1  

Joseph  Perkins      

BMus        

Terms  1-‐2:  2013/2014    

   

Popular  Music  Studies  MU2117/MU3117  

Kyle  Devine      

Project        

Adorno’s  theory  of  Standardisation  in  relation  to  rhythmical  elements  in  Deathcore  music.  

       

2736  words              

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Introduction  

 

Adorno’s   theory   of   ‘standardization’   and   ‘psuedo-‐individualisation’,   although  

controversial,  can  be  applied  to  many  popular  music  genres.  Deathcore  music  is  

a  21st  century  invention  that  was  spawned  from  a  combination  of  Metalcore  and  

Death  Metal  music  of  the  late  20th  Century.  This  study  will  demonstrate  musical  

similarities   between   Deathcore,   Metalcore,   and   Death   Metal,   highlighting  

Adorno’s   theory  of   standardization.  My  own  musical   analysis  will   demonstrate  

key  elements  of  the  music  that  Adorno  would  describe  as  ‘standardized’.  This  is  

ultimately  to  prove  that  Deathcore  music  is  defined  by  its  often-‐recycled  nature  

using   predetermined   musical   devices,   whilst   simultaneously   borrowing   ideas  

from  it’s  preceding  subgenres.    

 

On  examining  the  genre  Deathcore,  I  will  demonstrate  that  it  can  be  defined  on  a  

purely   musical   basis,   such   as   its   rhythmical   qualities;   including   ‘blast-‐beats’,  

‘punctuation’  of  the  kick  drum  and  ‘breakdowns’.  The  Bass  guitar  predominantly  

acts   in  unison  with   the  Electric  Guitar,   although  only  playing   root   chord   tones.  

The   guitar   is   of   course,   characterized   by   its   distorted   nature,   drop   tuning,  

chromaticism   and   diminished   phrases,   palm-‐muted   articulation   and   obligatory  

guitar   solo   within   the   form   of   Death   Metal   performances.   These   musical  

elements   are   the   foundations   by  which   one  may   describe   the  music,   however  

what  defines  them  as  different  subgenres,  and  particularly  Deathcore,  is  the  role  

of   instrumental   interaction   and   hierarchical   importance   of   these   defining  

features.   This   suggests   what   Adorno   would   describe   as   ‘pseudo-‐

individualisation’  as  a  result  of  the  standardization  within  the  music.    

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Standardization  

 

On  the  standardization  of  popular  music,  Theodore  W.  Adorno  writes:  

 

“The  whole  structure  of  popular  music  is  standardized,  even  where  the  attempt  

is  made   to   circumvent   standardization.   Standardization  extends   from   the  most  

general  features  to  the  most  specific  ones.  Best  known  is  the  rule  that  a  chorus  

consists  of  thirty-‐two  bars  and  the  range  is  limited  to  one  octave  and  one  note.”1  

 

Adorno  also  argues   that  only   the  most   ‘primitive’  harmonic   facts;   regardless  of  

what  is  harmonically  ‘intervened’  are  important.  Adorno  also  suggests  that  only  

the   ‘amateur’   listener   appreciates   the   most   ‘primitive’   components,   “The   ear  

deals  with  difficulties  of  hit  music  by  achieving  slight  substitutions  derived  from  

knowledge  of  the  patterns.  The  listener  when  faced  with  the  complicated  actually  

hears  only  the  simple  which  it  represents  and  perceives  the  complicated  only  as  

a  parodistic  distortion  of  the  simple”.  2  

 

This   generalization   is   often   seen   as   elitist   and   therefore   this   point   of   view   is  

problematic.  I  shall  argue  that  Deathcore  music  roughly  follows  Adorno’s  theory  

of   standardization   in   a  metaphorical   sense;   Deathcore  music   has   spawned   it’s  

own   ‘go-‐to’   components   and   not   simply   a   list   of   musical   factors   common   in  

                                                                                                               1  ADORNO,   Theodore   W.   Essays   on   Music:   Theodore   W.   Adorno.   University   of  California  Press.  2002.  p.  438.    2    Ibid.    p.  442.    

