Abstract: The Sex Pistols’ 1976 anthem, “Anarchy in the UK,” memorialized an ongoing relationship between anarchism and punk rock music. Although scholars of punk music have long documented the relationship between leftist or progressive politics in punk music scenes, they have not interrogated the content and sources of anarchist politics, often taking for granted the relationship between anarchism and punk. This dissertation examines the anarchist politics of a particular genre of punk, called “crust punk,” which is a blend of punk and heavy metal. Like most music subcultures, the crust punk scene is much more than musical sounds; it is associated with a particular lifestyle as well. Crust punks’ choices to drop out of society and live in squats or on the streets, I argue, are political. This dissertation combines ethnomusicological methods with a field of study called “political epistemology” from political science that seeks to understand the origins and composition of political ideas. I combine these two approaches to examine crust punk political ideas: where they come from, how they are shared within the scene, and in what ways they can be considered “anarchist.” I conclude that crust punk represents a form of what I theorize as “vernacular anarchism” that arises from precarious forms of existence, is formulated in everyday life experiences, and is given substance through affective and emotional responses to the poetics of crust punk song texts.

Abstract: Foreverdark is a single movement, ten-minute concertino (short concerto) for amplified cello soloist with live electronic processing and chamber orchestra. The exact instrumentation consists of violoncello solo, flute, clarinet, oboe, bassoon, trumpet in Bb, horn in F, tenor trombone, percussion, piano, harp, violin 1, violin 2, viola, violoncello, and double bass; each part is played by a single player. The compositional style is a continuation and deeper exploration of the composer’s current compositional interests, namely the integration of quotation and popular music style signals within more broadly art music formats. By amplifying and separating the cello soloist from the ensemble, the player’s position alludes to that of a “lead guitarist;” subsequently, much of their melodic material (and that of the orchestra around them) is sourced from a variety of heavy metal riffs, most of them from bands the composer listened to as a teenager. The piece’s title, “Foreverdark,” both references the song with a similar name (Foreverdark Woods) by Viking metal artist Bathory as well as the composer’s long and somewhat nostalgic relationship to the metal genre itself. In addition to heavy metal-sourced melodic and rhythmic motifs, “Foreverdark” also contains some material bordering on a folk music aesthetic. Surprisingly, metal-turned-folk is a common stylistic shift in for some of the bands quoted within the work.

Abstract: Many discussions of the rock band Queen (vocalist Freddie Mercury, guitarist Brian May, drummer Roger Taylor, and bassist John Deacon) reference their theatricality, yet few analyze what makes Queen’s music and performances theatrical. Through examining Queen’s theatricality from different angles, this thesis shows the different layers of Queen’s performativity and its relationship to identity.
After an introductory chapter that surveys the literature about Queen, the second chapter of the thesis analyzes the theatricality of Queen’s music from a stylistic basis. The chapter begins by addressing Queen’s camp theatricality through their use of music hall, operetta, and musical theatre styles. It then addresses their drama-based theatricality through their use of opera and film music styles. The third chapter analyzes Queen’s performance of gender and sexuality through their use of different genres. It first discusses Queen’s participation in the genre of glam rock, in which they performed a more feminine persona, but were still understood as heterosexual. Then it explores Queen’s disco and funk influenced music and Mercury’s “castro clone” image as simultaneously a more masculine and more homosexual performance. Finally the chapter analyzes the various rock genres Queen used throughout their career in order to perform heterosexual masculinity, including hard rock, stadium rock, and heavy metal.
The fourth chapter focuses primarily on Mercury’s performance of ethnicity and nationality through his music. Taking into account his history as a first-generation Parsi Zanzibarian who immigrated to London, it first looks at his and Queen’s expressions of “Britishness” through the figure of the British pop dandy and their use of the British national anthem. Then it turns to discussing the influence of Mercury’s Persian and African heritage on select songs. Finally, it examines religion as it relates to cultural identity, specifically Mercury’s Zoroastrian heritage and the ways he used the aesthetics of heavy metal to articulate his place within that religion. The fifth chapter concludes the thesis by taking a holistic view of how all of these layers of performativity operated simultaneously, endowing Queen’s music with a deep and complex sense of theatricality.

Abstract: This thesis will demonstrate how Black Metal music became established in Japan, how it evolved, and how musicians situate themselves in a globalized form of community. It is a study of how Japanese Black Metal functions in the tensions between globalization and localization, a term called “glocalization” (Victor Roudometof 10). Japanese Black Metal is globalized around a set of rules and ideas, a term Deena Weinstein uses to describe Heavy Metal music called “codes” (Heavy Metal the Music 100). Additionally, as this music is localized, it reveals how many Japanese musicians express uniquely cynical viewpoints of religion and established authority using these globalized codes. Due to its anti-Christian and brutal history in other countries, Black Metal is seen as transgressive against mainstream society. Through electronic ethnographic research with Japanese Black Metal artists, this thesis finally examines how Black Metal is at once desirable yet also transgressive in Japanese society, a country with a comparatively low population of Christians.

Abstract: Randy Rhoads was an influential rock guitarist whose synthesis of musical influences had an impact on heavy metal. He developed a classically influenced guitar style that inspired new developments in the guitar’s virtuosic technique and harmonic and melodic language. The sound of heavy metal can be traced directly to his guitar style. Yet no definitive studies have been conducted on his guitar voice, synthesis of musical influences, or contribution to heavy metal music. This thesis is the first study to define the musical influences that make up Rhoads’s innovative guitar voice and playing style. It examines his early childhood, formal training, and influences, honing his skills in Quiet Riot, mastering his skills on Blizzard of Ozz , and mastering his skills on Diary of a Madman . It provides a look at his guitar voice through his adaptation, synthesis, and implementation of musical influences by conducting a detailed musical analysis of the formal, harmonic, rhythmic, and melodic aspects of the songs on Blizzard of Ozz and Diary of a Madman.
The examination of his guitar voice and playing style is provided by the following materials: CDs, DVDs, books, scholarly journals, master’s theses and doctoral dissertations, and transcriptions of songs on Blizzard of Ozz and Diary of a Madman. The aim of this thesis is to demonstrate that Rhoads’s guitar voice and playing style are classically influenced and a synthesis of different musical styles. It advocates that his playing style pushed the hard rock music envelope create a new approach to guitar playing that led to a more refined version of the music. It suggests that Rhoads’s musical approach and mindset in the 1980s: classical-style virtuosity, harmony and melody, and acoustic guitar was important to the development of the heavy metal sound, therefore placing him in the historical annals of popular music.