About Heavy Metal Music

The period of metal music encompasses one of the most developmental eras of humanity in which civilization faces an essential question, and seemingly in synchronicity with this era metal is music mirroring the parental rejection and path finding the behavior of adolescents outside of known boundaries and most importantly, outside of external control. Looking back upon “Western history” we see that it is clearly the history of Christianity arising in Europe and with it a material need for theological justice which motivated the centralization of Europe and the industrial revolution, thus beginning the artificial Hegelianism of the current time in which civilization re-learns its values after absorbing technocracy.

As in Western heritage so far there has been a lack of collective action because of our resentment at coercion, in metal or in an adolescent rebelling against a parent there is love and the uncertainty of a known past versus and unknown future, as well as a desire to acquire and define an existence for oneself. All past cultures are dead and in the existential void of late modernism, the culture of culture of metal mirrors the growth of individuals and society from a period of adolescence represented by aestheticism to an adulthood of literalist yet design-oriented noble culture; this future yet unrealized represents a potential transition beyond the failures humanity to a higher state of awareness, according to the greatest human philosophers.


The first metal emerged from the youth born after World War II in a time when all older learning and social order was becoming extinct at the hands of a new technocratic system of world government experiencing Genesis.

These were also the first people whose lives were completely enclosed by technology and who could not remember a time of prevalent human versus natural struggle.

WWII culminated the former ages of diplomacy and Viet Nam demonstrated the essential qualities of imperialist policy, revealing the bankruptcy of a “moral” state and plunging America into an intellectual revolution from which no heroes have emerged. Since that time America and the human population able to cogitate on such issues have become self-analytical and obsessed with re-assessing the various evolutionary states of social order and personal values, although as with all previous revolutions in the Western heritage of the past 2,000 years, have failed to escape their own programming with the values of the previous empire, thus being doomed to recreate it.


Metal music occupies a distinct position in being the music of the dissatisfied arising from within the dissatisfied. It’s dissidence demands values before immediate action and thus is less obviously political than other genres, but its aesthetic reveals a genre convinced that making of noise and violence music of beauty and logical, clear structure is in some way, transcendent. In brief theoretical description, it is modal music achieving harmony from the resonance of melodic shape of an undulating rhythm of internal syncopation. Lawless, it knows no keys, and while roughly described by “classical” (Baroque/Romanticist) theory, its phrasing reflects an architecture as a language designed to be description throughout pieces of mostly consistent dynamic intensity at a tactical level. This form of counterpoint music in the symbolism of scientific approach to information it suggests, at the highest level, rejects self- and socially-centered realities in favor of the dynamic, selfless, nihilistic absolutist freedom of tone; in at least one sense, this is a motion from self-conscious-view to worldview in which self is an actuator.

The heavy influence of structure unifying songs, as mirrored in a trellis thematic construction dividing phrasing and arrangement of objects of phrase and harmony into components of theme completing motifs central to the conception of each work, suggests a postmodernist solidification of art and medium into a message containing a coded subtext of influence on the subconscious mind and emotions. In rock, there is a form and songs are derivations of it; in information music, the structure becomes the song which becomes its own medium for poetic expression through narrative in the conversion of noise to coherent sound. For this reason within the context of the fourth full generation of this genre a scientist is justified in using the term “information music” to describe a style where phrasing and tone, as reduced to a symbology of relativism, are manipulated modally to achieve thematic synthesis and resolution in the style of “classical” pieces. In other terms, in rock music, there is a form and within it songwriting occurs; in metal, the central melody determines the structure of each song.

Classical Music From Around The World

Enjoying live music is always great, and classical music is no different. Check out these live events if you want to experience classic music first hand!

Bregenz, Austria

Austria is often seen as being the hub for classical music, and Bregenz definitely does this reputation justice. Set on a massive “floating” stage on Lake Constance, Bregenz is a genuinely spectacular experience to see and hear.

Gstaad, Switzerland

Famous for its pleasing, outdoors atmosphere Gstaad is a elegant event set in the mountains. During the festival, the main events play in big white tents with poor acoustics, but a great vibe. The smaller acts play in local churches for a more austere experience.

Dartington, Devon

A truly friendly and collaborative event, Dartington is one of the few places where amateurs and professionals come together. Amateurs usually consist of average people with a passion for classical music, who come together to improve their skills in chamber groups or masterclasses.

Spoleto, Italy

Set amongst an idyllic hillside background and populated with exquisite renaissance style palaces, this small Italian village seems to have been designed to hold a festival. Crowds can enjoy the settings and the music in a beautiful sweeping piazza in the middle of the town.

Classical music composers

The most amazing thing to consider about Chopin is that he did not understand orchestration, and he himself even admitted this. He had to have help from his friends, including Liszt, in scoring his two piano concerti.

Chopin simply had a natural gift for melody, and what was pleasing to ear. His works were primarily short piano works, and are the perfect entry point to classical music for their simplicity, directness, and sheer melodic beauty.


Often recognised as the greatest composer of music who has ever lived, whilst Bach was not an innovator of any new style of music, he perfected every single one of them.

From concertos, to fugues (which are noted for their difficulty to write) Bach could do it all, and they were all masterpieces. The Mass in b minor is often argued by musicologists and composers to be the single greatest work of music ever written, in any genre or style.


Volatile and musically gifted beyond comparison, new maverick talents are often compared to Mozart. However, there can’t be any replacement for his contributions to the world of music.

He wrote 27 piano concerti, 36 violin, cello, church sonatas and organ pieces 18 masses, 41 symphonies, 4 horn concerti, 20 string quartets… and many more.

No one else created a body of work quite as diverse and eclectic in the field of classical music as Mozart.


Often credited as the greatest songwriter of all time…Schubert simply loved to write. His passion for writing was such that as soon as he finished one piece of music, he would throw it to the floor, grab another sheet of paper and start another.

One of his finest works “Hark, Hark, the lark” he wrote on the back of a beer hall receipt, all in one sitting. During the sixteen years of his career, Schubert wrote an astonishing 650 songs.