According to Homer and Swiss (1999), a certain degree of enmity exists between words and music. When words are transformed into songs, plain texts create meanings and symbolisms (Homer & Swiss, 1999). The same scenario occurs when the words used in a particular music are modified and reconstructed (Homer & Swiss, 1999). Apparently, the two suggests that music and words are interdependent.
This stems from the fact that both music and texts share a symbiotic relationship wherein alterations of the other results to an inevitable domino effect. For example, aside from the sound or melody per se, music is interpreted via its lyrics.Therefore, the manner in which the audience understands it may readily vary. On the other hand, whereas words are combined with a specific sound or groove, plain texts may trigger different emotions and interpretations.
As Homer and Swiss (1999) further suggest, the meanings and themes rendered for both music and sound may readily change, the moment that those two aspects went through certain modifications. With regards to the development of popular music, the way music and words elicits various meanings and central concepts, affect the general view or understanding of popular music’s essence and value (Homer & Swiss, 1999).Mostly of popular music’s audience is the youth. The hottest trends in fashion, literature and music are patronized by young individuals. Indeed, they are one of the biggest consumers of media content, most especially when it comes to popular music. Therefore, it would not come as a surprise if youth culture and popular music often goes hand in hand with each other.
Music as a form of expression functions as the voice of the youth regarding the issues and dilemmas that they continuously confront, but are rather kept and undisclosed. As a result, popular music creates groups or legions of followers and admirers (Shuker, 2005).Shuker (2005) discussed that popular music’s scope is wide ranged. Because of this, categorizing and analyzing musical genres on whether it can be described as something popular is beset with complexities and difficulties. There are various factors to be considered such as the number of record sales, amount of airplay received, statistics regarding concert attendance etc (Shuker, 2005). But while the youth may certainly embrace a particular music, some genres maintain some sort of an exclusive aficionados and audience (Shuker, 2005).
Therefore, the actuations or gestures of musical fans may also vary.The means and ways in which they incorporate and use popular music in their everyday lives may differ from other groups or followers. Once and for all, it cannot be denied that popular music, by nature is very influential and indeed, irresistible to a certain degree. Music, generally speaking, is also capable of affecting ones behavior and perception of reality.
Given this aspect at hand, this paper wishes to discuss a musical genre which has managed to establish a reputation for itself and garner the respect of its fans and patrons.This is no other than heavy metal. For many, heavy metal is quite unlikely to be appreciated by the majority of the audience. Even scholars and members of the academe continue to question its musicological aspects and legitimacy as an art form.
In addition to that, the values that are allegedly purported and proliferated by heavy metal are often perceived to lead to emotional disturbances and socially related problems such as juvenile delinquency and suicide to name a few. Rock and Roll is a broad musical genre.Through the years, various subgenres have emerged from it. Heavy Metal is considered as one of Rock and Roll’s offshoot (Scaruffi, 2003).
Therefore, in order to make this discussion more substantial, the researcher sees the need to focus on one of Rock and Roll’s subgenre. Heavy metal Millard (2004) suggested that the evolution of heavy metal originated from the audience, most especially from the youth sector to have more genres that would eventually satisfy their respective musical needs that cannot be addressed by a single genre alone.When heavy metal entered into the music scene, it is deeply characterized by strong admiration and practice of guitar virtuosity (Millard, 2004). The instrument’s capability to produce sounds was taken into higher levels, which readily differentiates it from other types of music. Guitar distortion, heavy riffs with emphasis on high technicality became heavy metal’s defining features.
Compared to its contemporaries, the music is “louder and noisier (Scaruffi, 2003). As Millard (2004) further explained, the terms heavy and metal actually pertain to certain qualities of the music.Heavy, goes beyond being loud. Basically, the heaviness is attributed to “low bass registers,” whereas metal in return refers to the hard and sharp sound produced by the electric guitar (Millard, 2004). This is something that is no longer evident in Rock and Roll (Millard, 2004).
The “heaviness” that is manifested in heavy metal equates to the music’s “seriousness,” “meaning” and true value (Millard, 2004). Due to heavy metal’s seemingly aggressive and loud orientation, the music became the bastion of power and authority among its listeners (Walser, 1993).The high energy that the music brings seems to have a cathartic effect to its fans (Walser, 1993). Consequently, the culture and lifestyle that its target audience imbibed connote power and authority as well. This is further reinforced by texts and images that are being used by heavy metal bands. Walser (1993) mentioned that from band names per se, there is already the presence of intense emotions and to a certain extent—negativity that remains unaffected by skepticisms and criticisms.
