Poetry In English And Metal Music

Many metal songs incorporate poetry into their lyrics using a broad array of techniques, both textual and musical. This book develops a novel adaptation, appropriation, and quotation taxonomy that both expands our knowledge of how poetry is used in metal music and is useful for scholars across adaptation studies broadly. The text follows both a quantitative and a qualitative approach. It identifies 384 metal songs by 224 bands with intertextual ties to 146 poems written by fifty-one different poets, with a special focus on Edgar Allan Poe, John Milton's Paradise Lost and the work of WWI's War Poets. This analysis of transformational mechanisms allows poetry to find an afterlife in the form of metal songs and sheds light on both the adaptation and appropriation process and on the semantic shifts occasioned by the recontextualisation of the poems into the metal music culture. Some musicians reuse – and sometimes amplify – old verses related to politics and religion in our present times; others engage in criticism or simple contradiction. In some cases, the bands turn the abstract feelings evoked by the poems into concrete personal experiences. The most adventurous recraft the original verses by changing the point of view of either the poetic voice or the addressed actors, altering the vocaliser of the narrative or the gender of the protagonists. These mechanisms help metal musicians make the poems their own and adjust them to their artistic needs so that the resulting product is consistent with the expectations of the metal music culture.

Over 10,000 words of poetry inspired by heavy metal and rock 'n' roll music and presented as lyrics. This collection of rock 'n' roll themed poetry touches on subject matter that has fueled many a classic rock or metal song. Topics such as politics, the drinking and drugging lifestyle, suicide, the apocalypse, lost love, anger and many more themes and narratives fill this book of poetry. We all have music inside our heads and we are all capable of being poets. This book is many years in the making and captures everything that is best about the scene that I grew up in - the late 80's and early 90's metal scene.

This multi-disciplinary book explores the textual analysis of heavy metal lyrics written in languages other than English including Japanese, Yiddish, Latin, Russian, Hungarian, Austrian German, and Norwegian. Topics covered include national and minority identity, politics, wordplay, parody, local/global, intertextuality, and adaptation.

The Oxford Handbook of Music and Medievalism provides a snapshot of the diverse ways in which medievalism--the retrospective immersion in the images, sounds, narratives, and ideologies of the European Middle Ages--powerfully transforms many of the varied musical traditions of the last two centuries. Thirty-three chapters from an international group of scholars explore topics ranging from the representation of the Middle Ages in nineteenth-century opera to medievalism in contemporary video game music, thereby connecting disparate musical forms across typical musicological boundaries of chronology and geography. While some chapters focus on key medievalist works such as Orff's Carmina Burana or Peter Jackson's Lord of the Rings films, others explore medievalism in the oeuvre of a single composer (e.g. Richard Wagner or Arvo P�rt) or musical group (e.g. Led Zeppelin). The topics of the individual chapters include both well-known works such as John Boorman's film Excalibur and also less familiar examples such as Eduard Lalo's Le Roi d'Ys. The authors of the chapters approach their material from a wide array of disciplinary perspectives, including historical musicology, popular music studies, music theory, and film studies, examining the intersections of medievalism with nationalism, romanticism, ideology, nature, feminism, or spiritualism. Taken together, the contents of the Handbook develop new critical insights that venture outside traditional methodological constraints and provide a capstone and point of departure for future scholarship on music and medievalism.

Metal is a form of popular music. Popular music is a form of leisure. In the modern age, popular music has become part of popular culture, a heavily contested collection of practices and industries that construct place, belonging and power.

A Tome of Lyrics, Poems and Anecdotes from the Hard Rockin' Days of Heavy Metal A memoir based on lyrics, poems and anecdotes from the glory days of heavy metal, when long hair, headbangers and metalheads ruled the earth! Now revised and updated with NEW songs, NEW poems and rockin' NEW anecdotes!

This book demonstrates the rich and varied ways in which heavy metal music draws on the ancient Greek and Roman world. Contributors examine bands from across the globe, including: Blind Guardian (Germany), Therion (Sweden), Celtic Frost, Eluveitie (Switzerland), Ex Deo (Canada/Italy), Heimdall, Stormlord, Ade (Italy), Kawir (Greece), Theatre of Tragedy (Norway), Iron Maiden, Bal-Sagoth (UK), and Nile (US). These and other bands are shown to draw inspiration from Classical literature and mythology such as the Homeric Hymns, Vergil's Aeneid, and Caesar's Gallic Wars, historical figures from Rome and ancient Egypt, and even pagan and occult aspects of antiquity. These bands' engagements with Classical antiquity also speak to contemporary issues of nationalism, identity, sexuality, gender, and globalization. The contributors show how the genre of heavy metal brings its own perspectives to Classical reception, and demonstrate that this music-often dismissed as lowbrow-engages in sophisticated dialogue with ancient texts, myths, and historical figures. The authors reveal aspects of Classics' continued appeal while also arguing that the engagement with myth and history is a defining characteristic of heavy metal music, especially in countries that were once part of the Roman Empire.

Metal Studies is a genuinely interdisciplinary research field. However, different specialist traditions, differing theoretical and methodological approaches, and also terminological "translation difficulties" make collaboration within the field difficult. This volume aims to explore the potential and limitations of interdisciplinary work by examining an example area - the laws of Heavy Metal - from the point of view of central disciplines. Laws are regarded as social conventions - i.e., rules that are made by human beings and are culturally stable. Examples of laws include conventions of musical language, the dress code in the metal scene, behavioural norms, and conventions in writing song lyrics. The volume includes contributions from the fields of law, social ethics, art history, religious studies, musicology, sociology, linguistics, and cultural history.