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Mike Brake states that "[h]eavy metal performers are almost exclusively male", with "exceptions such as [the all-female band] Girlschool being accorded attention most often for their singularity."[1] According to the Encyclopedia of Heavy Metal, there are few female heavy metal bands.[2] The predominance of men in heavy metal is not unique to this genre; Marion Leonard states that men predominate in the overall music industry.[3]

According to Robert Walser, heavy metal harmonic relationships are "...often quite complex" and the harmonic analysis done by metal players and teachers is "...often very sophisticated."[4] In her study of heavy metal chord structures Esa Lilja states that "...heavy metal music has proved to be far more complicated than has been previously suggested." She states that heavy metal harmony typically uses modal harmonic relationships "...coupled with pentatonic and blues-derived features."[5]

Live band performances are “the holiest of heavy metal communions”]].[6]

extreme metal, a cluster of metal subgenres characterized by sonic, verbal andvisual transgression .[7]

Heavy metal
Slayer in 2007
Stylistic originsBlues rock, psychedelic rock
Cultural originsLate 1960s, United Kingdom and United States
Typical instrumentsElectric guitar, bass guitar, drums, vocals
Derivative formsGrunge
Subgenres
Fusion genres
Regional scenes
Other topics
2024 in onBeyondZebrax/sandbox/Heavy metal music

Text goes here.[1]

  • ^ For the sun's size, see Miller, Edward. The Sun. Academic Press, 2005, p. 1.
    • For the moon's size, see Brown, Rebecca. "Size of the Moon", Scientific American, 51(78):46.
    • For the sun's heat, see Smith, John. The Sun's Heat. Academic Press, 2005, p. 2.
    According to Tobias Hurwitz, '[h]ardcore drumming falls somewhere between the straight-ahead rock styles of old-school punk and the frantic, warp-speed bashing of thrash."[8] authenticity

    Gender

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    There are differing views about the gender composition of heavy metal bands: while Mike Brake wrote in 1990 that "[h]eavy metal performers are almost exclusively male", with "...exceptions such as [the all-female band] Girlschool being accorded attention most often for their singularity" [9] and Robert Walser wrote in 1993 that "...[a]t least until the mid-1980s, heavy metal was made almost exclusively by male musicians",[10] music journalist Chuck Eddy wrote in 2011 that "...since the beginning–and now maybe more than ever–strong metal women have put up their dukes and got down to it."[11]

      1. "Heavy Metal...is a music genre that is distinctly male:almost all of the performers...are men." (Kenneth M. Nagelberg, The Guide to United States Popular Culture. Popular Press, 2001. p. 373)
      2. "The...almost exclusively male composition of [heavy metal] bands" in the 1970s and 1980s (Andy Bennett, Cultures of Popular Music. McGraw-Hill Education, 2001. p. 48)
      3. "heavy metal (coming into prominence in the 1970s and 1980s) was a male-dominated and -oriented music". Women "were rarely members of metal bands." (Jacqueline Edmondson, Music in American Life:An Encyclopedia of the Songs, Style, Stars and Stories that Shaped our Culture. ABC-CLIO, 2013. p. 489)
      4. "Heavy metal...remains, overwhelmingly male-dominated. But since the beginning–and now maybe more than ever–strong metal women have put up their dukes and got down to it." Eddy lists several female performers and bands, such as Girlschool (Chuck Eddy, "Women of Metal" in Spin. July 1, 2011)
      1. According to the Encyclopedia of Heavy Metal, there are few female heavy metal bands. (William Phillips and Bran Cogan. Encyclopedia of Heavy Metal. ABC-CLIO, 2009, p. 7)

    Moshing and stage diving

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    Thrash metal concerts have two elements that are not part of the other metal genres: moshing and stage diving, which "...were imported from the punk/hardcore subculture." [12] Moshing participants bump and jostle each other as they move in a circle in an area called the "pit" near the stage. Stage divers climb onto the stage with the band and then jump "...back into the audience".[13] [14]

    Harmonics

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    To play guitar harmonics, players "...touch the string very lightly with [their] fretting-hand finger, pluck the string and immediately remove [the] fretting hand finger", which allows the harmonic to sound.[15]

    Guitar solos

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    "Virtually every heavy metal song features at least one guitar solo" (Robert Walser, Running With the Devil: Power, Gender and Madness in Heavy Metal Music. p. 50) "Guitar solos are an essential element of the heavy metal code...that underscores the significance of the guitar."(Deena Weinstein, Heavy Metal: The Music and its Culture." p. 24)

    Guitar solos are "...an essential element of the heavy metal code...that underscores the significance of the guitar" to the genre.[16] Most heavy metal songs "...feature[e] at least one guitar solo",[17] which is "...a primary means through which the heavy metal performer expresses virtuosity."[18] One exception is nu metal bands, which generally omit guitar solos.[19]

