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posessed_by_evil
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« em: 02 de Abril de 2010, 00:37:23 »

A psicologia da música, do metal...
Deixo-vos umas passagens sacadas da net para discussão no LoS
São estudos feitos por psicologistas e sociologistas. Cabe-vos concordar ou não.....

In short, people who listen to jazz are smart, liberal, adventurous, and poor; people who listen to heavy metal are smart, liberal, adventurous, athletic, and prone to social dominance; people who listen to Madonna or the "Dancing With Wolves" soundtrack are agreeable, conscientious, conservative, rich, happy, dumb, emotionally unstable, and hot; and people who listen to hip hop are extraverted, agreeable, liberal, athletic, and hot. Well, those are the tendencies at least (I've known some smart Madonna fans, though I have to say that they were pretty emotionally unstable).
http://scienceblogs.com/mixingmemory/2007/03/what_does_your_music_say_about_1.php

Schematic processing of heavy metal lyrics was tested by comparing subjects in two cognitive load conditions. Subjects were either provided with the written lyrics (low cognitive load) or not (high cognitive load) as they listened to heavy metal songs with four common themes: sex, suicide, violence, and occult. Schematic processing was evidenced by the pattern of results across three experiments: Low cognitive load subjects showed better recall, song comprehension, and extraction of detailed content than did high cognitive load subjects, but both groups extracted very similar kinds of theme-relevant content. The pattern of effects argued that although heavy metal lyrics are not processed deeply under novice listening conditions, information processing at the schematic level does occur. Having the lyrics available allowed deeper information processing of the song lyrics at the time they were heard but did not substantially alter the kinds of content listeners extracted. Attitudinal and behavioral implications for schematic processing of heavy metal songs were discussed.

We may select the styles of music that reinforce our self image, or as a way to emulate others who are perceived as being “cool”. We may select our music as a badge for others to see, or as a mask for who we want others to see.” Whether we chose for conscious or subconscious, peer pressure or intellectual, or if the music in reality chooses us, one thing is certain: there’s a lot of music out there to choose from.

..."grotesque realism in metal music and performances constitutes a pro-utopian liminal alternative to the impersonal, conformist, superficial and numbing realities of commercialism, and more abstractly, to a society of spectacle and nothingness." She adds that [death] metal provides the audience with a "suspension of hierarchical rank, privileges, norms and prohibitions [and therefore] provides liberation from internal censors [and in so doing] challenges exposes and transcends the limits between body and world, life and death interior and exterior." In short, the experience of heavy, dark, black and death metal allows us to "question whether we are really alive amidst the numbing pressure of commercial culture."

"I read in a recent League of American Orchestras email that a study has just been completed that asked people to describe their personality traits and then asked subjects to list their favorite styles of music. Apparently there is a link between heavy metal and classical music fans due to their shared “love of the grandiose” and big, loud, brash music. According to the researcher, besides their age differences, both are basically the same type of person. "
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« Responder #1 em: 02 de Abril de 2010, 17:47:25 »

O último parágrafo é verdade.

Muitos dos que escutam Heavy Metal também gostam de Música Clássica, agora se é porque ambos tem um som mais "pesado" mais "loud" que o resto, eu não sei..Mas a afirmação do último parágrafo é verdade e se aplica a muitos que escutam Heavy Metal.
Eu, particularmente, escuto lá Beethoven, Bach, Mozart ,Chopin, Brahms,etc, nos discos antigos da minha mãe.
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« Responder #2 em: 03 de Abril de 2010, 03:31:24 »

O último parágrafo é verdade.

Muitos dos que escutam Heavy Metal também gostam de Música Clássica, agora se é porque ambos tem um som mais "pesado" mais "loud" que o resto, eu não sei..Mas a afirmação do último parágrafo é verdade e se aplica a muitos que escutam Heavy Metal.
Eu, particularmente, escuto lá Beethoven, Bach, Mozart ,Chopin, Brahms,etc, nos discos antigos da minha mãe.

