• ‘Gateways of Bereavement’: a defence of sub-categorisation in metal music

    Author(s):
    M.Selim Yavuz (see profile)
    Date:
    2016
    Group(s):
    Music and Sound
    Subject(s):
    Heavy metal (Music)--Instruction and study, Musicology, Popular music
    Item Type:
    Conference paper
    Conf. Title:
    Metal (&) Musicology Conference
    Conf. Org.:
    University of Hull
    Conf. Loc.:
    Hull, United Kingdom
    Conf. Date:
    12 March 2016
    Tag(s):
    doom metal, extreme metal, genre in music, metal music studies, Metal Music Studies, Popular Music Studies
    Permanent URL:
    http://dx.doi.org/10.17613/M6967N
    Abstract:
    Doom (metal) has been seen as the ‘slower’ -in more than one sense- sibling in metal music in general. The slowness can be argued to be true for some cases within doom and this slowness, prominently in musical terms but alongside other angles, can be the defining factor of a portion of doom music. For example, while funeral doom may be argued to have comparably slow tempi, drone (doom) comes across with its slow form. Self-proclaimed stoner (doom) culture focusses on the space-free slowness and the experience of this, in a similar sense to drone. Thus, it may sound manageable to brush over doom as a whole as other scholars have done (Bogue 2007; Bogue 2011; Kahn-Harris 2007), but this results in a lot of the significant cultural and musical differences to be ignored. Only after one delves deeper to this vast music world, one observes the variety of styles and cultures under the umbrella term ‘doom’. This presentation discusses the benefit of sub-categorisation in and of metal music through a case study of doom concentrating on death doom and gothic doom music worlds. The presentation also deliberately avoids the terms ‘genre’ or ‘sub-genre’ to define these sub-categories here, because of the fact that musicologically ‘genre’ is problematic at best. Musicologists such as Holt (2007) and Kennedy (2015) worked on defining genre within popular music and sociologists have also offered their own different categorisation methods under a popular music paradigm (Bottero & Crossley 2011). Finally, such an intricate sub-categorisation of doom may lead to the question as to why one would collect them under an umbrella such as doom instead of keeping these (sub)categories underneath metal or extreme metal music. The paper explores the characteristics that differ and connect in the proposed stratification system in doom and its sub-categories.
    Metadata:
    xml
    Status:
    Published
    Last Updated:
    6 years ago
    License:
    Attribution-NonCommercial-NoDerivatives
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