Metal Music Research Papers - Academia.edu (original) (raw)

"A educação musical contemporânea tem buscado compreender os mais diversos
contextos socioculturais nos quais as práticas musicais são concebidas. A banda Vomer,
representante da cena metal na cidade de Montes Claros-MG se apresenta como um desses
contextos. Portanto, o presente artigo visa identificar os principais processos que norteiam a
formação musical de seus integrantes. Com base em dados de uma pesquisa em andamento,
até o presente momento foram identificados processos individuais de formação, concebidos
através da história individual de cada integrante da Vomer, bem como processos coletivos,
entendidos como o embate de vieses e pensamentos no exercício da prática musical em
conjunto. Todos esses processos representam assim, uma formação contínua que se dá pela
constituição de um espaço onde a música produzida pela banda Vomer, bem como as
concepções culturais que norteiam sua prática são frutos do constante exercício da diferença
adquirida individualmente e exercida socialmente."

- by
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- Sociology, Music, Music Education, Anthropology

Metal music and its culture is submerging into the community of our youth since the era of 90s. It is playing a significant role in psychology to those who listen to metal or heavy metal music. Not only the genre or lyrics but the culture is also influential. The metalhead culture brings the Atheism or Satanism along with its music type or culture. Consciously or unconsciously, our youth is driving own self into this culture. In this article, I have studied the inception of rock music and the transformation of it into meal music in Bangladesh. Some anacondas relating metal music are mentioned as well. I visited some of the studios in our country like G-Series, Agnibina and Sangita. Besides, I also have went through culture and used to do metal music. So have shared some of my experiences regarding metal music and its effect in my family.

- by Janilin Bappi
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- Bangladesh, Metal Music

This article will present the results of a research project that aimed to examine the meanings and mechanisms behind the formation of a metal identity. This report is based on 38 interviews that were conducted at four festivals during the summer of 2014. The article will investigate the ways in which the individual meets the social and the cultural meets the psychological in the context of metal identity forming.

- by Anna Baka
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- Festivals and music, Youth Studies, Social Identity, Social and Cultural Anthropology

This article aims to examine how and why the urban metal scene in Bangladesh came into existence. Based on interviews
with key figures in the scene, ethnographic observation and textual analysis, the article proposes that urban youths’
frustration with the poor state of conditions in the country is channelled into a passion to build an alternative space. Participants assert the distinction of their music from mainstream rock and pop. Translocal connections with other metal scenes existing elsewhere are emphasized in a local scene that remains tied to the activities of a largely middle-class, part-time, male population of artists who share particular social and economic resources.

- by Guy Redden and +1
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- Bangladesh, Metal Music, Independent Music, Heavy Metal Music

Our vision of the Vikings is ripe with clichés devoid of historical substance. Reproduced and disseminated across various forms of artistic expressions (painting, literature, cinema, music), these perceptions and misperceptions tend to cast the Vikings as strong, proud, ideal manly warriors. Interestingly enough, the values expressed in these perceptions of the Vikings – pride, rectitude, etc – have been transmitted by metal music since the Seventies, and today through the folk metal movement. Folk metal's basic message has been one of protest against modern society, described as an alienating force that isolates individuals from their peers and generates violence. Instead, they promote a romantic view of the past – mostly their own country's past. In this message, the Viking becomes an « antimodel » of the contemporary man. As such, « viking metal » appears as more than an escapist fantasy: a worldwide antimodern protest movement emerging as the product of a modern society it aims to criticize.

- by Nadege Benard
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- Sociology of Religion, History of Religion, Paganism and Christianism, Metal Music

