Akademik Veri Yönetim Sistemi
Tez Türü: Doktora
Tezin Yürütüldüğü Kurum: Leeds Metropolitan University, Faculty of Arts, Environment and Technology, Music and Sound, Birleşik Krallık
Tez Danışmanı: Karl Spracklen
Tezin Onay Tarihi: 2018
Tezin Dili: İngilizce
Açık Arşiv Koleksiyonu: AVESİS Açık Erişim Koleksiyonu
Özet:
Metal music has existed in one form or another for about half a
century. While the musical style and the culture started out in a
relatively unified way, with the 'extreme turn' of late 80s and 90s,
metal culture stratified. Doom metal, being one of the oldest styles in
this newly formed structure, became even more fragmented. Through
amalgamations with other music styles or as further alterations on these
amalgamations. I call these styles extreme doom. Death/doom is such a
style. These smaller styles in metal culture have so far been
investigated hierarchically. However, the implication that a hierarchy
has is problematic in this context. Metal music studies is a budding
field, so, we need to think more critically about the way we
conceptualise the history of metal academically in these early years.
Yet, so far, this stratification, with its hierarchy, has not been
challenged or even discussed in detail. Scholarship often mentions these
so-called 'sub-genres' uncritically. In order to challenge this idea,
there needs to be a new model. However, because of the size and breadth
of metal culture, one single work cannot come even close to covering the
styles existing today. In this thesis, I attempt to draw boundaries
around only death/doom to propose a way of modelling a new metal
history. To achieve this, I define these newer and smaller styles as
marginal styles using marginality idea of Park. Following this idea,
sociology of music comes to rescue with Crossley's music worlds. Music
worlds, because of its emphasis put on the musical style -it is
central-, is an intriguing perspective to look at the fragmented nature
of metal music. A metal music world is a social construction performed
by the participants, including musicians, fans, engineers, managers,
label executives, and the press, around a metal musical style. These
smaller styles, then, become ideal candidates for the application of
this theory. This thesis treats death/doom in such a way using
ethnographic, historical, and musicological methods.