東華大學圖書館 |

語系: 繁體中文

說明(常見問題)

回圖書館首頁

手機版館藏查詢

登入

回首頁

切換: 標籤 | MARC模式 | ISBD

Extreme Metal Across the Digital Div...

Walch, Florian.

FindBook

Google Book

Amazon

博客來

Extreme Metal Across the Digital Divide: Music, Technology, Genre.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Extreme Metal Across the Digital Divide: Music, Technology, Genre./
作者:	Walch, Florian.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2023,
面頁冊數:	312 p.
附註:	Source: Dissertations Abstracts International, Volume: 85-02, Section: A.
Contained By:	Dissertations Abstracts International85-02A.
標題:	Music theory. -
電子資源:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30568901
ISBN:	9798380141499

Extreme Metal Across the Digital Divide: Music, Technology, Genre.
Walch, Florian.

Extreme Metal Across the Digital Divide: Music, Technology, Genre. - Ann Arbor : ProQuest Dissertations & Theses, 2023 - 312 p.

Source: Dissertations Abstracts International, Volume: 85-02, Section: A.

Thesis (Ph.D.)--The University of Chicago, 2023.

This dissertation examines how the analog-digital transition influenced the development of extreme metal, interpreting its present obsession with fine sub-generic distinctions and "old-school" revivals of analog aesthetics as a means of coping with an uneasy dependence on digital media. While extreme metal's values developed in analog networks, its transcendence of aural and bodily limits required digital prostheses. The digital divide in accessing these contested technologies structured extreme metal's system of sub-genres, which-like the remembered inconveniences of the past-memorialize now-lost resistances.This dissertation's arc is conceptual and chronological. Its introduction and conclusion frame its inquiry with present concerns, while the inner chapters are case studies that progress from undifferentiated analog beginnings in the 1980s to sub-generic crystallization up to the arrival of the digital audio workstation in the mid-1990s. Using archival materials, newly conducted interviews, and close readings of musical records, these case studies put vernacular theories into dialog with discourses drawn from the musicology of record production, music theory, and critical theory. Ultimately, these constellations aim to articulate a constitutive relationship between what it means to analyze, make, and enjoy popular music.{A0}This dissertation's contributions are twofold. First, it provides models for the analysis of popular music grounded in the historically conditioned values of an aesthetic community-and how these values are adapted to disruptions. Second, this dissertation argues that (sub-)genre, as the promise of being able to repeat (increasingly narrow) aesthetic experiences, requires technologies that make this repetition possible-at least in fantasy.The Introduction uses ethnographic vignettes to establish the contemporary importance of sub-genre and nostalgia. Chapter 1 asks why pioneering musicians can claim to have heard extreme{A0}metal before it existed, by manipulating the time-axis of existing records on tape or vinyl players. This fetish-like objectification of creativity reflects a disavowal of subjective creativity. Chapter 2 analyzes death metal drumming's labor theory of value, demonstrating why digital drum sample replacement was both essential and intolerable for the development of the prized blast beat, which was valued as concrete time, but measured as abstract time. An Interlude examines how moral panics around backmasking let horror-inspired album introductions transmit different messages to insiders and outsiders. Chapter 3 reconstructs the digital-analog assemblage Morrisound Studios used to create the signature hyper-real performance associated with death metal and explores how its aural trace made the digital divide audible. Chapter 4 argues that the death metal production aesthetic undermined the groove-based forms of grindcore, examining how former grindcore bands re-record their own songs in a death metal idiom. Chapter 5 contests the notion that black metal was only a return to an imagined analog past, analyzing it as a post-digital style that used the devaluation of human performance it critiqued in death metal to incorporate influences from electronic dance music. The Postlude returns to the present and considers what is at stake when resistances are lost to remediation.{A0}

ISBN: 9798380141499Subjects--Topical Terms:

547155
Music theory.
Subjects--Index Terms:

Analog networks

Extreme Metal Across the Digital Divide: Music, Technology, Genre.
LDR:04503nmm a2200385 4500 001 2398878
005 20240819061913.5
006 m o d
007 cr#unu||||||||
008 251215s2023 ||||||||||||||||| ||eng d
020 $a 9798380141499
035 $a (MiAaPQ)AAI30568901
035 $a AAI30568901
040 $a MiAaPQ $c MiAaPQ
100 1 $a Walch, Florian. $0 (orcid)0000-0001-5355-9180 $3 3768825
245 1 0 $a Extreme Metal Across the Digital Divide: Music, Technology, Genre.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2023
300 $a 312 p.
500 $a Source: Dissertations Abstracts International, Volume: 85-02, Section: A.
500 $a Advisor: Brodsky, Seth.
502 $a Thesis (Ph.D.)--The University of Chicago, 2023.
520 $a This dissertation examines how the analog-digital transition influenced the development of extreme metal, interpreting its present obsession with fine sub-generic distinctions and "old-school" revivals of analog aesthetics as a means of coping with an uneasy dependence on digital media. While extreme metal's values developed in analog networks, its transcendence of aural and bodily limits required digital prostheses. The digital divide in accessing these contested technologies structured extreme metal's system of sub-genres, which-like the remembered inconveniences of the past-memorialize now-lost resistances.This dissertation's arc is conceptual and chronological. Its introduction and conclusion frame its inquiry with present concerns, while the inner chapters are case studies that progress from undifferentiated analog beginnings in the 1980s to sub-generic crystallization up to the arrival of the digital audio workstation in the mid-1990s. Using archival materials, newly conducted interviews, and close readings of musical records, these case studies put vernacular theories into dialog with discourses drawn from the musicology of record production, music theory, and critical theory. Ultimately, these constellations aim to articulate a constitutive relationship between what it means to analyze, make, and enjoy popular music.{A0}This dissertation's contributions are twofold. First, it provides models for the analysis of popular music grounded in the historically conditioned values of an aesthetic community-and how these values are adapted to disruptions. Second, this dissertation argues that (sub-)genre, as the promise of being able to repeat (increasingly narrow) aesthetic experiences, requires technologies that make this repetition possible-at least in fantasy.The Introduction uses ethnographic vignettes to establish the contemporary importance of sub-genre and nostalgia. Chapter 1 asks why pioneering musicians can claim to have heard extreme{A0}metal before it existed, by manipulating the time-axis of existing records on tape or vinyl players. This fetish-like objectification of creativity reflects a disavowal of subjective creativity. Chapter 2 analyzes death metal drumming's labor theory of value, demonstrating why digital drum sample replacement was both essential and intolerable for the development of the prized blast beat, which was valued as concrete time, but measured as abstract time. An Interlude examines how moral panics around backmasking let horror-inspired album introductions transmit different messages to insiders and outsiders. Chapter 3 reconstructs the digital-analog assemblage Morrisound Studios used to create the signature hyper-real performance associated with death metal and explores how its aural trace made the digital divide audible. Chapter 4 argues that the death metal production aesthetic undermined the groove-based forms of grindcore, examining how former grindcore bands re-record their own songs in a death metal idiom. Chapter 5 contests the notion that black metal was only a return to an imagined analog past, analyzing it as a post-digital style that used the devaluation of human performance it critiqued in death metal to incorporate influences from electronic dance music. The Postlude returns to the present and considers what is at stake when resistances are lost to remediation.{A0}
590 $a School code: 0330.
650 4 $a Music theory. $3 547155
650 4 $a Music history. $3 3342382
650 4 $a Music. $3 516178
653 $a Analog networks
653 $a Musicology
653 $a Digital audio
653 $a Extreme metal
653 $a Musical records
690 $a 0221
690 $a 0208
690 $a 0413
710 2 $a The University of Chicago. $b Music. $3 1673188
773 0 $t Dissertations Abstracts International $g 85-02A.
790 $a 0330
791 $a Ph.D.
792 $a 2023
793 $a English
856 4 0 $u https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30568901