Penelitian ini bertujuan untuk mengetahui peranan antropomorfisme maskot terhadap pencitraan merek, yang pada hal ini adalah peranan Lucy sebagai antropomorfisme maskot untuk pencitraan band Cranial Incisored. Teknik pengambilan subjek penelitian atau informan yang digunakan adalah purposive sampling, dengan kriteria: 1) Informan merupakan fans atau penggemar band Cranial Incisored, 2) Informan mempunyai CD dan atau merchandise dari band Cranial Incisored yang terdapat Lucy didalamnya, 3) Berusia 18 tahun keatas. Lebih spesifik, kriteria informan yang dipilih sebanyak tiga orang yang berlatar belakang mahasiswa dan pekerja, hal itu dimaksudkan agar informan mempunyai sudut pandang dan keunikan tersendiri. Dengan teknik pengumpulan data yang digunakan adalah wawancara, serta teknik analisa data yang digunakan adalah deskriptif kualitatif dengan metode perbandingan tetap atau constant comparative method. Pada akhirnya, pemeriksaan keabsahan data yang digunakan adalah triangulasi sumber, yaitu dari personil Cranial Incisored sendiri. Dari ketiga informan, diketahui bahwa match strategy sangat ditonjolkan dalam penciptaan Lucy jika dihubungkan dengan Cranial Incisored. Berdasarkan hasil penelitian, didapatkan bahwa dengan menggunakan match strategy untuk maskot Lucy, Cranial Incisored mengkomunikasikan brand image yang terdiri dari karakter Jepang, genre musik, lirik lagu, dan ketidaklaziman. Namun demikian, ditemukan juga reputasi dari penggemar yang menghubungkan Lucy dengan Cranial Incisored, yaitu karakter personel di panggung.

- by Hutdi Nur Cahyono
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- Brand Image, Anthropomorphism, Anthropomorphic Figurines, Metal Music

La música de cada época es producto de un proceso de influencias entre músicos y de cambios de técnicas musicales. Además el entorno social geográfico y político determina los sentimientos e ideas que la música de la época va a transmitir. De esta misma manera el Heavy Metal va a tomar su forma a partir de una evolución de técnicas e influencias que serán complementadas por los nuevos sentimientos derivados de la situación vital de la época.
El Heavy Metal así como ningún género de calidad se detiene en un solo punto. Cada grupo aportará nuevo material de análisis. Sin embargo se puede definir un punto clímax en donde hay ciertas características en común que engloba el significado de Heavy Metal. A continuación se analizará el proceso de construcción del Heavy metal como género. Para ello se explicarán las principales características que identifican el género. Además se mencionan los datos más importantes sobre los diferentes grupos influyentes en la consolidación del género y de los grupos pioneros. A modo de ejemplo se analizarán una pieza de cada grupo mencionado aplicando los conceptos característicos del género y su proceso evolutivo. Eventualmente se mencionará el significado de las letras según su contexto pero este aspecto quedará en segundo plano.
El metal llegó a ser un fenómeno mundial que se introduce en todo tipo de culturas. Incluso en costa rica el metal llegó a ser un movimiento liderado por varios grupos demostrativos y con una infinidad de bandas de Garage que no se dan a conocer por falta de promoción, medios económicos y tecnológicos, pero no por falta de talento. Este trabajo también abarcará una descripción un análisis de los principales grupos de Heavy Metal.

- by Carlos DeLau Angulo Ayala
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- Music, Musical Composition, Music History, Musicology

During the second decade of the twenty-first century, the phenomenon of ‘kawaii metal’ has garnered significant attention in English-language mainstream press alongside more limited discussion in metal journalism. An ostensible fusion of metal and Japanese aidoru (idol) music, kawaii metal artists frequently juxtapose the traditional aesthetics of kawaii (cuteness) with those of metal, emphasising a combination of influences distinctly Eastern and Western. Prominent among kawaii metal artists, Babymetal have generated substantial press coverage in the Anglophone world. Despite emanating from the Japanese idol industry and singing almost exclusively in Japanese, touring the United States and Europe (producing live CDs and DVDs recorded in the US and UK) have made Babymetal one of the most visible Japanese bands in Anglo-America. This chapter explores Babymetal's fusion of idol and metal by analysing the lyrics for the band's first two albums, Babymetal (2014) and Metal Resistance (2016). Following an introduction to kawaii metal through the lens of Anglo-American press, the author elucidates Babymetal's origins as a sub-unit of the idol group Sakura Gakuin. With this background established, the author investigates the use of wordplay and themes relating to childishness and adolescence in the lyrics on Babymetal's debut album. Examining the lyrics of the band's second album illuminates a more thorough integration of idol and metal tropes, including more English-language lyrics, seemingly designed to align Babymetal with a more global metal audience, managing the interplay of Western and Eastern influences.