Names that are related to “electrical and mechanical power, such as AC/DC etc,” was used (Walser, 1993).Other bands are contented on utilizing the names of wild and dangerous animals or individuals (ex. Scorpions) (Walser, 1993). In the meantime, some prefer blasphemous terms, mysticisms and incorporating umlauts to project a gothic or archaic atmosphere (Walser, 1993). The intense power and authority in heavy metal music best explain why mostly of its followers are male (Frith & Goodwin, 1990). The patriarchal orientation is pretty apparent.
Once and for all, heavy metal’s sound alone cannot seem to fit in into the chic and posh taste of many females.Although a female audience is still present, this is nonetheless small, compared to male heavy metal fans. In addition to that, the warrior image that the music seemingly promotes cannot be really appropriated in the female context. In addition to that, Walser (1993) elucidated that since heavy metal’s early beginnings, the music has already caught the attention of the “teenage male audience. ” Patriarchal societies have strong notions of power and strength that has to be confirmed, reinforced and promoted.
Certain objects or commodities greatly satisfy these needs and wants.For mostly of teenage listeners of heavy metal, the power and strength that they are longing for can be attained from the products that they use, which in the case of music, it is fulfilled by heavy metal. But then again, one should not disregard the fact that adult male listeners are also engrossed and enticed by heavy metal’s appeal. Although, they are now fully capable of achieving authority and influence, they have to be constantly reminded that they have already secured those things.
The feeling of secured power and strength is constantly reminded via listening to heavy metal music.Due to the music’s emphasis on aggressiveness and hard line themes and concepts, it would not come as a surprise if the public can hardly appreciate it. Cooper and Haney (1999) shared that the musical genre does not place much importance on commercial triumphs. As a result, there is a slim chance for it to consider, crossovers and has little chances of achieving widespread popularity. Cooper and Haney (1999) further argue that heavy metal’s loudness is closed to being deafening, which adds to the hostility rendered to the music. PeopleLecardi and Ruspini (2006) mentioned that heavy metal is often associated with violence and suicide.
This would not come as too much of a surprise, rather it is something expected. Once and for all, the sound per se is both unconventional and nonconformist at the same time. Also, if one will go back to Walser’s (1993) explanation of heavy metal band names, anyone unfamiliar with the music would automatically render stereotypes and negative assumptions about it. More often than not, music is enclosed with the notion of sweet and serene sounds.Thus, the existence of heavy metal tends to upset such canonical views and perspectives.
Moreover, the machismo image that is embedded in heavy metal seems to further support the seemingly antagonistic and nihilistic nature of such music. Music is capable of influencing and directing ones actions and behaviors. With heavy metal around, parents, members of the academe as well as religious institutions are bothered by its presence. While more and more youths continue to support and acknowledged such genre, the values and traditions that are built by those social groups will be staggered and compromised.Basically, it is not only the sounds that worry many parents, moreso, it is heavy metal’s content that upset these individuals.
Heavy metal is undeniably straight forward and knows no boundaries in terms of expressing intense emotions and feelings. This becomes even more complicated since the dominant orientation presented in the music tends to revolve around anger and hate. The situation becomes even more complicated as media outfits tend to associate violent incidents, such as suicide for example in youth culture and heavy metal (Dines & Humez, 2003).The intensity of moral panic heightens and more negative attributions are given to the music.
However, Lecardi and Ruspini (2006) stressed that sex and violence are not uncommon in popular music. These two elements are frequently used to market music. Yet, as for the case of heavy metal, its listeners assert that heavy metal act as a tool for them to express themselves (Lecardi & Ruspini, 2006). Heavy metal fans, most especially, teenagers have issues and concerns that they cannot easily share to their parents or closest relatives.
There are also instances wherein even their own friends cannot possibly understand what they think and feel. The absence of a “human sound board” is then relegated to the music, as for the case of heavy metal; the anger and hostilities felt in society are being voiced-out in this particular kind of medium. Conclusion The above-given discussion provided an insight on how heavy metal music emerged as one of Rock and Roll’s branches. However, through the years, such genre made a name and reputation for itself that differs from other types of music that have had its influences from the Rock and Roll era.Heavy metal placed greater importance on achieving technical supremacy and virtuosity in exploiting the sounds created by the electric guitar.
But the heaviness it manifests elicits moral panic in society. Yet, from a critical perspective, it can be observed that the admiration for the electric guitar never fails to challenge each and every musician to excel in their chosen craft. This has been repeatedly transferred to its legions of followers and patrons. The power, authority and braggadocio that the heavy metal connotes seems to encourage the youth to be the best that they can.
The themes and concepts of the music may present harsh life experiences, yet, these are nonetheless social realities that must be confronted and readily addressed. If music is regarded as a form of expression, then who can tell which values promote a common good or not? If parameters and prerogatives will be set on how certain ideas should be expressed and presented, then it readily debunk the idea of freedom that should be practiced in music and other art forms such as visual arts, cinema and literature.