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popular   music   of   the   20th   century,   i.e.   a   ‘thirty-‐two   bar   chorus’.   Similarly,  

Adorno’s  writing  on  pseudo-‐individualisation  seems  more  accurate  as  a  way  of  

explaining   the   cultural/ideological   differences   between   Death  Metal,   Hardcore  

and   Deathcore   musics.   This   study   will   be   focusing   on   purely   musical   aspects,  

through   my   own   analyses,   to   demonstrate   the   common   links   between   these  

related  genres,  and  how  it  came  to  define  the  subgenre,  Deathcore.  Despite  the  

three   subgenres   all   sharing   many   identical   aspects   such   as,   instrumentation,  

harmonic  progressions,   tone,   and   form,   I  will   conclude   that   rhythmical   aspects  

are  the  true  defining  features  that  act  as  a  distinction  between  them.    

 

There  have  been  many  criticisms  of  Adorno’s  writings  on  standardization,  such  

as  Robert  W.  Witkin,  in  Adorno  in  Popular  Culture.  Witkin  writes:  

 

“The  term  ‘standardization’  becomes  less  obvious  in  its  meaning  when  we  try  to  

apply  it  to  forms  in  serious  art  and  exhibit  a  certain  regularity.  After  all,  it  can  be  

argued   that   standard   forms   are   ubiquitous   in   all   art.  Why   should   a   sonnet   by  

Shakespeare   be   considered   less   standardized   than   a   popular   song   by   Irving  

Berlin?   Surely   painting   genres   and   the   forms   of   classical   music   –   symphony,  

sonata,  minuet,  rondo,  scherzo  and  so  forth  –  all  exhibit  their  regular  features  in  

different  works”.3  

 

                                                                                                               3  WITKIN,  Robert  W.  Adorno  on  Popular  Culture.  Routledge  2003.  Chapter  7.  p.  2  

 

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My   study  will   not   debate   the   argument   between   ‘popular’   and   ‘serious’  music,  

but   instead   take  Adorno’s   ideology  of   standardization  as  a  way  of  defining  key  

musical  features  of  these  subgenres.    

 

Death  Metal  

 

“The  Lyrics   and  Vocals,  which  would   strike   the   casual   listener  before   anything  

else,  only  augment  the  extremity  of  the  music.  In  society  at  large,  Death  Metal  is  

probably   best   known   for   its   vocals.   Those  who   are   outside   the   scene   typically  

classify  it  according  to  the  vocals,  ignoring  the  definite  trends  in  the  instrumental  

music  itself”  –  Natalie  J.  Purcell.  4  

 

As  a  means  of  deconstructing  Death  Metal  music  I  have  chosen  to  research  ‘Scars  

of   the   Crucifix’   by   Deicide   as   a   case   study.     The   album,   Scars   of   the   Crucifix  

(2004),   like  many   of   their   other   releases,   has   caused  much   controversy;  most  

obviously   due   to   antitheist   ideologies   that   have   come   to   define   the   music   as  

Death  Metal   as   opposed   to  Black  Metal  which   is   defined   by   a   specifically   anti-‐

Christian   ideological  point  of   view.  The  often   reactionary  and   ‘violent’   imagery  

presented  within  the  album  artworks  and  texts  within  the  lyrics  have  also  come  

to  define   the  music.  Despite   these   important   ideological   aspects,   as  mentioned  

earlier,  my  own  musical  analysis  will  provide  a  list  of  musical  characteristics  that  

I  will  argue  support  Adorno’s  writing  on  standardization.    

 

                                                                                                               4  PURCELL,  Natalie  J.  Death  Metal  Music:  The  Passion  and  Politics  of  a  Subculture.  McFarland  2003.  P.  9.  

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Purcell  states  that,  “The  guitars  in  Floridian  Death  Metal  are  not  generally  tuned  

as  low  as  in  other  forms  of  Death  Metal.  The  guitar  work  is  more  tight,  precise,  

and   clear.   Extremely   fast,   machine   gun-‐like   blast   beats   characterize   the  

drumming  in  Floridian  Death  Metal.  Of  the  bands  that  designed  and  popularized  

the  Floridian  sound…  Deicide.”5  

 

 

 

 

 

 

 

 

 

 

The   opening   three   bars   of   ‘Scars   of   the   Crucifix’   demonstrate   a   defining  

rhythmical   feature   of   Death  Metal;   in   the   drum   notation,   we   see   that   the   ride  

cymbal  (often  crash  cymbal)  outline  every  crotchet  beat.  The  kick  drum  outlines  

exactly   the   same   rhythm   as   the   guitar   and   bass,   as   a  way   of   emphasizing   and  

punctuating   the   ‘riff’.   These   are   all   prevailing   element   of   the   music   that  

recapitulates  during  verses.    