- by Lewis F Kennedy
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- Lyrics, Japanese Popular Music, Kawaii, Metal Music

Given its short history as a self-conscious academic field, metal studies' interdisciplinarity is impressive. Metal studies actively draws upon and engages sociology, anthropology, cultural studies, gender studies, history, geography and,... more

- by Lewis F Kennedy and +1
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- Musicology, Popular Music, Metal Studies, Popular musicology

The Shoah is an historical event that leaves its marks on Jewish memory and thought to this day. Broadly speaking, there are two lessons of the Shoah: a particularistic one-relevant to Jews only-and a universalistic lesson, for all peoples. This article examines how the memory of the Shoah and these lessons contribute to the formation of Jewish identity. Works considering the Shoah of three metal bands with prominent Jewish members will be used: one Israeli-Jewish band-Salem; and two multireligious American bands-Anthrax and Disturbed. I will start by analysing songs about the Shoah and continue with a broader look at their entire catalogues and interviews. The ideas expressed will be understood on the background of theories considering Jewish identity and metal music and culture. This qualitative research is therefore grounded in the methodology of the history of ideas. My main findings are: (1) Most metal songs about the Shoah were written by a band with prominent Jewish members. (2) It indeed functions as a living memory affecting Jewish identity-that is, values and sociopolitical beliefs. (3) All the songs analysed create engagement by arousing an emotional response in listeners. (4) While Jewish identity is clearly manifested in Salem and Disturbed's

The end of the 20th century was marked by numerous political and cultural changes. That
includes the secular music marks upswing, and so does its variety of subcultures and ideologies.
During this period the necessity of portraying the reality of music that represents the public
outrage is felt as well – and that's why heavy metal music is so related to the socium.
With the following essays my attention is drawn to a different yet very interesting course in
metal music – the one that corresponds with the roots of the people. Folk music is characterized by
multiple and diverging paths of interpretations of the nationwide way of thinking.

- by Rada Boneva
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- Mythology And Folklore, Music, Popular Music Studies, Ethnomusicology

The article is an introduction to an analysis of the titles of Polish underground and alternative press - zines. The author shows results of the title analysis of the zines which have been created by: 1) writers and poets (artzines) as... more

- by Mateusz Flont
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- Media Studies, Humor, Onomastics, Zines

This essay deals with a wide range of alternative and independent music types that are not necessarily related to each other but that are nevertheless useful for exploring white ethnic identity in post-1960s rock scenes. What these musical
forms — including metal, punk, experimental, singer-songwriter — do have in common is that they are genres not typically associated with Italian Americans (or, for that matter, with any particular ethnicity).

- by Joseph Sciorra
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- Ethnomusicology, Punk Culture, Punk Studies, Italian American Studies

This article aims to examine how and why the urban metal scene in Bangladesh came into existence. Based on interviews with key figures in the scene, ethnographic observation and textual analysis, the article proposes that urban youths’ frustration with the poor state of conditions in the country is channeled into a passion to build an alternative space. Participants assert the distinction of their music from mainstream rock and pop. Translocal connections with other metal scenes existing elsewhere are emphasized in a local scene that remains tied to the activities of a largely middle-class, parttime, male population of artists who share particular social and economic resources.

- by Shams Quader, Ph.D.
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- Bangladesh, Metal Music, Independent Music, Heavy Metal Music

The 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.

This article aims to examine how and why the urban metal scene in Bangladesh came into existence. Based on interviews with key figures in the scene, ethnographic observation and textual analysis, the article proposes that urban youths’ frustration with the poor state of conditions in the country is channeled into a passion to build an alternative space. Participants assert the distinction of their music from mainstream rock and pop. Translocal connections with other metal scenes existing elsewhere are emphasized in a local scene that remains tied to the activities of a largely middle-class, parttime, male population of artists who share particular social and economic resources.

- by Guy Redden
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- Bangladesh, Metal Music, Independent Music, Heavy Metal Music

This article aims to examine how and why the urban metal scene in Bangladesh came into existence. Based on interviews with key figures in the scene, ethnographic observation and textual analysis, the article proposes that urban youths’ frustration with the poor state of conditions in the country is channeled into a passion to build an alternative space. Participants assert the distinction of their music from mainstream rock and pop. Translocal connections with other metal scenes existing elsewhere are emphasized in a local scene that remains tied to the activities of a largely middle-class, parttime, male population of artists who share particular social and economic resources.

