This Master’s thesis explores a relatively under-researched area within (popular) musicology, the art of record production, and metal music studies: the phenomenon of private music production in metal music.
The thesis is coherently structured: it begins with a brief overview of the history of record production and discussions of the terms heavy metal and home production (chapter 1); states the research questions and objectives (chapter 2); presents a literature review of phono-musicology, rock and metal music studies, and music industries research (chapter 3); the theoretical framework, consisting of the Frankfurt School and French sociology, amongst others (chapter 4); the study’s methodology (triangulation of theoretical research, qualitative interviews, participant observation, autoethnography) (chapter 5); then the three main parts of the investigation.
The empirical study deals with the interrelationship between digital production practices, sound and aesthetics, and economics, which is examined in three extensive chapters (6 to 8). These chapters are followed by a detailed discussion with further theoretical considerations, which discuss the differences between private and commercial (metal) music production as well as the hypothesis/observation of music production as a product and reflection of society as a whole.
| Identifer | oai:union.ndltd.org:DRESDEN/oai:qucosa:de:qucosa:91599 |
| Date | 24 May 2024 |
| Creators | Lux, Marian |
| Contributors | Universität Leipzig |
| Source Sets | Hochschulschriftenserver (HSSS) der SLUB Dresden |
| Language | German |
| Detected Language | English |
| Type | info:eu-repo/semantics/acceptedVersion, doc-type:masterThesis, info:eu-repo/semantics/masterThesis, doc-type:Text |
| Rights | info:eu-repo/semantics/openAccess |
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