 

 

                                                                                                               5  PURCELL,  Natalie  J.  Death  Metal  Music:  The  Passion  and  Politics  of  a  Subculture.  McFarland  2003.  p.  18.    

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As   the   introduction   or   ‘verse   riff’   leads   into   the   chorus,   rhythmical   elements  

intensify   by   straight   quaver   rhythms   performed   on   the   ride   cymbal,   which   is  

supported   by   the   2nd   Rhythm   guitar.   The   Snare   drum   is   introduced   on   the   3rd  

beat  of  every  bar.  Similarly,  the  kick  drum  is  still  following  the  rhythm  of  the  1st  

Rhythm  guitar  and  Bass  Guitar.    

 

 

 

 

 

 

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The  next  vital  characteristic  of  the  music  is  the  rhythmical  importance  of  straight  

semiquavers,   performed   in   this   case,   by   every   instrumentalist.   This   plays   an  

especially   important   role  within   the   kick   drum  with   double-‐pedal   articulation.  

Similarly,  the  guitar  and  bass  lines  follow  this  rhythmical  pattern  with  alternate  

plectrum   technique   in   semiquavers.   The   ‘blast-‐beat’   rhythm,   that   has   become  

synonymous  with  Death  Metal  music,   can   be   seen   in   the   last   beat   of   b.40   and  

b.42  in  the  drum  part;  whereby  both  snare  and  kick  drum  play  in  semiquavers.    

 

 

 

 

 

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As   the   music   progresses,   there   is   a   tendency   for   the   rhythmic   patterns   to  

intensify,  specifically  concerning  the  use  of  constant  semiquavers  in  every  part,  

such  as   in  b.52   (third  beat),  where   the  blast-‐beat   rhythm   is  prolonged   for   two  

beats  instead  of  one  (as  in  b.42).  

 

“Blast   beats   are   achieved   through   the   rapid,   cut-‐time   alternation   of   snare   and  

bass  drum.  The  term  ‘blast  beat’  was  reputedly  coined  by  Mich  Harris  of  Napalm  

Death  …  There  are  now  a  number  of  different  styles  of  blast  beat,  each  of  varying  

degrees  of  difficulty  and  complexity.”6  –  Michelle  Phillipov.    

 

Although   not   notated,   the   vocal   style   as   presented   by   Glen   Benton   (Deicide),  

consists  of  double  tracked  screams,  (i.e.  ‘highs’  and  ‘lows’).  Perhaps  as  a  result  of  

this,   the   vocal   style   remains   rhythmically   free   on   top   of   the   rigid/metronomic  

precision   of   the   other   instruments.   The   vocals   are   predominantly   in   straight  

quaver  rhythms,  but  often  semibreve  screams  are  held.      

 

Metalcore  

 

As   a   means   of   deconstructing   Metalcore   music   my   case   study   involved   an  

investigation   of   ‘Smile’   by  Bring  Me  The  Horizon.  Metalcore  music   can   also   be  

defined   by   rhythmical   features,  most   noticeably,   the   ‘breakdown’.   But   also   it’s  

roots   in  Hardcore  Punk  music  play  an   important  role.  This   is  most  apparent   in  

the  introduction:  

                                                                                                               6  PHILLIPOV,  Michelle.  Death  Metal  and  Music  Criticism:  Analysis  at  the  limits.  Lexington  Books,  2012.  p.  86  

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This   transcription  demonstrates   the  use  of   the  Hardcore-‐punk  beat  used   in   the  

opening  bars  of  the  piece.  This  is  played  at  190  bpm,  which  is  a  typical  tempo  for  

the   fast   paced   rhythms  of  Hardcore-‐Punk  Music.   There   is   a   snare   hit   on   every  

second  and  fourth  beat  of  the  bar,  whilst  the  kick  drum  follows  the  guitar  line.    

