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The Routledge Handbook of Metal Music Composition: Evolution of Structure, Expression, and Production examines metal music composition as a distinct practice that combines a complex array of formal musical, expressive, and technological elements.
Table des matières
List of Contributors List of Figures List of Tables AcknowledgmentsContentsIntroduction: Appreciating, Understanding, and Interpreting Metal Music Composition
Lori Burns and
Ciro ScottoPart I. Structures1. Perspectives on Harmony in Early Heavy Metal: Chords, Modes, Functions, and Texture
Esa Lilja2. Recognizing Tonal Momentum and Echoes of Past Styles in Riff Turnarounds
Stephen S. Hudson3.What is a Riff? A Structural Definition and its Analytical Consequences for Process and Form in Heavy Metal
Ciro Scotto4. Mutually Exclusive Two- and Three-Part Forms in Heavy Metal Songs
Nolan Stolz5. Compound Bridge Sections in Rock and Metal
Michael Dekovich6. Unfulfilled Expectations: Theorizing on Terminally Anti-Climactic Form
Zach Simonds7. Conceived Through an Act of Catharsis: The Phenomenological Allure of the Breakdown
Owen Morawitz8. More than Moshing: Structure, Convention, and Innovation in Extreme Metal Breakdowns
John Muniz9. Half-Time, Standard-Time, and Double-Time Feels in 1980s Crossover Thrash
David Easley 10. Systematic Onslaught: The Aesthetics and Functions of Blast Beats in Contemporary Extreme Metal
Dennis William Lee11. Blackened Textures: Black Metal's Sonic Complexity During the Second and Third Waves
Wolf-Georg ZaddachPart II. Expressions and Techniques: Instruments 12. Traditional Instruments in Global Folk Metal
Olivia R. Lucas13. Primordial Percussion: Drumming in Six Influential Metal Albums
Jose M. Garza, Jr.14. Paradigms of Guitar Performance Practice and the Language of Metal Music
Mark Marrington15. Metal Guitar Techniques as Timbre, Form, and Speed
Calder Hannan16. The Evolution of the Bass Guitar in Metal Music: Its Function in Performance and Compositional Structure
Shvan Kaban17. Keys to Hell: Synthesizers from Early Death Metal to Deathcore
Tyler OsbornePart III. Expressions and Techniques: Voices 18. "All Shall Scream": Transposable Lessons from Pierre-Luc Senécal's
Hate.Machine for Growlers Choir
Eric Smialek19. Song of the Siren, Cry of the Warrior: An Exploration of Song Structures and Female Vocal Techniques in Power Metal
Suzanne Strauss20. Thine Voice is Oh So Sweet: Gothic Metal and Vocal Timbre Diversity
Vik Squires Donnelly21. Nu Metal's Influential Vocal Composition: Tension and Release in the Music of Korn, Incubus, and Machine Head
Clare King22. Beyond "Beauty and the Beast": The Evolution of Gendered Clean-Harsh Vocal Pairings in Metal Music
Lori BurnsPart IV. Productions23. Imagining Future Extremes on the Record Player: Time Axis Manipulation as a Theory of Extreme Metal Creativity and History
Florian Walch 24. Masters of Reality: The (De)construction of Reality in the Production of Metal Music
Niall Thomas25. Fragmented and Distributed Production Practices in 21st Century Metal Music: From the Studio to the Bedroom (and Back Again?)
Steven Gamble and Lewis Kennedy26. Electronic Drums in Industrial Metal and Continuing Practices in Contemporary Metal Music
Neyssensas Manuel27. Guitar Pro or DAW-based Software for Metal Composition
Fulya Celikel28. Black Metal and the Sonic Search for Nature
David Hemery29. Contemporary Approaches to Metal Music Production: Traditional Heavy Metal, Death Metal, and Metalcore
Jan Herbst and Mark Mynett
A propos de l'auteur
Lori Burns is Professor of Music at the University of Ottawa. Her interdisciplinary research, funded by the Social Sciences and Humanities Research Council of Canada, merges musical analysis and cultural theory to explore representations of gender and sexuality in the lyrical, musical, and visual texts of popular music. She co-edited
The Pop Palimpsest (2018),
The Bloomsbury Handbook of Popular Music Video Analysis (2019),
Analyzing Recorded Music (2022), and the
Routledge Handbook of Progressive Rock, Metal, and the Literary Imagination (2025).
Ciro Scotto is Professor of Music Theory and Chair of the Music Theory Department at Ohio University. His research in music theory includes creating compositional systems, producing analyses and theoretical models of the music of the 20th and 21st centuries, and rock music, especially in the area of timbre studies. He edited
The Routledge Companion to Popular Music Analysis: Expanding Approaches (2019). Besides his theoretical work, he is an active composer, and is currently composing a series of works titled
Between the Hammer and Anvil for electric guitar and percussion, to be released by Ravello Records.