- by Shams Quader
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- Bangladesh, Metal Music, Independent Music, Heavy Metal Music

Around Provocative Games and Masks – on the Work of the Musical Group Rammstein. This article focuses on the intermedial activity of a German music band, namely Rammstein. In its work the band, more often than not, utilizes the category of memories in order to
refer to traumatic events. Moreover, the band undertakes intertextual games using various conventions. The text also touches upon the aspect of wearing masks by the artists and
analyses the band’s performances in the light of Erving Goffman’s theory.

- by Jakub Kosek
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- Cultural Studies, Popular Culture, Metal Music, Rock Music

Une des caractéristiques fondamentales de la musique populaire demeure la réutilisation constante du matériel musical en provenance d’une multitude de styles et de
courants (remix, adaptation, échantillonnage, etc.). Cette pratique nommée la transphonographie provient de l’intertextualité, un concept élaboré par le littéraire Gérard
Genette et adapté à la musique populaire par le musicologue Serge Lacasse. Dans ce texte, l’auteur emploiera la transphonographie pour relever les différentes transformations
musicales et thématiques survenant dans la chanson « Summer Night City » de ABBA, lorsque celle-ci est reprise par le groupe de gothique metal symphonique Therion. En plus des éléments musicaux propres à la musique d’ABBA modifiés pour
correspondre à l’esthétique de Therion, ces transformations induisent aussi un changement dans la signification même de la chanson.

- by Méi-Ra St-Laurent
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- Musicology, Narratology, Intertextuality, Metal Music

As the song ‘Havfruens Kvad’ by Svartsot (2010) confirms, medieval metal gave a new voice to mermaid mythology. The song has thematically little in common with the fairy tale Den lille havfrue, but does resonate with the Norse mythology about sea goddess Rán, and Ancient Greek stories about the sirens. Their songs are powerfully altered lullabies, which unmistakably include elements of black metal aesthetics and ancient tribalism. By combining aspects of history with mythology and fantasy, the bands create an imagined past upon which they wish to model their ideal future, thus forming ethnic myths, ethnics and nations, mostly online. Within the participatory convergence culture, digital storytelling becomes transmedial. In the Christian and Victorian traditions, the little mermaid by Andersen is pacified, she does not pose any danger. But the revived ancient mermaid mythology by Svartsot contains subversive feminist potential. The stories are then transposed into new media, disseminating the artists’ concept of an idealized Viking past, with powerful mermaids. Build on many ancient stories from a variety of traditional sources, within her transmedial narrative, the Danish mermaid became very powerful, through the remediation within the musical genre of medieval metal.

- by Martine Mussies
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- Art, Hans Christian Andersen, Mermaids, Metal Music

Este estudio estuvo orientado a identificar las bondades que tiene el método cualitativo de la teoría fundamentada. En tal sentido se planteó el siguiente objetivo: comprender por qué se reproduce la individualización de la vida social, la mercantilización de la cultura y la fetichización de la música, en el sentir y pensar de los Metaleros de Lima. Se hizo uso de la entrevista a profundidad, los que se aplicó a una muestra no probabilistica de 23 jóvenes y adultos metaleros (de 14 a 48 años de edad). Se identificó dos categorías conceptuales: la Rockandad y la Metaldad.

- by Jimmy Renzo Yépez Aguirre
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- Colonialidad, Metal Music, Rock Music, Individualización

Amber R. Clifford-Napoleone
London and New York: Routledge, 2015
ISBN: 9780815365587 (PB)

- by Liam Maloy
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- Queer Studies, Queer Theory, Gender and Sexuality, Music and Gender

