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Author  |
Title |
Year |
Publication |
Volume |
Pages |
Links |
|
|
Anderton, Chris; Goodge, Paul |
Alone in the Crowd? Live Music Audiences and Individual Experience |
2025 |
Popular Music |
First View |
1-15 |
|
|
|
Chang, Le |
Voicing Heavy Metal: Music, New Media, and Environmental Activism in Mainland China |
2024 |
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|
|
|
|
|
Destexhe, Maëlle |
“Le son de l'ancienne crypte”: Histoire et analyse du dungeon synth (1991-2025) |
2025 |
|
|
|
|
|
|
Herbst, Jan; Smialek, Eric |
“Mixed” Results. An Introduction to Analyzing Music Production through Eight Commissioned Metal Mixes |
2025 |
Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory] |
22 |
61-97 |
|
|
|
Mülazımoğlu, Melis |
From Wagner to Metal Through Nietzsche: Dramatic Representation of Metal Music as Ritual, Sacrifice and Catharsis |
2025 |
Konservatoryum [Conservatorium] |
Online first |
|
|
|
|
Penwell, Benjamin J . |
“NO CLEAN SINGING” – The Exclusive or Predominant Use of Harsh Vocals as the Primary Unifying Musical Characteristic of Extreme Metal Genres |
2025 |
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|
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|
|
Strauss, Suzanne |
A semiotic analysis of Nightwish’s “Dark Passion Play” (2007) and “Imaginaerum” (2011) |
2018 |
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Thomas, Robert C . |
Angered by Fear: Thrash Metal, Youth Culture, and American Society in the 1980s |
2025 |
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|
Wood, Caroline N. C. |
Hardcore and Metal Music in Music Therapy: A Functional Guide for Music Therapists and Music Therapy Students |
2025 |
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