 

 

This  particular  example  demonstrates  ‘Metal’  elements,  similar  to  the  kick  drum  

in  Death  Metal  music.  The  kick  drum  punctuates  even  quavers  and  semiquavers  

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throughout  the  verse  riff,  with  the  exception  of  the  last  two  bars  that  preordain  

the  ‘breakdown’,  which  I  will  discuss  next.    

 

 

 

 

 

 

 

This   is   a   transcription   of   the   ‘breakdown’   in   Chelsea   Grin.   The   ‘breakdown’  

always  consists  of  a  few  select  musical  features.  Either  the  tempo  is  reduced,  as  

demonstrated   here   at   120bpm,   or   it   is   performed   in   half-‐time   of   the   original  

tempo.   To   emphasize   the   power   of   the   ensemble   when   performing   at   slower  

tempo,  more  space  is  left  throughout  the  entire  group;  the  kick  drum  still  echoes  

the  guitar  parts,  but  they  are  often  more  sparse.  The  snare  hits  only  on  the  third  

beat  of   the  bar,  with   the  exception  of   ‘fills’   such  as   in   the   last   two  beats  of   this  

example.  The  China  Cymbal  has   also  become  a  key   feature  of   the   ‘breakdown’,  

depicted  to  outline  every  strong  beat,  alternating  with  the  crash.    

 

Similarly  to  Death  Metal,  the  vocals  are  screamed  and  often  double-‐tracked,  but  

more  interestingly  the  vocals  are  also  predominantly  in  straight  quaver  rhythms,  

but  often  semibreve  screams  are  held.    The  difference  is  that  the  voice  is  far  more  

rhythmically  accurate  or  ‘in-‐the-‐pocket’  than  ‘Scars  of  the  Crucifix’.  Metalcore  is  

less   rhythmically   intense   as   Death   Metal,   but   relies   on   space   and   synchresis  

between  instrumentation  for  its  effect.    

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Deathcore  

 

As   a   means   of   deconstructing   Deathcore   music   my   case   study   involved   an  

investigation  of    ‘You  Only  Live  Once’  by  Suicide  Silence  and,  ‘I  Thought  You  Met  

Telly  and  Turned  Me  Into  Casper’  by  Emmure.    

 

 

 

 

 

 

 

 

 

 

 

Similarly   to   Death   Metal,   the   synchresis   between   kick   drum   and   snare   is  

apparent,  although  at  120bpm  it  is  arguable  that  the  rhythmic  pattern  found  in  b.  

2  and  b.  4  could  be  defined  as  a  blast-‐beat.  (The  blast-‐beats  discussed  in  ‘scars  of  

the  crucifix’  were  performed  at  190bpm).  Other  than  this,  there  are  similarities  

to   ‘Metalcore   breakdowns’,   such   as   snare   on   beat   three   and   the   china   cymbal  

being   used   (in   the   same  way   to   the   ride   cymbal   in   a   Death  Metal   context)   i.e.  

every  crotchet  beat  of  the  bar.  In  addition  to  this,  the  kick  drum  shares  the  same  

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rhythmical  pattern  as  the  guitar  and  bass  parts.    This  example  demonstrates  that  

Deathcore  percussion  is  inherently  determined  by  the  guitars,  (on  the  basis  that  

the  guitar  riffs  are  composed  before  the  drum  parts)  or  vice  versa.  When  drum  

fills  and  percussive  embellishments  are  added,  they  are  most  commonly  seen  in  

a   predetermined   beat   (the   fourth   beat   of   the   bar)   and   as   a   consequence   only  

‘intensify’   the   rhythm   to   lead   into   the   next   bar   or   structurally   important  

measure;  achieved  by  blast-‐beats  and  faster  double  kick  drum  articulation.  The  

constant  as  a  stylistic  aspect  of  Deathcore  percussion  is  a  crash  cymbal  on  every  

crotchet   beat   and   a   snare   on   every   third   beat   of   the   bar.   Deathcore  music,   is  

usually  performed  at  a  slightly  slower  tempo,  my  given  examples  are  performed  

at   120bpm   and   140bpm.   I   have   concluded   that   these   tempi   are   extremely  

important   to   sustain   elements   of   both  Death  Metal   and  Metalcore  music;   ‘half-‐

time  breakdowns’  and  semiquaver  ‘blasts’  still  work  effectively.    