Neste ensaio interpretaremos as letras da banda co-lombiana Masacre, que tem como temática a violência armada e a tragédia gerada ao seu redor. O grupo recorre a fatos verídi-cos, o que faz com que se aproxime ao princípio da verdade do ofício informativo, apesar de isso não necessariamente implicar o afastamento das construções simbólicas e outras formas nar-rativas que a música e seus diversos componentes permitem, tecendo assim pontes entre imaginação e compreensão. Narrar el mal para comprender la tragedia en Colombia: la ban-da Masacre y la violencia Resumen: En este ensayo interpretaremos las letras de la agru-pación colombiana Masacre, la cual tiene como temática la violencia armada y la tragedia que a su alrededor se genera. La banda acoge a hechos verídicos, lo cual se acerca al principio de veracidad del oficio informativo, aunque ello no implica necesariamente que se aleje de las construcciones simbólicas y otras formas narrativas que la música y sus diversos compo-nentes permiten, tejiendo así puentes entre la imaginación y la comprensión. Abstract: In this essay we will analyze the lyrics of the colom-bian band Masacre, which features armed violence as its main theme, as well as the tragedy that arises around it. The band resorts to real-life facts, thus mirrorring the principle of truth in the craft of news. It does not result, however, in a deviation from the use of symbols and other narrative forms enabled by music and its several and diverse components, thus weaving bridges between imagination and comprehension.

- by Juan Camilo Arboleda
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- Violence, Tragedy, Violencia, Metal Music

Kului kymmenen vuotta metalliyhtye Sentencedin lopettamisesta ennen kuin yhtyeen jäsenet suostuivat kokoamaan yhtyeen tarinan kirjaksi. Infernon päätoimittaja Matti Riekin kanssa syntynyt lopputulos on kuin itse yhtye – suora, hiomaton ja rankka mutta myös syvästi tunteva ja humoristinen. Puhumattomuudestaan tunnetut Sentenced-miehet yllättävät avoimuudellaan kirjassa, jossa kiertue-elämä on kuluttavaa, ahdistus ainainen seuralainen ja elämän ja kuoleman välinen raja hauras.

- by Riina Turunen
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- History of Popular Music, Metal Music

Este libro es un producto parcial de una investigación basada en una etnografía urbana multisituada, así como en los fundamentos de la sociología comprensiva. En materia de la música, así como en otros campos del arte y del conocimiento, los flujos migratorios han posibilitado el intercambio de estilos, géneros, instrumentos, tecnologías e incluso la conformación voluntaria de comunidades de sentido cuyos integrantes se han identificado con las corrientes musicales contemporáneas, ahora transnacionales, como es el caso del metal, que se han convertido con el tiempo en emblemas de la juventud, cuyas relaciones sociales se ven reforzadas y resignificadas por el uso del internet en estos días

This presentation aims to elaborate on the potential of sounds and vibrations within the context of Deleuzian-Guattarian understanding of becoming and Braidotti‘s nomadic subject. This philosophical position and conceptual route emphasize the non-hegemonic, dynamic, fluid, transgressing, and transformative potential of creativity. The DeleuzianGuattarian perspective of ―the privilege of the ear‖ will be further argued, extending the discussion to the process of creativity and the process of becoming a vibrant nomadic subject throughout the former. In other words, I propose that sound, and thus music, has a very special and crucial place in terms of the capacity of an artistic creation that is transformative and encompassing. Finally, I argue that the awareness of such a capacity would open grounds of not getting lost in the era of crises, flourishing the ways for coexisting. This presentation aims to contribute to the theme of 'gender‘ from the posthumanist and new materialist viewpoints, especially by tackling the concept of "becoming-woman" and "the nomad".

- by Bengi Çakmak Uçar and +2
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- Musicology, Rosi Braidotti, Metal Music, Posthumanities

Une des caractéristiques fondamentales de la musique populaire demeure la réutilisation constante du matériel musical en provenance d’une multitude de styles et de courants (remix, adaptation, échantillonnage, etc.). Cette pratique nommée la transphonographie provient de l’intertextualité, un concept élaboré par le littéraire Gérard Genette et adapté à la musique populaire par le musicologue Serge Lacasse. Dans ce texte, l’auteur emploiera la transphonographie pour relever les différentes transformations musicales et thématiques survenant dans la chanson « Summer Night City » de ABBA, lorsque celle-ci est reprise par le groupe de gothique metal symphonique Therion. En plus des éléments musicaux propres à la musique d’ABBA modifiés pour correspondre à l’esthétique de Therion, ces transformations induisent aussi un changement dans la signification même de la chanson.

- by Méi-Ra St-Laurent
- •
- Musicology, Narratology, Intertextuality, Intersections