inherent lyrical and musical concern about chaos and control, has crafted several songs inspired on the First World War poetry. This specific relationship has not been studied before. Based on Weinstein’s and Walser’s insights on chaos and control in metal music, the aim of this article is to evaluate the ability of metal music to either transmit or refute the War Poets’ discourse on chaos, and to study the textual and musical resources metal bands use to relay and control said discourse. For this purpose, I perform a comparative analysis of nine metal music adaptations and appropriations of six different First World War poems they are based on. A chronological path of the evolution of the First World War poetry is followed. The study concludes that, besides effectively transmitting or contesting the War Poets’ discourse on chaos, metal music exerts chaos control through its use of musical resources, especially in the case of extreme metal subgenres.
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Pichler, Peter. "Red Metal: Die Heavy-Metal-Subkultur der DDR, Nikolai Okunew (2021)." Metal Music Studies 8, no. 3 (September 1, 2022): 433–34. http://dx.doi.org/10.1386/mms_00090_5.
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Angeler, David. "Analogies between Heavy Metal Music and the Symptoms of Mental Illness." Challenges 9, no. 1 (April 5, 2018): 18. http://dx.doi.org/10.3390/challe9010018.
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Watier, Nicholas. "Threat cues in metal’s visual code." Metal Music Studies 8, no. 2 (June 1, 2022): 205–23. http://dx.doi.org/10.1386/mms_00075_1.
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Metal music has a signifying visual aesthetic or so-called visual code. In this article, I examine the significance of four primitive visual properties that characterize the code. I propose that the propensity for visual artefacts of metal music to depict low luminance, low colourfulness, redness and angular shapes is because these properties can act as subtle threat cues. As metal music has a preoccupation with threatening themes and sounds, these four properties provide concordant visual information about the affective attributes of the genre. After reviewing the supporting psychological evidence, I conduct a quantitative test of this proposal by comparing album covers from extreme metal bands to those from children’s music, two genres that are opposed to one another in their embrace of a threatening atmosphere. The results indicate that extreme metal album covers are darker, less colourful, redder and feature more angular shapes compared with their children’s counterparts, which suggests that these properties are relied upon to communicate a clear threat signal.
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Susino, Marco, and Emery Schubert. "Cultural stereotyping of emotional responses to music genre." Psychology of Music 47, no. 3 (March 10, 2018): 342–57. http://dx.doi.org/10.1177/0305735618755886.
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This study investigated whether emotional responses to a music genre could be predicted by stereotypes of the culture with which the music genre is associated. A two-part study was conducted. Participants listened to music samples from eight distinct genres: Fado, Koto, Heavy Metal, Hip Hop, Pop, Samba, Bolero, and Western Classical. They also described their spontaneous associations with the music and their spontaneous associations with the music’s related cultures: Portuguese, Japanese, Heavy Metal, Hip Hop, Pop, Brazilian, Cuban, and Western culture, respectively. Results indicated that a small number of specific emotions reported for a music genre were the same as stereotypical emotional associations of the corresponding culture. These include peace and calm for Koto music and Japanese culture, and anger and aggression for Heavy Metal music and culture. We explain these results through the stereotype theory of emotion in music (STEM), where an emotion filter is activated that simplifies the assessment process for a music genre that is not very familiar to the listener. Listeners familiar with a genre reported fewer stereotyped emotions than less familiar listeners. The study suggests that stereotyping competes with the psychoacoustic cues in the expression of emotion.
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Puchovský, Michal. "Czech Pagan Metal: A Short Introduction to Major Local Trends." Annales Universitatis Paedagogicae Cracoviensis | Studia de Cultura 14, no. 3 (September 30, 2022): 72–90. http://dx.doi.org/10.24917/20837275.14.3.6.
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This article offers a short introduction to Czech pagan metal. I offer a brief summary of the main trends within the local scene and analyze how Paganism is discursively constructed in the music and lyrics of three bands representing different metal sub-genres: Inferno, Silent Stream of Godless Elegy, and Žrec. I seek answers for some important questions. How do Czech bands approach Paganism? In what ways, if any, is Czech pagan metal unique? Or do Czech pagan metal bands simply copy global trends? How important is spiritual identity in the personal lives of Pagan metal band members? The main theoretical inspirations for thearticle are Robert Walser’s discursive study of heavy metal and Keith Kahn-Harris’s concept of scene. The analysis of lyrics and music is enhanced by data from ethnological and quantitative research among listeners of Czech Pagan metal music.
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James, Kieran, and Rex Walsh. "Religion and heavy metal music in Indonesia." Popular Music 38, no. 2 (May 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.