![]() In the fourth section, we discuss the relationship between dispositional flow (‘flow proneness’), expertise, and artistic creation. cognition in relation to flow, and the relationship between flow, creativity, and quality of performance. The third section elaborates on the neurobiological underpinnings of creative. In the second section, we discuss collective flow experiences (‘group flow’) in artistic performances. In the first section, we review studies on state flow in music and dance. The aim of this chapter is to discuss the literature on psychological flow experiences in relation to artistic creation and performance. Developments in music technology are viewed sceptically regarding its positive contribution to future music. Traditional guitar sounds and engineering practices are still preferred, partly as a strategy to retain distinction between their established businesses and new enterprises. The findings indicate that although most producers experiment with modern technologies, they regard these as special effects or backup solutions. Building on an initial study on the quality and public reception of profiling technology in a metal music context, this article explores the attitudes of metal music producers towards new guitar amplification technologies, their uses thereof, and their conceptions of future music including the role of technological inventions. renowned producer Michael Wagener even claimed it to be ‘the biggest innovation for recording at least for the last fifteen years’. Many rock and metal guitarists and producers embraced this new technology, and the. In 2011, a ‘profiling’ technology was released, capable of copying any valve guitar amplifier and shaping every detail of its sound. Metal Music Studies journal: Innovations in music technology have the potential to change practices of music making and to contribute to the development of new forms of music. Thus, just as Aristotle believed Greek tragedies induced a catharsis – a purging of negative emotions – in viewers, the author argues that Black Sabbath’s lyrical narratives could serve a therapeutic function for listeners. By hearing narratives about the extreme suffering experienced by persons not unlike themselves, listeners are able to participate vicariously in the heroes’ fear, pain and grief. Like Greek tragedies, Black Sabbath’s songs involve stories of extreme human suffering, often under extraordinary circumstances, having the ability to elicit emotional responses from audiences. In examining lyrics from Black Sabbath’s earliest hits, this article provides a perspective from which the band’s songs can be shown as frequently containing the basic elements of Greek tragedy – tragic situation, tragic result, tragic hero and nemesis – a recurring pattern that may have served a cathartic function for listeners. With Black Sabbath having their final tour in 2017, this article examines lyrics contained in a sample of hit songs appearing on Black Sabbath and Paranoid to better understand why the band’s songs struck such a responsive chord with listeners. Although having a self-perception of being a ‘heavy underground’ band, Black Sabbath would go on to sell more than 75 million albums worldwide. Widely credited with establishing heavy metal, Black Sabbath released their first two albums in 1970, Black Sabbath and Paranoid, and those albums’ success signalled a paradigm shift in rock, garnering the band international fame. It was their group flow that enabled the two bands to ‘channel’ their environment directly and powerfully. ![]() I examine the aspects of group flow identified by psychologists and show how both bands exhibited these, including a highly cooperative creative process, a lack of conscious deliberation and a prolific and spontaneous output. ![]() Both bands attained such a high – or pure – degree of environmental expression because they were examples of the phenomenon of ‘group flow’. ![]() This article highlights a number of specific ways in which both bands’ music depicted (and was influenced by) this environment, including an unusually bass-heavy sound, the repetitive and continuous quality of their music, an austerity of sound, the rigid structure of songs and performances and lyrical content. Although they superficially belong to different genres of music, Black Sabbath and Joy Division share a fundamental commonality in that their music was shaped by – and powerfully depicted – bleak urban industrial environments.
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