Concordo contigo Pedrö. Já à algum tempo que noto isto, muitas pessoas que ouvem Heavy Metal gostam de ouvir música clássica. O motivo para tal desconheço, talvez porque certas bandas de Metal misturam elementos de música clássica.
Pessoalmente não ouço música clássica, não é porque não gosto mas por não conheçer bem. Mas gosto da mistura que algumas bandas fazem.
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« Responder #3 em: 03 de Abril de 2010, 16:54:36 »

Sim Sandman,

Muitas bandas misturam ópera com metal, música clássica com metal, música folk com metal, etc...E temos o que temos com muitas bandas de hoje em dia, só não cito nomes porque sou novo nessa área e ainda tou a descobrir bandas.

Mas se tem uma banda que é das antigas e que utiliza o elemento de música clássica, é Iron Maiden.
Se verem bem a "Dance of Death", "Afraid To Shoot Strangers", "Brave New World", "Rime Of The Ancient Mariner" e muitas outras tem lá suas partes alá música clássica.

Até mesmo Judas Priest anda utilizando esse fator pra seus últimos álbuns, por exemplo "Angel of Retribution" tinhas pelos menos não sei quantas músicas que levavam lá um ar de música clássica, por exemplo "Hellrider" e "Juda's Rising".


Mas o bom disso tudo é que o Folk está virando mais reconhecido também, não só a música clássica!  Cheesy
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« Responder #4 em: 04 de Abril de 2010, 23:59:06 »

A personalidade do metal (à medida que o metal vai ficando cada vez mais "extremo") na prespectiva dos sexos: À medida da intensidade do som, mais unisexo se torna (citação)!

There is no more masculine genre than extreme metal. Death, drone, black, or doom, it's overwhelmingly about aggression and anger, with monstrous vocals growled out by men for men in a manly male ecstasy of hate and testosterone.
....
It makes sense that gender would matter in pop music, because pop music is obsessed with sex. There are songs about sex, love, losing love, not getting enough sex, betraying the one you love for sex, bonding with your boys over your mutual disrespect for women, and bonding with your sisters to get over those no-good men. Most pop simply couldn't exist without gender differences and the angst and ecstasy that surround them.
....
Extreme metal doesn't care about men and women. It barely cares about bodies. Johnny Rotten howls "I'm not an animal!" and extreme metal responds with a louder and even more hideous howl of indifference. Misanthropy, to say nothing of misogyny, is for the living. Extreme metal's aggression may sound male on the surface, but a corpse isn't masculine even if it has a penis. Extreme metal seeks a monstrous oblivion; it uses unrelenting noise to destroy not just the dying animal but also the angel fastened to it.

Espécie de conclusão do artigo: "-That's not to say gender is completely inconsequential in the metal scene. I have no doubt that women in extreme metal have to deal with sexism. Satanists aren't much for PC, and though most metalheads aren't satanists, they're still guys."

http://www.chicagoreader.com/chicago/ludicra-the-tenant-review-extreme-metal-gender/Content?oid=1604619

Alguma metaleira ou metaleiro quer expôr as suas ideias?
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« Responder #5 em: 06 de Abril de 2010, 23:16:55 »

A personalidade do Metal e o preconceito nos seus subgéneros:

"Since decades ago, heavy metal fans began using the terms "sell out" to refer to bands who turned their heavy metal sound into radio-friendly rock music. In metal, the term is used to refer to "...someone dishonest who adopted the most rigorous pose, or identity-affirming lifestyle and opinions". The metal bands that earned this epithet are those "... who adopt the visible aspects of the orthodoxy (sound, images) without contributing to the underlying belief system." In the heavy metal subculture, some critics use the term to describe bands that are seen as excessively commercial, such as MTV-friendly glam metal, nu metal, or metalcore groups."
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« Responder #6 em: 06 de Abril de 2010, 23:55:51 »

O Metal, os seus vídeos, e novamente, a prespectiva dos sexos:


"Such performance videos offer for the pleasure of young males a world of action, excess, transgression but little real violence, one in which men are the only actors, and in which male bonding is the only important social relationship."
"Music alone has the power to construct gender identities, but it is even more powerful when considered in a dramatic and social context."
As metal scholars like Deena Wienstien and Robert Walser have noted, the electric guitar, with its phallic shape and ability to produce loud and distorted noises, has long been associated with masculinity and masculine power.

