Scholars often assume that there is li le more to say about punk music other than it is fast, loud, abrasive, and any amateur can perform it. Yet within the punk scene, there is a robust discourse on punk musical style and the changes it has undergone throughout its now forty-year history, seemingly endless subgenre distinctions, and critical commentary on the musical merits of individual bands. This article combines transcription and analysis with a look at the punk scene’s own discourse on musical style to understand the rhythms, riffs, and timbres of extreme hardcore punk, a subgenre prominent in the 1990s. The 800-BPM blast beats, screamed or growled vocals, and dissonant riffs of extreme hardcore necessitate the development of theoretical concepts for explaining the function of meter, timbre, and melodic material in punk. Furthermore, an understanding of changes in and new subgenres of punk style is necessary to avoid reducing punk to a music devoid of nuance or ongoing historical development. Volume 25, Number 1, May 2019 Copyright © 2019 Society for Music Theory When Godzilla crushes Tokyo and is busy stomping on buildings, this is what he listens to on his walkman. -Review of His Hero Is Gone, The Dead of Night in Eight Movements 7” (Fontaine 1996, 30) Delivering 100-miles-a-minute blows to the ears with the finesse of a Boeing 747.

中文翻译：

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极限硬核朋克和朋克音乐中节奏、即兴演奏和音色的分析挑战

学者们通常认为，朋克音乐除了快速、响亮、粗暴且任何业余爱好者都可以演奏之外，还有更多可说的。然而，在朋克界，关于朋克音乐风格及其在其四十年历史中所经历的变化、看似无穷无尽的子流派区别以及对个别乐队音乐优点的批判性评论，存在着激烈的讨论。本文将转录和分析与朋克场景自己对音乐风格的讨论相结合，以了解极端硬核朋克的节奏、即兴演奏和音色，这是 1990 年代的一个突出子流派。800-BPM 的爆炸节拍、尖叫或咆哮的人声以及极端硬核的不和谐即兴重复段需要发展理论概念来解释朋克中的节拍、音色和旋律材料的功能。此外，了解朋克风格的变化和新的子流派是必要的，以避免将朋克归结为没有细微差别或持续历史发展的音乐。第 25 卷第 1 期，2019 年 5 月 版权所有 © 2019 Society for Music Theory 当哥斯拉碾压东京并忙于踩踏建筑物时，这就是他在随身听上听到的内容。- 回顾他的英雄已逝，八乐章中的夜深人静 7”（Fontaine 1996, 30）以波音 747 的技巧向耳朵提供每分钟 100 英里的打击。