scholarly journals Embodying the Auschwitz Sonderkommando in extreme metal

2020 ◽  
Vol 6 (3) ◽  
pp. 319-336 ◽  
Author(s):  
Dominic Williams
Keyword(s):  
Acting Out ◽  
Music Genres ◽  
Holocaust Memory ◽  
Holocaust Representation ◽  
Extreme Metal ◽  
Almost All ◽  
Musical Styles

Prompted by the Meads of Asphodel album Sonderkommando (2013), this article considers ways in which the Auschwitz Sonderkommando (SK) figure in extreme metal. While there are not many metal songs about the SK, they feature far more in metal lyrics than in almost all other music genres. Attracted by obscure and difficult parts of history, metal bands draw on their practices to ‘embody’ the SK: not simply representing them, but feeling and acting out their plight to excess. The article examines a number of these practices: difficult to decipher vocals, the use of global Englishes and a bookish attraction to the arcane and the bizarre. It argues that metal’s embrace of intense feeling in the lyrics and vocal and musical styles can be interpreted as an exploration of embodiment and materiality, allowing a consideration of mediation, the matter through which the SK might be felt and understood. Embodying the SK in metal, then, does not merely comprise an eccentric example of Holocaust memory at work, but takes on central issues of Holocaust representation.

scholarly journals ‘Feel the Knife Pierce You Intensely’: Slayer’s ‘Angel of Death’—Holocaust Representation or Metal Affects?

Genealogy ◽  
2019 ◽  
Vol 3 (4) ◽  
pp. 61 ◽  
Author(s):  
Williams
Keyword(s):  
Heavy Metal ◽  
Social Media ◽  
Moral Panic ◽  
Musical Form ◽  
Holocaust Memory ◽  
The Social ◽  
Holocaust Representation ◽  
Extreme Metal ◽  
Angel Of Death

This article tackles a well-known but little-studied phenomenon: the importance of Holocaust themes to heavy metal. The fascination of metal bands with evil and death has until recently been met outside the scene with such reactions as moral panic, disgust or indifference. In the last ten years, however, scholars in an emerging discourse of Metal Studies have attempted to engage more critically with the social and musical dimensions of metal, in order to contextualise and understand its lyrics and imagery. Although a number of writers have touched upon the recurrence of Holocaust imagery, no one has dealt at any length with extreme metal as a form of Holocaust memory. My article focuses on what might be called the founding text of extreme metal, Slayer’s ‘Angel of Death’, which lived up to the sub-genre’s name by pushing both its musical form and its lyrical content beyond previously maintained limits and taboos. It considers the song's mobilisation of affective intensities as involving problematic politics, but also a challenge to conceptions of Holocaust representation. I consider how affects are evoked by ‘Angel of Death’ through offering readings of the song itself as well as of ways that its reception have been recorded on social media, in concert videos, and reaction videos uploaded to YouTube.

Music in Mexico City, 1880–1960

2016 ◽  
Author(s):  
Ricardo Pérez Montfort
Keyword(s):  
Popular Music ◽  
20Th Century ◽  
19Th Century ◽  
Mexico City ◽  
Urban Center ◽  
Late 19Th Century ◽  
Music Genres ◽  
The Way ◽  
Musical Styles

From the late 19th century to the mid-20th century, Mexican popular music underwent a significant transformation, thanks to the growth of Mexico City as an urban center and to the influence of both regional and international music genres. At the same time, the Mexican public experienced a profound shift in the way music was consumed. Over the course of five generations, traditional modes of encountering music gave way to a more cosmopolitan enjoyment of new and old musical styles.