Obras acerca do metal depois de Googlar o assunto:
(era bem mais interessante se o pessoal do forúm participasse um pouco mais!)
Apenas se pretende dismisticar algumas ideias, abolir preconceitos e tabús, e explorar a percepção da sonoridade e mística do género músical.

Heavy Metal: The Music and its Culture;
Running with the Devil: Power, Gender, and Madness in Heavy Metal Music;
Lords of Chaos: The Bloody Rise of the Satanic Metal Underground;
Rock, and Jazz: Perception and the Phenomenology of Musical Experience;
Heavy Metal: A Cultural Sociology;
Heavy Metal in Baghdad: The Story of Acrassicauda;
This Ain't the Summer of Love: Conflict and Crossover in Heavy Metal and Punk;
Metal: the Definitive Guide;
Sound of the Beast: The Complete Headbanging History of Heavy Metal;
Swedish Death Metal;
Extreme Metal: Music and Culture on the Edge;
 Heavy Metal Islam: Rock, Resistance and the Struggle for the Soul of Islam.
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« Responder #7 em: 07 de Abril de 2010, 00:40:18 »

A personalidade do Metal numa prespeciva sócio económica e geográfica:

"The supreme irony of the early 90s Norwegian black metal scene was that it was dependant on location within a country where devoting one’s life to metal is easy due to the strength of state support (through education, social security etcetera). Conversely, the same can actually be true in places where it is hard to be metal, such as in the Middle East. Here, metallers are often faced with a stark choice as to the extent to which they can be involved and this encourages a minority to retreat into a metal world entirely removed from the harsh conditions of everyday life. In the UK, you have something completely different. Here, there is a down-to-earth ethos that discourages scene members from being too serious - look at any interview with Dani Filth and compare it to an interview with - say - Euronymous and you’ll see what I mean. Of course, personal factors also play a role. The extent to which individuals are skilled enough to be able to deal with the complexities of play and performance varies wildly. In part being a ’successful’ metaller depends on one’s facility in this regard."
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« Responder #8 em: 07 de Abril de 2010, 00:48:52 »

A Personalidade do Metal..............e o caso particular dos Metallica


Citação
"Metallica have been undergoing a very public identity crisis since about 1991 (or at least since the end of the ‘Black Album’ tour)! Their music in the 80s (particularly ‘Master of Puppets’ and ‘…And Justice for All’) was incredibly austere and the lyrics highly moralistic. ‘…And Justice For All’ is almost a kind of metal sermon. It’s highly technical, there’s no bass to speak of, the solos are incredibly controlled. So there’s this puritanical side to 80s Metallica. But at the same time, Metallica lived the ‘Alcoholica’ life in that period - their life was anything but puritanical and pretty out of control. The question Metallica have been asking since 1990 or so is how to be a mature human being whilst being massive rock stars. In different ways, Hetfield, Hammet, and Ulrich (plus Newstead to some extent when he was in the band) have all tried to find a way of leaving their uncontrolled underground metal past and to become more rounded people and adapt to their massive success and wealth. ‘Some Kind of Monster’ showed that at least after Hetfield got back from rehab, they’d each seemed to find some kind of peace with their lives as middle aged rock stars - Ulrich is unapologetic about his love of art, Hammet about his ranch, and Hetfield about his family. The trouble is that as they have struggled since the early 90s to grow up, they have found it exceptionally difficult to know what to do musically with their future. They have never repudiated metal but they do not seem to be able to return to the austerity and fundamentalism of their 80s work, probably realising that it would look absurd coming from a band of rich rockstars. On the ‘Black Album’ they managed to find a balance between their 80s work and a desire to become a ‘classic’ rock band. Since then they have struggled. I interpret the pictures inside ‘Load’ not as Glam Metal but rather as an attempt to reposition themselves as sophisticated-looking artists. Yet the music on the album jarred with this as it was a confused mish-mash of really rather reactionary hard rock. As their appearance became more sophisticated so their music became dumber! They wanted the status as serious, accepted artists whilst closing off the possibilities for the radical experimentation of the 80s. Contrary to 99% of other metal fans, I thought St Anger wasn’t the nadir of their career but a partial improvement on Load and Reload. It was certainly confused and directionless in places but at least there was some fast-paced heavy riffing - this was an album with gratifyingly little crossover potential. Perhaps - just perhaps - they are in the process of returning to their extreme metal roots for inspiration. Well, we’ll have to see what happens with the new album. So I don’t think they’ve mocked their past so much as not known how to create a future for themselves as musicians."
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« Responder #9 em: 07 de Abril de 2010, 01:10:40 »

