Abstract
ABSTRACT Metal music is here to stay, by all outward appearances, mainly, as I shall argue, by virtue of its expressive properties. Old calumnies excoriating metal for promoting immorality and the dark arts have collapsed under their own weight. Yet this article makes the harder case for representation as a value added to metal aesthetics. Metal goes so far as to assess ancient and modern foreign policy and to represent classical art forms. Philosophical aesthetics offers new insights into metal music, as shown via the article’s discussion of debates involving Roger Scruton, Stephen Davies, and Peter Kivy, among others.
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