 

 

 

 

 

 

 

 

 

Similarly  to   ‘You  Only  Live  once’,   ‘I  Thought  You  Met  Telly  and  Turned  Me  Into  

Casper’  by  Emmure,  also  uses  extremely  down-‐tuned  guitars.  7-‐string  guitars  are  

used   with   the   lowest   string   being   A   (4   tones   lower   than   standard);   this   is   a  

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common   feature   of   Deathcore   music.   As   with   all   these   examples   there   is   the  

rhythmical   similarity   between   kick   drum   and   guitar   and   bass   parts.   However,  

Emmure   certainly   fixate   more   heavily   on   reliance   to   the   ‘Hardcore/Metalcore  

breakdown’   performance   style.   There   are   no   Death   Metal   ‘blast-‐beats’   in   this  

piece,  however  semiquaver  ‘blasts’  on  the  kick  drum  are  still  apparent  (if  only  as  

fills).    

 

 

 

 

 

 

 

 

 

 

 

 

 

 

From  b.10   there   is   a   two   bar   guitar   break   playing   a   discord   between   the   root  

note  and  a  minor  2nd  on  every  crotchet  beat.  Deathcore  music  often  presents  this  

textural  contrast  by  a  means  of  the  instruments  range.  The  notated  reoccurring  

discords  sound  an  octave  higher  than  presented  in  the  score  due  to  a  ‘Whammy’  

effects   unit   on   the   Electric   guitars   to   raise   the   pitch   by   an   octave.   This   is  

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prominent  throughout,  such  as  in  b.12  (beats  2.5  and  4.5).  The  discords  are  most  

commonly   presented   on   the   offbeat;  with   the   exception   of   the   two   bars   break  

presented   in  b.10-‐12.  Consequently,   the   low/bass  notes,   such  as   the   low  A,  are  

most  commonly  played  on  the  strong  beats;  this  can  be  seen  in  b.12,  beats  1  and  

3.  

 

 

 

 

 

 

This  example  presents  more  Death  Metal  inspired  compositional  elements  such  

as  constant  semiquavers  for  kick  drum  and  a  semibreve  scream  in  the  vocal  part  

with   guitar   and   bass   performing   in   rhythmical   unison.   At   this   point   the   guitar  

and  bass  lines  do  not  rhythmically  influence  the  kick  drum,  and  are  autonomous  

of  the  drum  kit.    

 

 

 

 

 

 

 

 

 

  16  

 

 

This   example   in   particular   demonstrates   the   construction   of   a   Deathcore  

Breakdown.  In  b.35,  there  is  a  drum  fill  that  it  used  to  lead  into  the  ‘breakdown’  

section.  The  ‘breakdown’  starts  in  b.36,  which  is  extremely  similar  to  the  way  in  

which   this   is   deployed   in   ‘Chelsea   Grin’.   Every   instrument   plays   a   crotchet   on  

beats   on   1   and   3,   leaving   space   and   rhythmic   tension.   This   is   followed   by   a  

rhythmic   phrase   similar   to   what   had   been   previously   presented   in   the   verse  

sections,   linking   to   Adorno’s   theory   of   ‘nothing   fundamentally   novel   will   be  

introduced’.  Although  one  could  argue  that  the  recapitulation  of  musical  material  

is  not  only  apparent  in  popular  music,  but  many  ‘serious’  musics  too.    

 

When  examining  the  voice,  it  is  interesting  to  note  that  the  vocal  phrase  always  

starts   on   the   second   half   of   the   first   beat.   This   is   with   the   exception   of   the  

‘breakdown’  and  longer  screams,  such  as  in  b.30.  It  is  also  important  to  note  that  

the  music  presented  by  Emmure  and  Suicide  Silence  is  performed  in  metronomic  

perfection.  It  is  most  common  for  Deathcore  groups  to  record  to  a  metronome,  as  

opposed  to  a  purely   ‘live’  recording.  It  could  be  argued  that  Deathcore  music   is  

an  extremely  technologically  reliant  genre,  when  studio  engineering  determines  

the   prominence   and   overall   sound   of   the   most   important   factors   of   the  

instrumentation:  the  double  tracking  of  the  voice,  heavily  compressed  kick  drum,  

and   overdubbed   guitars.   These   studio   enhancements   are   generally   replicated  

live,  and  have  become  associated  with  the  Deathcore  ‘sound’.    

