![]() Genre may be understood as a general, amorphous concept in flux, while style affords specificity, and their relationship is analogous to that between type and token (where style tokens the genre type). Within this interconnected model of genre, subgenres provide a middle ground of generic adaptation by providing a focus on specific small-scale phenomena. Exploring intra- and intergeneric connections, I observe the relationship between small- and large-scale phenomena that allows a relatively specific group of performance techniques and compositional devices to connote numerous metal/hardcore genres (and vice versa). ![]() I propose generic symbiosis as a new way to conceptualise the relationship between metal and hardcore, addressing issues of consequentiality arising from extant frameworks. ![]() ![]() Predominant in metal/hardcore discourse, genre serves as an organising principle in historiographies that exert significant influence upon contemporary perceptions of metal and hardcore. The thesis proposes that issues of genre are fundamental to understandings of popular music for all participants. This thesis addresses various functions of genre in metal/hardcore music as a lens through which to study popular music in the twenty-first century. Thesis accepted without corrections for the degree of PhD in Music at University of Hull (UK), January 2018.
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