Metal Music Studies最新文献_第7页

Of heroes, maidens and squirrels: Reimagining traditional Finnish folk poetry in metal lyrics 英雄、少女和松鼠:用金属抒情诗重新想象芬兰传统民间诗歌

Metal Music Studies Pub Date : 2021-06-01 DOI: 10.1386/mms_00051_1

Charlotte Doesburg

{"title":"Of heroes, maidens and squirrels: Reimagining traditional Finnish folk poetry in metal lyrics","authors":"Charlotte Doesburg","doi":"10.1386/mms_00051_1","DOIUrl":"https://doi.org/10.1386/mms_00051_1","url":null,"abstract":"The Kalevala (1849), the Finnish folk epic, has inspired all types of artists throughout the years. It could be argued that it was only a matter of time before Finnish metal musicians started adapting material from the epic in their music and lyrics. This article presents two\u0000 case studies of two lyrics. The first is ‘Lemminkäisen laulu’ (‘Lemminkäinen’s Song’) by Kotiteollisuus. This song is about one of the epic’s main heroes, Lemminkäinen, and his unfortunate marriage to Kyllikki. It draws on poems 11‐13\u0000 from the Kalevala and on the book Seitsemän veljestä (‘The Seven Brothers’) (1870) by novelist Aleksis Kivi. The second song discussed is ‘Rautaa rinnoista’ (‘Iron from the Breasts’) by Mokoma. The lyrics for this song are inspired\u0000 by the painting Raudan synty (‘The Origins of Iron’) (1917) by Joseph Alanen. This painting is based on the birth of iron poem from the Kalevala. The interpretation of the lyrics of both songs will show that artists in the same genre have a larger general awareness\u0000 of other cultural products, including those inspired by the Kalevala and that they use the epic for different purposes. The two case studies will show that adaptation of Finnish folk poetry can be used for various reasons, such as to parodize contemporary society or to voice personal\u0000 ideas and world-views. Furthermore, the analysis of these lyrics will show that the songs are connected to a sense of Finnishness and the topics and themes of metal music internationally.","PeriodicalId":36868,"journal":{"name":"Metal Music Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47153097","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

When love and critique collide:1 Methodology, ontology, fandom and standpoint in metal research 当爱与批判碰撞:1金属研究的方法论、本体论、狂热与立场

Metal Music Studies Pub Date : 2021-06-01 DOI: 10.1386/mms_00045_1

R. Hill

引用次数: 2

‘We Are the Dead’: The War Poets, metal music and chaos control 《我们是死人》：战争诗人、金属音乐和混乱控制

Metal Music Studies Pub Date : 2021-06-01 DOI: 10.1386/mms_00050_1

Arturo Mora-Rioja

{"title":"‘We Are the Dead’: The War Poets, metal music and chaos control","authors":"Arturo Mora-Rioja","doi":"10.1386/mms_00050_1","DOIUrl":"https://doi.org/10.1386/mms_00050_1","url":null,"abstract":"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\u0000 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.\u0000 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\u0000 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\u0000 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.","PeriodicalId":36868,"journal":{"name":"Metal Music Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43258666","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Heavy metal justice?: Calibrating the economic and aesthetic accreditation of the heavy metal genre in the pages of Rolling Stone, 1980‐91: Part two 1986‐911 重金属正义?:《滚石》杂志中重金属音乐的经济和美学鉴定，1980 - 91:Part 2 1986 - 911

Metal Music Studies Pub Date : 2021-03-01 DOI: 10.1386/MMS_00048_1

Andrew R. Brown

引用次数: 1

Editorial 社论

Metal Music Studies Pub Date : 2020-09-01 DOI: 10.1386/mms_00018_2

Keith Kahn-Harris, Dominic Williams

引用次数: 0

Heavy-y-Metal: A través del cristal. Nuevas perspectivas culturales (‘Heavy-and-Metal: Through the looking glass. New cultural perspectives’), Fernando Galicia Poblet (ed.) (2019) 重金属：通过玻璃。新的文化视角（《重金属：通过看玻璃》。新的文化视角），费尔南多·加利西亚·波布莱特（编辑）（2019年）