 

 

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Conclusion  

 

Rhythm  and  Tempo  are   two  defining   features  of   these  Heavy  Metal   subgenres.  

Deathcore   music   is   undoubtedly   influenced   and   reliant   on   it’s   founding  

influences,  but  is  innovative  enough  to  be  defined  through  musicological  analysis  

and  not  purely  ideological/lyrical  content  of  the  music.  Adorno’s  building  blocks  

of  popular  music   that  define   standardization  do  not   apply   to  Deathcore  music.  

The   chorus   sections   are   predominantly   16   bars,   not   32   bars.   The   range   of   the  

voice   is   technically   more   than   an   octave,   especially   when   ‘highs’   and   ‘lows’  

screams   are   used   such   as   in   Deicide   and   Bring   Me   the   Horizon.   The   melodic  

range  of  the  guitars  are  also  often  more  than  an  ‘octave  and  one  note’.  However,  

Adorno  argues,   “[Music]   regardless  of  what  aberrations  occur,   the  hit  will   lead  

back   to   the   same   familiar   experience,   and  nothing   fundamentally  novel  will   be  

introduced.”7  From  my  own  musical  analysis,  I  have  concluded  that  within  these  

compositions,   nothing   ‘fundamentally   novel’   is   introduced.   The   musical   rules  

that  define   them  as   their  own  subgenre,  most  noticeably  rhythm,  are  a   form  of  

this   ‘familiar   experience’.   These   ‘aberrations’   relate   to   slight   variations,   that  

define   one   song   from   another,   such   as   key/tone/melody,   but   as   mentioned  

earlier,   they   are   all   defined   by   their   ‘most   primitive’   rhythmical   factors.   Other  

than  these  defining  musical  elements,  Death  Metal,  Metalcore  and  Deathcore  are  

extremely  similar.    

                                                                                                               7  Theodore  W.  Adorno.  Essays  on  Music:  Theodore  W.  Adorno.  University  of  California  Press.  2002.  P.  438.  

  18  

 

 

 

Bibliography  

 

ADORNO,   Theodore   W.   Essays   on   Music:   Theodore   W.   Adorno.   University   of  

California  Press.  2002.  

 

BERGER,   Harris  M.  Metal,  Rock,  and   Jazz:  Perception  and   the  Phenomenology  of  

Musical  Experience.  Wesleyan  University  Press,  2011.  

 

BUCHANAN,   Ian.   Deleuze   and   Music:   Deleuze   Connections   Series.   Edinburgh  

University  Press,  2004.  

 

CHRISTE,  Ian.  Sound  of  the  Beast.  HarperCollins.  2010.  

 

KHAN-‐HARRIS,  Keith.  Extreme  Metal:  Music  and  Culture  on  the  Edge.  Berg  2006.  

 

MUNDRAIN,   Albert.   Choosing   Death:   The   Improbable   History   of   Death   Metal   &  

Grindcore.  Feral  House  2004.  

 

PHILLIPOV,   Michelle.   Death   Metal   and   Music   Criticism:   Analysis   at   the   limits.  

Lexington  Books,  2012  

 

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PURCELL,  Natalie   J.  Death  Metal  Music:  The  Passion  and  Politics  of  a  Subculture.  

McFarland  2003.    

 

WALLACH,   Jeremy   et   al.  Metal   Rules   the   Globe:   Heavy  Metal  Music   Around   the  

World.  Duke  University  Press,  2011.  

 

WITKIN,  Robert  W.  Adorno  on  Popular  Culture.  Routledge  2003  

 

Discography  

 

BRING  ME  THE  HORIZON,  ‘Chelsea  Grin’.  Suicide  Season.  Visible  noise  2008.    

 

DEICIDE,  ‘Scars  of  the  Crucifix’,  Scars  of  the  Crucifix.  Earache  2004.  

 

EMMURE,  ‘I  Thought  You  Met  Telly  and  Turned  Me  Into  Casper’,  Felony.  Victory  

Records  2009.