ELEMENTS OF GLOACALIZATION IN LATGALIAN MUSIC

Via Latgalica ◽  
2016 ◽  
pp. 24
Author(s):  
Ingars Gusāns
Keyword(s):  
English Language ◽  
Local Area ◽  
Local Features ◽  
Folk Song ◽  
Dance Music ◽  
Internet Resources ◽  
Group Members ◽  
Almost All ◽  
Global And Local ◽  
Musical Styles

<p><em>Latgalian music has a distinct place within the Latvian music market, which has itself inhabited a niche within the global music marketplace; the various processes of globalization have influenced Latgalian music groups and their members to varying degrees. This article aims to assess which musical styles are most popular amongst Latgalian groups and whether there are parallels with tendencies in the global music world in order to identify which global and local features are typical of Latgalian groups, and describe characteristic Latgalian album design in comparison with that of world-famous groups.</em></p><p><em>The article discusses the following groups: “Borowa MC”, “Bez PVN”, “Dabasu Durovys”, “Laimas Muzykanti”, “Green Novice”, “Sacramental” and Sovvaļnīks. Due to limitations in length, this research does not focus upon text analysis.</em></p><p><em>Research was carried out using the following resources: conversations with group members, internet resources, album reviews, press materials, and the author’s own observations as a member of a Latgalian music group.</em></p><p><em>The research is conducted from a comparative perspective, with the goal of highlighting global and local features that characterize Latgalian groups.</em></p><p><em>According to music critic Sandris Vanzovičs, almost all global music styles are represented in the music of Latgale, each inhabiting their particular niche (Gusāns 2015, 1). Evaluating the musical styles and album packaging of select Latgalian groups, it is possible to conclude that Latgalian groups, in ways that are not connected to dance music, reflect the main global tendencies in music, confirming the global location of the Latgale region. The influence of globalization is noticeable in the English-language names of some groups, e. g. “Green Novice”, “Sacramental”. However, local elements in the music are also present: 1) the use of the Latgalian language, 2) folk song melodies and lyrics used with contemporary interpretations, revealing culturohistorical information, and 3) the desire to design original album covers, trying as much as possible to avoid typical clichés or frequently-used motifs, and highlighting the local area. However, Latgalians still need to overcome the lack of interest or support outside the region for Latgalian music.</em></p>

“A Tale Completed in the Mind”: Genre and Imitation in L'Amfiparnaso (1597)

2012 ◽  
Vol 29 (2) ◽  
pp. 101-153
Author(s):  
Paul Schleuse
Keyword(s):  
Twentieth Century ◽  
Large Scale ◽  
Close Reading ◽  
Theater Companies ◽  
Partial Reconstruction ◽  
Custom Made ◽  
Dramatic Performance ◽  
Almost All ◽  
The Mind ◽  
Musical Styles

Musical histories before the twentieth century consistently described Orazio Vecchi's L'Amfiparnaso (published in 1597) as an early or nascent form of opera, despite the composer's explanation that the work is an aural spectacle, not a visual one. Later scholars have persisted in viewing L'Amfiparnaso as a fundamentally theatrical work (in a notional genre called madrigal comedy), designed for quasi-dramatic performance before a listening audience. A close reading of this historiography, along with a partial reconstruction of the membership and movements of the Gelosi and Uniti theater companies in the 1590s, disproves the widely held assumption that L'Amfiparnaso was composed and performed in 1594, and suggests that its characters' names refer to specific actors who performed with the Uniti in Bologna in 1595 and 1596. This new account of the book's origin opens it up to interpretation as a recreational collection of musical imitations of theatre, rather than as an incomplete “script” for a novel kind of dramatic performance. Through its diverse musical styles and poetic registers (Vecchi penned both the poems and the music), as well as its unusual custom-made woodcut illustrations, L'Amfiparnaso presents scenes whose range defies cinquecento theatrical convention. Urban comic dialogues share the imagined stage with tragicomic monologues, idiosyncratic musical dialogues are found alongside serious madrigals, and the woodcuts depict both characteristic comic and pastoral stage settings. As a whole, then, L'Amfiparnaso represents—in Vecchi's words—“almost all the actions of the private man.” This emphasis on variety locates the book firmly within the poetic sphere of Vecchi's other large-scale collections, Selva di varia ricreatione (1590) and Convito musicale (1597), and adds special resonance to his claim that those seeking “a complete tale” in L'Amfiparnaso will find it only “in the mind.”