Metal Music Studies Pub Date : 2020-06-01 DOI: 10.1386/mms_00017_5

S. Álvarez, M. Marchioli

引用次数: 0

Subject of the drone 无人机的主体

Metal Music Studies Pub Date : 2020-06-01 DOI: 10.1386/MMS_00010_1

R. Purves

{"title":"Subject of the drone","authors":"R. Purves","doi":"10.1386/MMS_00010_1","DOIUrl":"https://doi.org/10.1386/MMS_00010_1","url":null,"abstract":"The increasingly popular and influential genre known as drone metal is characterized by the interaction of amplified drones with permutational rhythms. Scholarship in the field has, so far, concentrated on distinguishing the work of various drone metal artists through ethnographic analysis\u0000 of the symbols and social bonds that accumulate around the drone; the ways in which drones are conceptualized have been paid more attention than the function of the drone itself. This article follows the drone form from the inception of Minimalist musical practice in the work of La Monte Young,\u0000 to contemporary developments in works incorporating the drone by major artists operating in the experimental wings of popular music. To clarify the relationship or non-relation between the drone and musical meaning, three drone-related works by Joan La Barbara, Eleh and Keiji Haino are discussed\u0000 with respect to their relative proximity to, or distance from, language and/or speech. Although only Haino here could be said to have even a tangential relation to metal, each exemplar extols a primary form that drone metal can be said to elaborate upon: a voice pushed to its limits (La Barbara),\u0000 amplified sound as a physical force (Eleh), monolithic homogeneity at a crawling pace (Haino). Each piece of music is also considered in terms of the subject who listens, leading to some speculative thoughts on the uses made of the drone, an assessment of its potential to resist appropriation\u0000 by the culture industry and reasons for the drone’s remarkable persistence and diversity.","PeriodicalId":36868,"journal":{"name":"Metal Music Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46994581","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Editorial 社论

Metal Music Studies Pub Date : 2020-06-01 DOI: 10.1386/mms_00009_2

Niall Scott, Nelson Varas-Díaz, Nedim Hassan, Amanda Barnett

引用次数: 0

Editorial 社论

Metal Music Studies Pub Date : 2020-03-01 DOI: 10.1386/mms_00001_2

Niall Scott, Nelson Varas-Díaz, Nedim Hassan, Amanda Barnett

引用次数: 0

From Bach to Helloween: ‘Teutonic’ stereotypes in the history of popular music and heavy metal 从巴赫到Hellowen：流行音乐和重金属史上的“条顿人”刻板印象

Metal Music Studies Pub Date : 2020-03-01 DOI: 10.1386/MMS_00006_1

Jan Herbst

{"title":"From Bach to Helloween: ‘Teutonic’ stereotypes in the history of popular music and heavy metal","authors":"Jan Herbst","doi":"10.1386/MMS_00006_1","DOIUrl":"https://doi.org/10.1386/MMS_00006_1","url":null,"abstract":"Throughout the centuries, German popular music has caused various foreign reactions from admiration to outright rejection. Sometimes, international audiences perceived it as too ‘Teutonic’; other times, this was exactly the reason for its appeal. This article traces ‘Teutonic’ features in 400 years of German popular music history, seeking to identify the emergence and development of ‘Teutonic’ stereotypes as well as their perception inland and abroad. The metal discourse was analysed based on a corpus of nearly 200,000 pages from magazines such as the British Kerrang! and the German Metal Hammer, Rock Hard and Deaf Forever. Stereotypes such as perfectionism, precision and rigidity seem to stem from historical roots, yet their projection onto ‘Teutonic metal’ is over-simplified and often out of context. History suggests that German metal bands were most successful when they exaggerated Germanness. Occasionally, bands became successful because their German features made them sound unique, even though they did not promote their heritage proactively. More often, though, bands that were unintentionally perceived as typically German were less appealing to a foreign audience. In the magazines, discussion of Teutonic attributes almost vanished in the twenty-first century. Global production practices needing to conform to international expectations of ever faster, tighter and heavier records likely made metal artists around the world adopt qualities that previously defined ‘Teutonic music’. It will therefore be interesting to see if or how German stereotypes in metal music will live on.","PeriodicalId":36868,"journal":{"name":"Metal Music Studies","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42070595","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 9