Calder Hannan


  1. Temperley, David. 2018. The Musical Language of Rock. New York, NYY, United States of America: Oxford University Press.
  2. Lucas, Olivia. 2016. “Loudness, Rhythm, and Environment: Analytical Issues in Extreme Metal.” Dissertation, Cambridge, Mass: Harvard.———. 2018. “‘So Complete in Beautiful Deformity’: Unexpected Beginnings and Rotated Riffs in Meshuggah’s ObZen.” Music Theory Online 24 (3).

Pieslak, Jonathan. 2007. “Re-Casting Metal: Rhythm and Meter in the Music of Meshuggah.” Music Theory Spectrum 29 (2): 219–45. mts.2007.29.2.219

Smialek, Eric. 2008. “Re-Thinking Metal Aesthetics: Complexity, Authenticity, and Audience in Meshuggah’s I and Catch 33.” Masters Thesis, Montreal: McGill University.

  1. the_guide_to_the_parallax_ii_future_sequence/
    Examples of ABAC-AMPs: (from Calder’s master thesis)
    Blood Incantation – Vitrification of Blood, first riff (3/4 + 5/4 + 3/4 + 6/4):
    Protest the Hero – Bloodmeat, first riff:

Cannibal Corpse – Staring Through the Eyes of the Dead, first riff:

The Faceless – Xenochrist, both breakdown riffs (3:38):

The Dillinger Escape Plan – 43% Burnt, breakdown riff

Meshuggah’s – The Demon’s Name is Surveillance: The song can be heard as an extended meditation on this construction, using several versions of a 1, 1-2, 1-2-3 pattern.

  1. Correction pieces of the riff from “Lay Your Ghosts to Rest” are not in 7/8 and 4/8; it is 4/4 – 4/4 – 7/8 – 4/4 and 4/4 – 4/4. +Silent flight parliament?
  2. Burnham, Scott. 2000. Beethoven Hero. 3. print., 1. pb. print. Princeton, NJ: Princeton Univ. Press.
  3. The Mars Volta “Cassandra Gemini” from Frances the Mute
  4. He wanted to mention Wye Allenbrook in addition to Leonard Ratner and Kofi Agawu, and also Melanie Lowe and William Echard, the research of whom he cites when addressing topic theory.
  5. Overture 1812: It features cannons, not guns. (AC/DC did not come up with the idea)
  6. Huang, Hao, and Rachel Huang. 1994. “Billie Holiday and Tempo Rubato: Understanding Rhythmic Expressivity.” Annual Review of Jazz Studies 7: 181.
    The song “Practice makes perfect”:
  7. Winkler, Peter. 1997. “Writing Ghost Notes: The Poetics and Politics of Transcriptions.” In Keeping Score: Music, Disciplinarity, and Culture, edited by David Schwarz, Anahid Kassabian, and Lawrence Siegel, 169–203. Knowledge: Disciplinarity and Beyond. Charlottesville, VA: University of Virginia Press.
  8. Mynett, Mark. 2017. Metal Music Manual: Producing, Engineering, Mixing and Mastering Contemporary Heavy Music. New York ; London: Routledge.
  9. Stockhausen:
  10. Huron, David. 2007. Sweet Anticipation: Music and the Psychology of Expectation. 1. MIT Press paperb. ed. A Bradford Book. Cambridge, Mass.: MIT Press.

Smialek, Eric. 2015. “Genre and Expression in Extreme Metal Music, ca. 1990-2015.” Dissertation, Montréal, QC. Canada: McGill University.