Trends and taste in Japanese popular music: a case-study of the 1982 Yamaha World Popular Music Festival

Popular Music ◽  
1984 ◽  
Vol 4 ◽  
pp. 75-96 ◽  
Author(s):  
Judith Ann Herd
Keyword(s):  
Popular Music ◽  
Cultural Factors ◽  
Musical Analysis ◽  
Music Festival ◽  
General Review ◽  
Music Genres ◽  
Current Trends ◽  
Standard Formula ◽  
Musical Styles

The contemporary popular music audience in Japan is exposed to a large variety of music, both domestic and imported; tastes are well defined. In particular, such factors as: the singer's ‘image’, what I call maintaining a standard formula, ambiguity and sentimentalism can be pinpointed as important to the music's appeal. In spite of this, the similarities of Japanese popular music to Western musical styles can suggest that a conventional musical analysis will be sufficient for understanding this music. Thus, many critics who evaluate Japanese popular music usually consider it merely a parody of the ‘correct’ styles that they are accustomed to hearing. Concentrating merely on the musical analysis, however, underestimates the cultural factors that give Japanese popular music distinctive characteristics which are highly valued in Japan. To offset the shortcomings of such analysis, this article is an attempt to examine Japanese popular music in terms of those cultural factors most important to popular music genres. The first section is a general review of current trends in popular music in Japan, paying particular attention to the characteristics that make the music uniquely ‘Japanese’.

Marguerite V. Hood and Music Education Radio Broadcasts in Rural Montana (1937-39)

2005 ◽  
Vol 53 (4) ◽  
pp. 295-307
Author(s):  
Shelly Cooper
Keyword(s):  
Music Education ◽  
Learning Experiences ◽  
Music Educators ◽  
Music Listening ◽  
Current Technology ◽  
Music Genres ◽  
Education Profession ◽  
One Room Schools ◽  
The Impact ◽  
Musical Styles

The impact of the radio in the 1930s can be compared to the force of change in people's lives today caused by current technology. Marguerite V Hood (1903-92), a recognized leader in the music education profession during the 1930s, understood the importance of music education radio broadcasts for rural one-room schools and music education classes. In 1936, she began a series of broadcasts in an effort to reach all children in Montana and was appointed radio director for the KGVO Montana School of the Air program. Hood recognized the necessity of using contemporary resources in music education, a need that exists today. Music educators who offer learning experiences encompassing various music listening activities and musical styles through all types of media provide students with a rich, fertile environment for cultivating the understanding and appreciation of all music genres.

Habitat Association of Klebsiella Species

1985 ◽  
Vol 6 (2) ◽  
pp. 52-58 ◽  
Author(s):  
Susan T. Bagley
Keyword(s):  
Drinking Water ◽  
Gastrointestinal Tract ◽  
Surface Waters ◽  
Industrial Effluents ◽  
Opportunistic Pathogen ◽  
Habitat Associations ◽  
Habitat Association ◽  
Klebsiella Species ◽  
Almost All ◽  
Polluted Waters

AbstractThe genus Klebsiella is seemingly ubiquitous in terms of its habitat associations. Klebsiella is a common opportunistic pathogen for humans and other animals, as well as being resident or transient flora (particularly in the gastrointestinal tract). Other habitats include sewage, drinking water, soils, surface waters, industrial effluents, and vegetation. Until recently, almost all these Klebsiella have been identified as one species, ie, K. pneumoniae. However, phenotypic and genotypic studies have shown that “K. pneumoniae” actually consists of at least four species, all with distinct characteristics and habitats. General habitat associations of Klebsiella species are as follows: K. pneumoniae—humans, animals, sewage, and polluted waters and soils; K. oxytoca—frequent association with most habitats; K. terrigena— unpolluted surface waters and soils, drinking water, and vegetation; K. planticola—sewage, polluted surface waters, soils, and vegetation; and K. ozaenae/K. rhinoscleromatis—infrequently detected (primarily with humans).

