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Extreme Hardcore Punk and the Analytical Challenges of Rhythm, Riffs, and Timbre in Punk Music

Bibliographic Data

ID4390729
AuthorsDavid Pearson (0000-0002-2912-0976, Lehman College, corresponding author), David M Pearson (0000-0003-4940-9248, Lehman College)
Year2019
Volume25
Issue1
Publication date2019-05-01
Peer ReviewedYes
Open AccessYes
TypeARTICLE
VenueMusic Theory Online (JOURNAL)
Journal identifiersISSN: 1067-3040 • E-ISSN: 1067-3040
PublisherSociety for Music Theory (PUBLISHER • US)
DOI10.30535/mto.25.1.5
OpenAlexW2951113674
LanguageEN
Citations received6
References cited5

Scholars often assume that there is little more to say about punk music other than it is fast, loud, abrasive, and any amateur can perform it. Yet within the punk scene, there is a robust discourse on punk musical style and the changes it has undergone throughout its now forty-year history, seemingly endless subgenre distinctions, and critical commentary on the musical merits of individual bands. This article combines transcription and analysis with a look at the punk scene's own discourse on musical style to understand the rhythms, riffs, and timbres of extreme hardcore punk, a subgenre prominent in the 1990s. The 800-BPM blast beats, screamed or growled vocals, and dissonant riffs of extreme hardcore necessitate the development of theoretical concepts for explaining the function of meter, timbre, and melodic material in punk. Furthermore, an understanding of changes in and new subgenres of punk style is necessary to avoid reducing punk to a music devoid of nuance or ongoing historical development

Acoustics · Aesthetics · Amateur · Art · Art history · Consonance and dissonance · Literature · Lyrics · Melody · Musical · Popular music · Punk · Timbre · Visual arts · History · Music History and Culture · Music Technology and Sound Studies · Musicology and Musical Analysis

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Unique citing works6
Citations per year1,2
Citation span2021 - 2025 (5)
Citation velocityrecent
Highly citedNo
Citation typesNeutral: 6

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Open DOIOpen Access
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