Bands of this nature often present the female singer as an ethereal and spiritually powerful force, effectively embodying the deified aristocratic lady of the fin’amor tradition. The fin’amor dynamic is also considered from the opposite side, through female-fronted Gothic metal bands like Within Temptation, Nightwish, and Theatre of Tragedy. Fin’amor poetry and literature, developed primarily by French troubadours in the eleventh to thirteenth centuries, typically involves the objectification of a married aristocratic or royal lady as a quasi-deified figure before which the male troubadour performs a kind of worshipful self-debasement. This chapter explores a particular manifestation of heavy metal medievalism through the echoes of fin’amor and courtly love poetry in the music of doom metal and Gothic metal bands like My Dying Bride and Cradle of Filth. Gaming the Medievalist World in Harry Potter.Evil Medieval: Chant and the New Dark Spirituality of Vietnam-Era Film in America.The Many Musical Medievalisms of Disney.Hope against Fate or Fata Morgana? Music and Mythopoiesis in Boorman’s Excalibur.Faith, Fear, Silence, and Music in Ingmar Bergman’s Medieval Vision of The Seventh Seal and The Virgin Spring.
From the Music of the Ainur to the Music of the Voice-over: Music and Medievalism in The Lord of the Rings.Medievalism and Identity Construction in Pagan Folk Music.A Gothic Romance: Neomedieval Echoes of Fin’amor in Gothic and Doom Metal.“Ramble On”: Medievalism as a Nostalgic Practice in Led Zeppelin’s Use of J.Early Music and Popular Music: Medievalism, Nostalgia, and the Beatles.Disciplining Guinevere: Courtly Love and the Arthurian Tradition from Henry Purcell to Donovan Leitch.Nature, Reason, and Light in Vision-Aus dem Leben der Hildegard von Bingen.Medievalism and Rued Langgaard’s Romantic Image of Queen Dagmar.Tolling Bells and Otherworldly Voices: Joan of Arc’s Sonic World in the Early Twentieth Century.Miserere: Arvo Pärt and the Medieval Present.The Return of Ars subtilior?: Rhythmic Complexity in the Chantilly Codex and in Selected Twentieth-Century Works.Hucbald’s Fifths and Vaughan Williams’s Mass: The New Medieval in Britain between the Wars.Past Tense: Creative Medievalism in the Music of Margaret Lucy Wilkins.Medievalism and Antiromanticism in Carl Orff’s Carmina Burana.Re-sounding Carl Theodor Dreyer’s La Passion de Jeanne d’Arc.Medieval Folk in the Revivals of David Munrow.“What England Has Done for a Thousand Years”: Medievalism in Christmas Lessons and Carols Services.Romantic Medievalist Nationalism in Schumann’s Genoveva, Then and Now.Medievalism and Regionalist Identity in Lalo’s Le Roi d’Ys.The Distant Past as Mirror and Metaphor: Portraying the Medieval in Historical French Grand Operas.
PARADISE LOST – “Beneath Broken Earth” from THE PLAGUE WITHIN TRIPTYKON – “Aurorae” from MELANA CHASMATA MOONSPELL – “Alpha Noir” from ALPHA NOIR/OMEGA WHITEĪLCEST – “Là Où Naissent Les Couleurs Nouvelles” from LES VOYAGES DE L’AME MY DYING BRIDE – “Feel the Misery” from FEEL THE MISERY TYPE O NEGATIVE – “Love You To Death” from OCTOBER RUST ROTTING CHRIST – “The Four Horsemen” from RITUALS This week’s heavy metal history lesson descends into the realm of somber, crushing Goth-influenced doom metal by My Dying Bride, Draconian, Paradise Lost, Lacuna Coil, Moonspell, Rotting Christ, Triptykon, Novembers Doom, Type O Negative and more. BLOODY ROOTS of Gothic Doom Metal on Sirius XM