SEM Cold Stage Techniques for the Observation of Vegetative and Floral Apices of Oat (Avena sativa L.) Plants

1977 ◽  
Vol 35 ◽  
pp. 590-591
Author(s):  
B. K. Kirchoff ◽  
L.F. Allard ◽  
W.C. Bigelow
Keyword(s):  
Critical Point ◽  
Avena Sativa ◽  
Substantial Improvement ◽  
Fresh Tissue ◽  
Cold Stage ◽  
Critical Point Drying ◽  
Almost All ◽  
Cell Collapse ◽  
Conductive Paint ◽  
Carbon Based

In attempting to use the SEM to investigate the transition from the vegetative to the floral state in oat (Avena sativa L.) it was discovered that the procedures of fixation and critical point drying (CPD), and fresh tissue examination of the specimens gave unsatisfactory results. In most cases, by using these techniques, cells of the tissue were collapsed or otherwise visibly distorted. Figure 1 shows the results of fixation with 4.5% formaldehyde-gluteraldehyde followed by CPD. Almost all cellular detail has been obscured by the resulting shrinkage distortions. The larger cracks seen on the left of the picture may be due to dissection damage, rather than CPD. The results of observation of fresh tissue are seen in Fig. 2. Although there is a substantial improvement over CPD, some cell collapse still occurs.Due to these difficulties, it was decided to experiment with cold stage techniques. The specimens to be observed were dissected out and attached to the sample stub using a carbon based conductive paint in acetone.

Electron microscopy studies of plasma-sprayed materials

1983 ◽  
Vol 41 ◽  
pp. 70-71
Author(s):  
K.R. Subramanian ◽  
A.H. King ◽  
H. Herman
Keyword(s):  
Plasma Spraying ◽  
Substrate Surface ◽  
Flame Temperature ◽  
Ceramic Coatings ◽  
Metallic Substrates ◽  
Hot Plasma ◽  
Almost All ◽  
Plasma Sprayed ◽  
Hostile Environments ◽  
Plasma Spraying Process

Plasma spraying is a technique which is used to apply coatings to metallic substrates for a variety of purposes, including hardfacing, corrosion resistance and thermal barrier applications. Almost all of the applications of this somewhat esoteric fabrication technique involve materials in hostile environments and the integrity of the coatings is of paramount importance: the effects of process variables on such properties as adhesive strength, cohesive strength and hardness of the substrate/coating system, however, are poorly understood.Briefly, the plasma spraying process involves forming a hot plasma jet with a maximum flame temperature of approximately 20,000K and a gas velocity of about 40m/s. Into this jet the coating material is injected, in powder form, so it is heated and projected at the substrate surface. Relatively thick metallic or ceramic coatings may be speedily built up using this technique.

Vacuum System to Minimize the Specimen Contamination of High-Performance EM

1977 ◽  
Vol 35 ◽  
pp. 68-69
Author(s):  
N. Yoshimura ◽  
K. Shirota ◽  
T. Etoh
Keyword(s):  
Electron Microscope ◽  
High Speed ◽  
High Performance ◽  
High Vacuum ◽  
Vacuum System ◽  
Pump System ◽  
Pumping System ◽  
Diffusion Pump ◽  
Almost All ◽  
Cascade Type

One of the most important requirements for a high-performance EM, especially an analytical EM using a fine beam probe, is to prevent specimen contamination by providing a clean high vacuum in the vicinity of the specimen. However, in almost all commercial EMs, the pressure in the vicinity of the specimen under observation is usually more than ten times higher than the pressure measured at the punping line. The EM column inevitably requires the use of greased Viton O-rings for fine movement, and specimens and films need to be exchanged frequently and several attachments may also be exchanged. For these reasons, a high speed pumping system, as well as a clean vacuum system, is now required. A newly developed electron microscope, the JEM-100CX features clean high vacuum in the vicinity of the specimen, realized by the use of a CASCADE type diffusion pump system which has been essentially improved over its predeces- sorD employed on the JEM-100C.

Sign in / Sign up

Export Citation Format

Share Document