A Personalidade do Metal..........e o caso particular do "rotulado" subgénero, Nu Metal

Citação:
"When metal genres do incorporate black music - as did funk metal and nu metal - they tend to be eschewed by many metallers. You’re right that in part this is just down to musical evolution. The key ‘decisions’ in this regard were made in the 70s when heavy metal started to cohere and the 2nd generation of metal bands eschewed the blues influences of the first generation. (It’s interesting here that for all the worship of Black Sabbath in the metal world, the blues elements in their early work are almost entirely ignored by all the thousands of clone bands).
....It is interesting that you do hear metal musicians talking about how they like black musics - I’ve heard loads of them talk about loving Motown and early blues - it’s just that this isn’t something that makes it into the music. For one thing, metal is exceptionally diverse in other ways anyway. However I do feel uncomfortable about some of the venom thrown at nu metal as some of it has some really unpleasant overtones."
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« Responder #10 em: 07 de Abril de 2010, 12:14:23 »

A personalidade do Metal numa prespeciva sócio económica e geográfica:

"The supreme irony of the early 90s Norwegian black metal scene was that it was dependant on location within a country where devoting one’s life to metal is easy due to the strength of state support (through education, social security etcetera). Conversely, the same can actually be true in places where it is hard to be metal, such as in the Middle East. Here, metallers are often faced with a stark choice as to the extent to which they can be involved and this encourages a minority to retreat into a metal world entirely removed from the harsh conditions of everyday life. In the UK, you have something completely different. Here, there is a down-to-earth ethos that discourages scene members from being too serious - look at any interview with Dani Filth and compare it to an interview with - say - Euronymous and you’ll see what I mean. Of course, personal factors also play a role. The extent to which individuals are skilled enough to be able to deal with the complexities of play and performance varies wildly. In part being a ’successful’ metaller depends on one’s facility in this regard."

Isso também se aplica às letras das bandas. Sepultura sendo um banda do Brasil tem muitas letras a criticar a sua sociedade e os problemas que nela residem.
Enquanto que por exemplo bandas de países ricos como por exemplo a Noruega com poucos problemas socias e baixa pobreza,  falam sobre satanismo e a destruição da igreija católica.
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« Responder #11 em: 07 de Abril de 2010, 21:56:32 »

A Personalidade do Metal e a sexualidade ( do ponto de vista masculino)

Citação
..."It’s about flirting with oblivion only to be able to control it better. Control over sexuality is part of this. Today´s metal is of course full of homoerotic imagery, particularly in heavy metal. But again, as in extreme metal, you flirt with homoeroticism only to reassert one’s heterosexuality. To make the journey from homoeroticism to active homosexuality is a betrayal of this control - hence the homophobia. At the same time it’s interesting how little bad press Halford got after he came out. The desire not to talk about sexuality kind of overrode the homophobia. Plus also the love of Priest meant people could ‘forgive’ him."
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« Responder #12 em: 07 de Abril de 2010, 22:01:48 »

A Personalidade do Metal.........O nosso pequeno mundo?

