Uploaded August 2019 | Updated September 2026, 4 hours ago
crosstowntraffic2018.wordpress.com
This presentation took place as part of the conference Crosstown Traffic: Popular Music Theory and Practice, which was hosted by The University of Huddersfield from September 3 - 5 2018. This event combined the IASPM UK&Ireland Biennial Conference, the 13th Art of Record Production Conference (ARP), an ISMMS conference, and the additional participation of Dancecult.
A recurrent theme within popular music studies has been discussion of how the field can integrate different disciplines and professions, for example exploring both music and its context; involving both practitioners and researchers; and encouraging interdisciplinary and collaborative work. Many different issues make such approaches challenging, and various different popular music focused subject organisations have developed somewhat independently of one another. This conference brought four such groups together, to exchange knowledge, collaborate, and encourage crosstalk.
/// SUPPORT
Popular Music Studies Research Group (PMSRG), University of Huddersfield research.hud.ac.uk/pmsrg/#
Centre for Music, Culture and Identity (CMCI), University of Huddersfield
research.hud.ac.uk/institutes-centres/cmci
The International Association for the Study of Popular Music UK and Ireland Branch (IASPM UK & Ireland)
iaspm.org.uk
Association for the Study of the Art of Record Production (ASARP)
artofrecordproduction.com
Dancecult Research Network (DRN) studies into electronic dance music culture
dancecult-research.net
International Society for Metal Music Studies (ISMMS)
metalstudies.org
/// ORGANIZERS
IASPM UK&I: Rupert Till
ARP: Katia Isakoff, Shara Rambarran
ISMMS: Karl Spracklen
Dancecult: Graham St. John
University of Huddersfield: Jan Herbst, Austin Moore, Lisa Colton, Toby Martin, Catherine Haworth, Mark Mynett
/// CREDITS
This online project was edited, collated, and made available online by Chris McConnell, Jack Zissell, and Colin Frank.
/// PRESENTATION DETAILS
How do different Doom subgenre terms operate for fans, artists, media and labels
Dr Simon Poole - Falmouth University
Email: simon.Poole@Falmouth.ac.uk
/// ABSTRACT
The use of ‘genre’ as an idea in the production and consumption of music has clear benefits for the industry as a whole. The clear categorisation of music and musicians allows for the orderly business of marketing, selling, promoting, writing, reviewing and publishing; channeling information into traditional and emerging platforms, shops and magazines. However, the use of ‘genre’ within the realm of musical production has always posed challenges to musicians who fear career-long genre pigeonholing and restriction. Fans too, in a post subcultural world, are increasingly reluctant to restrict themselves through this kind of traditional labelling. This paper explores the progression, revivals, revisions and endless sub-genre splintering and arguments of musical development within ‘genre’ by utilising – borrowing from Koven’s exploration of the Italian ‘Giallo’ movies (2006) – the term ‘filone’; an Italian geographical term meaning ‘the main current in a river’ or in geological terms – the vein in a rock. When applied in a more literary sense, filone can be rather poetically be used to analyse types of music. Used in a positive sense, ’Seguire il filone’ can suggest music ‘to follow the tradition of’ without accompanying generic labelling – or as Hoffman (1994), extended in the geographical usage, suggests a ‘streamlet’. This more fluid approach to genre development and change can be used to explore discussions of development of genre. From Heavy Metal to Doom, to Traditional Doom, Epic Doom, Funeral Doom, Death, Stoner, Sludge, Drone or Black Doom – how do the different terms operate for fans, artists, media and labels?
crosstowntraffic2018.wordpress.com
This presentation took place as part of the conference Crosstown Traffic: Popular Music Theory and Practice, which was hosted by The University of Huddersfield from September 3 - 5 2018. This event combined the IASPM UK&Ireland Biennial Conference, the 13th Art of Record Production Conference (ARP), an ISMMS conference, and the additional participation of Dancecult.
A recurrent theme within popular music studies has been discussion of how the field can integrate different disciplines and professions, for example exploring both music and its context; involving both practitioners and researchers; and encouraging interdisciplinary and collaborative work. Many different issues make such approaches challenging, and various different popular music focused subject organisations have developed somewhat independently of one another. This conference brought four such groups together, to exchange knowledge, collaborate, and encourage crosstalk.
/// SUPPORT
Popular Music Studies Research Group (PMSRG), University of Huddersfield research.hud.ac.uk/pmsrg/#
Centre for Music, Culture and Identity (CMCI), University of Huddersfield
research.hud.ac.uk/institutes-centres/cmci
The International Association for the Study of Popular Music UK and Ireland Branch (IASPM UK & Ireland)
iaspm.org.uk
Association for the Study of the Art of Record Production (ASARP)
artofrecordproduction.com
Dancecult Research Network (DRN) studies into electronic dance music culture
dancecult-research.net
International Society for Metal Music Studies (ISMMS)
metalstudies.org
/// ORGANIZERS
IASPM UK&I: Rupert Till
ARP: Katia Isakoff, Shara Rambarran
ISMMS: Karl Spracklen
Dancecult: Graham St. John
University of Huddersfield: Jan Herbst, Austin Moore, Lisa Colton, Toby Martin, Catherine Haworth, Mark Mynett
/// CREDITS
This online project was edited, collated, and made available online by Chris McConnell, Jack Zissell, and Colin Frank.
/// PRESENTATION DETAILS
How do different Doom subgenre terms operate for fans, artists, media and labels
Dr Simon Poole - Falmouth University
Email: simon.Poole@Falmouth.ac.uk
/// ABSTRACT
The use of ‘genre’ as an idea in the production and consumption of music has clear benefits for the industry as a whole. The clear categorisation of music and musicians allows for the orderly business of marketing, selling, promoting, writing, reviewing and publishing; channeling information into traditional and emerging platforms, shops and magazines. However, the use of ‘genre’ within the realm of musical production has always posed challenges to musicians who fear career-long genre pigeonholing and restriction. Fans too, in a post subcultural world, are increasingly reluctant to restrict themselves through this kind of traditional labelling. This paper explores the progression, revivals, revisions and endless sub-genre splintering and arguments of musical development within ‘genre’ by utilising – borrowing from Koven’s exploration of the Italian ‘Giallo’ movies (2006) – the term ‘filone’; an Italian geographical term meaning ‘the main current in a river’ or in geological terms – the vein in a rock. When applied in a more literary sense, filone can be rather poetically be used to analyse types of music. Used in a positive sense, ’Seguire il filone’ can suggest music ‘to follow the tradition of’ without accompanying generic labelling – or as Hoffman (1994), extended in the geographical usage, suggests a ‘streamlet’. This more fluid approach to genre development and change can be used to explore discussions of development of genre. From Heavy Metal to Doom, to Traditional Doom, Epic Doom, Funeral Doom, Death, Stoner, Sludge, Drone or Black Doom – how do the different terms operate for fans, artists, media and labels?
