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MemberNate Ruechel

I am a PhD student in historical musicology at Florida State University. Broadly conceived, my research interests include 20th and 21st century American music culture, the ethics of historiography, and the overlap between structures of authority, political discourse, and aesthetic significance. My master’s thesis centers on Aaron Copland’s early symphonic jazz in the context of his transnational musical training and unique social position.

Deposit‘Quiet These Paintings Are’: the function of slowness in doom metal styles

Doom metal music is comprised of richly varied styles. These styles sound significantly different from time to time, yet they still are referred under a doom umbrella. One compelling trait emerges among these seemingly disparate styles. Especially when compared to other heavy and extreme metal music styles, these doom styles always stay on the slower end of the spectrum. This idea of slowness should not be only understood from a pace standpoint, rather, it is the slowing down and lowering of different aspects in the music. Besides the heaviness or the ‘low’ apparent in the tempi of these musics, one notices it in tessitura occupied, in song structures, in lyrics, in dynamics and in the perception of the music. According to Scott & O’Doyle, lifelessness and deceleration of doom achieves immediacy by opening up a reflective space and this decline ‘to the point of timelessness’ leads to affirmation in the music. Furthermore, Coggins also explores drone doom as mystical texts providing therapeutic spaces for the listener. With the help of these discussions, a group of doom styles materialises: funeral doom, death doom, and gothic doom. This presentation examines these styles under the light of ‘low’ness in order to show the coherence of these styles in both cultural and musical terms. It is important to note that these styles show crucial divergence from both other doom styles and other metal music cultures. This divergence requires exploration in order to correctly categorise these musical cultures, an exploration which only then bends to deeper connections among these styles. This presentation also proposes to comment on these connections through an expedition into the cultures in question keeping the function of the ‘low’ in mind.

MemberÖnder Kosbatar

I graduated from the Department of History, Faculty of Art and Sciences, Uludag University, in 2002. I studied about post-war generation, 20th century social history, subcultures and these music cultures and social movements between 2004–2010. I converted these studies into a text. And then, the text was published with name of “Taşlar Kimin İçin Yuvarlanıyor?” (For Whom The Stones Rolling?) by 6.45 Publication in Jan. 2012. I am graduate student in Akdeniz University, Social Sciences Institute, department of history now. And I am studying about crime, violence, criminality, and criminals in Antalya in the 19th century Ottoman Empire era at present.

Deposit‘The Raven and the Rose’: Tradition and Death/Doom Metal Music

Death/doom metal music, a style of extreme metal, emerged around the beginning of 1990s with a genius loci in West Yorkshire. While this style dispersed around the globe during this decade and later decades, the pioneers of this style -namely Paradise Lost, My Dying Bride, and Anathema- quickly moved on from the style which they are credited to originate. This rapid stylistic shift made the fans comprehend the three bands in ways which the tradition in death/doom is reflected. For example, even though, from a musicological standpoint, My Dying Bride have gone through significant changes in their style over their career, ethnographic research shows that the majority of fans of this music world considers My 88 Dying Bride to be the most traditional of the three, while equating Anathema with change. This results in many fans dismissing Anathema’s music with just ‘change’ without articulation. When larger metal music culture’s emphasis on tradition is considered, this attitude of valuing tradition can be considered to be an inherited tradition in itself. Furthermore, ethnography of this music world illustrate that one of the main reasons this world became a separate culture from a larger metal or even extreme metal culture arises from the style’s perceived difference from the other metal musics. The dichotomy of craving difference and valuing tradition at the same time dawns as one of the conventional behaviours in this music world. As implied from the name of the style, a style of contrasts is reflected in contrasting behaviour. The proposed paper discusses this contrast using ethnographic data of the fan culture alongside musicological analyses of the bands’ music and articulates the implications of tradition in death/doom metal music.