Citação
"I understand the desire to escape to a fantasy world where there is no politics and where everything is mythic and wonderful. Hell, that’s part of my attraction to metal as well. The problem is not that every kind of scene has to be political and produce withering critiques of capitalist modernity and everything else is just false consciousness, alienation or distraction. Rather the problem is that the avoidance of politics has real consequences in the metal world itself. Sexism, racism and homophobia hurt people in metal. Inequalities in power and capital hurt people in the metal world. There is no escaping anywhere from complicated questions of power, prejudice and how to build a community. Although the fantasy may be understandable, there is no escaping the world anywhere."
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« Responder #13 em: 07 de Abril de 2010, 22:24:19 »

A Personalidade do Metal e a "mensagem" dos seus vídeos ("Imaginação fértil" para uns, "Mensagem" para outros, acho que depende da forma como o pessoal "vive" estas coisas)

Studies showed that men have a tolerable attitude as to what is violent and what is too far in sexual advances. Women have less of a tolerance. Studies have also found that heavy metal music and gansta rap influence mens attitudes towards women and that increased exposure to videos containing interpersonal violence against women tended to increase men's acceptance of rape myths such as she was dressing like she wanted it or she brought it on herself. In contrast, women's beliefs decreased and they felt that men were coming on too strong and being to aggressive. Another study conducted on college campuses in the northwestern United States involved men and women watching various music videos and then answering a set of questions afterwards. One video was The Way You Make Me Feel by Michael Jackson which depicts a man stalking a woman who then becomes infatuated in his game of pursuit. The other was The Stand by REM which only showed the band on-stage playing instruments. In questions answered after the videos men said it was necessary to pursue the woman to such an extent while women thought it was annoying and/or disturbing. Men scored higher on a attitudes for sexual overtones, while surprisingly women scored slightly higher on the acceptance of interpersonal violence. The studies did conclude that women who were often subjected to violent music videos were more accepting of violence than those who have not had constant viewing or listening to such lyrics and images. It also showed that men had a greater acceptance of sexual stereotyping and rape myths after being subjected to the videos. Many methods of behavior modification have been suggested in order to keep this music from causing harm or hurting anyone individuals. 
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« Responder #14 em: 07 de Abril de 2010, 22:41:11 »

A Personalidade do Metal e a Psicanálise

Título:
Heavy metal and "cock" rock
Gender and power: exscription, misogyny, romance, and androgyny

Fica o link

http://peoplelistentoit.wordpress.com/2007/11/06/lacan-and-the-perversion-of-heavy-metal-%E2%80%9Ccock-rock%E2%80%9D-and-the-almighty-phallus/
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« Responder #15 em: 07 de Abril de 2010, 22:48:33 »

A Personalidade do Metal...........uma pausa para um momento de humor! Smiley


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« Responder #16 em: 07 de Abril de 2010, 23:16:19 »

A Personalidade do Metal

Como é que a música e as letras se "entranham"?

How do words and music together influence us?

There has been much research on this topic. However, one recent study makes a concise statement: Music and guided imagery actually alter hormonal output. In a 1996 study titled “The Effect of Selected Classical Music and Spontaneous Imagery on Plasma B-Endorphin,” researchers explored the effect of music and verbal imagery. What they were looking to determine was if silence, music alone, or music with guided verbal imagery could cause a decline in the secretion of a stress hormone. A significant decline in the hormone was found in the group of volunteers that used music and imagery combined. No other group demonstrated any significant changes.

What is guided imagery? Simplistically, I would define it as a psychological tool that intentionally uses language to paint conscious and subconscious images for a specific therapeutic effect. This methodology can be used for relaxation, for self-induced healing, or in a psychotherapeutic context. When words are used in conjunction with music that complements the imagery, a very powerful match of verbal and nonverbal cues is sent to the brain. Quite often the creation of a trance state facilitates a deeper induction of the guided imagery. And what can create trance? Rhythm and entrainment.





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« Responder #17 em: 07 de Abril de 2010, 23:34:01 »

A Personalidade do Metal.......Uma relação a dois?