    Black metal and death metal

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    Black metal, death metal and some "mainstream metal" bands "...all depend upon double-kicks and blast beats."[20]

    Heavy metal lyrics

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    Metal artists have had to defend their lyrics in front of the U.S. Senate and in court. In 1985, Twisted Sister frontman Dee Snider was asked to defend his song Under the Blade at a U.S. Senate hearing. At the hearing, the PMRC alleged that the song was about sadomasochism and rape; Snider stated that the song was about his bandmate's throat surgery.[21] In 1986, Ozzy Osbourne was sued because of the lyrics of his song Suicide Solution.[22] A lawsuit against Osbourne was filed by the parents of John McCollum, a depressed teenager who committed suicide allegedly after listening to Osbourne's song. Osbourne was not found responsible for the teen's death.[23]

    References

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    1. ^ Brake, Mike. "Heavy Metal Culture, Masculinity and Iconography". In Frith, Simon; Goodwin, Andrew (eds.). On Record:Rock, Pop and the Written Word. Routledge. pp. 87–91.
    2. ^ Phillips, William; Cogan, Brian (2009). Encyclopedia of Heavy Metal. ABC-CLIO. p. 7.
    3. ^ Leonard, Marion. Gender in the Music Industry: Rock, Discourse and Girl Power
    4. ^ Walser, Robert (2014). Running With the Devil: Power, Gender, and Madness in Heavy Metal Music. Wesleyan University Press. p. 47.
    5. ^ Lilja, Esa (2009). "Theory and Analysis of Classic Heavy Metal Harmony". Advanced Musicology. 1. IAML Finland. {{cite journal}}: |access-date= requires |url= (help)
    6. ^ Julian Schaap and Pauwke Berkers. "Grunting Alone? Online Gender Inequality in Extreme Metal Music" in Journal of the International Association for the Study of Popular Music. Vol.4, no.1 (2014) p. 105
    7. ^ Julian Schaap and Pauwke Berkers. "Grunting Alone? Online Gender Inequality in Extreme Metal Music" in Journal of the International Association for the Study of Popular Music. Vol.4, no.1 (2014) p. 101
    8. ^ Hurwitz, Tobias (1999). Punk Guitar Styles: The Guitarist's Guide to Music of the Masters. WAlfred Music Publishing. p. 32.
    9. ^ Brake, Mike (1990). "Heavy Metal Culture, Masculinity and Iconography". In Frith, Simon; Goodwin, Andrew (eds.). On Record: Rock, Pop and the Written Word. Routledge. pp. 87–91.
    10. ^ Walser, Robert (1993). Running with the Devil:Power, Gender and Madness in Heavy Metal Music. Wesleyan University Press. p. 76.
    11. ^ Eddy, Chuck (1 July 2011). "Women of Metal". Spin. SpinMedia Group. {{cite journal}}: |access-date= requires |url= (help)
    12. ^ Weinstein, Deena (2009). Heavy Metal:The Music and its Culture. Da Capo Press. pp. 228–229.
    13. ^ Weinstein, Deena (2009). Heavy Metal:The Music and its Culture. Da Capo Press. pp. 228–229.
    14. ^ Weinstein, Deena (2009). Heavy Metal:The Music and its Culture. Da Capo Press. pp. 228–229.
    15. ^ Smith, Matt (2001). Guitar Chop Shop. Alfred Music Publishing. p. 93.
    16. ^ Weinstein, p. 24
    17. ^ Walser, p. 50
    18. ^ Dickinson, Kay (2003). Movie Music, the Film Reader. Psychology Press. p. 158.
    19. ^ Grow, Kory (26 February 2010). "Final Six: The Six Best/Worst Things to Come out of Nu-Metal". http://www.revolvermag.com. Revolver magazine. Retrieved 21 September 2015. The death of the guitar solo[:] In its efforts to tune down and simplify riffs, nu-metal effectively drove a stake through the heart of the guitar solo {{cite web}}: External link in |website= (help)
    20. ^ Cope, Andrew L. (2010). Black Sabbath and the Rise of Heavy Metal Music. Ashgate Publishing Ltd. p. 130.
    21. ^ Ostroff, Joshua (18 September 2015). "Twisted Sister's Dee Snider Blasts Irresponsible Parents On PMRC Hearings' 30th Anniversary". Huffington Post. Huffington Post. Retrieved 3 February 2016.
    22. ^ Elovaara, Mika (2014). "Chapter 3: Am I Evil? The Meaning of Metal Lyrics to its Fans". In Abbey, James; Helb, Colin (eds.). Hardcore, Punk and Other Junk: Aggressive Sounds in Contemporary Music. Lexington Books. p. 38.
    23. ^ VH1: Behind The Music--Ozzy Osbourne, VH1. Paramount Television, 1998.
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