This essay aims to investigate intermedial studies and to analyze the intermedial narrative that appears out of the cooperation between music, lyrics and song cover of the Swedish progressive djent metal band Vildhjarta. The narrative that appears out of the intermedial cooperation between the medias is then analyzed with literal studies and narratological concepts to put intermedial studies into a bigger context. This essay also explores different intertextual connections to other works of literature which shows is quite a lot. Since previous research about progressive metal and the band Vildhjarta is practically nonexistent research from the closely related genres of black metal and death metal have been applied to create a new base of previous research. The research in this essay concludes that Vildhjarta, in sometimes complex ways, use different medias to create and amplify the narrative and they also include a lot of different intertextual connections. / Den här uppsatsen undersöker det narrativ som uppstår i det intermediala samspelet mellan musik, låttext och låtomslag. Narrativet undersöks sedan med hjälp av litteraturvetenskapliga och narratologiska begrepp för att sätta in den intermediala analysen i ett större kontextualiserande perspektiv. I uppsatsen undersöks även intertextuella kopplingar och det framkommer flera referenser och kopplingar till andra litterära verk. Då forskningsläget kring genren men även bandet i princip är icke existerande har i stället forskning om black metal och death metal använts för att skapa ett användbart forskningsläge. I resultatet framkommer det att Vildhjarta på ett komplext vis använder olika medier för att skapa och förstärka narrativet men även att de olika låtarna innehåller mängder med intertextuella kopplingar.

The progressive metal style "djent" emerged in the mid-to-late 2000s with bands that modeled their use of extended range instruments and complex rhythmic cycles after that of Swedish metal band Meshuggah. The addition of a new vocabulary of melody and harmony by bands such as Periphery, Tesseract, and Animals as Leaders has come to define djent in a new way and provided fruitful ground for voice-leading and metrical analysis. In this dissertation, I approach analysis in two steps. The first step is the production of detailed transcriptions of four djent songs. The process of transcription has allowed for the development of Transcription Preference Rules, modeled after Lerdahl and Jackendoff's preference rule approach in their Generative Theory of Tonal Music. The Transcription Preference Rules account for the selection of key signatures, time signatures, and other features of the scores that may affect analysis. Second, using these scores, I examine the connection between the textual topic of change and the voice-leading and metrical structures in Periphery's "Insomnia" and Tesseract's "Of Matter." I show how this topic is reflected by techniques such as change melodic direction, multidimensional metrical dissonance, and auxiliary cadential events. Finally, I apply voice-leading and metrical analysis to Animals as Leaders's "Tempting Time" and Mute the Saint's "Sound of Scars" in order to show what these analytical techniques reveal about instrumental djent pieces. I show how shifts in meter in "Tempting Time" can be represented cyclically. I conclude by showing how the interaction of metal and North Indian Classical techniques produces a unique representation of Mute the Saint's topic of longing and frustration in "Sound of Scars."