Music is what I am... You are the music... Claims like these suggest a profoundly intimate and inherently complex relationship between music and one’s sense of self: a relationship that is neither superficial nor casual. Music’s role in constructing, negotiating, and maintaining identity (whether individual or collective) is deeper and more urgent than other human engagements — or at any rate its quality is markedly different. Music and identity are, one might say, joined at the hip.

http://www.voices.no/mainissues/mi40009000302.php
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« Responder #18 em: 08 de Abril de 2010, 01:49:01 »

A Personalidade do Metal...........uma pausa para um momento de humor! Smiley





Hahahahahahaha


Pois é verdade!!
Quando eu cheguei na escola nova um cara no fundo da sala gritou "Ele vai mata todo mundo!!!" xD

Mas é legal que pensem isso porque assim ninguém me enche o saco  Grin
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« Responder #19 em: 08 de Abril de 2010, 12:04:30 »

A Personalidade do Metal...........uma pausa para um momento de humor! Smiley





Hahahahahahaha


Pois é verdade!!
Quando eu cheguei na escola nova um cara no fundo da sala gritou "Ele vai mata todo mundo!!!" xD

Mas é legal que pensem isso porque assim ninguém me enche o saco  Grin


AHAHAHAHAHAHAHAHAAHAHAHAHAHA!  Grin
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« Responder #20 em: 08 de Abril de 2010, 22:58:04 »

A Personalidade do Metal e da música em geral, também se cultiva.

Music lessons come in many forms. There are formal lesson, which are highly structured and follow a carefully worked out series of increasing complexities. There are also informal lessons. Most often these consist simply of watching and listening to someone perform. Both provide opportunities to learn about music and both promote and encourage the incorporation of a musical sense into cognition and emotion.
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« Responder #21 em: 08 de Abril de 2010, 23:34:54 »

A Personalidade do Metal quando tiverem 30, 40, 60 anos! Quando chegarem lá, lembrem-se disto:

Citação:
"A common belief is that people's music tastes are formed in their early teens and are pretty much settled in by the time they hit the ripe old age of thirty. I personally am not a subscriber to this way of thinking but you will hear marketing types reference this a lot. So with a fifteen year window to acquire music taste lets apply it to the target demographic.

On the high end that means that the 60 year old would have started listening to music in 1965 and tuned out in 1980. Programming popular music from that era to match that groups predetermined tastes would run the gamut from the British Invasion of the Beatles to the Disco Inferno of Saturday Night Fever, and you'd have to throw in some Psychedelic Rock, Southern Rock and Carpenter's Easy Listening just to cover all the bases. And that is just for the high end of the demographic. Now shift to the 45 year old and you are STARTING at 1980 and running up to 1995. The music of that age range runs from Madonna's pop to Techno, Dance, Rap, Heavy Metal, Punk and many more. So when a station programs music by age according to what they feel their target age range is familiar with and wants to hear you are going to have a very eclectic mix. If your station bounces from the Beatles to the Bee Gees' to Madonna to M.C. Hammer, Frank barely fits here and Bobby, Ella and Nat don't belong at all."
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« Responder #22 em: 10 de Abril de 2010, 23:40:29 »

A Personalidade do Metal.......e a "quantificação" do metal


Citação:

"In short, distortion simulates the conversion of the guitar from an impulsive to a sustained or driven instrument, and this transformation may be part of the acoustic correlate to the perceptual experience of heaviness. Walser has observed (1993) that the seemingly infinite sustain that distortion provides serves as an icon of power and strength, two values critical to heavy metal's broader ideology. Our research confirms Walser's conclusions and shows that the flattened dynamic envelop is not only correlated with the perceptual quality of heaviness but also that increases in the perceptual quality of heaviness are correlated with flatter and flatter envelops."

If I were not a physicist, I would probably be a musician. I often think in music.
I live my daydreams in music. I see my life in terms of music .... I get most joy in life out of music. -Albert Einstein
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« Responder #23 em: 17 de Abril de 2010, 23:48:17 »

A Personalidade do Metal........ajuda a construir a auto personalidade?

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We all know the stereotype of a heavy metal fan. Some angry kid decides he hates his parents and starts wearing black t-shirts with no sleeves. That kid gets old enough to grow a beard, and grows it as long as possible, gets a real job so he can afford a studded leather jacket and a few tattoos. That kid forever has a chip on his shoulder and acts like he has something to prove; often a fan of the WWF, or a run-in with the law, or drugs, or alcoholism, or all of the above. Like the music itself, the fans have several genres of stereotypes; goth, biker, skid, Aryan, and punk. These certainly don’t cover everything, but my concentration here is attempting to avoid the stereotype. I don’t discredit these choices in entertainment, attire, or lifestyle; in fact, they have helped make me who I am today. I now choose John Milton over The Rock, but I think you understand what I’m driving at here.

