| |
Author  |
Title |
Year |
Publication |
Volume |
Pages |
Links |
|
|
Lucas, Olivia |
Kentucky: Sound, Environment, History – Black Metal And Appalachian Coal Culture |
2015 |
Modern Heavy Metal: Markets, Practices and Cultures |
|
555-563 |
|
|
|
Lucas, Olivia R. |
Traditional Instruments in Global Folk Metal |
2025 |
The Routledge Handbook to Metal Music Composition: Evolution of Structure, Expression, and Production |
|
203-216 |
|
|
|
Lucas, Olivia R. |
Performing Analysis, Performing Metal: Meshuggah, Edvard Hansson, and the Analytical Light Show |
2021 |
Music Theory Online |
27 |
s.p. |
|
|
|
Lucas, Olivia R. |
“Kaitiakitanga, Whai Wāhi” and Alien Weaponry: indigenous frameworks for understanding language, identity and international success in the case of a Māori metal band |
2021 |
Popular Music |
40 |
263-280 |
|
|
|
Lucas, Olivia R. |
Light Shows as Public, Vernacular Music Theory |
2021 |
The Oxford Handbook of Public Music Theory The Oxford Handbook of Public Music Theory |
|
s.p. |
|
|
|
Lucas, Olivia R. |
‘Shrieking soldiers … wiping clean the earth’: hearing apocalyptic environmentalism in the music of Botanist |
2019 |
Popular Music; Cambridge |
38 |
481-497 |
|
|
|
Lucas, Olivia R. |
“So Complete in Beautiful Deformity”: Unexpected Beginnings and Rotated Riffs in Meshuggah’s obZen |
2018 |
Music Theory Online |
24 |
|
|
|
|
Lucas, Olivia R. |
Loudness, Rhythm and Environment: Analytical Issues in Extreme Metal Music |
2016 |
|
|
|
|
