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Paolo Ribaldini

23.9.1986 Mantova, Italy

BA student 2013 - (pop/jazz music), Metropolia University of Applied Sciences
PhD student 2012 - (musicology), University of Helsinki
MA, 2011, music (violin), Mantova Conservatory
MA, 2010, philosophy, Verona University
BA, 2008, philosophy, Verona University

Main lecturer and coordinator, “Heavy Metal music in contemporary history and society” –course, Helsinki Summer School 2015

Research interests: Heavy metal, popular music, music philosophy, music history, music analysis


Black Sabbath and the creation of musical meaning in the Devil’s topos. Proceedings of the international Conference for Music Semiotics, University of Edinburgh, October 2012.
A conference report from the Royal Musical Association Music and Philosophy Study Group 3rd Annual Conference, King’s College (London). Musiikin suunta, 4, 2013.
Classic Heavy Metal and World War I. New Sound, May 2015, ed. prof. Dario Martinelli. University of Belgrade
Heavy Metal vocals. A terminology compendium. Modern Heavy Metal: Markets, Practices and Cultures, ed. Toni-Matti Karjalainen & Kimi Kärki. 2015.

CIMO Finnish Scholarship Government Pool –grant 2013

Photo: Rita Miklán
Written by Paolo Ribaldini (Tiia Niemelä, ed.)

My dreams

I wish for a parallel career in music-making as well as in music studies. Performance and everything revolving around it are what I primarily strive for, but academia is almost as important and I believe I could bring a useful contribution to human sciences. Unfortunately, it is under everybody’s eyes that both these areas of employment are heavily struggling.

The ways of art-making (including also other forms than music) have been changing a lot and change more all the time. Incomes are concentrating in the hands of a few major labels and emerging artists have really hard time trying to survive on the music market. Even though it might not sound very ‘democratic’ nor realistic, I’d prefer a smaller choice and quantity of music material but with a higher quality and with more protection on emerging artists’ rights. The same goes also for the academic world; I'd probably like to see the existing resources shared to quantitatively less but qualitatively top notch research that was modern, meaningful, scientifically accurate and meritocratic.

What I wish for myself is the possibility of making original music with one or more bands and working in the academia when I'm not on tour or in the recording studio. Sounds like a pretty busy life, but why shouldn't one dream big?

Photo © Rita Miklàn 2015


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