Negative stereotypes grow, like spreading cancer, from the media. I will only tackle one here, but be aware that many wrongfully exist. Skinheads, neo-Nazis, or otherwise known as the Aryan nation is often associated with heavy metal. To each their own, in opinions, but I personally disagree with what these groups represent. (Don’t judge, do your research before making accusations, but the vast majority of the world views these individuals in a very negative light. There are commendable organizations that use these terms, but universally it is a negative stereotype). This negative stereotype has plagued many heavy metalists. Pantera, in their early years, was attacked with this label. As a band from Texas, dubbing themselves the Cowboys From Hell, and Dimebag Darrell (lead guitarist) often toting a guitar with the confederate flag, these stereotypes were bound to happen. The media, like most of our country, does little more than scratch the surface. Beyond the surfaces images it isn’t hard to realize that Pantera, and bands like them, are all about freedom from oppression and equality among all races, genders, ages, and economic positions. Many of Phillip Anselmo’s (lead singer) lyrics were about the corruption in the system, and disregard for the people. These guys are simply from the south; heritage and roots, like most metal musicians, are important and this is where their emblems and demeanor come from. Not the KKK or a ridiculous Nazi ideal. Bands like Rage Against the Machine carry flags like this as well, and have helped in breaking down this mislabeled typecast. This stereotype is just one of many that gets thrown around, and if you’re a metalhead you understand, if you’re just a reader, I ask you to ALWAYS dig deeper.

The negative connotations that derive from heavy metal are always misplaced, and misguided. In the eighties, metal was a prime target for the Parents Music Resource Center or PMRC. The best reason for their action(I am, by no means, justifying the PMRC) is that these adults saw something different, and something that embraced everything taboo, and thrived on controversy. These parents, Tipper Gore leading them, saw things that they had long suppressed and therefore feared. I won’t attempt to get terribly Freudian here, but metal has been dubbed music for the eternal sixteen year old. This title is often attributed to immaturity, but is, in reality, because metal helps its listeners see the world through a new set of eyes, or rather, an ever-changing set of eyes. When we are teenagers we all come to a point of revelation about the world, and begin to see things a bit clearer. For example, we suddenly recognize our parents as other human beings rather than authority figures, capable of making mistakes, lying, cheating, and loving. It is realizations such as this that occur consistently in metal because it embraces those taboo subjects and things that we, as “rational adults,” just don’t talk about. Heavy metal throws up an unapologetic “Fuck You” to anything tries to enslave it, its listeners, or its culture.

This all comes back around to what heavy metal is, both as a genre in music and as a culture, freedom. Heavy metal is about following gut feeling, raw emotion, and disregarding what the outside world thinks. This is why heavy metal attracts and breeds strong characters.
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Strike of the fuckin' beast


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« Responder #24 em: 18 de Abril de 2010, 23:24:28 »

A Personalidade do Metal...........e a emoção!

A striking physiological effect of music is the 'shiver down the spine' or 'thrill'. Goldstein (1980) defined a 'thrill' as 'a slight shudder, chill or tingling sensation, usually localised at the back of the neck and fleeting'. It may migrate over the scalp and down the spine and is often accompanied by gooseflesh. Goldstein noted that stimuli which elicit thrills had in common 'a confrontation with something of extraordinary beauty or profound and moving significance'.
 Music topped the list of thrill-invokers, being cited by 96% of survey respondents. Goldstein went on to show that music-evoked thrills were blocked by the opiate antagonist naloxone, implying that endorphins are involved - hence musical pleasure is in a sense equivalent to the effects of euphoriant drugs. According to David Huron of Ohio State University, musical 'frissons' (as he called them) occur when the frontal cortex damps down an amygdaloidal fear response triggered by some aspect of the music (e.g. surprise, crescendo, scream-like sound).
This would suggest that musical pleasure comes from dicing with danger within a safe context. Huron found individual differences in frisson responding, women experiencing them more often than men and less adventurous people being more susceptible than sensation-seekers.
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