  1. Bertrand Russel:

Theodor Adorno:

De gustibus non est disputandum (and not disputandur):

  1. Music theorists as crypto-platonists: Ford, Phil. 2019. “Style as Analysis.” In The Routledge Companion to Popular Music Analysis, edited by Ciro Scotto, Kenneth M. Smith, and John Brackett. Routledge Music Companions. Taylor and Francis Group.
  2. King Woodchuck mentioned in Smialek master’s thesis p91-98 and 123-126. (see footnote number 2)
  3. Meshuggah’s combustion with a click added:
  4. The article about the dubbit is: Dubiel, Joseph. 2017. “Music Analysis and Kinds of Hearing-As.” Music Theory and Analysis (MTA) 4 (2): 233–42.
  5. Berger, Harris, and Cornelia Fales. 2005. “”Heaviness” in the Perception of Heavy Metal Guitar Timbres: The Match of Perceptual and Acoustic Features over Time.” In Wired for Sound: Engineering and Technologies in Sonic Cultures, edited by Paul D. Greene and Thomas Porcello, 181–97. Music/Culture. Middletown, Conn: Wesleyan University Press.

Walser, Robert. 1993. Running with the Devil: Power, Gender, and Madness in Heavy Metal Music. Music/Culture. Hanover, NH: University Press of New England.

  1. Danielsen, Anne. 2006. Presence and Pleasure: The Funk Grooves of James Brown and Parliament. Music/Culture. Middletown, Conn: Wesleyan University Press. ———, ed. 2010. Musical Rhythm in the Age of Digital Reproduction. Ashgate Popular and Folk Music Series. Farnham, Surrey, England ; Burlington, VT: Ashgate.
  2. Piper, Jonathan. 2013. “Locating Experiential Richness in Doom Metal.” PhD Dissertation, San Diego: University of California San Diego.
  3. Keil, Charles. 1995. “The Theory of Participatory Discrepancies: A Progress Report.” Ethnomusicology 39 (1): 1–19.
  4. Macolm Braff’s “General Theory of Rhythm”:
  5. Krebs, Harald. 1987. “Some Extensions of the Concepts of Metrical Consonance and Dissonance.” Journal of Music Theory 31 (1): 99–120. ———. 1999. Fantasy Pieces: Metrical Dissonance in the Music of Robert Schumann. New York: Oxford University Press.
  6. London, Justin. Temporal Complexity in Modern and Post-Modern Music: A Critique from Cognitive Aesthetics. in Unfolding Time: Studies in Temporality in Twentieth Century Music, Darla Crispin, ed. Collected Writings of the Orpheus Institute, vol. 9, Leuven University Press (2009): 45-68. London, Justin. 2012. Hearing in Time: Psychological Aspects of Musical Meter. 2nd ed. New York: Oxford University Press.
  7. Galen Degraf—
  8. Butler, Mark J. 2001. “Turning the Beat Around: Reinterpretation, Metrical Dissonance, and Asymmetry in Electronic Dance Music.” Music Theory Online 7 (6).

Butler, Mark Jonathan. 2006. Unlocking the Groove: Rhythm, Meter, and Musical Design in Electronic Dance Music. Profiles in Popular Music. Bloomington: Indiana Univ. Press.

  1. Zbikowski, Lawrence Michael. 2017. Foundations of Musical Grammar. Oxford Studies in Music Theory. New York, NY: Oxford University Press.
  2. Clifton Boyd:
  3. Doll, Christopher. 2017. Hearing Harmony: Toward a Tonal Theory for the Rock Era. Tracking Pop. Ann Arbor: University of Michigan Press.
  4. Max Seaman’s interview on the Rough City podcast:
  5. Bands mention: Krallice, Behold the Arctopus, Yellow Eyes, Imperial Triumphant, Psyopus, Hiatus Kaiyote, Haunt (band from California), Khemmis; to this list Calder adds Orgone (
  6. Nai Palm @ Paste studios:

Nervosa (all-female thrash metal band from Brazil):

  1. Khemmis and Sunn O))): I actually confused Khemmis and Khanate.
  2. Jacob Collier’s workflow:
    More recent, Logic Session Breakdown:
  3. I was wrong, sorry, but it is close: Ian McEwan, author of Atonement. I remember getting this anecdote about his writing process from a writing professor in undergrad.


  1. Burns, Lori. 2019. “Interpreting Transmedia and Multimodal Narratives: Steven Wilson’s ‘The Raven That Refused to Sing.’” In The Routledge Companion to Popular Music Analysis, edited by Ciro Scotto, Kenneth M. Smith, and John Brackett. Routledge Music Companions. Taylor and Francis Group.